Onirism in Literature
Onirist
The onirist school of thought formed in Bucharest in 1964 around a nucleus composed of Dumitru Țepeneag and Leonid Dimov (writers who were members of the Luceafărul literary circle – named for the literary magazine Luceafărul, edited at the time by Eugen Barbu). There Ţepeneag, Barbu and Dimov met Virgil Mazilescu, Vintilă Ivănceanu and Iulian Neacşu.
After Eugen Barbu was replaced as a leader of the circle by the ex-avant-garde writer Miron Radu Paraschivescu, Paraschivescu published a poetry-and-prose supplement to the magazine Ramuri called Povestea vorbei; his goal was a new avant-garde magazine uniting old and new oniric poets and writers. In 1966 Vintilă Ivănceanu, Dumitru Ţepeneag, Leonid Dimov and Virgil Mazilescu would all publish in Povestea vorbei before the magazine was summarily banned by the Stalinist government.
Beginning in 1968, the center of the oniric movement moved toward Luceafărul; there (in addition to the above-mentioned poets and writers), Emil Brumaru, Florin Gabrea, Sorin Titel, Daniel Turcea and others would publish.Although it was rooted in world oniric literature (especially German Romanticism – considered by some critics to be a current related to surrealism – and new French fiction), the group was quickly banned by Romanian censorship and Ţepeneag was forced into exile in Paris.
Many onirist writings remaining in Romania have recently been collected into a book by Corin Braga, a conservator of the aesthetics of onirism. Onirism extends into Romanian postmodernism in the works of Mircea Cărtărescu.
Onirism in medicine
In psychiatry, onirism refers to a mental state in which visual hallucinations occur while fully awake. It is a symptom of some parasomnias (such as REM sleep behavior disorder and breakdown syndromes), but is more often associated with drug abuse.
Oneiric in film theory
In film theory, the term oneiric refers to the depiction of dream-like states or to the use of the metaphor of a dream or the dream-state in the analysis of a film.
History
Early film theorists such as Ricciotto Canudo (1879–1923) and Jean Epstein (1897–1953) argued that films had a dreamlike quality. Raymond Bellour and Guy Rosolato have made psychoanalytical analogies between films and the dream state, claiming films as having a "latent" content that can be psychoanalyzed as if it were a dream. Lydia Marinelli [de] states that before the 1930s, psychoanalysts "primarily attempted to apply the interpretative schemata found in Sigmund Freud's Interpretation of Dreams to films."
Author Douglas Fowler surmises that "images arising from dreams are the well spring of all our efforts to give enduring form and meaning to the urgencies within," seeing this as the reason why "the deep structure of human narrative is conceived in dreams and the genesis of all myth is dreams." Author Robert Eberwein describes the filmic experience as the merging of a viewer's consciousness with the projected consciousness of the screen's subject, a process whereby the viewer's prior experiences with dreaming "help to create a sense of oneness" with cinema, causing the gap between viewer and what is being viewed to narrow. Under this theory, no matter what is being shown on the screen — whether the literal representation of a character dreaming, or the fictional characters of a story going on about their fictional lives — the very process of viewing film itself "replicates activities associated with the oneiric experience."
Films and dreams are also connected in psychological analysis by examining the relationship between the cinema screening process and the spectator (who is perceived as passive). Roland Barthes, a French literary critic and semiotician, described film spectators as being in a "para-oneiric" state, feeling "sleepy and drowsy as if they had just woken up" when a film ends. Similarly, the French surrealist André Breton argues that film viewers enter a state between being "awake and falling asleep", what French filmmaker René Clair called a "dreamlike state". Edgar Morin's Le cinéma ou l'homme imaginaire (1956) and Jean Mitry's first volume of Esthétique et psychologie du cinéma (1963) also discuss the connection between films and the dream state.
History
Early film theorists such as Ricciotto Canudo (1879–1923) and Jean Epstein (1897–1953) argued that films had a dreamlike quality. Raymond Bellour and Guy Rosolato have made psychoanalytical analogies between films and the dream state, claiming films as having a "latent" content that can be psychoanalyzed as if it were a dream. Lydia Marinelli [de] states that before the 1930s, psychoanalysts "primarily attempted to apply the interpretative schemata found in Sigmund Freud's Interpretation of Dreams to films."
Author Douglas Fowler surmises that "images arising from dreams are the well spring of all our efforts to give enduring form and meaning to the urgencies within," seeing this as the reason why "the deep structure of human narrative is conceived in dreams and the genesis of all myth is dreams." Author Robert Eberwein describes the filmic experience as the merging of a viewer's consciousness with the projected consciousness of the screen's subject, a process whereby the viewer's prior experiences with dreaming "help to create a sense of oneness" with cinema, causing the gap between viewer and what is being viewed to narrow. Under this theory, no matter what is being shown on the screen — whether the literal representation of a character dreaming, or the fictional characters of a story going on about their fictional lives — the very process of viewing film itself "replicates activities associated with the oneiric experience."
Films and dreams are also connected in psychological analysis by examining the relationship between the cinema screening process and the spectator (who is perceived as passive). Roland Barthes, a French literary critic and semiotician, described film spectators as being in a "para-oneiric" state, feeling "sleepy and drowsy as if they had just woken up" when a film ends. Similarly, the French surrealist André Breton argues that film viewers enter a state between being "awake and falling asleep", what French filmmaker René Clair called a "dreamlike state". Edgar Morin's Le cinéma ou l'homme imaginaire (1956) and Jean Mitry's first volume of Esthétique et psychologie du cinéma (1963) also discuss the connection between films and the dream state.
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