Real Dream Research Articles

"ЛЕСТНИЦА ДО САМОГО НЕБА И ПОД ЛЕСТНИЦЕЙ ЗМЕЙ": ВИДЕНИЕ ПЕРПЕТУИ

The article is devoted to the analysis of some of the images that occur in one of the Perpetua’s visions. Her first vision comes in response to her brother’s question: he asks whether the martyrdom really awaits her. Perpetua sees a ladder of great length reaching up to heaven and a serpent of great size lying at the foot of the ladder. Here the heroine finds herself at a moment of choice: she has a way up and a way down. The image of a ladder can be commonly perceived as an ascent to a deity or to a new knowledge, skills, stages of initiation. A serpent (or dragon) tried to prevent ascension and here it is a symbolic representation of the devil. But the snake’s symbolism is incredibly complex and diverse. The dragon signifies Perpetua’s own instinctive origin, her will to live, and her feminine essence. The uniqueness of the text lies in the fact that the visions described are not constructed literary works, but real dreams of the heroine reflecting the state of her psyche during a period of extreme choice and spiritual transformation. A similar combination, i.e., a ladder and a serpent, is found in a completely different context, namely in the structure of the ancient Indian self-knowledge game «Leela». In the game board ladders (or arrows) symbolize “good behavior” that allows people to move to a higher level, and snakes are correspondingly “bad acts” leading to a descent to a lower level of spirituality. The article argues that in the history of Perpetua the two images converge. In some surprising way the described vision, being on the one hand very personal, on the other hand fits into another existing cultural tradition, describing the difficult path of the soul, trials and temptations awaiting it, as well as a spiritual ascent to heaven and higher level of spirituality.

Innovative Translation Strategies in the Emergence of Next-Generation Drugs in Precision Cancer Medicine

There has been a conscientious momentum to evolve more efficacious and potent chemotherapeutics that could cure advanced cancers. Although, the conventional cancer therapeutics can cause dramatic tumor regressions in some patients, many patients inexplicably reveal no benefit. This is a unique characteristic of tumor recurrence in human cancers, linked with several resistance mechanisms. Recent past years witnessed enormous ground-breaking advancements in genomic medicine symbolizing a culmination of patients' genomic, proteomic, metabolomic, including cellular profiles which have significantly transformed understanding and therapeutic options for cancer management. Furthermore, the ability of combination chemotherapy to cure advanced cancers, immensely facilitated the prospects of adjuvant chemotherapy. Many global pharmaceuticals have accelerated translational research strategies on proteomics and genomic technologies paving the way to emerge next-generation drugs to strengthen personalized cancer medicine. Numerous forthcoming cancer therapies are at most vital phase in their innovation and development for the unfulfilled clinical need to turn into futuristic cancer treatment strategies. There is a growing optimism about the innovative strategies on emergence of the new generation of immunotherapy, targeted therapies, and Oligonucleotide therapy to improve patient outcomes, and to make real dream of accomplishing personalized cancer therapy.

Topoanaliza autobiograficzno-symboliczna jako metoda badania (nie)dokończonych marzeń

Piasecka Małgorzata, Topoanaliza autobiograficzno-symboliczna jako metoda badania (nie)dokończonychmarzeń [Autobiographical-symbolic Topoanalysis as a Method of Examining (Un)Finished Dreams]. Studia Edukacyjne nr 56, 2020, Poznań 2020, pp. 401-419. Adam Mickiewicz University Press. ISSN 1233-6688. DOI: 10.14746/se.2020.56.22The article is a presentation of an original research project on dreams. The author, being aware of the nature of dreams as the phenomena difficult to grasp empirically, tries to find a subtle way of describing them. The author does not take into account utopian dreams. On the contrary, she looks for real dreams experienced on the paths of life. Retaining the oneiric nature of dreams, she has constructed a research method and called it an autobiographical and symbolic topoanalysis. The construction of the method is preceded by an outline of the process of conceptualization, i.e. the adoption of appropriate theoretical background, conceptual instrumentation, and research strategy. The author assumes a spatial meta-order of analyses by pointing to a non-binary space, not fully decentralized, as a possible context of making dreams a reality. Important clues and assets from which she creatively draws are: the concept of M. Lanie-Bayle’s biographical space-time; the vestige et vertige concept, i.e. a trace and an inverted trace; the concept of the poetics of dreaming and the Four Elements by G. Bachelard; the concept of D. Demetrios’s autobiography; E. Rybicka’s geo-poetics in the contemporary literary discourse. Finally, the author describes the methodological stage of autobiographical and symbolic topoanalysis and presents a concrete example of its application.

