#kafka on the shore analysis

[kaurwreck]

I think it's a mistake to assume Kafka Asagiri's pen name is a direct reference to Franz Kafka's writings rather than a reference to how Kafka is interpreted in modern Japanese literature. Like, Metamorphosis is less effective for understanding absurdism in Bungo Stray Dogs than Kafka on the Shore by Haruki Murakami or The Box Man by Abe Kobo.

In any genre analysis, cultural context is crucial. For example, there are key distinctions between Japanese Gothic and Southern Gothic, Taisho Roman and European Romanticism, etc. If you aren't adjusting the filters through which you're performing your analysis to the relevant cultural context, you're inevitably going to blunt your understanding.

#bsd #bungo stray dogs #absurdism #kafka asagiri #bsd meta

[samuell2]

Funeral Parade of Roses ("I feel like I'm high" -Eddie)

This may have been a bad choice to watch at Library West. Oh well.

If Yukio Mishima was a gifted director instead of a writer, this may have been something he would have produced. Weird, gay, bloody, full of masks. Ticks all the boxes.

I loved this film because it was artsy and dark and fascinating while still being funny as hell. In terms of the dark and thematic bits, the concept of masks throughout was pretty fascinating. It seemed to imply, at least in part, that transsexuality is one of the many performative masks people don to cope with their loneliness and issues-- a mask that happens not to "resemble their facial features", but is not inherently different from the ones others wear. That idea is also reinforced by the presence of clown and circus-like music throughout, especially during scenes with Eddie and her friends. This seems like sort of a problematic idea to me, but I don't really have the knowledge of queer culture to properly judge it. The idea that it was Eddie's rejection as a man by her mother and the subsequent stabbing episode that caused the him to become a "gay boy" also seems a little dated (insofar as it implies that queer people are just queer because of some horrible trauma), but then again, the interviews throughout the film emphasize the opposite perspective, that many "gay boys" were simply doing what they felt like and enjoyed, without a particular reason. That's pretty wholesome. And overall I thought it was really cool for a film to address and follow the gay club scene. Obviously Japan is pretty socially conservative even today, but I've noticed that quite a bit of Japanese media is willing to engage with topics like this-- Banana Yoshimoto's Kitchen and Murakami's Kafka on the Shore are just a couple of the works I've encountered with transgender characters. I know Mishima's Forbidden Colors also explores gay bars and queer culture.

On the lighter side, some scenes and images I loved:

Eddie and her friends passing around the joint and then dancing in front of a Beatles portrait-- this is just so comically 1960s. Plus one of Guevara's friends is basically cosplaying John Lennon.

The scene where Leda and Eddie have their final confrontation, facing off in a western duel and trading insults in goofy speech bubbles. Genuinely funny as hell.

"Applause Requested"

The recurring image of a rose between someone's asscheeks (there's probably some thematic analysis here but it's just striking on its own)

The freeze on Eddie's breasts in the beginning of the film, the point where we realize Eddie is not biologically a woman.

I could ramble on, but yeah, safe to say this was a super interesting and bizarre film. Hope we see more like it.

[behind-the-screen-of-bangtan]

Trans and meta analyses

Analysis about BTS in a general way, be it their worldwide impact, recurring elements or narrations in their discography.

A ramble about the filming locations of the BTS content

BTS’ history and business model

Harvard Business School case study

A guide to BTS business strategy by Judy knows

BTS being criticized for everything (thanks @ambulancemcclain for recommending it)

A ramble about the filming locations of the BTS content

BTS Revolution: a series of Korean articles about BTS’ marketing strategy, relationship with their fans an lyricism

BTS’ music and series

BTS being han and not k-pop (Reddit)

School trilogy:

Fanmade concept book

Wings:

WINGS era in Demian

About the WINGS concept book

Love Yourself:

Love Yourself series album identity made by HuskyFox

Love Yourself: BTS and the Psychology of Self-Love: narrates the series through Joseph Magno self-love theory (inspired by Fromm, the official inspiration for the series)

Recurring elements

Water in j-hope’s discography

The sofa appearing in several MV

Reach Nirvana through BTS

SNEEZE N°613 "The Bangtan Issue"

Seokjin’s hobby is arm wrestling

Yoongi is a basketball player

Hoseok is a baseball player and a driver

Jimin is a boxer

Jimin is unlucky in love

Taehyung is a gamer

Recurring references

A timeline of some works referenced in Bangtan’s videos

Literary Works, Art Works, Movies, etc. That Are Connected to Bangtan

Kafka On The Shore in BTS works

This Is Not A Truck (references to Peter Pan)

Themes and symbols analysis

This section is an old interpretation I did of BTS whole discography until the Love Yourself series. It has three parts:

Biography: the boys including elements from their life into their works

Autobiographic references

The relationship with haters and with fans

Towards adulthood: the reflection of Youth is a big coming-of-age story

The universal coming-of-age story

The colors in BTS' works + A study in red

The poet born from the sea

The rise and fall of the superhero

The love story

Socio-political narrative: all the socio-political themes they talked about

The hip-hop culture

Socio-political matters

Words to make you think

#BTS #analysis #On-going post #I have tons of stuff bookmarked #Need to go through it #before putting it here #Also #Opened to suggestions #don't hesitate to add things !

[loneberry]

time's up

Thursday is my last day in psychoanalysis with my analyst of 7.5 years. I’ve been weeping all month preparing for this moment. It’s shocking to me. How hard this is. Like a death that can’t be assimilated through language. I feel totally aphasic in the face of this rupture, an infant, a soon-to-be psychic orphan. I wasted so much time on bullshit, recounting the meaningless trivia of my days, denying the finitude of time. I didn’t go deep enough and now it’s too late. The unanalyzed dreams. I didn’t pay attention. But now I want to remember everything, every word that was said, every detail of my analyst’s office. Endings have a way of igniting, in our hearts, a longing for everything that was, and sadness for all that will never be, what we were too afraid to say. 

I'll miss this office-womb. Not pictured: the leather couch off to the right.

I started psychoanalysis because I wanted to choose life, but I couldn’t do it on my own. I was losing that fight. Who was I when I washed up on the shores of my analyst’s office, a shattered thing, my life in pieces. There was a powerful voice in my head that said, there’s no hope for me—I see no future for myself. Every step I took toward life was in defiance of that voice. Fighting that voice every waking moment siphoned all my energy. How could I get out from under that yoke? It seemed I never would. But I had to try. After a string of crappy therapists, failed neurofeedback and general disillusionment with psychiatry, I took the plunge and signed up for analysis 4 days a week. My friend who was studying the history of psychoanalysis told me about the availability of sliding scale analysis with candidates at the Boston Psychoanalytic Society and Institute. Some doubted it would do me any good, as I was an inveterate ruminator, prone to over-analyzing and getting stuck in thought loops. Even when I was partially hospitalized at McLean, my caseworker told me that psychoanalysis would do me no good, that it was an “excuse” for me to stay unwell. The caseworker was a partisan of behaviorism who believed that trauma could be overcome by memorizing a list of cognitive distortions. I stuck with analysis anyway. Gradually, the voice that had caused me so much suffering went away. It’s curious to hear traces of that voice when I read old journals now. 

