CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel Superior / FundaÃÃo de Amparo à Pesquisa do Estado do Cearà / Vivemos um tempo de desespero, num mundo avesso Ãs utopias, ou seja, numa carÃncia de esperanÃa. A promessa de vida melhor e abundante que o sistema capitalista, com sua sociedade de consumo, prometeu, nÃo se cumpriu em sua plenitude na modernidade, ou melhor dizendo, nÃo para todos. Desespero, frustraÃÃo existencial, violÃncia passaram a ser temas urgentes dentre as preocupaÃÃes das diversas Ãreas do conhecimento. Nesse terreno especial se inscreve este trabalho, que teve por objetivo compreender a produÃÃo de sonhos dos jovens participantes da FundaÃÃo Casa Grande, localizada em Nova Olinda, CearÃ. âSonhosâ aqui entendidos como dimensÃes dos projetos existenciais, portanto, que se tÃm bem acordados. A pesquisa de doutorado foi desenvolvida no Ãmbito do Programa de PÃs-GraduaÃÃo em EducaÃÃo da Faculdade de EducaÃÃo (FACED), da Universidade Federal do Cearà (UFC), na linha de pesquisa Movimentos Sociais, EducaÃÃo Popular e Escola, especificamente no eixo temÃtico EducaÃÃo Ambiental, Juventude, Arte e Espiritualidade, sob a orientaÃÃo da Professora Ercilia Maria Braga de Olinda. A complexidade da temÃtica exigiu uma abordagem construtiva, em que teoria, metodologia e experiÃncias dos envolvidos (pesquisador e sujeitos) foram tecidas juntas numa percepÃÃo de totalidade. O contexto em que se inseriu o objeto à um imbricado de relaÃÃes sÃcio-econÃmicas e culturais especiais. Nova Olinda à um pequeno municÃpio com IDH, conforme o IBGE, dos mais baixos da regiÃo do Cariri. Ali se localiza a instituiÃÃo que abriga os jovens sujeitos desta pesquisa. A FundaÃÃo Casa Grande Memorial do Homem Kariri â ONG criada em 1992, se propÃe ser âuma escola de gestÃo cultural que tem como missÃo educar crianÃas e jovens do sertÃo atravÃs dos programas de MemÃria, ComunicaÃÃo, Artes e Turismoâ. Os sujeitos colaboradores deste trabalho foram alguns dos jovens participantes da referida instituiÃÃo. A mediaÃÃo teÃrica apoiu-se em intelectuais como Zygmunt Bauman, Boaventura de Sousa Santos, Marie-Christine Josso, Antonio NÃvoa, Ercilia Braga, Alfonzo QuintÃs, Peter Singer, Enrique Dussel, Humberto Maturana, Josà Tavares, Paulo Freire, Ernst Bloch, Erich Fromm e outros. A abordagem metodolÃgica foi transdisciplinar; recorreu à pesquisa (auto)biografia, tanto nos fundamentos teÃricos quanto no aspecto procedimental; a trajetÃria da pesquisa pode ser denominada de qualitativa, colaborativa, formativa e existencial como modus de produzir ciÃncia em que a centralidade està na pessoa humana e na vida como fonte maior de toda a existÃncia. Foram usadas tÃcnicas como: entrevista narrativa, cÃrculos reflexivos e observaÃÃo dos Ãmbitos da organizaÃÃo pesquisada. As narrativas juvenis expressaram modos de ser esperanÃosos, acerca do que-ainda-nÃo-veio-a-ser. Mostraram a aÃÃo de jovens resilientes. A tese à uma reflexÃo sobre a produÃÃo de sonhos, como uma oportunidade de construir â no dizer de Ernst Bloch â o que-ainda-nÃo-se-tornou-bom, enfim, demonstra que sonhar à uma forma de se contrapor ao determinismo do destino. Palavras-chave: Sonhos; EsperanÃa; ResiliÃncia. / We live in a time of hopelessness, a world inside out to utopias, in a lack of hope. The promise of better life and abundant that the capitalist system, with its consumer society, has pledged not been fulfilled in its fullness in modernity, or rather not for everyone. Despair, existential frustration, violence became urgent topics among the concerns of various knowledge areas. In this particular field is part of this work, which aimed to understand the production of the dreams of young participants of the FundaÃÃo Casa Grande, located in Nova Olinda, CearÃ. "Dreams" here understood as existential dimensions of the projects, therefore, to have well agreed. The doctoral research was developed within the Programa de PÃs-GraduaÃÃo em EducaÃÃo, Faculdade de EducaÃÃo (FACED), Universidade Federal do Cearà (UFC), the line of research Social Movements, Popular Education and the School, specifically in the thematic area Education Environment, Youth, Art and Spirituality, under the guidance of Professor Ercilia Maria Braga de Olinda. The complexity of the issue required a constructive approach in which theory, methodology and experiences of those involved (the researcher and subject) were woven together in a perception of wholeness. The context in which the object is inserted in an interwoven social and economic relationships and cultural special. Nova Olinda is a small town with HDI, according to the IBGE, the lowest in the region of Cariri. There she finds the institution that houses the young subjects of research. The Casa Grande Foundation Memorial Human Kariri - NGO created in 1992, purports to be "a school of cultural management that has as its mission to educate children and youth programs through the backwoods of Memory, Communication, Arts and Tourism." The subjects of this study collaborators were among the young participants of that institution. The theoretical mediation on intellectuals as Zygmunt Bauman, Boaventura Sousa Santos, Marie-Christine Josso, Antonio Novoa, Ercilia Braga, Alfonzo Farms, Peter Singer, Enrique Dussel, Humberto Maturana, Josà Tavares, Paulo Freire, Ernst Bloch, Erich Fromm and others. The methodological approach was interdisciplinary; used to search (auto) biography, both in theoretical and in the procedural aspects, the history of the research can be called a qualitative, collaborative, formative and existential modus how to produce science in which the core is in the person and human life as a major source of all existence. Techniques were used as narrative interview, circles and reflective observation of areas of the organization studied. The narratives expressed youth ways to be hopeful about what-does-not-come-to-be. Showed the action of resilient youth. The thesis is a reflection on the production of dreams as an opportunity to build - in the words of Ernst Bloch - what-does-not-become-good; at last, demonstrate that to dream is a way to contrapose the determination of destiny.

