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Alba Campoy Martínez FACULTAD DE FILOSOFÍA Y LETRAS

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Alba Campoy Martínez FACULTAD DE FILOSOFÍA Y LETRAS Alba Campoy Martínez FACULTAD DE FILOSOFÍA Y LETRAS MASTER’S DEGREE IN SPANISH AND ENGLISH AS SECOND LANGUAGES / FOREIGN LANGUAGES June 2020 Supervisor: María Martínez Lirola Alba Campoy Martínez FACULTAD DE FILOSOFÍA Y LETRAS MASTER’S DEGREE IN SPANISH AND ENGLISH AS SECOND LANGUAGES / FOREIGN LANGUAGES June 2020 The author, With the approval of the academic supervisor, Alba Campoy Martínez María Martínez Lirola ACKNOWLEDGEMENTS The realization of this project would not have been possible without the help of several fundamental pillars, to whom I wish to express my sincere appreciation and gratitude. First and foremost, I would like to begin by thanking my supervisor Dr. María Martínez Lirola for her general work as a tutor, especially highlighting her constant attention, celerity and advice that have made this research more bearable and interesting. Undoubtedly, she has given me enough motivation that I am sure it will mark my future steps both in the field of research and in the teaching of foreign or second languages. Additionally, I want to express my total gratitude to my parents, grandmother, and closest family, for having been supporting me since my decision to apply for this master’s until the end of it. Without their encouragement, particularly in the most critical moments of this new educational stage, I would not have managed to finish it. Similarly, I am eternally grateful to my partner, who apart from being a great reference in my everyday life, he also immersed me in the world of anime and manga. Thus, he has become a huge source of inspiration, and he is the reason why I have carried out both this project and the master’s of education’s one. Finally, I want to show my appreciation to my colleagues who have looked beyond their own interests and have dedicated themselves in order to create a full of fellowship, diversity of opinions and tolerant environment. ABSTRACT The use of the cinematographic world in the English classroom as a support to learn a foreign language involves a very recent area of research due to the innumerable benefits that it entails. The present study aims to demonstrate that it is possible to teach a specific grammatical aspect as well as a cross-curricular theme as significant as feminism is. To that end, a mainly qualitative, but also quantitative analysis is carried out on the animated feature film Princess Mononoke (1997), directed by Hayao Miyazaki, in which the imperative mode, one of the grammatical aspects that most predominates in the interactions of both female protagonists – Lady Eboshi and San– is analyzed, apart from paying special attention to its implicit feminist discourse. The results are favorable regarding the possible teaching of the imperative mode and students’ awareness of feminism, even though the limitations which have been found suggest much more promising future avenues of research. Keywords: Cinema, English Language Teaching, Anime, English as a Foreign Language, English as a Second Language, Hayao Miyazaki, Princess Mononoke (1997), Feminism, Gender Equality, Education, Imperative mood. RESUMEN La utilización del mundo cinematográfico en la clase de inglés como apoyo para aprender una lengua extranjera supone un área de investigación muy reciente debido a los innumerables beneficios que conlleva. El presente estudio pretende demostrar que es posible enseñar un aspecto gramatical concreto a la vez que un tema transversal tan importante como es el feminismo. Para ello, se lleva a cabo un análisis mayoritariamente cualitativo, aunque también cuantitativo, acerca del largometraje animado La princesa Mononoke (1997), dirigida por Hayao Miyazaki, donde se analiza el modo imperativo, uno de los aspectos gramaticales que más predomina en las interacciones de ambas protagonistas –Lady Eboshi y San–, además de hacer especial énfasis en su implícito discurso feminista. Los resultados son favorables en torno a la posible enseñanza del modo imperativo y de la concienciación del alumnado en torno al feminismo, aunque las limitaciones encontradas sugieren futuras líneas de investigación mucho más amplias. Palabras clave: Cine, Enseñanza del inglés, Anime, Inglés como lengua extranjera, Inglés como segunda lengua, Hayao Miyazaki, La princesa Mononoke (1997), Feminismo, Igualdad de género, Educación, Modo imperativo. TABLE OF CONTENTS 1. INTRODUCTION .............................................................................................................. 1 1.1. Justification .................................................................................................................. 1 1.2. Structure....................................................................................................................... 