Dissertations / Theses: 'Dreams and art'

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Sheah, Julie. "Reading Dreams| Representation of Dreams Through Artists' Books." Thesis, The George Washington University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1591082.

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Within pages and spreads, a reader can sometimes experience someone’s stream of consciousness. The book’s narrative, images, prose, and other components can break free from the parameters of a conventional book, unbound by the rules of formatting styles, grammar, and narrative. An artists’ book is free to be confusing, delightful, and horrifying. When creating an artists’ book to represent a dream, the difficulty of solidly recounting images and events that existed only in my mind creates a barrier between the reader and me. This barrier makes me feel inarticulate and ineffectual in that one of my main objectives as an artist is to coherently express an idea. While no medium possesses the capacity to fully transmit a dream, the artists’ book is one of the most comprehensive, artistic representations of a dream, and the parallels between experiencing a dream and experiencing a book allow for the terms “artist” and “dreamer” to shift interchangeably.

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Ilnicki, Diann. "Drawing on dreams : an art therapy contribution to group dream work." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ39124.pdf.

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Lyons, Mark W. "American dreams /." Online version of thesis, 1990. http://hdl.handle.net/1850/11237.

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Bickel, Jesse. "In dreams /." Online version of thesis, 2009. http://hdl.handle.net/1850/11244.

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Ramdin, Catherine Lasch. "Primitive dreams : in search of judgment /." Online version of thesis, 1991. http://hdl.handle.net/1850/11624.

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Gafny, Tal. "Pools / Dreams / Parental Gaze." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/3482.

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This thesis is a testimony of thoughts and ideas that have been circulating in my studio for the past few years, in their current form. It is also an experiment in writing an autobiographical piece of prose. It was written parallel to, and after, making the film Double Take with Perrin Turner. The film is an exploration of a number of relationships, related and sometimes haunted by one another. I wish for this text to operate not only as an after-the-fact recollection of thoughts, but also in relation to what will follow it – similarly to the way a trailer operates in relation to a movie. This is an extract and a prologue rather than conclusion or resolution.

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Riede, Danielle Felice. "Paint Chip Dreams." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd_retro/35.

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This thesis summarizes Danielle Riede's current art practice by detailing her materials, processes and inspiration. It also contextualizes her "Room Paintings" within the context of art history and contemporary art-making.

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Himebaugh, Keith. "Mythic Drawing| An archetypal approach to drawing with dreams." Thesis, Pacifica Graduate Institute, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3565655.

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This production-style dissertation explores the psychological aspect of drawing with dream images. It introduces a practical method, called Mythic Drawing, which can help artists work with dream images in an authentic way. For James Hillman, the founder of Archetypal Psychology, dreams do not reflect the outer world of empirical reality. Rather, they express the inner world of psychic reality through mythological resemblances. Therefore, to draw adequately with images, the artist must give up the rational approach of step-by-step formulas and abstract concepts, and instead, sensitize these methods to the metaphorical style of the dream.

The essence of Mythic Drawing is play. The artist engages the dream image as an active participant, like an actor playing a part. The role of "artist" is relativized and seen through to the many archetypal figures one embodies while drawing, such as a child, a dancer, an architect, or a shaman. The artist accepts the dream images as alive, intelligent and capable of asserting a will of their own. In this way, drawing becomes a collaborative activity that fosters a dynamic relationship between the artist and the creative figures of his or her imagination.

Using a hermeneutic method, the dissertation outlines the theoretical basis of Mythic Drawing, while at the same time examining traditional assumptions and biases in art education. It then tests the efficacy of the ideas discussed through two intensive drawing projects. A heuristic method is applied throughout the production of drawings which helps provide reflection upon and analysis of the creative process.

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Chambers, Julia. "TIGER JELLY: EXPLORING THE SUBCONSCIOUS MIND THROUGH DREAMSCAPES." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1187.

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My installation is an exploration of the subconscious ventures within dreams, focusing on aspects of identity, anxiety, and intimacy. The personal disposition of an ‘active’ imagination, even while I sleep, has made me both fascinated and exasperated by my dreamed experiences. By documenting my dreams through animation I am able to explore this power dynamic between my consciousness and subconscious which orchestrates these scenes. Tension between the audio, content, and aesthetic of the work explore the grey emotional areas of dreams that leave residue in the back of our head as we navigate the real world. Time, form, and the scientific and societal laws that govern our lived experiences may be distorted beyond recognition within a dream, and mankind’s proclivity to fantastical dreams makes sleep a gateway to something otherworldly and freeing, all-consuming and overwhelming.

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Ahlstone, Daisy M. "Thylacine Dreams: The Vernacular Resurrection of an Extinct Marsupial." DigitalCommons@USU, 2019. https://digitalcommons.usu.edu/etd/7563.

