A Fear of Flying Turning a Simple Dream into a Story of Triumph

A Fear of Flying Turning a Simple Dream into a Story of Triumph Have you ever had a dream that you could fly? When I was a child, I had recurring lucid flying dreams. In one, my parents are entertaining company. I start demonstrating how I can fly. I’m riding the airwaves above the yellow shag rug in the living room, and everyone is entranced. In the dream, flying is the most natural thing in the world and I know that anyone can do it if they just learn to catch the right currents. Watch me go! It’s just like swimming! Then, I would awake. from thecharmingplace.com greeting cards The thrill of flying came crashing down. I was left distraught, wishing I had never had the dream at all. In my child’s mind, it was worse to discover that my ecstasy was imagined than to avoid it in the first place. So I decided I would prefer NOT flying in my dreams to the trauma and disappointment I faced upon awakening. I resolved to wake myself up the next time I had a flying dream. Reality Check Sure enough, one night I found myself flying around with the characters from Alice in Wonderland, cards and spades whisking through the air. I promptly gave myself a whack on the head with my right hand and woke up immediately. The dream was over. No more disappointing awakenings to â€Å"reality† for me! That was the last flying dream I ever had. Until last Thursday. Reclamation In my dream, I once again have an audience, and I am doing swimming strokes through the air. I feel the support of the air under me, and I stay airborne for minutes at a time. What power and freedom! I want everyone around me to discover this joy! This time I choose to let the dream take its natural course. And when I wake up, there is no trauma or disappointment. Rather, I experience an aliveness from the knowledge that I have reclaimed something. What’s possible from here? Rising above my limiting beliefs. A different perspective on life. And getting in touch with an adventurous, powerful piece of myself that knows anything is possible. I wonder, what disappointments have led you to stop dreaming? Are you willing to let yourself fly again? Category:Life and LeadershipBy Brenda BernsteinJune 27, 2017 3 Comments The Essay Expert says: August 23, 2011 at 7:13 pm Thanks BeeGee. Yes I must have reached a point in life where I am not only capable of handling disappointment, but where I choose to risk disappointment in favor of experiencing joy. And creating a support system is definitely key. Disappointments can be tough to handle alone. Log in to Reply Penelope J. says: August 28, 2011 at 5:40 pm Interesting that you learned to control your flying dreams. I used to have tidal wave dreams that were more like nightmares but once, I saw that wave coming towards me, and thought, Here goes and dove straight into it. I often had flying dreams and contrary to your experience, I loved them! I would awake with a great feeling of empowerment. My flying dreams have slowed down with age though occasionally, I get similar ones where I discover, to my delight, that I can run as fast as a deer. I should say that most of my dreams the ones I remember enrich my waking hours. Log in to Reply The Essay Expert says: August 30, 2011 at 4:52 pm I love the running as fast a deer dream Penelope! And Im glad you didnt have to go through what I did to learn to enjoy what are clearly powerful dreams! Log in to Reply

