Saturday, 24 December 2011

Dream Interpretation 15

DREAM 15

22 December 2011  

In my notes from Dream 14 (of same date), I mentioned how I had managed to programme myself to wake at intervals during the night (presumably after experiencing a dream), but had experienced problems in recalling those dreams (due to failure to sufficiently consolidate them in my memory before falling back asleep). However, this evening, at around 8pm, I was watching one of my favourite TV programmes, Eastenders, and upon seeing the character ‘Pat Butcher’ (who I had, two days ago, also read an online news article about, as she is very soon to retire from the soap) I recalled a further dream fragment. This one was so strange. Upon the dream memory being triggered by seeing ‘Pat’, I also remembered the moment I woke up in the early hours and the fact the dream had been on my thoughts i.e. I remembered remembering my dream.

Main environment
There was no scenery.

Timing
I don’t know.

Characters
Myself (as a passive observer); Australian model and recent star of ITV show, I’m a Celebrity Get Me Out of Here!  Emily Scott (the most recent series of the show ended a couple of weeks ago – I didn’t watch any of it, but I saw a lot of media coverage about the show and Emily). In the dream, I thought her name was ‘Emily Lloyd’ – I may have assumed this was her name in real-life, as immediately after I remembered the dream, I ‘googled’ the name “Emily Lloyd” and then realised the correct surname was actually ‘Scott’ after searching for the cast of I’m a Celeb... She was not known to me prior to her appearance in the show.
Emily Scott, Australian glamour model
Pam St Clement - 'Pat Butcher' in Eastenders (BBC)
A reconstruction of how Emily Scott appeared in the dream - from memory
Narrative
Before me was Emily Scott, standing in a white bikini. The first thing I noticed was her figure appeared less toned and quite flabby, with noticeably smaller breasts. I thought to myself, ‘she looks completely different’. Her hair was the same and I ‘zoomed in’ to see her facial features better. This happened in a way very similar to many online fashion/beauty magazines, which allow you to hover the mouse icon over an image of a celebrity/model to see a close-up shot (for example, runway images from vogue.com. A couple of days prior to the dream, I had used one of these online tools to view pictures of Kim Kardashian). I looked at her face, up-close and the ‘screen’ through which I looked at it kept shifting slightly left to right, up and down to give me a dislocated view of her entire face. I noticed the presence of lots of wrinkles – especially around her mouth and her skin was very orange (very similar to ‘Pat’ in Eastenders, now I realise, although this did not occur to me in the dream). I thought: ‘she looks a lot older’. I then had an image of a magazine before me, opened onto a double-page spread featuring Emily. It showed pictures of her in the Australian jungle – still images from I’m a Celeb... (I’ve searched for the same images online, and although there are many of her in the jungle, wearing a bikini, there are none exactly the same as those in my dream). The pages of the magazine turned over (no action from me) and I saw another photograph of Emily, a typical glamour model shot. She looked as she does in real-life. I thought: ‘yes, that’s what she looks like’.

Potential Triggers
Quite obviously, images/scenes from television and the media.

Interpretation
To see a celebrity in your dream represents your pursuit for pleasure and additionally, may represent a desire to have some of their physical or personality traits. Consider also who this celebrity is and what characteristics you associate with him or her - these may be the same characteristics that you need to acknowledge or incorporate into yourself. The dream may also be a pun on his or her name. To dream of a model specifically, represents an image that you want to portray. You are trying to be someone or something that you are not. Alternatively, it symbolises your idea of beauty. You are striving for something that you cannot attain. 

Bikinis relate to exposure and feelings of being inadequately protected, but alternatively, may represent a return to innocence/youth or superficial desires. 

To see a wrinkle in your dream represents your feelings of getting older or wiser. It also symbolises the things you have learned from your past experiences. To dream that someone else has a suntan suggests that you are not properly acknowledging a quality or aspect of that person within your own self.

To read a magazine in your dream indicates that you are opened to various new ideas – you should consider also the theme and name of the magazine and additional symbolism. To see a photograph in your dream indicates that there is a relationship that needs attention and deeper thought. Alternatively, the dream means that you are clinging on to the past or to some false hope - consider who or what is in the photo. The image may be trying to take you back to a particular moment in time.

Analysis
online) with the notion that I should exploit my looks while I still have my youth. I think fear of ageing is one of my main sources of anxiety. 

Further interpretation following 'free association exercise'
* Today (26th December 2011), I thought I'd update this dream interpretation with a recent discovery, which may have influenced the fusing of the Emily Scott/Pat Butcher characters in my dream. This realisation came to me following my posting of the two articles on Freudian dream analysis, so perhaps my ability to free associate on dream symbolism/imagery is improving through my studies of self-analytical technique. When Emily Scott appeared in I'm a Celeb...(2011), one of her fellow contestants was UK television personality Pat Sharp, who happens to live nearby to my home in London. One day, PS showed me his house and we commented on how nice it was. During the run of I'm a Celeb...(a few weeks ago), I mentioned to PS that Pat Sharp was taking part in the show and had been accused of being unfair to one of the female celebrities in the jungle. PS then told me of a memory from his early childhood, where he was celebrating his birthday in a local restaurant and had spotted Sharp (who at that time presented a popular children's TV show, Fun House). PS asked Sharp for an autograph and was refused, which PS considered very rude and unkind, considering he was a celebrity admired by a lot of young children at that time. This may account for the association of Emily Scott to 'Pat' and 'Pat' to 'Pat Butcher'. The incident between PS and Sharp (in the early 1990s) is a reference to the disparity between childhood and adult life perhaps - accounting for the fusing of the Emily and Pat character - one representing youthful sexuality (Emily is in her late twenties I think) and the other old-age (Pam St Clement is 69 years old and soon to 'die' as her on-screen character 'Pat Butcher'). Further, this would also explain my thoughts which doubted Emily's outward appearance - ['this isn't what she looks like']. She did not appear to meet the 'publicised' image I held before seeing her 'close-up' (which mirrors the experience of PS in meeting Sharp as a child - at close inspection he did not seem to be the same person as presented on television). This interpretation is reinforced by the next scene, where the magazine is presented before me and I am able to see the 'airbrushed' reality - or the perfect media image - and recognise this to be ['what she really looks like'] - i.e. the media version of truth. Aligned with these thoughts, is the knowledge that photographs often reflect a different 'self' to that seen in the mirror - flaws can be distorted or hidden and if you are photogenic, an image which is admired as 'flattering' or 'sexy' may not match how you appear in three dimensions. The self I see on a daily basis is not the same as the self I capture on camera (I prefer to see a photograph of myself as opposed to looking in the mirror) and the self seen on photograph even then does not compare with the photographs of celebrities in the popular media, which are often significantly corrected and enhanced (i.e. manipulated by lighting techniques, camera trickery, make-up and Photoshop). The fact that media images provide distorted images of ageing creates anxiety and body dysmorphic perceptions of self. I think these themes are present in my dream, although I will think about it further and see what other associations come to mind.