I’m not who I was when I began. I remember the very beginning, before I was on the couch, the box of tissues, the orchids, the drapes, the meticulously arranged copies of the New Yorker on the table in the waiting area, the woman who went before me, who I nicknamed The Melancholic Jogger. I remember the commute to my analyst’s office—by bus, train, and bicycle, over the Charles River—the funkily dressed commuter who was always reading a good book at the central square bus stop, how I wanted to talk to her, but never did, thinking there was time to do it later (then the pandemic hit). I remember the crocuses and snowdrops of Commonwealth Ave, the first hint of spring, the walks along the Muddy River to the Isabella Stewart Gardner Museum after analysis, the reeds swaying in the breeze, my tears, the seeds of the cottonwoods blowing across the sky while I listened to Arvo Pärt’s De Profundis. 

I cannot convey how desperate I was in those days. It sounds like hyperbole when I run around saying “psychoanalysis saved my life,” but it did and I’ll forever be an evangelist. Words are inadequate to the task of expressing my gratitude. I know we’re primed to think of our analysts as mere screens to receive the transference, but fuck, I’m gonna really miss my analyst. She’s been my rock. She’s shepherded me through difficult times. She’s smart and witty, with a sense of humor well-suited to my disposition. I can hear her voice when she says zingers like, “When it comes to yourself, you’re like a judge in a Kafka novel!” I sob trying to look up analysts in LA. Who could ever replace The Crame (as A and I affectionately call her)? She says I can take her with me. I know I will but in the moment it’s hard for me to hear such things. I’ve never been good at losing my objects, can’t seem to do it with grace, to let go with equanimity. On Thursday I’ll close the computer screen for the last time. At the end of every session, since the first day, I’ve said, “I’ll see you [insert day].” Something about this ritual of continuity comforts me. God, I’m sobbing my eyes out writing this. Today I said, “I’ll see you Thursday.” It was the last time. 

#psychoanalysis #termination #time #endings #Vimeo

[donnysmoodsonthepitch]

I was tagged by @footballandfiasco, thank you bestie (man I'm so inactive on this blog rn)

rules: tag 9 people you want to know better

last song: blood in the wine - AURORA

last show: Legend of Korra!

currently watching: Hunger Games

currently reading: Kafka on the Shore

current obsession: ATLA! (sorry to my football mutuals but I just can't stop it), writing & reading literary analysis/criticism and editing

Not sure if you have done this or not but I'm tagging all of you here: @lewypool, @katropolis, @colorsofmyseason, @somedaytakethetime, @holdmybvbeer, @cichocicho, @angry-pinscher, @joycat20 and @weirdothinking

#tag game

[ravaloe]

Composing Creativity: A Journey of Adaptation

Hey, fellow newbie bloggers! We're back with another creative endeavor, and this time, we embarked on a journey to produce a unique adaptation of a literary classic. Our options ranged from different corners of the globe, offering a diverse selection of texts. From Asian to African, European to Latin American literature, the choices were intriguing. Among the options were:

Asian Literature:

The Taximan’s Story by Catherine Lim from "Little Ironies: Stories of Singapore"

The Boy Named Crow (an excerpt from Kafka on the Shore) by Haruki Murakami

African Literature:

The Clever Young Man and the Monster (Tanzania)

Rawera (the Comforter) and the Monster (Nairobi, Kenya)

European Literature:

The Miracle of the Sword and Stone

Call of Destiny (excerpt) by Alan Fenton

North American Literature:

The Hunger Games (movie adaptation)

Latin American Literature:

Eva is Inside Her Cat

After much deliberation, we unanimously agreed to adapt "The Hunger Games," a modern classic movie adaptation that resonates with audiences worldwide.

"The Hunger Games" transports us to a dystopian future where Panem is divided into districts, each oppressed by the tyrannical Capitol. The narrative revolves around Katniss Everdeen, who volunteers to take her sister's place in the annual Hunger Games a televised fight to the death. Alongside Peeta Mellark, her fellow tribute, Katniss navigates this treacherous arena, igniting a revolution against the oppressive Capitol.

The literariness of "The Hunger Games" honestly lies in its themes, intricate character development, and gripping storyline. It explores a lot of topics, delving into the issues of power, oppression, sacrifice, and rebellion, making it a compelling medium ripe for analysis and adaptation. Its vivid imagery and emotional depth captivate readers and viewers alike, solidifying its status as one of the contemporary literary big hits.

For our adaptation, we decided on a blend of poetry and visually appealing graphics created using Canva AI art-maker, ensuring that we don’t have to worry about legal repercussions due to copyright issues. Furthermore, poetry and haiku provide a powerful platform for conveying the essence of the story concisely yet evocatively. Coupled with captivating visuals, our adaptation aims to engage and resonate with our peers on a deeper level.

While honoring the essence of "The Hunger Games," we made slight deviations to tailor our adaptation to our audience's preferences. We focused on highlighting themes of social injustice, resilience, and unity, which aligns them with 21st-century literary themes such as global awareness and civic and cultural literacy.

Our adaptation incorporates 21st-century literary themes by shedding light on societal issues depicted in "The Hunger Games," including oppression, identity, and rebellion. Through our poetry, haiku, and visual representation, we seek to raise awareness and stimulate critical thinking among our peers about these relevant issues in our contemporary world.

In our creative adventure, we aspire to foster a deeper appreciation for literature among our fellow senior high school students. By presenting "The Hunger Games" in a short, fresh, and engaging format, we aim to spark curiosity and encourage profound reflection on the themes and messages embedded within the story.

Making this adaptation has been a fun experience, as it allowed us, senior high students, to explore the transformative power of literature and creative expression. By incorporating contemporary themes and innovative presentation techniques into our adaptation, we hope to inspire our peers to engage with literature in meaningful and impactful ways.

12/Euclid: Group 1 (21st Cent Literature). "Composing Creativity: A Journey of Adaptation.", 24 Apr. 2024, Canva AI art, https://www.canva.com/.

#Literature #Adaptation #Poetry #VisualArt #TheHungerGames #21stCenturyThemes #Creativity

[kauzekapp]

idea

I want to take the opportunity of this first blog post to portray a bit who I am and what my research is about. Additionally, I want to talk about my inspirations and be, to a certain degree, as transparent as I can be. 