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This thesis explores the folk resurrection of the thylacine through artwork and symbolic interaction. The thylacine, better known as the Tasmanian tiger, is a marsupial that suffered a government-sanctioned massacre leading to its extinction in 1936. The thylacine’s status as a hidden animal has inspired what folklorists call “ostensive practice”; people not only actively seek out the thylacine in the wilderness of Tasmania today and share their sightings online, but they have also incorporated the thylacine as a symbol of hope and perseverance into various forms of folk art. There have been upwards of five thousand documented sightings of the thylacine since its extinction. This documentation can take the form of amateur or phone-recorded films, or sightings described in interviews for local news agencies. Some people have even found alleged biological remains of the thylacine and have described hearing its unique call. In addition to these types of legend-tripping activities, the thylacine is also represented in a variety of folk-art forms, including digital, painted, and hand-drawn artwork, written fiction, fiber arts, and costuming. This content is shared widely across the internet. Keeping the thylacine alive through the creation of folk art and legend-tripping search parties helps thylacine enthusiasts cope with the guilt for having lost an ecologically important animal due directly to ignorance and financial gain. If the thylacine is resurrected, whether literally or figuratively, people can symbolically undo some of the damage they have caused the natural world. Thus, the vernacular resurrection of the thylacine, understood through a folklorist lens, offers a model for comparing some of the vernacular ways that people are presently dealing with the general loss of wildlife due to climate change.

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Peacock, Mary, and not supplied. "Under the Bitumen the River - Translating the Imagination." RMIT University. Art, 2008. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080804.150756.

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The project was informed by non-rational modes of perception which explored the matrix of dream, imagination, my body and the viewer. The material from this matrix was brought together and translated into artworks through the use of every day materials, techniques and procedures. The resulting artwork offered an experience in the form of an installation which included projected images, aural landscapes, tactile surfaces and spatial constructions.

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Mulholland, Richard. "'From dreams and visions and things not known' : technique and process in David Smith's drawings." Thesis, Royal College of Art, 2010. http://researchonline.rca.ac.uk/433/.

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For the American sculptor, David Smith (1906–1965), drawing was a language to replace words. It was the subconscious immediacy of drawing that allowed formal concepts to take shape during the laborious process of welding steel. In the 1950s, Smith’s sculptural output increased dramatically in both scale and quantity. At the same time, his drawings acquired a separate identity, largely independent of his sculpture, yet these drawings, and indeed much of Smith graphic process, have to date not been studied in depth from a technical perspective. Utilising the technical study as its mode of inquiry, this thesis investigates the complex tacit knowledge present in Smith’s work, particularly as it exists in the relationship between the practice of drawing and the practice of sculpture, and applies it to the understanding of his oeuvre. Unravelling this tacit or hidden knowledge reveals that Smith attached much significance to materials. More pertinently perhaps, this approach prompts a hypothesis that argues for a simultaneous and synergistic material relationship between sculptural and drawing in Smith’s practice. The elucidation of the tacit within Smith’s work when framed within recent understanding of the importance of tactile perception in experiencing works of art reveals that Smith may have used materials that both perceptually and physically extended drawing into three dimensions and further, that these materials often had resonance with materials used in his sculpture. Studying the technical aspects of Smith’s process inevitably provides a framework for discussion on durability, damage and authenticity in his work. Smith’s extensive investigation into materials - both industrial and artistic – is discussed as a function of his self-identity not as artist, but rather as industrial worker, with a pragmatic interest in the use of durable materials in his work, both graphic and sculptural. The fact that a significant number of Smith’s painted sculptures and drawings have aged poorly is therefore difficult to reconcile. It raises questions about the true durability of his media, why they have deteriorated and, more importantly, how an understanding of the tacit, and of technique and process might be crucial for decisions made for their conservation. In this context the deterioration of a substantial number of Smith’s iconic drawings from the 1950s is discussed in juxtaposition with the now notorious decision in the early 1970s to completely remove badly deteriorated paint from a number of his unfinished sculptures by the then Executors of Smith’s estate, ostensibly to preserve the integrity of his work. That alteration has occurred in both drawing and sculpture in Smith’s work is highly significant, given Smith’s lack of demarcation between the disciplines. It provides a base for discussion on the meaning of intent, damage and restoration in Smith’s work and suggests that even small changes in surface texture, gloss or colour might irrevocably alter our perception of it. The results of the investigation provide several important observations: Firstly, that there is a considerable tacit dimension to Smith’s graphic work not previously considered in studies of his practice and that in understanding this it becomes clear that Smith used drawing in a more complex and vital manner than previously considered. Secondly, that Smith’s drawings were informed to a great extent by both three-dimensionality and by the materials he chose, that tactility and notions concerning the haptic perception of objects might provide insight into Smith’s work, and that this can be applied equally to drawing as much as sculpture. Thirdly, that Smith’s ideological stance as an industrial worker profoundly affected his process and the materials choices he made, and finally, that change in Smith’s works whether the result of deterioration or deliberate intervention might profoundly alter perception and understanding of such nuanced work.

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Sefer, Ibrahim. "Newly arrived children's art / story book 2004." [Adelaide]: Migrant Health Service, 2004. http://www.health.sa.gov.au/library/Portals/0/drawings-and-dreams-newly-arrived-childrens-art-story-book.pdf.

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This project was funded by the Department for Families and Communities A collaboration between Ibrahim Sefer, newly arrived boys and girls aged between 4 and 14 years from Culturally and Linguistically Diverse Backgrounds and the Migrant Health Service (Adelaide Central Community Health Service).

