Abstract This article approaches the writings of Lafcadio Hearn, an exotic, wandering, homeless ‘ghost of no place’ (Nabae 2014), born in Greece, raised in Ireland, who became a fiction writer famous for turning both New Orleans and Japan into weird, haunted, literary landscapes. Hearn always insisted his writings should be examined in their own terms as a transnational, transmedia and trans-species aesthetics of ‘weird’ contact between worlds. There are three kinds of contact between worlds: transnational, a traffic in spirits across spaces in an orientalist imaginative geography; transmedia, as the monstrous qualities of ghosts, goblins and fairies bleed into and across media forms; and trans-species, as monstrous qualities moves across species, between humans, goblins and insects. The forms of representation of monsters take on the properties of the monsters they are most associated with, ghostly photographs and colorful fairylands, that I will call monstrous media. At the same time, this transnational and transmedia aesthetics of the weird moves from images on Japanese fans to the wings of insects, from Japanese cemeteries to insect ecologies and Buddhist cosmologies in which humans are reborn as goblins, insects, or hybrid goblin-insects.

中文翻译：

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妖精蜘蛛、花之幽灵和蝴蝶幻想：拉夫卡迪奥·赫恩（Lafcadio Hearn）的跨国、跨媒体和跨物种的怪异美学

摘要 本文探讨拉夫卡迪奥·赫恩 (Lafcadio Hearn) 的作品，这位异国情调、流浪、无家可归的“无处可去的鬼魂”(Nabae 2014) 出生于希腊，在爱尔兰长大，后来成为小说作家，以将新奥尔良和日本变成怪人而闻名，闹鬼的文学风景。赫恩一直坚持认为，他的作品应该用他们自己的术语来审视，作为世界之间“奇怪”接触的跨国、跨媒体和跨物种美学。世界之间存在三种接触：跨国性、东方主义想象地理学中跨越空间的精神交流；跨媒体，因为幽灵、妖精和仙女的可怕品质渗入并跨越媒体形式；和跨物种，因为可怕的品质在物种之间，在人类、妖精和昆虫之间移动。怪物的表现形式具有与它们最相关的怪物的特性，幽灵般的照片和色彩缤纷的仙境，我称之为怪物媒体。与此同时，这种怪异的跨国、跨媒体美学从日本粉丝的形象转移到昆虫的翅膀，从日本的墓地转移到昆虫生态和佛教宇宙观，其中人类重生为妖精、昆虫或混合妖精昆虫。