The paradox expresses itself in the visceral relationship poets maintain with the dream, because oneiric
inspiration--from the creative and visionary dreams of poets of the past--is pervasive in their work.
The painting is oneiric
, with its peaceful, dreamlike blue, and reminiscent of childlike drawings.
The theme of the Orient determines which memories he chooses: Malraux does not speak of his political action in France, but of his missions in Asia where he plays at a form of oneiric
diplomacy between civilizations.
Ascanio is weak, he searches for existential meaning in women, oneiric
realities and in Chinese philosophies.
The provincial town situated on the East coast of the Italian peninsula is transfigured in an oneiric
vision: "Rimini: a word made up of spears, little soldiers in a line.
In this sensitive extension of the surface, which vibrates with the textural and chromatic effects of his material insertions, the pills become an element of spatial punctuation that allude to an imagined galaxy, intentionally positioned as the space of the idea, somewhere between the oneiric
and the real.
With Iphigenie, he introduced tropes and dramatic devices that have come to characterize his style: drugs and alcohol are omnipresent and serve as bridges to the oneiric
and underlying realities of the text; taboos abound in representations of homosexuality, incest, rape and lust.
We don't see the dream, though its recounting foreshadows the oneiric
qualities of Atomic Heart's second half.
The band have just released a new track from their debut album, Oneiric
, entitled Lock & Key.
The artist's selection, after an evening of dazzling musical bravado, brought the audience suddenly and unexpectedly to an oneiric
musical dimension that was lush, enigmatic and wistful.
In the Mariner's story, which is by and large an oneiric
experience, his dream symbols reflect the condition of his inner world.
According to Garcia Santo-Tomas, the theme of imaginative or oneiric
celestial voyages defines the satire written by such authors as Luis Velez de Guevara (El Diablo Cojuelo, 1641), Pantaleon de Ribera (the Vejamen), and Juan Enriquez de Zuniga (Amor con vista, 1625).