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Rhapsody: A Dream Novel, also known as Dream Story (German: Traumnovelle), is a 1926 novella by the Austrian writer Arthur Schnitzler. The book deals with the thoughts and psychological transformations of Doctor Fridolin over a two-day period after his wife confesses having had sexual fantasies involving another man. In this short time, he meets many people who give clues to the world Schnitzler creates. This culminates in the masquerade ball, a wondrous event of masked individualism, sex, and danger for Fridolin as the outsider.
It was first published in installments in the magazine Die Dame between December 1925 and March 1926. The first book edition appeared in 1926 in S. Fischer Verlag and was adapted in 1999 into the film Eyes Wide Shut by director-screenwriter Stanley Kubrick and co-screenwriter Frederic Raphael.
The book belongs to the period of Viennese decadence after the turn of the 19th century.
The Interpretation of Dreams (German: Die Traumdeutung) is an 1899 book by psychoanalyst Sigmund Freud, in which Freud introduces his theory of the unconscious with respect to dream interpretation, and discusses what would later become the theory of the Oedipus complex. Freud revised the book at least eight times and, in the third edition, added an extensive section which treated dream symbolism very literally, following the influence of Wilhelm Stekel. Freud said of this work, "Insight such as this falls to one's lot but once in a lifetime.”
Arthur Schnitzler's Dream Novella and Stanley Kubrick's film Eyes Wide Shut have much in common and are at the same time very different from each other. Stanley Kubrick sets the story of the novella in present-day New York. The main protagonists are the married couple, Fridolin and Albertine, renamed William (Bill) and Alice and portrayed by Tom Cruise and Nicole Kidman. Taboos and problems of secondary relationships in marriage in Vienna at the turn of the century (also frequently referred to as the age of decadence) are transferred to modern-day New York. In doing so, a not inconsiderable part of the mood, atmosphere and fantasy of the Viennese novella is estranged and thus translated into a new message by setting it in present-day New York. Certain questions regarding to what extent fantasy and reality in their mutual dependencies are concretized by the film and conveyed to the viewer can be raised. Schnitzler's attribution of the reality of the dream to Albertine and the testing of fantasy in Fridolin's reality is also sensitively put into question by Stanley Kubrick. The film and the novella are to be reconsidered by means of an exemplary juxtaposition. The marital drama from the turn of the century possesses a present-day relevance which, despite liberalization, the breaking down of taboos and changes in moral values, has not lost any of its intensity the yearning for intimacy in a satisfying relationship, but also its simultaneous endangering by our unconscious desires, feelings and fantasies. Arthur Schnitzler, who was a medical doctor by profession, was admired by Freud for his knowledgeable descriptions of psychic processes. They were not friends, but had great respect for each other. It is said that it was only the children of Freud and Schnitzler, who played together with each other, who gave occasion for correspondence between the two.
One could easily be tempted to construct intentional resonances from the common features in the title and theme of the works by Freud and Schnitzler. The idea of a position taken toward Freud's scientific interpretations of dreams in the form of a novella lies to hand. The extent to which conjectures in this direction are justified may perhaps be revealed sometime by the diaries.
The pair clashed again during the filming of 1960’s “Spartacus,” when Douglas forced Kubrick to go through with the now-iconic “I am Spartacus!” scene, which Kubrick was reported to have highly disliked. According to Douglas, their arguments were so prolonged and vicious that his wife suggested the two attend therapy together.
The psychiatrist told Kubrick to read the 1926 “Traumnovelle,” recalls Douglas, which would later become his final film, “Eyes Wide Shut.”
For a long time, Stanley Kubrick had the intention of filming Arthur Schnitzler's Dream Novella. He purchased the film rights already in 1971. Schnitzler himself had also written a film script in 1930. At the invitation of the director, Georg Wilhelm Pabst, who wanted to take advantage of the success of other films based on Schnitzler's works, he wrote the manuscript for a silent movie
version. In this he envisaged a real attendance at the ball which in the novella is transposed into a shared memory and which will crop up again in [Eyes Wide Shut] later on as a party at Victor Ziegler's, a friend of the couple. But the film script remained unfinished. Pabst turned it down and it was not realized. It would be interesting to be able to compare both film versions. But we cannot do this. For a long time it was also not certain whether Kubrick himself had access to Schnitzler's script.
