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In:Mixed Magic: Global-local dialogues in fairy tales for young readers
Anna Katrina Gutierrez
[Children’s Literature, Culture, and Cognition 8] 2017
► pp. 223–230

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Index

Published online: 26 July 2017
DOI logo with link
https://doi.org/10.1075/clcc.8.ind
A
  • A
  • Aarne, Aanti 26
  • Aarne-Thompson-Uther (ATU) Index (defined) 26–27, 177; 50, 57, 59, 70, 177
  • abjected 44, 145, 160, 163, 180–181
  • adaptation 29, 30, 33, 66, 91, 118, 121–122, 124–125, 135–172, 177, 186, 188, 202 ; see also mishmash; reversion
  • Afanasyev, Alexander 162
  • Africa 63–64
  • agent 11, 196 ; see also agency
  • agency 16, 39, 41, 43, 52–53, 55, 63, 64, 76, 100, 103, 104, 111, 118, 131, 134–135, 141, 144, 145, 150–151, 156, 169, 170, 174–175, 176, 184, 190, 193, 197, 199, 202 ; see also subjective agency; subjectivity; intersubjectivity
  • agentic subjectivity 139, 200 see also agency
    • alterity 41, 132, 147, 154, 157–159, 164, 167, 191 ; see also Other; otherness
  • Althusser, Louis 12
  • American Born Chinese) 34–35, 36, 38–41, 43–45, 61, 65–67
  • Andersen, Hans Christian 145, 146–148, 153–154
  • Anderson, Benedict 4
  • Ang Mga Kuwento ni Lola Basyang ni Severino Reyes
    • Basyang by Severino Reyes)
    (see The Tales of Grandmother
  • Ang Sirena sa Uli-Uli ng Ilog Pasig (see The Mermaid in the Whirlpool of the
  • Pasig River)
  • Angelfish) 34–35, 36–37, 40–41, 42–43, 46–48, 61
  • animal-bridegroom narrative (see script, animal-bridegroom; script, beast-
  • groom)
  • anime 109, 112–117
    • The Arabian Nights 70, 75–76, 94
  • Arabian Nights Entertainment (see The Arabian Nights)
  • archetype 8, 141–142
  • Asiatic imaginary 22
  • B
  • Bacchilega, Cristina 23, 31, 74, 75, 99, 182–183, 196, 201
  • The Ballad of Mulan) 110
  • Beast) 70–71, 81, 103–108, 179, 180, 190–193, 198–200
  • Beast (see schema, beast-groom)
  • beast-groom narrative (see script, beast-groom)
  • beast-groom tale type 26, 56, 202–203 (see beast-groom script)
  • Beastly) 180–182, 187–188, 198, 200–201
  • Beaumont, Jeanne-Marie le Prince 70, 79–80, 96–97, 183, 184, 197
  • Beauty
    • The Beauty and the Beast (Beaumont 1756)(see Beaumont, Jeanne-Marie le Prince)
    • The Beauty and the Beast (Cocteau 1946) 81, 179, 180, 185–187, 188, 190, 197–198
    (see schema, Beauty)
  • Beauty and the Beast (Disney 1991) 74, 180, 185–187, 198, 200
  • Beauty and the Beast (Disney 2017) 200
  • Beauty and the Beast (Lamb 1811) 81, 99, 102–103, 106, 108, 180
  • Beauty and the Beast (Quiller-Couch & Dulac 1910) 75, 80, 95, 96–100, 108
    • The Beauty and the Beast (Villeneuve 1740)(see Villeneuve, Gabrielle-Suzanne Barbot de)
    • Beauty and the Beast (Hutton 1985) 101–102
  • Beauty and the Beast tale type 26, 36, 42–43, 70, 196 see also script, Beauty and the Beast; script, beast-groom
  • Bellen, Christine S. 48, 53, 54
  • Beller, Manfred 4, 5, 12
  • Bellinda and the Monster) 179
  • biculturalism 35–37, 39, 41
  • bishōnen 141–143
  • blending 5–9, 21, 30, 32, 38, 41, 74–75, 163, 179, 192, 207, 208
    • genre 31
    • glocal 15, 31
    • in (Miyazaki) anime 113, 117–118, 120–121, 134, 139–140, 142–144, 168–169, 171–173
    • of East and West 56–59, 70, 78, 89–90, 107, 109, 157–159, 163, 171–173, 182, 199–200
    • of global and local 8, 56–59
    • of history and fairy tale 46–54
    • of narratives 65–67
    • (also blend) of scripts 37–39, 56–59, 61, 106, 108, 157–159, 163, 171–173 ; (see also mishmash)
    • space 18, 118–120, 179 ; see also cognitive blending; conceptual blending; glocalization
  • Blue Beard (Jonson & Robinson, W. Heath 1921) 90–91
