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Journal articles on the topic 'Dreams and art'

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Published: 4 June 2021

Last updated: 7 February 2022

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1

Zipes, Jack. "The art of daydreaming: How Ernst Bloch and Mariette Lydis defied Freud and transformed their daydreams through writing and art." Book 2.0 10, no. 2 (December 1, 2020): 217–31. http://dx.doi.org/10.1386/btwo_00031_1.

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We all dream. Even my dog dreams; he whines when he dreams, perhaps because his dreams are as filled with anxiety as my own sometimes are. Dreams – bad dreams and nightmares, particularly – can be profoundly unsettling and disturbing. They can shock and terrify us because they cannot be controlled: they are their own narrators, and the only way we can resolve their penetrating stories is by attempting to interrupt them. Only by jolting ourselves and waking up, we can enlighten ourselves and come to light, and only by generating daydreams, we can counteract the malign influences of bad dreams and nightmares and take charge of our lives. Bad dreams and nightmares can bring dread and devastating realizations: they can leave us marooned in our past. Daydreams, by contrast, can generate options, and perhaps a renewed joy in life as well: they demand that, despite obstacles and despair, we move onwards into the future. They are artful stories; they are the art of utopia and are filled with our wishes and anticipatory illumination. They appeal to us to become artists and narrators of our lives. Participating in the creative arts – writing, painting, acting and making music – is to envision dream-like visions of where we want to go with our lives. Without the arts, without writing especially, and without our conscious picturing the ideal other life, there is little possibility that our desires will be fulfilled. We need hope, and we need daydreams to map our destiny. I believe we need to act on our daydreams, and not slumber into nocturnal nightmares. These beliefs and ideas have been informed by studying the work of Ernst Bloch and his notions about daydreams (not nocturnal dreams). He is a neglected, iconoclastic philosopher, and I believe brilliant. In this article, I propose to discuss his theories about daydreams and then turn to the neglected, Austrian-Jewish painter Mariette Lydis, who in her various works offers proof that daydreams play an immense and important role in our creative lives. Contemporaries, both Bloch (1885–1977) and Lydis (1887–1970) wrote and/or painted during the same century as Freud (1856–1939) and Jung (1875–1961). Both were of Jewish origin. Both survived the First World War, the Nazis and the Second World War. Both kept realizing their desires for a better world through writing and picturing their writing.

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2

Villarrubia-Mendoza, Jacqueline, and Roberto Vélez-Vélez. "Iconoclastic Dreams: Interpreting Art in the DREAMers Movement." Sociological Quarterly 58, no. 3 (June 13, 2017): 350–72. http://dx.doi.org/10.1080/00380253.2017.1331415.

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3

Goffen, Rona. "Renaissance Dreams." Renaissance Quarterly 40, no. 4 (1987): 682–706. http://dx.doi.org/10.2307/2862448.

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Family, marriage, and sex—although it seems to me that the sequence is uncertain—are naturally interrelated in life but not always so in art or, for that matter, in art history. While family and marriage have been much discussed in recent years by historians, they have received very little attention indeed from art historians. Sex, on the other hand, we have always had with us. And while all of one's work is self-referential to some extent, whether one is an artist or an historian of art, it may be that this psychological truth carries a particular danger when one is dealing with matters that are so intimate as family, marriage, and sex. Moreover, there is another issue involved when one is concerned with works of art, at least in the Renaissance or in any period when art was made for patrons, and that is precisely the presence of another psyche in the mixture, in addition to that of the artist himself and that of the historian-observer.

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4

Schredl, Michael. "Studying the relationship between dreaming and sleep-dependent memory processes: Methodological challenges." Behavioral and Brain Sciences 36, no. 6 (November 21, 2013): 628–29. http://dx.doi.org/10.1017/s0140525x13001428.

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AbstractThe hypothesis that dreaming is involved in off-line memory processing is difficult to test because major methodological issues have to be addressed, such as dream recall and the effect of remembered dreams on memory. It would be fruitful – in addition to studying the ancient art of memory (AAOM) in a scanner – to study the dreams of persons who use AAOM regularly.

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5

States, Bert O. "Dreams, art and virtual worldmaking." Dreaming 13, no. 1 (2003): 3–12. http://dx.doi.org/10.1023/a:1022182116795.

