Browsing by Subject "Dreams"
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Item Dreams, omens, and prognosis in the Indriyasthāna of the Carakasaṃhitā(2013-05) Luu, Lilla Paula; Selby, Martha AnnThis study focuses on medical prognostication in the earliest Indian medical treatise known, the Caraka Saṃhitā. The first chapter gives an overview of the Caraka Saṃhitā, including its main doctrines and philosophy. The second chapter introduces the Indriyasthāna, the section in the Caraka Saṃhitā in which most of the omen literature is collected. The third chapter gives a survey and preliminary analysis of all twelve chapters in the Indriyasthāna. In the final chapter and conclusion, the topic of omen literature in the ancient world in general will be discussed, with a focus on the issue that invariably presents itself in omen literature, “rationality.”Item Haunted by you : a study of the real and psycho-literary space of Jack Kerouac’s Lowell(2014-12) Juarez, David Ryan; Meikle, Jeffrey L., 1949-This report argues that through his lived experiences of growing up in his hometown of Lowell, MA, and the joys and traumas he accrued from early childhood and into early adulthood, Jack Kerouac began to rewrite, reimagine, and reconstruction Lowell in several different works and iterations to attempt to address and exorcise the ghosts of his past. For my argument, I study several of Kerouac’s works: Visions of Gerard (1963), Doctor Sax: Faust Part Three (1959), Visions of Cody (1972), and Book of Dreams (1960). Pulling from the fields of Beat studies, literary criticism, childhood studies, psychology, geocriticism, and American cultural history, I attempt to highlight the translation and transformation of Lowell in Kerouac’s texts into a psycho-literary space.Item Max Weber at work 1910-1912 : 'primitive' experiments beyond the known dimensions(2015-08) Plunger, Brady James; Henderson, Linda Dalrymple, 1948-; Rather, SusanThis thesis seeks to build on earlier interpretations of Weber's writings and paintings in the years between 1910 and 1912 by illustrating how the contemporary discourses of primitivism inflected Weber's assimilation of these and other areas of knowledge into his understanding of the intellectual, affective, and sensorial processes involved in the making and viewing of art. Of particular interest here are the intersections that Weber created in his two 1910 essays, "The Fourth Dimension from a Plastic Point of View" and "Chinese Dolls and Modern Colorists," between certain key primitivist tropes, his interest in "plastic" formal values and aspects of popular science and mathematics, and the wider cultural fascination with the spiritual. This thesis explores this web of associations to reveal that Weber's transformative engagement with primitivism alongside these other key concerns that governed his theorizing on the function and value of works of art. Central to this thesis are Weber's two 1910 texts along with his paintings of 1910-1912, including his "Crystal Figures," which stand as Weber's most substantive theoretical and aesthetic statements at this early moment of his career. These various productions are analyzed simultaneously to illustrate the ways in which Weber's writings and visual experimenting complement each other and reveal the novel ways in which he integrated diverse areas of knowledge into his arguments for the importance of art in the new world of the twentieth century.Item Yours truly : Fireworks and its psychosexual passage(2016-05) Edwards, Thomas Pearson; Reynolds, Ann Morris; Flaherty, GeorgeIn his 1947 film, Fireworks, young Kenneth Anger – both director and star actor – enacts a sexual rite of passage, using film techniques, theoretical methods, and visual tropes that descend from the avant-garde—favoring especially Surrealism and its penchant for psychoanalysis. Through the popularization of psychoanalysis in the United States and the influx of European avant-garde culture in Los Angeles in the 1940s, this thesis explores how Anger used these channels of influence to characterize his own fantastic sexual coming of age. The thesis reads select shots from the film to propose moments where form, Anger’s acting, and composition create meaning specific to an avant-garde, Surrealist context. In doing so, the paper identifies Anger’s filmic and ideological influences, allowing a historically and socially positioned viewing of Fireworks. Finally, the thesis addresses the implications of the growing trend in the 1940s for filmmakers and actors to exhibit their intimate, often sexual dreams and fantasies in the form of avant-garde, psychoanalytic work. The project’s supporting research includes mainly primary source material from little magazines, relevant avant-garde works preceding Anger’s film, film theory and criticism by Parker Tyler, and psychoanalytic texts by Sigmund Freud and Carl Jung.