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Pour amorcer le dialogue scientifique qui doit s’instaurer entre les membres du projet L’écoute du théâtre [ECHO] (UMR THALIM) et l’équipe d’Arquivos Sonoros de Teatro (Université de São Paulo/FAPESP), l’article aborde une question délicate que le partenariat franco-brésilien pourrait contribuer à éclairer : dans quelle mesure les concepts et les méthodes des Sound Studies et des études sonores à la française peuvent-ils aider à rendre audibles d’autres cultures, et en être eux-mêmes enrichis ? Après m’être référée à la réflexion de Sterne lui-même sur son ouvrage The Audible Past, je solliciterai notre expérience déjà longue pour proposer un début de réponse et un programme de travail.

This paper examines imaginative geographies of forced migration and refugee settlement in a BBC radio series that follows and gives voice to a Syrian family as they journey to Europe. Originally broadcast on BBC Radio 4 between 2015 and 2017, the episodes have since been repackaged as a podcast on BBC Sounds. The paper answers Horton's (2019) call for greater engagement with media and popular culture by foregrounding radio as an understudied medium with the capacity to shape listeners' geographical imaginations. It explores how this series, presented by Manveen Rana, broke new ground through its journalistic-ethnographic form, eyewitness reporting and amplification of refugee voices, and analyses how two imaginative geographies of journey and settlement are constructed through sounds and the spoken word. The paper concludes by theorising radio as a slow medium and demonstrating how Rana's journalism pushes beyond Toal's (1996, p. 171) 'anti-geopolitical eye' to evidence an anti-geopolitical ear: that is to say, Rana encourages a way of listening to Europe's migration 'crisis' that disrupts discursive framings of refugees as 'victims' or 'threats' by recasting the family as tangible and relatable human beings. This finding has significant implications for media reporting on migration and scholarship on journalistic storytelling and the construction of geographical imaginations. [ABSTRACT FROM AUTHOR]

Providing spaces for participatory musical creation and supporting different audiences in the emergence of their own expression is an important social commitment for and in the community. The implementation of such large projects implies the consideration of various artistic and relational parameters that have an impact on the participants. In drawing on different experiences and artistic contexts, we suggest analysing the issues inherent in the realization of such projects, focusing on the question of attentiveness, sound identity and the concept of creative space. [ABSTRACT FROM AUTHOR]

Copyright of Vigo International Journal of Applied Linguistics is the property of Universidade de Vigo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The research on mediation in musicology seeks to know, among other things, the mechanisms, processes, structures or social contexts underlying any form of mediation. What role would play the experiential quality of any mediation, as well as the in-betweenness between mediators, musicians and fans? Any mediation is nourished and even determined, on the one hand, by the quality of experience of the musicians and mediators who are engaged in it, whereas, on the other, an in-betweenness linking the »poles« of any mediation gives meaning to both identity and role of any musician and mediator within a given musical milieu. In this article, I propose to appeal to the notions of »médiance« and »trajection« put forward by French geographer and philosopher Augustin Berque, to better define the quality of any mediation and the in-betweenness that allows any mediation to be... mediation. [ABSTRACT FROM AUTHOR]

The family and couple setting requires a radical transformation of the quality and breadth of our listening, which is addressed to a patient made up of several subjects but at the same time unitary. It is a matter of being able to oscillate between individual, couple and group psychic functioning, all always co-present, with a focus on an unconscious that is no longer individual, but heterotopic or ectopic. The training process is hinged on the tripod of personal psychoanalysis, theoretical-clinical seminars and supervision, in which the clinical case discussion in group is fundamental, as it allows the student to experience, dealing with a plurisubjective clinic, a field in which there are not only several minds at work, but also a groupal mind, thus creating an experiential situation analogous to the personal analysis carried out to become an analyst, but of a groupal nature. [ABSTRACT FROM AUTHOR]

The Pedagogy of Listening through soundwalk offers an immersive approach to education, integrating attentive listening as a main tool. This method, anchored in the history of sound art and sound ecology, aims to raise participants' awareness of their sound environment and to develop their critical and creative listening skills. Through concrete examples such as sensitive audio tours and projects around water or the forest, this approach explores sound territories in a contextualized way. Tools such as the digital recorder and interactive maps enrich the experience, while action research promotes interdisciplinarity and social innovation. Despite the challenges related to the coordination of actors and resources, this approach promises to adapt to new territories explored thanks to technological advances and a return to authentic sensory connection. In conclusion, the pedagogy of listening offers stimulating perspectives for rethinking our relationship with soundscapes and promoting better living together in a constantly evolving world. [ABSTRACT FROM AUTHOR]

