New
Sep 29, 3:03 PM
#1
| Disclaimer: This post is basically an organized version of other four written from the beginning of August to the end of September. If for any reason you want to take a look at the original ones (albeit reading them instead of this is strongly ill advised), here are the links: 1. A(No-Other) Psychoanalytic Take on "One More Final: I Need You": https://myanimelist.net/forum/?topicid=2172211 2. A(No-Other) Psychoanalytic Take on Evangelion's Cosmology: https://myanimelist.net/forum/?topicid=2173149 3. A(No-Other) Psychoanalytic Take on Evangelion's Angelology: https://myanimelist.net/forum/?topicid=2180035 4. A(No-Other) Psychoanalytic Take on Evangelion's Character(s): https://myanimelist.net/forum/?topicid=2181759 If you have any questions, feel free to ask them here down in the comments. Below is a glossary with common terms used throughout the text which nonetheless shall be attempted to be explained during it. Glossary: Collective unconscious: it's the part of our unconscious which refers to impersonal experiences. i. e., those of humanity, or to simplify that relates to the most instinctive, human domain, namely of drives and emotions, therefore being less prone to influence from the environment. Personal unconscious: it's the part of our unconscious which refers to personal experiences, albeit they can to an extent be related to impersonal aspects of our psyche, influencing the way we react to them just like the environment modulated our adaptation to it. Shadow: the “shadow” is a Jungian term for any psychic material pertaining to the unconscious. Anima: it's the traditionally feminine aspect of our collective unconscious; in practice leaning to our most instinctive, intuitive, emotional side. On a personal unconscious level, it leans to an extend towards the Imaginary. The Grand Mother: it's just a symbolic subrepresentation of the anima, essentially, and entails exactly what it supposes to; its animus equivalent constituting the Wizard, who won't need any mention here. Animus: it's the traditionally masculine aspect of our collective unconscious; in practice leaning to our most intellectual, inventive, headstrong side. On a personal unconscious level, it leans to an extend towards the Symbolic. Ego: it’s the mental structure (not to be confused with its contents) responsible for grasping and processing elements of inner and outer reality. Id: it’s the mental structure (not to be confused with its contents) responsible for advancing innate; instinctive elements of our psyche (sexuality, nutrition etc.). Superego: it’s the mental structure (not to be confused with its contents) responsible for advancing thoughts and teachings learned from culture and society. Real: as one of the three registers proposed by Lacan, the Real is (indeed) out there, and it's real, but one can't have access to it in itself, but only one's perceived experience of it; Thus, when you look at an apple, you're in fact only coming in contact with your mental experience of it, albeit some part of reality must be genuinely grasped through such. Imaginary: the Imaginary is "out here", and it's real too, but one can't have acess to it in itself either, as far the Symbolic order gets introduced upon it, in as much it's language who creates man for Lacan; not the other way around. You and everything in this world is, through your human lenses, just a metaphor, a hyperbole, a metonymy and pretty much every figure of speech in one at the same time, according to him. Symbolic: in so far language creates man, man develops words in order to communicate one's Imaginary with each other. Thus word is given to men when they are born (like our Imaginary by genes), which are not ours, and Lacan posits it as the installation of our (necessary) alienation in order to undergo (formal and/or informal) education (of our perceived reality), like already said. The Other: a generic term for other people as introjected by the mind, influencing it (thanks mostly to the superego and the SYmbolic) despite them being genuinely present or not. Regression: a process through which the mind regresses to a previously achieved stage of development due to overwhelming inside/outside demands. Deflation: a process through which the mind “over-assimilates” elements of the collective unconscious, becoming as a consequence overwhelmed by it. Inflation: a process through which the mind “under-assimilates” elements of the collective unconscious, becoming as a consequence too “full of itself”. Numinous: an adjective used by Jung to denote psychic material of self-integrative quality (often perceived as “supernatural” or “holy” by many individuals and cultures). Imago Dei: Latin for “image of God,” Jung refers to it as any numinous psychic material representative of God as a general psychological archetype, often pointing towards (w)holiness. (W)holiness: a term coined by me to depict a (desired) state of self-integration and individuation of numinous assets. Apotheosis: a term also coined by me to depict when such process above is accomplished, psychologically. The Hero: symbolically represents the path above. Prelude: I'm a psychology student who has watched the original NGO at different points of my life: the first one when I was dealing with depression and the last two whilst undertaking my course. All experiences felt elusive to me till coming in contact with Lacanian and Jungian psychoanalysis, which quite honestly illuminated my view of life (and Evangelion), but bear in my mind that, as a student and a fan, much of