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Journal articles on the topic 'Dream space'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Iosifescu Enescu, Cristina M., and Lorenz Hurni. "Cartographic Tools for Mapping Dreams." Proceedings of the ICA 2 (July 10, 2019): 1–8. http://dx.doi.org/10.5194/ica-proc-2-48-2019.

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<p><strong>Abstract.</strong> Creating maps for their dreams enable dreamers to better attend to them. However, mapping dreams is not an easy task due to the particularities of the dream space. Therefore, there is a need of specific cartographic tools for this purpose. This work illustrates the process of creating a Web platform for mapping dreams, functional requirements are stated, and different possible implementations are discussed. By means of a dream example, a dream map and other related visual elements are created, presented and explained. The theoretical framework is based on the Dream Cartography project and the specific diagrammatic visualization tools were developed in its frame.</p>

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2

Greenberg, Ramon. "A three-legged stool needs a stronger third leg." Behavioral and Brain Sciences 36, no. 6 (2013): 620–21. http://dx.doi.org/10.1017/s0140525x13001349.

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AbstractWhereas the target article stresses the neurobiology and psychology of dreams, this commentary emphasizes that the role of dreams in emotional integration and adaptation contributes to a fuller understanding of dreaming and memory. The dream presented in the target article is used, within the constraints of space, as a possible example of a broader approach to dream material.

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3

Kruger, Steven F. "Dream space and masculinity." Word & Image 14, no. 1-2 (1998): 11–16. http://dx.doi.org/10.1080/02666286.1998.10443939.

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4

Singh, G. "A Space to Dream." IEEE Computer Graphics and Applications 26, no. 1 (2006): 4–5. http://dx.doi.org/10.1109/mcg.2006.6.

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5

Iosifescu Enescu, Cristina M., Jacques Montangero, and Lorenz Hurni. "Toward Dream Cartography: Mapping Dream Space and Content." Cartographica: The International Journal for Geographic Information and Geovisualization 50, no. 4 (2015): 224–37. http://dx.doi.org/10.3138/cart.50.4.3137.

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6

Thomas, Douglas. "Dream Tending and Play." Journal of Jungian Scholarly Studies 14 (June 11, 2019): 95–112. http://dx.doi.org/10.29173/jjs8s.

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Dream Tending is a system for working with dreams that draws from elements of Jungian psychology and archetypal psychology, focusing on encountering dream images as living entities. The element of play is a vital but unarticulated aspect of Dream Tending, which merits exploration. The concept of play has been a significant topic for psychologists such as D. W. Winnicott, as well as contributors to the fields of social history and philosophy such as J. Huizinga and H. G. Gadamer. This article reviews the theoretical basis of Dream Tending emerging from the ideas of Jung, Hillman, and H. Corbin, and then applies the idea of play as developed by Winnicott, Huizinga, and Gadamer to the Dream Tending skills set. It concludes with a discussion of the clinical implications of focusing on play as a mediator of what Corbin referred to as imaginal space.

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Green, James. "MAPPING THE GUYANESE DREAM‐SPACE." Journal of Postcolonial Writing 43, no. 1 (2007): 3–17. http://dx.doi.org/10.1080/17449850701219777.

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8

Weibel, Deana L. "Space Tourism: The Elusive Dream." Journal of Tourism and Cultural Change 18, no. 6 (2020): 743–46. http://dx.doi.org/10.1080/14766825.2020.1777644.

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9

Seraphin, Hugues. "Space Tourism. The Elusive Dream." Journal of Tourism Futures 6, no. 2 (2020): 197–98. http://dx.doi.org/10.1108/jtf-06-2020-151.

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Bommarito, Concetta, and Kathryn Dunlap. "Dream Lucidity." International Journal of Gaming and Computer-Mediated Simulations 6, no. 3 (2014): 35–49. http://dx.doi.org/10.4018/ijgcms.2014070103.

