Single Dream Research Articles

Brandon HobsonThe Removed

0 is a site ready for defamiliarization—“[o] ne fall night I puked up a monkey”—and he seems equally invested in critiquing identities displaced and subjugated by the rigors of turbo-capitalism: “We work as expected. It’s always the same. We work until a fucking portal opens.” Across these longer narratives, Seo understands that “I am dead. To speak accurately, I have travelled from many dreams into a single dream. I walk around the ceiling, the wind cack-cackling and the windows shake.” This captures an innately Korean tone, and Seo’s elaborations of a zombified state bespeak a living death taking place within what many young Koreans, fatefully and in resignation, call “hell Joseon.” Most certainly, these are poets to watch, as is the Asia Pacific Poetry Series from Vagabond Press, which promises to continue bringing to our attention stridently new modes of poetic response. As Levine asserts: “What we are presented with in contemporary [Korean] poetry is absence and ambivalence, cultural appropriation, non-linear narrativity and genre-mixing.” The linguistic inventions from the Korean poets presented here are idiosyncratic interventions asserting an intersubjective humanity; in their own ways, each poet in this book speaks generatively toward the posthuman. Dan Disney Sogang University (Seoul) Brandon Hobson The Removed New York. Ecco Press. 2021. 288 pages. WHAT DOES IT MEAN to reach for relevance? Stacking a historical genocide atop a modern tragedy makes for careful considerations. After all, Cherokee ancestors are watching. Brandon Hobson’s latest novel attempts to string a thread between a Native American holocaust, the Trail of Tears, and a police shooting. Moreover, it calls forth an ancestral force to cast judgment onto the purveyors of traditional knowledge. The Removed follows the fictional Echota family as they process the grief of losing a son, Ray Ray, to a police shooting. The book unfolds with each chapter narrated by a different member of the family: Maria, Sonja, Edgar, and an ancestral spirit, Tsala. It begins with Ray Ray spending the annual Cherokee National Holiday on September 6 in Tulsa, Oklahoma, where he becomes the victim of a police shooting. To commemorate the day of their son’s death, Maria and her husband, Ernest, host a family get-together at their home to “build a small bonfire, and each of us shares a memory” for the previous five years. Each chapter transpires during the days preceding this annual family gathering. Maria is a lifelong social worker with a husband, Ernest, who suffers from Alzheimer’s; a drug-addicted son, Edgar; and an overly sexualized daughter, Sonja. During the chapters narrated by Maria, she contends with her husband’s memory loss and the impending arrival of a foster child, Wyatt. Wyatt’s arrival triggers the family into believing he is not a foster child at all but Ray Ray returning to the family. Wyatt shares similar behaviors as Ray Ray, such as doing impersonations of a Frenchman and Pee-wee Herman. The line between reality and the supernatural blurs as Ernest’s Alzheimer’s begins to rectify with the presence of Wyatt in the home. Meanwhile, Edgar, a twenty-one-yearold Cherokee man living in Albuquerque, New Mexico, suffers from a severe drug addiction. The chapters he narrates are filled with drug-induced hallucinations and self-loathing disappointment at his failures to recover from addiction. Here is where the line between reality and the supernatural turns into the bizarre. Edgar dreams up a character by the name of Jackson Andrews, who takes Edgar into the world of an anti-Native technological wasteland. In the days before the Echotas’ annual bonfire, Edgar grapples with his hold on reality as he considers whether or not to attend the family’s get-together. Similarly, Sonja, a thirty-one-year-old Cherokee woman living near her parents at Lake Tenkiller, struggles with an obsession with younger men. In her chapters, Sonja moves through an encounter with a younger man, Vin, and an ultimately dysfunctional exchange. While she develops an affinity to Vin’s autistic child, it’s not enough to involve herself in the child’s life. The undercurrent of child neglect is overshadowed when Vin turns into a monster equivalent to...

