Totlis is a well-known Greek author of novels, short stories, movie
scripts, historical and philosophical books. On his novel “The
combination” one of the most reknown Greek films of all times was
Totlis is an ardent researcher of the Dream, having formulated the
dream interpreting method and theory of Space and Emotion.
far he has published three books on the subject:
“Space and Emotion – an idea”. An analytical introduction
to the theory. Edessa 1992, 160 pgs.
“12 Dreams”. Twelve dreams interpreted extensively
according to the Space-Emotional method. Editions “Dolphin”,
“One dream and seven lawyers”. A dramatized account of how
the author conceived the idea and developed the theory of Space and
Emotion. Editions “Patakis”, 370 pages, Athens 2001.
Recently his work on Space and emotion was presented by
“Archeology and arts”. Editions “Lambrakis”, issue 81
“Theories of dreams”, Dec 2001, pgs 27-35. This was the last issue
of a four-issue dedication to dreams in Greece:
“Dreams in ancient Greece”
“Dreams in Byzantine era”
“Dreams in contemporary Greece”
“Theories of dreams”.
On the left you can get a sketchy idea of the lines
along which the theory of “Space and emotion” unfolds. A more
detailed introduction to the theory can be found at the site: http://users.forthnet.gr/pel/ati
thanks to Sakis Totlis for his contribution in the whole Dreams and
symbolism of literal reality)
“dream” for conscience is fundamentally an “imaginative
picture”, formed briefly in the imagination during sleep.
“made-up picture” is constructed by audio-visual material
“borrowed” momentarily from memory.
material is structured (condensed) on the basis of a hidden structural
idea, which acts as an invisible guide-pattern.
hidden structural idea is a real picture the dreamer actually “saw”
during a “real” initial event of the day before.
in dreams we see specific “imaginary pictures” in the place of
specific “real ones”.
Out of this basic
claim a thousand questions may rise. Most interesting is to ask WHY? Why
does conscience bother to perform this precise maneuver of substitution
defined as “(seeing) something instead of (seeing) something else”.
defined as a “classification principle” or a “structural
Stewart is Reader in Anthropology in University College in London and
since 1983 has been conducting extended research in Greece (Athens,
Thessaloniki, Naxos), a large part of it devoted to dreams and dreaming.
His scientific interests
cover an extensive field: Religion; history and anthropology;
psychological anthropology, psychoanalysis, dreams; nationalism and
ethnicity; diasporas and creolization; Greece, Mediterranean, Balkans,
BOOKS IN PREPARATION
Traditions: A Cultural History of Dreams in Greece
ARTICLES (related to dreams and
dreaming in Greece)
‘Dream Incubation and the End of Ancient Greek Religion’ (in Greek),
in Arkhaiologia kai Tekhnes,
79, June 2001, pp. 20-25.
Oneirevamenoi: The Events in Koronos, 1930’, (in Greek), Arkhaiologia
kai Tekhnes, 80, September 2001, pp, 8-14.
“Dreams of Treasure as Unconscious Historicizations” (in Greek), in
C. Hadjitaki-Kapsomenou (ed.), Greek Traditional Culture: Folklore
and History, Thessaloniki: Paratiritis, 2001, pp. 120-27.
(pp. 514-16), ‘Demons' (pp. 467-68) and `Anthropology, Social', (pp.
86-89), in Graham Speake
(ed.), Encyclopedia of Greece and the Hellenic Tradition, London:
Fitzroy Dearborn, 2000.
`Fields in Dreams: Anxiety, Experience and the Limits of Social
Constructionism in Greek Dream Narratives’,
American Ethnologist, 24, 4, 1997, pp. 877-894.
`Europe: South', `Dreams’, `Great
and Little Traditions', pp. 210-13, 165-66, 267-69.
In ,A. Barnard and J. Spencer (eds) Encyclopedic Dictionary of
Social and Cultural Anthropology, Routledge, 1996.
ARTICLES IN PRESS
`Erotic Dreams and Nightmares from Antiquity to the Present', Journal
of the Royal Anthropological Institute (Malinowski Memorial
"Dreams are prophetic." It is the position of the
"Dreams are wish fullfilments." It is the position of
"Dreams are the outcome of neurochemical processes." It is
the position of neurobiology.
"Dreams are a therapeutic tool." It is the position of most
Positions. We adopt them easily. Rarely do we recall that a position
doesn't exist on its own, but answers a question. More rarely do we
recall that the question has already determined the form of the
answering position. And even more rarely do we question this very
question. The steps outlined above demonstrate the course that the
present discussion of dreams is going to take.