Le présent travail porte sur les défis qu’engendre la traduction de l’œuvre de Henri Meschonnic. La première section est un état de lieux sur la traduction de la traductologie. Les ouvrages traductologiques sont rarement traduits, principalement à cause du manque de projets de traduction. Nous passons en revue dans la seconde section les axes fondamentaux de la pensée de Meschonnic pour examiner dans la dernière section les difficultés de traduction de son discours. La traduction est une manière de continuer l’œuvre de Meschonnic et de contribuer au progrès de la traductologie.

To join Dionne Brand in A Map to the Door of No Return is to take a journey divergent from the West's well-worn genre of the epic that fetes great white men whose great risks meet with even greater rewards. By contrast, Brand sutures her transatlantic bricolage of time and space with disruptions and displacements. Her redactions and erasures illuminate the efficacy of forgetting in a world where the colonizers have frozen the historical time of Empire in marble, granite, and bronze. [ABSTRACT FROM AUTHOR]

Listening poses a certain number of problems for practitioners, to which we propose to return based on the initially discomfiting effects of the clinic. What do we do with what we hear? With which ear do we listen? Starting from the work of Theodor Reik, author of the famous Listening with the Third Ear, Lacan will demonstrate how the analyst’s two ears will already be too many. An opportunity therefore to re-examine how listening is not self-evident. What makes listening so difficult? Following the path that led Lacan from the proposition of the analyst-listener to the analyst-interpreter leads to this disconcerting hypothesis: to read the word, to read with the ear. Learning to read, here is a surprising proposal for the benches of our colleges… of psychoanalytic clinics. [ABSTRACT FROM AUTHOR]

In this essay, I propose an interlocution between photography and psychoanalysis. Among the various possible analyses of this encounter, my main concern is the dimension of time. In order to think temporality from the perspective of photography, I start, initially, with some provocations from Barthes and Soulages, extending them to other authors who contributed to this debate. To explore it from the psychoanalysis, I examine some contributions of Freud, Winnicott and Lacan. Finally, I seek to weave, from the presentation of a clinical vignette, some approximations between the two fields, pointing out that the roles played by the instant and by duration represent essential themes for both. [ABSTRACT FROM AUTHOR]

Copyright of Anthropologica is the property of CASCA and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Estilos da Clínica is the property of FEUSP - Faculdade de Educacao da USP - Universidade de Sao Paulo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Ironie du sort : la recherche sur le lynchage à la tomate est encore aujourd’hui dominée par un texte parodique de Georges Perec. L’article Cantatrix sopranica L. s’intéresse au contrecoup lyrique du lancer de tomate sur la chanteuse. Sous prétexte de thématiser l’effet d’un bide musical, Perec met en scène les conditions de possibilité d’une foirade scientifique. Pour parodique qu’elle se donne, cette étude n’en reste pas moins typique des codes de scientificité d’une époque. Si nous ne nous développons pas tous les facteurs discriminants – plus ou moins nonparodiés – de la supposée recherche, nous nous concentrons principalement sur le réductionnisme essentialiste qui porte Perec, face à « la » cantatrice, à évoquer « la » tomate, sans cure pour le pluralisme de ses états culinaires (crue, cuite, mijotée, condensée, farcie, gratinée…), la variété de ses espèces, les modes de culture, les couleurs, etc. La musicologie d’aujourd’hui ne peut-elle se saisir de ce hors-jeu pour repenser ses pratiques épistémologiques, ses manières de hurler ses échecs, relancer et mettre en vocalise ses propres impasses ?

Cet article propose une approche de Silencio, de Sergio Rubio, du point de vue musical, en partant du changement de paradigme qui, à partir de la musique, s’est produit au cours des premières décennies du xxe siècle. Des concepts tels que le silence, le bruit ou l’écoute ont dépassé leurs limites strictement musicales, conduisant à une réflexion qui s’est étendue à d’autres arts, ainsi qu’à la pensée sociale. Silencio est abordé sous l’angle purement sonore, sans perdre de vue la dimension socila pièce – à l’écouter – depuis une autre perspective.

