ABSTRACT
The structure of the dream changes depending on how one interprets the moment of the second awakening. The Interpretation of Dreams has little to say about it, but the little it does say is significant. Mauro’s dream, the film of the mind, is significant primarily because it depicts his awakening or, rather, his various awakenings, the main one being perhaps the realisation that he is dreaming and that he represents himself in dreams of great richness. The literature on dreams within dreams is not extensive and, with few exceptions, mostly tends to confirm Sigmund Freud’s point of view. The analyst who listens to a dream inserted within another dream identifies with the dreamer of the frame-dream and, with a mixed feeling of curiosity and disquiet, contemplates the even darker scene of the dreamt part of the dream. For Freud, once the dream is translated, it gives access to the unconscious; for W. R. Bion it creates the unconscious.