what shall be discussed here is (like always) prone to utter ignorance, confusion etc.; nonetheless it'd be lovely to have a nice discussion with you. Be reminded this personal interpretation is not necessarily the "right" one, nor exhausts this work's intelligibility or majesticity, though. Introduction: Lacanian (and, to another extent, Jungian) psychoanalysis deals mainly with themes of psychological emancipation and alterity. As human beings we are born with some natural reflexes and cravings, but not much further from it, thus a lot of our identity is modulated by our environment; specially the social one: parents, siblings, friends, partners, society, culture etc. Like the letter "a" and the word "tree" have nothing intrinsical to what they actually represent, functioning just as arbitrary symbols provided perceived phenomena, so are we; our image (as in behavior, personality, appearance etc.), whose reflection represents by itself little to no intrinsic meaning; in fact being prone to all forms of symbology, adhered from such social environment, which helps us navigate this world with some sense of direction and self-organization. Most times, the subject will have little to confront this, and often won't even desire it, pleased to satisfy their (for example) parents' wishes in order to gain their acceptance and love. Thenceforth, other individuals' desires become ours, just like those emerged from our genes, whence we undergo a (questionably) necessary process of alienation towards education and civilization. Only slowly this process gets questioned more with maturity, albeit little undertake such effort consciously. Jungian psychoanalysis touches on the subject of the impersonal unconscious, which is genetic and predetermined (along our human condition), inescapable to many and understandable to few, for it is the elemental force of our psyche, comprised of symbols (just like Lacan was fond of), but different in nature — in this case no longer pertaining to the immediate social environment, but so to speak the secular, archaic one. Thus, when you put feelings into words (or genuinely any symbol), you're adding an extra layer to your mental experience of reality in order to better grasp it. Such symbols are not truly yours though, but like already said, given to you (as in a metaphor to everything apprehended and introjected from your environment, like already suggested), and the same can be said of emotions themselves. Lacan and Jung propose analyzing the mind in order to comprehend one's truthful subjective to become genuinely oneself. In that sense, the subject so to speak truly becomes the subject of language; not its object, reorganizing his mental experience according to his own perception, albeit not divorcing himself from language or symbolism, of course, but taking an authentic, unique handle of it. Jung adds the extra layer of not just becoming master of one's Symbolic order, but also one's Imaginary one (which Lacan also touched a bit upon, but never properly developed; either way his theory inevitably leads to Jung's eventually, in my opinion). As a principle, humanity has a drive towards such self-integration and individuation. Cosmology: For those who don't know, Evangelion's "genesis" revolves around an extincting race of highly developed aliens who crafted seeds "in their image and likeness" divided into halves: one for strength and the other for intelligence. For unknown reasons both types fell on Earth particularly, with the latter deactivating the former (through the Spear of Longinus) — which got seeded here first — therefore only humans (or “lilin”), children of Lilith, populated the planet (in contraposition to Adam's angels). Thenceforth, Adam seems to depict; symbolize humanity having given up its primitive force in exchange for knowledge. He went into a deep slumber, or, in other words, got shoved aside to the unconscious, and for his attachment to it, he must be the one to be explored so that we may gain insight on our "shadow" — a concept coined by Jung —, in order to achieve (w)holiness; given he is our most primitive human in the Bible (and it won't be taken into account here its validity, but only the representation it offers of the human psyche, for firsthand it was conceived nonetheless by a mind, despite its eventual possession of a "soul" — or lack thereof), the symbology not only matches well, but can therefore be extended to the following paradigmatic principle: humanity must then first face its (symbolical) "Adam" in order to become whole. As seen in the anime, such process cannot only look "unheimlich" (Freudian reference); sinister, but even catastrophic to the psychic equilibrium if undertaken unprepared (leading to the Second Impact in the show). Thus far it matches well Jung's ideas of the psyche with a natural drive towards integration (which he interestingly termed "imago Dei" — or "image of God," in Latin, because of its usual cultural representation), which by definition also imbues one's impersonal (Adam’s) aspects. What about Lilith? She, as everyone knows, is a demon (or a "daimon," in Greek, which means just "spirit") said to have been Adam's "actual" first wife, who left him to torment others, and she's the source of our human intelligence in NGE. Again it (willfully or not) matches Christian symbology, for humanity in Genesis acquired knowledge of "good and evil" through the ("shadowy") Serpent (or got abused by its first "wife" either way). Such story, real or not, must nonetheless say something about our psyche, like it