  • Blue Beard (Quiller-Couch & Dulac 1910) 75, 81–85, 92–94
  • Blue Beard (Rackham 1933) 81, 86–87, 94
    • The Blue Beard (Clarke 1922) 87, 89–90
    • The Blue Beard (Perrault 1697) 70, 82, 85
  • Bluebeard(see schema, Bluebeard)
  • Bluebeard (De la Mare & Watson 1927) 86–87
  • Blue Beard (Tabart 1830) 86–87
  • Bluebeard (Vredenburg & Harbour 1921) 90–91, 94
  • borderlessness 114 (see also mukokuseki)
  • The Borrowers) 119, 128–129
  • The Box of Wonders 61–63,
  • boundary crossing 34–35, 144, 146–147, 153–154, 157
  • Bradford, Clare xv, xvi, 33, 169
  • Brienza, Casey 114
  • Brooke, William J. 201–202
  • Brothers Grimm 21, 22
  • Brünnhilde 172, 174
  • Buckingham, David xvi, 109, 207
  • Buell, Frederick 9, 10
  • Bullen, Elizabeth xv, xvi, 13
  • The Bush Warbler’s Home 143,
  • C
  • Calvino, Italo 179, 189
  • Carrington, Victoria xv, xvi, 14, 114, 207
  • Casablanca) 121, 140
  • Castells, Manuel 3
  • cathectic relationship 178, 179, 182, 190, 196, 197, 206 ; (see also cathexis)
  • cathexis 178, 184, 193, 197
  • children’s literature 11–12, 15, 18, 20, 23, 31, 33, 46, 60, 72, 76, 206
  • China 2, 3, 17, 18, 21, 27, 30, 36–37, 42, 46–47, 56, 158
  • Cinderella 21–22, 29, 31
  • Clarke, Harry 87, 89–90
  • Cocteau, Jean 81, 179, 185, 186, 187, 188, 197
  • cognition xviii, 5, 6, 7–8, 12
  • cognitive blending 8–11, 12, 78, 182 ; see also conceptual blending; conceptual integration
  • cognitive literary criticism(see cognitive narratology)
  • cognitive narratology xviii, 7, 34
  • Cohen, Jeffrey Jerome 182
  • colonialism 69, 94
  • colonization 48, 54, 94, 95, 100, 149, 155
  • concepts (defined) 5, 120 ; see also emotionology; prototypes; schema; script; stereotypes
  • conceptual blending (defined) 5, 6, 7, 9, 11, 139, 176 ; see also blending; cognitive blending
  • conceptual integration 5 ; see also conceptual blending
  • Connell, R.W. 183, 184
  • consumption xv, 116, 130, 132–133, 144
  • consumption-integration 130 ; (see also contamination-syncretism)
  • construct, cultural 6, 116
  • construct, gender 110
  • contamination 9, 69, 89, 90–91, 149, 178, 184 (see script, globalization)
  • contamination-syncretism (defined) 9–10;
  • and 35, 60, 69, 118, 119, 149, 178;
  • contamination-integration 200
  • contamination-synthesis 202 see glocalization; integration; penetration-integration
  • Crenshaw, Kimberle 13
  • cultural meaning 10, 11
  • cultural narrative 7–8, 11, 46, 47, 48, 54, 81, 100, 146, 157 see also metanarrative
  • culture (defined) xv, xvii, 9, 129, 147, 173, 187
    • East xvii, 104
    • East Asian 141, 158
    • global xvi, xvii, 10, 14–15, 149, 150
    • hegemonic 44
    • hybridic (also cultural hybridity) 18, 52, 60–61, 64, 67, 104
    • Japanese 114, 119, 126
    • local xvii, 10, 13, 54, 63
    • Oriental 75
    • West xvii, 101, 110, 206 ; see also glocalization of culture
  • Cupid and Psyche 26, 59, 177, 178, 182–183, 188, 201
  • Curry, Alice 170
  • Curry, Lindy Soon 180, 194, 201
  • D
  • Dahlerup, Pil 159
  • de Block, Liesbeth xvi, 109, 207
  • De la Mare, Walter 86–87
  • Denison, Rayna 113, 114
  • Der Ring des Nibelungen (see The Ring of the Nibelung)
  • Der standhafte Zinnsoldat (see The Steadfast Tin Soldier)
  • Der Wunderkasten (see The Box of Wonders)
  • deterritorialization 2, 111
  • disembedded 3
  • Disney 7, 14, 22, 55, 57, 59, 64, 74, 109–111, 112, 145, 148–149, 151, 154–155, 156, 158, 166, 167, 171–172, 180, 185–186’ 187, 188, 198, 200, 206
  • Disneyfication 110, 111, 150, 207
  • distributed mind 36, 40 37
    • mind as distributed 34
    • “socially distributed” 12
    see distributed nature of mind
  • dochakuka) 4
