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Os romances Maps, Gifts e Secrets, pertencentes à trilogia Blood in the sun do escritor somali Nuruddin Farah, apresentam duas camadas narrativas em suas composições: uma dada pelos eventos ficcionais que ocorrem quando os personagens estão despertos e a outra pelos inúmeros sonhos inseridos neles. No espaço da vida de vigília, os protagonistas dessas obras experimentam uma grande imobilidade, estando impossibilitados de alterar a realidade política de seu país, a Somália, e de efetivamente transformar suas próprias vidas. O objetivo deste trabalho é demonstrar que a experiência onírica proporciona, então, uma compensação para a inatividade a que estão condenados. Os sonhos são considerados como lugares especiais de experiência, como cronotopos diferenciados que contestam e invertem o que os personagens vivenciam no mundo dito real. As narrativas oníricas presentes nesses romances operam em dissonância em relação ao restante do que é narrado, oferecendo soluções ficcionais que ainda não parecem possíveis nas outras partes da narração. Dessa forma, o foco da análise se volta para o estudo da estrutura dessas narrativas oníricas, concomitantemente com o procedimento de conferir aos seus signos significados que condigam com o contexto cultural, social e político em que vivem os seus personagens. / The novels Maps, Gifts and Secrets, which belong to the trilogy Blood in the sun by Somali writer Nuruddin Farah, present two narrative levels: one given by the fictional events that take place when the characters are fully awake and the other by the numerous dreams inserted in them. In the space of vigil, the protagonists in these works experience great immobility, being unable to change the political reality of their country, Somalia, and effectively transform their own lives. The aim of this work is to demonstrate that the dream experience provides, then, a form of compensation for the inactivity to which they are doomed. Dreams are considered special places of experience, as different chronotopoi that contest and invert what the characters undergo in the so called real world. The dream narratives that are present in these novels operate in dissonance with the rest of what is being narrated, offering fictional solutions that still do not seem to be possible in other parts of the narrative. Thus, the focus of the analysis turns to the study of the structure of these dream narratives, together with the procedure of giving meanings to their signs that match with the cultural, social and political context in which their characters live.

Os romances Maps, Gifts e Secrets, pertencentes à trilogia Blood in the sun do escritor somali Nuruddin Farah, apresentam duas camadas narrativas em suas composições: uma dada pelos eventos ficcionais que ocorrem quando os personagens estão despertos e a outra pelos inúmeros sonhos inseridos neles. No espaço da vida de vigília, os protagonistas dessas obras experimentam uma grande imobilidade, estando impossibilitados de alterar a realidade política de seu país, a Somália, e de efetivamente transformar suas próprias vidas. O objetivo deste trabalho é demonstrar que a experiência onírica proporciona, então, uma compensação para a inatividade a que estão condenados. Os sonhos são considerados como lugares especiais de experiência, como cronotopos diferenciados que contestam e invertem o que os personagens vivenciam no mundo dito real. As narrativas oníricas presentes nesses romances operam em dissonância em relação ao restante do que é narrado, oferecendo soluções ficcionais que ainda não parecem possíveis nas outras partes da narração. Dessa forma, o foco da análise se volta para o estudo da estrutura dessas narrativas oníricas, concomitantemente com o procedimento de conferir aos seus signos significados que condigam com o contexto cultural, social e político em que vivem os seus personagens. / The novels Maps, Gifts and Secrets, which belong to the trilogy Blood in the sun by Somali writer Nuruddin Farah, present two narrative levels: one given by the fictional events that take place when the characters are fully awake and the other by the numerous dreams inserted in them. In the space of vigil, the protagonists in these works experience great immobility, being unable to change the political reality of their country, Somalia, and effectively transform their own lives. The aim of this work is to demonstrate that the dream experience provides, then, a form of compensation for the inactivity to which they are doomed. Dreams are considered special places of experience, as different chronotopoi that contest and invert what the characters undergo in the so called real world. The dream narratives that are present in these novels operate in dissonance with the rest of what is being narrated, offering fictional solutions that still do not seem to be possible in other parts of the narrative. Thus, the focus of the analysis turns to the study of the structure of these dream narratives, together with the procedure of giving meanings to their signs that match with the cultural, social and political context in which their characters live.

