About Junji Kinoshita "Over Multiple Dream No Play"

The Momentary aspect of Time

Read Me

I define this writing by saying that it's only the trial version. So there may be, I wish, some good views, but also bad ones and surely the juvenile or wrong points mainly because of want of knowledge and experience. I have never seen No Play directly.
To be frank, I admit this is not academic, but have some belief that it will contain some cutting edges, in a sense.

"Idutsu" (『井筒』), which is one of the multiple dream no plays, is supposed to have its own unique time mode(l), whose anomalous structure enables to show, if to say, "Aggregated Time". I am going to consider that this time.


1. "Aggregated Time"

There is something like distortion of time in "Idutsu".

...So, in the latter part this lady tells about not the past, but does the things of 200 years ago in the present form. *snip* In spite of of being as ghost two hundred year ago, she tells then in the present form and at the same time appears she as the past lady and has been wating for till now. It is quite enigmatic. In the other words, she exposes her aspiration, which is so unsophisticated that leaps(/sweeps) over time of two hundred years at once. So very long time is condensed into a moment. (Junji Kinoshita "Over Multiple Dream No Play" bold type by quoter)

By naming this strange type of time property "Aggregated Time", I or we are going to consider.


2. Cracks of ”Regular Life”

A short novel named "Joseito" by Osamu Dazai has a following phrase shown below.

Waiting for Omiotsuke(Gentle Miso Soup) to be warmed up, I sat down on the kitchen entrance and was watching the wooded area before in a dreamy way. And I've got a feeling as if I had ever been seeing, was seeing the brush before just in this way, sitting on the kichen entrance, in the same position, and thinking of the very same thing for the past and since the present time forward. And this feeling blossomed the strange one that as if it was possible for me to perceive the past, present and the future at a single moment. This kind of events sometimes comes. I am sitting and talking with someone in a room. My eyes focuses on and sticks to one corner of a table with a virtual sound of "Koton". And stops and does not move, except the mouth. In such a moment, odd illusions tend to happen. I cannot help feel like believing still, that I once used to be seeing the corner of the table and also from now on this event will visit me in its entirety. ("Joseito")

I assume that these senses are not so expectinal, and some has had similar ones.
It seems possible to say that here something to be called, say, "cracks" of regular life, which would or will move our senses usually we believe simply, comes out of hinding.
Then, in my opinion, the phenomenon happening here is pretty interesting.


3. Noun vs. Adjective (Where is the subject of a sentence "Samui."?)

For example, in Japanese only "Samui." is permissible and taken as a complete sentence within a category of syntax rule. But in English, which has a basic structure of "S-V (Subject-Verb)", to mean the same matter we need to bring the subject, the nominative "It" and then can make a sentence "It is cold.", NOT in the form of "Cold".
As many people preceded say, when we consider this "it" is a strange word and it is diffcult to answer if someone asks what that "it" does mean. Now I crudely presuppose that languages whose structures need a nominative in a sentece for example such as English are to be called "Noun-esque", and ones whose doesn't need a nominative, that permit a syntax "Cold." are to be "Adjective-esque". And this idea proceeds to the counterpoint "noun" VS "adjective".


4. Process of baby's consciousness forming

Which do you think is more primordial, "noun" or "adjective"?
To chew the fat, we were newborn babies.
Then, how would we feel if Mother gave us milk? You know we don't think like this, "Oh, Mum is feeding milk into me." Perhaps we babies would not understand our drinking object is "milk", there is just only the sense just as "Good", "White" or "White", if we were to be able to see the things. Maybe even the consciousness of "I" would not have been formed yet.
We can elicit from above a hypothesis that it's not like that there are things(noun) first and then second in order to show their quality when we taste the world at first, it'd be the nearer to the case, to say by repeating the senses such are expressed as "warm", "good", we have come to be able to make out the "thing(noun)" such as "milk".
We are so familiar to "Naturalistic Realism" (if we follow the lead of Junji Kinoshita's way of telling) that we usually perceive the world with a focus on "Things". But in deliving deeper, the footing is not so sound as we are supposing.


5. Real / Fundamental Time and Unreal / Non-fundamental Time (by Heidegger)

By the way, I plucked the phrase out of a novel of Osamu Dasai earlier and pinpointed that there appears the "crack" of regular life.
What kind of problem appears here?
I am going to consider it deeper, employing ”Being and Time” (”Sein und Zeit”) by Heidegger, which is known by its unintelligibility or profoundness also.
Heidegger divides time-ness into "Real / Fundamental Time-ness" and "Unreal / Non-fundamental Time-ness".
Interestingly, ”Real / Fundamental Time-ness” is almost to "Unreal / Non-fundamental Time-ness" what "adjective" is to "noun" in form, as mentioned above.
We live a daily life with due considerations to "clock".
Like "It is December 2nd today. I must go out by three o'clock".
But, Heidegger says that this ”Time of Clock” is "unreal", or "non-fundamental".
Now, what is the concenpt that he advocates as "real", "fundamental" time?


