The Poetics of Slumberland: Animated Spirits and the Animating Spirit (original) (raw)
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Modern Imagery of Dreams-A Critical Enquiry
Rilune - Revue des littératures européennes, 2018
Pour citer cet article Tania Collani, « Modern Imagery of Dreams-A Critical Enquiry », in RILUNE-Revue des littératures européennes, no 12, Dormir, transcrire, créer : le rêve littéraire à travers les genres, les domaines et les époques, p. 1-18 (Mirta Cimmino, Maria Teresa De Palma, Isabella Del Monte, éds.), 2018 (version en ligne, www.rilune.org). Résumé | Abstract FR Les rêves en littérature sont-ils toujours les mêmes ? Ou changent-ils avec le temps, en suivant les évolutions du contexte social, politique et culturel ? S'il est vrai que l'homme a toujours rêvé, faut-il encore se demander s'il a toujours rêvé de la même manière. Et surtout si le rêve après les théories de Freud (1900) présente le même degré d'innocence qu'avant. Quels sont les outils que la critique littéraire peut utiliser pour analyser la présence des rêves, à un niveau formel et thématique, avec un corpus tiré de la production avant-gardiste européenne du début du XXe siècle-entre autres, des auteurs surréalistes comme André Breton, Giorgio De Chirico, Robert Desnos, Paul Éluard, ou des futuristes et des imagistes comme Filippo Tommaso Marinetti et Ezra Pound ? Une étude critique sur la modernité des rêves en littérature doit pouvoir aller au-delà d'une approche ciblée uniquement sur le rêve comme thème et objet, parce qu'il touche l'imaginaire humain et poétique en même temps, en ayant recours à un dénominateur commun, l'image. Mots-clés: Rêve, Littérature, Imaginaire, Avant-garde, Poétique. EN Are dreams in literature the same at any time? Or do they evolve as time passes by, with different social, political and cultural settings? Indeed, men have always dreamt; but have they always dreamt in the same way? Is dreaming after Freud's theories (1900) as innocent as it was before? Which tools can literary criticism use to analyse the presence of dreams, at both formal and thematic level, within a corpus of early 20th century European avant-garde literature-including, among others, Surrealist authors such as André Breton, Giorgio De Chirico, Robert Desnos, Paul Éluard, or Futurists and Imagists such as Filippo Tommaso Marinetti and Ezra Pound? A critical enquiry on the modernity of dreams in literature should go beyond a sole thematic approach, because it deals with human and poetical imaginary-where the image is the common denominator between these two dimensions.
Post-National American Dreaming in Joseph O’Neill’s Netherland: The Adversity of Hans van den Broek.
Canadian Review of American Studies/ Revue canadienne d’études américaines 47.3, 2017
Netherland has received much praise for its original approach to the events of 11 September 2001, particularly for its deterritorialization of established narratives of nationhood into an immigrant community and global setting, which to many critics signals a much-needed break from unilateral accounts of trauma and a significant repositioning of the American nation toward the world. At the same time, the novel also remains deeply indebted to key tropes of the national imagination, particularly the notion of the American Dream and American exceptionalism, even as it attributes them to the immigrant dreamer. This article examines the complex relation of the national to the post-national in O'Neill's novel and the role it plays in the narrator-protagonist Hans van den Broek's narrative framing of hisand by extension, the nation's-experience of trauma.
Typologizing the Dream / Le rêve du point de vue typologique, 2022
There is nothing like a firmly established typology of dreams – simply because the taxonomies on which existing typologies are based vary widely: They can be oneirocritical, thematic, or based on dreaming characters or their responses, on narratological functions, etc. The essays in this volume will discuss a broad range of dream types, with a special focus on nightmares and erotic, funny, indigenous and children’s dreams. Examples are taken from a great variety of cultures and historical periods. Their authors and artists include: Akinari, Barrie, Baudelaire, Benjamin, Black Elk, Buñuel, Burroughs, W. Busch, Calvino, Cantilo, Cao Xueqin, Cardano, Carroll, Coogler, Corkran, Cortázar, Crébillon fils, Dalí, Eco, Ende, Foer, Fuseli, Garnier, Gatore, Grévin, Grünbein, Guo Moruo, Hauptmann, Hawthorne, Hebbel, Heine, E.T.A. Hoffmann, Huysmans, Ilboudo, Ilibagiza, Kafka, F. Lang, Leiris, Li Yu, Malerba, Mizoguchi, Morgenstern, Mussorgsky, Nodier, Nolan, Okopenko, Pushkin, Radcliffe, Rimbaud, Robison, Schafer, Schiller, Schnitzler, Schwarz-Bart, P.B. Shelley, Soqluman, Storm, Szittya, Tamapima, Tchaikovsky, D.M. Thomas, Tristan L’Hermite, Valenzuela, Vava, Yourcenar, Yu Dafu, and many others. Areas of interest: Cultural, literary and medial history of the dream; dreams in Literature; dreams in film; theory of the dream; the nightmare; dream in the visual arts; dreams in computer games / video games; dream reports.
