Identity and Individuality of Derivative Fictions: Fictional Archetype and Equivalency of a Movie to the Original Novel

I have started sharing the study of fictionality based on the movie Peter Pan, as a derivative work of the original novel Peter and Wendy on "X".

Identity and Individuality of Derivative Fictions:
Fictional Archetype and Equivalency of a Movie to the Original Novel

https://twitter.com/mackuro3/status/1751806955272929629

Beginning part of the discussion is cited below.
By examining specific elements that testify equivalence and difference between the Movie Peter Pan and the original novel Peter and Wendy, contrasting details in each scene and narrative, one is able to consider the ontological issue that seems to require the extension of the range of equivalence judgments regarding the concept of identity in a fictional work.
By tracing the process of various phase transformations between the conceptual description of the original novel and the visual depiction attained in the film work, it is possible to evaluate the phase of the fictional description as a suggestion for the possibility of acknowledging substantial equivalence in semantic space and branching manifestations in possible modalities, which may be ascertained in parallel universes posited in quantum physics many-worlds interpretation. The same multi-cosmic mode of existence representation that may be pointed out in personality and phenomena is also attained as transformed description in the visual work.
The Special Theory of Relativity (1905) and the General Relativity Theory (1916), published one after another by Albert Einstein in the early 20th century, asserted the mutually dependent property of time and space. And the time that had been understood as a universal physical factor that acts uniformly in all regions of the universe in Newtonian mechanics, as the basic framework of conventional science, has come to be accepted in continuity with space. As a result, the concept of “simultaneity” of momentary events generation, which was once accepted as a rule of thumb, also collapsed.
　Furthermore, in the knowledge opened up by quantum mechanics, which developed rapidly thereafter, it has been recognized that quantum beings represented by electrons do not have the physical constraint that they occupy a specific position at a specific time. It was accepted as the premise that elementary particles, which should be the constituent units of an atom as the smallest particles of matter, are something unknown with the basic property of “uncertainty” that is fundamentally free from the inherent coordinates that should occupy space as an entity. Thus, the concept of “objective physical existence,” which had been supposed to construct the basic unit of scientific thinking, was also forced to be completely abandoned. As a result, it is required to comprehensively reaffirm the metaphysical significance of these concepts from the higher dimensional interface that transcends the spatial and temporal constraints of everyday experience, in response to the recognition itself of “extension as an entity of individual thing” and “identity of beings confirmed by the temporal continuity of spatial coordinates” that were the basic premise of empirical understanding of events. An establishment of integrated theory of identity and correspondence must be demanded.
　In this way, all beings, phenomena and personalities etc., to be perceived were forced to be reexamined of their conceptual characteristics from a new perspective regarding their identity on whether as independent individual objects or as their equivalence with spatially discontinuous “others.” The logic of personality understanding as a complex of meanings possessed by a single unit of existence, and the logic of understanding what has been considered to be human existence as a process of experiential action that locally traces the generation of phenomena in space-time, are both required to develop an integrated conceptual field that should be described sequentially.
　 Naturally, pure ideational beings, which have been accepted as names for fictional works, also need to be renewed in consideration of the extendibility of the scope of the application of the concept of identity not only to the substance of “individuality” but also to various derivative works and related beings in attributes and thematics.
The so-called “Hamlet legend” existed long before Shakespeare wrote the theatrical work Hamlet (The Tragedy of Hamlet, Prince of Denmark, 1600~1602), and the existence of previous works that are thought to be equivalent to the “original Hamlet" have been pointed out in various ways. Furthermore, it has been pointed out that even in the scripts that should be considered “original” written by Shakespeare himself, there are several versions, such as Folio, Quarto and Octavo versions, and there are various problems as to which of these can be strictly identified as the original manuscript of William Shakespeare’s creation.
The so-called “Hamlet legend” existed long before Shakespeare wrote the theatrical work Hamlet (The Tragedy of Hamlet, Prince of Denmark, 1600~1602), and the existence of previous works that are thought to be equivalent to the “original Hamlet" have been pointed out in various ways. Furthermore, it has been pointed out that even in the scripts that should be considered “original” written by Shakespeare himself, there are several versions, such as Folio, Quarto and Octavo versions, and there are various problems as to which of these can be strictly identified as the original manuscript of William Shakespeare’s creation.
　In the same way, the Faust Legend was passed down in various ways among the people even before the publication of Goethe’s screenplay Faust (Part 1, 1808, Part 2, 1833). It is a well-known fact that in England, Christopher Marlowe’s play Doctor Faustus (published in 1604) premiered in 1592, long before the publication of Goethe’s play Faust. For fictional works with thematical similarities that employ common legendary or historical characters, it is possible to identify and distinguish each work by adding selective designations such as “Goethe’s Faust” and “Marlowe’s Faust”, respectively, but the distinctive logic for their description is not confirmed. We cannot ignore the existence of a solution that they can be understood to be embodied in the present universe as “Marlowe’s version of Faust” and “Goethe’s version of Faust” as a result of these two works being derived and arising as a projection of a single primordial fictional entity onto the phenomenal interface, as a result of a series of combinations of space-time causality through multiple authors. For it is inferred that the logic of recognizing that the apple of that mountain is identical to the apple of this mountain can be applied equally to the myriad of fictional beings with the characteristics and attributes of Faust.
　Unless the principle of synchronicity is guaranteed between the sign of the idea and the entity to be referred, neither the concept of “mountain” in the case of that mountain nor the concept of “mountain” in the case of this mountain is confirmed to be more than a projection of subjective delusion. According to the claim of nominalism, there are no “mountains” in nature as it is, nor even any concrete objects corresponding to the ideas of apples, trees, or plants. Similarly, not only “things” but also “trials” and “events” do not have any equivalents that can be identified by a universal rule, but only what is tentatively called an indivisible, endless continuum of time and space is. However, it has been the state of contemporary thought since the 20th century that people confronted with a situation in which the concept of “existence” itself has suddenly been dislocated and has lost its axis as an objective correlative.