Much inspired by the blogs of many institutes (especially those on hypotheses.org), I felt like it would be wasteful to not document my PhD progress. Perhaps, this blog inspires peers to do the same. Networking is one of the primary functions of this blog. Much of academia is, is it not? What institute are you affiliated with?  At what university are you working? Who is your advisor, what summer school have you done, how many articles have you published, what are they about, and so on and so forth. This is something I have to get used to, and, frankly, not much to my liking. I want to read, research, teach, and write. 

Research and teach especially. In the upcoming winter semester, I will hold an introductory class on literary theory. A vast field, I know. That’s what makes it interesting. Every time I think I know my way around the theory ocean, I find something that pulls me back to the shore. Documenting that process is thus also a function of this blog.

Speaking of functions, I am currently learning how to code. Python, to be precise. My thesis’ methodology is distant reading, a term coined by literary scholar Franco Moretti. As the name suggests, it is an antagonism to close reading. Essentially, my corpus (contemporary Luxembourgish novels) are analyzed with the help of computational methods. In the distance then I might find new information during analysis. 

Here, let me create a metaphor: imagine a beetle. Good, let’s call him Gregor. Gregor looks at a tree. Of course, because Gregor is close to the floor, Gregor can recognize and study the trunk and roots and fallen leaves in detail. However, Gregor only sees part of the trunk and roots. He does not know what the other side of the tree looks like. Let’s imagine a jackdaw. Its name is Kavka. Kavka is flying above the tree. Kavka sees the leaves, the branches, the fruits, and he also sees every side of the trunk and roots, even Gregor. Sure, Kavka can’t decipher everything in detail either, but Kavka sees a lot more. Gregor does close reading. Kavka does distant reading. It is qualitative research vs quantitative research. Although both are not mutually exclusive.

The Kafka references too are part of my thesis. Distant reading is, technically, part of the comparative field of world literature. Luxembourgish literature, on the other hand, is a small literature. I therefore must work out a sound argument why the intersection of both would benefit my research, as well as add to both fields of study. Kafka is involved here because of his concept of minor literature. I have yet to figure out what my opinion about minor literature is. What I know at the moment, is that I have to kill Kafka, in a Barthian sense, naturally. Don’t worry, I admire Kafka.

I also admire Mark Fisher. Mark Fisher is mostly known for his book Capitalist Realism (2009). But Fisher also had an undeniable, prominent presence in the blog-o-sphere with his influential blog K-Punk. This blog is much inspired by his writing style and his illustrative way of giving examples, as well as reading society – be it culturally, socially, or politically. I am not saying I have his talent. On the contrary, my lack thereof suggests a goal which I have to strive for. 

Well, enough for today.

#phd diary #small literature #world literature #literary theory #kafka #close reading #distant reading #luxembourg

[caffeinatedseri]

Murakami and Ranpo

Some minor spoilers ahead for the third BSD LN, The Untold Story of the Founding of the Detective Agency." If you aren't concerned with spoilers, I did my best with summarizing the plot for anyone who hasn't read the novel.

In the third BSD LN, Fukuzawa and Ranpo are tasked with finding the culprit of an ominous death threat at a theatrical play. The threat is written as follows:

“An angel shall bring death, in the truest sense of the word, to the performer. —V.”

This threat fits perfectly with the play, which is a mystery play where each character gets killed by an "angel" who murders. However, the characters don't know if they're being killed by an angel or a regular person, because there's nothing supernatural about their causes of death (getting stabbed by a knife, poison, strangulation, etc.).

Each character was a former angel who had been banished from the celestial world, because they admired humans so much that God turned them into humans. Therefore, the characters in the play believed that an angel was sent after them to punish them for their sins.

This sets up two mysteries for us to follow:

1. The mystery of the real death threat, sent by "V" — who is the culprit behind it, who will they kill, and why?

2. The mystery within the play — is it an angel or real person killing each character, and why?

Paradoxes (and Things That Don't Make Sense)

The play is called, "The Living World is a Dream, the Nocturnal Dream is Reality," which is a quote from the real Edogawa Ranpo's work, but I couldn't find the exact source. The title proposes a paradox: reality is a dream, and dreams are reality.

Several other paradoxes present themselves in the story, but they appear most prominently in Ranpo's big speech where he solves the mystery of the play, and the murder simultaneously:

“The murder and the play’s story are connected on a deep level. This play reversed the tide of the narrative. A group of fallen angels tried to return to the heavens, but the angel of judgment tried to stop them. Meanwhile, the angel’s judgment was but a show, and the supposed victim, a human, faked it. The angel’s and humans’ roles were reversed, switching the judge and the judged. That’s the kind of play this was. "

"...the narrative is in reverse. Our structures have been swapped along with the victim and killer as well. In other words—he isn’t the killer, but a victim."

This reveal subverts the original expectation that the plot would follow two separate mysteries. Instead, the lines are blurred between reality and fiction, killer and killed, and dreams and reality because now the two mysteries are intertwined.

I think this part of the story is deliberately written to be confusing (or at least not very clearly explained) as to fit in with the themes found in Murakami's writing.

Who is Murakami?

Haruki Murakami is a famous Japanese author, and you may have read some of his famous works, "Norwegian Wood" and "Kafka on the Shore."

Since this is Bungou (Literary) Stray Dogs, Murakami makes an appearance in this light novel as the main actor of the play.

Before I go on to explain Murakami's role in the novel, I'll give a brief background on his real counterpart and explain how the theatrical play in the novel reflects the real Murakami's work.

Murakami writes in the genre of "magical realism", where the lines between fantasy and reality are blurred as magical elements are seamlessly incorporated into the story. I'll be using "Kafka on the Shore" as the main example for this point, since it's a great example of Murakami's expertise in magical realism.

In "Kafka on the Shore," there are 2 interrelated plot lines, alternating with each chapter, similar to the 2 supposed mysteries outlined at the beginning of the novel.

Like its moniker, "Kafka on the Shore" resembles a "Kafkaesque" style of writing due to its surreal elements that are bizarre and illogical in the rules of reality.

In an interview about this novel, Murakami said:

"Kafka on the Shore contains several riddles, but there aren't any solutions provided. Instead, several of these riddles combine, and through their interaction the possibility of a solution takes shape. And the form this solution takes will be different for each reader. To put it another way, the riddles function as part of the solution. It's hard to explain, but that's the kind of novel I set out to write."

The Outcome of the Play

In theme with Murakami's bizarre, magical-realism writings, several illogical events take place within the span of the LN:

1. Before the play even starts, Murakami (the character) and the rest of the cast completely disregard the death threat. Even though the logical and safe solution would be to reschedule the play, it is a very literal representation of "the play must go on" mindset.