NALAR BAROKAH MADRASAH ANTARA FAKTA ATAU SUGESTI

Barokah is an integral part in the world of madrasah education, every second always appear the word from the academic community and customernya. The shift in the paradigm of contemporary education that places an educational output is the final process of transformation in the learning process in madrasah is sometimes broken by a public opinion that all processes are meaningless without baraka. The placement of the supernatural powers above a factual process has become a characteristic of madrasah education from the past to the present time, it is a belief that mensugesti all human beings and knock down the foundation of reasoning that education needs process and the carrying capacity in humanizing humanity or developing human potential accordingly nature that develops naturally and dynamically to suit the needs of the times. The cognitive ability that becomes the icon of life is no longer so urgent as a human driving pilot to fly higher to achieve success, let alone psychomotor no longer be a book to read in the curriculum of life, but different from affective is another face of barokah, in other words who is good ahlaknya then barokah no longer be sugesti and dreams perforated but a real dream that actualized in the success of life in the world and akherat.

Perspectives of the Kurdish knot in the Middle East

Abstract For centuries, Kurds have been carrying out activities aimed at obtaining their own state. Due to the cooperation of Turkey, Iraq, Iran and Syria, it was impossible in the twentieth century. As a result of Operation Desert Storm, a Kurdish enclave was created in the north of Iraq, which over the years developed and allowed for real dreams of recognized independence, at least for some of the Kurds living in the Middle East. A&er the overthrow of Saddam Hussein and the withdrawal of US troops from Iraq in 2011, there was a political vacuum in which we observe the weakening of the Iraqi state, the outbreak of the Arab Spring and the emergence of the Islamic State, which also had direct consequences for the Kurds. The weakness of the central government in Baghdad, the need to fight the Kurdish army against IS fighters raised the importance of arguments for the proclamation of an independent Kurdish state in the Middle East, or maybe even two, including the possible division of Syria.

꿈 시퀀스 이미지에 대한 프로이드의 정신분석학적 연구 (데이빗 린치의 영화 "멀홀랜드 드라이브(2001)" 를 중심으로)

지난 백년간 많은 영화가 꿈의 강박관념과 억압된 소망에 대한 충족을 표현하는데 급급하여 프로이드의 주장처럼 마음 속 깊이 은폐되어 있던 무의식속 욕망이 위장된 형식을 통해 드러나며 희망의 실현을 추구하는 실제 꿈의 형식과 같이 표현되어 온 영화는 극히 드물었다. 특유의 난해함과 몽환적인 구조와 스토리로 잘 알려진 명장데이빗 린치 감독은 그의 대표적인 영화 "멀홀랜드 드라이브(2001)"에서 꿈의 이미지 프레젠테이션 과정과 형식을 보다 더 꿈과 같은 몽환적인 느낌으로 표현하는데 성공하고 있는데 본 연구에서는 낯설게 묘사된 그의 영화 구조를 프로이드의 정신분석학 연구를 토대로 비교분석하여 그가 어떻게 리얼하게 꿈을 표현했는지를 분석하려한다. 통념적으로 꿈의 세계는 완전히 시각적인 것으로 알려져 있으나 사실 사물에 대한 느낌이 가장 관건이며 이것이 바로 꿈의 세계에서 우리에게 현실과 같은 사실적인 체험을 제공해줄 수 있는 핵심적인 이유임을 보다 더 리얼하게 보여주고 있음을 알 수 있다. For the past hundred years, since many films have only been focusing on expressing suppressed desire and obsession, there have been few films in which unconsciousness desire is expressed and pursuing dream comes true as Freud says. Well known for a convoluted and dreamy structure and plot, David Lynch successfully represents a real dream sequence with his own way of image presentation form in his representative film "Mulholland Drive (2001)". In this study, I attempt to analyze how he expresses the realistic dream sequence with a strange film structure based on Freud's psychoanalysis. In general, dream world is known as completely visual matter, but the feeling of things is more important for making a realistic dream and it is the main reason that we can have more realistic experiences in a dream.

