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Dream and Inspiration. Recent Approaches to a Topos in Art and Literature

  • December 24, 2015




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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) 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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