Category: Areas of Research

Posted on

Jung’s Seminar on Children’s Dreams

imagesChildren’s Dreams: Notes from the Seminar Given in 1936-1940 by C.G. Jung, edited by Lorenz Jung and Maria Meyer-Grass, translated by Ernst Falzeder with the collaboration of Tony Woolfson (Princeton University Press, 2008).

This new English translation of C.G. Jung’s seminar on the earliest remembered dreams of childhood marks a dramatic advance in the study of Jungian dream theory.  The book makes available to English readers a fascinating, informative, and thought-provoking source of insight into Jung’s practical approach to dream interpretation.  It will appeal to anyone who wants to learn more about how Jung actually worked with dreams.  The book will also serve as an important resource for teachers and researchers in their use and/or criticism of Jung’s psychology of dreams.  Although the title suggests a narrower focus, Children’s Dreams in fact provides the best single source for understanding the broader dimensions of Jungian dream theory.

From 1936 to 1940 Jung taught the seminar at the Swiss Federal Institute of Technology in Zurich.  The participants included some of his brightest followers, including Marie-Louis Von Franz, Aniela Jaffe, and Jolande Jacobi.  Each meeting of the seminar involved one of the participants presenting and analyzing an early childhood dream report (or brief dream series), after which Jung would comment and other participants would ask questions and respond to Jung’s ideas.  We cannot know how faithfully the transcript represents what actually happened in the seminar, but the written text does give the strong sense of a lively, intelligent, free-flowing conversation among people who knew Jung’s theories very well and wanted his guidance in applying them.

Virtually no mention is made of the ominous political situation in Europe at this time, i.e., the rise of Hitler and the Nazis in Germany and the outbreak of World War II.  A Jung critic might take this as a retreat from the real problems of the world into the self-reinforcing fantasy world of dream symbolism.  A more sympathetic reader might wonder if the seminar participants found this work so compelling precisely because they knew that dark forces were afoot and they wanted to gain better practical insight into the deep psychological roots of the darkness threatening their civilization.

The first chapter, Jung’s introductory lecture to the class, is itself worth the price of the book.  In clear, straightforward language Jung lays out the basic principles and themes of his approach to dream interpretation.  He puts special emphasis on the earliest remembered dreams of childhood because these types of dreams often relate to primordial themes in the collective unconscious and thus offer an especially good view of archetypal dynamics.  In this Jung highlights a key notion in his overall psychological system: “[T]he unconscious is older than consciousness….The unconscious is what is originally given, from which consciousness rises anew again and again.” (7)   Children have less conscious superstructure than adults and thus more direct exposure to oneiric blasts from the collective unconscious. This is not always a good thing.  On the contrary, one of the remarkable features of the dreams presented in the book is their relentlessly negative, violent, frightening character.  Most of the dreams are nightmares, many of them recurrent.  This may reflect the fact that the seminar participants drew most of the dream reports from their clinical practices with people suffering psychophysiological problems.  It may also reflect what Jung considered the numinous power of the archetypes, their overwhelming energy and consciousness-stretching impact on people, particularly early in their lives.

In the introduction Jung lays out his method of analyzing dreams in terms of a four-part dramatic structure:

1. Locale: Place, time, ‘dramatis personae.’

2. Exposition: Illustration of the problem.

3. Peripateia: Illustration of the transformation—which can also leave room for a catastrophe.

4. Lysis: Result of the dream. Meaningful closure. Compensating illustration of the action of the dream. (30)

Each dream in the book is analyzed according to this structure.  This creates a helpful unity across the length of the book, which at 468 pages requires an extensive commitment of time and energy to read all the way to the end.  For teaching and reference purposes the book can be read piecemeal, in selections of one or two dream discussions (each one goes for 10-15 pages).  But we found real value in reading the book start to finish because many of the most interesting exchanges between Jung and the participants pop up unexpectedly in reference to different dreams.  As the seminars proceed Jung refers back to previous dreams and their analyses, so there is definitely a cumulative quality to the text.