Educational Values of the Dream and Reality Psychoanalysis In “Sang Pemimpi” (the Dreamer), a Novel by Andrea Hirata

This article tries to look at psychoanalysis study of a novel concerning on the dream and reality in Sang Pemimpi (the Dreamer) by Andrea Hirata. In general, his work portrays mostly about the condition and situational life of Belitung community. Here, Andrea shows his ability as the representative of Belitung's young generation succeeded in fulfilling his dream by explaining the real life of the people in his hometown and villages having bitter experience values in the rich environment. Besides, he tries to describe the difficult life faced by the villagers. The dream in this novel is not only his, but also all dreams of the Belitung community as the manifestation of their life condition comparing to other areas or provinces in the Indonesia. Further, through this novel (work), it is implied an important massage directed to both Indonesian authority and Belitung mayor in order to be able to increase the level of education of grass root community, especially for those who live in the remote area or a very isolated area, such as Belitung. This is the real dream of all participants in the island which remains unsolved.

Pentru o istorie a viselor romanesti: probleme ale cercetarii, surse si tipologie / For a History of Romanian Dreams: Problems of Research, Sources and Typology

e paper is presenting the bibliography and the sources referring to the dreams in the Romanian history. After reviewing the bibliography, a classification and an analysis of dreams is made, divided into “real dreams”, “fictional dreams”, “daydreams”, “interpreted dreams” and “visions”. e main authors of the dream studies (in connection with the Romanian history, literature and culture) are Ovidiu Moceanu, Matei Cazacu, Sultana Craia, Aurel Pantea, Andrei Oişteanu. e conclusions highlight the importance of the historical onirology, in the framework of the Romanian cultural history.

The End Inside It

The End Inside It Marianne Boruch (bio) On the radio, Merce said, Do it backwards.Jump first, then run,even when it was just with his arms, when he got old,even if some people hated it. —Jean Valentine, from Break the Glass Or Closure, as it's called among poets, but not a "We need closure on this" sort of thing, certainly not that cheap and cheesy "because we have to get on with our lives," though at the end of all poems is the return to the day as it was, its noon light or later, supper and whatever madness long over, reading in bed those few minutes, next to the little table lamp. But to come out of the poem's tunnel of words—the best way is to be blinking slightly, released from some dark, eyes adjusting, what was ordinary seen differently now. Or not. At times the shift from reading to not reading is so graceful it's transparent, the poem itself Robert Frost's "piece of glass" skimmed from winter's icy drinking trough and held up to melt and melt the real world into real dream, then back, his moment of clarity unto mystery returned to clarity again. Of course, that actual gesture comes early in his "After Apple Picking," a poem full of what might "trouble" his dreams in the wake of such hard work. Its last line is one low-key gulp, his "Or just some human sleep" itself following something about exhaustion more wistful and weird: "Were he not gone,/ The woodchuck could say whether it was like his/ Long sleep, as I describe its coming on. . . ." As in—hey! Let's ask this woodchuck here, shall we? And how absolutely odd and brilliant that we never see this move as comic, though it could be right out of Bugs Bunny or The Simpsons, depending on when you started to find things funny. But Frost isn't funny, at least not in this poem, where sleep isn't exactly sleep either. Such sleight-of-hand only proves how tone can control things, and that success, if not triumph, in a poem is largely in the accumulation of word, syntax, cadence tangled and guided by two seemingly warring elements—a most particular fever and tact, right to the end. Plus how unexpectedly but inevitably any final moment emerges out of all that has gone before, the rise and fall, the order of those choices as they press a wayward, fierce descent down the page or in the air to make the poem mean. "Theme alone can steady us down." Frost wrote that, too. And maybe it's true, though we don't much use that t-word anymore. I love what Marianne Moore left behind in an essay: "I tend to like a poem which instead of culminating in a crescendo, merely comes to a close." [End Page 171] Note well her "merely"—one of the many things in Moore to put on pause and willfully distrust. But her remark suggests at least two kinds of ending: the grand orchestration vs. the simple okay—shrug—it's over. Frost's "Or just some human sleep" lies clearly in this second category, though something remains vulnerable and lasting in that sound. The choices here—the poet's or, his just, his some—all together now: his "or just some human sleep"—conspire to a studied indifference, an almost indifference in spite of that wide-eyed "human" there. More, that "human" up against an animal's apparent untroubled sleep makes sudden and eerie how unknowable we ourselves are. News flash: words mean things. And human here at the bottom of all that comes earlier, its underscored double beat cast among this small run of single stressed words is, no, not a crescendo. Moore would have approved, I think, if what anyone thinks might matter to her now that she's past any ending, though of course one could argue she isn't. Her poems, at least, are not. They keep ending. Which is yet another crucial thing about poetic closure. Whatever Moore's fondness for no trumpeting as a poem slips back into...

