Annotation: Kaločová, V.: Day dreaming /MA thesis/ Praga 2010 - The Charles University, Pedagogical Faculty, Department od Art Education This work studies the area of day dreaming in the context of general education as well as visual arts education. It views day dreaming mainly as a device to develop creative thinking, and highlights its contribution to and importance for education as well as for personal character development, pointing out also the negative sides. In this thesis day dreaming is defined within psychology, pedagogy and artphiletics in a way that could be inspiring and contributing for education. In visual arts, dreaming is stressed especially there where painting coincides with poetry, and where it opens doors leading to creation of new worlds between consciousness and unconsciousness. Furthermore, this work deals with so-called "artwork dreaming", as a preparatory phase of artworks. The main issue of the theoretical part is poetics of day dreaming, which, as well as this work, tries to develop personal courage for creative thinking. Poetic dreaming is viewed as the highest, which contrives to stimulate us, harmonizes our senses, and helps us dwell in this world. Key words: Day dreaming, poetry, dream and reality, imagination, fantasy, imaginativeness

Emotions are a central part of our lives and the ability to effectively regulate them is central to well-being. Although a lot of research shows the beneficial role of sleep on emotional reactivity and regulation, little is known about how dream emotions relate to emotional reactivity and regulation. The current study investigated how dreams with high vs low levels of self-rated negative dream affect related to next-day waking emotional reactivity and regulation. Participants kept a home dream diary until reporting dreams on five days. They also reported dream and wake emotions and performed an online emotional reactivity and regulation task. Opposing predictions were derived from the continuity hypothesis and from the emotion regulation theories of dreaming. However, no significant differences were found between emotional reactivity and regulation on mornings following dreams with high vs low negative affect. Thus, no support was provided for the direct predictions made from the two theories. Nevertheless, morning wake affect differed significantly as a function of dream emotions. Specifically, participants reported significantly higher levels of positive emotions on mornings after a dream low, rather than high, in negative affect. Similarly, wake morning negative affect was higher following dreams high, rather than low, in negative affect. Thus, the results support a form of affective continuity between dreams and morning wakefulness.

Walk through a fictional dreamed space. Audiovisual installation combines surround sound and parallel text commentary. Using the imagination of sound illusion, projected text and absence of image, it aims to motivate the spactator's dreaming.

Over the past decades, there has been growing interest in whether the language people use (e.g., in social media) can reflect their well-being (WB) and ill-being (IB). However, little is known about how the content of spontaneous thoughts and experiences (e.g., reports of night-time dreams and daydreams) reflects WB and IB. The present thesis investigated whether emotional language use in dream and mind-wandering (MW; or daydreaming) reports reflects WB and IB. To this end, 1755 dream reports from 172 healthy adults and 1508 MW reports from 153 healthy adults were analyzed using the Linguistic Inquiry and Word Count (LIWC) text analysis software. Robust multiple linear regressions revealed that self-reported negative emotions over the past two weeks, as well as symptoms of anxiety and depression, predicted negative emotional language use in MW, but not dream, reports. Overall, anxiety accounted for the largest amount of variance in negative emotional language use. The findings carry theoretical implications regarding the nature as well as the function of spontaneous thoughts and experiences, while also paving the way for new diagnostic and prognostic tools in clinical contexts. Additional research is required to confirm the observed relationships and establish their causal direction.

“Our Voices Matter” is my own reckoning as a music educator with homeplace in my music classroom using autoethnography as a method. My research is guided by the question “What is homeplace — for myself, my students, and for us together?” Data were collected through personal recollection, journal writing, vignettes, written interviews, public videos of student performances, blog posts, and news articles over a span of ten years of teaching at New Bridges Elementary in Brooklyn, NY. Data were analyzed through bell hooks’ definition of homeplace and Bettina Love’s usage of homeplace. I reckoned with the extent to which I experienced homeplace, perceived homeplace for my students, and actualized a homeplace that is welcoming of both my students and myself. Findings showed that my understanding of homeplace shifted over my ten years of teaching through the interactions with my students, and societal and cultural reckonings that inevitably affected the shared classroom space with my students. My use of language, content I taught, and personal voice were affected by pivotal experiences throughout my teaching career and personal life that started separately but ultimately intersected in my music classroom. The Black Lives Matter and Stop Asian Hate movements collectively played active roles in the lived experiences of my students and me. The influences and intersections of these two movements in my elementary classroom led to multiple reckonings through unapologetic freedom dreaming where my students and I visioned futures that prioritize our racial identities, whole selves, and joy through music making, creating, and coexistence in shared space. In this study, I illuminate the complexities of my personal teaching practice and experience as a music educator that is inclusive of but also goes beyond music for music’s sake. The findings of my study may spark new understandings for educators about the ways that one’s positionalities and lived experiences affect the music classroom space. The findings may also be useful for those teachers grappling with the critical movements in our society which affect both our students and ourselves and require discussion and reckoning within the classroom. Although the findings are not meant to be extrapolated to any reader’s own classroom or students, this study reflects the emotional and mental shifts that have occurred in my teaching and being and as such may ignite personal reflection and shifts for the reader.

Adaptations of works have the potential to bring their subject matter to a new audience. This thesis explores the adaptation of Russian fairy tales into novels by authors Orson Scott Card and Joy Preble by looking at how they present Russian fairy tales, folkloric figures, and fairy tale structure to an American audience.

This paper presents 12 individual case studies representing three different psychiatric diagnoses: depression, schizophrenia, and phobia. The collected data suggests that aspects of each one of the disorders covered are somehow reflected in the dreams and dream existence of the patients. Based on repeated in-depth interviews (n=48) with each of the participants (n=12), it is clear that dream content often repeats in each individual. Further phenomenological and qualitative content analysis revealed repetition of characteristic dream content (feelings, phenomenon, and existentials) in each of the three groups. While more research is needed, the results suggest dream content could be a significant tool in establishing a diagnosis and in aiding the psycho-therapeutic process.

Dreaming Tracks was chosen for the title of this history because of its reference to the journeys and routes taken by the ancestral founders of each of the extended family clans. As they travelled they recorded the events and situations they encountered along the way , which they left in story, painting, song lines and dances for the future survival of their people. The history of the Aboriginal/Islander Skills Development Scheme also pertains to a journey. This journey records the events that brought about the establishment of the longest surviving, urban Indigenous dance organization. It's a voyage that identifies the obstacles and accomplishments of its founding members, who dedicated themselves to the hard work to ensure the continuum of Aboriginal and Torres Strait Islander dance. It was their dream, to have an Australian Black Dance Company that would create a link between past and present, traditional and urban. The pathways they created equipped urban Indigenous Australians with a unique dance identity of their own, and established the path to continued contact with the traditional owners. Dreaming Tracks is contemporary Dreaming lore that begins with the contention for land rights in the early 1970's and follows the progress of the Aboriginal/Islander Skills Development Scheme to the end of the decade. It records the desires, dreams and conflicts that brought this organization into being. In parallel, the concerns of the founder, Carole Y. Johnson, sets the path for the journey, which by the end of the twentieth-century witnessed the establishment of an accredited dance course, two dance companies (The Aboriginal/Islander Dance Theatre and Bangarra Dance Theatre, Australia) and students who are key participants in the artistic design of the 2000 Olympics in Sydney Australia / Master of Arts (Hons) (Performance)

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