No description available.

Dreams have been widely shared, analyzed, and explored for centuries. Throughout cultures and contexts, some dreams seem to leave a lasting trace on waking life, whereas other dreams are forgotten as quickly as they appear. This thesis focuses its efforts on the former category, known as impactful dreams. Impactful dreams are rare and distinguished by their effect on the dreamer’s thoughts, feelings, and/or behavior. Some dreams, including impactful dreams, also contain threatening oneiric material, which may be seen as mirroring threatening content the dreamer will have to face, or has already faced, in waking life. This thesis contributes to the study of dream content by using modern dream analysis methods to investigate impactful dreams and threats in dreams, drawing from a large normative sample of Canadians’ dreams, but also from the oneiric content found in works written by William Shakespeare. It was expected that both samples would share certain oneiric traits, but that Shakespeare’s in-play dreams would contain more oneiric threats, would have an impact on the dreamer by default, and would most notably affect the narrative of the play. In contrast, normative Canadian dreams were expected to show a lesser tendency towards both impact and threatening content. The first article explores all impactful dreams found within a normative sample of Canadian dreams, investigating their impactful dream type and their link to waking and dreaming mood. The second article does the same within the scope of Shakespeare’s fictional works, and compares the two samples in terms of dream impact, threats, and overall oneiric content.

Cette thèse porte sur le rêve et le récit de rêve dans les romans d’Anne Hébert, figure majeure de la littérature québécoise. Ses objectifs sont d’identifier une typologie de rêves à partir de la place du phénomène onirique au niveau du corpus et d’analyser les particularités de la transposition des rêves dans le discours, soit leur fonctionnement, afin de démontrer l’existence d’un discours onirique hébertien encadré par le discours romanesque. Une étude narratologique portant sur le contenu, l’instance narrative, le temps de la narration et la structure des récits de rêves dans les romans d’Anne Hébert sous-tend cette recherche et conduit à plusieurs résultats. Ainsi, le rêve comme moyen de révélation du surnaturel, le rêve prémonitoire, le rêve comme forme d’exil, la rêverie, le rêve remémoratif, le rêve comme reflet de la réalité et l’hallucination sont-ils autant d’expériences qui situent le personnage hébertien dans l’entre-deux, en provoquant des ruptures dans sa perception de la veille. Le discours romanesque illustre ces scissions par une grande fragmentation et par les relations complexes qu’il entretient avec le discours onirique au niveau du contenu, de l’instance narrative, du temps de la narration et de la structure du récit onirique. / This thesis focuses on the study of dreams and recollection of dreams in Anne Hébert's novels, an important Quebecois writer. The aims of this paper are to identify a dream pattern following the importance of the oneiric phenomenon as presented in the corpus and to analyze the particularities of dream transposition into the discourse and their purpose, in order to prove the existence of a Herbertian oneiric discourse framed by the Romanesque discourse.A narrative study of the content, the narrative instance, the narrative tense and the structure of the recollection of dreams in Anne Hébert novels underlie this research and lead up to various results. Thus, the dream as manner of supernatural revelation, the premonitory dream, the dream as a way of exile, the recalling dream, the dream as a reflection of reality and imagination are all experiences that place the Hebertian character between the two of them, causing breaches into his perception of wakefulness. The Romanesque discourse shows these scissions by a wide fragmentation and through the complex relations with the oneiric discourse within the content, the narrative instance, the narrative tense and oneiric structure.

<p>The phenomenology of Gaston Bachelard holds that readers, or viewers, relate to spatial imagery through the use of age-old archetypes. These archetypes form a collective image-memory that is employed when reading space. One such image is the house. The house for Bachelard is, however, never solely an image, but constitutes a familiar space that becomes inscribed in our bodies through the repeated physical contact with this domestic space. The house teaches us to interact with space, and comes to inform the way that human beings understand images of space. Spatial imagery can be conceptualized both as embodied, lived experience and as semiotic sign. The aim is to investigate the idea of a collective image-base, and in what way the universality of these images relates to the individual conditions of each meeting with images of space. The object of study here is also to survey the ways that images of space transgress the borders between bodily experience and abstract sign, between the individually specific and the universal, as well as between actual space and represented space.</p>

The phenomenology of Gaston Bachelard holds that readers, or viewers, relate to spatial imagery through the use of age-old archetypes. These archetypes form a collective image-memory that is employed when reading space. One such image is the house. The house for Bachelard is, however, never solely an image, but constitutes a familiar space that becomes inscribed in our bodies through the repeated physical contact with this domestic space. The house teaches us to interact with space, and comes to inform the way that human beings understand images of space. Spatial imagery can be conceptualized both as embodied, lived experience and as semiotic sign. The aim is to investigate the idea of a collective image-base, and in what way the universality of these images relates to the individual conditions of each meeting with images of space. The object of study here is also to survey the ways that images of space transgress the borders between bodily experience and abstract sign, between the individually specific and the universal, as well as between actual space and represented space.

