Dream World Research Articles

Hrvatska kratka priča i Antun Gustav Matoš

Antun Gustav Matoš has affirmed the Croatian short story and that is why his short story collections have initiated a major „breakthrough” in terms of this genre’s reception. His narrative oeuvre includes the following collections: Iverje (Wood Shavings, 1899), Novo iverje (New Wood Shavings, 1900) and Umorne priče (Tired Tales, 1909). Depending on the type of motif, his short stories have been read as follows: 1. stories about local people and events; 2. humorous stories about people at home and abroad; 3. stories about unusual, unbelievable „unreal” events; 4. stories of enchanting and yearning love; 5. lyrical cadenzas. His symbolic-grotesque-fantastic story Moć savjesti (The Power of Conscience) marked his entry into the world of narrative literature. In this story, the binary relationship between the theme and the motif is recognised in the gap between the world of wakefulness and the world of dreams, reality and fantasy, what is real and what is unreal, the actual life and the ideal life, the object and the subject. At the same time, however, Matoš is trying to unite these opposites. In his other short stories, unusual plots become an expression of a deep ontological crisis which engulfed the European culture and art during modernism. The maxim of modern art at the turn of the century is „the world is a text”: art is a subjective reconstruction of the world and therefore plots, with all their logical cause and effect relationships, are no longer important since they cannot express other spheres of consciousness. In his short stories, the bizarre plots were used by Matoš to join two worlds, the world of outward reality and the world of imagination, the empirical and the fantastic, the possible and the impossible.

Rêver local by Ritt Deitz

Reviews 199 American academic who plans to plagiarize Amer’s signature novel based on an African childhood and pass it off as her own autobiography. In the present novel, Constant (now a member herself of the Académie Goncourt) continues to probe the subject of truth and fiction with thoughtfulness enlivened by a generous but sly humor. College of San Mateo (CA) Susan Petit Deitz, Ritt. Rêver local. Madison: Incidence, 2013. ISBN 978-1-481-03402-9. Pp. 120. $9.95. Deitz is executive director of the Professional French Masters Program at University of Wisconsin, Madison. His previous publication, La colonie, ou l’invasion québécoise (2010), was a theatrical script about the state of Wisconsin being liberated from English domination by the province of Quebec. This notion of a Francophone Wisconsin sets the stage for Deitz’s latest book in which the American narrator shares dreams he had in French. Dreaming in a foreign language is often a sign that the learner truly is beginning to comprehend that other language. Yet, he suggests, one should say the same for one’s childhood or locations appearing in dreams. He invites readers to consider his actual dreams, produced during sleep, though they will sometimes be embellished with lies or, conversely, with events that really did happen. With this word of caution, the narrator leads us through a series of French-speaking locales in his dreams, ranging from Milwaukee Street to a Parisian neighborhood, the Grande Bibliothèque du Québec in Montreal, a villa in the South of France, and back to the narrator’s childhood home at 216 Main Street. The early highlight of the text is a discovery along the bike path:“Ce matin, sur la piste cyclable, je suis tombé sur un corps de femme” (19). If we are to believe the narrator, this did happen; he swears on it and invokes witnesses. This story awakens the reader’s curiosity before being plunged into the absurd world of dreams. The dreamer encounters enigmatic characters like the pot-smoking“Roi de la République”fleeing from an all-female librarians’ association in protest to his elimination of funding. This common dream of being chased gives way to the more violent one of a female teacher’s beheading in “L’Algérie.” One could pursue a Freudian analysis of these and other dreams in their depictions of women. But another anxiety-inducing dream of public speaking (“Merci de cet accueil si chaleureux”) allows us to glimpse the narrator’s intent as his academic speech derails before the audience:“Je suis plutôt venu rêver,moi-même,avec et devant vous”(59).This serves to remind the reader to dream along with the dreamer. While some of the topics are frightening,Deitz’s narration keeps from being too morose with a good dose of humor and cameo appearances by James Brown, Bill Cosby, and Alain Robbe-Grillet. Toward the end of the book, a dream character uses the word véluptueux, which the narrator explains in parentheses: “(Il ne parlait pas français, mais s’il me parlait cette langue-là il aurait dit véluptueux au lieu de voluptueux)”(113).The author himself makes a few similar substitutions: péonies for pivoines (34), lumières de soleil for lunettes (38), récuper for récupérer (68), and montrez for montez (97). Were it not for the presence of other typos, these could be chalked up to being part of the bizarre dream experience that Deitz shares. All in all, readers will likely find this short book both amusing and bemusing. Bowling Green State University (OH) Jennifer K. Wolter Delacourt, Grégoire. La première chose qu’on regarde. Paris: Lattès, 2013. ISBN 9782 -7096-4286-6. Pp. 264. 17 a. Ce troisième roman signé Delacourt est une histoire toute légère de coup de foudre qui tourne autour d’une confusion d’identité. Nous avons une narration relatée au passé simple à la troisième personne,focalisée principalement à travers Arthur Dreyfuss, un garagiste de vingt ans qu’on nous décrit comme“Ryan Gosling,mais en mieux”(16). La comparaison n...

