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All Journal IZUMI Lingua Cultura Kiryoku: Jurnal Studi Kejepangan Journal of Social Contemplativa
Lewerissa, Ethel Deborah
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Humanities Decision Sciences, Operations Research & Management Education Environmental Science Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Social Sciences

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Eksistensialisme Himura Kenshin dalam Serial Rurouni Kenshin Barimbing, Theresa Laurenzi; Sutanto, Marisa Rianti; Lewerissa, Ethel Deborah
KIRYOKU Vol 8, No 2 (2024): Kiryoku: Jurnal Studi Kejepangan
Publisher : Vocational College of Diponegoro University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.14710/kiryoku.v8i2.419-434

Abstract

This article aims to analyze the process of Himura Kenshin as the main character to achieve his existence by referring to Heidegger's theory of existentialism in Keishi Otomo’s Rurouni Kenshin film series. Rurouni Kenshin film series tells the life journey of Hitokiri Battosai, a samurai who worked as a government assassin, but decided to become a wanderer and stop killing in the Meiji era. The method used in this research is qualitative content analysis method. According to Heidegger, human (dasein) achieves their existence after going through three stages, namely moodness, fallenness, and sorge. The moodness stage guides Kenshin in making decisions to achieve his desired state in the world. The stage of fallenness allows Kenshin to understand himself and realize his existence. The stage of sorge, which is defined as 'care', involves anxiety about future possibilities as well as the urge to care for the world. Kenshin, as a human being, desires to exist and find his identity to harmonize with the world around him. Kenshin feels responsible for his past sins and decides to atone for them by helping others. After passing through all these stages, Kenshin achieves self-existence by being recognized as Himura Kenshin.
Pemaknaan Representasi Laut dalam Anime Shiroi Suna no Akuatōpu Yusup, Restu Maulana; Sutanto, Marisa Rianti; Lewerissa, Ethel Deborah; Nangoi, Jessica Priscilla
IZUMI Vol 14, No 1 (2025): June
Publisher : Universitas Diponegoro

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.14710/izumi.14.1.99-110

Abstract

In Japan, which is an island nation, the sea is important. The sea is also considered an element rich in meaning and full of mystery. This can be reflected in works of fiction, including anime. This study aims to analyse how the anime Shiroi Suna no Akuatōpu presents the sea through Japanese cultural beliefs and values that are closely related to the existence of kami (nature spirits in Japanese belief) using Roland Barthes' semiotics method. In Barthes' analysis, anime, like movies, are treated as texts that can be read and interpreted. Text or images are a system of signs that serve to shape meaning. The representation of the sea is examined through story elements and characterizations based on semiotic analysis involving signifier, signified, denotation, connotation. The sea in the anime Shiroi Suna no Akuatōpu functions as an important signifier that symbolizes the emotional journey of the two main characters, Kukuru and Fūka. Ultimately, the sea represents a myth realized through the spiritual experiences of the characters and the story. This research emphasizes the importance of the sea reflected through Japanese popular culture as a symbol of change and the relationship between humans and nature.
“Kinō Nani Tabeta?” Defying the Complexity of Love in Romantic Relationships Sutanto, Marisa Rianti; Lewerissa, Ethel Deborah; Nangoi, Jessica Priscilla
Lingua Cultura Vol. 19 No. 1 (2025): Lingua Cultura (In Press)
Publisher : Bina Nusantara University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21512/lc.v19i1.13192

Abstract

This research aims to understand the concept of love represented in the Japanese movie “Kinō Nani Tabeta?” The movie, released in 2021, tells the story of a middle-aged homosexual couple in Tokyo, Shiro and Kenji, who are the main characters of the movie. This movie was chosen as an object of analysis because, unlike love relationships, which are typically recognized as romantic relationships between individuals of opposite sexes, the love relationships of the main characters are between individuals of the same sex. The method used in this research is phenomenology, which looks at the movie as a subject; as a world that is experienced by the viewer. In the world of “Kinō Nani Tabeta?”, love is a philosophical insight that is contemplated when the viewer is in the world of the movie. Love in “Kinō Nani Tabeta?” can be interpreted through the approaches of Irigaray and Bell Hooks, who understand love in terms of the existence of difference and the awareness of mutuality. The love expressed in this film is a relationship that transcends gender and fosters a familial bond, one based not only on biological ties but also on a commitment that prioritizes equality. “Kinō Nani Tabeta?” shows that the love of homosexual couples is also a love that is the basis of a familial relationship that is not limited to biological ties.
Representasi Wabi Sabi dalam Film Animasi Whisper of the Heart Senoputra, Rafael Ksatrya; Sutanto, Marisa Rianti; Lewerissa, Ethel Deborah; Nangoi, Jessica Priscilla
Journal of Social Contemplativa Vol. 4 No. 1 (2026): Journal of Social Contemplativa
Publisher : Indonesian Democracy Research Center

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.61183/jsc.v4i1.189

Abstract

Whisper of the Heart is an animated film produced by Studio Ghibli and directed by Yoshifumi Kondou. The film tells the story of a teenager named Shizuku who is searching for her true self. Two other characters who play a significant role in Shizuku’s journey are Seiji and Nishi. In this animated film, Kondou not only portrays the lives of teenagers in general but also weaves in the philosophy of wabi sabi, which has three core values: simplicity, imperfection, and transience. This representation of wabi sabi is reflected through the character development of the protagonists. Simplicity is reflected in the lifestyles of Shizuku, Seiji, and Nishi. Imperfection is reflected through Shizuku’s unstable and indecisive nature. Transience is reflected through the figure of the Baron cat statue and Nishi’s memories of the past. Settings such as the Tama Hills, the train tracks, the library, the Chikyuuya studio, and the violin workshop serve to create a quiet and unadorned atmosphere, thereby reinforcing the reflection of wabi-sabi values in everyday life. The philosophy of wabi-sabi teaches that life is not always smooth and beautiful, but it is in the cracks and imperfections that human values are reflected.
Co-Authors Barimbing, Theresa Laurenzi Nangoi, Jessica Priscilla Senoputra, Rafael Ksatrya Sutanto, Marisa Rianti Yusup, Restu Maulana