Friday, 23 December 2011

Dream Interpretation 14

DREAM 14 

22 December 2011 

Although I haven’t yet seen any noticeable difference in my dreaming patterns as a result of my lucidity ‘triggering’ exercise of regularly meditating on the colour of my fingernails, I have however found it very simple to train myself to naturally wake after a period of dreaming – over the last three nights I have woken at intervals, knowing I have just experienced a dream. Whilst falling asleep, I used the ‘positive affirmation’ technique of conditioning myself to wake after a dream and recall that dream. However, since using this method, I have found that my dream recollections have suffered – I only seem to remember dislocated fragments. My conclusion is that the technique certainly seems to work, but I notice that my lack of recollection is largely due to the fact I’m not yet disciplined enough to make full attempts of recording and consolidating my dream memory when I wake during the night. Therefore, I had better recall of 1 – 2 dreams upon waking in the morning, than now, waking at intervals. This tells me that I need to take a more stringent approach to my dream studies and ensure full recording of any recalled dream fragments during my waking intervals.

The following is the short fragment I remember from one dream I had last night. I know that when I woke up in the early hours of the morning from this dream I recalled a lot more than I do now.

Main environment
I don’t know.

Timing
I don’t know.

Characters
Myself (first person perspective – I did not see myself); a female (unknown to me in the dream and real-life); the presence of another person with whom I was talking.

Narrative
Myself and the other person I was with were watching a nondescript female adult playing an instrument. At first it was a saxophone, then I thought it was a clarinet. The person accompanying me told me it was a recorder, which I accepted. My next view was of a piece of paper. I can’t remember seeing the words and whether they were written in proper English, but I could see lots of parentheses (brackets!). It was a long sentence written about the female musician. Myself and my acquaintance (who I cannot recall seeing in the dream) were discussing where the full-stop should appear in the sentence. 

Potential Triggers
The grammatical reference in this dream may relate to the general idea of ending – prior to sleep, I had had a conversation about the ending of a relationship which might account for the symbol of the full-stop in the dream. Further, I had written a note to PS earlier that evening and during the course of my academic writing, had inevitably pondered the proper placement of grammatical characters. 

Interpretation
Music generally symbolises expression, communication and message; it may represent a ‘message’ to the dreamer from their unconscious mind. Musical instruments in your dream indicate the expectation of fun and pleasures. You are focused on enjoying life and all that it has to offer. The dream also represents talent and your ability to communicate with others. Certain musical instruments are symbolic of sexual organs and thus point to your sexuality. To see or play a saxophone in your dream represents a need to express something from deep within your soul or suggests a deep connection with someone. To see or play a clarinet in your dream suggests that you need to adjust your tone of voice.

To watch something without active participation in a dream symbolises neutrality and passive observation – additionally, a desire by the dreamer to understand what is being represented by the watched object/person in the dream.

The presence of words in a dream is likely to occur if you have spent considerable time reading/writing in your current waking life; or communication with someone is on your mind. Words often appear in ‘twilight’ sleep – when you are just falling asleep or in the process of waking up. To dream that you are writing signifies communication with persons/your conscious mind. Alternatively other interpretations regarding writing within a dream refer to an error in judgement or a mistake that you have made; or a possible metaphor that you are ‘right’ or that your political views are right leaning. To dream about your own handwriting represents your self-expression and creativity. Consider the symbolism of what you are handwriting and how it relates to your waking life. The dream may be trying to warn you against something - as in ‘the writing is on the wall’. To dream that you are studying grammar is symbolic of difficulties in getting your point across and communicating your ideas.

Analysis
This interpretation does not surprise me and appears valid, although it concentrates on the ‘manifest’ content of the dream, rather than an analysis of the latent material. I think I need to develop my interpretative/analytic technique further before I attempt a Freudian-style analysis.

Thursday, 22 December 2011

An introduction to Jung (1)

Carl Gustav Jung (1875 – 1961), the founder of analytical psychology, was mentored by Freud and the first modern psychiatrist to view the psyche as “religious by nature” making this theoretical paradigm the focus of his academic examination. Jung is one of the best known researchers in the field of dream analysis and symbolisation. While he was a fully involved and practicing clinician, much of his life's work was spent exploring tangential areas of knowledge, including Eastern and Western philosophy, alchemy, astrology, and sociology, as well as literature/the arts.
Carl Gustav Jung (1875 - 1961)
Jung considered individuation (the central concept of analytical psychology), a psychological process of integrating the opposites including the conscious with the unconscious while still maintaining their relative autonomy, necessary for a person to become whole.

Many psychological concepts were first proposed by Jung, including the archetype; the collective unconscious; the complex; and synchronicity. A popular psychometric instrument, the Myers-Briggs Type Indicator (MBTI), has been principally developed from Jung's theories.

Jung’s best known works are Psychology of the Unconscious (1912) and Psychological Types (1921). Despite Jung’s theoretical focus on the unconscious and dreams, his theories became significantly divergent from those of his mentor, Freud, over time and accordingly they ended their working relationship. Whereas Freud viewed the unconscious mind as animalistic and impulse-driven, Jung perceived it in a more spiritual form. According to Jung, dreams were not an attempt to conceal your true thoughts from your waking mind (by symbolic expression in dream language), but were rather a window to the unconscious – a way of becoming acquainted and communicating with the unconscious mind and a ‘guide’ to the waking self on how to attain wholeness and solution to real-life tensions. Whilst Freud analysed dreams on the ‘object level’ – that is according to the relationship of the dreamer to persons/situations in real-life; Jung focused on the ‘subject level’ – i.e. the idea that the dream reveals (symbolically) some features of individual psychological functioning/internal psychological transformation. Freud’s theory on dreams is retrospective (it reflects on past childhood experiences/traumas to explain dream symbolism/motifs) whereas Jung’s approach is prospective, suggesting that the dream is like a map of the dreamer’s future psychological evolution and the attainment of balance between the self and the ego. Jung thought that Freud’s theory of dreams as wish fulfilment was too simplistic and naive; whilst it might shed light on the mental complexities of the analysand, he argued that it did nothing to unlock the true meaning of the dream itself. Thus, Jung’s dream theory covers a much broader scope, examining the entire consciousness, both individual and collective.