2. Murakami gets stabbed mid-sentence, on stage by a white blade that magically disappears.

3. Murakami bleeds real blood and has no pulse, which would signify his death, but he doesn't actually die.

Despite all this, Ranpo is extremely good at observing various elements of a situation and putting them together to form a solution, much like how the interactions of "Kafka on the Shore"'s riddles form their own solution.

Ranpo appears on stage and makes an Oscar-worthy performance out of his announcement that reveals Murakami to be the culprit behind his own death. It doesn't make much logical sense that Murakami would fake his own death for a performance, but rather it's an action motivated by pure passion.

“I…,” muttered Murakami in almost a whisper. He raised his voice and continued, “I am an actor! I become someone I am not and live a life that doesn’t exist! My job is to expose what it means to be human! It doesn’t matter if I play the lead part or a minor part. It doesn’t matter if I am a villain or hero. I become them with every part of my body! There is no other job for me! This is the only way I can live!”

And here, Murakami reveals the final paradox of the play:

"But there is one thing that cannot be avoided while acting on the stage of life, and that is death! Death is not the opposite of life; it is life’s symbol and banner. However, it also provides a great paradox! Nobody alive has ever experienced it! That’s why to me, the greatest job of all would be performing the death of a person. Not death as a device or a mere convention, but real death that I could convey to the audience. That was the pinnacle of theatrical performance to me. And this is the outcome of my toil."

Murakami eventually gets arrested for the fake death threat and deceiving the police, among other things. The most notable moment after this comes in Ranpo's dialogue to Murakami:

“I thought you were amazing,” Ranpo suddenly said from behind as Murakami was being taken away. “I didn’t quite understand all of it myself, but I don’t think it’s something that just anyone could do. By the way, take a look at the audience. Look at their faces.”

1. Ranpo sees Murakami's act as something admirable, most likely because Ranpo appreciates a good mystery and had fun solving it.

2. Ranpo tells Murakami to look at the audience, to which he turns around and sees the faces of a broken audience who came to watch a play and instead witnessed a real not-so-real murder.

“You said your job was entertainment, right? But could you really call it that…when you look at their expressions?” For the first time, Murakami’s eyes showed a sign of weakness. “…I see.” A small voice, unlike what one would expect from a stage actor with a powerful voice, fell from the stage. “I was…only performing for myself.”

Murakami realizes that he traumatized his entire audience on his quest to reach the "pinnacle of theatrical performance." In his small world that consisted of just the stage, he failed to see the outside world and forgot to consider how his actions would impact others. It's also important to mention that it was Ranpo specifically who pointed it out to him.

The focus on the audience mirrors Fukuzawa's thoughts when Ranpo was giving his big speech before Murakami appeared on the stage:

Fukuzawa was at his wits’ end. From the playgoers’ point of view, the fact that people knew there was going to be a murder beforehand completely changed their view of the situation. Was it really okay to tell them that? But Ranpo showed no concern for the audience’s worries.

Ranpo, throughout the entire novel, is portrayed as this extraordinarily ordinary kid who means well but simply doesn't understand what others are thinking. He was taught that he wasn't special, but this only isolated him into his own tiny world, because the outside world was filled with things he didn't understand.

This leads to him upsetting a bunch of people by blatantly calling out things about them that shouldn't be called out, like the theater's owner Ms. Egawa, and even Fukuzawa at one point.

However, this moment when he calls out Murakami is pivotal because it shows how he's grown from this event. He's learned to be considerate of others. He's seen how he can upset other people with the things he says, and he's learned from that enough to show another person who's trapped in their own individual world.

Although Ranpo is depicted to be somewhat self-centered throughout this novel and even after it, Fukuzawa taught him that he isn't alone in this world. Because Fukuzawa showed compassion to Ranpo, a special fifteen-year-old kid who didn't know better in a world of monsters, Ranpo learned how to exist in a world where he was different from everyone else, and that was okay.

Thank you for reading! If you haven't read this LN yet, I would still highly recommend it because I didn't cover the entirety of the mystery, and it's a wonderful read to understand more about Ranpo and Fukuzawa's backstory.

#bsd #bsd meta #bsd analysis #bsd ranpo #murakami #bsd light novel #i actually read the LN a while ago #but didn't realize murakami was in it until i finished kafka on the shore

[seravph]

hmmm I might finish Kafka on the shore tonight very excited

#either tonight or tomorrow #me #so awesome!!!! #and then I’ll read Salome and then haunting of hill house #and then maybe another Kafka novel idk #I’m also so excited to read analysis of Kafka on the shore

[sushiewtf]

My Experience: "Kafka On The Shore" by Haruki Murakami

If you never have read this book before then I am warning you that you should not read this post. Cause I will give some major spoilers.

At first I was really skeptical about the book, I mean I heard a lot of things about it like:

"A 15 year old boy had sex with an old lady"

"A woman having weird sexual fantasy about her dead husband"

And much more stuffs like this writer writes about weird sex stuffs. I thought maybe I will just have some hentai ideas. If you don't know what hentai is then kindly just google.

But my view completely changed when I read this book. I was suffering from reader's block and I needed something extraordinary to break through my reader's block and surprisingly this book was the perfect thing for this.

The genre of this book is Surrealism. If you are not familiar with surrealism then let me explain it in simpler terms. You will often hear about long hard term like how it was originated and a many hard words explaining it. In a simple way, surrealism is dreamlike reality, where the subconscious mind and dreams are real like our logical world. Sound's difficult? Okay, let's go for some examples. You have heard about DC's Superhero Superman, right? Well, obviously you did, unless you're from past who just traveled thousand years and landed here in 2020. Anyway, so, superman is a superhero and cat fly and also have brutal strength. But you love to hear this fantasy and you believe that he can catch Louis Lane even though she's falling from a great height. Which is logically and scientifically impossible cause there will be collision and many stuffs. I will keep the physics part out of here. My point is, you are already experiencing something unreal and believing it for the enjoyment for a short time. Same thing goes here in the surrealism part. In surrealism, your mind is the most powerful thing. You have to go beyond your rational imagination and dreams. You will only understand them when you will start to accept them as they are. You can not understand the liberation which surrealism provides if you keep rationalizing the dreamlike reality. So, you have to accept as it is and then get along with it. It is irrational, bizarre, illogical and chaotic but that's the beauty of it.

Well, for beginner's to understand surrealism, this book is the perfect one.