  • doubling 40–41, 43, 67, 80, 92
  • also double 44–45
  • Dulac, Edmund 70, 75, 80, 81, 83–87 passim , 92–98 passim , 100, 101, 108, 152–153
  • E
  • East xvi–xvii, xix, 3, 15, 16–18, 31, 34, 47, 54, 58, 69, 71–73 passim , 75–76, 77, 81, 82, 84, 86–88, 90, 92, 97, 100, 102–108 passim , 109, 118, 144, 145,; see also blending of East and West; culture, East; East-West; Orient
  • East o’ the Sun, West o’ the Moon 59
  • East-West xvii, 3, 71;
    • binary 4, 72
    • dialectic 70
    • relations 15, 68, 72, 104
    • intertextual network 176
  • Easterlin, Nancy 147, 157
  • ecofeminism 129, (defined) 169–170, 171, 184, 202
    • feminized nature 146, 180, 184 ; see also ecofeminist shōjo; femininity
  • emergent structure (defined) 6, 91, 197
  • emotionology 120
  • England 18–19, 70, 76–77, 128–129 ; see also UK (United Kingdom)
  • Eoyang, Eugene Chen 16–17, 113, 194, 206
  • F
  • fables 25, 26
  • fairy tale xvii–xviii, 1, 7, 21–32 passim , 33, 34–35, 38, 43, 45, 46–48 passim , 53–55 passim , 61, 63, 93, 98, 124, 143, 157, 163, 171, 199, 206
    • orientalization of 69, 70, 73, 76, 79, 80, 81, 96
  • fairy-tale space 96, 109, 124 ; see also fairy-tale network; glocal fairy tale; literary fairy tale; motif; retelling; reversion; script, fairy-tale)
  • fairy-tale network 23, 25, 30–32 passim , 61, 63
    • “fairy-tale web” 23, 31
  • fairy-tale retelling(see glocal fairy-tale retelling; retelling)
  • fantasy (defined) 27–29, 72, 77, 94, 109, 117–126 passim , 128, 135, 136, 144 ; see also glocal fantasy space; script, fantasy
  • Fauconnier, Gilles xviii, 5, 6, 8, 9, 197
  • femininity 127, 143, 146, 160, 178–179, 184, 190, 196, 198, 201 ; see also ecofeminism; intersectionality; masculinity
  • Flinn, Alex 180, 182, 187–188, 198
  • folk narratives (defined) 25–26, 41 ; see also fable; fairy tale; folktale; legend; myth
  • folktale 21,
  • (defined) 25–26, 29, 34, 41, 48–53 passim , 54, 97, 111, 141, 143, 157, 162, 179, 194 (see script, folktale)
  • Foucault, Michel 128
  • “four-cornered logic” 16–17 ; see also maodun
  • fragmentation 16, 117, 134, 146, 149, 150, 154, 158
  • France 63, 64, 71, 78, 106, 122, 193
  • The Frog Prince Continued) 29, 201–202
  • furusato (defined) 115–116, 119
  • G
  • Gaiman, Neil 18, 19, 20
  • Gake no ue no Ponyo (see Ponyo on the Cliff by the Sea)
  • Galland, Antoine 70, 75–76
  • Geertz, Clifford xv, 15–16
  • genre 6, 22–23, 24, 25, 117, 122
  • paintings (orientalism) 78, 83–84 see blending, genre
  • Giddens, Anthony 3
  • global (defined) xvi, 1–5 passim , 8, 9–11, 13–15, 18, 23, 43, 59, 64, 73, 112–113, 130, 136, 146, 147–149, 154, 156, 165, 183, 188, 190, 193, 195, 207
  • anime 114
  • connectivity (flows) 1, 109, 170, 205
  • cultural narrative 46
  • culture(see culture, global)
  • imaginary 4, 9
  • narrative xvi (see tale type)
  • network 68, 178
  • otherness(see otherness, global)
  • sign 10, 46, 195, 198
  • space 3, 73, 117, 146, 147
  • subject 13
  • subjectivity 12–13, 14, 119, 198 (see subjectivity, global)
  • tale type 54 (see global narrative)
  • utopia 126
  • and West (global North) xvii, 2, 3, 73 ; see also schema, global; universal
  • global localization 4 ; (see also glocalization) 4, 13, 17 see global-local
  • globalization xv–xix, 1–5, 11, 13, 17, 23, 31, 33, 35, 46, 53, 60–63, 66, 69, 94, 109, 111, 114, 116, 130, 149, 158, 171, 208 ; see also deterritorialization; disembedded; network society; script, globalization)
  • glocal xvȃxix, 1, 4, 5, 16, 45, 49, 63, 64–65, 103–108, 109, 128, 130, 137, 141, 149, 163, 166, 169, 171, 177, 188, 195, 203, 205–208
    • anime 112, 114–117
    • fairy tale xix, 21, 25, 31
    • fairy-tale retelling 30, 31, 33–34, 54–60, 187;