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6

Windt, Jennifer Michelle. "Minding the dream self: Perspectives from the analysis of self-experience in dreams." Behavioral and Brain Sciences 36, no. 6 (November 21, 2013): 633. http://dx.doi.org/10.1017/s0140525x13001477.

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AbstractCan ancient art of memory (AAOM) principles explain the function of dreaming? The analysis of self-experience in dreams suggests that the answer is no: The phenomenal dream self lacks certain dimensions that are crucial for the efficacy of AAOM in wakefulness. However, the comparison between dreams and AAOM may be fruitful by suggesting new perspectives for the study of lucid dreaming as well an altered perspective on the efficacy of AAOM itself.

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7

Choi, Kate. "The Waiting Room." After Dinner Conversation 2, no. 1 (2021): 23–31. http://dx.doi.org/10.5840/adc2021214.

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Should you abandon your dream to pursue where you true talents lie? Is a lifetime following your dream to be a painter a successful life if it turns out you simply don’t have an eye for art? Where do our dreams come from? When should they be abandoned? In this work of philosophical short story fiction, a young boy is in the government waiting room waiting to be assigned a new “dream.” He strikes up a conversation with other people in the waiting room. Some of them are anxious to get new dreams implanted into their brain as they have not found success. Others don’t want to let go of the failed dream they were originally assigned because they believe, in their heart-of-hearts, it is what they were born to do. The government is indifferent to the desires of the people. Society has needs, people have innate talents, and the government, as far as they are concerned, should focus on getting people to follow the dreams they are good at, as well as the dreams that are most needed by society. This story was the winner of the Fall 2020 After Dinner Conversation Writing Competition.

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8

Blagrove, Mark, Perrine Ruby, and Jean-Baptiste Eichenlaub. "Dreams are made of memories, but maybe not for memory." Behavioral and Brain Sciences 36, no. 6 (November 21, 2013): 609–10. http://dx.doi.org/10.1017/s0140525x13001222.

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AbstractLlewellyn's claim that rapid eye movement (REM) dream imagery may be related to the processes involved in memory consolidation during sleep is plausible. However, whereas there is voluntary and deliberate intention behind the construction of images in the ancient art of memory (AAOM) method, there is a lack of intentionality in producing dream images. The memory for dreams is also fragile, and dependent on encoding once awake.

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9

Palacio-Pérez, Eduardo, and Aitor Ruiz Redondo. "Imaginary creatures in Palaeolithic art: prehistoric dreams or prehistorians' dreams?" Antiquity 88, no. 339 (March 2014): 259–66. http://dx.doi.org/10.1017/s0003598x00050341.

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In the course of research currently being carried out at Santimamine (Bizkaia, Spain) (Gonz’alez S’ainz & Idarraga 2010) and Altxerri (Gipuzkoa, Spain) a series of zoomorphic figures have been identified (four in total between the two sites) that represent creatures that do not exist in nature (Figure 1). They are examples of the so-called ‘imaginary creatures’, unreal or fantastic beings that appear in Palaeolithic art ensembles. Despite their rarity—fewer than 50 are known in Palaeolithic parietal art—they have been the subject of debate and controversy since the first of them were discovered.

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10

Holmes, Jeremy. "The Democracy of the Dream." British Journal of Psychiatry 159, no. 6 (December 1991): 20–23. http://dx.doi.org/10.1192/s0007125000031925.

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The Mystique of Dreams: A Search for Utopia Through Senoi Dream Theory (University of California Press, Berkeley, $9.95 (pb), 146 pp., 1990) is by G. William Domhoff, Professor of Psychology and Sociology at the University of California, Santa Cruz. The Dreaming Brain (Penguin, London, £6.99, 319 pp., 1990) is by J. Allan Hobson, Professor of Psychiatry at Harvard and an internationally recognised dream researcher. Dreamwork in Psychotherapy and Self Change (Norton, New York, £25, 372 pp., 1990) is by Alvin R. Mahrer who is Professor of Psychology at the University of Ottawa, and author of numerous books on psychotherapy and dreams. Dream, Phantasy and Art (Routledge, London, £30 (hb), £10.99 (pb), 120 pp., 1991) is by Hanna Segal, former Freud Professor of Psychoanalysis at University College, London, and a leading Kleinian psychoanalyst and writer. The Rhetoric of Dreams (Cornell University Press, Cornell, $22.50, 217 pp., 1988) is by Bert. O. States, Professor of Drama at the University of California, Santa Barbara.

