The discovery of REM sleep: the death knell of the passive theory of sleep

2011 ◽  
pp. 31-39 ◽  
Author(s):  
Adrian R. Morrison
Keyword(s):  
2000 ◽  
Vol 14 (3) ◽  
pp. 151-158 ◽  
Author(s):  
José Luis Cantero ◽  
Mercedes Atienza

Abstract High-resolution frequency methods were used to describe the spectral and topographic microstructure of human spontaneous alpha activity in the drowsiness (DR) period at sleep onset and during REM sleep. Electroencephalographic (EEG), electrooculographic (EOG), and electromyographic (EMG) measurements were obtained during sleep in 10 healthy volunteer subjects. Spectral microstructure of alpha activity during DR showed a significant maximum power with respect to REM-alpha bursts for the components in the 9.7-10.9 Hz range, whereas REM-alpha bursts reached their maximum statistical differentiation from the sleep onset alpha activity at the components between 7.8 and 8.6 Hz. Furthermore, the maximum energy over occipital regions appeared in a different spectral component in each brain activation state, namely, 10.1 Hz in drowsiness and 8.6 Hz in REM sleep. These results provide quantitative information for differentiating the drowsiness alpha activity and REM-alpha by studying their microstructural properties. On the other hand, these data suggest that the spectral microstructure of alpha activity during sleep onset and REM sleep could be a useful index to implement in automatic classification algorithms in order to improve the differentiation between the two brain states.


1979 ◽  
Vol 34 (2) ◽  
pp. 192-192 ◽  
Author(s):  
Bernard Rimland
Keyword(s):  

2004 ◽  
Vol 36 (05) ◽  
Author(s):  
N Albrecht ◽  
OP Hornung ◽  
F Regen ◽  
H Danker-Hopfe ◽  
M Schreqdl ◽  
...  

2012 ◽  
Vol 42 (1) ◽  
pp. 86-104 ◽  
Author(s):  
Catherine Kilcoyne

This essay posits a challenge to the continued reading of The Great Hunger (1942) as a realist depiction of the Irish small-farming class in the nineteen forties. The widespread critical acceptance of the poem as a socio-historical ‘documentary’ both relies upon and propagates an outmoded notion of authenticity based upon the implicit fallacy that Kavanagh's body of work designates a quintessence of Irishness in contradistinction to his Revivalist predecessors. In 1959 Kavanagh referred to this delusion as constituting his ‘dispensation’, for indeed it did provide a poetic niche for the young poet. Kavanagh's acknowledgement of this dispensation came with his rejection of all prescriptive literary symbols. While this iconoclasm is widely recognised in his later career, the relevance of The Great Hunger to this question continues to be overlooked. In fact, this poem contains his strongest dialectic upon the use of symbols – such as the peasant farmer – in designating an authentic national literature. The close reading of The Great Hunger offered here explores the poem's central deconstruction of ruralism and authenticity. The final ‘apocalypse of clay’ is the poem's collapse under the stress of its own deconstructed symbolism; the final scream sounds the death knell to Kavanagh's adherence to his authentic dispensation.


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