Dream-Telling Differences in Psychotherapy: The Dream as an Allusion

Introduction In everyday conversation dream telling occurs seldom: Bergmann (2000) found in his data of many hours of audio recorded family conversations in natural surroundings not a single dream narration. He assumes that psychotherapy should make dream telling more relevant. In our Conversation Analysis of Empathy in Psychotherapy Process Research (CEMPP) project [1] data of 45 audio recorded and transcribed psychotherapy sessions from psychoanalysis, psychodynamic and Cognitive Behavioural Therapy (CBT) we only find four dream mentioning and three dream telling. Surprisingly, none of these occur in psychoanalysis. The function of dream telling in psychoanalysis has been summarized and analysed by Mathys (2011). This paper will focus on one dream-telling sequence from a CBT session. Nevertheless, this sequence is of high relevance for psychoanalysis because it supports the idea that dreams can be understood as an allusion to the therapeutic relationship. In this brief paper I would like to demonstrate how a dream can serve as an allusion to a contaminated talk and a disappointment in the therapist. It might be for the first time that this is shown on the basis of empirical data. [1] Sponsored by Kohler-Stiftung

Dreams: Fifty Years and Counting

I have been following my dreams since I was a child. Jung says that a single dream may give the dreamer a lot of information; however, a series of dreams over time will show where the dreamer needs to do additional work, where and how the dreamer's life may be headed, and how the dreamer is dealing with this knowledge that comes from a realm of wisdom that is both numinous and mysterious. In my life, spirit has become a profound partner by pointing me in directions that were not conscious to me. I have had a wonderful opportunity to work with a fellow dream worker for the past ten years. We use active imagination and amplification until the meaning of the dream becomes clearer. Often our dreams produce parallel images, feelings, and actions, which to my eye confirms the deeper psychic connection we all have with one another. I have used images to capture the impact of the dreams on my psyche, and poetry to confirm and augment the deeper level of wisdom that unfolds in our dreams. Dream interpretation can only encourage dreamers to allow themselves to become comfortable with working with their dream material, but does not necessarily show them the final answers.

Finnegans Awake: The Dream of Interpretation

This essay examines the notion that Finnegans Wake is the representation of a dream. It argues that a reader coming to the work with no prior assumptions would be unlikely to regard it as a dream, since there is little internal evidence for this interpretation; that, although Joyce promoted the idea that the Wake is connected to sleep, it was Edmund Wilson who first claimed the work represents a single dream; and that this perspective nevertheless offers a productive way of reading the Wake —alongside a number of other equally productive perspectives.

This again (or insomnia)

> The moral rot > > of four in the morning. > > The still hour yields > > not a single dream. > The bed, soft thing > > made for pity, is tainted > > by wakefulness. > The brass lamp that > > haloed us all to bed > > glares unlit, glowing > > warm in their dreams. > The spider plant

Predicting the dreamer’s gender from a single dream report: a matching study in a non-student sample

Research has demonstrated stable gender differences in dream recall and dream content. Previous matching studies using student samples showed that the judges were able to correctly match the dreamer’s gender based on a single dream report with a probability better than chance. Using dream reports from a non-student sample only slightly increased the accuracy of matching gender despite the fact that the differences relating to waking life environment should differ more for the older sample of this study. Overall, accuracy results were of small effect size. It must be concluded that making a valid prediction of a simple characteristic of the dreamer, like gender, requires more dream material. For the clinical praxis, it would be interesting to study the accuracy of dream interpretations quantitatively.

Immediate and delayed incorporations of events into dreams: further replication and implications for dream function

The incorporation of memories into dreams is characterized by two types of temporal effects: the day-residue effect, involving immediate incorporations of events from the preceding day, and the dream-lag effect, involving incorporations delayed by about a week. This study was designed to replicate these two effects while controlling several prior methodological problems and to provide preliminary information about potential functions of delayed event incorporations. Introductory Psychology students were asked to recall dreams at home for 1 week. Subsequently, they were instructed to select a single dream and to retrieve past events related to it that arose from one of seven randomly determined days prior to the dream (days 1-7). They then rated both their confidence in recall of events and the extent of correspondence between events and dreams. Judges evaluated qualities of the reported events using scales derived from theories about the function of delayed incorporations. Average ratings of correspondences between dreams and events were high for predream days 1 and 2, low for days 3 and 4 and high again for days 5-7, but only for participants who rated their confidence in recall of events as high and only for females. Delayed incorporations were more likely than immediate incorporations to refer to events characterized by interpersonal interactions, spatial locations, resolved problems and positive emotions. The findings are consistent with the possibility that processes with circaseptan (about 7 days) morphology underlie dream incorporation and that these processes subserve the functions of socio-emotional adaptation and memory consolidation.