Jung viewed the ego as a sense of ‘self’ and how you are perceived by the external world. Part of Jung's theory is that all things or concepts can be viewed as paired opposites: good/evil, male/female, or love/hate. So working in opposition to the ego, is the counter-ego, which he refers to as ‘the shadow’The shadow represents the rejected aspects of yourself that you do not wish to acknowledge and exists as a more primitive, socially maladaptive, uncultured ‘self’.

Since dreams are a way of communicating with the unconscious, Jung believed that dream images reveal something about yourself, your relationships with others, and situations in your waking life. Dreams guide your personal growth and help in achieving your full potential and Jungian theory argues that manifest content of dreams is just as significant and revealing as the latent content. By simply discussing what is currently going on in your life, it can help you interpret and unlock the cryptic images of your dreams. Jung's method of dream interpretation is placed more confidently on the dreamer which and emphasis on subjective understanding and judgement.

* Jung’s archetypes
Jung noted that certain dream symbols possess the same universal meaning for all men and women. He termed this phenomenon the ‘collective unconscious’. While dreams are wholly subjective, your personal experiences often touch on universal themes and symbols. These symbols are believed to occur in every culture, throughout history and therefore can be seen as a form of ‘psychic inheritance’. Jung identifies seven such symbols in what is referred to as the major archetypal characters:
1.    The Persona:
The image you present to the world in your waking life – a public mask. In the dream world, the persona is represented by the self.  The self may or may not resemble you physically or may or may not behave as your real-life self would. However, you still know that this "person" in your dream is you.
2.    The Shadow:
The rejected and repressed aspects of yourself. It is the part of yourself that you do not want the world to see because it is ugly or unappealing. It symbolises weakness, fear, or anger. In dreams, this figure is represented by a stalker, murderer, a bully, or pursuer. It can be a frightening figure or even a close friend or relative.  Their appearance often makes you angry or leaves you scared. They force you to confront things that you don't want to see/hear/experience. You must learn to accept the shadow aspect of yourself for its messages are often for your own good, even though it may not be immediately apparent.
3.    The Anima / Animus:
The female and male aspects of yourself. Everyone possesses both feminine and masculine qualities. In dreams, the anima appears as a highly feminised figure, while the animus appears as a hyper masculine form. Or you may dream that you are dressed in women's clothing, if you are male or that you grow a beard, if you are female. These dream imageries They serve as a reminder that you must learn to acknowledge or express your masculine (i.e. be more assertive) or feminine side (i.e. be more emotional). 
4.    The Divine Child:
Your true self in its purest form. It not only symbolises your innocence, your sense of vulnerability, and your helplessness, but also represents your aspirations and full potential. You are open to all possibilities. In the dreamscape, this figure is represented by a baby or young child.  
5.    The Wise Old Man /Woman:
The helper in your dreams. Represented by a teacher; father; doctor; priest or some other unknown authority figure, they serve to offer guidance and words of wisdom. They appear in your dream to steer and guide you into the right direction.
6.    The Great Mother:
The nurturer, appearing in dreams as your own mother, grandmother, or other nurturing figure. She provides you with positive reassurance. Negatively, they may be depicted as a witch or suchlike, in which case they can be associated with seduction, dominance and death. This juxtaposition is rooted in the belief by some experts that the real mother, who is the giver of life, is also at the same time jealous of our growth away from her. 
7.    The Trickster:
As the name implies, plays jokes to keep you from taking yourself too seriously. The trickster may appear in your dream when you have overreached or misjudged a situation. Or he could find himself in your dream when you are uncertain about a decision or about where you want to go in life.  The trickster often makes you feel uncomfortable or embarrassed, sometimes mocking you or exposing you to your vulnerabilities. He may take on subtle forms, sometimes even shape-shifting.

Archetypal dreams (also referred to as ‘mythic dreams’; ‘great dreams’ or ‘grand dreams’) usually occur at significant times or transitional periods in your life. They often leave you with a sense of awe or that you have learned something important about yourself. Such dreams have a cosmic quality or an element of impossibility if occurred in reality. They are often extremely vivid and stay in your mind long after you had the dream.

Jung also viewed dreams as a possible attempt to counterbalance a hypertrophied conscious psychological tendency.  Thus, the dream becomes a message from the unconscious, indicating the existence of neuroses in the waking life of the dreamer. This was the concept of compensation - Jung believed the psyche to be a self-regulating organism in which conscious attitudes were likely to be compensated for unconsciously (within the dream) by their opposites. Jung proposed two basic approaches to analysing dream material: the objective and the subjective. In the objective approach, every person in the dream refers to the person they are, whilst in the subjective approach, every person in the dream represents an aspect of the dreamer.

Jung advised against the interpretation of dreams without some knowledge of the dreamer’s personal circumstances as dream symbolism, no matter its collective or universal applicability, is both fluid and dynamic, with one motif having more than one meaning or connotation (i.e. a sword or a snake are entirely different, but both may be interpreted as symbolic of the phallus – depending on the subjective perspective of the dreamer). Jung proposed that dreams be stripped down to their basic symbolism when interpreted – a process known as ‘dream distillation’.

Jung stressed that the dream was not merely a devious ‘puzzle’ invented by the unconscious mind to be deciphered, so that the true causal factors behind it may be elicited. Dreams were not to serve as lie detectors, with which to reveal the insincerity behind conscious thought processes. Dreams, like the unconscious, had their own language and logic. Jung believed that dreams may contain ineluctable truths; philosophical pronouncements; illusions; wild fantasies; memories; plans; irrational experiences and even telepathic visions. Just as the psyche has a diurnal side which we experience as conscious life, it has an unconscious nocturnal side which we apprehend as dreamlike fantasy. Jung would argue that just as we do not doubt the importance of our conscious experience, then we ought not to second guess the value of our unconscious lives.

Wednesday, 21 December 2011

Dream Interpretation 13

DREAM 13

18 December 2011

I’m not sure whether I can accurately describe this as a false awakening dream/start of a lucid dream experience, as at the moment I ‘woke’ in the dream, I then awoke in real-life, without much opportunity to experiment with lucidity. This dream took place during a short nap. I had been out drinking vodka at a social gathering and was mildly drunk and very hungry. I immediately washed my face, then went to lie on the bed for a few minutes before I ate. During these ‘few minutes’ (it was a short period, not exactly sure how long) I had this brief dream. I think it was PS returning to the room with food which woke me up.

Main environment
Bathroom in home in London (as it appears in real-life).

