نمود نشانه‌شناسانه‌ی مفهوم «مونو نو آواره» در انیمیشن‌های ژاپنی با تمرکز بر فیلم‌های به‌سوی جنگل کرم‌های شب‌تاب و فرزندان گرگ

این مقاله تجلی زیبایی‌شناسانه‌ی مونو نو آواره را که اصطلاحی در فلسفه و اندیشه‌ی ژاپنی است، در انیمیشن‌های تولیدی این کشور جست‌وجو می‌کند و می‌کوشد به این سوال‌ها پاسخ دهد: آیا این مفهوم در انیمیشن‌های ژاپنی نمود یافته است؟ در این صورت، چگونه نمود یافته است؟ شناختن این مفهوم فلسفی و جست‌و‌جوی آن در انیمیشن‌های ژاپنی می­تواند گامی در جهتِ درک بهتر جهان‌بینی­ حاکم بر انیمیشن‌های ژاپن باشد. در این مسیر، به شیوه‌ی توصیفی-تحلیلی و با بهره‌گیری از منابع کتابخانه‌ای، نخست آرای متفکرانی همچون موتوئوری نوری ناگا و اوءنیشی یُوشینُوری بررسی، و بر اساس آن اصلی‌ترین شاخصه‌های مفهوم مونو نو ‌آواره استخراج و تبیین شده است. آنگاه، با توجه به این شاخصه‌ها، با رویکردی نشانه‌شناسانه، دو فیلم انیمیشن به‌سوی جنگل کر‌م‌های شب‌تاب و فرزندان گرگ بررسی گردیده­ است. نتایج پژوهش نشان می‌دهد، در هر دو اثر، مونو نو آواره نمود یافته و این نمود در درجه‌ی نخست در شخصیت‌پردازی و آنگاه در گرافیکِ صحنه است. البته در بخش­های تاثیر دراماتیک، و موسیقی هم نمود آن به درجاتی مشاهده می‌شود. تاثیر روایت داستان بر تمام این بخش‌ها در دریافت نتایج حاصل بسیار حائز اهمیت است. پس با توجه به یافته‌های پژوهش به نظر می­رسد مونو نو آواره می‌تواند در انیمیشن ژاپن نمود یابد.

the semiotic manifestation of “mono no aware” concept in japanese animations with a focus on: to the forest of firefly lights and wolf children

this study explores the aesthetic manifestation of mono no aware, a term in japanese philosophy and thought, in japanese animation productions. this research explicates whether this concept is present within japanese animations, and if so, in what manifestations. these issues are in the heart of the present research. understanding this japanese philosophical concept and examining its presence in japanese animations can contribute to a better comprehension of the worldview that governs these animations.  the primary objective of this research is to explain the meaning of mono no aware in philosophy and aesthetics, and then to analyze the representation of this concept in japanese animations. the study also delves into how the dramatic effect and manifestation of mono no aware are formed in japanese animation. in addition, this research investigates how this concept manifests in the scene graphic and musical aspects of the investigated works. furthermore, the present study examines the function of mono no aware in shaping the characters of the animation’s personages. the approach used in this research is descriptive-analytical utilizing library sources. the opinions of thinkers such as motoori norinaga and onishi yoshinori are examined to explain the main features of the mono no aware concept. subsequently, two animations, to the forest of firefly lights and wolf children, are analyzed using a semiotic approach. images from these scenes are incorporated into the research for better clarification. the research findings are presented in two charts depicting the manifestation of the concept in each examined work. despite the qualitative nature of this research, charts are included to illustrate a relative comparison between the two animations. these charts display the obtained scales of examined parts, including characterization, dramatic effect, scene graphic, and music. the research results indicate that in both animations, mono no aware is present to varying degrees, with a predominant manifestation in characterization and scene graphic, respectively. it is also evident, to some extent, in dramatic effect and music. the influence of narrative on all these aspects is crucial for obtaining these results. a significant secondary finding suggests that mono no aware is sometimes manifested in metaphors and legends within japanese animation stories, such as gin’s fading in to the forest of firefly lights or the death of the werewolf in wolf children. sometimes manifestation of mono no aware is in the verbal literature and the behavior of the characters. furthermore, according to the research findings, it has a fundamental role in the dramatization of a number of japanese animations. these aspects not only provide a new perspective for the audience but also contribute to enriching and added layers of the narrative. thus, it is apparent that mono no aware can be manifested in japanese animation, whether subtly or profoundly, over short or extended durations. understanding the concept of mono no aware proves valuable for comprehending the stories of japanese animations and the art and culture of that region. consequently, an enhanced realization of japanese philosophy leads to a deeper understanding of the meaning of japanese animations, suggesting a connection between mono no aware and japanese animations.