《神隱少女》試論——利基於〈火之飯〉與〈共食信仰〉的敘事結構

An Essay on Spirited Away: Narrative Structure Sustained by Hi no Meshi and Commensal Beliefs

《神隱少女》在先行研究中經常被提及具有「純淨古樸的日本風」「融合古今的日本現代神話」「日本之心」等，充滿〈日本風〉的元素與表現，深受世界各地劇迷的喜愛。但另一方面，海外學者屢屢提及之“Japaneseness（日本性）”究竟是如何被巧妙地交織於作品之中？海外觀眾又是如何認知理解這些難解的日本風呢？這些謎團至今仍懸而未解。基於前述脈絡基礎，本研究著眼於角色造型與台詞對話，並以宮崎駿導演的分鏡註記為主要線索，解析此作品所設定之世界觀（＝湯屋的「規則」）與古代日本文化之間的關聯。研究結果顯示，對非日本觀眾而言難以解解的（日本性〉，實則與神話時代延續至今的古代信仰與社會結構密不可分－包括〈黃泉戶喫〉、〈共食制度〉、〈氏族制度〉等概念。因此，本研究主張，《神隱少女》可作為促進海外觀眾理解深層日本文化之重要媒介。

The global acclaim of Spirited Away (2001), discussed in this paper, is frequently ascribed to its embodiment of ''something Japanese''—elements often described as ''pristine, traditional Japaneseness,'' ''a hybrid modern Japanese myth,'' or ''the heart of Japan.'' Yet, despite such discourse by international scholars, the specific mechanisms by which this ''Japaneseness''is embedded within the film, and the manner in which its represented elements are cognitively processed, remain insufficiently articulated. Building on this context, this paper explores the connection between the film's worldview (the ''rules'' of the bathhouse) and ancient Japanese culture, utilizing Director Miyazaki's storyboard annotations as primary clues alongside character construction and dialogue. The findings elucidate that the ''something Japanese'' considered difficult for non-Japanese audiences to grasp is inextricably linked to ancient beliefs and social structures transmitted from the mythical age—namely, Yomotsuhegui, Commensal Beliefs, and the clan system. Thus, this study posits that the film serves as a significant medium for facilitating a more profound comprehension of Japanese culture.