PDF) Н. Петрова_ Живой Мартын Задека в действии: Толкование сновидений в ГУЛАГе | Natalya Petrova.
Н.Петрова_Живой Мартын Задека в действии": Толкование сновидений в ГУЛАГе
The thesis investigates the folk tradition of dream interpretation in the eastern Slavic culture. Essential materials for the research are narratives about prophetic dreams recorded by the author in the Poltava region (2012–2018 years). The work aims at describing the ways of dream interpretation, which are (almost) not reflected in the “oral dream books” (commentaries of informants accompanying the story about a prophetic dream, and other explanatory narratives). For this purpose, the author describes invariant narrative schemes that are common for narratives about prophetic dreams containing the similar logic of interpretation. Analyzing the texts, we can conclude that a dreamer has pretty much freedom in attributing interpretations to dreams. Interpretation of a dream plot depends on emotional and sensual components of dream experience, individual associations of a dreamer, and a context in which a dream is told and interpreted. In spite of the singularity of every dream and dreamer, the traditional interpretations of dream plots are not arbitrary: they come down to the models, which are revealed in the work. These invariant narrative structures (“interpretation models”) can be derived from the prophetic dream narratives, but not from brief formulae “if you see in the dream X, it predicts Y in reality”. The common structures of dream plots (which have similar “prophetic meaning”) correlate with the narrative schemas underlying the folklore texts of other genres (riddles, fairy tales, belief narratives and so on).
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The article is devoted to the folk tradition of dream interpretation in the eastern Slavic culture. Emotions, appearing during dreaming, are one of the objects of interpretation, for example «happiness in dream means misfortune», or «be crying in the dream predicts happiness». Such researchers, as N. I. Tolstoy, S. Niebzegowska and others, who studied oral dream book, paid no particular attention to the interpretation of emotions, because their main interest was about symbolic of visual images of dreams. Drawing on fieldwork conducted in the Poltava region, the author examines traditional patterns of interpretation emotional-laden dreams. These narratives can be divided into two groups: 1) the dream tales in which feelings meant opposite: «happiness in dream means misfortune», «be crying in the dream predicts happiness», 2) the narratives in which emotions were interpreted literally (unpleasant feelings meant unpleasant events in life, for example — the sense of shame in a dream predicted dishonor). Comparing these two groups we can make a conclusion, that the first case is not exclusively about emotion themselves: in the first place were interpreted the actions aimed at the expression of emotions (laugh, crying, dancing and so on). The dreams, which were interpreted literally, had been related to the notion of disturbing dreams. The dreams causing unpleasant emotions (anxiety, perplexity, fear, dissatisfaction, aversion) were interpreted by the respondents as a «bad dreams», even though the dream plot predicted something favorable according to the oral dream book and opinions of other interlocutors (during the group interview). The negative emotions experienced in the dream influence on its interpretation, because a dreamer tends to pay attention on the «negative» images (from the traditional point of view) and ignore «auspicious» signs.
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Oral dream-books contain the formula “a black horse predicts a disease, and a white horse predicts death”, which has been recorded from several Eastern Slavic regions. It differs from the usual way of interpretation of the same object depending on its color in the dream space. As a rule, in this case, a black object portends death / illness / “something bad”, and the white one, on the contrary, has a positive meaning. The article considers the narratives about prophetic dreams with the image of a white or a black horse. The author attempts to find parallels between the plot of these dreams and belief narratives, containing the image of a white or a black horse. Basing on comparative analysis of these texts, the author concludes that white (black) color of the horse actualizes understanding of this animal as a certain demonic being (its personification or attribute) not only in the belief narratives (for example, the stories about a dead person or the spirits of the forest (field) who are riding the black or the white horse), but also in narration about a prophetic dream. Some of such dreams represent classic examples of otherworld dreams (“inomirnye sny”), the main motif of which is a contact with other world beings. For example: the dream about a dead one riding a white (black) horse and taking away a person, who is alive, predicts death of this person. Some of the analyzed texts can be reduced to patterns of otherworld dreams, for example: the dream about living person, who left away with a white horse, predicted death of this person. On the one hand, it explains the negative interpretation of the both images (either of a black or a white horse) in the oral dream-book, on the other hand — the similarity of such images and their interpretation in the dream narratives, which contradicts with the formula “a black horse predicts a disease, and a white horse predicts the death”. Namely, it doesn’t matter if a dead one sleighs either a black or a white horse or a living person takes a horse of each such colors by bridles, but the interpretation of the prophetic dream remains the same.