    • (also adaptation) 145
    • hybridity 4, 13, 32
    • identity 54, 57, 59, 176, 202
    • literacy 14– 15, 207 ; see also (also “glocalized model for literacy”)
    • meaning 10, 18
    • narrative 22–23, 33;
    • (also text) 34
    • otherness 157–160, 165 (see otherness, glocal)
    • relations in children’s literature 18–23
    • space 11, 18–19, 34, 36, 38, 43, 51, 56–58, 60, 66–67, 68, 105, 179, 181, 193;
    • (fantasy space) 111–112, 118–120, 122, 124, 125, 175
    • subjectivity 12–13, 15, 18, 23, 32, 37, 38, 41–43, 108, 128, 168, 196–198, 200, 202
  • glocalization xv–xvii, 1, 4–5, 9–11, 13–16, 30–32, 36, 39, 59–60, 66, 103–104, 129–130, 176, 177, 186, 187, 202
    • of anime 109, 112–114;
    • (Miyazaki films) 119, 121
    • of culture 18, 39, 113, 116, 117, 119, 122, 166, 192, 199
    • long term effects 22, 206 ; see also globalization; “live in the blend”; script, glocalization
  • Gomi and Uncle Opoondori) 48–53, 61
  • Gourlay, Candy 37–38, 41
  • gumiho) 149, 158, 165, 166, 168 (see also script, fox-woman)
  • H
  • Haase, Donald 23, 31
  • Hall, Stuart 31
  • Harbour, Jennie 90, 91, 94
    • The Hhareem of a Mamluke Bey, Cairo 85, 91, 98
  • Hauru no Ugoku Shiro 2004)(see Howl’s Moving Castle, Miyazaki
  • Hearne, Betsy 76–77, 79, 80, 178, 184, 185, 190
  • Heise, Ursula 18
  • Herman, David 5, 6, 12, 34, 36, 120
  • Hermansson, Casie E. 70, 77, 78, 79
  • heterotopia 128
  • historical events 46
  • Hogan, Patrick Colm xviii, 5, 6–7, 21, 22, 29
  • Howl’s Moving Castle (Jones 1986) 121–125, 135–136, 141–143
  • Howl’s Moving Castle (Miyazaki 2004) 118, 120–123, 125, 133, 135, 139, xi
  • Hutton, Warwick 71, 101
  • hybridity xvi, 16, 17, 30, 60, 67 ; see also culture, hybridic; glocal hybridity; glocalization
  • I
  • ideology (and cognition) 7; 21, 49, 54, 55, 75, 90, 95, 96, 100, 132, 175
  • ideological (position) 22, 46, 47–48, 53, 81
    • colonization 48
    • landscape 108, 119, 120, 130
    • meaning 7, 46, 72;
    • (also significance) 145 ; see also script, ideological
  • image 4, 5, 14–15, 74, 156, 165, 185–186, 188
    • blend 78–79, 80, 92, 137–138, 167, 168;
    • (also third image) 57;
    • glocal 66–67
    • of otherness 98, 147, 150–151, 167
    • stereotype 44, 64, 91, 149
  • “imagined communities” 4, 46, 54, 63
    • multicultural 35–36 ; see also global imaginary
  • imagology 12
  • imperialism 13, 16, 69, 93, 94, 183
    • also imperialist perspective 96
  • implied reader xviii
  • implied viewer xviii
  • industrialization 2, 120, 132
  • integration (defined) 5–6, 8–10 passim , 13, 15–16, 18, 31, 49, 58–59 passim , 66, 86, 105–106, 109, 112, 116, 178, 179, 202 ; see also blending; conceptual blending; glocalization
  • intermediality xix, 22, 25, 31, 98, 168
  • interpellation 12, 15
  • intersectionality 13, 145–146, 154, 160
    • intersectional oppression 157, 166–167
    • intersectional empowerment 175
  • intersubjectivity (also intersubjective relationship) 13, 16, 41–42, 103–104, 123–125, 127–128, 132–135, 141, 143–145, 158, 166–168, 171–175, 177, 178–179, 180, 187
    • intersubjective agency 135
    • intersubjective dialogue 100
    • intersubjective identity 13, 16 ; see also agency; subjectivity
  • intertextuality (also intertextual) xix, 18, 23, 25, 33, 56–57, 60, 71, 74, 133–134, 145, 175, 189
  • intertextual meaning 22, 30, 31–32, 34, 181 ; see also fairy-tale network
  • Italy 72, 121, 135, 189
  • Ito, Kazunori 115, 117
  • Iwabuchi, Koichi 17, 109, 113, 115, 126
  • J
  • Jackson, Rosemary 28
  • Jameson, Fredric 2
  • Japan 2, 17, 22, 109–120, 123, 125, 127, 129, 135, 138, 158, 170, 172
  • Jeffords, Susan 186
  • Jerold, Walter 87
  • Joaquin, Nick 181, 187