The ties between Francis Dhomont and Annette Vande Gorne, both passionate acousmatists and pedagogues, have animated the development of a new body of works and left their mark on both the Quebec and the Belgian acousmatic landscapes, especially between 1980 and the end of the 1990s. This paper traces Dhomont's and Vande Gorne's complicit path through the most significant moments of this period. It reveals a deep attachment to sound space and its variations in spatialized concerts, as well as to innovative teaching approaches. The account of their respective remarkable careers is punctuated by important, reflexive contributions that define what distinguishes and characterizes acousmatic music. Finally, the paper recounts the events and collaborations that provided the young acousmatic musicians of the day with the opportunity to perfect their art and to circulate their music in Europe and North America. [ABSTRACT FROM AUTHOR]

Le compositeur Yoshihisa Taïra (1937-2005) cherche – dans sa composition – à réaliser une synthèse culturelle entre la France, où il s’est formé et a vécu, et le Japon, son pays d'origine. Il utilise alors la méditation comme thème musical pour se libérer de l’intellectualisation et de la verbalisation de la musique, et ce, dans le but de revenir à l’écoute en tant qu’essence musicale. En utilisant le concept du ma (vide), en s’inspirant de la pensée bouddhiste zen, Taïra réussit à trouver une position équilibrée avec le contexte esthétique de la postmodernité française représentée par Jean-François Lyotard. Cet article creuse donc ce en quoi la méditation est la synthèse culturelle pour Taïra, en analysant du point de vue musical et philosophique, la possibilité de l’existence d’un croisement idéologique entre ces deux cultures qui inciterait le compositeur à retourner vers l’inspiration de la culture japonaise, à l’aide de la pensée issue de Logique du lieu de Kitarô Nishida.

Copyright of Alternative Francophone is the property of Alternative Francophone and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The first home visit (VAD) by a nurse from the medical-psychological center (CMP) for a patient who has been out of psychiatric care for a very long time, or who has never benefited from it, is decisive for the follow-up and continuity of care. The attitude and posture of the caregiver are decisive. VAD is an intrusion into a place of life, intimacy and suffering. It upsets a person who has walled himself into a shell, a cocoon, from which the fear of coming out is often massive. Anguish prevents any mobilization towards care. It takes a great deal of skill to create a bond of trust to initiate the idea of care., (Copyright © 2024 Elsevier Masson SAS. All rights reserved.)

This paper seeks to better understand the role of heterophony in a form of traditional Vietnamese music often referred to as Đờn Ca Tài Tử, as well as how such performance practices are grounded in interactions between performers. The performance of this genre is analyzed as ornamental heterophony and attention is given to the role of idiomatic patterns as well as small-scale ornamentation. Building on stimulated recall interviews with three master performers, the authors analyze an audio recording of Vọng Cổ by these three performers, in order to explore the role of conscious and subconscious processes in their performance. [ABSTRACT FROM AUTHOR]

Copyright of Conexão Letras is the property of Conexao Letras and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Estilos da Clínica is the property of FEUSP - Faculdade de Educacao da USP - Universidade de Sao Paulo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Cet article vise à définir la spécificité d'une écoute psychanalytique de l'intersubjectivité dans les dispositifs de médiations thérapeutiques. Il propose de mettre en évidence les présupposés de cette écoute intersubjective comme autant de conditions préalables à une possible appropriation subjective du travail thérapeutique par les patients. La méthode relève d'une interrogation sur les extensions de la psychanalyse et elle consiste à transposer les fondements de la méthode et de la théorie psychanalytique dans le cadre des médiations thérapeutiques. La méthodologie de recueil des données se fonde ainsi sur l'observation clinique des diverses formes de l'associativité, verbale, sensorimotrice et formelle, ainsi que sur la prise en compte de la « constellation transférentielle » (Freud). Elle repose sur l'analyse de « situations limites » des dispositifs de soin à médiation pour des pathologies graves du narcissisme et de l'identité. Cet article dégage six opérateurs de l'écoute intersubjective dans les médiations thérapeutiques : la prise en compte du langage sensorimoteur, de l'interintentionnalité, des formes sensorimotrices du transfert, de l'émergence des formes primaires de symbolisation, ainsi que la reprise intersubjective par les cliniciens (par accordages, partage d'affect, théâtralisation et dialogue sensorimoteur), et enfin la remise en place des jeux qui n'ont pas pu se jouer dans la première enfance. Chacun des opérateurs mis en évidence est abordé de façon synthétique dans cet article ; une analyse plus approfondie peut être effectuée à l'appui des indications bibliographiques. L'écoute psychanalytique de l'intersubjectivité dans les médiations thérapeutiques permet donc de donner des repères, tant pour la pratique que pour une évaluation qualitative des processus en jeu dans ces dispositifs de soin, ce qui représente un outil heuristique pour les cliniciens. This article sets out to define the specificity of intersubjective psychoanalytic listening in therapeutic mediations. It proposes to bring to light the presuppositions of this psychoanalytic listening as prerequisites for a possible subjective appropriation of therapeutic work by patients. The method concerns extensions of psychoanalysis, and consists in transposing the methodical and theoretical foundations of psychoanalysis into the therapeutic mediation setting. The data collection methodology is thus based on clinical observation of various forms of verbal, sensorymotor, and formal associativity, as well as the consideration of the "transferential constellation" (Freud). It is based on an analysis of "limit situations" encountered in the use of mediation treatment systems for serious narcissistic and identity disorders. This article distinguishes six operators of intersubjective listening in therapeutic mediations: sensorymotor language, interintentionality, sensorymotor forms of the transference, emergence of primary forms of symbolisation, as well as clinicians' use of intersubjectivity (attunement, affect sharing, dramatization, and sensorymotor dialogue), and finally the reinstatement of games that could not be played in early childhood. Each of the operators highlighted is discussed in summary form in this article; a more in-depth analysis can be made by referring to the bibliographical indications. Psychoanalytic listening to intersubjectivity in therapeutic mediations therefore makes it possible to give reference points, both for practice and for a qualitative evaluation of processes involved in these care protocols, which represents a heuristic tool for clinicians. [ABSTRACT FROM AUTHOR]