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11

Wheatley, Edward. "Reading Dreams: The Interpretation of Dreams from Chaucer to Shakespeare ed. by Peter Brown." Arthuriana 12, no. 3 (2002): 117–18. http://dx.doi.org/10.1353/art.2002.0023.

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12

Elmes, Melissa Ridley. "He Dreams of Dragons: Alchemical Imagery in the Medieval Dream Visions of King Arthur." Arthuriana 27, no. 1 (2017): 73–94. http://dx.doi.org/10.1353/art.2017.0003.

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13

Palagiano, Cosimo. "City maps: Dreams, Art, Cartography, Planning." Proceedings of the ICA 2 (July 10, 2019): 1–6. http://dx.doi.org/10.5194/ica-proc-2-97-2019.

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<p><strong>Abstract.</strong> The importance of cities becomes ever greater not only for the modification of the landscape, but also for the distribution of social classes. Poets, philosophers and artists have imagined ideal cities that could satisfy the need for a good quality of life for citizens.</p><p> Since the most ancient civilizations poets and philosophers have imagined ideal cities, with road plots corresponding to the various social classes. In the final text I will describe some examples of ideal cities presented by Homer, especially in the description of the shield of Achilles, from Plato in the description of his Atlantis, etc.</p><p> Atlantis (Ἀτλαντὶς νῆσος, "island of Atlas") is a fictional island mentioned in Plato's works <i>Timaeus</i> and <i>Critias</i>, where Plato represents the ideal state imagined in <i>The Republic</i>.</p><p> The city depicted in the Homeric shield of Achilles, as an ideal form, centred and circular, competes with the other city scheme based on an orthogonal plan and linear structures. The form of the Homeric city has exerted a paradigmatic function for other cities in Greece and Rome.</p><p> Among the best known images of ideal cities I will consider the <i>Città del Sole</i> (<i>City of the Sun</i>) by Tommaso Campanella and Utopia by Thomas More.</p><p> There are many books of collection of paintings of cities (G Braun and F Hogenberg, 1966).The most complete and interesting is that of Caspar van Wittel or Gaspar van Wittel (1652 or 1653, Amersfoort &ndash; September 13, 1736, Rome). He was a Dutch painter who played a remarkable role in the development of the <i>veduta</i>. He is credited with turning city topography into a painterly specialism in Italian art (G Briganti, 1996).</p><p> A rich collection of maps of Rome in the books by Amato Pietro Frutaz.</p><p> The city "liquid dimension" represents the complexities and contradictions of civic communities increasingly characterized by fragmentation and social unease.</p>

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14

Dietz, Steve. "Ten Dreams of Technology." Leonardo 35, no. 5 (October 2002): 509–22. http://dx.doi.org/10.1162/002409402320774330.

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This article presents the ten dreams of technology that frame the author/ c urator's selection of ten new media artworks. The “dreams” or themes presented by the author have been developed and/or questioned by artists throughout the history of the intersection of art and technology. This history emerges through artworks that the author describes as containing a “compelling vitality that we must admire.” The collection of dreams includes: Symbiosis, Emergence, Immersion, World Peace, Transparency, Flows, Open Work, Other, New Art, and Hacking. The author notes that these dreams of technology have a future, even if it is not yet determined.

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15

Majid, A. "Fantastic Dreams: The Art of Chen Haiyan." positions: asia critique 23, no. 2 (January 1, 2015): 367–77. http://dx.doi.org/10.1215/10679847-2861038.

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16

Al-Hudaid, Nada. "Art, dreams and miracles: reflections and representations." World Art 10, no. 1 (January 2, 2020): 1–5. http://dx.doi.org/10.1080/21500894.2020.1737212.

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17

Moon, Bruce L. "Dialoguing with Dreams in Existential Art Therapy." Art Therapy 24, no. 3 (January 2007): 128–33. http://dx.doi.org/10.1080/07421656.2007.10129428.

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18

Dietrich, F. "3D Dreams - The art of David Em." IEEE Computer Graphics and Applications 20, no. 2 (March 2000): 4–5. http://dx.doi.org/10.1109/mcg.2000.824449.

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19

Bogzaran, Fariba. "Methods of Exploring Transpersonal Lucid Dreams: Ineffability and Creative Consciousness." Integral Transpersonal Journal 15, no. 15 (December 2020): 53–69. http://dx.doi.org/10.32031/itibte_itj_15-bf3.