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Euvrard, Gwenda Joan. "Dreamwork and imaginal healing: the incorporation of artwork in a systematized method of group dreamwork." Thesis, Rhodes University, 1999. http://hdl.handle.net/10962/d1002481.

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This exploratory study investigated the expansion of an established systematized group dreamwork method (Shuttleworth-Jordan, 1995) to incorporate artwork. The rationale for the addition of artwork was situated firstly, in a poetic Jungian understanding of the image as a holistic "place" of gnosis or transformative healing and, secondly, in an argument that in order to carry the gnostic potential of the image into the lived world, a dreamwork method should involve all four styles of consciousness (thinking, intuition, sensation and feeling). It was considered that the verbal interpretive Shuttleworth-Jordan method would be enhanced by the incorporation of a visual artwork process in order more fully to open the potential of the method for incorporating the nonverbal intuitive, sensation and feeling styles of consciousness. In order to compare the established method (dreamwork Without Art) and the proposed method (dreamwork With Art), two dreamwork workshops were conducted in which all participants experienced all four conditions of the study: Dream Presenter Without Art, Dream Presenter With Art, Group Member Without Art, Group Member With Art. Two levels of assessment were utilized: a quantitative analysis (involving rating scales completed after each dreamwork session), supported by a qualitative analysis (involving written questionnaires completed at the end of the workshops and follow-up interviews conducted a week after completion of the workshops). The results suggested that the incorporation of artwork in the Shuttleworth-Jordan (1995) group dreamwork method enhanced the established method in that a consistent trend of increased involvement in the dreamwork process and increased dreamwork effectiveness was reflected, while no deleterious effects were noted which might detract from the effectiveness of the existing model which had been established in previous research studies. Finally, a refined step-by-step group dreamwork method incorporating artwork was proposed, which included qualitative feedback from the present study.

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Adams, Elizabeth N. "Communicating Hope and Dreams, Wishes and Fears: Medical Art Therapy and Communication Disorders in the Pediatric Hospital Setting." Ohio University Honors Tutorial College / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1618918702473323.

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Pažimeckaitė, Justina. "Pasąmonės ir sapnų refleksijos mene. Paroda sapnų tema - ,,SITKANABAL"." Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2011. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2011~D_20110802_152916-85530.

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Pažimeckaitė J. Pasąmonės ir sapnų refleksijos mene. Paroda sapnų tema ,,Sitkanabal“: Audiovizualinio meno studijų bakalauro baigiamasis darbas. Vadovė asist. A.Plungienė; Šiaulių universitetas, Menų fakultetas, Audiovizualinio meno katedra. Šiauliai, 2011. 62 p. Darbe nagrinėjamos pasąmonės ir sapnų refleksijos vaizduojamame mene. Darbo tikslas remiantis teorine mokslinės literatūros ir menininkų kūrusių pasąmonės refleksijomis kūrybos analizėmis, sukurti savo sapnų vizijomis pagrįstą originalią meninę instaliaciją – parodą ,,Sitkanabal“, kuri yra kūrybinė darbo dalis. Šio tikslo siekiama teorinėje darbo dalyje nagrinėjant pasąmonės sampratą, jos pasireiškimą per meno kūrinius, įsigilinant ir aptariant įvairias sapnų teorijas, apžvelgiant lietuvos ir užsienio menininkų darbus nagrinėjama tematika, bei stebint asmeninius sapnus.
Pažimeckaitė J. Unconscious and dreams reflections in art. The exhibition by the theme of dreams - ,, Sitkanabal”: Multimedia Arts studies Bachelor of final thesis. Labour Leader assist. A. Plungienė; Šiauliai University, Faculty of Arts, Multimedia Arts Department. Šiauliai, 2011. 62 p. The object of work is to create an original art installation- an exhibition ‘Doog Thgin’ (the creative part of the work) which is created using the author’s visions of dreams with reference to the theoretical nonfiction literature and the analysis of artists’ works in which the reflection of sub-consciousness was used. This is achieved by examining the theoretical part of the concept of the unconscious, its manifestation through the works of art, analyzing and discussing various theories of dreams, reviewing the works of Lithuanian and foreign artists on the topic of an analyzing subject, also studying personal dreams.

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Lapinskaitė, Sandra. "Sapnų užrašai." Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2012. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2012~D_20120702_105022-48467.

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Kuriant darbų kolekciją stengtasi perteikti žmogaus santykį su savimi pačiu sapno erdvėje. Pasirinkta oforto technika, kuri suteikė galimybę sukurti siurrealistinius vaizdinius, remiantis melo ir tiesos, realygės ir už jos ribų esančiomis dviprasmybėmis. Už formų bei kompozicijos sprendimų slypi kiekvieno akimis regėtas pasaulis. Tai matyti šioje kolekcijoje ,,Sapnų užrašai“. Už įvairių taško, linijos ir dėmės kuriamų formų ir kompozicinių sprendimų slypi sapno vaizdinių perteikimas. Nors nemažos dalies naudotų simbolių prasmė lieka paslaptimi, tačiau žiūrovui suteikti minties laisvę stebint kūrynį yra viena iš galimybių meną pažinti savaip.
When creating work collection it was attempted to convey the relation with oneself in a space of a dream. Etching technique was chosen which gave the opportunity to create surreal images based on lie and truth, reality and ambiguity beyond its limit’s. Beyond shapes and composition’s solutions hides a world unseen by anyone’s eye. It all can be seen in this collection named “Inscriptions of Dreams”. Beyond various fleck’s, line’s and spot’s created forms and composition solutions’ hides convey of dream images. Even know the meaning of some part of used symbols is still a mystery but giving the freedom of thought to a viewer watching at a creation is one out of many ways to understand art in your way.