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Лазарева А.А. Эмоции как объект толкования в славянских народных рассказах о вещих снах// Studia Slavica et Balcanica Petropolitana. № 2(20). 2016. С. 30-46.
On the author`s page: https://www.academia.edu/35748059/%D0%9B%D0%B0%D0%B7%D0%B0%D1%80%D0%B5%D0%B2%D0%B0_%D0%90.%D0%90._%D0%AD%D0%BC%D0%BE%D1%86%D0%B8%D0%B8_%D0%BA%D0%B0%D0%BA_%D0%BE%D0%B1%D1%8A%D0%B5%D0%BA%D1%82_%D1%82%D0%BE%D0%BB%D0%BA%D0%BE%D0%B2%D0%B0%D0%BD%D0%B8%D1%8F_%D0%B2_%D1%81%D0%BB%D0%B0%D0%B2%D1%8F%D0%BD%D1%81%D0%BA%D0%B8%D1%85_%D0%BD%D0%B0%D1%80%D0%BE%D0%B4%D0%BD%D1%8B%D1%85_%D1%80%D0%B0%D1%81%D1%81%D0%BA%D0%B0%D0%B7%D0%B0%D1%85_%D0%BE_%D0%B2%D0%B5%D1%89%D0%B8%D1%85_%D1%81%D0%BD%D0%B0%D1%85_Studia_Slavica_et_Balcanica_Petropolitana._2016._2._%D0%A1._30-46 The article is devoted to the folk tradition of dream interpretation in the eastern Slavic culture. Emotions, appearing during dreaming, are one of the objects of interpretation, for example «happiness in dream means misfortune», or «be crying in the dream predicts happiness». Such researchers, as N. I. Tolstoy, S. Niebzegowska and others, who studied oral dream book, paid no particular attention to the interpretation of emotions, because their main interest was about symbolic of visual images of dreams. Drawing on fieldwork conducted in the Poltava region, the author examines traditional patterns of interpretation emotional-laden dreams. These narratives can be divided into two groups: 1) the dream tales in which feelings meant opposite: «happiness in dream means misfortune», «be crying in the dream predicts happiness», 2) the narratives in which emotions were interpreted literally (unpleasant feelings meant unpleasant events in life, for example — the sense of shame in a dream predicted dishonor). Comparing these two groups we can make a conclusion, that the first case is not exclusively about emotion themselves: in the first place were interpreted the actions aimed at the expression of emotions (laugh, crying, dancing and so on). The dreams, which were interpreted literally, had been related to the notion of disturbing dreams. The dreams causing unpleasant emotions (anxiety, perplexity, fear, dissatisfaction, aversion) were interpreted by the respondents as a «bad dreams», even though the dream plot predicted something favorable according to the oral dream book and opinions of other interlocutors (during the group interview). The negative emotions experienced in the dream influence on its interpretation, because a dreamer tends to pay attention on the «negative» images (from the traditional point of view) and ignore «auspicious» signs. ***** Работа посвящена изучению народной традиции толкования снов у восточных славян. Эмоции, возникающие у человека во время сна, являются одним из объектов интерпретации (см., например, толкования «радость — к горю», «слезы — к радости»). Однако исследователи «народного сонника» (Н. И. Толстой, С. Небжеговска и др.) не рассматривали подробно проблему толкования эмоций сновидца, занимаясь визуальными образами сновидений и их символикой. На примере нарративов о вещих снах, записанных в Полтавской области (г. Миргород, с. Любивщина, с. Зубовка), в статье изучаются механизмы толкования эмоциональных снов. Эти рассказы можно разделить на две группы: 1) нарративы, в которых испытанные во сне чувства предвещают противоположные эмоции в дневной жизни (радость ― к слезам, слезы ― к радости), 2) нарративы, в которых эмоции получают буквальное толкование (например, «неприятные чувства во сне ― к чему-то неприятному в жизни» или более конкретно: «чувство стыда во сне предвещает позор, чувство утраты ― смерть кого-то из близких»). Сравнивая обе группы рассказов, можно сделать вывод, что в первом случае интерпретируются не столько эмоции, сколько действия, направленные на их выражение: плач, смех, танцы, пение. Сновидец может и не ощущать соответствующих этим действиям эмоций (в особенности это касается снов о выражении радости), либо видеть кого-то другого смеющимся, танцующим, поющим (в этом случае сон истолковывается по той же модели, только прогноз сна будет не для сновидца, а для человека, которого он видел во сне). Буквальное толкование испытанных во сне эмоций связано с понятием «тревожных снов». Сны, вызывающие неприятные эмоции (тревогу, растерянность, страх, неудовлетворенность, отвращение), интерпретировались опрошенными как «плохие», даже если сюжет сна предвещал «что-то хорошее» согласно «устному соннику» и мнению других собеседников (во время группового интервью). Испытанные во сне неприятные чувства создают у людей установку на негативное истолкование сна, в результате чего сновидец склонен обращать внимание на «нехорошие», с точки зрения «сонника», образы сна и игнорировать благоприятные знаки.
