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An Hermeneutical Phenomenology of Barefoot Gen by Keiji Nakazawa1

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An Hermeneutical Phenomenology of Barefoot Gen by Keiji Nakazawa1 Estetyka The Polish Journal i Krytyka of Aesthetics 43 (4/2016), DOI: 10.19205/43.16.1 Noelle Leslie dela Cruz* Surviving Hiroshima: An Hermeneutical Phenomenology of Barefoot Gen by Keiji Nakazawa1 Abstract In this paper, I present a philosophical analysis of the famous manga series, Bare‑ foot Gen (Hadashi no Gen memoir of his childhood as an atom bomb survivor in Hiroshima, Japan. Against the backdrop of larger issues) of by war Keiji and Nakazawa, peace, Gen’s which family is the struggles author’s with quasi‑fictional his father’s ideological rebellion against the nation’s militaristic rule, leading to the family’s persecution. The story then chronicles the cataclysmic effects of the bomb, and the fates of Gen and other survivors as they live through the aftermath of the detona‑ tion and the hardships of the American occupation. My framework for critique fol‑ lows Paul Ricoeur’s hermeneutical phenomenology, which applies the descriptive method of phenomenology to cultural texts. Key words Paul Ricoeur, manga, graphic memoirs, comics, sequential art, hermeneutical phenomenology, Barefoot Gen, Hiroshima, Keiji Nakazawa, autobiography * PhilosophyEmail: [email protected] Department PaperDe La presentedSalle University, at the 2015Philippines national conference of the Philosophical Associa‑ 1 pertainingtion of the Philippines, to Ricoeur’s “Doing hermeneutical Philosophy phenomenology in the Philippines,” and the held formal at Casa elements, San Pablo is‑ sues,in San and Pablo theories City, Laguna, related Philippines,to comics have on May been 8 ‑excerpted10, 2015. The from sections my unpublished of this paper re‑ search project sponsored by the University Research and Coordination Office of De La Salle University. 10 Noelle Leslie dela Cruz In this paper, I present a philosophical analysis of the famous manga se‑ ries, Barefoot Gen (Hadashi no Gen) by Keiji Nakazawa, which is the au‑ ‑ vor in Hiroshima, Japan. Against the backdrop of larger issues of war andthor’s peace, quasi‑fictional Gen’s family memoir struggles of his with childhood his father’s as an ideological atom bomb rebellion survi against the nation’s militaristic rule, leading to the family’s persecu‑ tion. The story then chronicles the cataclysmic effects of the bomb, and the fates of Gen and other survivors as they live through the aftermath of the detonation and the hardships of the American occupation. My framework for critique follows Paul Ricoeur’s hermeneutical phenomenology, which applies the descriptive method of phenomenol‑ ogy to cultural texts. In particular, I adopt a Ricoeurian way of read‑ ing sequential art or comics, in order to bring out the existential issues that uniquely arise from Nakazawa’s account and the medium he chose to use. Indeed, comics has come a long way from its initial association, in the public mind, with humor or lowbrow entertainment. The rise ‑ ‑ passesof the “graphic a number novel” of scholarly over the anthologies, past several respected decades journals, is proof conferencof the ma‑ es,turity and of academic the form. courses. Today, the burgeoning field of comics studies encom Academic approaches to works of sequential art include literary crit‑ icism, linguistic analysis, and semiotics. Philosophers have also taken a stab at issues pertaining to the form of comics, or its ethical or ontologi‑ cal contents. What I intend to do is offer a way of reading comics through Ricoeur’s synthesis of phenomenological description and hermeneutic interpretation. I aim to show the relevance of this approach to reading or interpreting comics, i.e. to the problem of how comics makes meaning and its implications for the nature of consciousness. For Ricoeur, and con‑ tra Edmund Husserl, we can only aim for an interpretation, rather than meaning of the world thus entails understanding the meaning of one’s life ina pure one’s description, cultural and of historical the objects contexts. of consciousness. Through a Ricoeurian Understanding approach the toward comics, using Barefoot Gen as a source text, the paper aims to en‑ gage with the peculiar amalgamation of the visual and the verbal so often found in cultural texts – and which is most evident in comics. 