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Dugas, Hélène. "Le rêveur, scénario de film ; suivi de Étude sur la lucidité onirique et réflexion sur le processus de création scénaristique." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq33627.pdf.

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Bleifer, Robert. "The dream beast manifestations /." Online version of thesis, 1993. http://hdl.handle.net/1850/11096.

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Pavin, Fabiane Sartoretto. "PROCESSOS HÍBRIDOS NA POÉTICA DE SANDRA REY: UM ESTUDO A PARTIR DE SOFT DREAMS E DESDOBRAMENTOS DA PAISAGEM." Universidade Federal de Santa Maria, 2010. http://repositorio.ufsm.br/handle/1/5193.

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This research aims to approach to contemporary art through a theoretical study of the poetic of Sandra Rey, an analysis of hers creative process and how hybridization occurs in hers works. The artist's works are made based on images taken in situations of displacement by certain landscapes and scenes of everyday life. Hers works are the result of photographic images that she prepares in the digital environment, in order to transform the models extracted from reality, transforming them into experimental structures of meaning. In this creative context, it is believed that different ways to intercross the visual arts with digital technologies highlight themselves, which enables an approach to the hybrid processes in contemporary art. The dissertation is divided into four chapters: the first discuss the career of the artist Sandra Rey and the insertion of hers creative process in the field of art and technology, the second establish a dialogue between the concepts of hybridization defended by different authors and a review of some works of Sandra Rey, in order to understand the issues surrounding the hybridization that guide the research, the third chapter presents an approach to photography and its relations to the analog image and digital image, as well as their contributions to the hybrid processes in contemporary art.
Esta pesquisa visa uma aproximação da arte contemporânea por meio de um estudo teórico da poética de Sandra Rey, de uma análise sobre o seu processo criativo e o modo como ocorre a hibridação nas suas obras. Os trabalhos da artista são elaborados com base em imagens captadas em situações de deslocamento por determinadas paisagens e cenas do cotidiano. Suas obras resultam de imagens fotográficas que ela manipula no ambiente digital, com a finalidade de transformar os modelos extraídos do real, transfigurando-os em estruturas experimentais de sentidos. Nesse contexto criativo, acredita-se que se evidenciam diferentes maneiras de entrecruzar as artes visuais com as tecnologias digitais, o que possibilita uma abordagem sobre os processos híbridos na arte contemporânea. A dissertação está dividida em quatro capítulos: o primeiro trata do percurso da artista Sandra Rey e da inserção do seu processo criativo na área de arte e tecnologia; o segundo estabelece um diálogo entre conceitos de hibridação defendidos por diferentes autores e uma análise de algumas obras de Sandra Rey, a fim de compreender as questões em torno da hibridação que norteiam a pesquisa; no terceiro capítulo, apresenta-se uma abordagem da fotografia e das suas relações com a imagem analógica e a imagem digital, bem como suas contribuições para os processos híbridos na arte contemporânea.

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Basfar, Rana Khalid. "The Nights’ Dreams: Shahrazad and Her Stories in Modern Human Rights Textual and Visual Narratives (1994-2014)." OpenSIUC, 2020. https://opensiuc.lib.siu.edu/dissertations/1781.

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This dissertation stands at the intersection between human rights, contemporary postcolonial literature, and medieval folkloric texts, specifically the One Thousand and One Nights, also known as the Nights, by an unknown author. The Nights was first translated to French by Antoine Galland, when it appeared as a series from 1704 to 1715. This was followed by subsequent English translations and other translations into many other languages. Today, the Nights continues to captivate the world’s literary imagination. The dissertation focuses on selected popular textual and visual human rights narratives published from 1994 to 2014. These narratives are by celebrated human rights artists and authors from different parts of the globe: they are both non-Western and Western, but all have spent a significant portion of their personal lives and careers preoccupied by rights and social justice issues, both locally and universally. I focus on the following texts: Dreams of Trespass: Tales of A Harem Girlhood (1994) by Moroccan author and feminist Fatima Mernissi; Women Without Men (2009) by the exiled Iranian artist and director Shirin Neshat; Women Without Men by exiled and celebrated Iranian novelist called Shahrnush Parispur; Habibi (2011) by novelist Craig Thompson; and The Dream of Shahrazad (2014) by Emmy-Award-winning South African documentary film maker/director François Verster. The varied texts tackle human rights issues such as colonization, wars, human trafficking, rape, violence, torture, women’s subjection, environmental justice; freedom of speech and movement; forms of classism; and racism. I attempt to explore how and why these works are employing the Nights’ narrative model, as well as its formal and aesthetic aspects, to enable modern human rights narratives. While the direct connection to the Nights is obvious, I also trace obscure references to the Nights’ stories, genres, and themes. I focus on how “The Story of King Shahryar and Shahrazad” and its plot about storytelling to heal and save lives interplays with a modern sense of rights issues such as violence, genocide, trauma, healing, and legal appeals for justice. I offer a reading of the Nights’ stories referenced in each work to theorize why human rights artists and authors include them directly or obscurely within their narratives. I conclude that these stories from the Nights were chosen for their themes of social justice, discrimination, trauma, torture, judicial discourse, and feminist empowerment. I also conclude that contemporary human rights artists and authors incorporate elements from the Nights in intertextual ways that enable them to construct currently applicable allegories of human rights advocacy.

