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Puella Magi Madoka Magica(2011) Puella Magi Madoka Magica (2011): El renacimiento de la magical girl. La reconstrucción de un género a través del monomito. Carlos Álvarez Barroso Tutora: María del Mar Rubio-Hernández Máster en Comunicación y Cultura Septiembre, 2020. Notas sobre el idioma. Los términos japoneses recogidos en el presente documento siguen el sistema Hepburn para su transcripción en cursiva. Esto conlleva que las vocales largas se indicarán mediante una macrón en el caso de o y u, y con doble vocal en el caso de a, e, i. Las palabras japonesas no sufren ninguna modificación en plural. En el caso del término manga (recogido recientemente por el DRAE), no se sigue dicha convención, y se ha optado por un plural que se adapte a las reglas ortográficas españolas: un manga/unos mangas; el manga/los mangas. De igual forma, los términos japoneses que nombran los géneros del manga irán seguidos a la palabra manga. Apareciendo, por ejemplo, “manga shōnen” y no “shōnen manga”. Con respecto a los nombres de autores de manga que aparecen en este estudio, se seguirá el orden de nombre y apellidos occidental (nombre de pila primero y apellido después), puesto que así se dieron a conocer en España cuando sus obras fueron publicadas para nuestro mercado. Por otro lado, los autores procedentes de publicaciones científicas serán citados de acuerdo con la representación de sus nombres en el documento de pertenencia. Índice Resumen/Abstract/要約 .................................................................................................. 1 1. Introducción ................................................................................................................. 4 1.1. Justificación del tema y objeto de estudio .................................................................. 4 1.2. Estado de la cuestión .................................................................................................. 6 1.3. Objetivos ..................................................................................................................... 9 2. Marco teórico ............................................................................................................. 10 2.1. El mito en la narrativa audiovisual ........................................................................... 10 2.1.1. Breves puntualizaciones sobre el mito ...................................................... 10 2.1.2. El mito vigente ........................................................................................... 11 2.1.3. El mito en la cultura audiovisual ............................................................... 12 2.1.4. Entendiendo la cultura audiovisual japonesa desde su mitología .............. 14 2.2. Inconsciente colectivo y arquetipos .......................................................................... 15 2.2.1. Diferentes aproximaciones al arquetipo .................................................... 19 2.3. El monomito y el héroe de Campbell ....................................................................... 21 2.3.1. Etapas del monomito ................................................................................. 21 2.3.2. El viaje de la heroína ................................................................................. 29 2.4. Sobre el término shōjo .............................................................................................. 31 2.4.1. Kawaii: la capitalización de lo lindo ......................................................... 34 2.5. Breve desarrollo sobre el género magical girl ......................................................... 36 3. Hipótesis ..................................................................................................................... 41 4. Metodología ................................................................................................................ 41 5. Marco analítico .......................................................................................................... 45 5.1. Análisis de la serie a través del monomito ............................................................... 45 5.2. Análisis de personajes .............................................................................................. 65 6. Discusión ..................................................................................................................... 74 6.1. La reconstrucción de un género a través de Puella Magi Madoka Magica ............. 74 6.2. Gen Urobuchi, la arquitectura de una farsa .............................................................. 81 6.3. Divergencias en el antecedente mitológico .............................................................. 84 6.4. El neoliberalismo y la chica mágica ........................................................................ 