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Lucid dreaming is being conscious and aware while dreaming. Lucid dreaming is a form of meta-consciousness and reflective practice that calls in to question habitual behavior, fixed perceptions, core beliefs, and presuppositions. From an epistemological perspective, lucid dreaming could be considered as a way of knowing. The practice of lucid dreaming ultimately leads to the practice of lucid waking, creating a recursive relationship between waking and dreaming awareness. This article discusses three research methods exploring lucid dreaming and specific transpersonal experiences within lucid dreaming I call “Hyperspace Lucidity”. Hyperspace Lucidity is the experience within lucid dreams beyond time and space, transpersonal in nature, nondual, nonrepresentational in content, and at times, extraordinary and impactful. These inquiries were conducted over two decades, however, their significance and implications are becoming relevant today as the topic of lucid dreaming is discussed within psychological and spiritual frameworks. Each research project informed the next. It began with quantitative research designed to explore the transpersonal experiences in lucid dreams, expanded into a phenomenological study including some of the lucid dreamers from the first study, and then finally it evolved into an art-based inquiry involving the public. KEYWORDS Dreaming, transpersonal experience, dream signs, creative consciousness, research.

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20

Pazzagli, Adolfo, and Mario Rossi Monti. "Psychoanalysis and Art: Artistic Representations in Patients’ Dreams." Psychoanalytic Quarterly 79, no. 3 (July 2010): 731–52. http://dx.doi.org/10.1002/j.2167-4086.2010.tb00464.x.

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21

Sokolov, Kirill, and Valerie T. Fletcher. "Dreams and Nightmares: Utopian Visions in Modern Art." Leonardo 18, no. 2 (1985): 118. http://dx.doi.org/10.2307/1577886.

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22

Balter, Leon. "Nested Ideation and The Problem of Reality: Dreams and Works of Art in Dreams." Psychoanalytic Quarterly 74, no. 3 (July 2005): 661–701. http://dx.doi.org/10.1002/j.2167-4086.2005.tb00223.x.

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23

Klinger, Barbara. "Cave of Forgotten Dreams: Meditations on 3D." Film Quarterly 65, no. 3 (2012): 38–43. http://dx.doi.org/10.1525/fq.2012.65.3.38.

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Werner Herzog's Cave of Forgotten Dreams features the oldest known art in the world—Paleolithic-era paintings in France's Chauvet Cave. His documentary not only reveals the cave's wonders, but offers a subtle commentary on 3D and its relationship to cinematic space, spectacle, science, art, and older media techniques and forms.

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Axmacher, Nikolai, and Juergen Fell. "The analogy between dreams and the ancient art of memory is tempting but superficial." Behavioral and Brain Sciences 36, no. 6 (November 21, 2013): 607–8. http://dx.doi.org/10.1017/s0140525x13001209.

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AbstractAlthough the analogy between dreams and ancient mnemotechniques is tempting because they share several phenomenological characteristics, this analogy is superficial at a closer look. Unlike mneomotechnically encoded material, rapid eye movement (REM) dreams are inherently difficult to remember, do not usually allow conscious subsequent retrieval of all interconnected elements, and have been found to support subsequent episodic memory in only rare cases.

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Elovitz, Paul H. "Dreams 1900-2000: Science, art, and the unconscious mind." Journal of the History of the Behavioral Sciences 37, no. 3 (2001): 303–4. http://dx.doi.org/10.1002/jhbs.1054.

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Jorgensen, Darren. "Dreams and Magic in Surrealism and Aboriginal Australian Art." Third Text 25, no. 5 (September 2011): 553–62. http://dx.doi.org/10.1080/09528822.2011.608963.

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Pearlmutter, Barak A., and Conor J. Houghton. "Dreams, mnemonics, and tuning for criticality." Behavioral and Brain Sciences 36, no. 6 (November 21, 2013): 625–26. http://dx.doi.org/10.1017/s0140525x13001404.

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AbstractAccording to the tuning-for-criticality theory, the essential role of sleep is to protect the brain from super-critical behaviour. Here we argue that this protective role determines the content of dreams and any apparent relationship to the art of memory is secondary to this.

