The Intellectual Hero's Representation in Anime
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The intellectual hero’s representation in anime: an exploration by Johanàn Gerhardus August Hattingh A dissertation submitted in fulfilment of the requirements for the degree Magister Artium (Visual Studies) in the Department of Visual Arts at the UNIVERSITY OF PRETORIA FACULTY OF HUMANITIES SUPERVISOR: Mr Rory du Plessis CO-SUPERVISOR: Prof Jeanne van Eeden April 2016 © University of Pretoria ABSTRACT Title of dissertation: The intellectual hero’s representation in anime: an exploration Name of student: Johanàn Gerhardus August Supervisor: Mister Rory du Plessis Department of Visual Arts Degree: Magister Artium (Visual Studies) This study documents the occurrence of the intellectual hero in anime, focussing on the anime series of Monster (2004), Paranoia Agent (Kon 2004) and Umineko no Naku Koro ni (Kon 2009). The characters, Doctor Kenzo Tenma, Detective Keiichi Ikari and Battler Ushiromiya represent the concept of the intellectual hero in anime. Each intellectual hero in anime exists as an embodiment of literature pertaining to the hero and the anime hero. The intellectual hero in anime is derived from key aspects of Thomas Carlyle’s (1796- 1881) writings concerning heroes and hero-worship. Antonia Levi and Susan Napier contribute further aspects pertaining to the depiction of the intellectual hero in anime, by discussing the concept of the anime hero. As such, the intellectual hero in anime exists as a concept encompassing elements of both the traditionally perceived styled hero and anime hero. Carlyle’s theories reveal the intellectual hero in anime’s preference for intelligence, genius and order versus disorder; while exhibiting aspects of an inborn morality. Levi and Napier document the fallibility, sincerity, the complex divided self, moral ambiguity and turmoil of the anime hero. This combined definition communicates an intelligent and exceptional character experiencing failure during his encounter with the antagonist -- an agent of disorder. This study thus appropriates these concepts on the hero and anime hero to construct a concise and viable definition. Moreover, this study strives to identify and promote the existence of the intellectual hero. The intellectual hero in anime acts as a possible bridge between the traditionally perceived hero and anime hero. By identifying this concept, the study opts to prove the i © University of Pretoria validity of the intellectual hero in anime, by means of a qualitative content analysis. Furthermore, a semiotic analysis documents the visual depiction of the intellectual hero in anime. As such, the aim of the study is to document the occurrence of the intellectual hero in anime by means of a qualitative content analysis and semiotics. Key terms: Carlyle, T; heroes; Napier, S; Levi, A; anime hero; intellectual hero; Monster; Paranoia Agent; Umineko no Naku Koro ni; intellectual hero in anime; qualitative content analysis; intelligence; genius; order versus disorder; semiotics. ii © University of Pretoria “As long as your patient is breathing, don’t give up your hopes until the very end.” -Kenzo Tenma (Monster 2004). “A makeshift reality is nothing but deception.” -Keiichi Ikari (Paranoia Agent 2004). “Victory isn’t something you’re given. It’s something you take!” -Battler Ushiromiya (Umineko no Naku Koro ni 2009). iii © University of Pretoria DECLARATION Student number: 28090323 I declare that this dissertation, which I hereby submit for the degree Magister Artium (Visual Studies) at the University of Pretoria, is my own work and has not previously been submitted by me for a degree at this or any other tertiary institution. ______________________ Johanàn Gerhardus August Hattingh 02 May 2016 UNIVERSITY OF PRETORIA FACULTY OF HUMANITIES DEPARTMENT OF VISUAL ARTS The Department of Visual Arts places specific emphasis on integrity and ethical behaviour with regard to the preparation of all written work to be submitted for academic evaluation. Although academic personnel will provide you with information regarding reference techniques as well as ways to avoid plagiarism, you also have a responsibility to fulfil in this regard. Should you at any time feel unsure about the requirements, you must consult the lecturer concerned before you submit any written work. You are guilty of plagiarism when you extract information from a book, article or web page without acknowledging the source and pretend that it is your own work. In truth, you are stealing someone else’s property. This doesn’t only apply to cases where you quote verbatim, but also when you present someone else’s work in a somewhat amended format (paraphrase), or even when you use someone else’s deliberation without the necessary acknowledgement. You are not allowed to use another student’s previous work. You are furthermore not allowed to let anyone copy or use your work with the intention of presenting it as his/her own. Students who are guilty of plagiarism will forfeit all credit for the work concerned. In addition, the matter can also be referred to the Committee for Discipline (Students) for a ruling to be made. Plagiarism is considered a serious violation of the University’s regulations and may lead to suspension from the University. I (full names) Johanàn Gerhardus August Hattingh Student number 28090323 Declaration 1. I understand what plagiarism entails and am aware of the University’s policy in this regard. 