91 7. Conclusiones ............................................................................................................... 93 8. Bibliografía ................................................................................................................. 97 Anexo ............................................................................................................................ 105 RESUMEN Puella Magi Madoka Magica (2011) es un anime que subvierte los manidos estereotipos del género magical girl, construyendo una narrativa que reconstruye el género desde una perspectiva crítica. Para comprender el contexto en el que se sitúa la obra, será necesario profundizar en sus antecedentes e influencias: el shōjo (género manga/anime japonés que, más allá de ofrecer unas características determinadas, proyecta imágenes conservadoras sobre la unidad familiar y combinaciones binarias heterosexuales). Para fraccionar la narrativa de la serie y poder resaltar los puntos concretos de la trama que resultan innovadores en comparación a otras producciones del estilo, se ha optado por el monomito de Campbell. Con esta herramienta se dividirá el argumento en diecisiete etapas claramente diferenciadas, facilitando su análisis estructural. El análisis de personajes se basará en la teoría de signos de Bobes (con el objetivo de señalar interacciones y acciones), en combinación con la teoría de los arquetipos narrativos de Vogler (para determinar los roles de los actantes involucrados en la narración). Esta metodología busca evidenciar la labor reconstructiva en Puella Magi Madoka Magica. Además, se realizará una exposición de paralelismos y diferencias con otros dos anime referentes del género magical girl: Sailor Moon (1992) y Cardcaptor Sakura (1998), mediante la descripción de una relación de contrastes respecto a Puella Magi Madoka Magica. PALABRAS CLAVE Puella Magi Madoka Magica, magical girl, arquetipo, monomito, shōjo ABSTRACT The anime Puella Magi Madoka Magica (2011) subverts the overused stereotypes of the magical girl genre by, creating a reconstructive and critical narrative. To understand the context in which the work is placed, it will be necessary to deepen in its background and influence: the shōjo (Japanese manga/anime genre which, apart from being characterized by a certain set of features, it also shows conservative images regarding family unit and binary heterosexual combinations). Campbell’s monomyth has been 1 chosen to divide the narrative of the series as well as to highlight specific points of the plot that are innovative in comparison to other productions of the genre. His theory facilitates the structural analysis of the series by breaking down its plot. Moreover, character analysis will be based on Bone’s sign theory (with the aim of pointing out interactions and actions), together with Vogler's narrative archetypes (to determine the roles of the actors involved in the narrative). This methodology seeks to demonstrate the reconstructive work at Puella Magi Madoka Magica. Furthermore, this study also examines the parallels and differences of other two anime representatives of the magical girl genre: Sailor Moon (1992) and Cardcaptor Sakura (1998), by describing a relationship of contrasts with Puella Magi Madoka Magica. KEYWORDS Puella Magi Madoka Magica, magical girl, archetype, monomyth, shōjo 要約 『魔法少女まどかマギカ』（2011 年）は、魔法少女ジャンルのステレオタ イプを覆し、批判的で再構築的なストーリーを作り出すアニメである。この作 品が生み出された背景を理解するには、従来の少女アニメを取り上げ、その影 響力を掘り下げる必要がある。 つまり、それ以前の時代に創作されたアニメの一ジャンルである「少女」では、 規定された特徴を提示しているだけでなく、伝統的な家族形態と男女カップル の二極面の愛についての保守的なイメージを投影している。 『魔法少女まどかマギカ』シリーズの物語を細分考察し、同一スタイルの他 の作品と比較した場合、革新的な大筋の中の具体的なポイントを強調する方法 として、神話学者 J.J Campbell 氏の輪廻論（キャラクター性格変移性）を使用 2 した。この論証からプロットを 17 の明確に異なる段階に分割し、その構造分 析を容易にすることができた。キャラクター分析は、Bobes バルセロナ王立 修辞（美しい言葉）アカデミーのサイン理論（相互作用とアクションのシグナ リングを目的とする）をベースにおいた。そして、ストーリーの中に巻き込ま れているキャラクターの役割を決定するために、米国ハリウッドの脚本家 C. Vogler のナレーション原型を組み合わせて考察した。 この考察の目的は、その再構築の業績を実証することにある。他方で『魔法 少女まどかマギカ』と 関連づけて同ジャンルで、関係性を示すであろうアニ メ２作品 『セーラームーン』（1992 年）と『カードキャプターさくら』 （1998 年）との類似点（平行関係）と相違点を展開していくことにする。 キーワード 魔法少女まどかマギカ、魔法少女、原型、輪廻、少女 3 1. INTRODUCCIÓN 1.1 JUSTIFICACIÓN DEL TEMA Y OBJETO DE ESTUDIO El interés por realizar esta investigación nace tras la lectura crítica de diversos artículos académicos publicados durante los últimos cinco años con motivo de la reaparición del mítico anime Sailor Moon (1991) a través de su remake Sailor Moon Crystal (2014). Estas publicaciones defendían las propiedades feministas de la obra, calificándola como transgresora o el punto de partida para realizar una cronología del LGBTI en la animación televisa. Un modelo de heroína con poderes que se antoja innovadora por su capacidad de aunar feminidad y heroísmo de un modo nunca antes visto (Fernández, 2016). Y es
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