tried to mysticize our evolution from the id (Freud's for the mental structure pertaining to our natural; primitive drives; instincts, or "Adam") to the superego (Freud's for the mental structure pertaining to our moral judgment, or "Lilith"), that is, from the time we were one with our animal essence (the Imaginary) to that where the Symbolic Order was introduced. It was all Light in the beginning, but then humanity had to confront its Shadow, in order to, like shadow does to light (and vice-versa), add depth to the Image(nary); otherwise we'd be metaphorically blind. Either way this showcases Lilith and Adam are sides from the same coin (or each one a consequence of the other), symbolically speaking. Another fact worthy of mention is Longinus's Spear, which according to tale pierced Jesus's chest, therefore (like Lilith to Adam) temporarily sending him into a "slumber". Such reference is of importance, because he and NGE's Adam both awaken in their respective stories to fulfill humanity's second; final rebirth (or "genesis"). Nonetheless a big difference comes now into play, for the latter does so with the drive of exterminating (instead of saving) us (like the shadow often seems, and only seems, to wish for, because it must likewise be integrated in our psyche, as you shall see). Here, it's important to notice Jung's reference in his book "Aion" to the fact Jesus symbolically seems to represent a (perfect) counterpart of Genesis's Adam, pure from sin and evil, but Evangelion shifts its theme around to not be Christ (who like suggested already dwells on the realm of consciousness, as Lilith does in NGE) the one our "Geiste" (Hegelian reference); minds need to lean on, but our shadow (Adam) first. He also observes the former having needed to confront his own demons (through the desert and other passages you probably know); his shadows, in order to achieve individuation (or "divination,’ according to tale), therefore humanity would have to walk the same path to reach a similar destination (like an "individuation of humanity," which in my opinion Hegel elaborates unintentionally well). Thus, instrumentality can be traced back to Christianity's Heaven, and vice-versa (for they look psychologically; spiritually equivalent, in a certain sense), beyond either Adam (i.e., the id; the shadow; the Imaginary) or Lilith (i.e., the superego; the "light"; the Symbolic) alone. Jung notes though in numerous texts of his that such process initially leads to what he termed (psychic) "inflation" — when the subject over-introjects contents of the impersonal unconscious, thence acting as if he were the "Übermensch," so to speak, but downfalling (or "dawnfalling") like Icarus in the end (describing "deflation"), summarizing perfectly Evangelion's "One More Final". But why is there "One More Final" instead of only one? If Christian douctrine theoritically ends with instrumentality, then Neon Genesis Evangelion ("The Gospel's New Genesis") does so with "individuality", as you shall see. Angelology: As you shall see, albeit the "journey" below well verbosely justifies the point of our cosmology traced above, it does indeed by itself little more than offering a highly cryptic path towards integration (between "Adam" and "Lilith," to use NGE's vocabulary) and then individuation, like alchemy and tarot historically (and for further elaboration I'd recommend you reading "Psychology and Alchemy," by C. Jung, and "Jung and Tarot: An Archetypal Journey," by S. Nichols). In fact, it's pretty common for media, literature and art in general to fantasize such, but things become clearer as always when put into context, namely that of character (instead of strictly narrative) development, what shall come next. But as we already talked about Adam (1st angel) and Lilith (2nd angel), therefore they’re going to be skipped here. Sachiel: our 3rd angel's name literally means "Price of God," which is paradigmatic since he's the first one to challenge humanity directly, therefore making himself before all the "price" we must admit to ascend towards "godhood" (according to S.E.E.L.E's plans), or a "neon genesis evangelion" (i. e., "the Gospel's new genesis"). He is also uncoincidentally the most humanoid-like after Bardiel (the 13th angel), Tabris (the 17th angel) and Lilin (the 18th angel), of course. Shamshel: our 4th angel's name literally means "Lonely Conqueror of God," which resembles Jung's Hero archetype, and so by definition his concept of self; our total personality (including its conscious and unconscious traits). This is further advanced by its androgynous traits, whose constitution possesses in part both a phallus and vagina shape, representing an integration between feminine (as in the anima archetype) and masculine (as in the animus archetype) aspects, proposed by the same author to be the back and bone of our psyche. Which part belongs to consciousness varies from one's primary gender though. In the end, Shamshel also seems to represent part of the price towards reaching the self; therefore individuation (or [w]holiness and whatnot). Ramiel: our 5th angel's name literally means "Thunder of God," which is mythologically reminiscent of Zeus, who was said to rain it from the skies when angered (in this case, probably as a metaphor to humanity's [or Liilin's] previous "crimes" against NGE's Adam [and his offspring]). Gaghiel: our 6th angel's name literally means "Roaring Beast of God," a creature reminiscent of Leviathan said to have been created by Judaism's God and only prone to destruction by Him. Here, though, humanity