Apology of Fictionality: Neurocosmology and Consciousness in Madlax

A fictional work is composed of several perspectives that function as axes for constructing particular possible world.
The urge for reconstructing the interconnected mechanism of reality in order to acquire meta-meanings that surmount the limit of phenomenon attested by learnings of observed facts interpreted as mechanical cause and effect chain procedures played by mass units, suggests consciousness’ contemplative aspiration for developing higher qualia that may contribute to constructing meta-personality through fictional creations.
Hypernatural presentation affords the work with specific density as a possible world, and speculative perspectives organized in the making of fictional works contribute to enlarging the dimension of the conceived possibility field.
These activities acknowledged in individual concern with fictionality attest the consciousness’ creative demand for attaining meta-personality through contemplation on diverse existential modes of the primordial universe.
The personality is supposed to be a psychical state that is manifested in both real and fictional worlds in its diverging phases as coherent representation, that primordial psyche may assume reflecting the relational links to the whole phases embedded in the primordial universe.
As manifold universes are supposed to exist, myriad forms of personality may be able to emerge as various possible expressions of the primordial meta-personality. Primordial consciousness may assume infinite number of expressions of personality through various possible worlds that may be revealed in both actuality and in fictionality phases.

I have developed a speculative argument based on the study of animated film Madlax.
https://www.academia.edu/23574076/A_Study_of_Madlax


Key ideas created in order to grasp the manifold space structure of fictionality, hypernatural presentation and fictional perspective, are discussed applied in the study of the animated films True Tears and Glass lip.

2016 anime study true tears and glass lip.docx

https://www.academia.edu/32418799/2016_anime_study_true_tears_and_glass_lip_docx

Mr. Katsuhisa Yamada's Memories of Cel anime making period

I shared Mr. Katsuhisa Yamada's memories of Toei Douga and the making of Tiger Mask on Academia.

It is divided in two parts.

Mr. Katsuhisa Yamada's Memories of Cel Anime Making: Q&A Between Anime Obsessive and Makoto Kuroda on "X"
https://www.academia.edu/113266093/Mr_Katsuhisa_Yamadas_Memories_of_Cel_Anime_Making_Q_and_A_Between_Anime_Obsessive_and_Makoto_Kuroda_on_X_

Mr. Katsuhisa Yamada’s Memories of Cel Anime Making: Q&A Between Anime Obsessive and Makoto Kuroda on “X” I asked Mr. Katsuhisa Yamada who took part in the creation of the animated film The Last Unicorn as director, to write about the making process of the celebrated film. And he is now preparing for a memoir centered on the making and relating topics of the film. If someone has any questions regarding the activities of the legendary studio Topcraft and its peculiar procedure for creating cel anime, I will ask him to answer them. Any suggestions are welcome. The answer will be shared as soon as possible.

Katsuhisa Yamada's Recollection: Asahi Film Period
https://www.academia.edu/113266388/Katsuhisa_Yamadas_Recollection_Asahi_Film_Period

Mr. Katsuhisa Yamada's memories of cel anime making. He looks back his Asahi Film period, when he was working as assistant director. Special process of cel anime making is narrated, together with interesting personal experiences.