A study on the media arts using interactive projection mapping

Digital technology has revolutionized the way we make and experience art today. As technology has been advanced, people are well acquainted with a variety of techniques for video display of visual imagery. People expect the light to be able to paint images that are as much as they can be to the dream world. Lately new media artist create an illusion of being mapping on surface of objects, structures, buildings and displayed in public spaces. A new trend of video mapping technology allow for interactive projection mapping. This study is focused on research on media arts using projection mapping techniques and based on these we produce a media art work “DYMANIC ROOM” through the conceptual development and the technical aspects of interactive video projection mapping.

Von Krahli Teatri „Luikede järv“ kui mälumasin: esteetiline absoluut ja sotsiaalne kontekst

This paper analyses the interrelation between video projections and stage action and the meanings created via these relations in Von Krahl Theatre’s production of „Swan Lake“ (2003, directors Peeter Jalakas and Alexander Pepelyayev). „Swan Lake“ at Von Krahl Theatre was a post-modern interpretation of Tchaikovsky’s ballet that deconstructed myths of Soviet society. In the conceptual introduction to the performance, the directors dedicated the production to the theme of absolute beauty and aesthetic ideal, and claimed the synthesis of aesthetic and social contexts to be of utmost importance. The performance analysis in this article reveals the ambivalence of the aesthetic absolute and position of the ballet „Swan Lake“ as an icon. The context of this production was layered through the social and political, as well as artistic processes that influenced the reception of the performance. The social and aesthetic context is analysed based on Mieke Bal’s concept of framing, which is more dynamic and open than understanding context as something fixed. The analysis of screens and the stage action is based on the theoretical models of intermediality in performing arts. The central section of this paper is focused on analysing the stage action and the relationship between the stage action and video projections as techniques of dissonance. This work by Jalakas and Pepelyaev was a multimedia dance performance where video clips of the ballets „Swan Lake“ and „The Dying Swan“ alternated with footages of Soviet heavy industry, war apparatus, athletes, etc. The various oppositions and parallels between the stage action and screen footage made the political meaning of the performance visible. The paper also analyses the narrative structure, the cast of characters and scenography. There was a certain hierarchy in the cast (actors versus dancers) and character structure (politicians, Black and White Swan, and the corps de ballet) which was rather weakly based on the dramatis personae of the ballet „Swan Lake“. The stage action can be described using the metaphors of machinery or game; its relationship to the screen adds the metaphor of a dream world. The movement of the dancers remained mechanical although the choreography was postmodern and more playful than that of a ballet. The crisis of totalitarian order can be seen in the changes taking place in the middle of the performance where the rigid structure of characters became decomposed and the movement became more dynamic. The video projections are examined according to three models of intermediality: hierarchical, inter-relational and hybrid (Lavender 2010). The hierarchical model (one media dominating the others) appeared in certain situations only. The most frequent model of the relationship between stage action and screens was the inter-relational. This model is structured by the gaps and (opening up of) spaces and „fissures“ in the performance, here appearing through parallelisms of the screen images and stage and at given moments of intersection. The least represented model was the hybrid model, i.e. the one where figures of different media were merged; it existed only in a hybrid reality created by computer animation. On a social level, the performance represented a totalitarian, closed system that lacked any opportunity for a positive exit. Aesthetically, the production can be compared to theatre of the absurd, which is also characterized by a representation of a certain state of being and a feeling of inescapability. The result of juxtaposing post-modern dance and videos was a complex co-existence of several choreographic languages and body techniques. The main relationship between the stage and the screens in the situation of the totalitarian society in this production was dissonance and the production can be summed up as a performative memory machine.

