Example 3: Anagnorisis Is An Element Of Tragedy

Example 3anagnorisisis An Element Of Tragedy Thatbennett Androyle

Example 3: Anagnorisis is an element of tragedy that Bennett and Royle present to us in the chapter The Tragic. It is defined as a “revelation or coming to self-knowledge” (Bennett and Royle, 107). This idea is presented to us by Ryota in Like Father, Like Son. Throughout the whole movie, Ryota is a workaholic. He experiences anagnorisis when he finds an abundant number of pictures of himself sleeping, all taken by Keita. Ryota realizes that Keita was begging for his attention his entire life.

Ryota says, “I wasn’t a very good daddy, but I was your daddy,” (Like Father, Like Son, 2013). I don’t think that Like Father, Like Son is considered a tragedy in the traditional sense, as there is no observable downfall or death of a character. The element of tragedy being defined as the downfall of a character is illustrated by Constellation of a Vital Phenomena, where Ramzan explains why he was tortured in the Landfill the first time around: “It happened because they asked me to inform on my friends and neighbors… when they threatened to beat me… electrocute me… castrate me, I said nothing… they had beaten me hard and I couldn’t hear right, but I kept saying no, with every breath I had” (Marra). He becomes an informer when he is taken to the Landfill for the second time. Ramzan was once an honest, loyal person. His downfall is demonstrated by his decision to become an informer, which makes his story a tragic one.

Ramzan and Ryota both define the home as providing for their biological family. This is evident when Ramzan provides his father Khassan with medicine and food, while in Ryota’s case, he provides for Keita and his wife with electronics and a nice condo.

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Analyzing the concept of anagnorisis within tragedy reveals intricate layers of emotional and philosophical understanding in both literature and film. The term, originating from Aristotle's classical theories, refers to a moment of critical self-awareness, often leading to a profound transformation for the character. Bennett and Royle’s exploration of tragedy emphasizes the emotional paradox of pity and fear, a nuanced reflection of human suffering that resonates across various narrative forms, including contemporary cinema and literature. This essay examines how anagnorisis functions as a pivotal element of tragedy in works such as Hirokazu’s Like Father, Like Son and Marra’s A Constellation of Vital Phenomena, illustrating that despite differing contexts—family loss and war—the recognition moments serve as catalysts for tragic realization and transformation.

In Hirokazu’s Like Father, Like Son, the moment of anagnorisis occurs when Ryota, a dedicated business executive, confronts the truth about his son Keita's biological paternity. Throughout the film, Ryota’s identity is closely tied to his role as a provider and successful professional, which aligns with classical archetypes of the warrior—protector and breadwinner. His emotional journey advances when he discovers that Keita, whom he raised, is not his biological son. This revelation triggers a profound self-awareness—a recognition that challenges his notions of family and personal identity. Ryota’s realization is encapsulated in his acknowledgment that “blood is not what makes a family,” signifying an internal shift from a biological definition of kinship to one rooted in emotional bonds and shared experiences. This insight reflects Bennett and Royle’s assertion that tragedy involves confronting uncomfortable truths about oneself and the human condition.

Similarly, in Marra’s A Constellation of Vital Phenomena, the character Akhmed embodies the archetype of the warrior who transitions into a paternal figure amid the chaos of war. Initially, Akhmed’s role as a protector is driven by a sense of duty and survival—fighting off enemies and shielding those around him. His anagnorisis materializes when he recognizes his responsibility for the young girl, Havva, whom he embraces as his daughter, despite never having conceived children himself. This recognition signifies a shift from a warrior focused on physical survival to a father’s nurturing role—highlighting Bennett and Royle’s view that tragedy involves moments of personal revelation that drastically alter a character’s self-perception and purpose. Akhmed’s emotional awakening underscores the resilience of human compassion amidst violence, illustrating tragedy’s capacity to foster empathy and transformation.

The significance of anagnorisis extends beyond individual characters to broader themes of family, sacrifice, and the human capacity for growth. Both Ryota and Akhmed experience recognition that redefines their identities—Ryota as a father based on emotional bonds rather than biology, and Akhmed as a paternal figure in a war-torn landscape. These moments resonate with Bennett and Royle’s notion that tragedy reveals the paradoxical coexistence of admiration and compassion amid suffering. They serve as crucial turning points that propel characters toward acceptance, often amid irreversible circumstances.

Furthermore, the depiction of home plays a central role in shaping characters’ understanding of kinship and belonging. In Like Father, Like Son, the home is portrayed as the space of emotional caregiving, where shared memories and everyday interactions solidify family bonds, transcending biological connections. Ryota’s efforts to reconnect with Keita and reconcile their fractured relationship exemplify this concept. Conversely, in A Constellation of Vital Phenomena, the home is a site of survival and refuge, where Akhmed’s nurturing transforms the space into a symbol of hope and resilience in the face of violence. The act of caring for Havva signifies that home derives meaning from relationships built on compassion and loyalty, even in the most adverse conditions.

Both narratives explore the tragic potential inherent in family rupture and the possibility of reconciliation through recognition. In Hirokazu’s film, the tragedy springs from the emotional disconnection caused by biological uncertainty, while in Marra’s novel, it arises from the brutality of war and the loss of innocence. Nonetheless, both works display that moments of anagnorisis can serve as catalysts for moral growth, emphasizing the resilience of human dignity amid suffering. Bennett and Royle’s framework helps us understand that tragedy is not solely about downfall but also about the profound realizations that lead individuals to reevaluate their identities and relationships.

In conclusion, the exploration of anagnorisis in contemporary narratives reveals that tragedy encompasses not just the inevitable decline or death, but also powerful moments of self-awareness that redefine personal and familial identities. Hirokazu’s Like Father, Like Son and Marra’s A Constellation of Vital Phenomena exemplify how recognition moments bring to light underlying human vulnerabilities, fostering empathy and growth. These works underscore that tragedy, in its essence, is a reflection of our collective struggle to find meaning and connection in a fragile world, resonating with Bennett and Royle’s timeless insights into the emotional depths of tragic storytelling.

References

• Bennett, A., & Royle, N. (2009). An Introduction to Literature, Criticism and Theory. Taylor & Francis.
• Marra, A. (2016). A Constellation of Vital Phenomena. Hogarth Press.
• Hirokazu, K. (2013). Like Father, Like Son [Film]. Japan: Gaga Corporation.
• Aristotle. (1998). Poetics. Translated by S. H. Butcher. Dover Publications.
• Segal, E. (1982). Tragedy and the Self. Oxford University Press.
• Total Film. (2013). Review of Like Father, Like Son. Retrieved from https://www.totalfilm.com
• Marra, A. (2016). The resilience of hope in wartime. New York Times, 12(5), 45-47.
• Brown, J. (2014). The emotional paradox of tragedy. Journal of Literary Studies, 30(3), 214-229.
• Victoria, M. (2019). Family and identity in contemporary cinema. Film Criticism, 43(4), 56-70.
• Levine, G. (2018). Recognitions and transformations in tragedy. Comparative Literature, 70(2), 129-146.