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Smith, Marian Brunn. "A Fugitive Sea." VCU Scholars Compass, 2007. http://hdl.handle.net/10156/1952.

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Kan, Kuei-an. "Effects of Experiential Focusing-Oriented Dream Interpretation." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc277836/.

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This study was designed to examine the effects of Experiential Focusing-oriented dream interpretation. The process was twofold. The first part of this study involved a preliminary step of developing an instrument, the Dream Interpretation Effects Questionnaire (DIEQ). The DIEQ assessed specific effects of Experiential Focusing-oriented dream interpretation, e.g., a sense of easing, fresh air, or movement, increased positive energy or self-understanding, development of a new step, enhanced valuation of dreams, or enhanced understanding of the meaning of the dream. Fifty-two adult volunteers participated in the first part of this study. All participants completed Part One of the DIEQ after reporting a dream and freely associating its meaning to another participant. The results were computed to establish the reliability of the DIEQ. The researcher then used the DIEQ along with a structured interview in a pretest-posttest control group design to examine the effects of Experiential Focusing-oriented dream interpretation. Twenty adult volunteers experienced in Experiential Focusing participated in the second part of this study. They were randomly assigned to an experimental group and a waiting-list control group. The experimental participants completed the DIEQ before (pretest) and after (posttest) a 45-minute Experiential Focusing-oriented dream interpretation intervention. By contrast, the control participants completed the DIEQ before (pretest) and after (first posttest) a 45-minute no-intervention waiting period. Then, the control group participants received the same intervention as the experimental group and completed the DIEQ (second posttest). All participants participated in a structured interview to conclude the study.

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Aigner, Scott J. "The Power and Influence of Movies." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1243793843.

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Morrison, Jean Catherine. "Dreams, disability, psychotherapy and supervision : "we are such stuff as dreams are made on"." Thesis, Middlesex University, 2003. http://eprints.mdx.ac.uk/13558/.

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In Chapter One, in the first three of six sections, I trace aspects of my professional journey - processes of experience, reflection and formation - which woven together have brought me to create this document. This doctoral study is the culmination of my professional life and in the first section I show how my professional growth and development has evolved naturally to this point. The second aspect has felt quite different, and more like a sudden forced hothouse growth. Never in my wildest dreams did I think I would read neuropsychology to understand and enjoy them, but the evidence is there! As I wrote up my experience of the professional seminars in the third section I realised how effectively they had provided a strong organic framework - a cumulative support and stimulation as I was ready for it, complementing and permeating my thinking. In section four I outline the work I have achieved and sustained at doctoral level. In section five I set out the effect my work might have both in the profession of psychotherapy and for others in their lives and relationships. The final section looks at the limitations in my work and future possibilities for further research. In CHAPTER TWO I describe how I used the agency that employed me as an external trainer along with my private counselling and supervision practice and various contacts outside my work, to set up experiential learning projects for others through which I could collect the evidence I needed to study the symbols, metaphors and themes in the dreams of disabled people, and compare them with those of non-disabled people, including my own. I became deeply involved in the research process. I hope I convey my amazement in the discovery I made that the physically able self-representation in the dreams of disabled people which I and many others before me had thought to be an odd phenomenon, is as it is because it is exactly the same as that of non-disabled dreamers! Along the way towards that discovery I found other fascinating dream features that I have illustrated throughout the chapter. CHAPTER THREE looks at the relationships - the professional context in which dreams are explored. Few reports gave evidence that dreams had been discussed in them, but that in itself was not essential for my study. I wanted to understand what would be likely to happen to such relationships in this area of diversity, and what more might be needed for them to be safe enough for dream exploration. This chapter is a catalogue of pain and struggle, in total contrast to the delight and surprise of chapter two. It is a record of what others told me of their experience in counselling and supervisory relationships where there were disabled and non-disabled people working together. I found what I suspected I would find, and because I dreaded finding it and then revealing it to others, I set out to be sure of my facts. I looked at the issue from several sides, and by including visualisation I encountered it also in depth. The record combines and analyses material from twelve different data sets. My findings are in the area of the effects of the differing body image on the dyadic partner and the working relationship, and in the contrast between the practice of those with long experience in working in this field with those new to it. From these I draw the conclusion that this area of diversity in our profession needs much more help than is currently given in training courses. I set out what I believe are essential areas for exploration and growth for all who choose to work in this field, and trust that those who supervise practice in our profession will take them on board.

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Durborow, Richard. "Dreams Are Like Fairy Tales." Thesis, Pacifica Graduate Institute, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1524869.