Jung’s Children’s Dreams will not, in all likelihood, satisfy contemporary researchers who ask about the reliability of memory processes in dream recall, particularly dreams that people are remembering from many years in the past.  Nor will those who question Jung’s assumption about the universality of the archetypes find any reason to give up their skepticism.  But for those who already appreciate and value Jungian dream theory, Children’s Dreams will be a cause for joy.  The book is comparable to Freud’s epic Interpretation of Dreams (1900) in providing a rich, complex, highly detailed exposition of Jung’s psychology of dreams and dream interpretation.


(Originally published in DreamTime 2009, co-authored with KB’s mother, Patricia Bulkley)

Posted on

Freud and Neuroscience: A Return to Origins

A chapter I wrote with that title appears in the recently published book Disciplining Freud on Religion: Perspectives from the Humanities and Social Sciences, edited by Gregory Kaplan and William B. Parsons (Rowman & Littlefield, 2010).  Here is the abstract: “Freud developed psychoanalysis on the basis of a neurological model of human mental functioning. Scholars and clinicians who value Freud’s theories but disagree with his materialist reductionism have generally tried to downplay the neurological roots of psychoanalysis by suggesting that his scientific rhetoric merely reflects a nineteenth-century worldview that Freud’s own ideas were destined to transform. Meanwhile, critics of psychoanalysis have insisted on the inseparability of Freud’s later theories from their earlier medical context, the better to reject psychoanalysis as outmoded pseudoscience. In neither case are Freud’s original interests in the neural underpinnings of psychological life examined with a fair and respectful eye. This chapter aims to recover and update the neurological foundations of psychoanalysis, with a special focus on the implications for Freudian theories and methods in the study of religion.”

Posted on

The Inception Files

It’s reasonable to expect a dream researcher would have a clear, informed opinion about the movie Inception.  Unfortunately I don’t.  Instead I’m caught between conflicting impressions, some favorable, mostly critical. Three factors inclining my thumb in an upward direction:

1. Christopher Nolan.  It’s great to see a brilliant director at the top of his game deciding to do a film entirely about the multiple realities of dreaming.

2. Intellectual daring.  As good dreams often do, Inception pushed its audience to think new thoughts and question their epistemological certainties.

3. Accurate portrayal of the “realness” of dreaming: When Ariadne (Ellen Page) is sitting at the sidewalk cafe she suddenly realizes she can’t say how she got there—and in that moment understands she is dreaming.  This is true for many people whose dreams start in media res and who simply accept their dreaming experiences as real while they’re happening.

Five problems drawing my thumb downward:

1.  Lack of dreaminess.  This was the biggest disappointment.  For a film supposedly about dreaming, it lacked the visceral power and alluring weirdness of actual dreams.  Everything fit together too neatly; every detail in the dream worlds had a direct explanatory cause, whether because of the emotional repression of Cobb (Leonardo DiCaprio), or because of actions in outer reality.  It seemed a very cerebral take on dreams.

2. Heavy heavy heavy.  The press of gravity seemed to drag everything in the movie down, from the fantastic buildings crumbling into the sea to the elevator down to Cobb’s unconscious basement, from the suicidal plunge of his wife Mal (Marion Cotillard) to endlessly falling passenger van.  There was virtually no humor in the movie, no romance, no lighthearted playfulness.  Falling is indeed a common experience in dreaming, but that gravity-bound vibe took over the movie.

3. Loud, noisy, and filled with unnecessary action.  This may have been necessary to attract teenage boys, but it helped extinguish any kind of truly dreamy atmosphere.  On the contrary, all the Bond-esque mayhem and derring-do merely reminded me it was summer and I was in a movie theater paying $10 for a popcorn spectacle.

4. Lame motivation.  If I understood correctly after two viewings, Cobb and his crew were risking life and limb to help one mega-corporation stop another mega-corporation from getting too much money and power, so the first mega-corporation could…get more money and power?  Of course Cobb has the personal goal of getting back to his kids, but the murky corporate espionage theme made it hard to care about his team and their mission.

5. Didn’t make me forget The Matrix. I re-watched that film with my kids a few nights ago, and we loved every single scene of it–as soon as it was over we wanted to watch it again.  I don’t think Inception will generate that kind of long-term reverence and delight.