Two questions are addressed: 1) whether a dream is meaningful as a whole, or whether the scenes are separate and unconnected, and 2) whether dream images are an epiphenomenon of a functional physiologicaL process of REM sleep, or whether they are akin to waking thought. Theories of REM sleep as a period of information-processing are reviewed. This is Linked with work on the relationship between dreaming and creativity, and between memory and imagery. Because of the persuasive evidence that REM sleep is implicated in the consolidation of memories there is a review of recent work on neural associative network models of memory. Two theories of dreams based on these models are described, and predictions with regard to the above two questions are made. Psychological evidence of relevance to the neural network theories is extensively reviewed. These predictions are compared with those of the recent application of structuralism to the study of dreams, which is an extension from its usual field of mythology and anthropology. The different theories are tested against four nights of dreams recorded in a sleep Lab. The analysis shows that not only do dreams concretise waking concerns as metaphors but that these concerns are depicted in oppositional terms, such as, for example, inside/outside or revolving/static. These oppositions are then permuted from one dream to the next until a resolution of the initial concern is achieved at the end of the night. An account of the use of the single case-study methodology in psychology is given, in addition to a replication of the analysis of one night's dreams by five independent judges. There is an examination of objections to the structuralist methodology, and of objections to the paradigm of multiple dream awakenings. The conclusion is drawn that dreams involve the unconscious dialectical step-by-step resolution of conflicts which to a great extent are consciously known to the subject. The similarity of dreams to day-dreams is explored, with the conclusion that the content of dreams is better explained by an account of metaphors we use when awake and by our daily concerns, than by reference to the physiology of REM sleep. It is emphasised that dreams can be meaningful even if they do not have a function.