The dominant positions on dreams, saying "Dreams are this and
that ...", are answering the question: "What are
What are dreams? This time we are not going to satisfy the question
and its claim to be answered. We 'll not just hear it. We 'll hear it
What are dreams? The answer that just hears accepts and satisfies the
unspoken imperative of the question, that dreams ought to be perceived
of as a "what", as something. Something - what? It is here
at last that the answer will do the speaking. It will overtake the
dreams, it will bring and place them to the "something" each
time thought of :
o to the prophecy that violates the unrevealing of
things to come, the boundary of "not yet"
o to the wish, even the most impossible one, that
has to be fullfilled at any cost, even in fiction, even in the so
called "hallucination" of the dream
o to sciences' claim to certainty, for the sake of
which dreams are reduced to their measurable and countable elements, a
faint remnant of their former entirety
o to the expedience of a "therapeutic
process" that defines them as waste products of awakeness and
draws what it has attributed to them itself.
By this, we can speak it out now, fatal question: "What are
dreams?" the way has allready been opened wide for violating
their measures, commiting an hybris that forces dreams upon the
procrustean bed of the perceptions of a wild arbitrariness.
By what kind of nature are dreams so vulnerable to man's hybris? It is
perhaps that they speak the language of signs: neither do they tell
nor do they conceal (Heraclitus). They are reluctant to unlimited
disclosure, as intended by the dream-book and the dominant
psychoanalytic theory, they are reluctant to unlimited concealment and
muteness, to which neurobiology and the science of behaviour sentenced
Dreams speak the language of signs. Neither do they tell nor do they
conceal. A., whom you dreamt of, is the one you know from awakeness,
and at the same time is not. And if you have the ethos and the heart
to respect the A. dreamt of, you need to let her inhabit the world in
respect of herself. Neither are you allowed to identify her with the
A. from awakening nor to declare her a hallucination.
That what tells, but while telling conceals, that what conceals, but
while concealing tells, has the property of the sign, that which is
never as-signed to "something", never denying itself.
Dreams assign - intransitively. Their vulnerability relies on their
very nature: Every saying about dreams will violate their measures
either by saying too much or by concealing too much.
It is necessary, and this could also be the way of a therapeutic
encounter, that we defend those measures letting their violations
become discrete, pointing them out and forbidding them - as far as our
concern is that dreams remain dreams and man remains man: finds his
self here also, in his dreams .
I come from Thessaloniki having my origine in Eastern Thrace.
I studied Medicine in Thessaloniki, Psychology and Philosophy in
Tuebingen and trained in Psychiatry and Psychoanalysis (Daseinsanalyse)
I am practicing psychoanalysis in Athens and in Thessaloniki along
with teaching and writing activities.
Adresses: Marasli 37, GR - 10.6 76 Athens / Karolou Dill 6, GR - 546
Tel.: +30 10 7213534 / +30 310 271768
Fax: +30 310 310299
See Greek version
Often we think that dreams are nothing but
inconceivable scenes where actors are playing a role that you cannot
guess as the epilogue and an echo that worries or /and brings you
But the truth is that dreams
can be a unique theatrical stage where your soul projects for you - the
only spectator - the play which yourself and your soul created, directed
impact attracted me to create a
series of paintings under the same title -"DREAMS"- which
completed the third part of my visual art research in abstract forms,
called "TRILOGY ABOUT SOUL".
in my Art world:
third part of my art creation "TRILOGY ABOUT SOUL" ( www.lilakoufopoulou.gr ) under the title "DREAMS"
was born - according to the story - under Psyche's need to
"dive" into this wonderful, invisible world of the unconscious
(that can light the dark sides of the soul, teach sufficiently the
self-development and add to the creativity and the removal of the
feeling of the unknown) to "dive," in order to understand the
truths she was choosing - without her conscious will - to ignore.
In "DREAMS," Psyche, pulls up every
stimulus that becomes a revealing answer for her and expresses it
visually by an abstract but dreamy form, like an illustrated proposal of
old oracles of Pythia.
So, Psyche meditates through and with her soul
inspired by her own dreams, her own personal symbolisms and answers,
that like living images, like guardian angels help her to decide, to
hope, to see the invisible, to recognize the familiar and make known the
unknown, in her attempt to exorcise fear and meet the catharsis, while
at the same time welcomes the next life challenges.