HIJACKED FUTURES X THE ANTI-HIJACKING OF DREAMS
2019
of the anti-hijacking scheme. The first part of this text began by presenting some science fiction films whose theme is the hijacking of human subjectivity, or the intrusion of a system of control within human dreams. Shortly thereafter our society is presented as mediated by the Technocene, which is one of the strong branches of the Anthropocene, and how it promotes the hijacking of the future. It confirms the idea that the excessive extraction of natural resources from within the Earth is concurrent with the extraction of the “spirit” from inside our bodies, and this is leading us to climate disasters and to ontological misery. Afterwards, this text presents a pedagogical equation, in which it defines the onto-political bases that support the text’s propositions, affirming that they are part of the grammar of liberation of the future and of dreams. They are: technoshamanism + ancestor-futurism + network of the unconscious. This is placed before the techno-ideological bases of the society of control, responsible for the hijacking of the future and dreams, that are: technoscience + corporate capitalism + artificial intelligence of God. It’s clear that these equations are in conflict and dispute the network of the unconscious and the future of the Earth. It is suggested that the great ideology of freedom and individuality, promised after the Second World War by the industrial corporations of the allied countries, was a big trap, that culminated in a terrible system of control. Then the text emphasizes the importance of fiction and its capacity to create worlds, taking it out of the constraints of the symbolical and imaginary universe and introducing it to actual concretization. Fiction is then presented as one of the most powerful instruments for the production of reality, just like hyperstition, which is the capacity to create fictions in groups, and materializing them in reality. Here the text returns to the films, claiming that these fictions present the terrorism of the machine, the cornering that the society of control is imposing on the whole world, at the same time as they present innumerable forms of resistance or escape. Based on this idea of fiction as something determining, the text introduces ancestor-futurism and networks of the unconscious, presenting them as metaphysical projects of forced amplification of our ontological bases and restructuring the idea of communicability between the many unconscious, presenting it as a radical operator of ancestralities and futures between humans and the others (who are not humans, but other entities). Here questions related to spectrality enter, parallel universes of signs that pass through language and invisible fields that are inaccessible with this level of petty consciousness, as Davi Kopenawa demonstrates when he says that white people only dream about themselves and their goods and because of this they don’t see anything and think that everything they don’t see is a lie. The final part of the text shows dreams as one of the most powerful portals for the rescue of lost ontologies of the past, as well as the production of freer futures. Departing from various references, the text suggests a methodology of treatment/training of dreams, starting from a relation between art and clinical practice. At that point some work methodologies appear, coming from such practices as the noisecratic programme, derived dreams, dream communities, etc. Each of these leads us to a higher degree of understanding about dreams as an onto-political public space, which must be urgently rescued for there to be a possibility for subjective resistance to the terrorism of the machine, and for the liberation of the future to be strengthened through the anti-hijack scheme of dreams, because the freer the dreams, the more capable they are of generating worlds.
Historizing the Dream / Le rêve du point de vue historique. Ed. by Bernard Dieterle and Manfred Engel (Cultural Dream Studies; 3), 2019
The essays in this volume trace the development of dream cultures through time both in synchronic and diachronic case studies. The scope of the contributions ranges geographically from New Zealand and China, over India, Mesopotamia, and Africa, to diverse European countries, and historically from Antiquity to the present. The volume covers various media and disciplines, such as literature, historiography, philosophy, painting, film, and TV series, and includes studies on Addison, Ammianus Marcellinus, Bachmann, Bembo, Bhāsa, Blake, Buñuel, Cáo Xuěqín, Chaucer, Dalí, De Quincey, Deren, Dickens, Dostoyevsky, van den Eeckhout, Eich, Flaubert, Grace-Smith, E.W. Happel, Herodotus, E.T.A. Hoffmann, Joyce, Kālidāsa, Keller, Kleinschroth, Kouka, Kourouma, Lamkos, Langfus, Levi, Lessing, M.G. Lewis, C.F. Meyer, Michaux, Moreau de Tours, Nerval, Nietzsche, Petrarch, Plato, Subandhu, Tacitus, Tang Xianzu, Tiepolo, Tolstoy, Wieland, and others.