This thesis presents the icon of Godzilla as a case study in how meaning becomes ‘volatilized’ by repetition. Given the repetitive nature of the Godzilla franchise (36 films and counting) the...Show moreThis thesis presents the icon of Godzilla as a case study in how meaning becomes ‘volatilized’ by repetition. Given the repetitive nature of the Godzilla franchise (36 films and counting) the monster became a ‘floating signifier’; he can mediate a variety of interpretations within his representation, a compounding of signification that makes the Godzilla icon somewhat illegible. Godzilla (1954) being the ‘the primary text’ was a mediation of trauma Japan suffered from the war, displaying previously suppressed perspectives. The film became a global success, which elicited repetition. The property remained Japanese and is considered an exercise of soft-power for Japanese culture, but its transformation into a Godzilla-themed spectacle eroded the signification that spawned the icon which became self-referential for its audience. What sets the original and its sequels apart was its inception: in 1954 the production presented a narrative based on shared experiences. In 2016 came a Godzilla-film with similar aspirations, a case of ‘circular signification’ (returning to meaning despite volatilization). How does Godzilla as a volatile icon engage in circular signification and why is this exceptional?Show less
Master thesis | Classics and Ancient Civilizations (MA)
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This thesis is meant to shed some light on the subject of the benben-stone. To find an answer to the research question 'Can the benben-stone be perceived as a pareidolia?', the nature of the benben...Show moreThis thesis is meant to shed some light on the subject of the benben-stone. To find an answer to the research question 'Can the benben-stone be perceived as a pareidolia?', the nature of the benben-stone is discussed. The original benben-stone as well as the later versions are examined and pareidolias and simulacra within Egyptology are reviewed.Show less