  • Johnny Tiñoso and the Proud Beauty) 181–182, 187
  • Johnson, Mark 5, 6
  • Johnson, Steve 201
  • Jones, Diana Wynne 27, 121–125, 135, 136, 141, 142, 143
  • Jones, Stephen Swann 19, 24
  • Jonson, A.E. 90
  • The Journey to the West 39, 65, 66–67
  • Jung, Carl 8
  • K
  • Kadono, Eiko 118, 126
  • Karigurashi no Arietti (see The Secret World of Arrietty)
  • Kawai, Hayao 141–142, 143, 157, 160
  • Kiki’s Delivery Service) 19, 118, 120, 125–128, 131–132
  • King Crin 189
  • Knorr, Peter 61, 62
  • Komi wa op’undori ajǒssi (see Gomi and Uncle Opoondori)
  • Korea 3, 48–53, 158–159, 164–168
  • Kurenai no Buta (see Porco Rosso)
  • Kwon, Jung Saeng 48, 49–50, 51, 52, 53
  • L
  • L’Histoire du soldat (see The Soldier’s Tale)
  • La Barbe Bleue (Perrault 1697)(see Blue Beard, Perrault 1697)
  • La belle et la bête (Beaumont 1756)(see Beaumont, Jeanne-Marie le Prince)
  • La belle et la bête (Cocteau 1946)(see The Beauty and the Beast, Cocteau 1946)
  • La belle et la bête (Villeneuve 1740)(see Villeneuve, Gabrielle-Suzanne Barbot de)
  • Lakoff, George 5
  • Lamb, Charles 80, 81, 99, 102–103, 106, 108, 180
  • Le Cabinet des fées, ou Collection choisie des contes de fées et autres contes merveilleux) 76, 78
  • Les mille et une nuit (Galland 1704–1712)(see The Thousand and One Nights)
  • Lebra, Takie Sugiyama 16, 111
  • Lee, Sung-ae 158–159, 164, 168
  • legends 25–26, 27, 37–38, 41
  • Legler, Gretchen T. 173
  • Lewis, John Frederick 85, 87, 88, 91, 98
  • literary fairy tales 25, 29, 70
    • The Little Mermaid (Andersen 1837) 145–151, 153–156, 158, 160, 165, 167, 171, 173, 175
    • The Little Mermaid (Disney 1989) 64, 145, 148–149, 150–151, 154–155, 156, 166, 167–168, 171–172, 173
    • the little mermaid character type 157, 160
    • “live in the blend” 9, 35, 43, 179, 193 see blending; glocalization
  • local xvi, xvii, 4, 8–11, 13, 14, 15, 18, 21, 22, 25, 32, 33, 34, 36, 39, 44, 46, 52, 59–61 passim , 63–64, 73, 110, 113, 119, 130, 146, 147–149 passim’ 154, 159, 163–164, 190–193 passim , 195
    • culture(see culture, local)
  • Lola Basyang 53–54
  • Loriggio, Francesco 2, 9, 10
  • M
  • male gaze 84, 91, 154–156 passim , 174
  • Mallan, Kerry xv, xvi, 13
  • maodun) 16–18, 34, 105, 116, 182–183, 202
  • masculinity 16, 55, 73, 104, 142, 146, 148, 177, 178–180, 183–186’ 187–190, 192, 198, 200–203
  • Master Frog) 180, 190, 193, 194–196, 197
  • Mackenzie, John M. 69, 73, 76, 80–81
  • Majo no Takkyūbin (see Kiki’s Delivery Service)
  • Marillier, Clément-Pierre 76–78
  • Mayer, Charles-Joseph 76
  • McCallum, Robyn 7, 11–12, 15, 20–21, 23, 29, 41, 70, 72, 145, 185–186
  • McCarthy, Helen 127, 189
  • McCloud, Scott 112
  • McGillis, Roderick xv, xvi
  • McNay, Lois 183–184
  • Mendlesohn, Farah 122, 123
  • mermaid 105, 158–164, 165 (see schema, mermaid) The Mermaid in the Whirlpool of the Pasig River
  • metafiction 29–30, 39, 45, 124, 135
  • metamorphosis 26, 27, 40–41, 43, 138, 139–144, 149–151, 156, 157–159 passim , 167, 168, 169, 178, 179, 202 (see motif, metamorphosis)
  • metanarrative 7, 21, 54–55, 145 (see cultural narrative)
  • Miguel, Felix Mago 157, 160, 162, 163–164
  • Milles et Une Nuits (Mayer & Marillier 1785–1789)
    • Nights, Mayer & Marillier 1785–1789)
    (see Thousand and One
  • mishmash (defined) 30, 33, 34, 39, 53–54, 61–63 passim , 105, 118, 146, 159
  • Miyazaki, Hayao 19, 109–144 passim , 157, 168–169, 172, 174–175, 180, 189–190
  • mobility 149–151, 154
  • modernity 131–133, 136, 141, 146
  • The Monkey King 39, 44, 65, 66–67
  • motif (defined) 8, 21, 26, 29–31, 39–42, 55, 57, 66, 70, 74, 99, 105–106, 111, 139–143 passim , 145–146, 157, 158–159, 177–179, 190, 194