achieves it, stepping further towards (w)holiness. This is basically nearly as much high a process of psychic inflation we shall get until the nigh end. Israfel: our 7th angel's name literally means "The Burning One," which is interculturally reminiscent of "passion," but also "Hell," pointing to the ups and downs aced by Shinji and Asuka in order to defeat him. He's also the angel to sound the trumpets announcing the Day of Judgment to mortals in Islamism, foreshadowing a descent from humanity's so wished apotheosis (inflation) from before (that is, a deflation, or the process of getting overwhelmed; feebled by one's unconscious, which like inflation tends to be temporary until reaching further, and then finally stable balance in the analytical process [to be mildly metaphorical]). Sandalphon: our 8th angel's name literally means "The Brother," seemingly pointing to the fact humanity must kill its "brothers" (the angels) in order to achieve (w)holiness (who are in fact much like humanity in the end, as it will increasingly appear). Asuka and Shinji show an uncoincidentally higher degree of cooperation in order to defeat him. Humanity must therefore unite against its numinous psychic matter (what's a bit redundant, because like already suggested, individuation presupposes integration [or self-reunion] of one's humanity before anything). Matarael: our 9th angel's name literally means "The Premonition of God," whose character foreshadows the increasing bizarreness of the next angels. His eyes, whose liquid can destroy anything, might refer to Lacan's concept of the Symbolic, which in normal circumstances tends to override any subject's (or "subjective") sense of identity. This is thus one step further towards deflation and eventually integration. Sahaquiel: our 10th angel's name literally means "Ingenuity of God,". Jung noticed flying symbolisms (like the OVNIs, which became especially popular in the post-war period) were in all cultures often evoked by the human's psyche when in times of crisis, fear or anxiety, be it for good (angels) ou bad (demons), therefore it's mostly premonitive like the previous angel. Maybe his "ingenuity" lies in it descending from the sky, lowering itself to humanity, like all angels shall in a way or another be doing from here on. This showcases an identification of humanity with its numinous psychic matter (which seems to be subconsciously S.E.E.L.E.'s point). Ireul: our 11th angel's name literally means "Terror of God," which can be taken literally for its divergent nature from all other angels before thanks to the attempt to establish direct contact with humanity by hacking NERV's intelligence (a pun certainly intended by Anno), therefore leaving more and more room for an "angelic resurgence" (inflation of unconsciousness against deflation of consciousness, until reaching healthy psychic balance). Leliel: our 12th angel's name literally means "Jaws of God," showcasing an engulfment of Shinji by his "imago Dei,” following the theme of previous angels. This is the last step before the "punch-line" of this very long descent; deflation of humanity's psyche towards Adam, and finally itself (Lilith; Lilin). Bardiel: our 13th angel's name literally means "Humiliated Son of God," which is one of the most interesting ones because it showcases the low of humanity's integration with the shadow (the angels), as necessary it can be for individuation — "homo homini lupus" (i. e., humans are as "dubious" [to humanity] as the angels). You must remember this is the one Toji "piloted," after all. Zeruel: our 14th angel's name literally means "Arm of God," a reference to the Bible's Cirviel, who was sent by God to help David slay the giant Goliath. Taking matters into NGE again, this one uplifts humanity against its giant obstacles and resistances towards integration and individuation, particularly Shinji's. With its title mainly based on strength, he forces him to become maybe one of his strongest selves seen in the series in order to be defeated. Arael: our 15th angel's name literally means "The Light of God," which is quickly obscured by the Spear of Longinus, also the weapon that according to tale faded Jesus's, therefore unleashing the binds (unconscious material) that held Lilith (consciousness). It uses its Absolute Terror Field (A.T. Field) as an attack rather than defense mechanism, probing into the target's mind and as a consequence torturing them. This angel is the most elusive of all because of its unclear strategic approach, seemingly more worried about researching our soul than attacking NERV itself (pun-intended?). It's also the one who comes closest to making our shadow submerge as a consequence of it. These facts begin portraying the true psychological nature of the angels in the series, demonstrating an almost complete successful assimilation of humanity's shadow (for which Asuka was notably still unprepared). Armisael: our 16th angel's name literally means "Mountain of Judgment of God," which can be a reference to Moses's receipt of the holy Bible’s commandments on the mountain. It comes down to also chastise Rei out of her shadow, forcefully moving humanity more towards its "dawnfall". The halo and likewise parasite appearance of this creature says much of itself; likewise the process of individuation (and how it can feel like). Tabris: Nagisa Kaworu, also known as Tabris, is one of the last angels, and beside Lilin, also the only one of truly humanoid-like (or "lilinic") figure, albeit possessing Adam's blood, therefore constituting in one