That Kubrick's analogous way of proceeding was probably immediately inspired by Schnitzler's own preliminary work has been demonstrated by research in the meantime, for Kubrick had asked Schnitzler's heirs for permission to read the draft script during his own preliminary work.
There is also a novel by Arthur Schnitzler, Rhapsody: A Dream Novel, which I intend to do but on which I have not yet started to work. It's a difficult book to describe -- what good book isn't? It explores the sexual ambivalence of a happy marriage, and tries to equate the importance of sexual dreams and might-have-beens with reality. All of Schnitzler's work is psychologically brilliant, and he was greatly admired by Freud, who once wrote to him, apologizing for having always avoided a personal meeting. Making a joke (a joke?), Freud said this was because he was afraid of the popular superstition that if you meet your Doppelgänger (double) you would die.
In 1999, Raphael published Eyes Wide Open, a memoir of his collaboration with the director Stanley Kubrick on the screenplay of Eyes Wide Shut, Kubrick's final movie. Raphael made criticisms of Kubrick, and upon its publication the book was publicly criticised by several of the director's friends and family members, among them Christiane Kubrick, Jan Harlan, Michael Herr, Steven Spielberg and Tom Cruise.
That same year, Penguin Books also published a new translation of Arthur Schnitzler's Dream Story, the basis for Eyes Wide Shut, featuring an introduction by Raphael.
Widely regarded as one of the great masterpieces of the silent era, as well as one of the first art films,the three-and-a-half-hour epic intercuts four parallel storylines, each separated by several centuries: (1) a contemporary melodrama of crime and redemption, (2) a Judean story: Christ's mission and death, (3) a French story: the events surrounding the St. Bartholomew's Day massacre of 1572, and (4) a Babylonian story: the fall of the Babylonian Empire to Persia in 539 BC. Each story had its own distinctive color tint in the original print.The scenes are linked by shots of a figure representing Eternal Motherhood, rocking a cradle.
This complex film consists of four distinct, but parallel, stories—intercut with increasing frequency as the film builds to a climax—that demonstrate mankind's persistent intolerance throughout the ages. The film sets up moral and psychological connections among the different stories. The timeline covers approximately 2,500 years.
1 The ancient "Babylonian" story (539 BC) depicts the conflict between Prince Belshazzar of Babylon and Cyrus the Great of Persia. The fall of Babylon is a result of intolerance arising from a conflict between devotees of two rival Babylonian gods—Bel-Marduk and Ishtar.
While Fridolin and Albertina, the protagonist couple of Dream Story, are sometimes implied to be Jewish, there is nothing in the novella which justifies this assumption, and neither Fridolin nor Albertina are typical Jewish names; whereas Nachtigall (Nightingale) is overtly identified as Jewish. Kubrick (himself of Jewish descent) frequently removed references to the Jewishness of characters in the novels he adapted. In the case of Eyes Wide Shut, Frederic Raphael (who is also Jewish) wanted to keep the Jewish background of the protagonists, but Kubrick insisted that they should be "vanilla" Americans, without any details that would arouse any presumptions. The director added that Bill should be a "Harrison Ford-ish goy" (though Ford's mother was Jewish), and created the surname of Harford as an allusion to the actor. This is reflected in the way the film's Bill Harford is taunted by college students when going home in the morning. In the film, Bill is taunted with homophobic slurs. In the novella, these boys are recognized to be members of an anti-Semitic college fraternity.Kubrick's co-screenwriter, Frederic Raphael, in an introduction to a Penguin Classics edition of Dream Story, writes "Fridolin is not declared to be a Jew, but his feelings of cowardice, for failing to challenge his aggressor, echo the uneasiness of Austrian Jews in the face of Gentile provocation.”
