<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>2448-864X</journal-id>
<journal-title><![CDATA[Interpretatio. Revista de hermenéutica]]></journal-title>
<abbrev-journal-title><![CDATA[Interpret. Rev. herméneut]]></abbrev-journal-title>
<issn>2448-864X</issn>
<publisher>
<publisher-name><![CDATA[Universidad Nacional Autónoma de México, Instituto de Investigaciones Filológicas]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S2448-864X2023000200087</article-id>
<article-id pub-id-type="doi">10.19130/irh.2023.2.00s01x015</article-id>
<title-group>
<article-title xml:lang="es"><![CDATA[Las mil caras de Sin Cara. La recepción afectiva de Kaonashi]]></article-title>
<article-title xml:lang="en"><![CDATA[The One Thousand Faces of No-Face. Kaonashi&#8217;s Affective Reception]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Icaza Lizaola]]></surname>
<given-names><![CDATA[Julieta de]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidad Seika de Kyoto Facultad de Estudios del Manga ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Japan</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>00</month>
<year>2023</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>00</month>
<year>2023</year>
</pub-date>
<volume>8</volume>
<numero>2</numero>
<fpage>87</fpage>
<lpage>107</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_arttext&amp;pid=S2448-864X2023000200087&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_abstract&amp;pid=S2448-864X2023000200087&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_pdf&amp;pid=S2448-864X2023000200087&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen: Las películas de Hayao Miyazaki han recibido reconocimiento mundial, entre otras cosas, por la manera en la que observa los afectos y conductas humanas para después retratarlos en la pantalla. En esta ocasión me centraré únicamente en uno de los personajes más conocidos del cineasta: Kaonashi o Sin-Cara de la película El viaje de Chihiro. Analizaré este personaje pues, aún sin tener los elementos esenciales para representar afecto (rostro y palabras), logra expresar de manera sencilla e inteligible emociones complicadas como el miedo, la ira o la soledad. Además, el éxito en la difusión de este personaje me indica una afinidad afectiva con los espectadores, donde la falta de respuestas dentro de la narración los lleva a buscar interpretaciones dentro de su propia experiencia emocional. El presente ensayo busca establecer que el público de El viaje de Chihiro ve reflejado su lado humano más íntimo y complicado en Kaonashi.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract: Hayao Miyazaki&#8217;s films have received worldwide recognition, among other reasons, for the way in which he observes in detail human affections and behavior to later portray them warmly on the screen. On this occasion I will focus only on one of the best-known characters of the filmmaker: Kaonashi or No-Face from the film Spirited Away. I will analyze this character because even without having the essential elements to represent affection (face and words) he manages to express in a simple way complicated emotions such as fear, anger, or loneliness. In addition, the commercial success of this character, indicates an affective affinity with the spectators, for whom the lack of answers within the narrative leads them to seek interpretations within their own emotional experience. This essay seeks to establish that the audience of Spirited Away sees its most intimate and complicated human side reflected in Kaonashi.]]></p></abstract>
<kwd-group>
<kwd lng="es"><![CDATA[Hayao Miyazaki]]></kwd>
<kwd lng="es"><![CDATA[Kaonashi]]></kwd>
<kwd lng="es"><![CDATA[El viaje de Chihiro]]></kwd>
<kwd lng="es"><![CDATA[personaje espejo]]></kwd>
<kwd lng="es"><![CDATA[animación japonesa]]></kwd>
<kwd lng="es"><![CDATA[recepción]]></kwd>
<kwd lng="en"><![CDATA[Hayao Miyazaki]]></kwd>
<kwd lng="en"><![CDATA[Kaonashi]]></kwd>
<kwd lng="en"><![CDATA[Spirited Away]]></kwd>
<kwd lng="en"><![CDATA[mirror character]]></kwd>
<kwd lng="en"><![CDATA[Japanese animation]]></kwd>
<kwd lng="en"><![CDATA[reception]]></kwd>
</kwd-group>
</article-meta>
</front><back>
<ref-list>
<ref id="B1">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Campbell]]></surname>
<given-names><![CDATA[Joseph]]></given-names>
</name>
</person-group>
<source><![CDATA[El héroe de las mil caras]]></source>
<year>1972</year>
<publisher-loc><![CDATA[México ]]></publisher-loc>
<publisher-name><![CDATA[Fondo de Cultura Económica]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B2">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Eiji]]></surname>
<given-names><![CDATA[Otsuka]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[World and Variation: The Reproduction and Consumption of Narrative]]></article-title>