Timing
It was night – I was aware that it was the early hours of Saturday morning and I had returned home from a night out (as in real-life).

Characters
Myself (as I appear in real-life).

Narrative
The dream started with a ‘false awakening’. I was lying in a bath of cold water. I had the knowledge that I had been out and had drunk alcohol and thought perhaps I must have gone for a bath and fallen asleep until now. I looked at the side of the bath and saw a big pile of my eyelashes lying there – there seemed to be more than what could have shed myself. I felt concern. I woke up.

Potential Triggers
Only minutes before this dream I had removed my make-up in the bathroom – which involved cleaning the mascara from my eyelashes. I do not wear false eyelashes. Perhaps I was keen not to fall asleep in real-life and this fact was represented by the dream? 

Interpretation
To dream that you are in the bathroom, relates to your instinctual urges. You may be experiencing some burdens/feelings and need to "relieve yourself". Alternatively, a bathroom symbolises purification and self-renewal. You need to cleanse yourself, both emotionally and psychologically. To dream that you are washing yourself indicates that you are proud of your social life and personal endeavours. You may even receive some recognition and prestige. Alternatively, the dream represents the cleansing away of unhappy experiences or neglected emotions in your life. You are ready to make a fresh new start. To see water in your dream symbolizes your unconscious and your emotional state of mind. Water is the living essence of the psyche and the flow of life energy. It is also symbolic of spirituality, knowledge, healing and refreshment.

To notice your eyelashes or dream that they are growing indicates that you are trying to express yourself in some subtle or covert way. It also signifies good luck. To dream that all your eyelashes fall off suggests that you are having difficulties expressing yourself. It may also symbolise anxiety relating to a loss of your feminine power. 

Analysis
I think this does classify as a false awakening/lucid dream.

Dream Interpretation 12

DREAM 12 

2000 

I’ve taken the time to write up a very old dream I recorded from over a decade ago. This was actually the first dream I ever decided to record, largely because it was so disturbing and it was a dream in which I experienced a very lucid sensation of false awakening. In fact, I think it was my experiencing this dream which kick-started my interest in the psychological and scientific study of dreaming. I  cannot recall the exact date, but I know that the dream took place in 2000 because I was in a relationship with CW and living in Manchester at the time.

Main environment
My hometown of Sheringham – on Pine Grove, the road on which I lived for many years with my mum and stepdad (they were still living there at the time of this dream, and the road appeared as it does in real-life, no significant variation); next I was in a huge, very dark warehouse with an extremely high ceiling in which many arts/crafts stalls were set up (I have never seen this place before in real-life memory); CW’s bedroom in Manchester (this was the point of the false awakening – I became lucid when I realised the room was significantly different to real-life).

Timing
The dream started in broad daylight. I think it was still daylight when I was in the warehouse. The scene in the bedroom took place at night.

Characters
Myself (as I appear in real-life); CW (as he appeared in real-life); two elderly men (unknown to me in dream/real-life); a male who appeared to be a skeleton; random stall holders; PC (grandmother) referred to once.

Narrative
I was standing with CW on Pine Grove, Sheringham with CW. We were approached by two elderly males who told me that they had bought a skateboard for a young boy, but they did not know how to put the trucks/wheels on the deck. They asked me to do it for them. Without me fixing the skateboard parts, the skateboard was ready and I was skateboarding down the road. One of the elderly men attempted to skateboard. He fell off into the road and I knew he was dead. There was a transition and CW and I were in the warehouse. Many stalls were set up and people were trading. I had a stand with handcrafted greetings cards and art postcards which it was my responsibility to sell. There was a table adjacent to the stand and CW told me that PC had left me a gift beneath it. I looked under the table and saw a red velvet box. I opened it and inside was a severed tongue. The note on top read “this is a baby’s tongue”. I felt horrified. Then I felt a sense of dread. CW and I turned to the entrance of the warehouse and saw a tall, thin male figure approaching. I saw, close up, that he was wearing a Victorian top hat and tails outfit and had a walking cane. His face was that of a skeleton. I then heard organ music playing and he started circling/spinning, like a ballerina in a music box.

I awoke in fear, knowing I had just had a nightmare. I looked around the bedroom and saw CW sleeping next to me, as expected. However, as I looked the room began to change and I noticed that the furniture was completely different. I felt awake, alert and in perfectly control of my actions (I was obviously in a lucid dream state and experiencing false awakening, although at this point in my real-life I was not educated on these phenomena, so suspected nothing of this nature) and was therefore very scared. I tried to wake CW, but couldn’t (perhaps in real-life I wasn’t actually moving). I saw the duvet was covered in hundreds of crawling spiders. Still believing myself to be awake, I began screaming. I was then actually woken by CW, who had heard me shout and felt me lash out in my sleep. I made him reassure me this time I was actually awake. This is the most vivid dream I have ever had.

Potential triggers
At this point in my life I used to be a skateboarder. I do not know of any other triggers.

Interpretation
I have written previously on the symbolism of the grandmother in earlier dream interpretation posts, so I won’t repeat myself here, mainly because PC did not appear as an actual character in the dream, but rather was responsible for the giving of the gift in the dream. PC is a recurrent theme in my dreams – more so than my mum, SM – despite the fact I cannot (consciously) account for any reason why this would be. I have no explanation for the recurrent references to my grandmother (as opposed to any other family member – few of which seem to appear in my recalled dreams) other than the fact she played a significant role in raising me (SM and I lived with her until SM married my stepdad, GM) and we are (in my perception) a close family. 

An old man in your dream represents wisdom or forgiveness. The old man may be a archetypal figure who is offering guidance to some daily problem. To see someone dying in your dream signifies that your feelings for that person are dead or that a significant change/loss is occurring in your relationship with that person (although the person ‘dying’ in my dream was the elderly man, unknown to me. Further, his death gave me little concern in the dream). Alternatively, seeing another die in your dream may be symbolic of aspect of yourself that you wish to repress, represented by the dying person. 

To see or ride a skateboard in your dream indicates that you have the gift of making any difficult situation look easy. You carry yourself with style, grace and composure in the hardest of situations. Alternatively, the dream signifies your free and fun-loving side. 

A warehouse in your dream is symbolic of stored energy or hidden resources. The warehouse also refers to memories. Alternatively, the warehouse means that you are putting your ambitions and goals on hold. To see an abandoned or empty warehouse indicates that your inner resources have been depleted - you need to take some time off to restore your energy and replenish your resources. To dream that you are leasing or renting an empty warehouse represents your receptiveness and your open-mindedness to new things. To dream that you are at a flea market suggests that you are feeling undervalued or under-appreciated. A market generally represents some emotional or physical need that you are currently lacking in your life – you may be in need of nurturance and some fulfilment. Alternatively, the market signifies frugality; to see an barren market in your dream signifies depression and gloominess - there is a void in your life. If the market is large or well-stocked, then it symbolises possibilities and choices. 