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The article analyses those narratives about prophetic dreams where the interpretation depends on the correlation between the space in a dream and the real place. the most frequent motifs of such dreams are metamorphoses of a familiar landscape into which symbolic images are placed and where actions and movements happen. the author investigates regular mechanisms underlying the interpretation of real places seen in a dream that are (almost) not reflected in the texts of “folk hermeneutics”: “oral dream books”, commentaries of informants accompanying the story about a prophetic dream, and other explanatory narratives. Based on field work conducted in poltava Oblast (2012–2017) the article describes two basic models of interpretation: 1) place as a symbol of its inhabitants, 2) place as a visualization of the dreamer’s life trajectory. in accordance with the first model, the meaning of metamorphosis of a landscape or a plot that unfolds there (most often in the dreamer’s or somebody else’s garden) predicts the future of the owners (inhabitants) of that territory. the second model deal with narratives which predict relocations of the dreamer or their relatives. the author concludes that the structure of real space (its belonging to certain people or its location among other objects) determines the interpretation of its image in a dream.
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Nagornaja N. Oneironautics and modern oneiric novel (on the example of the novel Maxim Bodyagin "Dreams machine")
Abstract. The article deals with the novel "Dreams Machine" by the contemporary Russian writer Maxim Bodyagin from the point of view of oneyronautics. Key words. Oneironautics, oneiric novel, Dreams Machine, modern Russian prose, Maxim Bodyagin.
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Сновидения в творчестве Шекспира играют существенную роль, которая для нас, современных читателей, не всегда понятна. В данной работе представлена информация, которая не только поможет понимать произведения Шекспира, но также полезна при изучении сновидений в литературе елизаветинской эпохи в целом.
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Basing on field work conducted in Poltava region in 2012–2016 the author considers symbolism of trees in prophetic dream narratives. Interpretation of tree is not always explained by rules contained in the oral dream-book. There are three key patterns defining the interpretation of this image: a tree as a symbol of a person (or a human’s body), a tree as a symbol of a family, branches or fruits symbolize family members, a blossoming three or garden symbolizes love. The first metaphor gets actualized if the tree, which appears in the dream, is damaged. That kind of dream predicts someone’s sudden death or personal injury of the dreamer himself (usually broken arm or leg). The second — if the dreamer notices unevenness in the blossoming (fruiting) of the tree, which can be understood as a prediction of death/birth/recovery of person’s family members or relatives. The third option is associated with the image of fruit trees blooming in the dream. In most of dream narratives observed the respondents told about trees, existing in reality, which were seen in unusual state (knocked off, flowering, fruiting), or about the real place where the dreamer discovers a new tree. In other words, the image of a tree is often conceptualized as part of a territory belonging to certain people.
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В статье предлагается методика изучения литературных сновидений с учетом семи аспектов: филологического, лингвистического, феноменологического, психологического, символического, мифопоэтического и мистического. Исследование сновидений, включенных в «Повесть о Светомире царевиче» Вяч. Иванова, позволило выявить многообразие их текстовых функций, а также мифопоэтические, символические и мистические аспекты литературных сновидений.
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