Pages: 1 2 3 4 5
Posted on

Detecting Meaning in Dream Reports: An Extension of a Word Search Approach

A new article I co-authored with Bill Domhoff is appearing in the latest issue of the APA journal Dreaming (vol. 20, no. 2, pp. 77-95).  The abstract is below.

What amazed me about this project was how easy it was to make accurate inferences about the waking life of our participant, “Van,” without ever reading his dream narratives–just by looking at the statistical frequencies with which he used certain words in reporting his dreams.

Our findings are additional evidence in favor of the idea that dreaming has meaningful psychological structure, and against the idea that dreaming is merely random nonsense from the brain during sleep.

ABSTRACT:

Building on previous investigations of waking-dreaming continuities using word search technology (Domhoff and Schneider 2008, Bulkeley 2009a, 2009b), this article demonstrates that a blind analysis of a dream series using only word search methods can accurately predict many important aspects of the individual’s waking life, including personality attributes, relationships, activities, and cultural preferences.  Results from a study of the “Van” dream series (N=192) show that blind inferences drawn from a word frequency analysis were almost entirely accurate according to the dreamer.  After presenting these findings we discuss several remaining shortcomings and suggest ways of improving the method for use by other researchers involved in the search for a more systematic understanding of meaning in dreams.

Bulkeley, Kelly. 2009a. The Religious Content of Dreams: New Scientific Foundations. Pastoral Psychology 58 (2):93-101.

———. 2009b. Seeking Patterns in Dream Content: A Systematic Approach to Word Searches. Consciousness and Cognition 18:905-916.

Domhoff, G. William, and Adam Schneider. 2008. Studying dream content using the archive and search engine on DreamBank.net. Consciousness and Cognition 17:1238-1247.

Posted on

Dreaming in Christianity and Islam

Bulkeley_LAt a time when Christianity and Islam appear to be mortal enemies locked in an increasingly bloody “clash of civilizations,” new insights are needed to promote better mutual understanding of the two traditions’ shared values.  Dreaming in Christianity and Islam: Culture, Conflict, and Creativity (edited by Kelly Bulkeley, Kate Adams, and Patricia M. Davis (Rutgers University Press, 2009) provides exactly that.  This new book is a collection of articles by international scholars who illuminate the influential role of dreaming in both Christianity and Islam, from the very origins of those traditions up to the present-day practices of contemporary believers.

Dreams have been a powerful source of revelation, guidance, and healing for generations of Christians and Muslims.  Dreams have also been an accurate gauge of the most challenging conflicts facing each tradition.  Dreaming in Christianity and Islam is the first book to tell the story of dreaming in these two major world religions, documenting the wide-ranging impact of dreams on their sacred texts, mystical experiences, therapeutic practices, and doctrinal controversies.

The book presents a wealth of evidence to advance a simple but, in the contemporary historical moment, radical argument:  Christians and Muslims share a common psychospiritual grounding in the dreaming imagination.  While careful, sustained attention will be given to the significant differences between the two traditions, the overall emphasis of the book is on the shared religious, psychological, and social qualities of their dream experiences.

Throughout their respective histories Christians and Muslims have turned to dreams for creative responses to their most urgent crises and concerns.  In this book the contributors apply that same imaginative resource to the current conflict between the two traditions, seeking in the depths of dreaming new creative responses to the global crisis of religious misunderstanding and fearful hostility.  Included in the book are chapters on dreams in the Bible and Qur’an; on the early history of Christian and Muslim beliefs about dreaming; on religious practices of dream interpretation; on the dreams of children, women, college students, and prison inmates; and on the use of dreams in healing, caregiving, and creative adaptation to waking problems.

Posted on

14 Weirdest Dreams in Hollywood

19352_323290192707_84882342707_3430634_8273283_nThe April 2010 issue of the British film magazine Empire includes a feature in which I interpret the dreams of 14 movie actors and directors: Robert Downey, Jr., Kate Winslett, Peter Jackson, Milla Jovovich, Judd Apatow, Kristen Bell, Samuel L. Jackson, Steven Soderbergh, Marion Cotillard, Rachel Bilson, Robert Carlyle, Ray Winstone, and Sam Mendes. 

