Postclassical and medieval history

Some Indigenous American tribes and Mexican civilizations believe that dreams are a way of visiting and having contact with their ancestors.^[19] Some Native American tribes used vision quests as a rite of passage, fasting and praying until an anticipated guiding dream was received, to be shared with the rest of the tribe upon their return.^[20][21]

The Middle Ages brought a harsh interpretation of dreams. They were seen as evil, and the images as temptations from the devil. Many believed that during sleep, the devil could fill the human mind with corrupting and harmful thoughts. Martin Luther, founder of Protestantism, believed dreams were the work of the Devil. However, Catholics such as St. Augustine and St. Jerome claimed that the direction of their life were heavily influenced by their dreams.

In art

Dreams and dark imaginings are the theme of Goya's etching The Sleep of Reason Produces Monsters. There is a painting by Salvador Dalí that depicts this concept, titled Dream Caused by the Flight of a Bee around a Pomegranate a Second Before Awakening (1944). Rousseau's last painting was The Dream. Le Rêve ("The Dream") is a 1932 painting by Pablo Picasso.

In literature

Dream frames were frequently used in medieval allegory to justify the narrative; The Book of the Duchess^[22] and The Vision Concerning Piers Plowman^[23] are two such dream visions.

The Cheshire Cat vanishes in Wonderland.

They have also featured in fantasy and speculative fiction since the 19th century. One of the best-known dream worlds is Wonderland from Lewis Carroll's Alice's Adventures in Wonderland, as well as Looking-Glass Land from its sequel, Through the Looking-Glass. Unlike many dream worlds, Carroll's logic is like that of actual dreams, with transitions and flexible causality.

Other fictional dream worlds include the Dreamlands of H. P. Lovecraft's Dream Cycle^[24] and The Neverending Story's^[25] world of Fantasia, which includes places like the Desert of Lost Dreams, the Sea of Possibilities and the Swamps of Sadness. Dreamworlds, shared hallucinations and other alternate realities feature in a number of works by Phillip K. Dick, such as The Three Stigmata of Palmer Eldritch and Ubik. Similar themes were explored by Jorge Luis Borges, for instance in The Circular Ruins.

In popular culture

Modern popular culture often conceives of dreams, like Freud, as expressions of the dreamer's deepest fears and desires.^[26] In films such as Spellbound (1945), The Manchurian Candidate (1962) and Inception (2010), the protagonists must extract vital clues from surreal dreams.^[27]

Most dreams in popular culture are, however, not symbolic, but straightforward and realistic depictions of their dreamer's fears and desires.^[27] Dream scenes may be indistinguishable from those set in the dreamer's real world, a narrative device that undermines the dreamer's and the audience's sense of security^[27] and allows horror movie protagonists, such as those of Carrie (1976), Friday the 13th (1980) or An American Werewolf in London (1981) to be suddenly attacked by dark forces while resting in seemingly safe places.^[27]

In speculative fiction, the line between dreams and reality may be blurred even more in the service of the story.^[27] Dreams may be psychically invaded or manipulated (Dreamscape, 1984; the Nightmare on Elm Street films, 1984–2010; Inception, 2010) or even come literally true (as in The Lathe of Heaven, 1971). Peter Weir's 1977 Australian movie "The Last Wave" makes a simple and straightforward postulate about the premonitory nature of dreams (from one of his Aboriginal characters) that "...dreams are the shadow of something real". Such stories play to audiences' experiences with their own dreams, which feel as real to them.^[27]

Dynamic psychiatry

Date: 2016-01-05; view: 750