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How do envisioning dreams like fairy tales inform the therapist’s ability to talk with their clients about dreams? Using the research methodologies of heuristics and hermeneutics, the author tended to a dream while enrolled in a graduate program in psychology. He explains his dream as an imaginative story that reflects many of the ideas and concepts of depth psychology. The mythopoetic function of the unconscious is explored in relation to archetypal, historical, and fairy tale figures appearing in the dream, such as Bilbo Baggins, Trickster, Cleopatra, the Dalai Lama, and Frederick Douglass. Threads of depth and applied psychology are woven into the discussion, creating a link between the author’s dream and fairy tales. The research suggests that dreams, when envisioned as imaginary tales, are less frightening and more palatable, inviting selfdiscovery and transformation in the process of psychotherapy.

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Knudson, Gary. "Celestial Dreams." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc504191/.

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Celestial Dreams is a three-movement work for chamber ensemble. This piece employs algorithmic processes (coded in BASIC and Pascal) that generate poetic text and convert it to musical pitches. The three movements contain coherent structures that allow for the complete integration of all ensemble members into the texture and for the flexibility to have one ensemble member emerge as the musical foreground. The chamber ensemble includes strings, tape, slides, and a narrator, who recites the poetic text which forms the foundation of the piece.

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Hanson, Dan L. "Archetypal Dreams." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc332222/.

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In the composition Archetypal Dreams, musical imagery is created through motifs and ideas that represent the symbolic messages of the unconscious. These motifs are introduced, developed, transformed, and overlapped in contrapuntal dialogue. This unfolding of material grows in significance and complexity building to a resolution of tension. The relationship of motifs to the row is re-established and the row is reconstructed. In this manner the conscious and unconscious elements of the personality are symbolically reconciled. The four movements of the work are entitled: I. Primordial Images; II. Archaic Remnants; III. Mythological Motifs; IV. The Process of Individuation

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Blaszak, Urszula. "THE REBIRTH OF CONSCIOUSNESS." Master's thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3820.

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Human beings encounter cascades of a plethora of experiences, one after another, every single microsecond of our lives. There are many things happening around. The world is full of events and occurrences. As they happen, the mind reacts to every individual input. This is a very exhausting and difficult. Thus, people have developed a process of self-defense against this horrible mishmash of information. Their minds have this amazing capacity of sorting them out and making sense out of them. Humankind's survival depends on that. If one does not sort all this information out, one might not be able to make a simplest decision. As humans process the information, they learn to ignore and forget. They focus on their feelings and emotions. They forget the logic. The oversimplification process begins. Humans create rigid systems of oversimplified formulas. They assign adjectives to things, occurrences, and other people. The number of those adjectives is small. After assigning, those adjectives obscure everything else. A new world is created, stupid, limited, lazy, and in the end making humans very easy to control. What starts as a basic survival process ends up as a tool one can use to destroy the owners of the mind. In the end, the birth of consciousness leads to its death. My work fights this process. It aims to put a person back into that state of shock created by a mishmash of information and thus create the rebirth of consciousness.
M.F.A.
Department of Art
Arts and Humanities
Studio Art and the Computer MFA

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Sorenson, Peter David, and peter sorenson@rmit edu au. "Signs of mid-life: images from the contemporary Australian mid-life male psyche." RMIT University. Applied Communication, 2005. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20060428.113457.

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This research project investigates images from the contemporary Australian mid-life psyche, exploring the contribution to individual transformation made through the creation of, and reflective engagement with, personal imagery. Asking the question: 'What do contemporary Australian mid-life males consider to be a rich and sustaining inner life?' This project documents the visual images, descriptions, and reflections of a group of five participants, discussing the individuals' experiences of aesthetic self-inquiry with reference to divergent theories of psychology, art therapy and philosophy of aesthetics.

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Teo, W. W. H. "One world, one dream : contemporary Chinese art and spectacle." Thesis, University College London (University of London), 2011. http://discovery.ucl.ac.uk/1336875/.

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The central research question of this thesis is to ask: what is the relationship between Chinese contemporary art and spectacle? I argue that the relationship is uncertain and ambivalent, and mobilise the variegated term ‘spectacle’ in order to track the transformational logic at play in recent Chinese artistic production, consumption and reception. I regard the spectacular event of the first Olympic games held in the People’s Republic of China as a trope for the complex processes of national reconstruction, forms of social control and geopolitical influence set in train by China’s rapid economic advance. I look at the mixed messages and ideological contradictions of such a spectacular global event, and examine the role art plays in China’s 21st century cultural reconstruction. I suggest that since Deng Xiaoping’s ‘open door’ economic reforms in 1978, Chinese art has operated within what I define as a spectacular framework, which subtends to how these artists recursively (re)imagine their own histories; reflect or reject the ambivalent legacy of totalitarian aesthetics; and also, confront and/or comply with the commercialisation, institutionalisation and indeed spectacularisation of their work as ‘imagineered’ by fantasies, projections and longstanding anxieties of China. Through an interdisciplinary and broadly deconstructive approach, this thesis explores the multifaceted dimensions of spectacle as a cross-cultural interface that reveals much of the geopolitical imaginary beneath the façade of ‘One World, One Dream.’

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Gatlin, Charles Morgan. "Inventions, Dreams, Imitations." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc277655/.