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Llewellyn, Sue. "Such stuff as dreams are made on? Elaborative encoding, the ancient art of memory, and the hippocampus." Behavioral and Brain Sciences 36, no. 6 (November 21, 2013): 589–607. http://dx.doi.org/10.1017/s0140525x12003135.

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AbstractThis article argues that rapid eye movement (REM) dreaming is elaborative encoding for episodic memories. Elaborative encoding in REM can, at least partially, be understood through ancient art of memory (AAOM) principles: visualization, bizarre association, organization, narration, embodiment, and location. These principles render recent memories more distinctive through novel and meaningful association with emotionally salient, remote memories. The AAOM optimizes memory performance, suggesting that its principles may predict aspects of how episodic memory is configured in the brain. Integration and segregation are fundamental organizing principles in the cerebral cortex. Episodic memory networks interconnect profusely within the cortex, creating omnidirectional “landmark” junctions. Memories may be integrated at junctions but segregated along connecting network paths that meet at junctions. Episodic junctions may be instantiated during non–rapid eye movement (NREM) sleep after hippocampal associational function during REM dreams. Hippocampal association involves relating, binding, and integrating episodic memories into a mnemonic compositional whole. This often bizarre, composite image has not been present to the senses; it is not “real” because it hyperassociates several memories. During REM sleep, on the phenomenological level, this composite image is experienced as a dream scene. A dream scene may be instantiated as omnidirectional neocortical junction and retained by the hippocampus as an index. On episodic memory retrieval, an external stimulus (or an internal representation) is matched by the hippocampus against its indices. One or more indices then reference the relevant neocortical junctions from which episodic memories can be retrieved. Episodic junctions reach a processing (rather than conscious) level during normal wake to enable retrieval. If this hypothesis is correct, the stuff of dreams is the stuff of memory.

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Pradivlianna, Liudmyla. "DREAM AND REALITY IN THE POETRY OF DAVID GASCOIGNE (LINGUISTIC ANALYSIS OF THE POEM AND THE SEVENTH DREAM IS THE DREAM OF ISIS)." Odessa Linguistic Journal, no. 12 (2018): 32–38. http://dx.doi.org/10.32837/2312-3192/12/5.

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Surrealism, the XX century literature and art movement, inspired an impressive number of scientific research regarding different aspects of the phenomenon. This paper studies surrealism as a type of artistic thinking which raised the role of the unconscious in poetry. It focuses on the core of surrealist aesthetics – an automatic image, which allowed the poets to study human irrational states, such as dreams. Focusing on the themes of dreams and dream-like narrations, surrealists created poetry which was formed by specific images. An automatic image coming directly from one’s unconscious mind was expected to reveal new knowledge about the world and people. But as the poet ’functions’ only as a conductor of the unconscious images, it is the reader who has to create meanings in this kind of poetry.The paper regards surrealism in terms of a lingvo-poetic experiment and analyzes the linguistic characteristics of the automatic texts in the early poetic collection of David Gascoyne (1916–2001). It outlines the peculiarities of the British poet’s techniques which are built upon French surrealist concepts and theories and examines phonetic, semantic and syntactic aspects of his poetry. David Gascoyne’s lyrics demonstrates the poet’s commitment to the French version of surrealism, his interest in the unconscious and dream-like narration. The streams of arbitrary visual images, deep emotionality, the artistic use of the word, semantic increments of meaning make Gascoigne’s texts open to interpretation. And though the poet actually refers visual effects (we rather see dreams), specific dream-like patterns are created not only by lexical, but also by phonetic repetitions, via intonation in which lexemes acquire a new semantic load.

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Greenfield, Gary R. "Evolving Expressions and Art by Choice." Leonardo 33, no. 2 (April 2000): 93–99. http://dx.doi.org/10.1162/0024094000552333.

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One common criticism of algorithmic art is its slavish devotion to technical virtuosity at the expense of artistic intent and content. To address this problem, the author uses an algorithmic method known as “evolving expressions,” which both challenges the technical ability of the artist and also paves the way to “art by choice”—an art that re-creates what lies in the imagination by visualizing the creatures that live there, the creatures of our dreams.

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Douglas Tim, Hall, and Elana R. Feldman. "Helping Employees Realize Their Dreams: The Search for Meaning." IESE Insight, no. 11 (December 15, 2011): 13–20. http://dx.doi.org/10.15581/002.art-2045.

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Prickett, Stephen. "Memories, Dreams and Selections." Christianity & Literature 66, no. 2 (March 2017): 311–24. http://dx.doi.org/10.1177/0148333116680777.

