I began assembling the documentation. I gathered nearly 30,000 words of literature. As a result, I divided the literature into three sections, and the next two blogs are also based on the literature I compiled. It is my habit to organize all of the literature related to my research according to the thesis outline. This allows me to read the relevant information more quickly as I write each chapter. As I read through the literature or books, I add pertinent information to my bibliography.
A synopsis of the first section of the literature:
Collation.
The anti-hero concept can be traced back to the artworks of the ancient Greek period and has emerged in the historical timeline almost simultaneously with the existence of the term ‘hero’, so popular today due to the literary and visual narratives. However, the anti-hero is an ambiguous concept with no clear boundaries or characteristics. Despite this historical context and popularity, it is only concerned with what it is not rather than what it is. As can be seen, the anti-hero is generally defined as a protagonist with non-traditional heroic characteristics’, ‘in opposition to the hero’. It is embodied in fiction as a principle of contrast, representing the opposite viewpoint as a practice. A common approach to social values, to humanity and to the world. This paper argues for the definition, roots and development of ‘anti-hero’. Based on the definition of the term ‘hero’, reference will be made to the evolution of the hero throughout history in order to understand the emergence of the term ‘anti-hero’ as a result of the principle of contrast. “The existence of the term ‘anti-hero’ and the way in which it is expressed in fictional texts will be presented by emphasising the changing character of the hero since the emergence of the genre. (From ancient heroes to anti-heroes: the origins and development of the idea of the hero)
“Anti-heroes” (anti-heroes) emerged alongside heroes in the heroic era of Western society, often as supporting characters to heroic characters and as scandalous characters in stories ([1] Mou Tong. From hero to anti-hero-T.S. Eliot’s early poetic hero’s dilemma[D]. (Beijing Foreign Studies University, 2015.05.) After the Renaissance, however, anti-heroic characters began to appear as protagonists in literature, and the heroic figure gradually moved from the solemn and sublime to a sad fall and deconstruction. The ‘anti-heroism of the literary image was gradually established in new modern and postmodern contexts. The Oxford Dictionary of Literary Terms explains that ‘anti-heroes’ are different from the traditional heroic figures in the sagas and epics of medieval European literature, who do not possess the nobility of the ideal heroic figure in the eyes of the world. “An ‘anti-hero’ is a person who, after being subjected to the multiple torments of a complex society in a world of light and absurdity, recognises the morbid realities of a dark society but is frustrated in his or her resistance or is sober and resourceful in his or her struggle. （On the one hand, anti-heroes are self-seeking, cynical and have the noble qualities of traditional heroes; on the other hand, they lack a strong will and perseverance, nor do they have the wisdom and courage to surpass ordinary people, being plagued by their instinctive desires and also by the vices of the society they oppose. They are haunted by their instinctive desires and the vices of the society they oppose. Their humble souls have a lingering shadow, sometimes demonic, sometimes angelic, seeking to redeem themselves in a divided spirit. (A study of the “anti-hero” characterisation paradigm in animated film productions)
1.3 Types and characteristics of the anti-hero [200 per part
3. 3. 2 The advantages and applications of the ‘anti-hero’ narrative
By structuring and reshaping the traditional hero, the “anti-hero” shortens the distance between the protagonist and the audience.
Secondly, the ‘anti-hero’ and the hero complement each other. “In structuring the role of the hero, the ‘anti-hero’ further enriches the image of the hero and expands his connotations. Traditionally, the hero is a towering figure, almost perfect and worshipped, but they do not belong in the real world. The anti-hero is different from the non-heroic image. The word ‘anti-‘ does not mean to oppose or deny, but rather to be perverse, different and out of the ordinary. The definition of an anti-hero is very broad. The heroes in traditional films are predominantly male, so in contrast, female heroes are anti-heroes, such as the female image of Mulan in Mulan; heroes are mostly the embodiment of justice and have noble qualities, so those lowly heroes are anti-heroes, such as the hero Aladdin in Aladdin, who is transformed from a scoundrel to a hero who saves the country and punishes traitors. The hero saves his country and punishes traitors. These figures are all anti-heroes.
Firstly, anti-heroes have a strong rebellious character in them. These heroes dare to confront authority, break with traditional values, and prove by their actions the absurdity and incomprehensibility of society. They often feel bitter and helpless under the shackles of inherited values, and when their bitterness builds up to a certain level, they explode uncontrollably. For example, in Zootopia (2016), Judy is a small, thin rabbit who dreams of becoming a police officer who dispenses justice and punishes the wicked. While all the rabbits around here are going about their “ancestral business” of growing carrots, Judy is not interested in the business passed down from generation to generation. Her dream is to make a name for herself in the big city. In Judy’s world of animals, the police are always big, like lions and tigers. Judy has to convince her parents to make her dream come true, but she also has to prove that she is no less capable than these big animals. By teaming up with her fox friend Nick, Judy eventually solves a major crime in Animal City and becomes the city’s hero. With her rebellious and flamboyant personality, she shows her defiance of authority.
Secondly, there is also a strong sense of tragedy in the anti-hero characters. For example, in The Godfather, Gru is a godly thief with “great skills” and is an uncompromising villain. He originally planned to use three orphans to realise his plan to steal the moon, but in the end, he was so touched by their innocence and kindness that he gave up his original plan and became the guardian of the moon instead. Gru, who is considered evil, became what he is because he was traumatised in his childhood. Because his long failure to gain his mother’s approval cast a shadow over his upbringing, he grew up to be extremely destructive and did many bad things in the hope of gaining the approval of the world. The tragedy in Gru is the result of family tragedy and character tragedy. But the good nature in Gru’s heart remains intact, and at the crucial moment when good and evil face-off, he realises his mistake and eventually corrects his wrongdoing in time. Gru is the quintessential anti-hero, with many weaknesses and flaws that do not belong to a heroic character, but which he is able to overcome in the end to achieve the great feat of heroism. (The ‘anti-hero’ narrative in American animated films)
I’ve compiled a large amount of literature, so I’ve decided to share only a portion of it this time. If I have time, I will update it later.