The editor and “dream wrangler” who gathered the reports, Nick de Semlyen, did not tell me who the dreamers were–all I had to work with were the dreams themselves. 

Below are the full commentaries I sent in response, the “director’s cut” as it were. A pdf of the slightly shorter published article can be accessed here:

14 Weirdest Dreams in Hollywood

This method of blind analysis appeals to me because it strictly focuses one’s attention on the themes, symbols, and emotional dynamics of the dream itself, without prematurely seeking connections with the known details of the dreamer’s waking life.  This was not a pure experiment, however, because I did know the dreamers were involved in the film industry in some way.

For more on the blind analysis”method of studying dreams, see the paper I recently co-authored with G. William Domhoff, “Detecting Meaning in Dream Reports: An Extension of a Word Search Approach,” which will appear in a forthcoming issue (June, I’m told) of the IASD journal Dreaming. 

1) “My favourite dream is one I had in college, I was a homeless person on a bridge, wearing very tattered layers of clothing and the world was cast in this sepia tone and I was fishing with a piece of string off the bridge into the Thames for worms, and I would pull them out and put them in my mouth.”

 (Gillian Anderson)
             For many people college marks the transition to adulthood, when we leave our families and begin living on our own.  Here the dreamer is cast as a homeless person, in a scene of apparent misery and hardship.  As a metaphor, this could reflect the concerns a typical college student might feel about difficult life changes and, in a real sense, becoming “home-less.”

            But much more seems to be going on.  Consider the setting: the River Thames is the most historic waterway in Britain, an ever-flowing source of collective life and cultural power.  The dreamer is sitting on a bridge that spans this epic river.  She is connected to the water with a string, just as the bridge connects the two sides of land.  It’s a remarkable image of elemental symmetry, with the dreamer positioned at the very center.

            Then there’s the strange business of backwards fishing. Instead of taking worms from the earth and putting them into the river to go into the mouth of a fish, the dreamer pulls worms out of the river and puts them into her own mouth.  It’s the complete reverse of normal fishing—as if she were the one being fished.

            The dreamer probably didn’t know it, but the color sepia originally derived from the brownish ink produced by a certain species of fish (sepia means “cuttlefish” in Greek).  Details like this may be just a coincidence, but sometimes they point to deeper unconscious meanings. 

            So this whole dream is enveloped in a strangely “fishy” atmosphere, with a superficial drabness masking a deeper structure and hidden purpose. 

            It sounds to me like the first chapter of a heroic myth: the youth who begins as the lowest of the low is drawing strength from the waters of her ancestors, getting ready to seek fame, fortune, and adventure out in the wide world.  

 2) “I had a really cool dream that I was doing a scene with the young Jack Nicholson.  Five Easy Pieces era Jack. We were in the desert, with this really rad-looking ’70s car, and I was really killing this scene, being super-great in it. And then the wardrobe people came over and said ‘Oh my God, he’s wearing the wrong colour shirt’ and I was really upset — all this good work I’d done was ruined because Jack’s shirt wasn’t the right colour.”

 (Millo Jovovich)

             When people dream of celebrities it usually reflects some degree of psychological identification with the public personas of those famous people.  The dreams envision us being in the company of powerful, talented people who embody the qualities and strengths we wish to possess ourselves. 

            When the theme of time travel enters the picture it suggests a quest for a deeper connection, something akin to what Australian Aborigines seek in the Dreamtime, when the ancestors still walked through a freshly created world.  An actor’s version today might be something like this dream, going back to a legendary time when movie-making was a daring, creative adventure.

            The dream turns into a nightmare, however, when the dreamer is confronted with the brutal fact of her lower status on the actor’s totem pole.  No matter how good her work may be, her career is still vulnerable to the whims of bigger stars.     

 3) “I was standing under a huge tree — it must have been on the Serengeti, somewhere in Africa — and I was watching my family being eaten by lions. I had that dream over and over again when I was a kid… I’m guessing it came from some programme I saw on the telly. For that reason I’ve never been to Africa and I would never take my family there. Even now I’m shit scared of lions and when I go to the zoo I get the feeling that they can smell me and they’re plotting to get me. I’ll tell you how ridiculous my fear of them is: my daughter had to go to South Africa last year to do a film and I was begging her not to go. Because of the lions.”

