目次

Introduction: Ghostly Japan as Seen by Lafcadio Hearn

Part I Folklorist 1
1: Hearn and the Sea, and Jizō
2: Hearn and Haiku
3: Hearn’s Folkloristic Approach to the Animistic World of the Japanese
4: Festivals of the Dead―from Loti and Hearn to Moraes, King and Yanagita
5: Globalization or Creolization?―folkloristic approach to an identity crisis
6: Hearn versus Chamberlain
7: Hearn and Chamberlain on Japanese Music
8: Hearn’s Friendship

Part II Writing Artist
9: Oshidori, Emblem of Conjugal Affection
10: Lafcadio’s and Setsuko’s First Ghost Story
11: Lafcadio and the Eternal Feminine
12: 《The Reconciliation》 and 《Kimiko》 Reconsidered
13: Ghost Stories Compared―Hearn’s 《Ingwa-banashi》, Le Fanu’s 《The Hand》,
and Maupassant’s 《La Main》
14: The Animistic World of Kwashin Koji
15: Natsume Sōseki Replaced Lafcadio Hearn
16: Mount Daisen Depicted by Two Authors :
　　　Lafcadio Hearn and His Admirer Shiga Naoya
17: Fiction and Truth in 《At a Railway Station》
18: How to Define Lafcadio Hearn in the Wider Context of Japanese-American
Relationship―supplementary comment on the paper 《Fiction and Truth in
《At a Railway Station》》

Part III Japan Interpreter
19: Return to Japan or Return to the West?―Hearn’s 《A Conservative》
20: Crossing the Cultural Borders―Half a century after Byron what did Greece mean
to the writer Hearn?
21: Hearn’s Attempt at Interpretation through Greek Antecedents
22: Lafcadio Hearn, an “exote”

Part IV Shintō Interpreter
23: Shintō and Hearn in a Historical Perspective
24: Ghostly Japan as a Source of Literary Inspiration
25: As the Battle-Smoke Drifted Away―where the fallen Japanese soldiers go
26: Capturing Japanese Ethics Traits : Hearn’s “Higher Shintō”
27: Shintō as Enemy’s Religion, and as Was Seen by Hearn

Embracing Taboo―Sukehiro Hirakawa’s Literary Analysis of Shintō and Ghostly Worlds by Setsuko Adachi

Index

『平川祐弘著作集』外文篇　後記