The perinatal period includes regular consultations and examinations, which can sometimes reveal bad news. The announcement of this serious information may upset the couple receiving it and also the specialist who has to make this announcement and thus can be a source of uncertainty and anxiety. To be able to convey the necessary information to the couple whilst helping them as best as possible through their inevitable emotions, it is necessary for the specialist to be in a secure emotional state. Based on this principal, we propose the training sessions that have been developed and led by perinatal specialists and professional actors. The emotional simulation training will take place in progressive stages. It will allow each participant to improve his/her skills in terms of knowing how to react, these skills being directly transferable to their professional activities after this course. [ABSTRACT FROM AUTHOR]

Copyright of Revue d'Orthopédie Dento-Faciale is the property of Parresia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revue d'Orthopédie Dento-Faciale is the property of Parresia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revue d'Orthopédie Dento-Faciale is the property of Parresia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revue d'Orthopédie Dento-Faciale is the property of Parresia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Nouvelles Pratiques Sociales is the property of Revue Nouvelles Pratiques Sociales and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article examines the way the sound art installation Telharmonium 2.0 (2019), by Xavier Ménard and Camille St-Amand, redefines our relationship with electromechanical technologies, through the experience of listening to the artwork in its exhibition space. Based on an analysis that includes the artists' perspective on the artwork and a description of the installation materials and the exhibition experience, this article suggests that Telharmonium 2.0 revisits interactions between humans and machines from two angles: on the one hand, the artists exploit the musical potential of the electromechanical motor's noise; on the other hand, the visitor reassesses this musicality during the listening experience. This leads to the emergence of questions regarding the aestheticization of this mechanism in the field of sound art. [ABSTRACT FROM AUTHOR]

Since its appearance in the early 1980s, the notion of "sound art" has struggled to find a stable definition. The vagueness of this term has not prevented it from often being used in the visual arts, where it highlights the dominant role of sound in the creation of certain works of art. This article addresses the inherent issues surrounding this notion by looking at two major exhibitions associated with the emergence of the term "sound art": Für Augen und Ohren: Objekte, Installationen, Performance [Berlin] and Écouter par les yeux: objets et environnements sonores [Paris]. My focus is on the discussions that followed these exhibitions, wherein it became possible to move beyond sound objects and into the realm of different ways of listening, within the visual arts themselves. This leads me to gauge the theoretical and practical effects of this paradigm shift, and to look at its aesthetic and political consequences. From this standpoint, it is important to open this inquiry to include the history of sound techniques, studied notably in the field of Sound Studies, as well as the relationships between listening and action, which has been analyzed in ethology. [ABSTRACT FROM AUTHOR]