6. ”A view of tiem in a twinkle” -- Aggregated time

Heidegger defines humanity as being to attend the possible(future), and he names that a word "Understanding"*. For exsample, paper money (or other forms of currency) is not fascinating by its own immediate quality, basically. But, in the future, it has a possibility to be converted to, say, hamburg. Hence we want it.
Well, there is an interesting description of this "understanding" below.

Understanding is primarily coming-like[futuristic] as existence within the possibility of being projected however. But if the understainding is not time-like, said differently, if not defined fountainhead-equally by the nature to used to exist [past] and the present, it would not make itself time. ("Being and Time" in "The World's great books" Chukou Bakkusu p531; underline by citer)

Although the sentences are difficult to read, if to paraphrase them in the simple form, he says that, from his point of view such as "Fundamental Time-ness", past-present-future is "concurrent", "have a horizontal relationship".
Heidegger explains that with his own coined term "(Its) Making Itself Time" as follows.

...in resolved-ness the present is, *snip* maintained among the coming(future) and the nature to used to exist. It is held within fundamental(real) time-ness. Therefore we name the fundamental/real present View of Moment (Shunshi, 瞬視).

I hadn't read this book through yet and then cannot guess so surely, and after reading through once it is not so sure by one recipient, but Heidegger maybe means like this.
Here happens a certain inversion just as in relationship of "noun" and "adjective" it was revealed that our usual thing-centered way of experience is secondary,or non-fundamental in a very real sense. I mean our familiar "time" (of clock) is not fundamental, and fundamental time is concentrated into "moment", which is the word used in popular "time" measured by a clock. It seems that this is the reason why Heidegger set up a term "View of Moment" purposely.

I am going to quote the part of "Joseito" a novel by Dasai adduced above, again.

Waiting for Omiotsuke(Gentle Miso Soup) to be warmed up, I sat down on the kitchen entrance and was watching the wooded area before in a dreamy way. And I've got a feeling as if I had ever been seeing, was seeing the brush before just in this way, sitting on the kichen entrance, in the same position, and thinking of the very same thing for the past and since the present time forward. And this feeling blossomed the strange one that as if it was possible for me to perceive the past, present and the future at a single moment.  ("Joseito")

When I cited first I expressed that here appears a crack of regular life.
I assume that these sentences can be read here "fundamental time-ness", or "View of Moment(shunshi) = aggregated time" appears after collapse of "Non-fundamental time" or "Time of Clock" as amplifying Heidegger's consideration of time.


7. World to become paysage 

Don't you have experiences reading a novel, a verse or comic makes a world around you of somewhat difference from since ever?
Kinoshita's writing "Drama's reality, *snip*... is a kind of reality in the front of it real-life reality, which is usually evident reality to us, turns to seem only "Naturalistic Realism" surely refers to this type of senses.
And if we name these phenomena "World's becoming paysage" brought about by exposure of a certain kind of reality or unlocking something renewed, a new question comes up to us.
To put it briefly, it is a matter how to live a paysagized and stereotyped monochrome world.
Plus, focusing on "time", the question can be said how we are going to live our lives by drawing the vital stuff from dried time, streaming in the bland-toned manner, after experienceing "Aggregated time", in "Idutsu" described "as if skipping two hundred years in an instant", which Heidegger called "fundamental" condensed time.


8. "ought to suffer in a metronomic rhythm" 

How to live a banal world, dried time.
Can't write.
Lose.

Quote meaty sentences.

Now, that saxophone tune is. *snip* Saxophone in four. Its melody comes and goes. And, it sounds "You ought to be like us, suffer in a metronomic rhythm". ... *snip* ... And at the very this time, from the other side of existence, different dimension where we can gaze far but never approach, breezy tune started to float and sing. "You should existe like me, suffer in a metronomic rhythm". The voice sings.

Some of these days

You'll miss me honey

There must be a crack on the record and its part because of great noise there. But, it has something to have us feel a tightness in our chest. That is the melody is not affected by a scratchy reproducing stylus simply. The melody is so far away -- so far away behind. The record is worn, has cracks, and the woman singer would have been dead. And I know that I will have gone here and gotton a train. But,  behind existence to fall from a present to another present without the past and future, behind those sounds to break day by day and fall off and slide to death, the melody always remains strong and youngful, looking the same as a ruthless witness. (Sartre "Nausea"("La Nausée" in French) text traslated by Kouji Shrai referred)

About repetition

Need to think. Probably to set up a new note or story.

*need to search on English and German books.
** Heidegger has his own problems. (Also within political field.) And his philosophy in his life and also study has. Need to think deeply, but not here.