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This essay addresses a shift in the way religion was approached in the literature of the Romantic period, when religion itself was changing its shape and meaning in quite radical ways. The religious revival of the period was so protean in its forms that it is almost impossible to list all its characteristics. But for many Romantics, this was no revival of 17th-century piety, even though it claimed similar biblical inspiration. This revival was as much aesthetic as devotional. The most potent literary model was no longer classical but biblical. In Blake’s words the Bible was now “The Great Code of Art.” Behind this, however, was a second even more significant factor: a new inwardness. Religious observance was not enough. Nor, even, was evangelical conviction of sin and forgiveness. The religion of the heart was not just one of inspiration but of creativity.

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Kiseleva, Irina, and Ksenia Potashova. "M. YU. LERMONTOV’S POEM SVIDANIE (1841): TEXTUAL HISTORY, ARCHITECTONICS, MEANING." Проблемы исторической поэтики 19, no. 1 (February 2021): 124–39. http://dx.doi.org/10.15393/j9.art.2021.8422.

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The article discusses the formation of the poetics of the 1841 poem by M. Yu. Lermontov’s Svidanie (Rendez-vous) from first to final draft. The reconstruction of the creative history of the text allows us to imagine the peculiarities of M. Yu. Lermontov’s reasoning, his path to the creation of artistic reality in its spatial and objective design. Landscape details, visual plans, and the image of the lyrical hero change in the creative process. The novelty of research has a factual (for the first time the process of creating a poem is presented in as much detail as possible) and interpretative character, associated with the clarification of Lermontov’s poetics and worldview. The poem is interpreted as a contamination of reality, dream and transitional states, with particular attention paid to the poetics of dreams. The incompleteness of the text is presented as an aesthetic device for the reliable portrayal of the sleep phenomenon. The poem is understood as an aesthetically and metaphysically integral text, in which the author manifests himself as a person with knowledge and experience of spiritual life.

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RAILING, PATRICIA. "MATISSE, HIS ART AND HIS TEXTILES THE FABRIC OF DREAMS." Art Book 12, no. 4 (November 2005): 21–22. http://dx.doi.org/10.1111/j.1467-8357.2005.00595_3.x.

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Llewellyn, Sue. "Such stuff as REM and NREM dreams are made on? An elaboration." Behavioral and Brain Sciences 36, no. 6 (November 21, 2013): 634–59. http://dx.doi.org/10.1017/s0140525x1300160x.

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AbstractI argued that rapid eye movement (REM) dreaming is elaborative emotional encoding for episodic memories, sharing many features with the ancient art of memory (AAOM). In this framework, during non–rapid eye movement (NREM), dream scenes enable junctions between episodic networks in the cortex and are retained by the hippocampus as indices for retrieval. The commentaries, which varied in tone from patent enthusiasm to edgy scepticism, fall into seven natural groups: debate over the contribution of the illustrative dream and disputes over the nature of dreaming (discussed in sect. R1); how the framework extends to creativity, psychopathology, and sleep disturbances (sect. R2); the compatibility of the REM dream encoding function with emotional de-potentiation (sect. R3); scepticism over similarities between REM dreaming and the AAOM (sect. R4); the function of NREM dreams in the sleep cycle (sect. R5); the fit of the junction hypothesis with current knowledge of cortical networks (sect. R6); and whether the hypothesis is falsifiable (including methodological challenges and evidence against the hypothesis) (sect. R7). Although the groups in sections R1–R6 appear quite disparate, I argue they all follow from the associative nature of dreaming.

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Bryan, Jennifer. "Memories, Dreams, Shadows: Fantasy and the Reader in Susan Cooper’s The Grey King." Arthuriana 27, no. 2 (2017): 29–54. http://dx.doi.org/10.1353/art.2017.0011.

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Kiseleva, Irina A., and Ksenia A. Potashova. "The Dynamic Poetics in the Text History of Lermontov’s Poem “The Dream”." Проблемы исторической поэтики 27, no. 1 (February 2020): 130–45. http://dx.doi.org/10.15393/j9.art.2020.6742.