As if in scenery of a fairytale, the archetype
image of this new series of paintings unfolds in Delphi-GREECE, where
near a spring by the sanctuary of the oracle, Psyche appears. We meet
her, while she admires the magic of nature and wonders:
this beauty I live a dream?" admits to tenderly smiling
to the breeze that keeps her company whispering,
if what I experience is a dream, what is then what I see when am I
sleeping?" This is how the conversation with her dreams
series of "DREAMS" is dedicated to:
- all those who believe and are inspired by
dreams in their sleeping and their "real" life,
- all those who believe that dreams can become
reality when you put your heart and soul into them, and,
- all those who respect not only their own
dreams, but also the dreams of others, helping both themselves and
others to make them reality, adding enormously to the creation of a new,
flourishing world that gives real value to our human existence.
Copyright 2002, Lila Koufopoulou
Koufopoulou was graduated from TUFTS
UNIVERSITY and the SCHOOL OF
THE MUSEUM OF FINE ARTS IN
BOSTON in 1992 holding a Master
in Fine Arts in the area of Art and Technology, by creating the
abstract video piece "CHAOS & PSYCHE," after her studies
in the ATHENS SCHOOL OF FINE ARTS - department of painting.
During that time she
won 5 scholarships from the above Universities and the GERONDELIS
FOUNDATION in Boston and she worked as a
Teaching Assistant in the course: "Advanced Concepts in Graphic
In 1986 she graduated from the EUROPEAN INSTITUTE OF MARKETING AND COMMUNICATION STUDIES
holding a CAM Diploma, and,
in 1982 she graduated from the department of Graphic
Arts in holding a GRAPHIC
ARTS Degree at the "A. PETRA SCHOOL" in Athens.
for almost a decade in the area of Advertising as an Art Director,
Graphic Designer and Visualizer, as well as an Account
Manager in many international and Greek advertising companies in
Athens - Greece.
In 1984 she won the National
Prize in the European Competition
EUROPE AND MY FUTURE," organized by the EUROPEAN COMMUNITY and
the INTERNATIONAL ADVERTISING ASSOCIATION.
Next year, she was the representative
of Greece in the "EUROPEAN
YOUTH WEEK 1985" in Paris and Normandy, organized by the
"ASSOCIATION DES JEUNES POUR L'EDUCATION, LA CULTURE AND LES
LOISIRS," and, received
of Honors" by the President of the Council of Manche and the
Vice President of the General Council of France Mr. J. Marigné.
In 1975 she designed for the "FASHION DESIGN COMPETITION FOR YOUTH TALENTS," organized
by ATHENEE STORES and TACHYDROMOS Greek Magazine, and, received the
two COMMENDATIONS and a
TWO-YEAR SCHOLARSHIP at the
"J. TSOPANELLIS SCHOOL OF FASHION
She is a member of the "Greek
Alumni of American Universities" in Athens, the "TUFTS ALUMNI CLUB" and the "ASD."
Her artworks are included in many private
collections, organizations and companies in Europe and USA.
CENTER FOR VISUAL ARTS G. KARIDIS, FILOTHEI - GREECE,
"Dreams"- the third part of the visual
trilogy "ABOUT SOUL," (
acrylic paintings ).
CENTER FOR VISUAL ARTS G. KARIDIS, FILOTHEI - GREECE,
"Games of the Soul," - the second part of
the visual trilogy "ABOUT SOUL," (paintings
and, poems specially created for them).
LILA'S ART-STUDIO, ATHENS - GREECE, "
/ Paintings 1987-1994."
AIDEKMAN ARTS CENTER - TUFTS UNIVERSITY, MEDFORD MA, USA,
"Chaos and Psyche"- the first part of the
visual trilogy "ABOUT SOUL",
Video Art - Thesis Exhibition).
HOTEL ELOUNDA MARE, (Paintings).
GROSSMAN GALLERY- SMFA, BOSTON, USA, "(Paintings).
GROSSMAN GALLERY- SMFA, BOSTON, USA, "(Paintings).
MUSEUM OF FINE ARTS IN BOSTON, USA,
"1992 TUFTS/SMFA Graduates' Artworks in the
art field of Video & Film," (Thesis
GROSSMAN GALLERY- SCHOOL OF THE MUSEUM OF FINE ARTS IN BOSTON,
USA, "The Tree of Knowledge" & "Chaos and Fire"-