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In this paper, the authors examine digital environments as a learning spaces and site of extended cognition by demonstrating the presence of active learning in both video games and their linked online collaborative communities. The authors use Shaun Gallagher's theory of extended mind to posit the notion that the shared cognitive space created in the game between creator and player can be extend to include many others through the digital communities of those players though gaming literacy. The authors conducted a think-aloud protocol with participants playing Yume Nikki, a minimalist Japanese indie game, then reading materials on hikikomori, a condition the creator is believed to have. They conclude from their results that active and creative learning of human communities should not be undervalued when designing virtual environments even when the environment is single-player.

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Anisimov, Nikolai, and Eva Toulouze. "Uni ja unenäod udmurdi kultuuris." Mäetagused 80 (August 2021): 155–84. http://dx.doi.org/10.7592/mt2021.80.anisimov_toulouze.

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In Udmurt culture sleep (iz’on, kölon, um) as well as dreams (vöt, uyvöt) have occupied a significant place. According to ordinary understandings, dreams are not subjected to this world’s rules of time and space: in a dream, places and spaces may suddenly change, and time moves quickly, or it does not move at all; it has stopped. Sleep and dreams are not thoroughly explained phenomena, and as such, they play a significant role in the communication between the world of the living and the world of the deities (spirits). Their importance is confirmed by the rules one has to follow when going to bed. The dream becomes a sacred space, in which it is possible to acquire sacred knowledge and skills. The narratives we are acquainted with tell us that during sleep one of the person’s souls, called urt, can fly away. Probably this is the reason why it is forbidden to suddenly awake a person sleeping: they may not wake up at all or may even lose their reason. Earlier the Udmurt even organised special rituals to catch the second soul. In the Udmurt culture, sleep and dreams constitute a non-real space, in which the living and the dead are able to meet and communicate. The initiators of the dreams can be both the living and the dead, in different situations. Through dreams, the dead are able to transmit to the living their wishes, their knowledge about events or accidents to come; they may complain about certain circumstances, etc. Today, the Udmurt are attentive to all dreams; they see in them signs connected to the real world and given from above, and they must be considered in order not to disturb the balance between the worlds.

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12

Hubbard, Scott. "The Next Generation of Space Explorers: Those Who Will Carry the Dream Ahead." New Space 2, no. 4 (2014): 149. http://dx.doi.org/10.1089/space.2014.1509.

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13

YAMAZAKI, Naoko. "Bond of Space, People and Dream." Journal of the Society of Mechanical Engineers 116, no. 1134 (2013): 318. http://dx.doi.org/10.1299/jsmemag.116.1134_318.

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14

Schneemann, Carolee. "Dream/Space/Object... Death/Mother/Bird." Art Journal 58, no. 1 (1999): 49. http://dx.doi.org/10.2307/777881.

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Schneemann, Carolee. "Dream/Space/Object … Death/Mother/Bird." Art Journal 58, no. 1 (1999): 49–56. http://dx.doi.org/10.1080/00043249.1999.10791919.

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16

FUJIMORI, Yoshinori. "Space Dream Factory in 21st Century." Journal of the Society of Mechanical Engineers 100, no. 941 (1997): 405–9. http://dx.doi.org/10.1299/jsmemag.100.941_405.

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17

Rossi, Michele. "Embedding non-projective Mori dream space." Geometriae Dedicata 207, no. 1 (2019): 355–93. http://dx.doi.org/10.1007/s10711-019-00503-8.

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18

Patton, Thomas. "Phantasmagorical Buddhism: Dreams and Imagination in the Creation of Burmese Sacred Space." Religions 9, no. 12 (2018): 414. http://dx.doi.org/10.3390/rel9120414.