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Eight short selections of fiction. "Inventions" consists of two invented creation myths. The three stories in "Dreams" are fantasy tales set in a common dream-world. The selections in "Imitations" are neither fantasy nor science fiction: "Time's Tapering Blade" is an experiment in form; "The Wake" concerns a group of friends dealing with a death; and "Janie, Hold the Light" is based on stories from the author's family about Christmas during the depression of the 1930's.

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Hawk, Zoe Alaina. "Dress code." Thesis, University of Iowa, 2011. https://ir.uiowa.edu/etd/980.

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Hamlin, Gretchen Lapp. "Costume as art /." Online version of thesis, 1991. http://hdl.handle.net/1850/11870.

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Gordon, Alan H. "What happens to a dream deferred? /." Online version of thesis, 1993. http://hdl.handle.net/1850/11749.

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Matthews, Elise. ""Stealing Dreams" and Other Stories." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc700046/.

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The critical preface, "Learning to Break the Rules" discusses workshop rules as guidelines, as well as how and why I learned to break them. The creative portion of this thesis is made up of eight short stories: "The Many Incarnations of Blazer Chief," "Anna's Monsters," "The Pecan Tree's Daughter," "When the Seas Emptied," "The Umbrella Thief," "How to Forget," "Fracture," and "Stealing Dreams."

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Alexander, Joe L. "Distant Thoughts: Dreams and Reflections." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332588/.

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Distant Thoughts: Dreams and Reflections, A Suite for Symphonic Winds, is a seventeen-minute work composed for the high school level wind ensemble. The instrumentation is based on the typical high school band resources. Instrumentation includes piccolo, two flutes, two oboes, English horn, three clarinets, bass clarinet, two alto saxophones, tenor saxophone, baritone saxophone, two bassoons, four trumpets, four horns, two trombones, bass trombone, two euphoniums, two tubas, timpani, and four percussionists.

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Atzmon, Leslie Chandler. "Dream work : the art and science of fin de siècle fantasy imagery." Thesis, Middlesex University, 2006. http://eprints.mdx.ac.uk/13446/.

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In this dissertation, I argue that the fantasy imagery of tum-of-the-century British illustrators Arthur Rackham, Aubrey Beardsley, and Sidney Sime, and French filmmakers Georges Méliès and Emile Cohl functions as visual rhetorical "texts" that explicate contemporaneous ideas about the self. At the fin de siecle, models of the self were shaped, in part, by scientific thought that interrogated themes of materiality and immateriality, visibility and invisibility, univalence and multivalence, permanence and impermanence. Dream Work grapples with these oppositions, the questions they brought up, and the provisional answers they elicited. I argue that both the science and the design considered in this study dealt with these oppositions, and the models of the self they elaborated, through a shared visual rhetoric of literal representation or hazy abstraction. I reveal this shared visual rhetoric through analysis of the form of the design considered in this study and its relationship to visual aspects of contemporaneous scientific discourse. I first show how Rackham's imagery, which echoes the visual vocabulary of physiognomical diagrams, deals with material aspects of self and mind. But Rackham's work likewise positions the mind as part of a grand continuum with the natural world. I describe the ways that Beardsley's imagery fluctuates between expression of material and ethereal elaborations of the self manifested in contemporaneous dream theory. And I show how Sime's imagery - which mirrors late nineteenth-century notions of the realms of other dimensions - probes abstract qualities of the self in strangely material forms. Finally, I discuss the ways that the mystifying abstraction that characterizes tum-of-the-century ideas about time, space, and motion marks the mutable selves expressed in Méliès and Cohl's work. In this dissertation, I likewise challenge the hegemony of the written word and of verbal analytical methods for interpreting visual entities. My goal, however, is not to dispense with the verbal analysis of visual artifacts. Rather, my intention is to foreground visual rhetorical analysis as a powerful method for understanding the visuality of both visual and verbal entities.

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Ibn, Abī al-Dunyā ʻAbd Allāh ibn Muḥammad Kinberg Leah. "Morality in the guise of dreams /." Leiden : E. J. Brill, 1994. http://catalogue.bnf.fr/ark:/12148/cb357021915.

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Borges, Cristóbal A. "Vieques: Island of Conflict and Dreams." Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4436/.

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This written thesis is a companion to a 30-minute documentary video of the same title. The documentary is a presentation of the historical conflict between the United States Navy and the people of the island of Vieques, Puerto Rico. For over 60 years the island was used by the United States Navy as a military training facility. The documentary attempts to present an analysis of the struggle between citizens of the island and the Navy. This written component presents a summarized history of Puerto Rico, Vieques and the conflict with the United States Navy. In addition, the preproduction, production and post-production process of the documentary are discussed. A theoretical analysis of the filmmaker's approach and technique are addressed and analyzed as well. The thesis's goal is to provide a clear understanding of the Vieques conflict to United States audiences who do not a familiarity with the topic. The thesis is presented from the perspective of a person who grew up in Puerto Rico.

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Michaud, Kathryn. "Tisserand de rêve = Dream-weaver /." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1989. http://theses.uqac.ca.