Vivian Vanessa Kubrick (born 5 August 1960) is an American-born English filmmaker and composer, known for her work with her father, filmmaker Stanley Kubrick.
Kubrick was born in Los Angeles, California to Stanley and her mother Christiane Kubrick. She had an older sister, Anya, from whom she was said to be "inseparable" in childhood. She also has an older stepsister, Katharina, from her mother's first marriage.
In her late teens, Kubrick directed a half-hour documentary for the BBC, The Making of "The Shining",which is included on all DVDs and many videotapes of her father's film The Shining. She shot 18 hours of footage for a similar documentary on the making of Full Metal Jacket but it remained unfinished. She did write the score to Full Metal Jacket using the pseudonym Abigail Mead. Director Kubrick had initially envisioned a score that featured Japanese drum compositions, but after hearing an original piece his daughter had recorded, he asked her to score the entire film.
Her father solicited work from her to write music for Eyes Wide Shut, but it was not completed, as Kubrick left for California instead. Although Stanley Kubrick wrote her a 40-page letter in an attempt to persuade her to return to the project she chose not to do so. The film instead used music by Jocelyn Pook.
His daughter Vivian Kubrick, who acted in several of her father’s movies, directed a film about the making of “The Shining,” and wrote the music for “Full Metal Jacket” (under the pseudonym Abigail Mead), joined the Scientologists during the preparation for “Eyes Wide Shut” and was no longer speaking to her family as of 1998.
"She is a fabulous person," says Christiane. "Beautiful, very witty, enormously talented in all sorts of directions, very musical, a great mimic, she could play instruments easily, she could sing, she could dance, she could act, there wasn't anything she couldn't do. We had fights. But she was hugely loved. And now I've lost her." She pauses. "You know that? I used to keep all this a secret as I was hoping it would go away. But now I've lost hope. So. She's gone."
It all began, she says, while Stanley was editing Eyes Wide Shut, which starred Tom Cruise and Nicole Kidman. Stanley asked Vivian to compose the score, but at the last moment she said she wouldn't. Instead, she disappeared into San Francisco and Los Angeles. "They had a huge fight. He was very unhappy. He wrote her a 40-page letter trying to win her back. He begged her endlessly to come home from California. I'm glad he didn't live to see what happened.”
On the day of Stanley's funeral, Christiane says, Vivian arrived with a woman nobody recognised. "She just sat in Vivian's room. Never said hello to us. Just sat. We were all spooked. Who was this person? Turns out she was a Scientology something-or-other, don't know what."
"Did Vivian give a reason why she joined the Scientologists?" I ask.
"It's her new religion," Christiane shrugs. "It had absolutely nothing to do with Tom Cruise by the way. Absolutely not.”
Katharina Kubrick, Vivian’s step-sister, also confirmed to the Daily Beast in 2010 that Vivian came to her father’s funeral with a “handler.” Katharina said that was the last time she saw Vivian.
“The whole situation was so impossibly weird,” Kathrina recalled in the Daily Beast interview. “We didn’t know, at first, anything about it really, so we were like, ‘Who is this person? Why won’t they talk to us?’”
“Viviane is immensely talented and she could have more or less done whatever she wanted,” Katharina continues. “But I guess, like a lot of people, she was looking for something. Obviously, she thinks she’s found it.”
She describes her sister as a rebellious spirit who “did a lot of alternative stuff” like Tarot cards, crystal healing, and homeopathy, and said she thinks she was first introduced to Scientology while working on the score for the 1999 film The Mao Game, starring Kirstie Alley, a Scientology member. (The Scientology anonymous source said that Vivian got involved in the Church in 1995, but not through Alley.) Both Katharina and her mother deny that Tom Cruise, another celebrity Scientologist, had anything to do with Vivian joining the church, despite the Eyes Wide Shut connection.
After analyzing the omnipresence of triangle patterns in the film’s sets, Vachaud (interviewed this week by ARTINFO) concluded that “Eyes Wide Shut” is much more than a simple story of spousal jealousy. He theorizes that it is about mind control exerted by the secret society to which Alice Harford (Nicole Kidman) belongs. Her husband, Bill Harford (Tom Cruise), with “big closed eyes,” is blind to the fact that his wife is part of a cult that provides sex slaves to wealthy elites.