The main aim of this thesis is concerned with dream as an inspirational source and as specific state of mind. Theoretical part describes dream from psychological point of view but also dream ramifications on the art in the first half of the 20th century. The thesis describes not only an introduction of surrealism as a new art style in French and Czech countries, but also birth of new art techniques. The work also maps dream reports of Jindřich Štyrský and their depictions as an author's primary source of imagination. Didactic part includes a survey aimed at sixth grader's dreams and didactic project consists of four painting tasks. Each task thematically follows specific parts of theoretical chapter. Practical part naturally results from dream-theme's ideas and is composed of two objects based on inspirations from dream. KEYWORDS Dream, dream diary, surrealism, Frottage, college, Jindřich Štyrský

This essay aims to analyze the play Death of a Salesman by Arthur Miller from an Althusserian perspective, focusing on his theory on ideology and ideological apparatuses. The theory has been implemented by analyzing the main characters individually to decipher their ideological views and how they have been subjects of interpellation. Furthermore, this essay will attempt to examine which ideological apparatuses are displayed in the play and how they have influenced the characters. According to this interpretation of the play, they all believe success is reachable for everybody, depending on their status and how well-liked and admired they are. Their ideological views differ slightly among each character; however, the fundamental idea that a man is worthy and accomplished only through success is shared by everyone. The ideology that is predominant in the family can be described as the “American dream”. The conclusion is that the most influential interpellation that occurs in the play is from the family ideology apparatus, and that the interpretation of the ideology embraced by the family is what makes them fail to achieve their dreams.

Cette thèse avait pour objectif général d’approfondir nos connaissances sur les rêves dysphoriques (mauvais rêves et cauchemars), selon deux axes. Premièrement, nous avons voulu éclaircir les implications méthodologiques reliées aux différentes mesures de la fréquence de rappel de rêves (articles 1 et 2). Deuxièmement, nous avons voulu étudier un aspect encore peu exploré des rêves dysphoriques : leur contenu (article 3). Dans la première étude, nous avons comparé systématiquement différentes méthodes rétrospectives et prospectives utilisées pour mesurer la fréquence des cauchemars et des mauvais rêves chez 411 participants. En plus de reproduire les résultats d’études antérieures selon lesquelles les mesure rétrospectives sous-estiment la fréquence des rêves dysphoriques, nous avons démontré que ces fréquences n’étaient pas affectées de manière différentielle par le format de la mesure prospective (journaux de rêves narratifs ou à choix de réponse). Dans la deuxième étude, nous nous sommes intéressés à la fréquence de rappel onirique en général (i.e. de tous les rêves) auprès d'un échantillon de 358 participants pour approfondir les résultats relatifs à la comparaison entre les deux types de journaux de rêves obtenus dans la première étude. Nos résultats soulignent que la fréquence de rappel obtenue par un journal à choix de réponse est plus élevée que celle obtenue d’un journal narratif, et que le présumé effet d’augmentation de rappel attribué aux mesures prospectives est limité dans le temps. Ces résultats suggèrent que des facteurs motivationnels sont impliqués dans la tenue d’un journal de rêves, et que dans le cas des journaux narratifs, ces facteurs outrepasseraient les facteurs attentionnels favorisant le rappel onirique. Dans la troisième étude, nous avons comparé le contenu de 253 cauchemars et 431 mauvais rêves obtenus prospectivement auprès de 331 participants, offrant ainsi l’une des descriptions de ce type des plus détaillées à ce jour. Nos résultats démontrent que cauchemars et mauvais rêves partagent de nombreuses caractéristiques mais se différencient en plusieurs points : le contenu des cauchemars est davantage caractérisé par des menaces physiques, et celui des mauvais rêves par des menaces psychologiques. De plus, les cauchemars ont plus souvent la peur comme émotion principale, ont une intensité émotionnelle plus forte, se terminent plus souvent de façon négative et sont plus bizarres que les mauvais rêves. Ces différences de contenu entre mauvais rêves et cauchemars suggèrent que ces deux types de rêves sont des manifestations d’un même phénomène variant en termes d’intensité, et que cette intensité est multidimensionnelle. Les résultats de l’étude 3 sont discutés en lien avec différentes théories sur l’étiologie et la fonction des rêves. / The overall goal of this thesis was to further our understanding on disturbed dreaming (bad dreams and nightmares) along two main lines of inquiry. First, we examined the methodological implications associated with the different instruments used to measure dream recall frequency (articles 1 and 2). Second, we investigated the actual content of disturbing dreams, a dimension for which empirical data remain surprisingly scarce (article 3). Study 1 compared the frequency of nightmares and bad dreams obtained with retrospective methods and with two types of prospective instruments (narrative and checklist logs) in 411 participants. In addition to replicating findings showing that when compared to daily logs, retrospective self-reports underestimate current nightmare and bad dream frequency, we showed that these frequencies were not differentially affected by the type of prospective log. Our second study extended these findings by comparing the differential effects of narrative and checklist logs on general dream recall in 358 participants. The results indicate that checklist logs yield higher prospective dream recall frequency than narrative logs, and that prospectively measured dream recall frequency tends to peak at the beginning of the log and then remains stable over time. Thus, improved dream recall arising from subjects' increased attention towards their dreams is short-lived and the effect quickly offset by motivational factors. Our third article presents a comprehensive and comparative description of the content of 431 bad dreams and 253 nightmares collected prospectively from 331 participants. The results indicate that although nightmares and bad dreams share many content characteristics and features, they also differ along several dimensions: nightmares tend to involve physical threats whereas psychological threats predominate in bad dreams; nightmares are more likely than bad dreams to contain fear as their principal emotion as well as being significantly more emotionally intense; and when compared to bad dreams, nightmares are more bizarre and contain significantly more aggressions, failures, and unfortunate endings. Taken together these findings support the view that nightmares represent a more intense expression of the same basic phenomenon and that this intensity manifests itself along a number of content dimensions. These results are discussed in relation to different theories on the etiology and function of dreams.