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Despite the growing research done on sacred spaces in Buddhist Myanmar, no attention has yet been given to the role dreams play in the selection and development of such spaces. This article will address this lacuna by exploring how dreams are regarded by 20th–21st centuries Buddhists in Myanmar, as evidenced in autobiographies, ethnographic work, and popular literature in relation to the creation and evolution of sacred places. Although there are many kinds of sacred sites in Myanmar, this article will look specifically at Buddhist stupas, commonly referred to in Burmese as, pagoda or zedi. These pagodas, found in nearly every part of Buddhist Myanmar, are also those structures most prevalent in Buddhist dream accounts and often take on phantasmagorical qualities when those same Buddhists attempt to recreate the pagodas of their dreams.

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19

McElroy, John H. "Earth observations from space: A dream deferred?" Eos, Transactions American Geophysical Union 77, no. 26 (1996): 243. http://dx.doi.org/10.1029/96eo00172.

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20

Glanz, J. "SPACE: Engineers Dream of Practical Star Flight." Science 281, no. 5378 (1998): 765–66. http://dx.doi.org/10.1126/science.281.5378.765.

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21

Trammell, Matthew. "“DREAMING TRUE”: EMBODIED MEMORY, TRANSUBJECTIVITY, AND NOVELTY IN GEORGE DU MAURIER'SPETER IBBETSON." Victorian Literature and Culture 46, no. 2 (2018): 365–79. http://dx.doi.org/10.1017/s1060150318000050.

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InConfessions of an EnglishOpium Eater(1821), Thomas De Quincey famously describes the mind as a palimpsest upon which inscribed memories are never truly lost to the passage of time. These memories, especially of childhood, lurk under the conscious surface of the mind, waiting to be rediscovered during intervals of intensified desultory memory that are made possible for De Quincey by opium-induced dreaming. Opium is utilized during these dreams as a perception-altering technology; memories of childhood are not only recalled while under the influence of the drug, but are revivified in a way that extends beyond the dreamer's normal mental capacity. The formulation of dreaming as a state in which memories buried under the palimpsest of time were retrieved and “relived” was important to a wide array of philosophers, medical doctors, and psychologists over the course of the long nineteenth century, culminating in Freud's seminalThe Interpretation of Dreamsin 1899. Alongside the theorization of ‘dream science’ in psychological and medical contexts, the Victorian literati provided their own contributions in both sensation novels and realist fiction. Reciprocally, as has been discussed in much recent work within Victorian studies, well-known characters and scenes from contemporary literature were often used to illustrate dream theories, neurological conditions, and philosophical conceptions of the self in scholarly journals and medical textbooks. The most fantastical literary treatment of dream space as a wholly separate realm within which the dreaming subject can fully recover and even surpass the sensations associated with earlier memories occurs in George Du Maurier's oft-overlookedPeter Ibbetson(1891). Over the course of the novel, the titular narrator reveals (inconsistently and in sometimes contradictory ways) dream space to be a world in which the habitual reliving of childhood events is an endlessly satisfying, novel, and strangely embodied experience for the protagonist and his lover, while also possessing connections to human evolutionary precursors and the afterlife. InPeter Ibbetson, habit is not the deadening enemy of novelty and experience that is so often portrayed in contemporary interpretations of Victorian literature. Rather, habit qua the mental technology of “dreaming true,” a form of intense, consciously-directed dreaming practiced by the novel's central characters, is paradoxically portrayed as a method by which the freshness of sensation associated with an original event can be endlessly recreated and even surpassed within a dream of that event. Contrary to twenty-first century depictions of dreams as events that help the subject to become habituated to emotional stresses, Du Maurier presents dreaming true as a practice that intensifies rather than inures the dreaming subject's emotional relationship to vivid or traumatic childhood events (Hartmann 2). Inherent in this reading is a radical formulation of the relationship between habit and novelty as understood in the late Victorian novel, revealing the generative power of habit that is disclosed within dream space.

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22

Denis, Gil, Didier Alary, Xavier Pasco, Nathalie Pisot, Delphine Texier, and Sandrine Toulza. "From new space to big space: How commercial space dream is becoming a reality." Acta Astronautica 166 (January 2020): 431–43. http://dx.doi.org/10.1016/j.actaastro.2019.08.031.

