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This book traces the intersection of dreams and power in order to analyze the complex ways representations of dreams and paradigms of dream interpretation reinforce and challenge authoritarian, hierarchical structures. The book puts forward the concept of the dreamscape as a pre-representational space that contains anarchistic attributes, including its instability or chaotic nature and the lack of a stable or core selfhood and identity in its subjects. The book situates this concept of the dreamscape through an analysis of the Daoist notions of the “transformation of things” and hundun (chaos) and the biblical concept of tehom (the deep). Using this conceptual framework, this book analyzes paradigmatic moments of dream interpretation along a spectrum from radical, anarchist assertions of the primal dreamscape to authoritarian dream-texts that seek to reify identity, define and establish hierarchy, and support coercive relationships between unequal subjects. The book’s key figures include William Blake, Robert Frost, Jacob and Joseph from Genesis, Sigmund Freud, Carl Jung, Jean Rhys, Franz Kafka, and the neurobiologist J. Allan Hobson
This book traces the intersection of dreams and power in order to analyze the complex ways representations of dreams and paradigms of dream interpretation reinforce and challenge authoritarian, hierarchical structures. The book puts forward the concept of the dreamscape as a pre-representational space that contains anarchistic attributes, including its instability or chaotic nature and the lack of a stable or core selfhood and identity in its subjects. The book situates this concept of the dreamscape through an analysis of the Daoist notions of the "transformation of things" and hundun (chaos) and the biblical concept of tehom (the deep). Using this conceptual framework, this book analyzes paradigmatic moments of dream interpretation along a spectrum from radical, anarchist assertions of the primal dreamscape to authoritarian dream-texts that seek to reify identity, define and establish hierarchy, and support coercive relationships between unequal subjects. The book's key figures include William Blake, Robert Frost, Jacob and Joseph from Genesis, Sigmund Freud, Carl Jung, Jean Rhys, Franz Kafka, and the neurobiologist J. Allan Hobson Seth Rogoff is a novelist and a scholar of literary and cultural analysis. He is the author of the novels First, the Raven: a Preface (2017) and Thin Rising Vapors (2018). He earned his Ph.D. from the University of Amsterdam's Amsterdam School for Cultural Analysis (ASCA), The Netherlands, and is currently a lecturer in history and English at the University of Southern Maine, USA, and a member of the MFA faculty at Maine College of Art. .
Joseph Hartman focuses on the public works campaign of Cuban president, and later dictator, Gerardo Machado. Political histories often condemn Machado as a US-puppet dictator, overthrown in a labor revolt and popular revolution in 1933. Architectural histories tend to catalogue his regime’s public works as derivatives of US and European models. Dictator’s Dreamscape reassesses the regime’s public works program as a highly nuanced visual project embedded in centuries-old representations of Cuba alongside wider debates on the nature of art and architecture in general, especially in regards to globalization and the spread of US-style consumerism. The cultural production overseen by Machado gives a fresh and greatly broadened perspective on his regime’s accomplishments, failures, and crimes. The book addresses the regime’s architectural program as a visual and architectonic response to debates over Cuban national identity, US imperialism, and Machado’s own cult of personality.
Legibility in the Age of Signs and Machines offers a compelling reflection on what the notion of legibility entails in a machinic world in which any form of cultural expression – from literary texts, films, artworks and museum exhibits to archives, laws, computer programs and algorithms – necessarily partakes in ever-more complex processes of (mass) mediation. Divided over four clusters focusing on desire, justice, machine and heritage, the chapters in the volume explore what makes something legible or illegible to whom or, indeed, what; the kinds of reading, processing or navigating such il/legibility facilitates or forecloses; and the role critical (media) theory, literary studies and the Humanities in general can play in tackling these and related issues. Contributors: Ernst van Alphen, Anke Bosma, Siebe Bluijs, Sean Cubitt, Colin Davis, Katrine Dirckinck-Holmfeld, David Gauthier, Giovanna Fossati, Isabel Capeloa Gil, Pepita Hesselberth, Yasco Horsman, Janna Houwen, Looi van Kessel, Esther Peeren, Seth Rogoff, Roxana Sarion, Frederik Tygstrup, Inge van de Ven, Ruby de Vos, Peter Verstraten, Tessa de Zeeuw
Dreaming is a near-universal human experience, but there is no consensus on why we dream or what dreams should be taken to mean. In this book, Robert Ford Campany investigates what people in late classical and early medieval China thought of dreams. He maps a common dreamscape—an array of ideas about what dreams are and what responses they should provoke—that underlies texts of diverse persuasions and genres over several centuries. These writings include manuals of dream interpretation, scriptural instructions, essays, treatises, poems, recovered manuscripts, histories, and anecdotes of successful dream-based predictions. In these many sources, we find culturally distinctive answers to questions peoples the world over have asked for millennia: What happens when we dream? Do dreams foretell future events? If so, how might their imagistic code be unlocked to yield predictions? Could dreams enable direct communication between the living and the dead, or between humans and nonhuman animals? The Chinese Dreamscape, 300 BCE – 800 CE sheds light on how people in a distant age negotiated these mysteries and brings Chinese notions of dreaming into conversation with studies of dreams in other cultures, ancient and contemporary. Taking stock of how Chinese people wrestled with—and celebrated—the strangeness of dreams, Campany asks us to reflect on how we might reconsider our own notions of dreaming.