Ontological significance of the dream world

Sometimes while sleeping we find ourselves thrown amidst an authentic, albeit bizarre, world. The process of integration by means of which memory elements might be fabricated into a seamless world indistinguishable from the world of waking life is not explained by Llewellyn, who focuses instead on the elaborative encoding of memories. Ontological implications of the sometimes indiscernibility of wake and dream worlds are considered.

Rebellion as a Means of Temporary Escape from Disillusionment as Reflected in David Hare’s Teeth ’n’ Smiles

Subcultures mainly emerge as a resistance to the status quo/ the Establishment. They create their own discourses/ languages and an escapist dream world of their own in which, they think, they will be momentarily happy, and will symbolically vomit their anger, as if they were in a carnival, as Bakhtin argues, where many voices are heard, and which deconstructs the norms of the Establishment. In relation to this idea, it might be argued that, similarly, rock bands’ aggressive manners while singing reflect their rebellious nature and resistance towards the mainstream culture. In a way, they exhibit carnivalesque characteristics through defying the rules with their own ways. David Hare, in his Teeth ’n’ Smiles (1975), which is set in the late 1960s, tells a similar rock band which mirrors its rebellious nature through rock ’n’ roll songs. The aggressive nature of this band and their songs, are, in fact, reflective of their disillusionment and may be an answer to the events or situations observed not only in Britain but also abroad such as May 1968 French students’ rebellion and Britain’s loss of power after World War II. It is also important to state that the frustrations observed in the 1960s as reflected in the play, in fact, reflect the frustration that Hare himself experienced when he was a student at Cambridge. In the light of the above-mentioned statements, this paper aims to discuss the relationship between Bakhtin’s idea of carnivalesque and the rock ’n’ roll band in Hare’s Teeth ’n’ Smiles, in terms of exhibiting their rebellious nature and of a momentary escape from frustrations resulting from the errors of the Establishment. DOI: 10.5901/ajis.2013.v2n3p437

Dream Boats by D. Bar-el

Bar-el, Dan. Dream Boats. Illust. Kirsti Anne Wakelin. Vancouver: Simply Read Books, 2013. Print.This is a gorgeously illustrated book which offers readers the opportunity to “float” in a dream boat, travelling deep into the richly-embroidered dreams of children from different lands and varying traditions. The words and images transport us high into the Andes and deep into the rainforests of Haida Gwaii; they take us to the beach in Mumbai and into the city of St. Petersburg; they float on the Niger and sail on the Yangtze. The dream metaphor works well for what is frequently a confusing journey through time and space, through personal narrative and shared folklore, and through the walls that divide us. The central dream of the book is a deeply multicultural dream. One can applaud the author’s intent more than his accomplishment, for it is just a little bit too easy to become quite lost in this dream world in which so many myths and folktales are represented as amalgams or approximations. The saving grace is that the author has inspired the illustrator to visualize an exquisite dream world in which it is a genuine pleasure to be lost.The publisher recommends this book for readers from 4-8 years of age, and this makes sense except that it is difficult to imagine that most children of this age will have enough geographical knowledge or multilayered cultural contexts to grasp the overriding point in even a superficial way.Recommended: 3 out of 4 stars Reviewer: Linda QuirkLinda is Assistant Special Collections Librarian at the Bruce Peel Special Collections Library at the University of Alberta.