An Introduction to the Theory of Knowledge. By Dan O'Brien

An Introduction to the Theory of Knowledge. By Dan O'Brien

Wirkt Psychoanalyse bei psychotischen Patienten?

In der vorliegenden Arbeit werden die Schwierigkeiten in der psychoanalytischen Therapie mit psychotischen Patienten erortert, die weniger durch die individuellen Grenzen des behandelnden Analytikers, vielmehr in erster Linie durch die Natur des psychotischen Prozesses selbst bedingt sind. In der Analyse von psychotischen Patienten ist die Analyse von Wahnvorstellungen, die die Personlichkeit des Patienten beherrschen und ihren mentalen Zustand und somit ihre emotionalen Wahrheiten pausenlos verandern, von entscheidender Bedeutung. Wahnhafte Gebilde ahneln traumartigen sinnlichen Produktionen mit dem Unterschied, dass sie im wachen Gedachtnis verbleiben und Charaktere bilden, die ein von dem Bewusstsein des „Traumers“ unabhangiges Leben fuhren. Die wahnhafte Imagination ist so tief in der psychischen Funktionsweise des Patienten verwurzelt, dass auch nach einer systematischen Analyse der Wahnwelt, mit deren Hilfe diese zu verschwinden scheint, sie in neuen Konfigurationen erneut auftaucht. Der Autor stellt analytisches Material aus der Behandlung eines Patienten mit einer psychotischen Episode vor, in der dieser virulente psychotisch-produktive Tatigkeit zeigte. Anschliesend folgen Uberlegungen zum psychotischen Zustand an sich und zu einem therapeutischen Ansatz, der auf die Veranderung einer solchen Wahnstruktur abzielt.

On the nature of intuitive and delusional thought: Its implications in clinical work with psychotic patients

The author tries to differentiate intuitive imagination from delusional imagination and hypothesises that psychosis alters the system of intuitive thinking, which consequently cannot develop in a dynamic and selective way. Scholars of different disciplines, far removed from psychoanalysis, such as Einstein, Hadamard or Poincar, believe that intuitive thinking works in the unconscious by means of hidden processes, which permit a creative meeting of ideas. Thanks to Bion's work, psychoanalysts have begun to understand that waking thinking is unconsciously intertwined with dream‐work. The delusional construction is similar to a dreamlike sensorial production but, unlike a real dream, it remains in the waking memory and creates characters which live independently of the ‘dreamer's’ awareness. It is a dream that never ends. On the contrary, the real dream disappears when it has brought its communicative task to an end. In the analysis of psychotic patients it is very important to analyse the delusional imagination which dominates the personality and continuously transforms the mental state, twisting emotional truth. The delusional imagination is so deeply rooted in the patient's mental functioning that, even after systematic analysis, the delusional world, which had seemed to disappear, re‐emerges under new configurations. The psychotic core remains encapsulated; it produces unsteadiness and may induce further psychotic states in the patient. The author reports some analytic material of a patient, who, after a delusional episode treated with drugs, shows a vivid psychotic functioning. Some considerations are added on the nature of the psychotic state and on the therapeutic approach used to transform the delusional structure. This paper particularly deals with the difficulty in working through the psychotic episode and in ‘deconstructing’the delusional experience because of the terror connected with it. In the reported case, the analytic work changed the delusional construction into a more benign one characterised by phobic qualities. The analysis of the psychotic transference allowed the focus to be on the hidden work which had been continuously influencing the transferential picture of the analyst and the patient's psychic reality.

On the nature of intuitive and delusional thought: its implications in clinical work with psychotic patients.