To see a greeting card in your dream suggests that surprises are in store ahead. If you are giving or receiving a card, then it indicates a need for you to make contact with the sender or recipient of the card (this is not a helpful interpretation – I was selling the cards as opposed to sending/receiving). To dream that you are selling artwork represents your ability to express yourself and your beliefs.

To see a table in your dream represents social unity and family connections. A box signifies your instinctual nature and destructive impulses. Alternatively, you may be trying to preserve and protect some aspect of yourself. The box may also symbolise your limitations and restrictions - consider the pun of "being boxed in". To dream that you are opening a box indicates an aspect of yourself that was once hidden is now being revealed. It symbolises self discovery. Consider your feelings as you open the box. If opening the box fills you will fear (as it did in my dream), you may be uncovering aspects of yourself that cause you to feel anxious. Red is an indication of raw energy, force, vigour, intense passion, aggression, power, courage, impulsiveness and passion. The colour red has deep emotional and spiritual connotations. Alternatively, the colour red in your dream indicates a lack of energy and feelings of lethargy. Red is also the colour of danger, violence, blood, shame, rejection, sexual impulses and urges and may be an indication that you should control impulses. Velvet represents distinction, honour, sensuality and emotion. There are interpretations for ‘tongue’ as a dream motif, which generally refer to verbalisation; expression or communication – however there is not one that I can find which is specific to seeing the dismembered tongue of another. Similarly, although there are many interpretations of the dream symbolism of a ‘baby’ (generally associated with purity; innocence; new beginnings or vulnerability), there are none which explain the reference to the baby’s tongue in my dream. A dead baby (by implication) represents some part of you which is now ‘dead’ or dormant.

A top hat symbolises flamboyance; wealth; status and the past whilst a walking stick/cane refers to a need for help and support. To see a skeleton in your dream represents something that is not fully developed. You may still in be the planning stages of some situation or project. Alternatively, a skeleton symbolises death, transformation, or changes; and the need to get to the bottom of some matter/issue. The skeleton may also be a metaphor for "skeletons in your closet” i.e. something repressed or hidden. To see someone depicted as a skeleton signifies that your relationship with them is long dead (note that the person depicted as a skeleton in my dream was unknown to me). To hear or play an organ in your dream represents your spiritual connection and religious views. The dream may also be a metaphor to represent the penis. To dream that something is spinning indicates that you are feeling overwhelmed by circumstances beyond your control.

To see furniture in your dream represents how you feel about yourself and your family and refers to your relationships with others and how they fit into your life. A duvet or bed cover symbolises protection and sexual conservativeness. To see a spider in your dream indicates that you are feeling like an outsider in some situation. Or perhaps you want to keep your distance and stay away from an alluring and tempting situation. The spider is also symbolic of feminine power or an overbearing mother figure in your life. Alternatively, a spider refers to a powerful force protecting you against your self-destructive behaviour. To dream that you are waken from sleep may represent a spiritual rebirth. You may be acknowledging and embracing both your feminine and masculine aspects of self. However, there is also a negative interpretation which suggests being awoken during a dream is symbolic of failing to reach your full potential. You should consider who/what ‘woke’ you during the dream - this is an indication of what is lacking or missing in your life. The dream is literally telling you to open your eyes to a situation. Of course (as is the case in my dream), the ‘false awakening’ in a dream is a signal of lucidity. To dream that you awaken someone else suggests that you are acknowledging core aspects of that person within your own self (in my dream, my attempts failed). 

Analysis
I have no contemporary notes to assist analysis.

An introduction to Freud (1)

Here is a summary to the key points in Freud's psychoanalytic theory which provides a foundation for his work on dream theory.

The seminal text on dream interpretation is undoubtedly, Sigmund Freud’s Interpretation of Dreams (published under its original title, Die Traumdeutung, in 1899). The introduction to the first edition states:

In the following pages, I shall demonstrate that there exists a psychological technique by which dreams may be interpreted and that upon the application of this method every dream will show itself to be a senseful psychological structure which may be introduced into an assignable place in the psychic activity of the waking state. I shall furthermore endeavour to explain the processes which give rise to the strangeness and obscurity of the dream, and to discover through them the psychic forces, which operate whether in combination or opposition, to produce the dream. This accomplished my investigation will terminate as it will reach the point where the problem of the dream meets broader problems, the solution of which must be attempted through other material.
Sigmund Freud (1856 - 1939)
Freud is commonly referred to as the ‘grandfather’ of the Psychoanalytical Theory. The text introduces Freud’s theory on the unconscious within the framework of dream interpretation. His main premise was that dreaming is a form of wish-fulfilment or attempt by the unconscious mind to resolve some internal conflict. Freud later elaborated his theory of dream interpretation in Beyond the Pleasure Principle (originally, Jenseits des Lustprinzips, published in 1920) which analysed dreams which did not be deconstructed within the parameters his earlier ‘wish fulfilment’ paradigm.

Freud argued that because information in the unconscious is stored in an unruly and often disturbing form, a "censor" in the preconscious will not allow it to pass unaltered into the conscious mind. During dreaming, the preconscious is more lax in its ability to filter, although it is still attentive and therefore it is suggested that in order to ‘bypass’ the preconscious censor, the unconscious must warp and distort information. This explains why dream imagery and events are typically surreal or confusing – Freud believed such dream symbolism required deep interpretation in order for them to be informative on the structures of the unconscious psyche. 

Before considering Freud’s theory on the interpretation of dreams any further, it is worthwhile familiarising oneself with the main elements of Psychoanalytic Theory which provides a useful background to the framework within which Freud developed his theories of dream interpretation. 

Freud, a neurologist and psychotherapist, is credited with establishing the field of verbal psychotherapy by creating psychoanalysis, a clinical method for treating psychopathology through dialogue between a patient (referred to as an "analysand") and a psychoanalyst. Freud postulated the theory that the libido was the primary motivational force in humanity. He developed therapeutic techniques, such as that of dream analysis and ‘free association’ (in which analysands report their thoughts without reservation and make no attempt to concentrate while doing so). His theory also focused on the phenomenon of transference, the process by which analysands transfer/displace thoughts/feelings relating to their experience of other figures in their earlier lives on to the analyst. This was a central aspect of the psychoanalytic approach of psychopathology. 