Night Sky Wheel Ride by S. Fitch

Fitch, Sheree. Night Sky Wheel Ride. Illus. Yayo. Vancouver : Tradewind Books, 2012. Print.Fans of Sheree Fitch will not be disappointed by the magical dream world circus presented in "Night Sky Wheel Ride". Young readers are drawn into the ethereal journey by the main characters as they wonder if they are up to the challenge of riding the big wheel: "Are we big enough this year, Mama? Are we brave enough, Brother? Sister are you ready to fly?" This book will work well as a bedtime or naptime story as Fitch's rhymes and scenarios are a little softer and less gregarious than some of her other books. For example, the siblings contemplate the night sky as they enjoy the ride: "Swinging, swaying, staying / up top the stopped ferris wheel / Dizzy-dazed we gaze upfeel the moon's breath on our faces/soft as dandelion's fuzz". However, there are certainly bursts of action and energy often accented by onomatopoeic words, such as when the children first take flight: “Hop up to knee knock rockety rock swiggle sway creak squeak rickety ratcheting up! up! up!”Illustrator Yayo's images are bright, whimsical and echo a child's imagination and point of view where everyday objects morph into magic: a roller coaster glides along the curved edges of a laundry basket while the big wheel can be seen inside the spinning drum of a washing machine. There are forests of cotton candy, and the colourful dots of people “waayyy down on the ground” are drawn as "dancing jellybeans". The back and front covers and inside pages are particularly attractive as they feature phosphorescent images on a dark background.Throughout the story the text is woven in and out of the illustrations to reflect the movements of the main characters and other objects. This helps to engage readers without hindering the storyteller as the text is large and legible. According the publisher's web site it is recommended for ages 3-4. It would make an excellent addition to a home, school or public library picture book collection.Highly recommended: 4 out of 4 stars Reviewer: Kim FrailKim is a Public Services Librarian at the H.T. Coutts Education Library at the University of Alberta. Children’s literature is a big part of her world at work and at home. She also enjoys gardening, renovating and keeping up with her kids.

‘A post-transplant person’: Narratives of heart or lung transplantation and intensive care unit delirium

Exploring patients' narratives can lead to new understandings about perceived illness states. Intensive Care Unit delirium is when people experience transitory hallucinations, delusions or paranoia in the Intensive Care Unit and little is known about how this experience affects individuals who have had a heart or lung transplant. A total of 11 participants were recruited from two heart and lung transplant services and were invited to tell their story of transplant and Intensive Care Unit delirium. A narrative analysis was conducted and the findings were presented as a shared story. This shared story begins with death becoming prominent before the transplant: 'you live all the time with Mr Death on your shoulder'. Following the operation, death permeates all aspects of dream worlds, as dreams in intensive care 'tunes into the subconscious of your fears'. The next part of the shared story offers hope of restitution; however, this does not last as reality creeps in: 'I thought it was going to be like a miracle cure'. Finally, the restitution narrative is found to be insufficient and individuals differ in the extent to which they can achieve resolution. The societal discourse of a transplant being a 'gift', which gives life, leads to internalised responsibility for the 'success' or 'failure' of the transplant. Participants describe how their experiences impact their sense of self: 'a post-transplant person'. The clinical implications of these findings are discussed.