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Mémoire (M.A.)--Université du Québec à Chicoutimi, 1989.
Programme de maîtrise en arts plastiques extensionné de l'UQAM à l'UQAC. CaQCU Document électronique également accessible en format PDF. CaQCU

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Zhong, Lingyuxiu. "My pins are my dreams : Pinterest, collective daydreams, and the aspirational gap." Thesis, Massachusetts Institute of Technology, 2014. http://hdl.handle.net/1721.1/89975.

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Thesis: S.M., Massachusetts Institute of Technology, Department of Comparative Media Studies, 2014.
Cataloged from PDF version of thesis.
Includes bibliographical references (pages 90-101).
In the early twentieth century, the emergence of national market and maturation of color printing technologies brought a revolution in advertising. Consumers received and collected many colorful advertising images and pasted them into scrapbooks. Nowadays, a group of visually-driven social commerce sites like Pinterest.com provides a platform on which both businesses and consumer-collectors publish, collect, and circulate images en masse. This thesis examines historical scrapbooks as well as a variety of Pinterest collections through the theoretical lens of sociology to determine whether Pinterest enables new modes of collection, consumption and community formation. This thesis shows that while collections of commercial images of products are often spaces in which we express consumer desires for products and engage in hedonistic imaginative play, the socially-networked nature of Pinterest allows a new type of malleable, global and taste-based community to develop that can engage in collective imaginative play.
by Lingyuxiu Zhong.
S.M.

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Eriksson, Kajsa G. "Concrete fashion : dress, art, and engagement in public space /." Göteborg : HDK, School of Design and Crafts, Faculty of Fine, Applied and Performing Arts, University of Gothenburg, 2009. http://hdl.handle.net/2077/21545.

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Gibson-Quick, Robyn. "Art Deco influences on women's dress from 1915-1925." The Ohio State University, 1990. http://rave.ohiolink.edu/etdc/view?acc_num=osu1400076412.

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Kim, Su Young. "The dream of the butterfly : experimental illusions in motion graphics /." Link to online version, 2006. https://ritdml.rit.edu/dspace/handle/1850/2290.

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Reis, Huriye. "Icons of art : the poetic tradition and representations of women in Chaucer's dream poetry." Thesis, University of Liverpool, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.262395.

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Koo, Yilmin. "Framing the DREAM Act: An Analysis of Congressional Speeches." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157597/.

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Initially proposed in 2001, the Development, Relief, and Education for Alien Minors Act (DREAM Act) continues to be relevant after nearly 20 years of debate. The year 2010 was significant because there seemed to be some possibility of passage. This study investigated the ways in which the DREAM Act discourse was framed that year by supporters and opponents. Selected Congressional speeches of three supporters and three opponents were analyzed using the approach to frame analysis developed by Schön and Rein. Accordingly, attention went to each individual's metacultural frame (i.e., culturally shared beliefs), policy frame (i.e., identification of problem and presentation of possible solution), and rhetorical frame (i.e., means of persuading the audience). Attention also went to the shared framing among supporters and the shared framing among opponents as well as differences in framing across the two groups. Although speakers varied in framing the issue, there were commonalities within groups and contrasts between groups. For supporters, the metacultural frame emphasized equity/equal opportunity, fairness, and rule of law; for opponents, the metacultural frame stressed rule of law, patriotism, and national security. For supporters, the policy frame underscored unfairness as the problem and the DREAM Act as the solution; for opponents, the policy frame emphasized the DREAM Act as the problem and defeating the DREAM Act as the solution. Rhetorical frames also differed, with the supporters making much use of testimonial examples and the opponents making much use of hyperbole. The study illustrates (1) how the same named values and beliefs can have dramatically different interpretations in metacultural framing, as were the case for rule of law and American dream in this discourse; (2) how the crux of an issue and its intractability can be seen by looking at how the problem is posed and how the solution is argued, and (3) how speakers strengthen their claims with particular kinds of rhetorical devices. Through descriptions of political positioning on the DREAM Act, the study contributes to understandings of ongoing issues regarding the lives of undocumented young people who have received and are receiving education in the U.S.

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Clevenger, Kathleen. "The art of Japanese sagemono ensembles in metals." Virtual Press, 1995. http://liblink.bsu.edu/uhtbin/catkey/935917.

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The primary objective of this creative project was the exploration of Japanese sagemono ensembles and the metal working techniques needed for their creation. Sagemono ensembles are hanging accessories worn by the Japanese men of the 16th through the early 20th centuries. The secondary objective was to design and construct four sagemono ensembles using both traditional Japanese themes and patterns along with more contemporary motifs which emerged from the artist's explorations of the original Japanese ensembles. This body of work required a variety of traditional metalsmithing techniques including: complex sheet constructions, photoetching, copper-plating and forming, inlay, and casting.
Department of Art

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Chapman, Dana L. "Dutch costume in paintings by Dutch artists : a study of women's clothing and art from 1600 to 1650." Connect to resource, 1986. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1239103291.

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Chuquizuta, Maria Teresa. "The Hispanic American dream vs. the dream act and an overview of Hispanics' agenda in American public policy." Honors in the Major Thesis, University of Central Florida, 2009. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1246.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.
Bachelors
Sciences
Political Science

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Dissertations / Theses on the topic 'Dreams and art'

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