Early in his career as a neurologist, Freud experimented with the use of hypnosis on neurotic or hysterical patients, but quickly abandoned it, arguing it was ineffective at treating mental illness. Instead, he adopted a form of ‘cathartic’ treatment where the analysand was encouraged to talk through their problems, hence it becoming known in popular culture as the “talking cure”.  The goal was to locate and release power emotional energy, which had initially been rejected or imprisoned within the unconscious mind through repression. Freud argued that repression impeded the normal functioning of the psyche and could in severe cases, prompt physical retardation (psychosomatic symptoms).

Generally speaking, Freud’s theories were founded on the notion that as a civilised society, individuals have a tendency to suppress urges, impulses and desires. However, these impulses must be expressed in some manner. Unresolved or unexpressed impulses which are repressed in the unconscious cause internal conflict and therefore must be ‘released’ – tending to resurface in disguised forms.  One method of release is via dreams, and because the content of repressed urges may be dangerous or detrimental, Freud argued that the unconscious mind communicates by way of symbolic language. Freud proposed that the symbolic language of dreams help to ‘preserve’ sleep by representing as fulfilled, wishes which would awaken the dreamer. The combination of Freud’s psychoanalytical therapy (practiced on himself and recorded in his case notes from a limited sample of anonymised, yet well documented, analysands, all of whom suffered chronic neurotic disturbance) and his dream interpretation form the theoretical basis for his work. 

In late 1895, Freud developed his Seduction Theory – the concept that unconscious memories of sexual molestation in early childhood were a necessary precondition for psychoneurosis (hysteria and obsessional neurosis). However, he soon lost faith in this theory and by 1897 had moved on to develop theories on infantile sexuality, which eventually led to his well-known discourse on the Oedipus Complex. 

 * Freud's tripartite model of the psyche
It was in the later stages of his theoretical development that Freud forwarded his model of the psyche which identifies three separate constructs – the id, ego and super-ego.

This paradigm of the psyche was introduced in his paper, Beyond the Pleasure Principle (1920). Despite the structural nature of Freud’s model, the id; ego and super-ego do not exist as physiological ‘areas’ located in the brain or somatic structures of any kind, recognised by neuroscience. Instead they are conceptual distinctions which relate to the mind or psychology of the individual.

The id
The id is the unorganised part of the personality structure which contains the basic animalistic drives and urges (typically categorised as sexual or aggressive urges). The id acts according to the pleasure principle and thus, is associated with hedonistic behaviours. The id seeks to avoid pain or displeasure aroused by an increase in instinctual tension. Contrary impulses may exist simultaneously without cancelling one another out – it is a chaotic mass of instinctual drives and excitements, producing no collective will of its own and wholly devoid of moral or value judgments. It is, by definition, unconscious and inaccessible. The id has been defined as the ‘reservoir’ of the libido – responsible for life instincts/impulses and death drives. The ‘Eros’ or ‘life instinct’ is explained as a subconscious drive to recreate and survive (sexual drive; satisfaction of thirst/hunger). Accompanying this, is the ‘death drive’ or ‘Nirvana principle’ – a destructive instinct, (manifesting in aggression), which represents the concept that all the ‘aim’ of all organic matter is to return to an inanimate state – divesting itself of quantity and reducing tension to zero. 

The ego
The ego acts according to the reality principle. It seeks to satisfy the id’s drives/impulses in realistic ways which will be of long-term benefit as opposed to detrimental. The ego attempts to mediate between the id and reality and is often obliged to cloak the ucs (unconscious) demands of the id with its own pcs (preconscious) rationalisations to conceal the id’s conflicts with reality. The ego comprises the organised structure of the psyche and it deals with defensive; perceptual; intellectual-cognitive; and executive functions. Conscious awareness resides in the ego, although not all actions of the ego are conscious. Originally, Freud used the word ego to mean a sense of self, but later revised it to mean a set of psychic functions such as judgment, tolerance, reality testing, control, planning, defence, synthesis of information, intellectual functioning, and memory. The ego, as opposed to the id, is modified by direct influence from the external world – it enables the individual to rationalise and make sense of the world. The ego serves three masters – the external world; the id; and the super-ego. Its task is to find balance between the base impulses and reality, whilst satisfying the needs of the id and the super-ego. The super-ego (see below) seeks to confine the actions of the ego (in allowing expression of the id’s impulses where the consequence for the individual is marginal or non-detrimental) and ‘punishes’ it with feelings of inferiority, moral anxiety and guilt. To overcome this, the ego (unconsciously) employs defence mechanisms which lesson the harm which can be caused by the impulses of the id which conflict with the external world or functioning of the super-ego. Freud identified the following ego defence mechanisms: denial; displacement; intellectualisation; fantasy; compensation; projection; rationalisation; reaction formation; regression; repression; and sublimation. Subsequently, his daughter Anna Freud clarified and identified the additional concepts of undoing; suppression; dissociation; idealisation; identification; introjection; inversion; somatisation; splitting; and substitution.  

The super-ego
The super-ego is often referred to as the ‘conscience’ part of the psyche – imagined as a symbolic internalisation of a paternalistic watchdog (i.e. the internalisation of the ‘father’). In fact Freud argued that the concept of a monotheistic God is an illusion based on an infantile need for an omnipotent, supernatural 'paterfamilias' (father figure) to exercise restraint upon the individual. In his work Totem and Taboo (1913), Freud proposed that society and religion begin with the patricide – the eating of the powerful paternal figure, who then becomes a revered collective memory. In Freud's text, Civilization and its Discontents (1930), he also discusses the concept of a ‘cultural super-ego’ suggesting that the demands of the super-ego coincide with the precepts of the prevailing cultural super-ego and become interlocked. The super-ego aims for perfection - it comprises that organised part of the personality structure, mainly but not entirely unconscious, that includes the individual's ego ideals; spiritual goals, and the psychic agency (‘conscience’) that criticises and prohibits his drives, fantasies, feelings, and actions and punishes with anxiety/shame. The super-ego may be seen as working in polarity to the id – striving to act in a moral, socially acceptable and civilised manner, whereas the id seeks instant gratification.