At first we see the 15 years old Kafka to talk with the boy named Crow, I believe who is a fragment of his own subconscious mind. He never knew his mother and only grew up with his dad. After that we were introduced with Nakata, the old man who can talk with cats. They started their journey together and met many people through it. Kafka met Miss Saeki and started to think her as his mother and they had sexual intercourse. It sort of gave the idea of "Oedipus complex" because Kafka's father said that he will have sex with both his mother and his sister. Though I do not think that was any sort of prophecy like in "Oedipus Rex" by Sophocles, because it only affected him psychologically. In the end, Kafka met Miss Saeki in netherworld but only Kafka was able to live and go back to the real world. Being a fan of Anime and Manga gave me a clear understanding of Japanese mythology and how they believe in the concept of the Netherworld. In netherworld, you will find everyone who are dead in the real world. But if you go into the netherworld when you are alive you will not be able to come back to the real world without leaving something behind. In Kafka's case, it was the memory of the netherworld which he had to leave behind. The netherworld concept in this book gave me the "Izanagi and Izanami" sensation because in the Japanese mythology Izanagi wanted to bring back Izanami from the Yomi, the land of dead and visited there. I believe Kafka went there for answers but then found Miss Saeki there and realized that she exited the world of living and will not be there for him. In the meantime, the boy named crow fought with the demon who wanted to escape through the entrance of the netherworld. The old man Nakata died in when his work was complete but the entrance of the netherworld was closed by Hoshino whom Nakata met during their journey. Later, it was revealed that Hoshino acquired Nakata's ability to talk with cats. Note: These are all my own speculations and thoughts.

#haruki murakami #kafka on the shore #murakami #surrealism #magical realism #review #book review #book analysis

[flippyspoon]

Have any of you read IQ84 and what is the deal with Murakami’s weird ass breast obsession? Is it just him being a Weird Male Writer or is it supposed to be significant?? What the hell.

#i read Kafka on Shore and i don't remember so much breast analysis?

[faithsbookdiary]

The First Entry

I just got the email: I've officially earned a degree in Cinema and Television Arts (shoutout to that minor in Illustration)! I've got four weeks until it shows up in the mail. I'm moving on to the rest of my life, and that means (for now) job applications and financial insecurity and burning questions from my mom asking what I'm going to do now that time is at my disposal, and not having an answer.

I am on job application 15 and counting. The process is reminding me of the internship applications I had to do back in September, and that was already borderline traumatic (20+ applications, one response). It's making me realize how late I am to the game- how a pandemic and some crappy moments and the dwelling on both has really held me back from being that "perfect candidate" for the writing positions I want.

I have to rebuild my portfolio from scratch. I have to figure out what people are looking for, and if I have that certain something. I have to find out that all of the writing positions I'm looking at require 3+ years of experience, so how am I supposed to get experience if all the jobs need experience.

I'm working on personal projects until someone bites. I'm talking to people. I'm trying to prevent myself from feeling the stress of the Revelation: Hey Faith. It's looking like your education isn't helping you like you thought it would.

But that's not what this post is about. That's the teaser.

I decided to start a book diary for two reasons:

ONE, I took a Comparative Literature Class in my final semester, and it changed my life. The topic was an introduction to Asian Lit, which was something I was interested in because at that point in my life I was years down the rabbit hole of Asian Dramas and Kpop and Chinese web novels, and I wanted to explore different mediums. This class was amazing. Our professor was passionate and knew what she was talking about. We weren't being talked to, like a lot of college courses I've had to sit through- we were actually learning. I'm not much of a public speaker (aside from that anxiety of sitting in a classroom of silence when a teacher asks a question, and everyone refuses to answer), but I found that my ideas were easy to deliver in that room.

And the books. THE BOOKS. We sat with the Monkey King (who I was already hanging with long before the class started) and watched Ghibli and explored Korean poems and short stories from the Philippines and excerpts from China and Shokoofeh Azar and Murakami. Let me say that again. Murakami.

This class also placed a name on something that I've long been in love with: Magical Realism.

I used to get the genre confused with Urban Fantasy. I'd explain to my friends and readers and classmates that I loved writing personal stories in normal settings, but magic was alive and inexplicable and treated as if it was always there. Because I believe it is. Magic is around us in small doses if we look for it. Miracles happen. Intuition is correct. Sending best wishes work.

Knowing the True Name™ to what I'm passionate about let me explore its rap sheet. Murakami is bolded up there for a reason. I was assigned Kafka on the Shore and everything shifted. I couldn't stop talking about it. I had to show up to class with a discretion warning: I will not shut up. Beware me. JOHNNIE WALKER NEEDS TO BE TALKED ABOUT. I needed to find a platform to express my thoughts. I considered (note: considered) a Masters in English. Remember the degree I announced in the first sentence of this post? Yeah, a film degree's not gonna help me get into a program, but it won't stop me in the near future when all of my job search options have been exhausted.

I asked for more recommendations for magical realism books from my professor, as The Enlightenment of the Greengage Tree hit a similar chord. The list I received had another Murakami. I went from there. I now have 7 Murakami books waiting for me on my shelf, with an 8th on its way.

The second reason I'm starting this book diary arrived during my ongoing job search. When I look up writing positions on LinkedIn and Indeed and Glassdoor I get journalism and copywrite posts. I can write. I need to write. I don't mind taking time to build that portfolio, as frustrating as that is. But again, I don't have that experience. When I'm asked to link examples of my work, my pickings are slim. This book diary will help me get experience in blog writing, if anything. It's more of a personal pleasure project, but I'm not going to admit that.

I'm passionate about analysis, as proven in several of my film and art and screenwriting classes. I got nervous halfway through my Comp Lit course thinking that I was talking too much, and blamed it on being embroiled in an amazing internship that involved analyzing movies (I love you Katch). I don't mind expressing my opinion. I'm actually quite excited to. If I can find a job analyzing and recommending Kdramas I'm there. It's me. I will fight for that job.

So. This is a lot of talking. What are my goals for this book diary?

I'm going to get through those Murakamis and every time I find something interesting, I'm gonna talk about it. I'll keep going after I get through the Murakamis. That's my hope. My first few posts will probably be me ranting about Kafka on the Shore and The Wind-Up Bird Chronicle since I've finished those, and after I'll move onto IQ84 as I plow through it.

I love these books so passionately. Every time I read them, I'm inspired to write. I'm working on a radio play right now that encapsulates the magical realism I've learned through them, and I've never been so excited to work on a project. It just feels right. Like I'm supposed to be here.

Despite being typical Murakami (See: Johhnie Walker, Boris the Manskinner, Nakata's white blob, Aomame's ice pick, the Rice Bowl Hill incident, Manchuria, parallel worlds, alcohol, classical music, taxis, paragraphs of clothes, cats, invisible birds, incest, boobs, sex, sex workers, bald men, wells, a library, a forest, a teenager, a dream), these books open up my world a little wider when I turn a page. I'm so excited to explore what he has to offer, as well as the other books waiting in my shelf and perhaps the occasional Kdrama I haven't gotten over. This blog is for me. Let's get reading!