individual the perfect integration (and at the end of his journey — individuation) of Adam and Lilith alike. At this point it should already be obvious the angels truly represent a pathway for humanity to come in contact with its other "self," in-between the many trials necessary for such fate to be accomplished. Like Jesus (according to tale) he sacrifices himself for us, despite the bereavement allowing Shinji and others to finally "ascend" psychologically throughout the narrative. Lilin: as a plot-twist which should not be surprising (if you are following me well), humanity itself constitutes an angel; the final trial stopping it from fully "integrating" (albeit dubiously, be it from Genji's or S.E.E.L.E.'s point of view, as shall be seen) and becoming in a final surge of inflation "more than human". As in a mandala, therefore, the snake must bite its own tail (that is, its own constitution) in order to form the full circle, representative of wholeness and plenitude in multiple cultures, as pointed out by Jung. Character(s): Shinji: Some background one needs to recapitulate on Shinji is that he literally lost his mother early; likewise his father, metaphorically, which are the main figures to help developing an individual's (conscious) psyche to adult(s') standards — the former specially with aspects of the anima, or feminine side (or the Imaginary, as it shall be attempted to draw a bold parallel), and the latter with those of the animus, or masculine side (or the Symbolic). Jean Piaget teaches us throughout his entire bibliography (particularly "The Language and Thought of the Child") that the child's development of cognitive abilities and consciousness itself highly depends on his exposition to adults, and the necessity to convey one's thoughts to them, therefore being forced to entail rationality, form, structure and procedure to their feelings. Both insights above are of importance: if Shinji lost the two adults most capacitated and responsible to help him out with such a development, then it becomes clear why his emotional side, anima, Imaginary and whatnot; likewise intellectual side, animus, Symbolic etc. aspects appear so unconscious and at the same time out of bound(ary) or organization throughout the whole series, thence resembling Adam (for his entailed primitive organization; symbology). So Shinji, like any kid's merrily programmed for birth and beyond, is in search of a soul (and as I know hardly anyone here will take the reference, it's one to a Jungian book), and as already mentioned in my last post, the narrative does no more than represent his path towards such strive, namely of becoming master; Subject (Lacanian reference) of his unconscious, as Adam attempts to overtake Lilith (in search for psychic balance). For Shinji doesn't know how to formulate such demand (or convert it into a [genuine] desire, like Lacan begs), he projects it (and that's basically the dawn of any analytical process)... on everyone — Gendo, Misato, Rei, Asuka etc., whilst likewise introjecting their insecurity (or uncertainty) in dealing with him; in summary his self-imposed crime and thence jail. When facing Sachiel ("The Price of God"), the 3rd angel, he pays the first "price" for finally "achieving his soul," namely forsaking it to someone else as every kid does after being born, namely his father — and with Shamshiel (the 4th angel) he as expected reaches towards his unconscious anima (since he's a man, his animus should be already conscious, despite heavily depending on Gendo for [its] validation) by protecting his friends and therefore see a reason beyond mere reason to fight, which would be to protect his classmates (see episode 3), an idea further advanced thanks to a bond formed with Rei when confronting Ramiel (the 5th angel). So Gaghiel, Evangelion's Leviathan, said in the Bible to only being prone to extinction by God, is defeated uncoincidentally along with Asuka's appearance, as if she was something numinous out there in the world which inconspicuously appeared to wreak (w)holiness into his mind; as if both had together ascended psychic apotheosis (inflation), but only for a short while until the real descent into unconsciousness begins. Asuka: Asuka is much like Shinji, in the sense she lost her mother early (also psychologically, indeed), but her farther, albeit alive, seems to be a somewhat missing figure in her family, though not as badly as Gendo. This at least should have allowed Asuka to develop to some extent her animus and Symbolic, which in one hand tend to backlash due to the more underdeveloped anima and Imaginary — thence she becomes crushed by the Other('s gaze, as is often the case with the Symbolic), desperate for validation just as for, on a more intimate, feminine note, attention —, while in the other she's highly upfront, feisty and stubborn, yet cold, distant and (frankly, but perhaps surprisingly) hollow at the same time. In that regard, Asuka also hungers; even suffers for a soul, and Shinji's regressed nature is exactly what she'd be looking for (namely her own projected; maybe even idealized unconscious, and eventually [w]holiness), albeit admitting to it fundamentally contradicts how she views herself (the reason why Kaji looks much more appealing to her), thus introjecting an image of her more instinctive socioemotional aspects (as often pertaining to that mental modality, firsthand — particularly the anima) becomes out of the question (surely, the unconscious has its reasons to be afraid of becoming conscious). The difference here is therefore that