More recent images swirl about too: of the post-World War II space and arms race, of the ironising art of the Brezhnev years, of Glasnost and Solidarnosc, and, finally, of those crazy juxtapositions of global brands and Leninalia in the streetscapes of Moscow which heralded, just as visibly as the fall of the Berlin Wall, the "Soviet socialist" dreamworld's irrevocable fading.
the happy (private) consumer -- a capitalist dreamworld founded on the colonization of space confronting a socialist one premised on the colonization of time.
Part II, "The Dreamworlds of History," also a single chapter, describes the manner in which Bolshevik politics proposed a time line of development that failed because of distortions within itself.
The mass dreamworlds have passed, but the economic and political power, the exploitation of labor, the possibilities of mass terror still exist, and it may be that the same superpowers will not be able to lead to better dreams.
Dreamworld and Catastrophe: The Power of Mass Utopia in East and West.
Nevertheless, in the wake of this dreamworld of mass sovereignty, mass production, and mass culture have come revolutionary terrorism, nationalistic wars, exploitation of labor and the environment, and other disasters.
Its post Cold War fall into disrepair, its iconography now viewed as dystopic rather than utopian, further illustrates how quickly the triumphs of the mass dreamworld have become the failures of the post-war breakdown of society.
Significantly, this failure of the Soviet dreamworld leads to understanding of how close the effort to produce material goods in the Soviet Union was to similar efforts in the West.
Why Aleksandr Kosolapov's "Manifesto" (69, discussed, pages 67-69) is used as an example of how dissident artists represented the crumbling of the Soviet dreamworld before it happened is somewhat puzzling until one sees the color reproduction (#1).
The strange young poet, initially an unknown passer-by and literary visitor with an odd inability to tolerate sunlight, becomes the focal point of a dreamworld overwhelming everyday reality and filling Denise's curious need for imaginary, illusory companionship.
From that early point on, it becomes increasingly difficult to distinguish Denise's dreamworld from the more natural, expected world of school, the bookstore, family, a new apartment, and other acquaintances and associates.
A chance encounter with an old friend in the street becomes nearly as odd as Denise's dreams of life with the poet and her nightmares within the dreamworld itself.