Lukisan Sebagai Materi Animasi dalam Film “Aku, Trimah Perempuan Itu”

A film is one of the media that is able to deliver an event andmessage as well, not only ideologically but also structurally throughdiscontinuity principle. Film as a medium to reflect an event with manystyles according to its characteristics. This film is created to bring up aphenomenon that happened in society, using animation technique stressed to frame by frame recording technique, panning and zooming system that are combined with live action technique.It is such a concern when we watch, read and hear from the mediathat contain of news about murders of his/her own family members. Amother who killed her own child, a wife who mutilated her own husband.“Me, Trimah That Woman”is an illustration about a woman who experienced and did a murder on her own way, killed her children and herhusband. What kind of thoughts and how could this happen, that made awoman, a mother, a wife is able to do this kind of thing?The story that packaged in this film tries to revive a group of pictures to represent dream and imagination world of the actor in surrealism style, and used as an effort to deliver the message non verbally through meaningful symbols. The symbol is also used to replace the violence scenes and the effects on film as well. Those entirely aimed in order to make this film to become a reflection, to grow the empathy, sympathy and also wisely understanding to judge an incident in this life.

The Secret Dream World of Ángela Carballino in Unamuno's <i>San Manuel Bueno, mártir</i>

Critics have long held that Miguel de Unamuno’s San Manuel Bueno, martir concerns a village priest, Manuel Bueno, who suppresses his private doubts in order to preserve the happiness and simple faith of his parishioners. Notwithstanding critical tradition, a close look at the novella reveals that Manuel belongs to the secret dream world of its first-person narrator, Angela Carballino. This paper peers into the hidden world of a protagonist who becomes a mother through her dreams.

Medical and Behavioral Problems among Saudi Adolescents.

   World Health Organization (WHO) defines adolescents as young people aged 10-19 years. (1) Globally there are 1.2 billion adolescents, one fifth of world population. Due to present demographic trends their number is increasing. Estimates suggest that approximately 25% of the populations in Kingdom of Saudi Arabia are adolescents. (2)     Adolescence is a journey from childhood to the world of an adult, a time of physical, psychological and emotional change. Adolescents are no longer children, but not yet adults. They can put themselves at risk without thinking of the consequences. They get fascinated by many rowdy and thrilling adventures and actions and start living in world of dreams imagining them to be an unbeatable personality.     A study in Riyadh city among adolescents found that overall prevalence of cigarette smoking 12.7% (n=187) among the study sample, the habit is more common in males (19.0%) than females (4.0%). Finding of same study indicate that adolescents males who drive car 45% of them had a car accident. The prevalence of drug use in this survey was 6.4% (10.6% in males and 0.8% in female study subjects), volatile substance was commonly abused among adolescents. (3)     Mental health problems frequently start at this age group. A study carried out in Tiaf Governorate,   Saudi Arabia, revealed that most important problems were anxiety (13.5%), somatic disorders (12.2%) obsession (10.8%), aggression (8.1%), delinquency and depression (4.1%). (4)     Recent evidence indicates that emotional and behavioral disorders frequently lead to poor school performance and dropping –out of school. This wastes education resources and seriously impairs the economic and social potential of such children. (5)     Saudi society is different from western societies in many respects. It is conservative society with strong Islamic values. The pattern of adolescent’s problems is expected to be different from that in the west. For example illegitimate teenage pregnancies are common in western world, but do not exist in KSA.     Most causes of mortality and morbidity in adolescents, such as road side accidents cigarette/ shisha smoking and drug abuse can be prevented by simple measures including health education and counseling. If adolescents are properly cared for and groomed, physically and emotionally at homes and schools, they will enjoy good physical & mental health. School environment and behavior of teachers play a critical role in character building and personality development of adolescents. Importance of school health clinics for health education & counseling has important role.    Antismoking program should be established, including prohibition of the sale and use of cigarettes in public places, along with application of firm traffic laws forbidding adolescents aged less than 18 years from driving. Â

Richard as Waking Nightmare: Barthesian Dream, Myth, and Memory in Shakespeare's Richard III

This article applies French semiologist Roland Barthes's conceptions of sign, symbol, metaphor, and myth to Shakespeare's Richard III. The focus centers on the playwright's use of dreams and dream worlds in an exploration of visuality and in the larger project to create a national memory. Of special interest is how in one of the principal forms of mass media of the late 16th century—live drama—Shakespeare used dreams as image, and image as a prism through which to ask questions about power, vision, artifice, and illusion, and therefore reality. The playwright was self-conscious of the theater as artifice, but in that artifice he was capable of telling truths untellable beyond the theater walls in the “real world,” so much so that Shakespeare, beginning with Richard III, seems to revel in visuality. This analysis is a reading of the images in Richard III, an approach that places the project into a mostly French tradition of reading and analyzing visuality in texts.