The author tries to differentiate intuitive imagination from delusional imagination and hypothesises that psychosis alters the system of intuitive thinking, which consequently cannot develop in a dynamic and selective way. Scholars of different disciplines, far removed from psychoanalysis, such as Einstein, Hadamard or Poincaré, believe that intuitive thinking works in the unconscious by means of hidden processes, which permit a creative meeting of ideas. Thanks to Bion's work, psychoanalysts have begun to understand that waking thinking is unconsciously intertwined with dream-work. The delusional construction is similar to a dreamlike sensorial production but, unlike a real dream, it remains in the waking memory and creates characters which live independently of the 'dreamer's' awareness. It is a dream that never ends. On the contrary, the real dream disappears when it has brought its communicative task to an end. In the analysis of psychotic patients it is very important to analyse the delusional imagination which dominates the personality and continuously transforms the mental state, twisting emotional truth. The delusional imagination is so deeply rooted in the patient's mental functioning that, even after systematic analysis, the delusional world, which had seemed to disappear, re-emerges under new configurations. The psychotic core remains encapsulated; it produces unsteadiness and may induce further psychotic states in the patient. The author reports some analytic material of a patient, who, after a delusional episode treated with drugs, shows a vivid psychotic functioning. Some considerations are added on the nature of the psychotic state and on the therapeutic approach used to transform the delusional structure. This paper particularly deals with the difficulty in working through the psychotic episode and in 'deconstructing'the delusional experience because of the terror connected with it. In the reported case, the analytic work changed the delusional construction into a more benign one characterised by phobic qualities. The analysis of the psychotic transference allowed the focus to be on the hidden work which had been continuously influencing the transferential picture of the analyst and the patient's psychic reality.

Trevor Griffiths: politics, drama, history

This book provides an in-depth look at the work of British writer Trevor Griffiths, who has been a powerful and unique presence in British theater, television, and film for the past thirty years. Griffiths's theatrical works, including Occupations (1970), Party (1973), Comedians (1975), Oi for England (1982) and Real Dreams (1984) have been highly acclaimed by critics such Benedict Nightingale, who called Griffiths as articulate and eloquent a thinker the British stage possesses. Griffiths has also written successfully for British television, and collaborated with Warren Beatty on the Academy-award winning film Reds (1981).Garner's study is the first to present and critically discuss the full range of Griffiths's works. The works are shown to reveal an intense awareness of class and its material underpinnings, a concern with the power of realism, an overarching commitment to history a field of political and cultural intervention, and a willingness to examine the terms and parameters of this intervention. Garner traces the influence of New Left historical activism on Griffiths's earliest plays and considers the evolution of his historical understanding throughout his career. He proposes that Griffiths sees history a scene for the staging of counter-discourses and a representational course for the establishment of dialectic (and dialogic) relationships between the present and the past, between the received and the revisionist, and between ideological positions.Trevor Griffiths: Politics, Drama, History will appeal to a range of readers who share an interest in contemporary theater, literature, and politics.Stanton B. Garner, Jr. is Professor of English, University of Tennessee.

Book Advertising—Amiable Deception?

What do these declarations share in common? “A passionate menage a½trois in a world of doomed love.” “Sizzling.” “The stuff of real dreams.” “Compelling.” “Permanent pleasures.” If you haven't guessed by now, try: “The book that helped millions of parents raise wonderful children.”

Dreams and reality monitoring.

Experiment 1 tested the counterintuitive prediction that memories for one's own dreams should not be particularly easy to discriminate from memories for someone else's dreams. Pairs of people reported dreams to each other that they had either dreamed, read, or made up the night before. On a test requiring subjects to discriminate events they had reported from those reported by their partner, subjects had more difficulty with real dreams than with dreams they read or made up. Experiment 2 provided evidence that real dreams do not simply produce overall weaker memories; the deficit for dreams was eliminated with more time to respond and with more detailed cues. In addition, subjects' ratings of various characteristics of their memories (e.g., vividness, personal relevance) indicated that dreams were not generally weaker or impoverished. The results are interpreted within the framework for reality monitoring described by Johnson and Raye (1981): Memories for real dreams are proposed to be deficient in conscious cognitive operations that help identify the origin of information generated in a waking state. At the same time, real dreams are embedded in a network of supporting memories that can be drawn on for reality monitoring decisions under appropriate circumstances. Finally, a comparison of recognition and recall indicated that dreams may leave persisting memories that are difficult to access via free recall.