In this interview, the French composer Pascale Criton traces the underlying strands of her musical writing and thinking. Passionate about the sound continuum, her encounters with Ivan Wyschnegradsky, Gérard Grisey--and with the philosopher Gilles Deleuze--in the 1970s, confirmed her interest in micro-intervals and the variability of sound. The composer discusses the preoccupations she was working though in her pieces from the 1980s to the present. The idea of eco-sensitive interaction emerges with the use of scordaturas in 1/4, 1/12th and 1/16th of a tone associated with sound synthesis (Thymes, 1988), or in reference to acoustic behaviours (Artefact, 2001), which bring back gestural writing (Objectiles, 2002). Pascale Criton questions not only instrumental techniques, but also notation and interpretation (Circle Process, 2012). Her use of small differences aims to increase perception and now extends to a sensitive hearing of acoustic and perceptual phenomena (Wander Steps, 2018). [ABSTRACT FROM AUTHOR]

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Le premier recours et son conseil sont des concepts originaux qui méritent d'être connus. Des pharmaciens d'officine ont été sollicités dans le cadre d'une enquête pour définir et qualifier cette pratique. The first resort and its advice are original concepts that deserve to be known. Pharmacists were asked to participate in a survey to define and qualify this practice. [ABSTRACT FROM AUTHOR]

Cet article problématise la notion de «marge» à partir de la lecture de certains récits de Georges Bataille. Chez l’auteur, l’idée d’errance est centrale, car l’errant n’étant pas une figure binaire, il impose une réflexion globale de l’écriture, et de la théorie littéraire. D’où une critique des termes courants lorsque l’on pense les «marges», comme «frontières», comme «écart», etc. L’idée de voix sera aussi traitée, parce que c’est elle qui avance sans cesse, dans et par l’errant. L’écriture de Bataille se trouve comme une recherche d’une marche en avant, et qui se construit en s’installant partout.

Copyright of Didáctica. Lengua y Literatura is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Within its genre, Le trésor de la langue (1989) is a unique musical work. A kind of sonic "road movie," it explores the political, historical and poetic dimensions of the French language spoken in Quebec. Bringing together heterogeneous materials through the technique of sound collage, René Lussier offers a critical listening of the history of Quebec. This interview tracks the compositional process of Le trésor de la langue as well as some of the ethical and political issues involved in the use of sound archives and field recordings in this work. It testifies to the capacity of music to scrutinise recent history in order to answer common questions, beyond what is said and what is silenced in collective memory and official history. [ABSTRACT FROM AUTHOR]

Copyright of Carnets: Revue Electronique d'Etudes Françaises / Revista Electrónica de Estudos Franceses is the property of Associacao Portuguesa de Estudos Franceses (APEF) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The objective of this article is to talk about the psychic aspects of the suffering of the subjects who arrive at the Hospital, reporting or presenting some type of physical injury in the body. This perspective goes through the definition of Urgency Clinic in the field of Attention to Hospital Health. To this end, we invite Hospital psychologists and staff, who are in hospital establishments and have an interest in listening to the suffering subjects, in order to create a technical-theoretical and ethical-political horizon guided by Freud and Lacan psychoanalysis. In the Hospital, concepts of disease, treatment and diagnosis are considered by the medical and nursing team from, primarily, the biological point of view. In the Medical Discourse, the subject becomes objectivated and passive to his condition of "patient". Referenced by the notions of subject and subjectivity, we bet and apprehend, through our experience in a Unit of Care, that it is possible, in this context, a direction of treatment not excluding the subject of the unconscious. That is, the subjects, when talking about their stories, distresses and fears them the most, when they perceive their health affected by an accident, can reposition themselves in the face of "illness". [ABSTRACT FROM AUTHOR]

This paper reports the clinical treatment of a patient suffering from symptoms of emptiness and apathy. During his treatment, a negative transference came up in the form of anger and accesses of fury. Based on references from the field of psychoanalysis and the modalities of psychic illnesses, as well as by analyzing an occurred countertransference, the author proposes a reflection on how to clinically deal with such cases, on the encountered violence and on the alternation between states of silence and fury. [ABSTRACT FROM AUTHOR]

The paper provides a discussion with Giuseppe Civitarese on dreaming. It unfolds along three lines. The first one nears the dream as psychic state. An issue of method draws a line between dreaming and reverie, as relevant to analytic listening. The second line tackles the dream as psychic object. An issue of theory scans Bion's notion of the dream as unconscious thinking extended so far as to tangle up any difference between day and night psychic processes; it dwells on Bion's theory of thinking. The last line takes up the dream as communication on a specific clinical issue: dreaming about the session in analysis. As related to transference neurosis, such a dream shall not be presented as a dream within a dream, yet it accounts for a significant past experience to be unfolded, hence the metaphor. [ABSTRACT FROM AUTHOR]