In Partial Disgrace

64 worldliteraturetoday.org reviews The magical, especially the possibility of turning into another species —animal or even vegetable—is a recurring theme in NDiaye’s work. The transformation is a signal for the impossibility of coming to terms with events as a rational human being. In Ladivine, the dog may be Ladivine’s guardian and perhaps that of her children. Clarisse’s guilt in relation to her family is the underlying theme, only coming to the surface in Richard’s meditations after she is murdered. He left Clarisse Rivière because he always felt unable to understand her. He knows he has taken a second wife partly because she is also named Clarisse . He has never met his daughter’s husband or her two children. Thinking of his daughter “takes him back to the horrible feeling that the three of them had lived together an existence deformed by something that could not be explained and that floated above them, never becoming clear nor disappearing and which had made their life factitious.” After the trial of Clarisse’s murderer , Richard finally meets Ladivine Sylla, the mother Clarisse had always hidden from him. In the final scene, a brown dog, presumably Richard’s daughter, Ladivine, visits them, bringing joy to the old woman. NDiaye has often said that she has no relation to Africa, as her Senegalese father left France when she was a small child, but she is often considered an African author and is sometimes classified as African in libraries. As in her earlier works, a racial theme underlies the story, but it is almost hidden. Only once is Ladivine Sylla referred to as black. When her granddaughter visits an unnamed anglophone African country with her husband and children, she is mistaken for someone else, presumably the result of skin color, and she accepts this different identity easily. NDiaye’s manner of writing has often been compared to Proust’s, with long sentences and much use of the imperfect subjunctive that many modern writers avoid. Here she has created a world of mystery, dream, and sensuality in a very controlled style. Adele King Paris Charles Newman. In Partial Disgrace. Ben Ryder Howe, ed. Joshua Cohen, intro. Champaign, Illinois. Dalkey Archive. 2013. isbn 9781564788160 To understand the mind of those who live in the veiled, history-bound, intellectually suicidal Crownlands of Cannonia , a country rising from foggy, boggy Marchlands upon which bloody stalemateswerefought ,onemustfollowtwo lines of thought. First, Heraclitus stated that no man steps in the same river twice, but in Cannonia one can step into the river “twice and twice and twice again,” for both the river and time are known to flow back and forth. This Joycean “commodius vicus of recirculation” forms the plot’s engine. Second, discourses combine European philosophical undertakings with an old joke about a dyslexic: the Cannonians spend time contemplating Nature, Man, and Dog. The story of Cannonia and a few ofitspeopleisacollectionoffragments written by gnarly gamesman Charles Newman, who worked for more than twenty years on the project. He mired himself in research, merged real and pseudo-history, and intended a tripartite Cold War novel of suspense. This is the unfinished result of that massive goal. Stylistically, Newman wrote himself onto a ledge where his only option was to leap into a postmodern void. Enter Rufus Hewitt, by parachute. This counterintelligence operative and co-narrator of the story descends to the hermit kingdom in order to write of Iulus, who becomes inadvertently, Invisible Country: Four Polish Plays Teresa Murjas, ed. & tr. Intellect This collection marks a unique effort to characterize the fragile identity of Poland through theater. Themes of “suicide, revolution and domesticity” emerge as essential paradigms of the Polish artistic landscape, and practical elements of theatrical craft are explored. Accompanied by photographs of each play in performance, Murjas’s interpretations affirm the essential role of the translator in modern theater. July–August 2013 • 65 Kari Hotakainen The Human Part Owen F. Witesman, tr. MacLehose Press Hotakainen offers a satire of contemporary society and corporate economics against the backdrop of his native Finland. An elderly lady agrees to sell the true story of her life to a struggling writer, but, as her experiences become text, her...