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23

Drozhashchikh, Evgeniia. "China’s National Space Program and the “China Dream”." Astropolitics 16, no. 3 (2018): 175–86. http://dx.doi.org/10.1080/14777622.2018.1535207.

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24

Stevenson, Deborah. "We Dream of Space by Erin Entrada Kelly." Bulletin of the Center for Children's Books 73, no. 10 (2020): 434. http://dx.doi.org/10.1353/bcc.2020.0418.

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25

Botz-Bornstein, Thorsten. "Khora or Idyll? The space of the dream." Philosophical Forum 33, no. 2 (2002): 173–94. http://dx.doi.org/10.1111/0031-806x.00004.

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26

Tiles, Mary. "Scientific dream space: Symbolic forms and scientific theories." International Studies in the Philosophy of Science 2, no. 2 (1988): 189–204. http://dx.doi.org/10.1080/02698598808573314.

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27

Panina, Tatiana Igorevna. "BELIEFS AND PROHIBITIONS RELATED TO SLEEPING AND DREAMS IN THE UDMURT TRADITIONAL CULTURE." Yearbook of Finno-Ugric Studies 14, no. 4 (2020): 642–50. http://dx.doi.org/10.35634/2224-9443-2020-14-4-642-650.

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The article analyzes Udmurt traditional beliefs and rules that regulate human behavior before going to bed, during a sleep and after waking up. The regulations are shaped by the perception of a sleep as the liminal state and as a surprising combination of space and time in which boundaries between this world and the other world are blurred. Compliance with the regulations is supposed to guarantee safety: it can protect the sleeper from the lurking danger during and after a sleep, or in case if the dream foreshadows the upcoming negative changes in life. The main apotropaic measures used before going to bed and after waking from sleep are an appeal to God, warding off a bad dream by water or spitting on excreta, hiding / placing the sleeper in a safe space, creating a barrier, and propitiating the dead. Some rules are aimed at preventing or regulating communication between the living and the dead in dreams, while others, on the contrary, simulate meeting and communicating with the deceased in a dream. It has been revealed that some sleep-related traditional beliefs and prohibitions have disappeared so far - the information about them can only be found in archival and published materials nowadays, while others continue to actively exist, undergoing certain transformations caused primarily by the influence of Christian views.

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28

Winters, Jeffrey. "Dream Machine." Mechanical Engineering 129, no. 06 (2007): 36–39. http://dx.doi.org/10.1115/1.2007-jun-3.

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This article discusses features of a high-efficiency car. The group setting up the contest, the X Prize Foundation, used a cash prize to lure a private company to launch its own space vehicle. Automakers have been better at producing high-efficiency concepts, such as the Chevy Volt than actual high-mileage cars. After the success of the Ansari X Prize, the directors of the X Prize Foundation looked for other fields in need of a push. In an era of rising gasoline prices and stagnant fuel efficiency marks, the idea of setting up a prize for a highly fuel-efficient vehicle was a natural. The contest tests vehicles on several factors, not just the single metric of fuel economy. The eventual winner of the Automotive X Prize will be much different. For starters, the car must meet federal safety standards and will be judged on physical attributes such as exterior styling, interior comfort, and the quality of the workmanship. According to the managers of the competition, the most important objective of the Automotive X Prize is to encourage not only the mainstream industry but also people on the periphery to really layout on the table some strong ideas.

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29

Hammond, Richard T. "Einstein’s dream." International Journal of Modern Physics D 28, no. 14 (2019): 1943005. http://dx.doi.org/10.1142/s0218271819430053.

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It is shown the antisymmetric part of the metric tensor is the potential for the torsion field, which arises from intrinsic spin. To maintain gauge invariance, the nonsymmetric part of the metric tensor must be generalized to include the electromagnetic field. This result leads to a link between the cosmological constant and the electromagnetic field.