Liliana Wilson’s art of resistance and protest, dissidence and dreams, consistently calls attention to injustice. Wilson belongs to a group of Chilean artists who were intimately shaped by the political turmoil and repression in Chile in the 1970s and 1980s and who have become self-exiled artists working outside of Chile but who are still tied to the political period and to its issues and concerns. From a working class family that struggled financially, Wilson nonetheless was able to study law, which facilitated her successful immigration to the United States in 1977. She moved to Texas and in Austin found a cultural oasis that permitted her art to blossom. Now, after some thirty years of artistic work in Texas, she is recognized as a major Latina artist, whose influence extends beyond US borders. A crusader for justice and against oppression, she paints and draws in various media and has become an inspiration for younger artists concerned with not only political repression and inequality but also individual fear and despair. Ofrenda: Liliana Wilson’s Art of Dissidence and Dreams highlights some of Wilson’s most representative works, accompanied by biographical background and scholarly interpretation.
How to read Walter Benjamin today? This book argues that the proper way is through an approach which recognizes and respects his own peculiar theorization of the act of reading and the politics of interpretation that this entails. The approach must be figural, that is, focused on images, and driven by the notion of actualization. Figural reading, in the very sui generis Benjaminian way, understands figures as constellations, whereby an image of the past juxtaposes them with an image of the present and is thus actualized. To apply this method to Benjamin's own work means first to identify some figures. The book singles out the Flâneur, the Detective, the Prostitute and the Ragpicker, and then sets them alongside a contemporary account of the same figure: the Flâneur in Juan Goytisolo's Landscapes after the Battle (1982), the Detective in Paul Auster's New York Trilogy (1987), the Prostitute in Dacia Maraini's Dialogue between a Prostitute and her Client (1973), and the Ragpicker in Mudrooroo's The Mudrooroo/Müller Project (1993). The book thereby, on the one hand, analyses the politics of reading Benjamin today and, on the other, sets his work against a variety of contemporary aesthetics and politics of interpretation.
Hegel's "highway of despair," introduced in his Phenomenology of Spirit, is the tortured path traveled by "natural consciousness" on its way to freedom. Despair, the passionate residue of Hegelian critique, also indicates fugitive opportunities for freedom and preserves the principle of hope against all hope. Analyzing the works of an eclectic cast of thinkers, Robyn Marasco considers the dynamism of despair as a critical passion, reckoning with the forms of historical life forged along Hegel's highway. The Highway of Despair follows Theodor Adorno, Georges Bataille, and Frantz Fanon as they each read, resist, and reconfigure a strand of thought in Hegel's Phenomenology of Spirit. Confronting the twentieth-century collapse of a certain revolutionary dialectic, these thinkers struggle to revalue critical philosophy and recast Left Hegelianism within the contexts of genocidal racism, world war, and colonial domination. Each thinker also re-centers the role of passion in critique. Arguing against more recent trends in critical theory that promise an escape from despair, Marasco shows how passion frustrates the resolutions of reason and faith. Embracing the extremism of what Marx, in the spirit of Hegel, called the "ruthless critique of everything existing," she affirms the contemporary purchase of radical critical theory, resulting in a passionate approach to political thought.
Dreamscapes in Italian Cinema explores different representations of dreams, visions, hallucinations, and hypnagogic states in Italian film culture, covering the works of some of the most significant auteurs in the history of Italian cinema (Fellini, Pasolini, Moretti, Bellocchio, among others). Dreams are discussed both in a filmic context, considering the diegetic and formal techniques employed to construct and represent them, and as allegories or metaphors in a broader cultural, political, and social sense (the film industry itself as the proverbial dream factory, and dreams as hopes, aspirations or altogether parallel universes, for example). The book covers works released over different decades and spanning multiple genres (drama, gothic film, horror, comedy), and it is intended to shed light on a topic that is as suggestive as it is insufficiently studied.
In the 1960s a left-wing movement emerged in the United States that not only crusaded against social and economic exploitation, but also confronted the problem of personal alienation in everyday life. These new radicals - young, white, raised in relative affluence - struggled for peace, equality and social justice. Their struggle was cultural as well as political, a search for meaning and authenticity that marked a new phase in the long history of American radicalism.