#haruki murakami #murakami #my writing #books #books and literature #book diary #literature #literary analysis #reading #blog #book blog #novels #faith'sbookdiary #fiction #kafka on the shore #the wind up bird chronicle #iq84 #magical realism #writers

[jardingelique]

I was tagged by @artemissidereus. Thank you so much for tagging me, truly!

Rules: Answer the 10 questions, write your own 10 questions then tag 10 people!

1. What makes your heart flutter?

When something goes my way or goes right—I can’t help but feel more romantic towards life when everything I am doing makes sense.

2. What is your ambition in life?

My ambition in life is just to go home to my roots. Oh, and graduate from Oxford University... I don’t know what comes after but I’d like to find out.

3. If you could live anywhere in the world, where would you choose?

Greece! There’s no other place to be for me. 

4. What is your current mood?

A bit stressed...? But at the moment I am in the mood to continue finishing my plates. Haha. (I also would like some ice cream...)

5. Do you have a favourite book or author?

Yes, it’s called Carve the Mark by Veronica Roth. Oh! I also like Cassandra Clare’s The Infernal Devices—yeah, all 3 of the books. Uhh... I also just absolutely adore Kafka on the Shore by Haruki Murakami. Hmm. I guess I don’t have a favourite after all? I like everything I have read... except You Know Me Well by Nina LaCour and David Levithan. I don’t know, it was horrible. I used it for my literary and critical analysis in highschool and I’ve since reread what I wrote and unfortunately, I still agree today.

For authors—Madeleine Roux, Ransom Riggs, Han Kang, and Bob Ong.

6. A favourite art style?

Impressionism! There’s no way for me to explain it briefly though, haha! Perhaps in another text post.

7. What is the most important thing in the whole world for you?

The health of the planet... though that isn’t particularly a ‘thing’, no?

8. Describe your favourite pair of socks.

I don’t like to match socks but my favourite combination would be... well, I have those socks with prints of famous artworks—I have The Kiss by Gustav Klimt; I’d wear that on one foot and then one navy blue with white and deep red stripes on the ankles on the other to draw people’s attention to The Kiss, haha! When I put them on it feels like a walking exhibit.

9. What movie could you watch over and over and never get tired of?

Love, Rosie! But also 500 Days of Summer. I’ve memorized the dialogues for both haha!

10. Describe yourself in 3 words.

Contemplative. Guarded. Vague.

My questions:

If you could take yourself out on a date, what would you do?

What colour do you think your soul is?

What’s one of your guilty pleasures?

If you could live in a song, a book, or a painting, which one would it be?

What is the earliest memory that you have that you can still remember?

A dead person you want to bring back and why.

Favourite smell?

What does your last day on earth look like?

What is happiness to you?

Are you having a great day? :)

I nominate:

@petalpidge, @elysiankisses, @mrcutio, @agonysquad, @unreadliterature, @gabsydy (hello!), @billionstars, @inneedofsomething2do, @my-mind-was-lostintranslation, @axristes-styseis

#thanks for the tag! #you can take over from here

[bsd-bibliophile]

Hi, really love what you're doing with this blog! Do you have any recommendations on novels (no brain for poetry though) by Japanese authors (preferably, but not limited to bsd)? I've read No Longer Human, I Am A Cat, and Botchan, but that's all. Thank you!

I’m glad you are enjoying my blog! I can make a few recommendations:

If you liked No Longer Human then The Setting Sun by Dazai Osamu is also amazing! It’s a little different from No Longer Human because it depicts the fall of the old Japanese society and how difficult it was for aristocratic families to adjust after WWII.

If you liked I Am a Cat and Botchan then Kokoro by Natsume Souseki would be an interesting read. The story follows a nameless narrator who meets and grows closer to a man he refers to as “Sensei.” As we get to know Sensei he becomes more and more of an enigma. The book is divided into three parts: “Sensei and I,” “My Parents and I,” and “Sensei’s Testament.”

If you are interested in literature from the same time period as Dazai-sensei, then I would check out the book Black Rain by Ibuse Masuji (who was actually Dazai’s writing mentor). The novel is based on journals and eye witness accounts of the people who were lived through the atomic bomb being dropped on Hiroshima. The book isn’t political and focuses solely on what the people witnessed and how their lives were affected for years after the event.

Kafka on the Shore is one of my favorite novels by Haruki Murakami. Murakami is a contemporary author and is the most famous Japanese novelist still living. He is most famous for The Wind-Up Bird Chronicle (also an amazing book), but I really enjoyed the fantasy elements, wacky characters, literary and musical references, and the overall feel of the novel.

Another contemporary novel that I absolutely love is The Lake by Banana Yoshimoto. The characters are very real and I love how the relationships are portrayed and developed. There is an air of mystery and darkness to this book that is intriguing. It is an easy read and has a nice pace, but it is a book that makes you think a lot about life even after you have finished reading.

I was in Japan in 2016 when Convenience Store Woman by Sayaka Murata won the Akutagawa Prize and I was super sad when I realized it hadn’t been translated yet! But last year the English translation was finally finished and it was well worth the wait! It is one of the best novels from the point of view of someone with autism. The story is, as the title suggests, about a woman who works at a convenience store and her perceptions of the store, the job, the workers, and other aspects of her life. The novel explores so much about people and how they interact through the eyes of an observer who is just trying to understand it all and find a place to belong.

If you are interested in short stories and not just novels then I can recommend a few short story collections as well:

Otogi-zōsh by Dazai Osamu: This is a collection of Dazai-sensei’s retellings of Japanese folk tales. I collected the original folk tales here, because it is fun to read them first. Dazai-sensei makes some very obvious changes and additions to the characters and stories. The book is full of tangents, random facts, witticisms, and side notes and there is never a dull moment (except maybe his too-in-depth analysis of what species of turtle would appear in one of the stories, but that’s just my own opinion). This is one of those books I have read a handful of times because I enjoy the author and stories that much.

The Moon over the Mountain by Nakajima Atsushi: Confucianism and Chinese stories and poems were the focus of Japanese education before Japan had any Western influence. Nakajima-sensei’s grandfather and father were notable Confucian scholars so he had a broad knowledge and understanding of the teachings, stories, and ideals from the Chinese classics and Confucian teachings. He used that knowledge in his short stories, but at the same time he incorporated existential themes and modern takes to the meaning behind the stories. If you enjoy Franz Kafka you may be able to see his influence on Nakajima-sensei’s writing.

