Abstracts for a general contention (Saarbrücke, Oct 5-7, 2016) are invited by Mar 31, 2016.
Since antiquity, though generally from a 18th century onwards, dreams have been deliberate as spaces of knowledge means of charity an artistic source of impulse and creativity. The topos of a romantic as artist and, vice-versa, of a artist as a dreamer, manifested itself not usually in a fanciful discourses of Romanticism and of successive generations of artists and writers. It also appears in countless works of poetry, in paintings and a striking arts. Jean Paul poignantly suggested that “The dream is an contingent kind of poetry”, while visible artists such as Fuseli, Ingres or a Nazarenes drew on a dream embellishment to demonstrate their mindfulness for a routine of artistic creation. In this context, forgetful emerges as a prolific state of alertness that enhances a talented ability of a artistic mind and renders it receptive to extraneous stimulations of otherworldly origin.
This contention aims during a reformation of a philosophical and artistic discourses surrounding a elegant and artistic intensity of dreams, generally with a perspective to their chronological as good as informative particularities. It acknowledges, further, a need for context-specific box studies of artistic works in sequence to benefit a differentiated design of a functions and interpretations of a topos. It is usually by bringing together analyses from such opposite fields as a visible humanities and novel as good as music, entertainment and film, that it becomes probable to mention a mixed references to other discourses of impulse on a one palm and to normal conventions of illustration and account patterns on a other. This proceed also critically interrogates a parable of a released complicated artistic theme that, empowered by a erotic dream experience, is means to rise openly and unhindered by educational doctrine and receptive criteria. While focusing on a 18th and 19th centuries, a contention also takes into care phenomena from progressing durations that chuck into service a duration underneath discussion. Examples from a 20th and 21st centuries are also welcome, generally if they prominence a accepting and expansion of a topos in some-more new media.
Topics may include, but are not limited to:
– The dream as a embellishment for feeling discernment and artistic productivity, maturation over receptive interpretations of reality
– Representations of dreams in a context of contemporary discourses of impulse (e.g. a sermon of genius)
– Parallelisms of opposite dream concepts in artistic and elegant works (e.g. a regularity of idealist aesthetics in a Romantic accepting of a Middle Ages)
– Considerations on a artistic process: Is there a association between a dream subject and a expansion of innovative impressive language, account strategies, etc.?
– Historical dimension: Can a topos of a forgetful artist be deliberate as a specific materialisation of a Enlightenment, of romanticism or of symbolism? How do successive generations of artists and writers (e.g. surrealism and informalism) conflict to this topos?
– Media-specific particularities concerning a topic’s illustration and interpretation
In suitability with a interdisciplinary proceed of a connoisseur propagandize “European Dream-Cultures”, papers can be submitted by researchers (PhD candidates, postdoctoral researchers and habilitation candidates) from a far-reaching operation of disciplines such as art history, literature, history, philosophy, theatre, film and media studies, as good as musicology.
Please send a pdf-file containing an epitome of approximately 400 words, a curriculum vitae and a list of publications (if applicable) to Marlen Schneider (traumkulturen(at)uni-saarland.de) by Mar 31, 2016.
Papers should be singular to 20 minutes, and can be presented in possibly German or English. The announcement of contention record is planned.
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