Asuka projects into others instead of onto them, being in a sense as boundless in consciousness (or Lilith, as you might remember) as Shinji in its counterpart (Adam). They're like yin and yang to each other, while Rei's higher similarity to Asuka, but likewise apparent disregard for their similar problems, makes her look preposterous in her eyes (aside her threatening proximity to Shinji [and to some extent Gendo], which makes Sohryu feel insecure). Asuka's first appearance with Gaghiel's defeat is a good introduction for her (psychologically inflationary) character. Moreover (and because of it), she's the perfect target of Shinji's twisted heroic journey's projection (towards individuation, as chronically the case with the Hero archetype, almost always represented by the protagonist). And as already foreshadowed, our next angel's name, Israfel, "means 'The Burning One,' which is interculturally reminiscent of 'passion,' but also 'Hell,' pointing to the ups and downs aced by Shinji and Asuka in order to defeat him," whence "The Brother" is called where "Asuka and Shinji show an uncoincidentally higher degree of cooperation in order to defeat him. Humanity must therefore unite against its numinous psychic matter" (character development and narrative development perfectly aligned, like I promised before). Such a process of cooperation eventually stumbles (as with many cases of unrequited/toxic relationships in general): Matarael's gaze (like the Other's) menaces to breach their Absolute Terror Fields (A. T. Fields, like a psychic defense mechanism, long ago described by Freud) and constitute a "Premonition of God" (his name, literally) as they can't manage to hide each other's shadow from one an-other/a-no-other throughout the series's development. In fact, Shinji becomes (w)hol(l)y exposed by Leliel (the 12th angel) just like Asuka eventually by Aerel (the 15th angel), and even Rei by Armisael (the 16th angel). Rei: As Lilith's vessel, Rei is thenceforth almost completely devoid of development when it comes to her anima (and I know it looks weird to see Lilith as representing the animus, but please don't take symbology too intuitively) and thus most instinctive/primitive (or Adam's) aspects, justifying much of the disregard towards preserving her own life (like the attempt of self-destruction against Zeruel and later successful one with Armisael, albeit on a more caring note for Shinji) or species (with socialization and sexuality). That doesn't mean she's completely lacking in those regards, and interactions with other humans (particularly Shinji) help her develop these basic abilities so lacking (albeit the same in his case, but not so badly) due to Rei's special circumstances, at the end betraying Gendo (specially regarding the manga) and (in this case genuinely) reaching apotheosis, have come to terms with her more feminine; maternal; nourishing side. Rei, as Yui's clone, symbolically represents how a mother's child (in this case, Shinji) can help her ascend psychologically, or with other words — explore more the anima aspects of her personality, whilst taking time away from the father/Gendo/Symbolic/Lilith (fusing at the end with Adam). On the other hand, she also helps Shinji come to terms with his anima (more specifically the Grand Mother archetype, for his anima itself was still to be faced against Asuka on "One More Final: I Need You"). She's the first to induce him to pilot the EVAs and come closer to his dad like any mom usually does (long story). Gendo: We don't know as much of Gendo as I would like, but since he's a side character, that's to be expected. It's easily presumable he has an underdeveloped feminine, anima, Imaginary side, which as a consequence remains unconscious and at the same time influences all of his behavior and posture towards life, particularly regarding the overdependence on Yui, a source of emotional support. It's interesting to note he works to NERV like his wife was associated to S.E.E.L.E. ("soul," in German), further revealing the contrast between anima and animus. It's obvious his influence on Shinji though, especially when it comes to Bardiel, the 13th angel, forcing him to almost (or effectively, in the manga) kill his friend, leading to Shinji's fallout on his Symbolic order, thence nearly losing all motivation to live if not for Kaworu's appearance. His death — along with Asuka's comatose and Rei's suicide — further brings him to a mental breakdown as he becomes ever unable to develop his psychological abilities with the help of others (as in principle any human does). Doubtlessly, Gendo is also in part important to Rei on Armisael, the 14th angel, when she attempts individuation by self-destruction from him altogether, killing along with herself the Symbolic order which so shackled her. As both Yui's clone and Lilith's vessel, she's the perfect image of his strive to reach the unconscious and become whole (selfishly and alone, unlike S.E.E.L.E., which wanted to unite all of humanity into a single being; not just Gendo and Yui, thus also offering a parallel between collective and personal unconscious). Yui: Yui played as much an influence on Shinji when it comes to the twelfth angel as Gendo did on the thirteenth, and the fact both are next to each other on the line shouldn't be taken coincidently, as the former represents a(n abrupt) contact with Shinji's anima as the latter with his animus. She also serves as Shinji's EVA (or Eve), a testament of (his) humanity's existence, constituting so to speak a feminine counterpart of Adam, whom