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The topic of this dissertation is the phemomenon of the dream, dreamy picture and their projection into the creation of surrealist artworks. The disertation tries to connect the basic knowledge of psychoanalysis and the history of art. The thesis attepmts to solve the questions of how the dream imagination is different from the imaginative art of the previous centuries and how the dream topics are involved in the artworks. One of the most important resources for the art work of surrealism was in the psychoanalysis and the knowledge of the work of Sigmund Freud. That is the reason why the first part of this thesis is dedicated to Freud?s The Interpretation of Dreams and the dream symbolism ? its origin, knowledge resources and reflection in the fine arts. The closing chapter uses the previously undiscovered knowledge to present the work of Jindřich Štýrský and tries to indicate how the dream imagination was projected to the artwork of this signifiant surrealist painter.

Dreaming is a complex, multimodal and sequentially organized model of the waking world (Metzinger, 2003). Nightmares are a category of dreams involving threatening scenarios, anxiety and other negative emotions (Hartmann, 1998; Nielsen & Levin, 2007). Dreams and nightmares are explored in this present thesis in the light of psychology and modern cognitive neuroscience as to their nature, function and neural correlates. The three main dream theories and their leading investigations are reviewed to evaluate their evidence and overall explanatory power to account for the function of dreams and nightmares. Random Activation Theories (RATs) claim dreams are biological epiphenomena and by-products of sleep underlying mechanisms (Crick & Mitchison, 1983; Flanagan, 1995, 2000a, 2000b, Hobson & McCarley, 1997). Mood regulation theories consider that the psychological function of dreams is to regulate mood and help with the adaptation of individuals to their current environment such as solving daily concerns and recovery after trauma exposure (Hartmann, 1996; Levin, 1998; Stickgold, 2008; Kramer, 1991a, 1991b, 2014). Threat Simulation Theories of dreams present the evolutionary function for dreaming as a simulating off-line model of the world used to rehearse threatening events encountered in the human ancestral environment (Revonsuo, 2000a). With the threat-simulation system, threats were likely to be recognized and avoidance skills developed to guarantee reproductive success. TST consider nightmares to reflect the threat-simulation system fully activated (Revonsuo, 2000a). Supported by a robust body of evidence TST is concluded to be the most plausible theory at the moment to account as a theoretical explanation of dreams and nightmares

I den här studien undersöks den lyriska erfarenheten i John Berrymans verk The Dream Songs. Ämnet ”lyrisk erfarenhet” är hämtat från Alf Nymans studie Begreppet lyrisk erfarenhet med undertiteln Kunskapsteoretiska och estetisk-psykologiska studier i symbolisk och realistisk diktning, utgiven 1958. Nyman utvecklar i sin studie en teori om detta ämne vilket sedan appliceras på europeisk modernistisk poesi. Min ambition är att med Nymans teori genomföra lyrikanalys på en amerikansk poet som hör till en kategori poeter som tar avstånd från modernistiska ideal och utvecklar ett nytt idiom. Genom att redogöra för Nymans teori analyseras sedan fem dikter ur Berrymans verk. Målet är att urskilja vad det är i dikten som ger stöd för den lyriska erfarenheten. I en avslutande diskussion lyfter jag upp vad som varit genomgående tema i Berrymans poesi. Resultatet sätts också i relation till Nymans resultat för att på så sätt nå en kontextuell förståelse om ämnet.