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You Are Not Alone
Title
You Are Not Alone: Self-Identity and Modernity in Neon Genesis Evangelion and Kokoro.
Creator
Smith, Claude, Yasuhara, Yoshihiro, Lan, Feng, Erndl, Kathleen, Program in Asian Studies, Florida State University
Abstract/Description
To understand the impact of the 20th century on Japanese consciousness, one must examine examples of its popular culture that have had a profound impact on its audience. To best accomplish this, this paper examines the main characters from two works of popular culture, Sensei from the 1914 classic novel Kokoro, and Shinji Ikari from the 1995 television series Neon Genesis Evangelion. This study analyzes the events occuring at the time of and between the two stories, and also examines the...
Show moreTo understand the impact of the 20th century on Japanese consciousness, one must examine examples of its popular culture that have had a profound impact on its audience. To best accomplish this, this paper examines the main characters from two works of popular culture, Sensei from the 1914 classic novel Kokoro, and Shinji Ikari from the 1995 television series Neon Genesis Evangelion. This study analyzes the events occuring at the time of and between the two stories, and also examines the authors themselves in order to determine why these seminal works are especially representative of human beings in general and especially the Japanese. If the Twentieth Century is an age of remarkable freedom, it is one in which human beings exist in an abandoned state. Lacking an essential truth about what they should want or ought to be, humans must struggle to find their own purpose, sense of self, and happiness. At the same time, forces around them dramatically change the landscape, removing traces of familiarity and a recognized history. These two works feature protagonists struggling to weather the storm of their respective eras. By understanding their struggle, we can learn how to survive modernity.
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Date Issued
2008
Identifier
FSU_migr_etd-0368
Format
Thesis
Painted Interiors from the Houghton Shahnameh
Title
Painted Interiors from the Houghton Shahnameh.
Creator
Lauren, Samantha, Garretson, Peter, Grant, Jonathan, Lee, Susan, Program in Asian Studies, Florida State University
Abstract/Description
The following study utilizes a 1981 reproduction of a ca.1525, Safavid version of the Persian national epic, the Shahnameh, to investigate the manuscript's numerous illustrations of painted interior design. Initial research focuses on the history of wall painting in Iranian culture from the ancient through the Safavid eras. The following section offers a brief history of the Safavids themselves, as well as an overview of the immediate cultural and artistic influences that combined to create...
Show moreThe following study utilizes a 1981 reproduction of a ca.1525, Safavid version of the Persian national epic, the Shahnameh, to investigate the manuscript's numerous illustrations of painted interior design. Initial research focuses on the history of wall painting in Iranian culture from the ancient through the Safavid eras. The following section offers a brief history of the Safavids themselves, as well as an overview of the immediate cultural and artistic influences that combined to create their newly syncretized aesthetic. The body of the research concentrates on an original system of classification allowing each interior motif to be categorized as one of five basic types. Labeled A through E the master types are sub-divided into several lesser categories based on their degrees of separation from the original motif. In an attempt to trace each pattern's stylistic origins, the designs are evaluated in relation to three different media that either predate or are contemporary to the production of the Safavid Shahnameh: similar images from illustrated volumes, the literary accounts of extinct Timurid and Turkman murals and the wall paintings of extant edifices. A notable corollary to this research is the conclusion that a number of the Shahnameh's interior wall paintings exhibit far eastern, aesthetic influences that pre-date the Mongolian invasions of the thirteenth century. While it is difficult to classify each of the myriad layers of meaning projected on these images, quite a few of the motifs appear to contain Zoroastrian, Buddhist, Hindu and Sufi religious symbolism as well as Soghdian and Sassanian secular references. In particular it is proposed that, in many cases, the Shahnameh's illustrations are a reliable indication of the interior wall paintings that decorated contemporaneous Turkman and Timurid palaces.
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Date Issued
2004
Identifier
FSU_migr_etd-3257
Format
Thesis