The thesis is divided  into an index:   it looks at  dream beds, hästens, film and sculptures relationship and systematic techniques I employ to make work.  INDEX   IN THE BANK AND AT THE ZOO          CUCUMBER--------DAM                          THE HAT BRIM ON THE FUNERAL HOME ELIMINATE THE ENDLESS                    ÄGGULOR I SKAL                                    ANONYMOUS LOAN

This thesis explores the importance of the visionary experience in five novels by Virginia Woolf. In her fiction, Woolf portrays the phenomenal world as constantly changing and she uses the cycles of nature and the passing of time as a terrifying backdrop against which the mutability and transience of human life are set. Faced with the inevitability of change and the fact of mortality, the individual seeks moments of permanence. These stand in opposition to flux and lead to the experience of a visionary intensity. Woolf's presentation of time as a qualitative phenomenon and her stress on the importance of memory as a function which allows for the intermingling of past and present make possible the narrative rendering of moments which contradict perpetual change and the rigours of sequential time. Moments of stillness 'occur in the midst of and in spite of process and allow for individual contact with an experience that defies the relentless progression of time. Necessary for this experience is not only memory but also the imagination, a faculty which has the power to perceive patterns of harmony in the midst of the chaos that characterises the phenomenal realm. Fundamental to Woolf's writing, however, is the acknowledgement that visions are fleeting, as are the glimpses of meaning that emerge from them. Therefore, while several of her novels describe the artistic effort to create a structured order as a defense against change, Woolf uses the artist's struggle as a metaphor for the difficulties attached to describing the enigma that is life. None of her artist figures is able to formulate a construction that either sums up life or provides a permanence of vision. This study presents a chronological examination of the novels in order to demonstrate that the changing forms of Woolf's fiction trace the evolution of a style that accurately portrays both the workings of the human mind and the insubstantial and fragmentary nature of life. The chronology also reveals that her novels develop in terms of their presentations of the visionary experience. Woolf's final novel incorporates into its central vision the paradoxical fact of the permanence of time's progression and acknowledges that, beyond the individually mutable life, is a continuum that links pre-history to the future. This notion, which is explored in part in the earlier novels, but developed completely in Between the Acts, suggests that consolation can be found in the greater cycles of existence despite the fact of individual mortality.

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In this essay, I document and reflect on a process of creating a twenty-minute performance called That Time I Swam in a Storage Room (2021), with dreams as its source material. The essay is written in the form of a series of log-book-like entries, which offer an insight into how the work developed throughout each week during the nine-week working period. The process described in this essay, is centred around individual explorations, through reading and try-outs, as well as studio-sessions together with a four-person working group consisting of Ane Carlsen, Anton Hedevang, Jane Sievänen and Heta Asikainen. In the essay, I give an account of how the explorations are executed; by using tools and methods derived from Dadaists and Surrealist art movements, such as the cut-up technique and automatic writing. Fragments of methods from other thinkers and psychoanalysts are also applied in order to harvest dream-images and further work with the content of the dreams, such as Sigmund Freud’s dream interpretation and Carl Jung’s active imagination. The essay ends with reflections on the process of creating the performance. / <p>This master work includes both a performing and a written part. </p>

This two-section thesis explores the subjective nature of villainy. The larger section, "Dream’s End," is an urban-fantasy young-adult fiction piece I’ve written in epistolary form. I preface the fiction with a critical introduction in which I briefly examine existing definitional scholarship on 1) epistolary fiction, 2) the urban fantasy genre, and 3) the young adult genre. Epistolary fiction may be letters, diaries, or journal entries. Following this exploration, I examine the subjective nature of villains and antagonists in narratives. While "Dream’s End" does not specifically discuss or critique feminist theory, it considers criticism of existing female tropes in its portrayal of both the characters and their roles in relation to one another. The second section of the thesis is comprised of a collection of journal entries, divided into six chapters, wherein protagonist Emma keeps a record of the experiences she has while traveling to another world in her dreams. In this alternate dream world, Emma finds community and purpose absent from her waking life, but must ultimately come to terms with a perceived betrayal and various moral quandaries when her two worlds begin to bleed together. The journal entries will eventually be incorporated into a novel as backstory, and so are presented with a brief explanation as to their significance to the larger narrative. Through the various characters in these journal entries, I explore the complex nature of protagonists and antagonists, and discuss how the classification of each is relative to the experience and perceptions of the characters within the narrative, as well as the readers outside it.

The purpose of this thesis is to present an overview of the origins and uses of dreams and dream interpretation through the years. This is accomplished in two main sections. The first section traces the ancient history of dreams and their uses in various cultures. It begins with the first written evidence of dreams found in the Egyptian culture and is carried through the Babylonian, Greek and Roman Eras. The history also includes the use of dreams as documented in the Biblical Records, the Oriental cultures and during the era of Christianity. The superstitions about dreams during the Medieval era through to the Middle Ages is discussed.

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