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All Journal International Journal of Humanity Studies (IJHS)
Ledesma, Jan Raen Carlo Mijaro
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Arts Humanities Languange, Linguistic, Communication & Media Social Sciences

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CARTOONS AND THE AUTOCRATIC CREEDS OF THE CULTURE INDUSTRY: VIOLENT AFFECTS AND EFFECTS IN CHILDREN’S ENTERTAINMENT Ledesma, Jan Raen Carlo Mijaro; Manalastas, Aldrin Enciso
International Journal of Humanity Studies (IJHS) Vol 7, No 2 (2024): March 2024
Publisher : Sanata Dharma University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24071/ijhs.v7i2.7897

Abstract

This paper asserts that operations and patterns of violence are present in Hanna-Barbera’s Tom and Jerry, Butch Hartman’s The Fairly Oddparents, Thomas Edward Warburton’s Codename: Kids Next Door, and John Kricfalusi’s Ren and Stimpy. Cartoons are meant to be enjoyed by children. However, the incorporation of violence in cartoons can leave imprints in the impressionable minds of the children. With the media and reception of the children's audience in the foreground, the notion of false happiness can be deduced as the comedic and entertaining modes of representation in the cartoons do not just make the audience laugh but can also possibly penetrate their attitudes and behaviors. The cartoons and their violent features can be a springboard to engage media effects which can include aggression, agenda-building, and cultivation. As a framework, the discourses on violence and false happiness are supported by the critical claims of Adorno and Horkheimer on the culture industry and offshoots of immersing oneself in television. The analysis of the cartoons presented a typology of violence affirming that organized entertainment becomes synonymous with the displays of organized violence. These include blatant and forceful physical violence, subtle familial violence, violence of structural differences and tensions, and the aestheticization of violence.
REINFORCING AND REPULSING THE STAGES OF LIFE’S WAY: A KIERKEGAARDIAN READING OF PHILIP ROTH’S SABBATH’S THEATER (1995) Ledesma, Jan Raen Carlo Mijaro; Manalastas, Aldrin Enciso
International Journal of Humanity Studies (IJHS) Vol 6, No 2 (2023): March 2023
Publisher : Sanata Dharma University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24071/ijhs.v6i2.3768

Abstract

This paper unveils the postmodernist patina of Philip Roth’s novel Sabbath’s Theater through the affairs of its main character Morris “Mickey” Sabbath—a 64-year-old puppeteer who finds absolute delight in pursuing the base pleasures of life and one who also indulges himself in the American world bringing him to a state of alienation and destruction. We attempt to present Sabbath as the “aesthete” who greatly wallows in the fleshly pleasures of life. His sexual trysts generate the grounds for discoursing on the matter of sex as a potent postmodern site of disorder, self-cognizance, and reflexivity that leads towards annihilation of the self. In our analysis, we present him akin to an animal wallowing in base pleasures. Bounded by the “finite” from the perspective of the philosopher Soren Kierkegaard, his sexual trysts, ethnic displacements, and the juggling between home (Jewish origins) and host (American landscape) are factors that make it not possible for Sabbath to acquire a true self. Capitalizing on the descriptive-analytical research design, the paper leans on the critical concepts expounded by the philosopher Soren Kierkegaard particularly his three stages of life and the discourse on finitude in further making sense of Mickey Sabbath’s untamed pursuit of worldly desires. We present Sabbath greatly wallowing in the aesthetic stage of life. The ethical and religious stages are depicted only as specters that persistently confront the novel’s hero. The findings highlight Sabbath as the aesthete and pleasure-seeker who wallows in sexual pleasures as well as the person who immerses himself in art and other intellectual pursuits.  All the worldly feats that affect the disposition of Sabbath compel him to spurn the ethical stage. This leads to the assertion that there is no commitment to virtue and integrity on the part of the Sabbath that can lead to the religious stage of life.
MODERNIST ELEMENTS, THEMES, AND REFLECTIONS IN THE SELECTED POEMS FROM A DRIFTING BOAT: AN ANTHOLOGY OF CHINESE ZEN POETRY Ledesma, Jan Raen Carlo Mijaro; Manalastas, Aldrin Enciso; Manalastas, Katya Enciso
International Journal of Humanity Studies (IJHS) Vol 8, No 2 (2025): March 2025
Publisher : Sanata Dharma University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24071/ijhs.v8i2.11180

Abstract

This paper is an attempt to examine the modernist poetic and aesthetic purviews of selected poems from the anthology “A Drifting Boat: An Anthology of Chinese Zen Poetry.” In the regimes created by the poems, we recognize a literariness racked by internal and external contradictions. Hence, the analysis of the transitions and shifts is to be correlated with a modest chronicling of the past to show how their very bearings on the literary schemata of the works result to the formation of their modernist axioms and dictums. The paper presents the image of literature in the pace of change affirming the idea that the repercussions brought by the wars and westernization are the forces that have completely devalued traditional Chinese society and its various conservative characteristics. Using the descriptive-analytical design, the poems disclosed modernist issues, themes and philosophies verging on individualism, experimentation (breaking the conventional practices in literature), sense of loss and exile and nostalgia, narrative authority as a reflection of the multiplicities of truth and diversification of realities, fragmentation and destruction effected by the arrival of the Western powers in their society, and the occurrence of the states of absurdism and existentialism brought by the rush of daily life.
WOMEN REPRESENTATIONS AND TECHNOCULTURAL PATRIARCHY IN CAM, CAUGHT IN THE WEB, AND FIFTEEN MILLION MERITS Ledesma, Jan Raen Carlo Mijaro; Manalastas, Aldrin Enciso
International Journal of Humanity Studies (IJHS) Vol 9, No 1 (2025): September 2025
Publisher : Sanata Dharma University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24071/ijhs.v9i1.13192

Abstract

This paper examined women protagonists from three media samples: Cam (2018), Caught in the Web: The Murders Behind Zona Divas (2024), and Black Mirror’s Fifteen Million Merits (2011). It analyzed women as the subjects of visual pleasure and extended the discourse on gender and technology, shedding light on how technology is grounded in the project of patriarchy. Capitalizing on the critical research design and on the feminist film theory of Laura Mulvey, and feminist and technology theories of Judy Wajcman, Joan Pujol and Maria Montenegro, the analysis demonstrated how the samples partook in the dynamic correlations of visual pleasure, feminism and technology with them exploring the political specificities of sexual hierarchies and their emplacements in a technological capitalistic world, the patriarchal shaping of technology espousing the exclusion and reification of women, the compartmentalization of their bodies and autonomies by technology leading to their pessimistic and subjugated portrayals unveiling the image of men as the forerunners of technological control. The feminist issues that they faced opened the subject of technology as a gendered culture and entity seriously shaped by phallocentric ideologies, conveying how the ideologies of maleness and androcentrism can steer its complexities.
Co-Authors Manalastas, Aldrin Enciso Manalastas, Katya Enciso