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Blum, Harold. "The Irma Dream, Self-Analysis, and Self-Supervision." Journal of the American Psychoanalytic Association 44, no. 2 (1996): 511–32. http://dx.doi.org/10.1177/000306519604400207.

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The Irma dream has special historical significance. Erikson and others have placed it in historical, social, and cultural context. The manifest dream was elaborated in terms of analytic surface with analysis of form and content, patterns and movement in time and space, etc. There are, however, limits to textual reinterpretations. Further psychobiographic consideration of the Irma dream highlights issues of transference, countertransference and their sources in unconscious conflict and trauma. The Irma dream was initially a secret dream which represented the initiation of a self-analytic and supervisory process. Freud's revealing the dream and imagining the commemoration of the discovery of “the secret of the dream” marked the termination of formal self-analysis within analysis interminable.

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Zbierska-Mościcka, Judyta. "Paysages aquatiques de Vera Feyder." Lublin Studies in Modern Languages and Literature 42, no. 3 (2018): 138. http://dx.doi.org/10.17951/lsmll.2018.42.3.138.

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<p>The novels of Vera Feyder are concerned with identity, memory, space and travel. In her writing her characters inhabit past and present, dream and reality. In particular, dreams and aquatic landscapes intersect in various creative ways in her oeuvre. This article analyses the contours of such landscape, understood in terms both internal and external, in two of her novels: Caldeiras (1982) and La Belle voyageuse endormie dans la brousse (2002).</p>

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32

Vasyliuk, Elizabeth. "NIGHT DREAM MOTIF IN “ULYSSES” BY J. JOYCE, “MURPHY” BY S. BECKETT AND “THE THIRD POLICEMAN” BY F. O’BRIEN." LITERARY PROCESS: methodology, names, trends, no. 13 (2019): 81–87. http://dx.doi.org/10.28925/2412-2475.2019.1313.

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The article analyses the plot creation function of the night dream motif and explores the combination of the motifs of the night dream with thanathological motif in the novels. In “Ulysses” and “The Third Policeman” the night dream serves as display of the guilt of the protagonists: Stephen`s guilt towards his dead mother, Noman`s guilt towards dead Mathers. In “Ulysses”, the nightdream of Bloom attracts Stephen into the world of dreams, in “Murphy”, Murphy attracts his beloved Celia in his own world of melancholy and apathy, and in “The Third Policeman” Noman is pushed by his friend and murderer John Divney into afterlife. The reception of the “Ulysses” diambulist / noctambulist pair in “Murphy” and “The Third Policeman” has been identified: in “Ulysses” it is represented by diambulist Bloom and noctambulist Stephen, in “Murphy” it is represented by diambulist Neary and noctambulist Murphy, and in “The Third Policeman” — by diambulist de Selby and noctambulist Noman. The certain leading role of night dream in the plots of novels is defined: in “Ulysses” Bloom and Stephen’s communication takes place at night, dream “leads” the protagonist to a psychiatric hospital in “Murphy”, in “The Third Policeman” the dream of Noman creates deep connection between him, John Divney (the murderer) and Mathers, Noman`s victim; it creates the fiction space of the novel. The protagonists in “Murphy” and “The Third Policeman” have doubles: Murphy has a neighbor who replaces Murphy for Celia, Noman has Martin Finnucane. The diambulist patrons which replace the fathers of the protagonists in S. Beckett’s and F. O’Brien’s novels are parody of diambulist Bloom: in “Murphy” Neary has a panic fear to die at night, while Bloom considers death in dream as the best one, and in “The Third Policeman” de Selby arranges comic scientific experiments, spending thousands gallons of water to clean the air from an “unsanitary night”, in which the “water” Bloom is also parodied. The dream in “Ulysses” tends to a carnival, the dream in “Murphy” — to surrealism, and in “The Third Policeman” absurdity is represented through the prism of serialism, while implying phantasmagority of dream in “Ulysses”.