3 2. HYPOTHESIS AND OBJECTIVES .................................................................................. 4 3. THEORETICAL FRAMEWORK ...................................................................................... 5 3.1. Using cinema in the English as a second or foreign language classroom ................... 5 3.1.1. One hundred years of anime history ........................................................................ 9 3.1.2. Hayao Miyazaki’s Princess Mononoke (1997) ...................................................... 13 3.2. History of feminism ................................................................................................... 17 3.2.1. The importance of gender equality in education .................................................... 21 4. METHODOLOGY ........................................................................................................... 26 4.1. Variables .................................................................................................................... 26 4.2. Instruments ................................................................................................................ 26 4.3. Procedure ................................................................................................................... 27 5. RESULTS ......................................................................................................................... 28 5.1. Analysis of imperative forms through San and Lady Eboshi’s interactions in Princess Mononoke (1997) ................................................................................................... 28 5.2. Analysis of Lady Eboshi and San’s feminist discourse in Princess Mononoke (1997) 32 6. DISCUSSION ................................................................................................................... 36 7. LIMITATIONS AND SUGGESTIONS FOR FUTURE STUDIES ................................ 47 8. CONCLUSION ................................................................................................................. 49 9. REFERENCES ................................................................................................................. 51 APPENDIX Appendix 1. Information about the film ............................................................................... 56 LIST OF TABLES Table 1: Imperative categories pronounced by Lady Eboshi and San…………………………27 Table 2: Imperative categories pronounced by Lady Eboshi…………………………………28 Table 3: Imperative categories pronounced by San……………………………………………29 Table 4: Imperative usages in general…………………………………………………………30 Table 5: Lady Eboshi’s imperative usages……………………………………………………31 Table 6: San’s imperative usages...……………………………………………………………33 LIST OF FIGURES Figure 1: “Wait till you see their mother.” (Miyazaki, 1997, 00:20:20)……………………….35 Figure 2: “Cut off a wolf’s head, and it still has the power to bite.” (Miyazaki, 1997, 00:48:22)……………………………………………………………………………………...35 Figure 3: “Tell me while you’re still alive.” (Miyazaki, 1997, 00:54:51)……………………...36 Figure 4: “Take that damn woman and just go away!” (Miyazaki, 1997, 01:55:37)…………...36 Figure 5: “Stay here. Help me kill the Forest Spirit, Ashitaka.” (Miyazaki, 1997, 00:41:58)….37 Figure 6: “Mind your manners, ladies.” (Miyazaki, 1997, 01:14:50)………………………….37 Figure 7: “You two, go on ahead now.” (Miyazaki, 1997, 00:57:20)…………………………37 Figure 8: “Mother! Please ask the Forest Spirit to save you.” (Miyazaki, 1997, 01:09:19)……38 Figure 9: “Let’s move!” (Miyazaki, 1997, 00:19:20)…………………………………………38 Figure 10: “Let’s get the living home.” (Miyazaki, 1997, 00:21:10)…………………………..39 Figure 11: “Let me just cut the damn thing off!” (Miyazaki, 1997, 00:51:03)…………………39 Figure 12: “Right. Let’s go.” (Miyazaki, 1997, 01:26:38)…………………………………….39 Figure 13: “Don’t let the oxen panic!” (Miyazaki, 1997, 00:19:33)………………………….40 Figure 14: “Don’t waste your sympathy.” (Miyazaki, 1997, 01:55:17)………………………40 Figure 15: “Don’t worry about them.” (Miyazaki, 1997, 00:57:18)…………………………..41 Figure 16: “Don’t let yourself become a demon!” (Miyazaki, 1997, 01:43:00)………………41 Figure 17: San’s leading skills (Miyazaki, 1997, 01:41:47)………………………………….42 Figure 18: Lady Eboshi warns her women not to trust men (Miyazaki, 1997, 01:18:20)……43 Figure 19: Lady Eboshi’s combat dexterity (Miyazaki, 1997, 01:12:52)…………………….43 Figure 20: San’s self-determination (Miyazaki, 1997, 01:42:20)…………………………….44 Figure 21: San’s affectionate side (Miyazaki, 1997, 01:06:35)………………………………44 1. INTRODUCTION Nowadays, the cinema industry has established itself as an increasingly popular genre, and this is an inescapable fact. Traditionally, these audiovisual materials have been considered as superficial, or even linked to distraction exclusively in educational atmospheres.
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