skip to main content

Perwujudan Konsep On Pada Tokoh Frieren dan Heiter Dalam Anime Sousou No Frieren Karya Kanehito Yamada

*Emilia Fortuna Indriani  -  Jurusan Sastra Jepang, Universitas Dian Nuswantoro, Jalan Nakula I No. 5 - 11, Pendrikan Kidul, Kec. Semarang Tengah, Kota Semarang, Jawa Tengah, 50131, Indonesia, Indonesia
Budi Santoso  -  Jurusan Sastra Jepang, Universitas Dian Nuswantoro, Jalan Nakula I No. 5 - 11, Pendrikan Kidul, Kec. Semarang Tengah, Kota Semarang, Jawa Tengah, 50131, Indonesia, Indonesia
Open Access Copyright (c) 2024 by authors under http://creativecommons.org/licenses/by-sa/4.0.

Citation Format:
Abstract

This study is intended to determine how the embodiment of the value of on, gimu, and giri in the characters Frieren and Heiter in the anime Sousou no Frieren by Kanehito Yamada. The author uses descriptive qualitative method. This research design uses literary anthropology, which leads to literary text research that examines literary reflections as cultural reflections.  The data source was taken from Muse Indonesia's Youtube channel video entitled "Frieren: Beyond Journey's End" on episode 1-2. Frieren receives more on, giri, and gimu than Heiter because Frieren does not understand the concept of gratitude. She has a cold personality and lacks the ability to understand how quickly time passes for humans. After understanding the concept, Frieren tried to repay the debt of gratitude she had not been able to do. Frieren is able to pay his debt or giri in a timely manner. Heiter understood the concept of on so he did not carry as much of the burden of the values of on, giri and gimu as Frieren. Frieren and Heiter both carried the gimu ko to Himmel. Heiter managed to complete his gimu because he really took care of Fern until the end of his life. Frieren, on the other hand, had done her gimu and continued her gimu as part of her life principles. It can be concluded through this anime, Japan still maintains the moral concepts of on, giri and gimu.

Fulltext View|Download
Keywords: On; Giri; Gimu; Sousou no Frieren; Debt of Gratitude

Article Metrics:

  1. Ariyanto, N. I., & Santoso, B. (2024). Sewa Pacar Sebagai Bentuk Aktualisasi Diri Pada Tokoh Kinoshita Kazuya Dalam Video Channel YouTube Muse Indonesia Berjudul “Pacar Sewaan” Episode 2. Kiryoku: Jurnal Studi Kejepangan, 8, 91. https://doi.org/10.14710/kiryoku.v8i1.91-102
  2. Endraswara, S., & Surani, D. (2013). Metodologi Penelitian Antropologi Sastra. Penerbit Ombak (Anggota IKAPI)
  3. Fredy, M. (2016). Konsep Giri Dan Ninjou Pada Persahabatan Tokoh Nobita Dan Doraemon Dalam Anime Stand By Me Doraemon Karya Sutradara Takashi Yamazaki Dan Ryuuichi Yagi [Sarjana, Universitas Brawijaya]. https://repository.ub.ac.id/id/eprint/102125/
  4. Hermawan, A. (2015). Unsur Intrinsik Novel Sang Pemimpi Karya Andrea Hirata Sebagai Alternatif Bahan Ajar Membaca Di SMP. Riksa Bahasa: Jurnal Bahasa, Sastra, dan Pembelajarannya, 1, 146. https://doi.org/10.17509/rb.v1i2.8755
  5. Izhharuddin, M. (2018). Perwujudan Giri Dan Ninjou Yang Tercermin Dalam Persahabatan Tokoh Utama Luffy Dan Bentham Pada Anime One Piece Karya Eiichiro Oda (Kajian Antropologi Sastra) [Undergraduate, Diponegoro University]. http://eprints.undip.ac.id/62726/
  6. Kenji, M. (1994). Kamus Jepang-Indonesia. In Kamus Jepang-Indonesia (松浦健二著。日本語ーインドネシア語辞典) (p. 218). Kyoto Sangyo University Press
  7. Kusumajati, A. J. (2020). Perwujudan Konsep Giri Dan Ninjou Yang Tergambar Pada Izuku Midoria Dalam Manga Boku No Hero Academia [Undergraduate, Diponegoro University]. http://eprints.undip.ac.id/80877/
  8. Lafamane, F. (2020). Karya Sastra (Puisi, Prosa, Drama) [Arts and Humanities]. https://doi.org/10.31219/osf.io/bp6eh
  9. Maulana, R. (2020). Bentuk Interaksi Sosial Dan Pengaruhnya Terhadap Tokoh Tanaka Dalam Anime Tanaka-Kun Wa Itsumo Kedaruge Karya Nozomi Uda (Kajian Psikologi Sosial) [Other, Universitas Komputer Indonesia]. https://elibrary.unikom.ac.id/id/eprint/3151/
  10. Ramadhan, F. H., & Ummah, N. W. (2023). Konsep On Masyarakat Jepang dalam Film Tenki no Ko (2019) Karya Makoto Shinkai. Sentralisasi Peran Bahasa dan Sastra Indonesia Menuju Masyarakat Berliterasi, 1(Vol 1 No 1 (2023): Prosiding Seminar Kolaborasi Akademik Dosen-Mahasiswa). http://conference.fib.unsoed.ac.id/ojs/index.php/kokadoma/article/view/155
  11. Salsabila, N. (2018). Konsep On, Gimu, Dan Giri Dalam Film Eien No Zero Karya Sutradara Takashi Yamazaki [Sarjana, Universitas Brawijaya]. http://repository.ub.ac.id/id/eprint/166237
  12. Sauramaa, N. A. (2021). The Use Of Religion In Anime And Manga And The Effects It Has On The Viewer [Master Thesis, University of Eastern Finland]. http://urn.fi/urn:nbn:fi:uef-20211233
  13. Walansendow, S., Pandi, H., & Sompotan, A. G. (2022). Analisis Nilai-Nilai Budaya Dalam Cerita Kaguya Hime No Monogatari. KOMPETENSI: Jurnal Ilmiah Bahasa & Seni, 1(Vol. 1 No. 06 (2021): KOMPETENSI: Jurnal Ilmiah Bahasa dan Seni), 562–570. https://doi.org/10.53682/kompetensi.v1i06.1978
  14. Widyahening, C. E. T. (2014). Film Sebagai Media Dalam Pembelajaran Sastra. Widya Wacana: Jurnal Ilmiah, Vol. 9 Nomor 2 Agustus 2014(Vol. 9 No. 2 (2014): Widya Wacana), 38. https://doi.org/10.33061/ww.v9i2.960
  15. Yamada, K. (Director). (2023, September 29). Frieren: Beyond Journey’s End [Petualangan, Drama, Fantasi]. https://www.youtube.com/watch?v=n3dEvVDH4rA&t=431s
  16. Zaki, I. (2021). Nilai Karakter Pada Anime Kimi No Nawa Karya Makoto Shinkai [Other, Universitas Darma Persada]. http://repository.unsada.ac.id/3698/

Last update:

No citation recorded.

Last update: 2024-12-25 13:58:28

No citation recorded.