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<p>The article focuses on the analysis of the poetic genesis of Lermontov’s poem “The Dream” (1841) that manifests itself in the author’s corrections in the rough copy and in the clean one. There was carried out a reconstruction of the poet’s creative process, of his work on the contexture and the creation of a completed artistic image. The article presents the transcription of the poem’s rough and clean copies including alterations and symbols of the manuscript. It has been proved that while the first versions in the main text identify three dreams, the final version keeps only two of them. In the course of his work on the text the poet chooses not to introduce the image of a dream into the first poem, but makes it clear that everything is happening in the dream only by means of the title. This technique increases the reality of the given image. In the analysis of the poem’s dynamic poetics a special emphasis is made on the registration of the landscape details changes due to which the poet conveys his perception of the natural world and his place in it as a body and soul creature. The narrator’s feelings of desolation and abandonment in the natural world get worse from the rough copy to the clean one, and at the same time grows his anxiety for the unanimity with his mistress who, as the hero himself, has a spiritual sight. The capacity of the characters for empathy and the experience of bodily death assert the poet’s faith in the immortality of the soul.</p>

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Kenaan, Vered Lev. "Delusion and Dream in Apuleius' Metamorphoses." Classical Antiquity 23, no. 2 (October 1, 2004): 247–84. http://dx.doi.org/10.1525/ca.2004.23.2.247.

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Abstract Considering the absence of any ancient systematic approach to the reading of the novel, this paper turns to ancient dream hermeneutics as a valuable field of reference that can provide the theoretical framework for studying the ancient novel within its own cultural context. In introducing dream interpretation as one of the ancient novel's creative sources, this essay focuses on Apuleius'Metamorphoses. It explores the dream logic in Apuleius' novel by turning to such authorities as Heraclitus, Plato, Cicero, Artemidorus, and Macrobius, whose characterization of the phenomenon of dreaming sheds light on specific narratological trtaits of theMetamorphoses. It argues that the lower dream category, the insomnium (or the enhupnion), provides a notion of textuality that can clarify the traditional status of the Metamorphoses as a marginal work of art. In contrast to divinely sent symbolic dreams, it is primarily the insomnium——conceived as a by-product of the lower functions of the soul——that lends psychological force to Apuleius' fiction.

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Smith, Murray. "Film, Art, and the Third Culture." Projections 12, no. 2 (December 1, 2018): 111–36. http://dx.doi.org/10.3167/proj.2018.120214.

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In this article, I reply to the eleven commentaries on Film, Art, and the Third Culture gathered here, organizing my responses thematically and seeking to find points of similarity and difference among the commentators as well as with my own perspective. I address arguments on embodied simulation; the analogy between films and dreams; aesthetic experience and the “expansion” of ordinary experience; the relationships between culture and cognition and between fiction and emotion; theories of the extended mind and of niche construction; the place of neuroscience in aesthetics; and the relationship between naturalism and normativity. I conclude with some reflections on naturalistic methodology.

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McNamara, Patrick, Brian Teed, Victoria Pae, Adonai Sebastian, and Chisom Chukwumerije. "Supernatural Agent Cognitions in Dreams." Journal of Cognition and Culture 18, no. 3-4 (August 13, 2018): 428–50. http://dx.doi.org/10.1163/15685373-12340038.

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AbstractPurpose:To test the hypothesis that supernatural agents (SAs) appear in nightmares and dreams in association with evidence of diminished agency within the dreamer/dream ego.Methods:Content analyses of 120 nightmares and 71 unpleasant control dream narratives.Results:We found that SAs overtly occur in about one quarter of unpleasant dreams and about half of nightmares. When SAs appear in a dream or nightmare they are reliably associated with diminished agency in the dreamer. Diminished agency within the dreamer occurs in over 90% of dreams (whether nightmares or unpleasant dreams) that have overt SAs. In about half of nightmare reports the SA appears suddenly with no clear emergence pattern. In some two thirds of unpleasant dreams, however, the SA emerged from a human character. The SA’s gender was indeterminate in most dreams with SAs but the SA communicated with the dreamer in 24% of nightmares and only 13% of unpleasant dreams. In most nightmares, the SA intended to harm the dreamer and in one third of nightmares the dreamer was the victim of physical agression by the SA. SA intentions in unpleasant dreams were more varied and actually benign in 13% of cases.Conclusion:Supernatural agents reliably appear in nightmares and unpleasant dreams in association with diminished agency in the dreamer. Diminished agency in an individual may facilitate supernatural agent cognitions.