    • Faustian 162
    • harem 92
    • immortality 162
    • interspecies marriage (also iruikon) 132, 169
    • kyōkai) 142
    • maturation 39, 41, 66–67 (see script, coming-of-age; script, maturation)
    • metamorphosis 31, 40, 139, 146, 157, 158;
    • (transformation) 141
    • migration 35, 145, 196
    • Other 31, 73,90–92, 140
    • religious 162
    • rescue 169
    • vanishing woman (also disappearing shōjo) 143
  • Mulan) 110
  • mukokuseki) 114
  • multiculturalism 35–36, 60–61, 129, 165, 166 (see script, multiculturalism)
  • Müller, Jörg 61, 63, 64, 65
  • My Girlfriend is a Gumiho 149, 158–159, 164–168, 175, 176
  • myth (defined) 25–26, 39, 59, 69, 106–107, 118, 163
  • N
  • Nae Yeojachinguneun Gumiho (see My Girlfriend is a Gumiho)
  • nagare 131, 133, 135, 139
  • Napier, Susan J. 110, 111, 112–113, 114, 115, 116, 117, 120, 141–142, 143
  • Napoli, Donna Jo 70–71, 81, 103–104, 105, 106, 108, 179, 180, 190–191, 193, 199, 200
  • Narcissus 107, 163
  • nationality 7–8, 12, 115–117
  • national identity 13, 32–35, 39, 63, 114
  • narrative prototype(see prototype, narrative)
  • neocolonialism 2
  • Nikolajeva, Maria xviii, 27–28, 29, 70
  • Norse mythology 171
  • Norton, Mary 128–129, 132–133
  • O
  • O’Sullivan, Emer xvi, 12
  • Occident 69, 71 (see West)
  • Okuyama, Yoshiko 111, 112, 132–133, 142, 158, 160
  • Oshii, Mamoru 115, 116–117
  • Orient 2, 16, 69–72, 75–76, 80, 86–87, 103–106
  • Oriental space 69–70, 72–74, 83, 152 (see orientalized space)
  • Orientalism (defined) 69; 69–108, 115–116 (see script, orientalization)
  • orientalized space 72–75, 80–86, 89–95, 97–100, 102–108 (see Oriental space)
  • Oshin) 21–22, 31
  • Other 12, 14, 37, 39, 42, 69, 113, 120, 127, 140, 147, 161, 166–168 passim , 170, 180, 182, 191
  • glocal (also blended) 157–159, 167
  • Oriental 71, 72–75, 76, 79–80, 82–86, 89–94, 96–98, 101, 103, 104, 106, 107, 149, 151–153, 161
  • otherness 16, 36–37, 73–75, 82, 139–140, 145–147, 157–159, 164, 184
  • cultural 71,
  • (defined) 146, 149, 150, 152, 159, 165–166
  • global 166, 180–181, 192
  • glocal 157, 159
  • Oriental (defined) 72–73, 77, 80, 82, 86, 89–92, 94, 97–99 ; see also motif, Other; schema, otherness; script, otherness; image of otherness
  • P
  • paraconsistent logic(see “four-cornered logic; maodun)
  • penetration-integration (defined) 9–10, 13 ; see also blending; contamination-syncretism; glocalization; integration
  • Pennell, Beverly 184, 185
  • Perrault, Charles 22, 29, 31, 70, 76, 77, 82, 85, 92
  • Persephone 106, 107
  • Persia 71, 76, 95, 103
    • ‚Äî 104, 191, 193
  • Peter Pan 141, 143
  • Philippines 10, 17, 22–23, 37–38, 48, 53–60, 157, 159–164, 165, 181–182, 205
  • Pieterse, Jan Nederveen xvi, 2–3, 4, 206, 208
  • Pinocchio 57
  • Ponyo on the Cliff by the Sea 111, 157, 168, 170, 172, 176
  • Porco Rosso 118, 120–121, 133, 135, 137–142, 180, 189–190, 200, 202
  • postcolonial 33, 46, 53–55
  • postmodern 10, 16, 17, 28, 34, 53–54 passim , 61, 62, 101, 115, 168 see also maodun
    • pretext 29, 32, 34, 47, 50, 63, 145, 148, 154–156 passim , 161, 166–167, 172, 193 ; (see also source text)
    • A Prince in the Throat 201, 202
  • prototype 5–7, 9, 18, 21–22, 34, 35, 202
    • narrative 6–7, 9, 18, 21–22, 24–25;
    • (also prototypical narrative) 20, 29, 34
    • prototypical fantasy 27 ; see also genre; schema; script
  • puer aeternus) 141–142
  • Q
  • Quiller-Couch, Arthur (Sir) 75, 81, 82–83, 84, 85–86, 87, 93, 95–97, 98, 99–101
  • Quinn, Naomi xvi, 10, 21
  • R
  • Ramuz, C.F. 162
  • retelling 1, 29–32, 33–34, 46, 47, 53–60, 144, 150, 159, 178–181, 183–184, 187, 194, 200–201, 203
    • history 46
    • orientalized 69–72, 73, 76, 79–82, 86–87, 90, 92–97, 102, 105