Lilin, children of Lilith, much needs in order to achieve (w)holiness. That's why her sacrifice was such an important, vital part of S.E.E.L.E.'s projects. Yui plays a strong role on Shinji's contact with himself against Leliel, allowing him to come more into contact with his Grand Mother archetype until he finally became psychologically prepared to leave the EVA's "womb" (what he refused to after the fight). Ultimately, Yui's plan seems to have been bridging the possibility of "individuality" across instrumentality (which she was not able to fully prevent within her limitations) for humanity, operating in this sense much like Eve (see: https://wiki.evageeks.org/Theory_and_Analysis:Yui%27s_Agenda). Kyoko: Kyoko's imagery is the one to mostly overtake Asuka's mind during the conflict against the 15th and 18th angels. She seems to represent an insane version of Yui due to losing her mind thanks to the contact experiment, leading to Asuka's more damaged anima aspects than Shinji's. She confuses her with a doll of hers and therefore builds the foundation of Asuka's difficulties in dealing with her own emotions. There are also signs of highly unhealthy symbiosis, paving the way towards her need for attention, as if to recognize her own individuality. Her suicide can be taken as a step ahead from losing her S.E.E.L.E. ("soul") to EVA (or Eve) and then afterwards likewise her NERV(e) ("wits") due to her husband's affair, becoming devoid of either Imaginary or Symbolic, albeit this is already highly presumptive (and difficult to really elaborate). Kaworu: Kaworu, conversely to Rei, is Adam's vessel, and nonetheless possesses Lilith's blood, therefore amounting to a being of truly numinous and harmonious constitution. He chimes in as a substitute for Asuka due to her unstable mental condition, not only for NERV but also Shinji, who struggled to keep her at arm's length. Unable to come in contact with Lilith yet, for the unprepared world would blow up through that, Nagisa also offers him the chance to choose between instrumentality and individuality on The Third Impact (when humanity was ready for it), living up to his real name ("Tabris," or "Angel of Will", similarly to Lacan's concept of desire). As already noted: "Like Jesus (according to tale) he sacrifices himself for us, despite the bereavement allowing Shinji and others to finally 'ascend' psychologically throughout the narrative". Mari: Her name, in the context of Evangelion, shouldn't be taken lightly: she's Shinji's (holy) Mari, just like Yui is his Eve, Misato Lilith/Eve's substitute, Rei Lilith/Eve's vessel, and then Asuka his Lilith. In the Rebuild series, Mari is responsible for essentially firsthand providing Shinji light; (w)holiness (just like Mary to Jesus). It kind of drops the issue to be discussed ahead in the conclusion, though, but still. Finale: Shinji and Asuka side by side, like Adam and Lilith; their vessels watching from afar. Lilin (represented through "Rei's" corpse) died for the ascension of humanity. I guess it's time my posts soon reach their conclusion, as the snake bites its own tail in mandala, namely by uncoincidentally referring you to my first one — "One More Final: I Need You". The two Evas (or angels) on crosses across the beach could represent the crucifixion of each character's "imago Dei," a concept coined by Jung for reference to the psyche's natural drive to seek cohesion, wholeness, individuation (an ideal usually represented by gods and those associated with them, like obviously indirectly Jesus Christ on this imagery). That means both forsake such tendencies in the process of giving up instrumentality. An optimistic view could take it all as necessary for truly achieving spiritual; psychological (w)holiness, for “individuality” must be just as important in the end. We have Asuka and Shinji closing the curtain at the end. Both underwent the traumatic experience of losing their respective mothers and getting raised by absent fathers, causing the former to adopt obsessive countermeasures (characterized by attempting to divorce oneself from the Other), whilst the latter, hysterical ones (characterized by attempting to fuse oneself with the Other), leading them across the last scenes to grossly misunderstand each other, albeit in their innermost trying to protect themselves from loneliness; from losing the Other's desire again, a phenomena which would otherwise wreak havoc in their sense of self; their ego. Thence "I Need You" in the title. Shinji's conclusion showcased before the movie held through: he was free to be as he wished after integrating all of humanity; of what makes him human, within his heart, but as expected, there was nothing else out there — just a world where all values deceased in the process of discovering none were truly his, but ingrained in his psyche by society and humanity alike. No subjectivity (as Lacan begs) got yet explored; therefore no individuation (like Jung does) was achieved; just a negative transference (projected on Asuka), usually the most critical part of any analytical process (in other words, that where the analysand truly enlives; embodies his traumata against his analyst, addressed as such by him and thus evoked with uttermost liability to be finally addressed under a safe space and professional eye). As per Misato's grave (pinpointed by her cross necklace, whose symbolism is to us no longer unknown), Shinji was lying on the beach for some time till Asuka came, seeking nonetheless someone else's (the Other's) reassurance. He nonetheless tries to eradicate