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Turkina, Olesya. "Dreams of the Earth and Sky." Leonardo 54, no. 1 (February 2021): 133–46. http://dx.doi.org/10.1162/leon_a_01992.

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This article examines how artists, writers and filmmakers inspired by scientific ideas imagined space flight and how engineers and scientists were inspired by these fantasies. The first section discusses Konstantin Tsiolkovsky's impact on images of interplanetary flight and the promotion of outer space in the early twentieth century. The second considers the emergence of popular science films about space as conceived by director Pavel Klushantsev as well as the role of artist Yuri Shvets in the Soviet space epic and the impact of technological modeling on science fiction in art. Finally, the author surveys the “space work” of artists-cum-inventors Bulat Galeyev and Vyacheslav Koleychuk.

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Tzanev, Peter. "Ectoplastic Art Therapy as a Genre of Contemporary Art." Arts 8, no. 4 (October 15, 2019): 134. http://dx.doi.org/10.3390/arts8040134.

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Art therapy is the successor of “psychological Modernism”, which during the late 19th and early 20th centuries included medical psychology as well as theories and practices related to more speculative practices of hypnosis, somnambulism, interpretation of dreams, automatic writing and spiritualism. Art therapy emerged in the second half of the 20th century as a new psychological genre and, the author argues, a new kind of art that offered the opportunity for psychological “salvation” in a “psychological society”. This article explores an experimental project called “Ectoplastic Art Therapy” begun in 2002 by the author as a form of therapy and as a form of contemporary art. This therapy has been performed in various institutional settings, such as therapeutic centers, museums and galleries, as well as educational seminars and courses. Focusing on the usual marginalization that accompanies conventional art therapy within the established framework of the contemporary art system, this article examines the situations in which an art therapist could present his practice as a contemporary artist. The author prompts questions concerning the possible kinds of self-presentation that can be found in art therapy as a form of contemporary art.

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Otaño Gracia, Nahir I. "Broken Dreams: Medievalism, Mulataje, and Mestizaje in the Work of Alejandro Tapia y Rivera." Arthuriana 31, no. 2 (2021): 77–107. http://dx.doi.org/10.1353/art.2021.0014.

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Mattei, Tobias A. "The secret is at the crossways: Hodotopic organization and nonlinear dynamics of brain neural networks." Behavioral and Brain Sciences 36, no. 6 (November 21, 2013): 623–24. http://dx.doi.org/10.1017/s0140525x13001386.

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AbstractBy integrating the classic psychological principles of ancient art of memory (AAOM) with the most recent paradigms in cognitive neuroscience (i.e., the concepts of hodotopic organization and nonlinear dynamics of brain neural networks), Llewellyn provides an up-to-date model of the complex psychological relationships between memory, imagination, and dreams in accordance with current state-of-the-art principles in neuroscience.

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Balter, Leon. "Nested Ideation and The Problem of Reality: Dreams and Works of Art in Works of Art." Psychoanalytic Quarterly 75, no. 2 (April 2006): 405–45. http://dx.doi.org/10.1002/j.2167-4086.2006.tb00045.x.

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Beecher, Jonathan, and Neil McWilliam. "Dreams of Happiness: Social Art and the French Left, 1830-1850." American Historical Review 100, no. 1 (February 1995): 170. http://dx.doi.org/10.2307/2168042.

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Ihl, Olivier, and Neil McWilliam. "Dreams of Happiness. Social Art and the French Left 1830-1850." Le Mouvement social, no. 176 (July 1996): 130. http://dx.doi.org/10.2307/3779035.

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정연심. "The Dreams and Mobility of Urbantopia: “Shelter Space” in Contemporary Art." Journal of History of Modern Art ll, no. 40 (December 2016): 151–75. http://dx.doi.org/10.17057/kahoma.2016..40.006.

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Martin, Aaron, Gianna Eisele, Ian Hogg, Hannah Neal, and Amal Shukr. "From literal dreams to metaphorical dreaming: art, rhetoric, and self-creation." World Art 10, no. 1 (January 2, 2020): 95–113. http://dx.doi.org/10.1080/21500894.2020.1722961.

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Paquette, Catha. "Dreams and Monsters: Rubén Ortiz-Torres, Public Art and Critical Discourse." Public Art Dialogue 5, no. 2 (July 3, 2015): 203–30. http://dx.doi.org/10.1080/21502552.2015.1066588.

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