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33

Gillespie, George. "Lights and Lattices and Where They are Seen." Perceptual and Motor Skills 68, no. 2 (1989): 487–504. http://dx.doi.org/10.2466/pms.1989.68.2.487.

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The article discusses characteristics of internal visual images and is based on personal observations of lucid dream and hypnopompic phenomena. In the context of lucid dreaming there sometimes occur persisting bright lights that do not behave like ordinary dream images. These phenomena appear as areas of light, peripheral light, disks of light, sun-like concentrations of light, and fullness of light. These luminous phenomena remain in a fixed location in my view in spite of any dreamed body movement, may appear in different dreams in the same locations, are not truly representational, and appear to be unrelated to other dream images, visual or otherwise. These stable intense lights remain in a fixed location in relation to an area defined by keeping the head still and moving the eyes. This area is the space that is filled at times by scannable hypnopompic geometrical patterns or scannable hypnagogic complex images. Although space-filling patterns look like they extend like a dome over the eyes, a close examination shows that they have a two-dimensional flatness that reaches over the entire scannable area. The observation of these patterns as flat becomes understandable when we think of the internal image as having no distance or separation from the seeing of the image, that is, as being experienced face on at every point. The flatness of the hypnopompic pattern implies the flatness of all internal images. The experiencer translates the flat image to external positions around the eyes. This translation is explained.

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34

Cataldi, Michael, David Kelley, Hans Kuzmich, Jens Maier-Rothe, and Jeannine Tang. "Residues of a Dream World." Theory, Culture & Society 28, no. 7-8 (2011): 358–89. http://dx.doi.org/10.1177/0263276411425834.

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The High Line – a public park on a repurposed railway track in New York City – first opened to the public in 2009, and has been increasingly celebrated as a model public space, and as a democratic project directed by community. Artistic and amateur photographic practices have significantly informed the High Line’s design, landscaping, publicity, urban policy, use and constellations of community. This photo-conceptual essay critically considers the constitutive function of the photographic image, as photography produces, interpellates and defines the public and public sphere of the High Line. However, these imaging practices have also taken increasingly regulated form, and endorse conservative forms of community, personhood and publicness. The new park’s imaging practices may be understood as supplementary to neoliberal forms of property accumulation, in fact diminishing public space even as they purport to represent it. Drawing from the historical avant-garde, feminist critiques of representation and anti-capitalist urban theory, the following photographic series critiques the High Line’s photographic apparatus, from within a practice of photography, and from a position within the field of contemporary art.

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Pletner, KirilL V. "Oleg Orlov: Medicine at the Service of Space Dream." Aerospace Sphere Journal, no. 2 (June 30, 2020): 16–25. http://dx.doi.org/10.30981/2587-7992-2020-103-2-16-25.

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36

Elias, Antonio. "Affordable space transportation: impossible dream or near-term reality?" Air & Space Europe 3, no. 1-2 (2001): 121–24. http://dx.doi.org/10.1016/s1290-0958(01)90033-4.

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37

Williamson, M. "News Analysis - Space: Can Musk achieve his Mars dream?" Engineering & Technology 11, no. 10 (2016): 18–19. http://dx.doi.org/10.1049/et.2016.1017.

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38

Khamrang, Leishipem. "Bhutan’s Dream City of Thimphu." South Asia Research 40, no. 3 (2020): 397–415. http://dx.doi.org/10.1177/0262728020944774.

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Buttressed by the philosophy of Gross National Happiness (GNH), Bhutan’s development policies are inherently grounded in balancing material and spiritual well-being, while Bhutan’s capital city, Thimphu, has over the past few decades experienced phenomenal growth and urban transformation. This article builds on the notion of socio-spatial dialectic to examine the new forms of social ordering in the urban space of Thimphu. Critiquing the idealisation of Thimphu as a dream city for all, it endorses instead the development of regional growth centres and small towns. This underlines the potential of stimulating regional economic development, as a better strategy for inclusive growth and actualisation of Bhutan’s philosophy of GNH.