Twórczość bardów rosyjskich jako pogranicze radzieckiej literatury oficjalnej i wolnej

Writing of Russian bards as a borderline of Soviet official and free literature
 Communist totalitarianism in the USSR became a part of literature as an obligatory ideology, defining a boundary between its official type – enslaved, and free type – embracing tamizdat and samizdat. The borderline of these two types was established by writing of Russian bards, which can be perceived as official alternative type. The most marvelous phenomenon concerning the creativity consisted in a fact, that the bards neither attacked the official ideology nor were under the influence of its requirements. They showed a world of dreams and desires of ordinary people, what was extremely needed by Soviet society, enslaved by totalitarianism. Thanks to that their works were very popular and appreciated by the whole community.socjolożka specjalizująca się w demografii społecznej i metodologii nauk społecznych; pracuje jako adiunkt w Instytucie Filozofii i Socjologii na Uniwersytecie Pedagogicznym im. KEN w Krakowie.

Altered States of Literature: Shamanic Assimilation and Romantic Inspiration

This article deals with the connections between the assimilation of certain shamanic practices related to Romantic inspiration in English literature. The interest in the world of altered states of consciousness as a manifestation of the sacred is typical among Romantic writers in nineteenth-century England. These writers in fact sought the manifestation of the world of dreams by means of ingesting substances that alter consciousness, thus assimilating a practice that is likewise and primarily shamanic. This search is the object under investigation in this article, which aims at showing that, despite conspicuous cultural differences, there are indeed similarities that pervade shamanic practices and the Romantic ideal in their quests toward the sacred.

Application of Western Surrealistic in Design of Landscape Architecture

Surrealism was the twentieth century’s longest lasting art movement in the arts. It explored the mysterious dream world of the unconscious mind. Surrealist works depict a familiar yet alien world of dreamlike serenity and nightmarish fantasy, and their legacy pervades much of contemporary art, literature, film and popular culture. As a representation of irrational aesthetics in the modern art trends, it is worthwhile to study the influence and construction of Surrealism in modern landscape architecture. This paper explores the modern landscape form under the influence of Surrealism Art by analyzing and investigating the intrinsic relationship between Surrealist Art and the modern landscape architecture. Besides that, this paper described the connection between surreal spirit and Chinese landscape architecture design term metaphor of “presence”.

Amy E. Randall, The Soviet Dream World of Retail Trade and Consumption in the 1930s

Amy E. Randall, <i>The Soviet Dream World of Retail Trade and Consumption in the 1930s</i>

Recent data on rapid eye movement sleep behavior disorder in patients with Parkinson disease: analysis of behaviors, movements, and periodic limb movements

Rapid eye movement (REM) sleep behavior disorder (RBD) is a fascinating parasomnia in which patients are able to enact their dreams because of a lack of muscle atonia during REM sleep. RBD represents a unique window into the dream world. Frequently associated with Parkinson's disease (PD), RBD raises various issues about dream modifications in this pathology and about aggressiveness during RBD episodes in placid patients during wakefulness. Studies on these behaviors have underlined their non-stereotyped, action-filled and violent characteristics but also their isomorphism with dream content. Complex, learnt behaviors may reflect the cortical involvement in this parasomnia but the more frequent elementary movements and the associated periodic limb movements during sleep also implicate the brainstem. Surprisingly, patients with PD have an improvement of their movements during their RBD as if they were disease-free. Also not yet understood, this improvement of movement during REM sleep raises issues about the pathways involved in RBD and about the possibility of using this pathway to improve movement in PD during the day.