In his article, Vachaud wrote that the theme of abused children is at the heart of all Kubrick’s movies since “Lolita,” and that the Harfords’ child would also become, under the control of her mother, a slave of the secret society. Uncovering “barely veiled allusions” to Scientology in “Eyes Wide Shut” (among them the fact that Tom Cruise is himself a zealous Scientologist), the article claimed to discover a parallel between the movie and Kubrick’s personal life. His daughter Vivian Kubrick, who acted in several of her father’s movies, directed a film about the making of “The Shining,” and wrote the music for “Full Metal Jacket” (under the pseudonym Abigail Mead), joined the Scientologists during the preparation for “Eyes Wide Shut” and was no longer speaking to her family as of 1998.
I am not the director of Kubrick & the illuminati. I'm only intervewed about my Positif article from January 2013 on Eyes wide shut. The way the film is edited and conceived has nothing to do with me and i'm not supportive in any way of the final result. Gasface's, the two co-directors are rsponsible for it. Laurent Vachaud
John Whiteside "Jack" Parsons (born Marvel Whiteside Parsons; October 2, 1914 – June 17, 1952) was an American rocket engineer and rocket propulsion researcher, chemist, and Thelemite occultist. Associated with the California Institute of Technology (Caltech), Parsons was one of the principal founders of both the Jet Propulsion Laboratory (JPL) and the Aerojet Engineering Corporation. He invented the first rocket engine to use a castable, composite rocket propellant, and pioneered the advancement of both liquid-fuel and solid-fuel rockets.
After a brief involvement with Marxism in 1939, Parsons converted to Thelema, the English occultist Aleister Crowley's new religious movement. In 1941, alongside his first wife Helen Northrup, Parsons joined the Agape Lodge, the Californian branch of the Thelemite Ordo Templi Orientis (O.T.O.). At Crowley's bidding, he replaced Wilfred Talbot Smith as its leader in 1942 and ran the Lodge from his mansion on Orange Grove Avenue. Parsons was expelled from JPL and Aerojet in 1944 due to the Lodge's infamy and allegedly illicit activities, along with his hazardous workplace conduct. In 1945 Parsons separated from Helen after having an affair with her sister Sara; when Sara left him for L. Ron Hubbard, he conducted the Babalon Working, a series of rituals designed to invoke the Thelemic goddess Babalon to Earth. He and Hubbard continued the procedure with Marjorie Cameron, whom Parsons married in 1946. After Hubbard and Sara defrauded him of his life savings, Parsons resigned from the O.T.O. and went through various jobs while acting as a consultant for the Israeli rocket program. Amid the climate of McCarthyism, he was accused of espionage and left unable to work in rocketry. In 1952, Parsons died at the age of 37 in a home laboratory explosion that attracted national media attention; the police ruled it an accident, but many associates suspected suicide or assassination.
Sex magic (sometimes spelled sex magick) is any type of sexual activity used in magical, ritualistic or otherwise religious and spiritual pursuits. One practice of sex magic is using the energy of sexual arousal or orgasm with visualization of a desired result. A premise of sex magic is the concept that sexual energy is a potent force that can be harnessed to transcend one's normally perceived reality.
The Babalon Working was a series of magic ceremonies or rituals performed from January to March, 1946 by author, pioneer rocket-fuel scientist, and occultist Jack Parsons and Scientology founder L. Ron Hubbard.This ritual was essentially designed to manifest an individual incarnation of the archetypal divine feminine called Babalon. The project was based on the ideas of Aleister Crowley, and his description of a similar project in his 1917 novel Moonchild.
When Parsons declared that the first of the series of rituals was complete and successful, he almost immediately met Marjorie Cameron in his own home, and regarded her as the elemental that he and Hubbard had called through the ritual. Soon Parsons began the next stage of the series, an attempt to conceive a child through sexual magick workings. Although no child was conceived, this did not affect the result of the ritual to that point. Parsons and Cameron, who Parsons now regarded as the Scarlet Woman - Babalon - called forth by the ritual, soon married.