  • reversion (defined) 29–30, 31, 49, 103, 118, 156, 160, 201 ; see also glocal fairy-tale retelling; mishmash; retelling
  • Rackham, Arthur 81, 86–87, 94
  • Reyes, Severino 48, 53–55, 157, 159–164
  • The Ring of the Nibelung 171
  • Robertson, Roland 1–2, 3, 4
  • Robida, Albert 122
  • Robinson, Charles 87–89, 92
  • Robinson, W. Heath 90, 91–92
  • Rumi 105, 199–200
  • The Runaway Soldier and the Devil 162
  • S
  • Said, Edward 69
  • Schami, Rafik 61, 62, 63
  • schema (defined) 5–8, 14, 21, 38–39, 41–42, 44, 53, 110, 116, 118, 127, 179, 195
    • anti-hero 139–140, 142
    • beast-groom 139–140, 142, 180–184, 189–190, 196–203;
    • (orientalization of) 70, 73–75, 80, 81, 97–99, 102–106
    • Beauty 37, 42–43, 75, 100, 103, 140–141, 143, 188;see also (also bride) 106–107, 177–179, 196–203;
      • (orientalization of) 95–96, 97–98, 107
    • Bluebeard 70;
    • (orientalization of) 70, 73–75, 77, 80, 82–87, 89–92, 94
    • divine nature 162
    • fairy-tale 122–123
    • global 149
    • masculinity 185–186
    • mermaid 8–9, 147, 149, 157, 165
    • Oriental 80, 104, 106
    • otherness 157, 152, 159
    • shōjo 120, 126, 127;
    • (disappearing shōjo) 143;
    • (ecofeminist) 129, 135
    • witch 127, 131–132 ; see also prototype; script
  • Scieszka, Jon 29–30, 201
  • script (defined) 6–8’ 9–10, 34, 48, 49, 50–51
    • animal-bridegroom 180, 183, 186, 194
    • beast-groom 177–181’ 183–185, 195
    • Beauty and the Beast 36–37, 46–48, 73–75, 121, 139, 140–141;
    • (orientalization of) 70, 75–76, 79–81, 91, 95–108
    • Bluebeard 70, 78, 92, 97, 99–100;
    • (orientalization of) 70, 75–81, 87–89, 95, 99–100
    • coming-of-age 35, 36–43 passim , 66–67, 126
    • fairy-tale 24–25, 28, 33, 35–37 passim , 39, 61, 63, 106, 118, 145
    • fantasy 121, 122–123 (see prototypical fantasy)
    • folktale 41, 49, 53, 61, 118, 122–123, 139
    • fox-woman (fox-girl) 158–159, 166–167
    • Frog King (Frog Prince) 30, 57, 177, 180, 183, 184, 190, 193–196, 197, 201–202
    • globalization (global) 10, 16, 30, 102
    • glocalization (glocal) 10, 16, 21–22, 36, 46, 60–63, 73, 103, 106
    • ideological 11–12
    • immigration 34–37, 39
    • the Little Mermaid script (also Andersen script; Andersen pretext) 146, 147–151 passim , 157, 158, 160, 161
    • maturation 35
      • (defined), 39, 126, 132
    • mishmash 30
    • multicultural 14–15, 35–37, 67
    • orientalization 72–73, 80, 86, 89, 95, 99, 103–107
    • rite of passage 178
    • Urashima Taro 160–162, 169 ; see also schema
    • The Search for the Lost Husband 26, 177
    • The Secret World of Arrietty 111, 116, 118, 119, 120, 125–126, 128–135, 144
  • self 4, (defined) 11–12, 14, 15–17, 31, 34, 37, 40–41, 64, 69–70, 72, 97, 103, 111, 113, 115, 120, 149, 155, 158, 159, 163, 166, 170, 171, 178, 179
  • self-Orientalism 115–116
  • Siegfried 172, 174
  • signs xvii, 8, 10, 64, 91, 102–103,
    • blended 111, 112, 121, 126
    (see cultural sign; global sign)
  • Sleeping Beauty 57
  • The Sleeping Beauty and Other Fairy Tales 70, 75, 82, 83, 84, 93, 98, 101
  • “soft power” 22, 112
  • The Soldier’s Tale 162
  • source text 29, 77, 82, 110, 119, 128,(see also pretext)
  • Sen to Chihiro no Kamikakushi (see Spirited Away)
  • Sironval, Margaret 70, 76
  • Stories from Hans Andersen 153
  • Spirin, Gennady 151
  • Spirited Away 109–110, 113
  • Stardust: Being a Romance Within the Realms of Faerie 18–20
  • statelessness 109, 114–117, 144
    • The Steadfast Tin Soldier 61, 64–65
  • Steger, Manfred 2, 4
  • Stephens, John xv, xvi, 5, 6, 7, 11–12, 15, 16, 17, 21, 23, 27–28, 29, 30, 41, 46, 70, 72, 146, 183–184