Duane Michals’s “Real Dreams”

Other| December 01 1976 Duane Michals’s “Real Dreams” Shelley Rice Shelley Rice Shelley Rice writes about photography for the Village Voice, Art in America,and other publications. Reprinted bypermission of The Village Voice. Copyright © The Village Voice, Inc., 1976. Search for other works by this author on: This Site PubMed Google Scholar Afterimage (1976) 4 (6): 6–8. https://doi.org/10.1525/aft.1976.4.6.6 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Shelley Rice; Duane Michals’s “Real Dreams”. Afterimage 1 December 1976; 4 (6): 6–8. doi: https://doi.org/10.1525/aft.1976.4.6.6 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu nav search search input Search input auto suggest search filter All ContentAfterimage Search This content is only available via PDF. © 1976 by The Regents of the University of California1976 Article PDF first page preview Close Modal You do not currently have access to this content.

Wuthering Heights: The Binding of Passion

T HE DISORIENTATION produced by brilliant opening chapters of Wuthering Heights has been frequently noticed. Lockwood's account of his visits to Heights and of vivid dreams he experiences there shock us into extraordinary alertness. The house with its stunted firs and slanted thorn trees, Heathcliff's undisguised hatred of Cathy, vicious dogs, Cathy withdrawn and full of scorn, Hareton's sullen aggressiveness, vinegar-faced Joseph, Lockwood's remarkable dreams-these work together to create a sense of urgency and a set of images that profoundly affect our response to subsequent narrative. Yet, judging by amount of attention it has received, Lockwood's first dream-concerning his visit to local chapel that ends in violence-tends to be forgotten by reader.' Perhaps, as in real dream life, extraordinary vividness of second dream concerning Catherine's child-ghost figure at lattice window, which Lockwood says produced in him the intense horror of nightmare,2 displaces impression made by somewhat paler previous dream. Yet placing of first

Descartes on Sensation

Contemporary readers of Descartes can hardly fail to notice that the author uses the word pensée, or cogitatio, in a much broader sense than French speakers use pensée nowadays, or we use the closest English word, thought. He consistently maintains that feelings, sensations, as well as the products of one's fancy, are one and all modes of thought.Yet, clearly, according to the normal use of the word, sensations of light, of sound, of hunger, and so forth, are not regarded as part of one's thinking, nor do we so regard the spontaneous flight of the imagination one might experience in daydreams or real dreams, or while thinking about unrelated matters. Some of these sensations, notably aches, pains, pangs of hunger, blinding light, and strong noise, are not only not counted among our thoughts, but they are apt to interfere with our thinking, and, in extreme cases, might stop it altogether. In a similar way, the lascivious play of St. Antony's imagination did not embellish his meditations on the holy mysteries; he had to overcome or ignore it to be able to pursue the train of his thought.

Point of View in Hawthorne

The introductory paragraphs of “Rappaccini's Daughter” pose an issue about understanding Hawthorne's fiction which readers are expected to resolve. Hawthorne states that he attempts only slight portrayal of “outward manners” and seeks instead to create interest by “some less obvious peculiarity” of his subject. Readers must take his stories in “precisely the proper point of view,” because from other vantage points the stories “can hardly fail to look excessively like nonsense.” Despite Hawthorne's warning that this unnamed point of view is of primary importance in reading his fiction, critics have paid little attention to the issue. Chapter headings and indexes of major critical studies of Hawthorne make no reference to point of view, and bibliographies list almost no essays on it in the journals. In this study, a brief and tentative essay in definition, I shall maintain that the point of view essential for reading Hawthorne is one of dream. Hawthorne ordinarily invokes it as a metaphor; readers see the action as what he terms a “conscious dream” (AN, p. 125). He often establishes his metaphor through use of the semblance of actual dream early in a story and heightens its effect by employing the apparition of real dream in later moments or scenes. Only rarely, however, does Hawthorne go beyond the bounds of his characteristic metaphor and cause readers to view all the events of his story as incidents in an actual dream. Hawthorne's fictional definition of the dream point of view is exact and full, his use of it imaginative and subtle. In his own phrase, from the preface to The Snow-Image, the dream mode leads readers to the center of his fiction by revelation of the “burrowing into the depths of our common nature for the purposes of psychological romance.” Hawthorne is the artist as conscious dreamer, often of dreams that turn into nightmares and bare the tragic realities of human existence.