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1

Obraz snu a spánku u Hérakleita a Platóna a jeho filosofické souvislosti

100%
Mikes V.
Listy filologické (Folia philologica)
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2007
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vol. 130
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issue 3-4
229-249
EN
The principal aim of this paper is to investigate the first uses of the metaphor of sleep and dream. This leads first to the general conclusion that the origins of the metaphor are to be looked for in philosophical texts, namely of Heraclitus and Plato. In the writings of the former it is related to the specific concept of the nature of man, characterized by unification and centralization - new in the period - of the cognitive functions. Heraclitus is apparently the first who uses the image of sleep to depict a state of cognitive or perceptive imperfection (basically an incapacity to see the reality), whereas Plato later establishes the similar use of the image of dream. In the course of the analysis more particular problem emerges, namely ambiguity related to the metaphor. In Heraclitus it is primarily the ambiguity due to his way of expression which invokes certain uncertainty whether the references to sleep found in the fragments are metaphorical at all. The conclusion is that this uncertainty is non-accidental and is to be connected to a more general ambiguity in Heraclitus writings concerning the question whether his perspective is normative or descriptive. Moreover, it is claimed in the paper that Heraclitus's lack of clarity corresponds to an even more general ambivalence with which Greek culture regarded sleep and dream in their literal sense and which appears much more clearly in Plato for whom (following Heraclitus) the metaphor of dream had not only a negative meaning but also a positive one (in the sense of pre-cognition). In the subsequent tradition, however, what primarily obtains is rather the negative meaning through which both authors together influenced the subsequent use of the metaphor, as seen, for example, in the case of Philo of Alexandria.
2
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EXPRESSION OF THE INEFFABLE: FIRE AND DREAM IN ANTONIO MACHADO´S „SOLEDADES, GALERIAS Y OTROS POEMAS“

100%
Batres Cuevas I., Barnés Vázquez A.
World Literature Studies
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2020
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vol. 12
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issue 3
70 – 82
EN
The journey we make through dreams is a way of deeping our understanding of our surroundings, our ideas and concepts, our subconscious and also of transcending space and time and getting to the bottom of things, finding ourselves, and therefore God. The transfiguration of reality has much to do with what the world of dreams reveals to us, since it allows us to see a timeless perspective translated into symbols, as so happens in the poetic trance. Establishing a link with surrealists, Machado explores the terrain of the dream with a desire to express the ineffable in the dialogues with God, a dialog made possible through poetry.
3

Rawenna “Snem Malowana.” O kreacyjnych i onirogennych właściwościach miejsca

88%
Wydrycka A.
Białostockie Studia Literaturoznawcze
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2013
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vol. 4
303-317
EN
The article interprets lyric poems, the subject of which is the last capital of the Western Roman Empire, Ravenna. It was treated as a place serving to define identity (Bronisław Przyłuski’s poems), self-presentation (Lechoń’s lyrical poem), and particularly as w place of oneirogenic nature (poems of Lechoń, Różewicz and others). The number of Polish works connected with Ravenna demonstrates a perennial fascination with the city. Two threads recur in them: Dantean and that emphasizing the art of mosaic, reaching the heights of metaphysics.
4
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FENOMÉN SNU V HUDEBNĚ-DRAMATURGICKÉ KONCEPCI OPER JULIETTE A VÝLETY PANA BROUČKA

75%
Trávničková M.
Slovenské divadlo (Slovak Theatre)
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2012
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vol. 60
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issue 2
191 – 204
EN
The study focuses on the phenomenon of dream in two operas by Czech authors – Leoš Janáček (The Excursions of Mr. Brouček) and Bohuslav Martinů (Juliette). Both operas bring up specific aesthetic issues – dreaming in opera and opera in dream. The main part of the study is musical and drama analysis of respective operas and specific features and typology of dreams in meaning and drama structure of operas. It is specifically pointed out how dream represents musical concepts in both operas. Special attention is dedicated to interpretation of individual characters from the view of dream phenomenon. Both operas are characterized by different concept of dream phenomenon. Janáček was inspired by fantasy novella written by Svatopluk Čech and highlighted satirical elements even more. Brouček´ s dream is alcohol view of drunken Brouček. In this dream Brouček goes to the moon and to the 15th century to show its real nature. Thus, Janáček uses except for dream phenomenon also phenomenon of satire, irony and burlesque. Bohuslav Martinů used as a motif of the opera Juliette a surrealist play written by Georgese Neveuxe. The whole play is a dream. The dream is about young man who deals with the problem of his inner feelings. He desires for stability and the quest for his place in the world. By means of the character of Michel the composer points to surrealistic principle of search for meaning of life although dream is more important than reality.
5

ONTOLOGICAL IMAGINARY: DEHISCENCE, SORCERY, AND CREATIVITY IN MERLEAU-PONTY’S PHILOSOPHY

63%
Dufourcq A.
Filozofia (Philosophy)
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2014
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vol. 69
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issue 8
708 – 718
EN
This paper intends to demonstrate that, beginning with his analyses of dream and hallucination in Phenomenology of perception up to his definition of dehiscence as ontological principle in The Visible and the Invisible, Merleau-Ponty holds the audacious assumption that the subject is thrown into a dreamlike and bewitched world and the self is diffracted into many reflections. It is, the author will claim, a fundamental thesis in his philosophy in as much as it enables him to unveil and even radicalize the modern crisis and to pose a crucial ethical problem: if reason is not guaranteed and has to arise perilously from irrational depths, the self is threatened by inauthenticity, illusion and alienation; the existence is a strange dream which may anytime turn into a nightmare. He will also show that Merleau-Ponty reverses this crisis into an asset: a reality which includes a fundamental dimension of imaginary leaves us free to create new metamorphoses.
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