2. I declare that this dissertation is my own, original work. Where someone else’s work was used (whether from a printed source, the Internet or any other source) due acknowledgement was given and reference was made according to departmental requirements. 3. I did not make use of another student’s previous work and submit it as my own. 4. I did not allow and will not allow anyone to copy my work with the intention of presenting it as his or her own work. Signature __________________________________ Date____ iv © University of Pretoria ACKNOWLEDGEMENTS My sincerest thanks to the University of Pretoria for their financial aid during this study. Thank you also to the National Research Fund (NRF) for further financial assistance. The completed dissertation is the result of my own intellectual allies whose contribution was invaluable to the study. I would like to thank my parents Anel and Johan for their continued support throughout these trying times. Especially my mother whose encouragement galvanised my efforts during the study. The countless hours spent correcting and improving each chapter is sincerely appreciated. My sister Minien who provided new insight with her extensive vocabulary. Catherine Laurent for editing this study. Thank you to my supervisor Mister Rory du Plessis and co-supervisor Professor Jeanne van Eeden for their never-ending academic assistance. Your guidance assisted the creation of a concise academic dissertation. Maribelle and Bjork for their love and affection. Lastly, thank you to the authors of the texts seminal to the study. Thomas Carlyle’s text on heroes and hero-worship greatly influenced the creation of the intellectual hero in anime. Susan Napier and Antonia Levi’s texts on anime illustrated exceptional insight into Japanese popular culture. v © University of Pretoria TABLE OF CONTENTS Page Abstract……………….…………………………………………………… i Declaration………………………………………………………………… iv Acknowledgements………………………………………………………... v List of figures……………………………………………………………… viii List of tables……………………………………………………………….. x CHAPTER ONE: INTRODUCTION………………………………….. 1 1.1 Background and aims of study…………………………..…....... 1 1.1.1 Background to anime……………………………………… 4 1.1.2 The social and historical context of the prototypical anime 7 hero...................................................................................... 1.2 Aims and objectives…………………………………………….. 8 1.3 Literature review…………………………...…………………… 8 1.4 Theoretical framework and methodology…...………………….. 14 1.5 Overview of chapters………………………...…………………. 16 CHAPTER TWO: THE HERO…………………………………………. 18 2.1 Introduction…………………………………………………….. 18 2.2 Thomas Carlyle………………………………………………… 19 2.2.1 Comments on Carlyle……………………………………. 22 2.3 The hero in Western discourse…………………………….…… 25 2.3.1 Joseph Campbell’s description of the contemporary hero.. 26 2.3.2 Stuart Voytilla and the modern hero’s journey…...……… 26 2.3.3 John Lash’s expansion on the modern hero……………… 26 2.3.4 Robert Segal: the hero in literature and Kittelson the 26 visual culture hero………………………………....…….. 2.3.5 Contemporary texts on hero discourse…………………... 27 2.4 The anime hero…….…………………………………………… 30 2.5 The intellectual hero……………………………………………. 32 CHAPTER THREE: QUALITITATIVE CONTENT ANALYSIS OF THE INTELLECTUAL HERO IN ANIME………………………………………….. 37 3.1 Introduction …………………………………………………... 37 3.2 Content analysis…...................................................................... 37 3.3 Qualitative content analysis ………………………………….. 38 3.4 Qualitative content analysis in Visual Culture………………… 40 3.5 Research method………………………………………………. 41 3.6 Main analysis phase…………………………………………… 46 3.6.1 Doctor Kenzo Tenma……………………………………. 48 3.6.2 Detective Keiichi Ikari…………………………………... 51 3.6.3 Battler Ushiromiya……………………………………… 55 3.7 Discussion phase…………………………………………........ 59 3.8 Conclusion………………………………………………..…… 63 vi © University of Pretoria CHAPTER FOUR: SEMIOTIC ANALYSIS OF THE 64 INTELLECTUAL HERO IN ANIME………….… 4.1 Semiotics………………………………………………………. 64 4.1.1 The sign and text……………………………………… 65 4.1.2 The sign in practice…………………………………… 66 4.1.3 Codes………………………………………………….. 68 4.1.4 Interpreting the text……………………………………