The rituals performed drew largely upon rituals and sex magic described by English author and occult teacher Aleister Crowley. Crowley was in correspondence with Parsons during the course of the Babalon Working, and warned Parsons of his potential overreactions to the magick he was performing, while simultaneously deriding Parsons' work to others.
Consider the pagan roots of our popular symbols of Christmas:
1. Christmas Tree - The sacred tree of the winter-god; Druids believed the spirit of their gods resided in the three. Most ancient pagans knew the tree represented Nimrod reincarnated into Tammuz! Pagans also looked upon the tree as a phallic symbol.
2. Star - Pentalpha, the five-pointed star. The pentalpha is a powerful symbol of Satan, second only to the hexagram. The star is the sacred symbol of Nimrod, and has nothing whatsoever to do with Christianity.
3. Candles - Candles represent the sun-gods’ newly-born fie. Pagans the world over love and use candles in their rituals and ceremonies. Certain colors are also thought to represent specific powers. The extensive use of candles is usually a very good indication that the service is pagan, no matter what the outward trappings might be.
4. Mistletoe - Mistletoe is the sacred plant of the Druids, symbolizing pagan blessings of fertility; thus, kissing under the mistletoe is the first step in the reproductive cycle! Witches also use the white berries in potions.
5. Wreath - Wreaths are circular, and so they represent the female sexual organs. Wreaths are associated with fertility and the “circle of life”.
6. Santa Claus - Former Satanists have told me that “Santa” is an anagram for “Satan”. In the New Age, the god, “Sanat Kamura”, is most definitely an anagram “Satan”. The mythical attributes and powers ascribed to Santa are eerily close to those possessed by Jesus Christ.
7. Reindeer - Reindeer are horned animals representing the “horned-god” or the “stag-god” of pagan religion! Santa’s traditional number of reindeer in his team is eight (8); in Satanic gematria, eight is the number of “new beginnings”, or the cycle of reincarnation. The Illuminati views the number “eight” as a symbol of their New World Order.
8. Elves - Elves are imp-like creatures who are Santa’s (Satan’s) little helpers. They are also demons.
9. Green & Red - Green and Red are the traditional colors of the season, as they are the traditional pagan colors of winter. Green is Satan’s favorite color, so it is appropriate it should be one of the traditional colors for Christmas; red is the color of human blood, Satan’s highest form of sacrifice - for this reason, Communism adopted red as its main color!
10. Winter Solstice - December 25th is known as the “nativity” of the sun. This date is the birthday of Tammuz, the son, the reincarnation of the sun god. Traditionally, December 21 is known as Yule. The Roman Catholic Church moved the celebration of Yule to December 25.
11. Saturnalia - December 25th is also known to the Romans as “Saturnalia”, a time of deliberate debauchery. Drinking through repeated toasting - known as ‘wassail’ - was a key to the debauchery of this celebration. Fornication was symbolized by the mistletoe, and the entire event was finished with a Great Feast, the Christmas Dinner.
12. Christ Mass - Even the name, “Christmas” is pagan! “Christi” meant “Christ”, while “Mas” meant Mass. Since all pagan Masses are commemorating “death”, the name, “Christmas” literally means “death of Christ”. A deeper meaning lies in the mention of “Christ” without specifying Jesus. Thus, Antichrist is in view here; the pagans celebrate “Christmas” as a celebration of their coming Antichrist, who will deal a death blow to the Jesus Christ of Christianity.
13. Pilgrims - Early Christian Pilgrims refused to celebrate this holiday because of its pagan roots.
originally posted by: ColdWisdom
a reply to: Rosinitiate
Take your time, theres obviously plenty to chew on.
No... You take your time. I'm the one that wrote it, therefor I am familiar with it.
has not lost any of its intensity the yearning for intimacy in a satisfying relationship, but also its simultaneous endangering by our unconscious desires, feelings and fantasies.