<source><![CDATA[Mechademia 5 Fanthropologies]]></source>
<year>2010</year>
<page-range>99-116</page-range></nlm-citation>
</ref>
<ref id="B3">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Foster]]></surname>
<given-names><![CDATA[Michael Dylan]]></given-names>
</name>
</person-group>
<source><![CDATA[The Folkloresque. Refraiming the Folklore in a Popular Culture World]]></source>
<year>2015</year>
<publisher-loc><![CDATA[Salt Lake City ]]></publisher-loc>
<publisher-name><![CDATA[Utah State University Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B4">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[García Villar]]></surname>
<given-names><![CDATA[Martha]]></given-names>
</name>
</person-group>
<source><![CDATA[Bibilioteca Studio Ghibli: El viaje de Chihiro]]></source>
<year>2017</year>
<publisher-loc><![CDATA[Sevilla ]]></publisher-loc>
<publisher-name><![CDATA[Héroes de Papel y Crossover]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B5">
<nlm-citation citation-type="">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Le Guin]]></surname>
<given-names><![CDATA[Ursula]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[La teoría de la bolsa de transporte de la ficción]]></article-title>
<source><![CDATA[]]></source>
<year></year>
</nlm-citation>
</ref>
<ref id="B6">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Masami]]></surname>
<given-names><![CDATA[Roberto]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Consumerism Capitalist Perspective in Animation Film Sen to Chihiro No Kamikaushi, by Hayao Miyazaki]]></article-title>
<source><![CDATA[Humaniora]]></source>
<year>2017</year>
<volume>8</volume>
</nlm-citation>
</ref>
<ref id="B7">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Miyazaki]]></surname>
<given-names><![CDATA[Hayao]]></given-names>
</name>
</person-group>
<source><![CDATA[Turning Point 1997-2008]]></source>
<year>2014</year>
<publisher-loc><![CDATA[San Francisco ]]></publisher-loc>
<publisher-name><![CDATA[VIZ Media]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B8">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Miyazaki]]></surname>
<given-names><![CDATA[Hayao]]></given-names>
</name>
</person-group>
<source><![CDATA[El viaje de Chihiro]]></source>
<year>2001</year>
<publisher-loc><![CDATA[Madrid ]]></publisher-loc>
<publisher-name><![CDATA[Studio Ghibli]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B9">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Montero Plata]]></surname>
<given-names><![CDATA[Laura]]></given-names>
</name>
</person-group>
<source><![CDATA[El mundo invisible de Hayao Miyazaki]]></source>
<year>2017</year>
<publisher-loc><![CDATA[Palma de Mallorca ]]></publisher-loc>
<publisher-name><![CDATA[Dolmen]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B10">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Shaviro]]></surname>
<given-names><![CDATA[Steven]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Affect vs. Emotion]]></article-title>
<source><![CDATA[The Cine-files]]></source>
<year>2016</year>
</nlm-citation>
</ref>
<ref id="B11">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Takashi]]></surname>
<given-names><![CDATA[Tachibana]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Mensetsu 1]]></article-title>
<source><![CDATA[Kinema Junpo Sha, Sen to Chihiro no Kamikaushi o yomu 40 no me]]></source>
<year>2001</year>
<volume>34</volume>
</nlm-citation>
</ref>
<ref id="B12">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Yamanaka]]></surname>
<given-names><![CDATA[Hiroshi]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[The Utopian &#8216;Power to Live&#8217;: The Significance of the Miyazaki Phenomenon]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[MacWilliams]]></surname>
<given-names><![CDATA[Mark W.]]></given-names>
</name>
</person-group>
<source><![CDATA[Japanese Visual Culture, Explorations of the World of Manga and Anime]]></source>
<year>2008</year>
<page-range>237-56</page-range><publisher-loc><![CDATA[New York ]]></publisher-loc>
<publisher-name><![CDATA[M. E. Sharp]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B13">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Yoshioka]]></surname>
<given-names><![CDATA[Shiro]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Heart of the Japaneseness: History and Nostalgia in Hayao Miyazaki&#8217;s Spirited Away]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[MacWilliams]]></surname>
<given-names><![CDATA[M. W.]]></given-names>
</name>
</person-group>
<source><![CDATA[Japanese Visual Culture, Explorations of the World of Manga and Anime]]></source>
<year>2008</year>
<page-range>256-74</page-range><publisher-loc><![CDATA[New York ]]></publisher-loc>
<publisher-name><![CDATA[M. E. Sharp]]></publisher-name>
</nlm-citation>
</ref>
</ref-list>
</back>
</article>