Rashōmon and Seventeen Other Stories by Akutagawa Ryūnosuke: Akutagawa-sensei is the father of the Japanese short story and this is my favorite collection of his stories. His writing has a darkness and severity to it, yes, but he writes very deliberately without a word out of place and that makes his stories incredibly powerful. He, like Nakajima-sensei, used classic stories from China and Japan as a starting point for some of his stories, but he has a completely different focus and way of structuring the characters and plot than Nakajima-sensei. This collection also includes a few stories that fall under the Tragicomedy genre, so while they are definitely darker than a comedy they are also distinctly comedic (”Green Onions” will always be one of my favorites from this genre because of Akutagawa-sensei’s commentary he inserts here and there; it shows just how funny and lighthearted Akutagawa-sensei can be). But my favorite stories by far are the I-Novel (or semi-autobiographical stories) at the end. The I-Novel wasn’t Akutagawa’s preferred genre and it doesn’t really match his style, but that is what makes these stories stand out so much to me. They aren’t the typical I-Novel short stories that every other author was writing at the time, so while Akutagawa-sensei isn’t as open or direct he makes up for it with his brilliant command of intricate and deliberate symbolism.

Tales of Moonlight and Rain by Ueda Akinari: this is probably the most famous collection of short stories in Japanese literature. It has been the inspiration for countless other stories, films, anime, etc. It is a collection of Chinese and Japanese ghost stories, so if the supernatural and scary is up your alley then I’d check out this book.

Seven Japanese Tales by Tanizaki Jun'ichirō: Tanizaki-sensei has a much more traditional Japanese setting for his stories. They are full of references to nature, poetry, and the beauty in Japanese culture. But at the same time his stories aren’t simply beautiful. He excels in creating characters who are complex, mysterious, and are full of surprises. 

Japanese Tales of Mystery and Imagination by Edogawa Ranpo: this is another book you would enjoy if you like things that make your hair stand on end. Edogawa Ranpo is a master at writing a story that will keep you on the edge of your seat. His writing is heavily influenced by authors like Arthur Conan Doyle and Edgar Allan Poe, so if you enjoy a good mystery about the dark, bizarre, and often disturbing part of humanity we hope to never encounter in anything other than stories then pick up this book.

Good luck, and I hope you can find a book you will enjoy! Feel free to check out my Quotes by Book page for links to where to buy and read more novels and short stories.

[esqueism]

AP Lang Guide

Raya’s Guide to Acing the AP Lang Test!

Multiple Choice for Fast Readers/People Who Like Reading:

⁃ thoroughly read the passage first, and absorb/comprehend as much as you can

⁃ answer the main idea questions first as they’ll be fresh in your mind from the passage

⁃ you should be able to answer about half of them right off the bat from knowing the passage, and the others will be “at line ___” questions or something similar and those you can just flip back to for reference

Multiple Choice for Slow Readers/People Who Dislike Reading:

⁃ you don’t need to start on the first passage - skim through them to see what interests you first... this helps because starting the test off with something entertaining or something you may want to read can keep you from getting bored too quickly

⁃ skim read your passages if you feel like fully reading them takes too much time. if not, refer to the fast readers thing up above^

⁃ mark the questions that are like “at line ___” or “in paragraph ___” and answer those first as they’ll be easiest for you since they’re really just reference questions

General Multiple Choice Tips:

⁃ read the footnotes, just do it - they help more than you think they do

⁃ i personally can’t skip questions in a passage to move onto another one as that breaks my concentration, but if it works for you and you’re short on time, don’t be afraid to skip questions

⁃ if the answer choice you’re looking at isn’t obviously or semi-obviously in the passage and if the question isn’t a “what does this imply?” question, then the answer choice is wrong and you should move on to a different choice

Rhetorical Analysis Outline:

⁃ Paragraph one: hook, linking sentence, thesis

⁃ Thesis format: title, author, purpose, 3 general strategies (DO NOT WRITE THINGS LIKE “simile” OR WHATEVER FOR STRATEGIES. THOSE GO IN YOUR BODY PARAGRAPHS.)

⁃ Thesis example: In “Kafka on the Shore” by Haruki Murakami, the author drives home (1) the inevitability of fate through his development of fluid timelines, (2) characterization via special capabilities, and (3) discussion of quasi-theological concepts.

⁃ Paragraph two: discusses (1), backing it with evidence such as similes or personification. repeat in paragraphs three and four for points (2) and (3)

⁃ For paragraphs 2-4 use the format Assertion, Evidence, and Commentary for your paragraphs. The assertions need to tie back to your thesis points while your evidence is basic strategies such as rhetorical questions or metaphors. Commentary needs to discuss the audience’s intended reaction to the evidence as well as its actual purpose and how it strengthens your argument.

⁃ Paragraph five: conclusion! doesn’t have to be good, just tie it all up.

⁃ Note: this isn’t a set in stone template, it’s just a basic one. This has 3 body paragraphs - I personally write 6. However, I would only attempt more than 3 if you’re as fast at writing as I am.

⁃ If you’d like an example, there’s a really good rhetorical analysis I wrote a while back that I got a 9 on. I can send it to anyone who’d like it.

Synthesis Sources and Outline:

⁃ Use three of the sources.

⁃ Skim through the sources first and note down which of them are positive, which are negative, and which are neutral.

⁃ Choose whichever side has the most (pos or neg) and go with that.

⁃ Again, your first paragraph outline is the same as rhetorical (though instead of discussing purpose and one author you discuss an overarching argument) and your thesis should have three main points to argue your position.

⁃ This means three body paragraphs in which your evidence can be the sources plus some stuff from your brain.

⁃ At least two of these body paragraphs should have a counter and a refutation.

⁃ Conclusion at the end.

⁃ Note: CITE YOUR SOURCES just a simple (Source B) is enough.

Persuasive Outline (my worst!! never got above - or below - a 7 on this one.):

⁃ Pick a side. i know you can technically go neutral but do not do that - it makes life hard.

⁃ Make sure to namedrop the author in paragraph one, and then never discuss them again unless absolutely necessary. Do NOT use the prompt as evidence.

⁃ Thesis should have two main points.

⁃ Body paragraphs two and three need to qualify these points with examples you personally know of, whether they be historical, current event based, literature based, whatever.

⁃ Third or last body paragraph NEEDS to be your counter and refutation. Do not forget this, it can make or break a persuasive essay.

⁃ Basic conclusion at the end.

If anyone has questions they can ask me!