How Russians will see the status of their country by the end of the century

The collapse of the Soviet Union has prompted widespread debates inside Russia about that country's identity, role and destiny. Three paincipal tendencies can be identified in the arguments, which have been stimulated by two particular events: the war in Chechnya and the question of reunification with Belarus. Liberals and Western‐oriented clans wish to see Russia as a key player in Western civilization, which they see as inspired by universal values, and they play down the need for a strong Russian state. Moderate nationalists attack the Western‐oriented liberal media and wish over the longer term to rebuild Russia as a great power, while conceding that this requires temporary accommodation with the West. Radical nationalists, including the Communists and the Liberal Democratic Party, seek a reassertion of Russian nationhood and statehood based on Russia's own natural, human and cultural resources. Moreover, there are divisions in the different groups between ‘optimists’ and ‘pessimists’, who are also divided in their vision of Russia. These various tendencies are to be identified among Russian politicians today. However, without a single dream of the future, the Russian nation is unlikely to attain the social and political stability that alone can assure its attainment.

Notes on Lyric Poetry; Or, at the Muse's Tomb

Translating language of things into that of humans entails not only translating silence into audibility; it means translating nameless into name. - Walter Benjamin One of my close friends, also a worker in mine fields of poetic, says to me the lyric is dead. I cannot but agree, if by lyric we mean that private self-regarding effusion of language, that romantic mea culpa by which a world is nostalgically recalled, privileged and measured against what is. Likewise, I would emphatically add, poetry is dead or at least dying out of a swoon of novelty if it subscribes too closely to those collocations of contemporary thought we call theory or cultural studies, studies which invoke other nostalgias for certainty, for rightness, for order. Another way of putting this might be: lyric is dead primarily as it reinforces a masked ideology, including about myth of personal. But, as well, typical critique that lyric is subjective ought to be juxtaposed against sub-rosa reality, more difficult to enunciate in face of avant-garde tribalism (do we know of anything more tribal, more nationalistic than poetic clique?), which reminds us that poetic bandwagons are never merely matters of aesthetics, indeed, may involve many more subjective dimensions than we'd care to explicate. What can be stated concerning theory- or philosophically driven work is that it is clearly a product of statism and would-be statism, what Deleuze and Guattari point out in Towards a Minor Literature as those styles or genres or literary movements, even very small ones, [which] have only one single dream: to assume a major function in language, to offer themselves as a sort of state language, [an] official language. On grounds Deleuze and Guattari are making, lyric as judged by a post-modem mentality, can never be sufficiently political; it is not doing a man's job, lifting weight off masses, creating utopias, etc. But a case can be made that, in this century, this is precisely lyric's strength, that strictly speaking, lyric is neither a product of thought nor of intention but rather comes as a recognition of a gap or rupture in one's thought and intention. (My use of impersonal singular pronoun is meant to suggest that lyric qua lyric has no hope of ever becoming a kind of group-think.) Casting lyric against other poetic forms, one finds something that is more than merely interesting. The narrative mode, rhetorical mode and gnomic mode, even purely private or expressive mode of lyric (with its hidden ideological baggage) as well, have a kind of self-sufficiency. The reader participates by wandering around entities created by such forms. Indeed, a form is erected that in some way does not depend on a reader - as in case of story, a form which, even as it wants hearers, is ultimately enclosed and folded in on itself. Not so much interactive as presentational. The self-containment of such forms, polished-egg quality of either story or poetico-logical structure may already seem anachronistic when set against polyvalent and even fuzzy operations of mind. And old romantic lyric, especially that poetic trace of delicate impressions caught on wing, now strikes reader as orotund and even unsympathetic to contemporary awareness and consciousness. So we must admit that if we are to talk positively of a lyric moment, of a moment for lyric, we must acknowledge that while presenting itself as something gathered out of flux of existence itself, it is no more free of contingent, historical or philosophical than any other form of life or thought. And yet, function of lyric, and by implication poetry's first principle, is that it exceeds or modifies very conditions it arises from. Even in minims of speech or figure, it is always unplanned, unaccountable supplement. …

Analysis of a single dream as a means of unearthing the genesis of psychopathic affections.

Analysis of a single dream as a means of unearthing the genesis of psychopathic affections.