"Now let us refrain, I said, from calling Homer or any other poet to account regarding those arts to which his poems incidentally refer: we will not ask them, in case any poet has been a doctor and not a mere imitator of medical parlance, to show what patients have been restored to health by a poet" (Plato 1979 19). (1) Soos alle lesers van literatuur weet Plato dat die digter weinig bewys kan lewer dat die werklikheid waaroor hy skryf ook deur hom verander is. Uiteindelik sit hy net met die" sweet influence" van sy welluidende gedig (ibid . 21). Tog word hy verbied, en nie net, soos Plato wou veronderstel, omdat hy die irrasionele, die emosionele, die "laere" in die mens stimuleer nie.

Hierdie studie is In poging om uit die veelgeskakeerde digwerk van Sheila Cussons een draad te neem en dit deur te volg; in die hoop dat dit 'n Ariadne-draad mag word tot beter besef van die ryk gestruktureerdheid en diepte van haar verwysingsveld, en die betekenis daarvan vir ons tyd. Dis dan primer die beeld van die engel wat nagespeur word, as bonatuurlike wese wat nie tot die vlak van die fisiese inkorporeer nie. (From Ch. 1)

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The study addresses certain paradoxes evident in the theory and practice of dream interpretation. These relate to the considerable value afforded to dreams in psychoanalytic thinking, compared with (1) the surprising dearth of literature, research, and training on dream interpretation in clinical practice, (2) the difficulties voiced by clinicians regarding dream interpretation, and (3) the diversity of keys employed by different schools to unlock the ‘truth’ of dreams. The intention of the study is to examine these paradoxes in order to develop a model fordream interpretation which falls within the ambit of psychodynamic psychotherapy. It is argued that there have been few insights over the century to match the seminal work of Freud (1900/1976), except perhaps the work of Carl Jung. As a result of the 1914 rift between these two, Jung’s insights have been largely ignored in mainstream psychoanalytic thinking and the focus on dreams has given way to other areas of development, such as, unconscious thinking, symbol formation, and interpretation in a general sense. These, it is argued, have contributed to a more comprehensive understanding of dreams and their interpretation. Thus a model would need to consider both Freud and Jung’s work, and later salient developments. It would also need to be informed by local, contemporary practice. The method used in this thesis is one of breaking down the process of dream interpretation into component parts, in order to examine useful contributions from different sources and to compare work with dreams to work with other material. The literature review examines the major theoretical contributions in relation to four elements of dreams interpretation: the nature and function of dreams, methods of dream interpretation, the meaning of dreams, and the goals of dream interpretation. A model which accommodates diverse theories without resorting to eclecticism is then proposed. Dream interpretation is further examined in the light of a multiphase clinical study, designed to provide different perspectives on the topic. The study yielded findingscompatible with the literature reviewed, as well as certain problems in relation to the proposed model. These included shortcomings of the elements used in the literature review, particularly the sequence of these elements, and caveats about affording dreams a special focus in the consulting room. Thus a second configuration was posited, namely the idea of viewing dream-work as a triangular situation, comprising the dream, the dreamer, and the dream interpreter. The final model which is the outcome of the study provides two interrelated methods of addressing dream interpretation which accommodate the theory/practice dichotomy. In the first, the elements of dreams and their interpretation are considered sequentially. This method provides a framework for considering theoretical contributions on dreams, as well as issues of technique, without recourse to the introduction of theory in the consulting room. In the second, dream interpretation is regarded as a triangular situation, comprising the interchange between therapist and patient in relation to the patient’s dream-life. This structure accommodates the alliance which is discernible in practice and draws on Segal’s (1957/1986) notion that the process of symbol formation is a triangular situation. The value of regarding ‘dream-work’ in the consulting room as a triangular situation is threefold: (1) it is akin to symbol formation in terms of the meaning reached; (2) dreams cannot be accurately interpreted in isolation from the contributions of both therapist and patient; and (3) it provides ‘dream-work’ in practice with its own structure, highlighting a perspective that dreams are an element of clinical practice, rather than a focus, a subtext within the broader framework of psychodynamic psychotherapy.