this “other” suffocating her from within (projective identification), until she somewhat "therapeutically" caresses his face, therefore leaving room for finally working through their feelings more productively. He breaks down realizing their validity, but Asuka admits disgust for being under such a position, therefore likewise validating hers too. In that sense, being finally able to see each other and themselves at the same time (thus breaking and subsequently reintregating each other's mirror image[ry]), some individuation is seemingly achieved, with a lot of work to still be done on both sides, and with hope both shall achieve a better intra- and interpersonal relationship, together or alone. The anime’s opening offers a good prognosis, at least: “If there is meaning in two people meeting, then maybe we’re doing this right. Within this trial — that might be the Bible —; the way we’ll both reach the ligh”t. Thus, Evangelion raises the case of personal individuation, psychological emancipation and uninhibited subjectivity for achieving one's new; more truthful "genesis" (or the “Neon Genesis Evangelion” — “The Gospel’s New Genesis”), instead of (like the opening also suggests) giving oneself in to collectivity, conformism or religion. Conclusion: Fiction has a way to move and dance with emotions such as science could only hope to achieve with thought and reason. What is then, after all, so enchanting about Evangelion? It’s certainly its unique ability of subtly merging themes of Abrahamic religions into a single narrative, with all the psychological implications of human suffering and existence, in-between exciting mecha action fights sequences, in such a way that touches our human heart, even when we are not able to formulate such feelings into thoughts. It is argued, in the end, that science is just formalized common sense, like art’s its counterpart for affect. We have here a thought-provoking innuendo on how two different individuals deal with the pain of having to raise themselves in a world which refused to do it for them in due time and period, confronting each other as if their difficulties were so different, yet the same, all too used to the rejection and disappointment of the individuals whom they trusted the most, thence unable to formulate their simple requests — as valid as any — for love, empathy, compassion, intimacy etc. Truth is, no human being goes through life without undergoing profound frustration in their social relationships. We’re animals evolved to communicate with one another, and yet it’s always difficult to find the right symbols to express our deep emotions, therefore we make deals: ideas, faiths, values, rules, religions, countries etc. Everyone has to go with it by intuition, just like we followed Evangelion, elusive as it is, and nonetheless I’m sure anyone with enough mental openness rightfully comprehended it, for its messages speaks genuinely to (and about) all of mankind. One only needs to be human. Epilogue: As a note of curiosity, if you check out my profile, Neon Genesis Evangelion isn’t in my favorites (unless maybe you check it out in the future), though, despite the time devoted to interpret it. That's because NGE follows like a (very beautiful and well-constructed) tragedy, and I just don’t like such story genre, personally. The show’s objectively good, as far as art, creativity and narrative go, but I prefer delving myself in works showcasing the ups of reality more than its lows, albeit this one will surely always stay with me, at my heart, due to its emotional significance, having helped me overcome depression and pursue understanding my mind just as it left me not understanding it for a long time. My tastes might nonetheless change in the future, and I’d like to invite all of you to send me a friend invitation in case this text was of any appreciation and importance in your personal opinion. Let’s make a most wonderful discussion in the comments! Thanks for reading! |
Sep 30, 12:11 AM
#2
| it wouldve been enough to just post this as a nge thread |
Sep 30, 3:52 AM
#3
Reply to keinboesewicht
it wouldve been enough to just post this as a nge thread
| @keinboesewicht I cited Mari at the end, so I wagered it made sense to share it here too. Don't mind me. |
Oct 1, 1:00 PM
#4
| Woah, this is so neat! I loved reading this, you were very thorough and covered points I don’t typically see with NGE reviews and analysis. I also really appreciate you breaking this up into points, certainly makes this whole thing a lot easier to read, haha. Just nice work! |
| Forum Icon is from Kekkai Sensen |
Oct 1, 2:35 PM
#5
Reply to Enivlens
Woah, this is so neat! I loved reading this, you were very thorough and covered points I don’t typically see with NGE reviews and analysis. I also really appreciate you breaking this up into points, certainly makes this whole thing a lot easier to read, haha. Just nice work!
| @Enivlens Thank you for your kind words. |
More topics from this board
Poll: » Evangelion: 3.0+1.0 Thrice Upon a Time Episode 1 Discussion ( 1 2 3 4 5 ... Last Page )S0UVIK - Aug 12, 2021 |
336 |
by ManaRexton
»»
Oct 12, 2:54 PM |
|
» Shin Evangelion Movie: II???? Why change the title now?Cestlavie_ - Nov 25, 2023 |
12 |
by El-Melloi
»»
Sep 9, 6:04 PM |
|
» Concerning the endingHardcoreHeld - Jul 3 |
8 |
by Swagernator
»»
Jul 28, 8:45 AM |
|
Poll: » time loop or multiverse?deg - Mar 19 |
13 |
by Swagernator
»»
Jul 28, 8:05 AM |
|
» Does Asuka and Shinji end up together in EoEMotherMisato - Aug 13, 2021 |
15 |
by Junichi_Hashiba
»»
Jul 22, 4:00 AM |