Performing Otherness: Java and Bali on International Stages, 1905–1952 (review)

Reviewed by: Performing Otherness: Java and Bali on International Stages, 1905–1952 Peter Steele (bio) Performing Otherness: Java and Bali on International Stages, 1905–1952. Matthew Isaac Cohen. London: Pallgrave MacMillan, 2010. Studies in International Performance. xiil, 285 pp., illustrations, bibliography, index. ISBN: 0230224628, 9780230224629 (Hardcover), $85.00. Matthew Isaac Cohen’s lucid and diligently researched monograph reminds us that intercultural performances of the Indonesian performing arts are not a recent phenomenon. In the twenty-first century, these art forms (especially the gamelan traditions of Java and Bali) are thriving in countless universities, cities, and towns throughout the world. Such groups are freely exploring and developing syncretic music and dance forms which blend Indonesian traditions with an eclectic laundry list of other performing arts styles and genres. Cohen’s work [End Page 164] seeks to describe how we have arrived at this present state of bustling artistic pluralism by exploring a time when such performances were rare and exotic curiosities. Thus while his work remains one of detailed historical inquiry, it operates with a consistent eye on the present state of global, intercultural performance. Cohen aims to “recollect an earlier generation of itinerant performers to provide perspective on ethical and professional conundrums faced in today’s global acumen” (3). Inspired by the work of critical theorists Rustom Bharucha and Edward Said, Cohen describes the development of these performances from the late nineteenth to the mid-twentieth centuries as a shift from the spectacle of “detached appropriations” to “ethnographically sensitive” representations which seek to engage the Other (4). Even casual admirers of Balinese and Javanese gamelan traditions are familiar with the well-documented encounters of European and North American artists and scholars with Indonesian music during this time. The work of Debussy, Spies, Margaret Mead, Miguel Covarrubias, Colin McPhee, and many others has helped establish a kind of Indonesian cultural dream world within the global imagination. However, Cohen eschews these more frequently read figures in favor of lesser-known artists and performers. In doing so, he carves a space for an assortment of esoteric and idiosyncratic examples of Indonesian exotica. These eccentric works illustrate the diverse means by which artists came to represent Indonesian culture to European and North American audiences. His work also covers a broad range of performance genres including dance, jazz, and puppetry. In many early cases, these performances were heavily influenced by the aesthetics of European theosophy, thus blending Javanese imagery and mythology with Indian Hinduism as well as Buddhism (83). For Cohen, the Orientalist impressionism of such performances addressed a desire for an authentic premodern experience, which would allow observers to live both “in modernity and beyond” (4). In Cohen’s work, “intercultural performance” encompasses the gamut from western artists performing in an ostensibly “Asian” milieu to the world’s first touring Indonesian masters. As such, his goal is not to legitimize, or otherwise canonize works as either “successful” or “unsuccessful” attempts at intercultural interaction. Rather, he describes how each artist relates to the concept of “Otherness” (21). Thus he is able to describe a diverse assortment of artists and works through their negotiation with the inscrutable specter of “the Other.” These negotiations proceed from a variety of perspectives. He describes late-nineteenth-century artists as largely Orientalist in terms of attitude and performance aesthetics. This critical lens is applied with lucidity to the work of earlier performers such as Cléo de Mérode and Mata Hari. According to Cohen’s reading, these Orientalist performances offer a “mediated” portrait of Javanese performing art forms, which do not truly “engage” with the Other. Instead they [End Page 165] merely “help the mind intensify its own sense of self ” (4). He traces a shift away from such representations in chronological fashion. In contrast to earlier artists, those working during the early twentieth century, such as Eva Gauthier and Stella Bloch, strove for more ethnographically detailed performance aesthetics. Cohen also documents the ways in which their efforts were in constant negotiation with the commercial interests of the time. Cohen also describes some of the first Indonesian groups touring the West “on their own terms” during the early years of Indonesian independence. These performers were faced with the dilemma...