This thesis is an exploration of three interrelated modes - the psychological, the religious or mythopoeic, and the metafictional - in the early novels of Russell Hoban. It investigates the relationship between Hoban's religious vision and his literary style, through the lens of his 'fictional philosophy' as it is presented in his essay collection The Moment under the Moment. In Chapter One, Kleinzeit is analysed to illustrate Hoban's portrayal of a contemporary crisis of meaning. It includes an introduction to the pattern of individuation and an exposition of Hoban's unique notion of heroism as embodied in Kleinzeit's journey of self-discovery. Hoban's mythopoeic impulse is elucidated with particular reference to his use of the Orpheus and Eurydice myth. Finally, in an attempt to demonstrate Hoban's ideas on the relationship between language and reality, various metafictional techniques are examined, especially in relation to the theme of transcendence. In Chapter Two, the individuation theme in The Medusa Frequenry is considered as a work of mourning, portraying Herman Orfrs movement towards reconciliation and creative renewal. Following Paul Ricoeur, the Orpheus and Eurydice myth is seen as a myth of fault, embodying a primal transgression, and a source of the creative arts. The metafictional style is examined, especially the narrative mode, in order to show how Hoban dissolves the everyday world of reality into a fantastic realm of myth. Chapter Three focuses on the individuation pattern as initiation in Riddley Walker, charting the hero's growth into adulthood. Various myths in the text are analysed to show how they portray human development and the nuclear catastrophe as a mythic Fall. The chapter argues that through Riddley's quest Hoban evokes a redemptive and regenerative fertility myth. The unique literary style of the novel, including the characteristics of 'Riddleyspeak' and the complexity of the process of interpretation is studied. In Chapter Four, which deals with Pilgermann, the final phase of individuation - preparation for death - is discussed. Hoban's religious vision is dissected in relation to his mystical impulse as exemplified in the construction of the Hidden Lion pattern. Hoban's notion of God is investigated in relation to the philosophical problem of evil and suffering. Finally, Pilger mann is shown to be Hoban's mOSt experimental literary novel as it activates his recurring meta fictional techniques, investigations into narrative, and the relationship between language and the sacred. This thesis concludes that Hoban's fiction is best understood holistically with both his religious and literary concerns inextricably entwined. Throughout his novels Hoban explores the human condition in modernity affirming the paradoxical, dialectical and mysterious nature of being. / KMBT_363 / Adobe Acrobat 9.54 Paper Capture Plug-in

The purpose of this interdisciplinary study was to answer the question, "What is the meaning of the transformative dream for people who do not experience resolution of their problem immediately upon awakening?". Existential-phenomenology from the perspective of a story was used to describe the meaning of the experience for ten individuals, nine women and one man, whose ages ranged from 23 to 48. From transcripts of the interviews, ten individual accounts of the experience were constructed. These accounts included a construction of the structure of each dream story and its relationship to the person’s description of the experience. Significant statements of the experience were also extracted from the transcripts and formulated into twenty common themes which were then woven into a common story. Each person checked and validated the transcript, individual account, common themes, and common story for any omissions or distortions. The study also included responses to a questionnaire given to psychology students, asking them if they had ever had a dream which revealed a solution to a problem. Out of 305 students, 103 (34%) had experienced one of these dreams. Forty-three (42%) knew the answer immediately, 58 (56%) found the answer later, and two were not sure. These results suggest that the prevalence of dreams which reveal solutions to problems could be much higher than expected. The findings support the general contention that these dreams are preceded by a desire for resolution and a search for answers. The dreams were vivid and emotional with the dreamer alert and actively participating in the drama. People experienced a felt sense of change without understanding the meaning of the dream. The dreams were complete stories with a beginning, middle, and end. The findings demonstrate that viewing these dreams within the context of people's lives is essential in order to understand the meaning of the experience. The description is a beginning and can become the basis for future research on dreams which resolve problems. / Graduate and Postdoctoral Studies / Graduate

Dombrose and Slobin's Picture Titles Test was administered to 100 male and 85 female university students ranging in age from 19 to 22 years. The results were examined for different impulse, ego, and superego pattern between males and females, and amongst the age groups. The results were also tested for the possibility of a response bias in the pictures. The Picture Titles Test results did not show differential response on sex or age at a significant level. The Picture Titles Test was found to have a response bias in the content of its pictures. All subjects regardless of sex or age responded in favour of one of the variables for each of the pictures. The response bias precluded the possibility of obtaining sex differences and interfered with the projection of the inner personality of the subject. / Arts, Faculty of / Psychology, Department of / Graduate