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39

Charles, Marilyn. "The Dream and the Image: Creative Transformations in Psychoanalytic Space." American Journal of Psychoanalysis 79, no. 2 (2019): 174–95. http://dx.doi.org/10.1057/s11231-019-09194-2.

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40

Prideaux, Bruce, and Petra Singer. "Space Tourism—A Future Dream or a Cyber-tourism Reality?" Tourism Recreation Research 30, no. 3 (2005): 27–35. http://dx.doi.org/10.1080/02508281.2005.11081484.

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41

Castravet, Ana-Maria, and Jenia Tevelev. "$\overline {M}_{0,n}$ is not a Mori dream space." Duke Mathematical Journal 164, no. 8 (2015): 1641–67. http://dx.doi.org/10.1215/00127094-3119846.

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42

Salam, Abdus. "Einstein’s last dream: The space — Time unification of fundamental forces." Resonance 3, no. 1 (1998): 81–88. http://dx.doi.org/10.1007/bf02838648.

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Salam, Abdus. "Einstein’s last dream: The space — time unification of fundamental forces." Resonance 10, no. 12 (2005): 246–53. http://dx.doi.org/10.1007/bf02835149.

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44

Kulezic-Wilson, Danijela. "Tango for a dream." Alphaville: Journal of Film and Screen Media, no. 8 (February 9, 2015): 60–75. http://dx.doi.org/10.33178/alpha.8.04.

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Richard Linklater’s Waking Life (2001) combines unapologetically cerebral content with a sensuous audiovisual style; fragmentariness in the narrative with an all-encompassing breadth of ideas. Another aspect of Waking Life’s internal contradictions is the juxtaposition of the film’s liminal narrative space with the most “earthly” of music genres, the tango. I will explore the contradictions of Linklater’s film by viewing it in the context of the filmmaker’s metaphysical concerns, showing how all his formal choices, including the rotoscoped visual style, the “narrative of digressions” (Linklater qtd. in Singer) and the choice and placement of music, resonate with the film’s thematic undercurrents and its inquiry into the mysteries of existence, consciousness and time. I will argue that the tension between the film’s narrative liminality and tango’s erotic corporeality addresses the dualistic nature of human experience and that the film’s references to Jean-Luc Godard’s Prénom Carmen (1983) in the scoring not only evoke the French director’s distrust of the film medium itself but also connect to Waking Life’s wider concerns with the nature of reality and our perception of it.

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Hou, Zhide. "The American Dream Revisited: A Corpus-Driven Study." International Journal of English Linguistics 7, no. 3 (2017): 182. http://dx.doi.org/10.5539/ijel.v7n3p182.

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As a dominant ideology throughout America, the American Dream rests on the idea that with hard work and personal determination anyone, regardless of background, has equal opportunity to achieve his or her aspirations. Given the importance of the American Dream to American national identity, and the enormity of it in shaping dominant ideologies, this study explores this deeply-held belief and particular mind-set in media discourses related to the American Dream. Modeled on the approach of corpus-driven discourse analysis, and combining the framework of a sociocultual linguistic approach to identity and interaction, the article reports on a corpus-driven sociocultural discourse study which aims to discover, through the analysis of frequent lexical and semantic patterns, discursive characteristics of media discourses related to the American dream, and whether there are any changes of the American dream to American national identity and ideologies which might be developed in time and space.

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Arce Álvarez, María Laura. "The Native American dream in Sherman Alexie's short story “One Good Man”." Cultura, Lenguaje y Representación 25 (May 1, 2021): 33–45. http://dx.doi.org/10.6035/clr.2021.25.2.