This thesis proposes that an investigation into the phenomenon of doubling may engage architecture with a type of desire that has deep rooted connections with the complexities of human nature, with the very human condition of desiring to know who/what/where/when/how we are. It proposes that an experience of doubling is suggestive of a specific kind of affective space that tests this relationship, expanding into the interval we have formed between our body, its being and space. The proposal is to explore the material, spatial, and psychological characteristics of such a phenomenon - to understand the virtual space created through this doubling and its architectonic characteristics. The design ambition of this thesis is to construct an architectural fiction that engages with this doubling. If architecture has the capacity to embody the ambitions and anxieties of society, the work produced attempts to invoke, through choreographed doublings manifested by the movement of figure and light through constructions in time, that human condition of desire that is concerned with finding/defining itself in the unknown, not to provide an answer for what the unknown is, but to engage with its enigmatic nature. By engaging in the protean dynamics of doubling and desire, this thesis attempts to poeticize the interval between the body and its built environment.

This thesis proposes that an investigation into the phenomenon of doubling may engage architecture with a type of desire that has deep rooted connections with the complexities of human nature, with the very human condition of desiring to know who/what/where/when/how we are. It proposes that an experience of doubling is suggestive of a specific kind of affective space that tests this relationship, expanding into the interval we have formed between our body, its being and space. The proposal is to explore the material, spatial, and psychological characteristics of such a phenomenon - to understand the virtual space created through this doubling and its architectonic characteristics. The design ambition of this thesis is to construct an architectural fiction that engages with this doubling. If architecture has the capacity to embody the ambitions and anxieties of society, the work produced attempts to invoke, through choreographed doublings manifested by the movement of figure and light through constructions in time, that human condition of desire that is concerned with finding/defining itself in the unknown, not to provide an answer for what the unknown is, but to engage with its enigmatic nature. By engaging in the protean dynamics of doubling and desire, this thesis attempts to poeticize the interval between the body and its built environment.

No description available.

This article is based upon the following concept: Poetry is a chain of representation of the sub-conscience that is the creative source. We can read the poetic text in many ways, but if we imagine the text as the stage of images, we can understand the fundamental abstraction of the conscience. In this sense, oneiric images in some of Euphrase Kezilahabi’s poems will be analysed by using insights from psychoanalytic theory.

Esta pesquisa analisa algumas das características temáticas e formais que compõem a obra do autor uruguaio Felisberto Hernández (1902-1964). Pelo fato de resistir a diferentes classificações genéricas, esta obra apresenta muitas divergências entre consagradas vozes críticas como: Echavarren (1981), Ángel Rama (1968, 1985), Jorge Bernardo Rivera (1996), José Pedro Díaz (1991, 2000), Davi Arrigucci Jr. (2006). A partir disso, este estudo pretende discutir os pontos que evidenciam sua excentricidade em seu contexto de produção (no que diz respeito à literatura uruguaia da primeira metade do século XX) e também analisar certos procedimentos narrativos que, em um permanente fluir de memórias, revelam um estilo bastante peculiar (raro) como se verifica na animização dos objetos, nos múltiplos processos de fragmentação (da consciência e do corpo) e na atmosfera onírica. / This research examines some of the thematic and formal aspects that constitute the work of Uruguayan writer Felisberto Hernández (1902-1964). For its resistance to any formal classification, this narrative world has challenged divergent and renowned critical voices such as Roberto Echavarren´s (1981), Ángel Rama´s (1968, 1985), Jorge Bernardo Rivera´s (1996), José Pedro Díaz´s (1991, 2000) and Davi Arrigucci Jr.´s (2006). From this point on, the present study aims to discuss some of the points that demonstrate its eccentricity inside its production context (that of the first half of 20th century Uruguayan Literature) and to analyze some of the narrative procedures which, in a permanent flow of memories, reveal a quirky (rare) style verified in the use of animated objects, multiple fragmentation processes (of consciousness and body) and its oneiric atmosphere.