#this isnt a studyblr but #studyblr #ap lang #ap tests #ap junior year #mine

[behind-the-screen-of-bangtan]

BTS World Tour - Love Yourself Speak Yourself tour

List of the concert dates

Photo Sketch of the Speak Yourself tour

Photo Sketch of The Final

Concert from the 1st June at Wembley Stadium on VLive+

Episode of the dates in Seoul

Love Yourself: Speak Yourself is the second part of the Love Yourself Tour. The name is inspired by RM’s UN speech. It’s the first time BTS made a stadium tour.

Speak Yourself has a whole new setlist but the VCRs are mostly identical to those from Love Yourself. The main difference is the first video since they hype the first song of the concert, respectively “IDOL” for Love Yourself and “Dionysus” for Speak Yourself. Speak Yourself has choreographies featuring extra dancers (Dionysus, Not Today, Just Dance, and Idol). Local dancers were hired for each date, one of them did an AMA on r/bangtan. Jin’s piano was designed by Make Studio.

Love Yourself: Speak Yourself The Final was held on the 26, 27 and 29 October 2019 in Seoul, at the Jamsil stadium. While the setlist was pretty similar to other dates, we got new VCRs.

Bookish Theories made an explanation and an analysis of the VCRs: part 1, part 2.

As Speak Yourself follows the Love Yourself tour, it seems pertinent to study its VCRs based on the ones from Love Yourself.

The videos in-between songs have the members appearing in the same order as during Love Yourself:

HS/JK (without the others this time)

NJ/JM

TH

SJ/YG

Seokjin also has little bits of video during "Epiphany"

Hoseok/Jungkook

This time they're separated, which is coherent with the LY VCR ending with the boys separating. It seems they can "communicate" though: Jungkook sends a flashing light, paper planes, a wristwatch, and Hoseok answers with the reflection of the wristwatch.

They both imitate a bird with their hands, like Jungkook in the Love Yourself VCR. It's actually a reference to the sign Hoseok made in the concept for You Never Walk Alone.

N.B: Planes have been associated with Hoseok several times (see the end of this post)

And on a sidenote, you can catch a glimpse of what could be an “18th century French market place basket man” painting, according to the seller One Ten Molly Lane Vintage.

What conclusion does this VCR give to the 起 Wonder part?

Wonder is the smallest part of Love Yourself. It seems its theme was happiness with friends. So maybe the conclusion is that even when apart, friends still care for each other, and they can be happy just by keeping contact.

Namjoon/Jimin

They're again in different places but can still contact each other through a sphere (transparent here, it was yellow in Love Yourself). Jimin seems to be inside the sphere this time though, based on how the lighting of his set depends on how Namjoon casts the light on the sphere.

Jimin's set also reminds the one from "Serendipity": a living room with a window, a bedroom with only a mattress, and an opening in the ceiling. But it's like we're seeing it after the earthquake(?) from "Serendipity" so everything is destroyed.

Something interesting about Namjoon's set is the sand with pine trees. The infamous beach from the BU has a forest near it. Pine trees are also along the beach in Kafka on the Shore. And the passage to the other world is in the woods (see this post). It could explain why the pines pierce the ceiling like it could lead you to another place, full of light.

At the end of the video, you see in the reflection of the sphere that Namjoon has disappeared. Jimin is inside a sphere with a galaxy above him.

Conclusion for 承 Her

We know the fated love from Her turned out to be fake, thus the destroyed "Serendipity" house. But "Trivia 承: Love" reminds the beauty of loving, thus allowing Namjoon to make hope shine again in Jimin's house, making this one dance.

The last shot is possibly a reference to The Little Prince. Namjoon disappears but Jimin then has the galaxy with him, like when the little prince told the narrator all the stars would be his friend (more about The Little Prince and BTS here).

Taehyung

The sand and the roses disappeared, the ice seems to have melted (the water on the ground). Hard to tell what the light bulb represents (his sanity? his consciousness? the world around him?) There's a progression with the colors: light blue>yellow>red.

The climax is reached when after walking through the orange mist, Taehyung is in front of a bright threshold.

Then the lightbulb that had previously exploded is reconstructed (the video just plays backward), hinting that the crisis has passed.

Conclusion for 轉 Tear

Taehyung is still alone sadly but the lightbulb seems to indicate that the man that had denatured himself for the fake love has started his reconstruction

N.B: as many pointed, the black feather coat V has during the performance reminds of The Wings Tour. The black feathers can remind of a crow, one of the main symbols used in Kafka on the Shore. In the book, Crow gives strength to Kafka so it could support the idea Taehyung is reconstructing himself and going against the destiny set for him by his father. Namely becoming as violent as him.

Yoongi/Seokjin

In his VCR for "Epiphany", Seokjin does moves similar to the ones in AWAKE, and Euphoria. The rain also reminds of the video for "Epiphany".

Conclusion for 結 Answer In the LY VCR, both of them were plagued by the memory of Tear (the "FAKE LOVE" flashes). This time, they seem to be in peace, considering the blue sky around them. However, their faces are not happy.

Just because they understood they had to love themselves doesn't mean they reached self-love immediately it seems. It could thus justify Map of the Soul: they start by learning about themselves to then love themselves.

A possible reason why Yoongi is here and not with Taehyung is that his trivia is the final conclusion of the love story. So we know what happens to the Boy in "Epiphany" and how he ended his relationship in "Trivia 轉: Seesaw".It also reinforces the solitude theme from Tear since Taehyung ends up alone in his video.

General observations

As confirmed by the alarm clock visible in Memories of 2019, the clock shows 4:31 in Jungkook’s room. The ones in Jimin’s house show a time between 4:31 and 4:32 (fun fact: the stove shows 12:25, the artistic team must have missed this one😅). Lastly, the clocks around Jin and Yoongi show 4:32:36.

This time progression could represent the evolution from Wonder to Her (to Tear) to Answer.

In parallel to those clocks, we also have the wristwatch (HS/JK), the hourglass (NJ/JM), and the digital clocks (TH). Jungkook sends the watch to Hoseok but neither of them uses it. Namjoon turns the hourglass (making the lighting evolve in Jimin's house). The red clocks around Taehyung move forward but they show different times. It could be a nod to the fact Taehyung is conscious of Seokjin's time travels in the BU.

Hoseok left the wristwatch behind and Namjoon left the glass sphere behind so it seems like they cut the contact with their pair (Jungkook and Jimin).

The setting also reminds Taehyung's set in "FAKE LOVE", especially with the subliminal flashes.

The time passing shows how the boys are slowly maturing and then they can show us the conclusion of each part (Wonder, Her, Tear, Answer). Maybe the wristwatch transfer from Jungkook to Hoseok can also be seen as the time passing. The final conclusion would thus be similar to what we find in other BTS works. It takes time and pain to learn something but then you can be happy.

#Love Yourself #Speak Yourself