* Freud’s theory of psychosexual development
In Freudian psychology, psychosexual development is a central element of the psychoanalytic sexual drive theory, that human beings, from birth, possess an instinctual libido (sexual appetite) that develops in five stages. Each stage — the oral; the anal; the phallic; the latent; and the genital — is characterised by the erogenous zone (i.e. mouth; bowels/anus; genitals) that is the source of the libidinal drive. Freud proposed that if the child experienced anxiety, thwarting his or her sexual appetite during any libidinal (psychosexual) development stage, that anxiety would persist into adulthood as a neurosis - a functional mental disorder. In pursuing and satisfying his or her libido, the child might experience failure (parental and societal disapproval) and thus might associate anxiety with the given erogenous zone. To avoid anxiety, the child becomes fixated/preoccupied with the psychological themes related to the erogenous zone in question, which persist into adulthood, and underlie the personality and psychopathology of the adult. 

Below I have set out summaries of Freud’s 5 stages of psychosexual development:

1. Oral stage 
Birth – 2 years - mouth as erogenous zone.
The infant's mouth is the focus of libidinal gratification derived from the pleasure of feeding at the mother's breast, and from the oral exploration of his or her environment, i.e. the tendency to place objects in the mouth. The id dominates, because neither the ego nor the super ego is yet fully developed, and, since the infant has no personality (identity), every action is based upon the pleasure principle. Nonetheless, the infantile ego is forming during the oral stage - two factors contribute to its formation: (a) in developing a body image, he or she is discrete from the external world i.e. the child understands pain when it is applied to his body, thus identifying the physical boundaries between body and environment; (b) experiencing delayed gratification leads to understanding that specific behaviours satisfy some needs - i.e. crying gratifies certain needs. Weaning is the key experience in the infant's oral stage of psychosexual development, his or her first feeling of loss consequent to losing the physical intimacy of feeding at mother's breast. Yet, weaning increases the infant's self-awareness that he does not control the environment, and thus learns of delayed gratification, which leads to the formation of the capacities for independence (awareness of the limits of the self) and trust (behaviours leading to gratification). However, thwarting of the oral-stage - too much or too little gratification of desire - might lead to an oral-stage fixation, characterised by passivity, gullibility, immaturity, unrealistic optimism, which is manifested in a manipulative personality consequent to ego malformation. In the case of too much gratification, the child does not learn that he does not control the environment, and that gratification is not always immediate, thereby forming an immature personality. In the case of too little gratification, the infant might become passive upon learning that gratification is not forthcoming, despite having produced the gratifying behaviour.

Orally aggressive: chewing of objects
Orally passive: smoking, eating, kissing, oral sexual practices
Passive, gullible, immature, manipulative personality traits.

2. Anal Stage
1 – 3 years – bowels/bladder/anus as erogenous zone.
The second stage of psychosexual development is the anal stage, spanning from the age of 15 months to 3 years, wherein the infant's erogenous zone changes from the mouth (the upper digestive tract) to the anus (the lower digestive tract), while the ego formation continues. Toilet training is the child's key anal-stage experience, occurring at about the age of two years, and results in conflict between the id (demanding immediate gratification) and the ego (demanding delayed gratification) in eliminating bodily wastes, and handling related activities (i.e. manipulating excrement/coping with parental demands). The style of parenting influences the resolution of the id–ego conflict, which can be either gradual/psychologically uneventful, or which can be sudden and psychologically traumatic. The ideal resolution of the id–ego conflict is in the child's adjusting to moderate parental demands that teach the value and importance of physical cleanliness and environmental order, thus producing a self-controlled adult. Yet, if the parents make immoderate demands of the child, by over-emphasising toilet training, this may lead to the development of a compulsive personality - a person too concerned with neatness and order. If the child obeys the id, and the parents yield, he might develop a self-indulgent personality characterised by personal slovenliness and environmental disorder. If the parents respond to that, the child must comply, but might develop a weak sense of self, because it was the parents' will, and not the child's ego, which controlled the toilet training.

Anally retentive: obsessively organized, or excessively neat
Anally expulsive: reckless, careless, defiant, disorganized, coprophiliac

3. Phallic stage
3 – 6 years; genitalia as erogenous zone.
The child recognises the biological difference between male and female bodies. In the phallic stage, a boy's decisive psychosexual experience is the Oedipus Complex, his son–father competition for possession of mother. This psychological complex derives from the 5th century BC Greek mythological character Oedipus, who unwittingly killed his father, Laius, and sexually possessed his mother, Jocasta. Despite mother being the parent who primarily gratifies the child's desires, the child begins forming a discrete sexual identity — "boy", "girl" — that alters the dynamics of the parent and child relationship; the parents become the focus of infantile libidinal energy. The boy focuses his libido (sexual desire) upon his mother, and focuses jealousy and emotional rivalry against his father — because it is he who sleeps with mother. To facilitate uniting him with his mother, the boy's id wants to kill father (as did Oedipus), but the ego, pragmatically based upon the reality principle, knows that the father is the stronger of the two males competing to possess the one female. Nevertheless, the boy remains ambivalent about his father's place in the family, which is manifested as fear of castration by the physically greater father; the fear is an irrational, subconscious manifestation of the infantile id.
Gustave Moreau - Oedipus and the Sphinx (1864)
Oil on canvas (206 x 105 cm)
Frederic Leighton - Electra at the Tomb of Agamemnon (c. 1868-1869)
Oil on canvas (150 × 75.5 cm)
Analogously, in the phallic stage, a girl's decisive psychosexual experience is the Electra Complex, her daughter–mother competition for psychosexual possession of father. This psychological complex derives from the 5th century BC Greek mythological Electra, who plotted matricidal revenge with Orestes, her brother, against Clytemnestra, their mother, and Aegisthus, their stepfather, for their murder of Agamemnon, their father. Girls develop penis envy that is rooted in anatomic fact - without a penis, she cannot sexually possess mother, as the infantile id demands. Resultantly, the girl redirects her desire for sexual union upon father; thus, she progresses towards heterosexual femininity that culminates in bearing a child who replaces the absent penis. Moreover, after the phallic stage, the girl's psychosexual development includes transferring her primary erogenous zone from the infantile clitoris to the adult vagina. Freud thus considered a girl's Oedipal conflict to be more emotionally intense than that of a boy, resulting, potentially, in a submissive woman of insecure personality.

Psychological defence - in both sexes, defence mechanisms provide transitory resolutions of the conflict between the drives of the id and the drives of the ego. The first defence mechanism is repression (blocking of memories, emotional impulses, and ideas from the conscious mind) yet it does not resolve the id–ego conflict. The second defence mechanism is identification, by which the child incorporates, into his ego, the personality characteristics of the same-sex parent; in so adapting, the boy diminishes his castration anxiety, because his likeness to father protects him from father's wrath as a rival for mother; by so adapting, the girl facilitates identifying with mother, who understands that, in being females, neither of them possesses a penis, and thus they are not antagonists.

