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The themes of have been the subject of continued casual and academic debate since the Japanese media franchise was created by Gainax. In Japan, a national debate about the anime Neon Genesis Evangelion resulted in widespread coverage of the show's endings and its retellings, contributing to the interest in academic analysis of the show. Most of the franchise features an apocalyptic mecha action story, which revolves around the efforts by the paramilitary organization NERV to fight hostile beings called Angels, using giant humanoids called Evangelions that are piloted by select teenagers. The psychological, religious and philosophical analysis the work represents the majority of the discussion. Evangelion's influence in postmodern apocalyptic narratives on the "sekaikei" genre has been great, but it remains the most successful example. ==Psychoanalysis== ''Evangelion'' has long been taken as a deeply personal expression of Hideaki Anno's personal struggles〔"Whereas Yamaga Hiroyuki last year said that Honneamise reflected his opinion of the world at the time he wrote and directed it, Anno Hideaki declared in last November's issue of Newtype that he's going only by his own value system in judging the series. That, combined with Anno's surprise remarks at the end of vol. 1 of "Eva" character designer Sadamoto Yoshiyuki's Evangelion manga (itself a similar, but "alternate" version of the anime story) that this project represents the end of four years that were for him no more than "simply not dying," indicate this anime TV series is personal and deeply felt to Anno." "Overriding it all, as the noted Japanese social writer, Sato Kenji, has remarked, is Anno Hideaki's overall honesty, his own whisper of the heart—"to live is to change"—from one of Japan's top animators, caught for four years in the personal hell of depression and helplessness as an artist. It helps to remind one that the people who make anime don't do it just for the often paltry living it provides, but to express what's inside them with these tools they know. To make something that means something to them is the reason Gainax makes everything. "Arrogant and selfish" is how Anno describes it." "Speaking Once as They Return: Gainax's Neon Genesis Evangelion"]; Carl Horn, AMPlus 1.2 1996〕 and his long battle with depression. From the start, ''Evangelion'' invokes many psychological themes. Phrases used in episodes, their titles, and the names of the background music frequently derive from Sigmund Freud's works,〔"Aside from Old Testament quotes, there are numerous cases in Evangelion of far-reaching references to such Freudian concepts as the Libido and death wish…", "Going off on a tangent, the choice of theme songs, "Thanatos—If I can't be yours" and "Come Sweet Death" both illustrate the importance of the death wish to the movie." pg 147, 150 of Fujie 2004〕 in addition to perhaps some Lacanian influences in general.〔"In the final episode, Anno is clearly referencing Freud and perhaps Lacan as the unseen voice inside Shinji's head explains to him that he creates his personality first through disassociating with the mother and then through distinguishing himself from others." pg 234 of Napier 2002〕 Examples include "Thanatos", "Oral stage", "Separation Anxiety", and "Mother Is the First Other" (the mother as the first object of a child's love is the basis of the Oedipus complex). The scenery and buildings in Tokyo-3 often seem laden with psychological import, even in the first episode.〔"Shinji and Misato's descent into the seemingly bottomless depths of Nerv headquarters can be read, as critic Endo Toru suggests, as a descent into the unconsciousness, metonymically reinforced by the profusion of downward escalators and elevators from which the protagonists emerge into a disorienting maze of long empty corridors and bizarre machinery (84). It is surely no coincidence that, in the first episode, Misato and Shinji enter Nerv only to become hopelessly lost, a situation that recurs symbolically and concretely throughout the series until the final episode explicitly displays Shinji as "lost" in his own subconscious." pg 428 of Napier 2002〕 The connection between the Evas and their pilots, as well as the ultimate goal of the Human Instrumentality Project, bear a strong resemblance to Freud's theories on internal conflict and interpersonal communication.〔"In the terms of the thermodynamic model which informs Freud's concept of the death drive, what is feared is the entropy' at work at the heart of all organization, all differentiation. By this same token the woman also signifies precisely that desired 'state where everything is the same': the pre-Oedipal bliss of the fusion of bodies in which infant and mother are "'inextricably mixed', that absence of the pain of differing, condition of identity and meaning, whose extinction is deferred until death." ―Victor Burgin 〕 The hedgehog's dilemma is a concept described by philosopher Arthur Schopenhauer and later adopted by Freud. It is the subtitle of episode 4 and is mentioned in that episode by Misato Katsuragi as descriptive of her relationship with Shinji.〔"The hedgehog's dilemma… The nearer we get, the deeper we hurt each other… I see."〕 Many of the characters have deep psychological traumas in relation to their parents. Shinji's introversion and social anxiety stem from the death of his mother at an early age and his abandonment by his father. Asuka was the target of her mother's insanity, and discovered her mother's body after she hanged herself; her tough, bullying personality is a means of distracting herself from her pain, and she has made piloting Unit 02 her only source of pride and satisfaction. Misato's father neglected her when she was a child; after he was killed in the Second Impact, she stopped talking for a couple of years. In episode 25, Misato states that she was both attracted to and afraid of Ryoji Kaji because he reminded her of her father. Ritsuko saw her mother having an affair with Gendo Ikari; after her mother's suicide she felt both attraction and hate towards Gendo. Indeed, the last two episodes are "stripped of the high-tech gadgetry and the colorful visuals that characterize the earlier episodes in the series, these last two episodes take place largely in muted tones… a form of interrogation proceeds to be carried out as he Besides the references to Freudian Psychoanalysis there are also some minor references to the theories behind Gestalt therapy, a form of psychotherapy influenced by both psychoanalytic ideas as well as philosophical notions of a holistic self, personal responsibilities and the consciousness. In episode 15 there is a reference to Gestalt's theory of change, the constant shifting between 'homeostasis' and 'transistasis' on which Fritz Perls commented in his work ''The Gestalt Approach and Eye Witness to Therapy''. Furthermore, episode 19 is entitled 'Introjection', a psychoanalytical term used by many Gestalt Therapists to indicate a neurotic mechanism used for the mental processing of experiences. Introjection is closely related to three other neurotic forms of mental processing; namely projection, confluention and retroflection. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Themes of Neon Genesis Evangelion」の詳細全文を読む スポンサード リンク
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