Die vorliegende Arbeit stellt einen Versuch dar, Heines Urteil über seine literarischen Zeitgenossen aus den jeweiligen Lebensumständen und Plänen des Dichters zu erklären, und somit schwer begreifliche oder sich widersprechende Urteile leichter verständlich zu machen. Die Untersuchung beschränkt sich fast ausschliesslich auf die Zeit vom Beginn der zwanziger Jahre bis zu Heines Übersiedlung nach Paris im Jahre 1831; doch war es erforderlich, die schon in Paris verfasste Romantische Schule in die Untersuchung mit einzubeziehen, da gerade dieses Werk die Abrechnung Heines mit der "neueren" deutschen Literatur darstellt. Bei der Auswahl der hier besprochenen Dichter waren drei Beweggrilnde ausschlaggebend: Einerseits wurden Dichter gewählt, die auch heute noch ein gewisses Interesse erregen, andererseits musste das in Heines Briefen und Werken gefun-dene Material sich für eine Besprechung der betreffenden Dichter eignen, und schliesslich sollte Heines Verhalten zu diesen Dichtern sowie sein Urteil über ihre Leistungen in irgendeiner Weise typisch sein. Im Falle J. B. Rousseaus und Immermanns waren es geschmeichelte Eitelkeit und persönliche Zuneigung, worauf sich Heines überschwängliches Lob zurückführen liess. In Adolf Müllner fürchtete er einen berüchtigten Kritiker, durch dessen Feindschaft der literarische Aufstieg des jungen Heine zweifellos erschwert worden wäre. Der Versuch, sich durch Schmeicheleien die Gunst einflussreicher Literaten zu gewinnen, tritt namentlich in Heines Verhältnis zu Beer und Schenk hervor. Durch die Fürsprache dieser Dichter hoffte er, die Münchener Professur zu erlangen und zollte daher ihren Werken höchstes Lob. Auch das Kapitel über A. W. Schlegel sollte zeigen, dass Heine seine kritische Feder oft zur Förderung seiner eigenen Interessen benutzte. So trug sein Wunsch, sich beim französischen Publikum in ein günstiges Licht zu rücken, dazu bei, dass A. W. Schlegel, der ausgesprochene Gegner französischer Literatur, in der Romantischen Schule unbillig verspottet und geschmäht wurde. In Bezug auf Goethe ist besonders Heines widerspruchsvolle Haltung nach dessen Tode heraus-gearbeitet worden: Diese beruhte einerseits auf der Aner-kennung Goethes als des "Königs" der deutschen Literatur, für dessen Nachfolger Heine sich ansah, und andererseits auf der Ablehnung des "Goethentums", das in Heines Augen die Entwicklung der jungen Dichtergeneration hemmte. Die Untersuchung von Heines Kritik an Fouqué und Uhland hat ergeben, dass seine frühe Begeisterung für diese Dichter mildernd auf das Urteil gewirkt hat, das er später in der Romantischen Schule über sie fällte. Dagegen konnte die weit schärfere Kritik an Tieck zum Teil darauf zurückgeführt werden, dass dieser ehemalige Romantiker, dem Heine keine persönliche Wertschätzung entgegenbrachte, auch noch in den dreissiger Jahren literarisch tätig war, ohne sich dem "jungen" Deutschland zu nähern. Das Gesamtergebnis dieser Arbeit zeigt, dass Heines Kritik an seinen literarischen Zeitgenossen in starkem Grade persönlichen Einflüssen unterlag und in vielen Fällen mit der wirklichen Überzeugung des Verfassers nicht ohne weiteres identifiziert werden darf. Daher ist für die Einschätzung aller kritischen Äusserungen in den Werken und Briefen Heinrich Heines die Kenntnis der näheren Lebensumstände des Dichters unerlässlich. - Bei der Anordnung der Kapitel wurden hauptsächlich chronologische Gesichtspunkte berücksichtigt; im Grunde sind die einzelnen Kapitel selbständige Einheiten, die auf verschiedene Art ihren Beitrag zum Gesamtergebnis der Arbeit leisten. Als Hauptquelle für die Untersuchung dienten die Werke Heines und die von Friedrich Hirth besorgte Gesamtausgabe der Briefe. Nach Möglichkeit wurde auf Aussagen und Zeugnisse von Zeitgenossen des Dichters zurückgegriffen; Biographien wurden nur zum Vergleich oder in Ermangelung von Dokumenten benutzt. / Arts, Faculty of / Central Eastern Northern European Studies, Department of / Graduate

The main thesis of this study is that John Banville's fictional scientific tetralogy makes an aesthetically challenging attempt to fuse renewed popular notions of science and scientific figures with renewed artistic forms. Banville is most interested in the creative mind of the scientist, astronomer, or mathematician, his life and times in Doctor Copernicus (1976) and Kepler (1981), and his modern day influence in The Newton Letter (1982) and Mefisto (1986). The novelist's writing is a movement of the subjective into what has normally been regarded as the objective domain of science. Chapter one gives a critical overview of the present state of Banville scholarship. It reveals that despite his focus on scientists, the novelist rarely invites more than narrow literary approaches. Chapter two discusses the cultural context of relations between science and literature. The theories of Gerald Holton on scientific history, of Arthur Koestler on creativity, and of Thomas Kuhn on paradigm change are shown to be germane to Banville's tetralogy. These theories support the general methodology throughout the dissertation. Chapter three examines the creation of the scientific genius Doctor Copernicus. In particular, the following areas are examined: the scientist's boyhood; the influences of his family, friends and colleagues; the link between science and public policy; the scientist's living and working conditions; and the scientist's thematic presuppositions. Chapter four continues the exploration of the social and artistic process of science with regard to the astronomer Kepler. This chapter's discussion of the brotherhood of science, astrology, physicalization, religion and dreams inevitably raises questions about the role of the scientist in society and how his ideas are developed. Chapter five reveals the importance of the extra—scientific factors that go into the composition of any purportedly objective science. In The Newton Letter, both the great English scientist and his Irish biographer seem to suffer from similar paradigm shifts. Chapter six on Mefisto argues that recent scientific theory, including the science of chaos, informs the work, particularly with regard to the notions of symmetry and asymmetry. Chapter seven concludes by advancing the argument that Banville's work is a much needed contribution to Irish culture, which has tended to ignore the social potential of science. / Arts, Faculty of / English, Department of / Graduate