Ghost in the Shell: Relational Actorness in Moments of Crisis

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F26482789%3A_____%2F24%3A10152692" target="_blank" >RIV/26482789:_____/24:10152692 - isvavai.cz</a>

Výsledek na webu

<a href="https://www.bloomsburycollections.com/monograph-detail?docid=b-9798765100950&tocid=b-9798765100950-chapter7" target="_blank" >https://www.bloomsburycollections.com/monograph-detail?docid=b-9798765100950&tocid=b-9798765100950-chapter7</a>

DOI - Digital Object Identifier

<a href="http://dx.doi.org/10.5040/9798765100950.ch-7" target="_blank" >10.5040/9798765100950.ch-7</a>

Jazyk výsledku

angličtina

Název v původním jazyce

Ghost in the Shell: Relational Actorness in Moments of Crisis

Popis výsledku v původním jazyce

Ghost in the Shell (henceforth, GitS) is a cyberpunk media franchise situated in the near future when significant developments in robotics and AI are achieved. The franchise originated as a Japanese manga authored by Masamune Shirow, which started being published in 1989 (Shirow 2017) and was later re-created as film, TV series and video-game adaptations. The 1995 movie Ghost in the Shell (Oshii 1995) and its sequel Ghost in the Shell 2: Innocence from 2004 (Oshii 2004), both directed by Japanese filmmaker Mamoru Oshii and the 2017 Hollywood remake of the 1995 film directed by Rupert Sanders (Sanders 2017), are arguably the most well-known follow-ups of the original manga. These movies and the manga comics are the ones that I mainly discuss. In this chapter, I focus on the pivotal protagonist of the franchise, Major Motoko Kusanagi, who is presented as a cyborg with a human brain and one of the best operatives of a governmental security agency (the so-called Section  9). The central dilemma Kusanagi deals with is whether and to what extent she is human/e. My goal in this chapter is to understand what kind of a &apos;philosopher&apos; Kusanagi is and what she teaches us about the meaning of the subject (self, personhood) and the subject&apos;s agency. Kusanagi&apos;s philosophical endeavours are intricate. While she deals with some of the most long-standing philosophical questions, she finds herself in a world without philosophers and clear guidance. Moreover, although she tries to understand and get closer to her &apos;ghost&apos; (inner soul-like quality), I argue that her subjectivity (personhood) and actorness are ultimately defined by relationships with and actions towards others. It is because, just by itself, Kusanagi&apos;s search for her ghost does not help her solve the identity questions.

Název v anglickém jazyce

Ghost in the Shell: Relational Actorness in Moments of Crisis

Popis výsledku anglicky

Ghost in the Shell (henceforth, GitS) is a cyberpunk media franchise situated in the near future when significant developments in robotics and AI are achieved. The franchise originated as a Japanese manga authored by Masamune Shirow, which started being published in 1989 (Shirow 2017) and was later re-created as film, TV series and video-game adaptations. The 1995 movie Ghost in the Shell (Oshii 1995) and its sequel Ghost in the Shell 2: Innocence from 2004 (Oshii 2004), both directed by Japanese filmmaker Mamoru Oshii and the 2017 Hollywood remake of the 1995 film directed by Rupert Sanders (Sanders 2017), are arguably the most well-known follow-ups of the original manga. These movies and the manga comics are the ones that I mainly discuss. In this chapter, I focus on the pivotal protagonist of the franchise, Major Motoko Kusanagi, who is presented as a cyborg with a human brain and one of the best operatives of a governmental security agency (the so-called Section  9). The central dilemma Kusanagi deals with is whether and to what extent she is human/e. My goal in this chapter is to understand what kind of a &apos;philosopher&apos; Kusanagi is and what she teaches us about the meaning of the subject (self, personhood) and the subject&apos;s agency. Kusanagi&apos;s philosophical endeavours are intricate. While she deals with some of the most long-standing philosophical questions, she finds herself in a world without philosophers and clear guidance. Moreover, although she tries to understand and get closer to her &apos;ghost&apos; (inner soul-like quality), I argue that her subjectivity (personhood) and actorness are ultimately defined by relationships with and actions towards others. It is because, just by itself, Kusanagi&apos;s search for her ghost does not help her solve the identity questions.

Druh

C - Kapitola v odborné knize

CEP obor

—

OECD FORD obor

50601 - Political science

Projekt

—

Návaznosti

I - Institucionalni podpora na dlouhodoby koncepcni rozvoj vyzkumne organizace

Rok uplatnění

2024

Kód důvěrnosti údajů

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

Název knihy nebo sborníku

Finding Philosophers in Global Fiction: Redefining the Philosopher in Multi-cultural Contexts

ISBN

979-8-7651-0091-2

Počet stran výsledku

10

Strana od-do

97-106

Počet stran knihy

304

Název nakladatele

Bloomsbury Academic

Místo vydání

New York

Kód UT WoS kapitoly

—