Venus of Willendorf †Most Famous Women

Venus of Willendorf – Most Famous Women Free Online Research Papers The most famous early image of a human, a woman, is the so-called Venus of Willendorf, found in 1908 by the archaeologist Josef Szombathy in a terrace about 30 meters above the Danube river near the town of Willendorf, Austria. The statue, which measures about 11.1 centimeters in length, is now in a muse. It was carved from a fine porous limestone not found in the region and so must have been brought to the area from another location. It must have travelled a great distance before hibernating for centuries. When first discovered the Venus of Willendorf was thought to date to approximately 15,000 to 10,000 BCE. In the 1970s the date was revised back to 25,000-20,000 BCE, and then in the 1980s it was revised again to 30,000-25,000 BCE. In 1990 a study of the amount of layers of deposit on her indicates a date for the Venus of Willendorf of around 24,000-22,000 BCE. Being both female and nude, she fit perfectly into the patriarchal construction of the history of art. She became the first woman, acquiring an ironic Eve identity that focused suitably, from a patriarchal point of view, on the fascinating reality of the female body. She was originally nicknamed la poire the pear on account of her shape .Larger woman used to be identified with wealth, health and suitable for child bearing.Her size, at one point, probably was a point of envy with woman all over the world. In the 15th century, the Italian Renaissance painter Sandro Botticelli revived this same pose in his painting The Birth of Venus and initiated a renewed interest in the Classical Venus. The female again is very curvy, however her hair is natural and free flowing. She seems to be looked upon with ease, by the gods; envied by the human. The inspired painting is printed below: She also exhibits, in ways that are at once appealing (to most women, perhaps) and threatening (to most men, perhaps), a physical and sexual self that seems unrestrained, unphased by cultural taboos and social convictions.She is an image of natural femaleness, of uninhibited female power, which civilization, in the figure of the Classical Venus, later sought to curtail and bring under control. The sculpture shows a woman with a large stomach that overhangs but does not hide her pubic area. A roll of fat extends around her middle, joining with large but rather flat buttocks. Her thighs are also large and pressed together down to the knees. Her forearms, however, are thin, and are shown draped over and holding, with cursorily indicated fingers, the upper part of her large breasts. Small markings on her wrists seem to indicate the presence of bracelets. Her breasts are full and appear soft, but they are not sagging and pendulous. The nipples are not indicated. Her genital area has been deliberately emphasized with the details made clearly visible. This, combined with her large breasts and the roundness of her stomach, suggests that the subject of the sculpture is female procreativity and nurture and the piece has long been identified as some sort of fertility idol. Treatment of hair is rare in Paleolithic figurines, and the attention paid to it must mean it had some significance. In later cultures, hair has been considered a source of strength, and as the seat of the soul. Another characteristic of the statue is she has no feet. Possibly the intention was to curtail the figurines power to leave wherever she had been placed. A more common explanation is that because the statue served as a fertility idol, the sculptor included only those parts of the female body needed for the conception and nurture of children. The most satisfying, position is being held in the palm of the hand. When seen under these conditions, she transformed as a piece of sculpture. As fingers are imagined gripping her round masses, she becomes a remarkably sensuous object, her flesh seemingly soft and yielding to the touch. A roll of fat extends around her middle, joining with large but rather flat buttocks. Piette had been the first to regard it as a racial feature that he related to the appearance of women in African tribes. Another factor contributing to this fact is her hair. Some have interpreted her head as wearing braids while others have said she may be wearing a sort of headdress. From the front, the place where her face should be seems to be largely concealed by what are generally described as rows of plaited hair wrapped around her head. A characteristic of all the Paleolithic Venus figurines is the lack of a face, which for some, arguing that the face is a key feature in human identity, means that she is to be regarded as an anonymous sexual object rather than a person; it is her physical body and what it represents that is important. When seen in profile, the impression is that the figure is looking down with her chin sunk to her chest, and her hair looks more like hair; longer at back and falling and gathering like real hair might on her upper back. Some find it significant that the number of full circles is seven; many thousands of years later seven was regarded as a magic number. What her identity and purpose may have been, why and for what reason she was carved, becomes an even more pressing question. If we dismiss all associations with goddesses and fertility figures, and assume an objective response to what we see, she might be identified as simply a Stone-Age doll. Venus of Willendorf c. 24,000-22,000 BCE Oolitic limestone 43/8 inches (11.1 cm) high (Naturhistorisches Museum, Vienna) REFRENCES: http://witcombe.sbc.edu/willendorf/willendorfname.html www.google.com: Chrisopher L. C. E. Witcombe www.ask.com pxleyes.com/photoshop-picture/4b8f359d6880d/The-Venus-of-Willendorf-2010.html Research Papers on Venus of Willendorf - Most Famous WomenMind TravelAnalysis Of A Cosmetics AdvertisementCanaanite Influence on the Early Israelite ReligionHip-Hop is ArtWhere Wild and West MeetInfluences of Socio-Economic Status of Married MalesAssess the importance of Nationalism 1815-1850 EuropePersonal Experience with Teen PregnancyResearch Process Part OneMarketing of Lifeboy Soap A Unilever Product