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The purpose of this article is to discuss the idea of an Indian identity and the Native American Dream in Sherman Alexie’s short story “One Good Man.” In this story, Alexie introduces the idea of the Indian constructed by the White Americans and attempts through his characters to redefine that concept by deconstructing all the different stereotypes created by the White American society. In order to do this, he also introduces the idea of the American Dream that he calls the “Native American Dream” to express the social inequality and hopeless existence of the Indian community always immersed in an ironic and comic discourse. In this sense, Alexie proposes a new definition of the Indian identity looking back to culture, tradition and the space of the reservation. He creates in his fiction a space of contestation and resistance opening a new voice for the Native American identity.

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Braga, Gisele Pinna. "From wall-paintings to electronic technologies: the search for an ideal hybrid space." PORTO ARTE: Revista de Artes Visuais 20, no. 34 (2016): 129. http://dx.doi.org/10.22456/2179-8001.62319.

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Man have long used elements of his own architectural works, such as walls, floors and roofs, to devise figurative representations, displaying a different reality from the one before in that very space. Some of them, due to its characteristics, seem to have a virtual (represented) space, spatially integrated with the real (physical) space. We understand the hybrid space as the composition of real and virtual spaces, as if they were one. This article analyzes the representations of many historical periods to analyze the approach of the relationship between real and virtual spaces. He has studied wall-paintings and electronic technologies, showing that elements were gradually incorporated in these representations in order to achieve better results at proposing the hybrid space. He has also considered the ways that telecommunication technologies can contribute to the enabling of an old dream of a hybrid space.

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Siklosi, Kate. "‘Dream’, ‘Spellbound’ and ‘Skin’." Explorations in Media Ecology 20, no. 2 (2021): 227–31. http://dx.doi.org/10.1386/eme_00087_1.

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With these pieces, I’m exploring the rich history of wimmin’s handicraft as a feminist poetic praxis. In today’s saturated, technomediatic world, domesticity and handcraft often get left out of discussions of ‘media ecologies’. What happens when we incorporate the feminist practices of care, fragility, uniqueness, domesticity and craft into an increasingly digitized and mass-produced means of publishing and sharing literary work? Using found objects, Letraset and thread, these ‘offline’ poetic works explore an unmediated intimacy with poetic materials; in the tactility of hand-to-object care and contact, an oft overlooked ethics of intimacy and vulnerable surfaces. With these pieces I am also thinking alongside the work of feminist theorist Sara Ahmed who thinks of feminism as ‘a fragile archive, a body assembled from shattering, from splattering, an archive whose fragility gives us responsibility: to take care’. Against the masculinist impulse for permanence and enduring legacy in poetics, these pieces make space for radical openness: working with transient and precarious materials and media not only quells the ego, but allows for a greater responsiveness to and engagement with the world and the conditions that shape it.

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Kline, Mala. "Communal Dreaming: Beyond the ‘We’ We Know." Maska 33, no. 189 (2018): 84–92. http://dx.doi.org/10.1386/maska.33.189-190.84_1.

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The article discusses the possibility of alternative ways of being together on the basis of an example of the durational performance Dream Hostel CII, in which the notion of communitas is explored through the performative application of the practice of communal dreaming. This performative experiment attempted to rethink and reimagine in practice the paradoxical complexity of our contemporary ways of being together by putting into question the individual as the ultimate value and measure and property as a basis from which we weave our social structure and by creating an alternative reality of a shared space of dreaming and the exchanging of dreams. The article talks about the consequences the practice of dreaming and the exchanging of dreams has for singular individual as well as communal subjects, which in the time of the performance exist between the two processes of undoing and individuation, which takes place through actively transformed conditions of a subject’s own becoming. The subject who unfolds from their relation to potentiality as a common and from the space in-between are ‘we’ beyond the ‘we’ we know.

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Kurtz, D. W. "Asteroseismology: from dream to reality." Solar Physics 220, no. 2 (2004): 123–35. http://dx.doi.org/10.1023/b:sola.0000031383.23996.ae.

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