11 Surviving Hiroshima… Ricoeur’s hermeneutical phenomenology ‑ Paul Ricoeur (1913–2005) was one of the early French translators and‑ leau‑Ponty,scholars of EdmundRicoeur doesHusserl. not enjoyCompared quite theto Husserl’s same stature other or existential following. ist critics such as Martin Heidegger, Jean‑Paul Sartre, and Maurice Mer eclipsed by that of Hans Georg Gadamer. In the area of phenomenological hermeneutics, his influence is similarly be the dialectic progression of his thought. He was not given to a dra‑ maticOne uncompromising reason for the relativestance neglecttoward ofpolarizing Ricoeur’s issues, rich insights but tended may to make the best of both worlds, so to speak. As Ihde2 (1971, 14) notes in his prescient summation of Ricoeur’s methodology, written in the middle of the philosopher’s career, “The general strategy of opposing two sides of a polarity leading to a limit concept becomes a major tactic ‑ enologicalof Ricoeur’s epoché thought.” in exposing the errors of the natural attitude, or of ob‑ On one hand, Ricoeur acknowledges the importance of the phenom limitations of extreme subjectivism in Husserl’s stance, introducing her‑ meneuticsjectivist or asscientific a corrective paradigms. to phenomenology. On the other hand,The result he also is pointsa hybrid to theap‑ proach that lends itself not so much to other philosophers’ critique as to extra‑philosophical applications. Another reason why Ricoeur seems to be less popular than other hermeneutical phenomenologists is that his major projects tend to be open‑ended, and he would move from one topic to another not so much 3 was the philosophy of the will, to which he applied his teacher Mer‑ leau‑Ponty’sby logical necessity work on as the by phenomenology“infamous” detours of perception.. His first Thenmajor in concern his re‑ lated study of the nature of evil, he took a linguistic turn and investigat‑ ed the role of symbols in the making of meaning. Thereafter he pursued issues concerning time and narrative, memory, intersubjectivity, justice, political philosophy, and ethics4 Hermeneutic Phenomenology:. Consequently The perhaps,Philosophy Ricoeur’s of Paul Ricoeur ideas. 2 D. Pellauer,Ihde, 1986. Ricoeur: A Guide for the Perplexed, New York 2007, p. 42. USA: Northwestern University Press. 3 G. Madison, “The Interpretive Turn in Phenomenology: A Philosophical Histo‑ D. 4 Between Description and Interpretation: The Hermeneutic Turn in Phenom‑ enology ry”, [in:] , ed. A. Wiercinski, Toronto 2005, pp. 32–33. 12 Noelle Leslie dela Cruz have a wide applicability, not the least of which is in the analysis and in‑ terpretation of sequential art. For the purposes of this paper, I will focus on his hermeneutical phenomenology, a method of interpretation that takes off from a critique of Husserl’s idealism. Ricoeur tempers Husserl’s premise that essences could be directly in‑ ‑ tempts to bring phenomenology and hermeneutics together (hermeneu‑ tics,tuited, which by introducing arose from the the significance science of biblical of textual interpretation, mediation. Hedeveloped thus at separately from phenomenology). Ricoeur was not the only one to do so; both Heidegger and Gadamer also emphasized the key role that language plays in our understanding of concrete experience. These three thinkers 5. The value Ricoeur put on interpretation derived from his insight that thus represent the “interpretive turn in. phenomenology”He found that the phenomenon of evil could only be understood indirectly6 through a critical engage‑ ment“the symbol with our gives myths rise about to the it 7thought” after The Symbolism of Evil ‑ (Simms 2002, 32–33). His linguistic turn‑ ment with structuralism, which led to he his took interest to task in for Freud – its atemporal to psychoanaly and ob‑ jectivistsis as a kind bias of. Towardhermeneutics the latter of the part psyche – of his career,and to hisRicoeur critical developed engage a theory of textuality8 and discourse, which saw the world itself as textu‑ al and human beings as constantly engaged in interpretation9. possibility of an alternative both to the objectivism of the natural at‑ titudeIn “Phenomenology and the subjectivism and Hermeneutics” of Husserlian (1975),idealism. Ricoeur The main sketches insights the presented in this piece, in particular that phenomenology presuppos‑ es hermeneutics and vice versa, underpin Ricoeur’s abovementioned writings in the theory of interpretation, exemplifying his own approach to concretizing the meanings of being. The article evinces two theses: (1) “What hermeneutics has ruined is not phenomenology, but one of its interpretations, namely its idealistic interpretation by Husserl him‑ ‑ self….”Ibidem, and p.(2) 27. “Beyond a mere opposition, there exists between phe 5 P. Ricoeur, The Symbolism of Evil 6 K. 4 Routledge Critical Thinkers, 77. n.p.: , New York 1967, p. 352. 7 2002 1.11.2014Simms, “Chapter : Metaphor”, [in:] 61– Taylor &Pellauer, Francis Ltd/Books,op. cit., pp. 44 57. ,Literary passim. Reference Center, EBSCOhost [accessed: ]. 8 K. 31. D. – 9 Simms, op. cit., p. 13 Surviving Hiroshima… nomenology and hermeneutics a mutual belonging which is important 10. Ricoeur’s hermeneutical phenomenology is particularly applicable to theexplicate” interpretation of texts produced after what Mitchell11 calls the ‑ sophical lens for critical analysis becomes important, in that the visu‑ al“pictorial cannot beturn.” explicitly With reducedthe proliferation to a logical of proposition.the visual in Its media, meaning a philo can even be subliminal and often controversial. It can also be laden with ide‑ ological assumptions, as for example when feminists critique certain works of art as having been produced through the male gaze12 ‑ tial art or comics, as a genre of visual art, can be meaningfully elucidat‑ ed by a hermeneutical phenomenology that pays attention to its. Sequen formal ‑ pression of concrete human experience.
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