Dénouement is the unresolved psychosexual competition for the opposite-sex parent might produce a phallic-stage fixation leading a girl to become a woman who continually strives to dominate men (viz. penis envy), either as an unusually seductive woman (high self-esteem) or as an unusually submissive woman (low self-esteem). In a boy, a phallic-stage fixation might lead him to become an aggressive, over-ambitious, vain man. Therefore, the satisfactory parental handling and resolution of the Oedipus complex and of the Electra Complex are most important in developing the infantile super-ego, because, by identifying with a parent, the child internalises morality, thereby, choosing to comply with societal rules, rather than having to reflexively comply in fear of punishment.

4. Latency stage
6 years – puberty: latent sexual desires.
The fourth stage of psychosexual development is the latency stage that wherein the child consolidates the character habits he developed in the three, earlier stages of psychological and sexual development. Whether or not the child has successfully resolved the Oedipal conflict, the instinctual drives of the id are inaccessible to the ego, because his defence mechanisms repressed them during the phallic stage. Hence, because said drives are latent (hidden) and gratification is delayed - unlike during the preceding oral, anal, and phallic stages  - the child must derive the pleasure of gratification from secondary process-thinking that directs the libidinal drives towards external activities. Any neuroses established during the fourth, latent stage, of psychosexual development might derive from the inadequate resolution either of the Oedipus conflict or of the ego's failure to direct his or her energies towards socially acceptable activities.

Consequences of fixation - sexual unfulfillment.

5. Genital stage
Puberty – adulthood – maturation of sexual desire.
This fifth stage occupies most of the life of a man or woman - its purpose is the psychological detachment and independence from the parents. The genital stage affords the person the ability to confront and resolve his or her remaining psychosexual childhood conflicts. As in the phallic stage, the genital stage is centred upon the genitalia, but the sexuality is consensual and adult, rather than solitary and infantile. The psychological difference between the phallic and genital stages is that the ego is established in the latter; the person's concern shifts from primary-drive gratification (instinct) to applying secondary process-thinking to gratify desire symbolically and intellectually by means of friendships; sexual relationships; family and adult responsibilities.

Consequences of fixation - frigidity, impotence, unsatisfactory relationships.

* Freud & the interpretation of dreams
In The Interpretation of Dreams (1899), Freud incorporated the elements of his theoretical approach to psychosexual development to the analysis of dreams, stating that dreams were a form of wish fulfilment which stemmed from childhood desires and anxieties caused by fixation. He distinguished two layers of dream content: manifest and latent. Manifest (superficial) content had no significant meaning but was a mask for underlying issues of the dream. Latent content was those underlying issues; it expressed unconscious wishes or fantasies. Freud believed most dreams were of a sexual nature and he referred to them as the “royal road to the unconscious”. The manifest content of the dreams – which due to its symbolically coded language often appears bizarre or nonsensical, must be chipped away to reveal the underlying significance of the latent content, using the technique of free association. 
 Karl Briullov - Nun's Dream (19th century)
Henry Fuseli – The Nightmare (1781)
Oil on canvas ( 101.6 × 127 cm)
To further assist in interpreting the cryptic images of our dreams, Freud classified the images into the following five processes:
1. Displacement:
This occurs when the desire for one thing or person is symbolised by something or someone else.  
2. Projection:
This happens when the dreamer propels their own desires and wants onto another person. 
3. Symbolisation:
This is characterized when the dreamer's repressed urges or suppressed desires are acted out metaphorically.
4. Condensation:
This is the process in which the dreamer hides their feelings or urges by contracting it or underplaying it into a brief dream image or event. Thus the meaning of this dream imagery may not be apparent or obvious.
5. Rationalisation:
This is regarded as the final stage of dream-work. The dreaming mind organises an incoherent dream into one that is more comprehensible and logical. This is also known as secondary revision. Freud is particularly preoccupied with sexual content in dreams. He believed that sex is the root cause of what occurs in your dreams. According to Freud, every long slender or elongated object (i.e. knife, cigar, gun, etc) represents the phallus, while any cavity or receptacle (bowl, cave, tunnel, etc) denotes the female genitalia.

* Criticism
Despite the language and substance of Freud’s theoretical work being deeply imbedded in popular western culture, there has been substantial criticism. For example, Freud's theories have been criticised as pseudo-scientific (i.e. emphasis on self-analysis; little concrete quantative/empirical research; lack of credibility in his  methodology; 'data' based on small, select samples) and sexist (notably within feminist discourse), and as a result, have been marginalised within academic psychology, although they remain influential within the humanities. Freud has been called one of the three masters of the "school of suspicion", alongside Karl Marx and Friedrich Nietzsche, while his ideas have been compared to those of Plato and Thomas Aquinas. Parallels have also been drawn between the practical functioning of psychoanalysis and Buddhist practice (the aim of freeing the unconscious mind from human tensions). 

However, with regard to the credibility of his theoretical findings, some critics have accused Freud of fabrication of results in his small number of published case studies, all of which related to analysands suffering from severe and chronic mental disturbances. Further, Freud’s attempts to universalise his results from his limited quantative research have also come under subsequent academic scrutiny. It has also been argued that Freud’s emphasis on sex may be due to the austere and conservative nature of the Victorian society in which he lived, or a result of his personal fascination with the subject.

Due to the focus of my research into the unconscious mind and the interpretation of dreams, I shall be studying the work of Freud (and other notable theorists in the psychoanalytic field) extensively and attempting to harness some of the techniques (suitable for self-analysis) for the purposes of sharing my results. 

Freud's work in dream analysis, despite the criticism has certainly paved the way for the empirical study of dreaming and its  biological and psychological function in human and animal life; in addition to garnering notable artistic and cultural recognition, suggesting that Freud's theoretical paradigm remains influential and valid, if only to a superficial degree within popular culture. Undoubtedly, Freud's use of classical/mythological reference has contributed to the persistance of some of his more conceptual theories within the pop-cultural pysche - such as the Oedipus Complex and it is likely that his legacy will continue to dominate general societal understanding of psychopathology. 

Regardless of whether psychoanalysis exists as a respectable therapeutic option (and it undoubtedly is still used in western medicine, even if not endorsed by recognised authorities), we are familiar with the notion of the 'shrink' and his patient on the leather couch, via the portrayal of psychiatric treatment by popular media. The notion that many adult neuroses (particularly those relating to sexual frustration or aggressive/destructive behaviours) relate to pre-pubescent experience; childhood trauma; dysfunctional parenting etc, during the 'formative years' are widely accepted as fact rather than mere hypothesis.