 (Ray Winstone)

              One can imagine exactly the same nightmare being experienced by our human ancestors thousands of years ago when they actually lived on the Serengeti and had to worry about real lions attacking them.  The instinctual imprint of that fear still echoes in the dreams of people today.  A TV show might spark it, but the unconscious mind is already primed to raise the alarm.  Even if they seem out of place in modern society, even if they seem entirely foolish and unreasonable, these hard-wired instincts still shape our perceptions of possible dangers in the world. 

            There might be something more to the symbolism of the lions for this dreamer, perhaps having to do with family aggression or masculine authority.  The persistence of this fear from a childhood dream into adulthood makes me wonder if this is a person who, for better or for worse, puts great trust in his instincts and gut-level reactions. 

4) “When I was nine years old, I dreamed I was a hippo in a ballerina skirt, like the one in Fantasia. It got worse, because I had to pee in my dream and when I woke up I’d wet my bed. That’s pretty embarrassing, right?

 (Rachel Bilson)

             It shouldn’t be.  Bedwetting in childhood is fairly common, and certainly nothing to be ashamed of.  A precocious desire to perform in the movies comes through in this dream, and also perhaps a warning that too much “fantasy” can interfere with impulse control and taking care of one’s basic physical needs.

 5) “I’m coming into a modern city and the buildings are charging each other with electricity, like big Tesla coils. Then I go on a date with two twins and they kill me at the end. Analyse that.”

 (Robert Downey, Jr.)

             This sounds like the dream of a maniacal super-hero! Or someone with extraordinary creative talents he struggles to control.  Or perhaps just someone who’s pulling our leg. 

            The vivid image of an electrically surging city, followed by the lustful fantasy of dating twins, leads to an abrupt end with the dreamer’s death.  As a brief set of images, whether from a dream or not, it does accurately portray the up-and-down psychology of a manic episode.  During such episodes the cognitive line between waking and dreaming can effectively disappear.

 6) “I have this dream about falling all the time. People say that if you ever hit the ground in a falling dream you’ll have a heart attack and die. So I try to stay with the dream and see what happens. I’ve actually fallen from very high distances, hit the ground, gone through and ended up in water. But I can still breath and finally end up in air again. Then I start flying. It’s a very cool dream; I kind of look forward to it now.”

 (Samuel L. Jackson)

              To actually die in a dream, rather than waking up just a moment before death, is indeed unusual.  When it occurs it tends to be very memorable and thought-provoking.     

            One of the general functions of dreaming is to expand our conscious sense of possibility and keep our minds flexible, adaptive, and open to alternative perspectives.  In this case the dreamer pushes the process further than most people are willing to go.  In many religious traditions these would be considered mystical experiences, and the dreamer might be taken aside for special training as a healer or shaman.

            Some research has suggested that people who can guide their dreams like this have better physical balance and spatial coordination in waking life.  Perhaps this dreamer is a dancer or an athlete of some kind?

 7) “The recurring one from my childhood was the witch of the west walking up my road, bending each lamp post over and blowing out each lamp one by one as she got closer and closer, and when she blew out the last lamp I woke up…like wailing. It happened over and over again.”

 (Sam Mendes)

             Recurring dreams from childhood often stem from problems and conflicts destined to last a lifetime.  Sometimes the dreams have a personal context, but often they draw upon collective images that express the shared concerns of all humankind (what Jung called “archetypes”). 

            I don’t know anything about the dreamer’s personal life, but his nightmares reveal a painful truth: death is coming to get us.  The reference to the Witch of the West from “The Wizard of Oz” indicates an early turn to movies as a refuge from this fear.  Movies offer the fantasy of immortality—if death is cast as the wicked witch, perhaps the dreamer can be like Dorothy and escape her clutches.

            Although it might seem cruel for a child to be confronted so early with the dark specter of mortality, such dreams mark a valuable step in the development of mature consciousness.  Most of the world’s religious traditions regard an acceptance of death as the key to true wisdom.

Pages: 1 2