  • stereotype (defined) 12, 15, 29, 36, 40–45, 46, 53, 64, 67, 72, 87, 94, 103, 104, 105
    • stereotype, cultural (defined) 8, 45, 64, 146, 207 ; see also schema
    • The Story of Bluebeard (Jerold & Robinson 1911) 87, 89
  • Strauss, Claudia xvi, 10, 21
  • Stravinsky, Igor 162
  • Studio Ghibli 109–110, 111, 118, 123, 125, 127, 130, 131, 133, 134, 138, 170, 172
  • subaltern 145–146, 161, 165, 166
  • subject (defined) 11–13, 15–17, 34, 36, 70, 94, 103, 111, 114, 128, 145, 150, 156, 168, 173–176, 178, 180, 190, 192, 196–198, 200
  • subjective agency 16, 76, 169, 174 (see agency)
  • subjectivity 1, (defined) 11–18, 32, 34, 36–37, 41, 42, 46, 48, 67, 74–75, 94, 100, 104–105, 113–114, 118, 124, 133, 139, 143, 146, 147, 149, 150, 153–156, 169–170, 175, 176, 179, 181, 183, 194, 196, 199–200, 202 ; see also agency; intersubjectivity
  • Sun and Moon 48, 49–52
  • Sung-Chul, Boo 149, 164
  • The Swan Maiden 27
  • symbolism (defined) 8, 59, 165
  • symbol 21, 44, 85, 91, 92, 99, 102, 171, 193
  • T
  • Tabart, Benjamin 86–87, 99
  • The Tales of Grandmother Basyang by Severino Reyes 48, 53–60, 61
  • tale types 24–25’ 26–27, 29, 31, 32, 42–43, 56, 59, 91, 157, 177, 178, 180, 196, 202
  • Tall Story) 37–38, 40, 41–42, 61
  • Tango no Kuni Fudoki 157, 160
  • techno-Orientalism 115 (see self-Orientalism)
  • Teverson, Andrew 24–25, 26, 28
  • Tezuka, Osamu 112
  • “third mental array” 9, 11
  • Thompson, Stith 25
  • The Thousand and One Nights (Galland 1704–1712) 70, 75
  • Thousand and One Nights (Mayer & Marillier 1785–1789) 76, 78
  • Thumbelina 133, 134
  • time-space compression 19, 137
    • distantiation 181
  • The Toad Bridegroom 182, 190, 193, 194–196, 197, 201
  • Tolkien, J.R.R. 24, 28
  • Tomlinson, John 2
  • tourist gaze 64, 117, 119, 120, 124, 126, 128, 169
  • transcultural relationship 149, 156, 157, 166
  • transformation motif 141
  • Treherne, Katie Thamer 151–152
  • Trese) 22–23
  • Trites, Roberta Seelinger 6, 7–8, 150–151, 153, 155, 171
  • True Grit 22
  • Turner, Mark xviii, 5, 6, 8, 9, 30, 197
  • Tyler, Royall 160
  • Tzvetan, Todorov 28
  • U
  • Ueno, Toshiya 115, 116–117
  • UK (United Kingdom) 71, 78, 119, 128
  • universal xvi, 4–5, 10, 13, 31, 37, 46, 70, 120, 126, 146, 183 ; see also global
  • Urashima Taro 141, 157–158, 160–162, 168–169, 170, 171, 173, 174
    • archetype 141–142 ; see also schema, Urashima Taro; script, Urashima Taro
    • Urry, John 64, 117
  • United States of America (USA)
  • Uther, Hans-Jörg 26, 194
  • V
  • vanishing woman motif 143 (see disappearing shōjo motif)
  • Verne, Jules 142
  • Vess, Charles 18, 19, 20
  • Villeneuve, Gabrielle-Suzanne Barbot de 70, 79, 82, 95, 96, 97, 100, 180, 184, 190
  • Vo-Dinh, Mai 180, 195, 197
  • Völsunga Saga) 171–172
  • Vredenburg, Edric 90, 91
  • Vuong, Lynette Dyer 180, 195, 197
  • W
  • wakon yōsai 17, 115–116, 119
  • Wagner, Richard 171, 172
  • Walt Disney Studios 109 (see Disney)
  • Warner, Marina 23–24, 25, 27, 28, 29, 76, 80, 81, 178, 183, 187, 188, 200–201
  • Watson, A.H. 86–87
  • West xv, xvi–xvii, 2–5, 15, 16, 34, 39, 41, 47, 65–67’ 69, 86, 90, 92, 97, 100, 103, 104, 107, 109, 114–118, 120, 129, 138, 199–200, 206 ; see also blending of East and West; culture, West; East-West;
  • witch schema 126–127, 131
    • The Wolf and the Seven Kids 50
  • Y
  • Yang, Gene Luen 18, 34, 38–40, 43–45, 65–67
  • Yep, Laurence 18, 34–35, 36, 37, 43, 46–47
  • Yokota, Junko 3
  • Yonebayashi, Hiromasa 111, 118, 119, 128–134
  • Yoshida, Kaori 109, 111, 114–115, 117
  • young adult (YA) literature 11, 23, 34, 28
  • Z
  • Zunshine, Lisa 7
  • Zipes, Jack 21, 25, 29, 34, 80, 82, 96–97, 150–151, 178, 197
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