Contribution To Creation Research Articles

The works of artists of the Palekh lacquer miniature craft in the field of design of theatrical productions of the 1930s - 1970s (Palekh and Theater)

The subject of the proposed research is a historical analysis of the works of the masters of the Palekh craft of the 1930s - 1970s in the field of design of theatrical productions – a little-studied phenomenon of Russian folk culture of the twentieth century. The author of the article draws the most illustrative examples, referring to the sketches created by Palekh artists for productions of the Soviet theater. Special attention in the study is paid to the largest figures of the craft who worked in the field of theatrical design: I. I. Golikov, P. D. Bazhenov, N. M. Parilov, A. A. Kotukhina. The purpose of the article is to show the importance of the creative contribution of the Palekh masters to the development of theatrical and decorative art of the Soviet era on the extensive material of numerous productions of major theaters in Moscow, Leningrad and other cities. Using the method of comparative analysis, as well as historical-systemic and iconographic research methods, the author emphasizes the importance of knowledge about the works of Palekh artists in the field of theatrical productions for a correct understanding of the general history of Palekh craft in the twentieth century. The scientific novelty of the research consists in an attempt to analyze the topic under consideration as a single complex phenomenon. The main conclusion of the article is the thesis about the inseparable connection of Paleshan's "theatrical" works with lacquer miniature: the theatrical design works of Palekh masters appear at the same time with their experiments with lacquer miniature; the largest Palekh miniaturists worked with theaters; during the entire Soviet period, Paleshan's experience in theatrical and decorative art was in demand as much as and their lacquer miniature.

Gabriella Gelardini. Deciphering the Worlds of Hebrews: Collected Essays

Gabriella Gelardini. <i>Deciphering the Worlds of Hebrews: Collected Essays</i>

“A life without a supervisor is like a seed that never grows”: Students’ Experiences of Undergraduate Nursing Research Supervision

Background: Undergraduate research is an inquiry or investigation conducted by students who develop an original intellectual or creative contribution to the discipline. However, little is known within the Philippine context that explores undergraduate nursing research experience and supervision.Purpose: This study illustrated the students’ lived experiences of undergraduate research supervision using transcendental phenomenology.Methods: This study made use of transcendental phenomenology. Thirty students enrolled full-time in a nursing research course during the academic year (AY) 2019-2020, and AY 2020-2021 were purposively sampled. These students completed their research projects as required for the nursing research course and were supervised by a mentor. Each participant underwent an in-depth one-on-one interview, of which the responses were transcribed and analyzed based on the modified Stevick-Colaizzi-Keen method.Findings: From the thirty-nine significant statements carefully reviewed and clustered into meaning units, three themes emerged, namely (a) re-capturing tripartite challenges in doing research, (b) re-cultivating quintessential requisites in doing research, and (c) re-envisioning the future ahead. These themes provided textural and structural descriptions that intuitively integrate into the essence of the lived experience of being supervised in undergraduate research.Conclusion: Undergraduate research supervision resonates with the mutual exchange of novel ideas in a dialogical encounter, collective learning, and participatory-in-action where sciencing and caring thinking is imbued to develop critical thinking, inquisitiveness, and caring intuitiveness.

Can innovative work behaviour spur creativity while working remotely? The role of work–home conflict and social isolation

Purpose During the COVID-19 pandemic, huge numbers of employees shifted to remote working, with various consequences for their family and working lives. This study aims to focus on the factors that affect their creativity while working from home. As individual creativity is shaped by context, the authors investigate the moderating role of the domestic environment on employees’ creative contributions while working remotely. Design/methodology/approach The authors base the arguments on the complexity perspective on innovative work behaviour (IWB) and consider innovation a recursive process in which innovative behaviour can inform, and not simply follow, subsequent creative acts. The sudden spur of the pandemic interrupted the natural recursiveness of the creativity–innovation process and allowed them to empirically investigate the direct and indirect effects that levels of pre-pandemic IWB had on individuals’ creative behaviour. The authors hypothesise that this relationship is moderated by two resource-conserving contextual factors: work–home conflict and a feeling of social isolation. The participants were 803 employees from several Italian corporations. The data were collected during the first lockdown period (April–May 2020). Findings The findings support the existence of a three-way interaction, suggesting that IWB affects further creative behaviours when both work–home conflict and social isolation are low. Originality/value To the best of the authors’ knowledge, this is the first study that investigates what happened to employees’ creativity during the COVID-19 massive remote working situation. The results should be interpreted beyond the unique context because remote working will continue.

Co-Authorship in Russia and Germany: General and Special

The paper analyzes the provisions of Russian and German legislation on the regulation of co-authorship relations. The study revealed the following features. By virtue of the Civil Code of the Russian Federation, the joint work of several persons can be carried out in the mode of both separate and inseparable co-authorship, including intermediate modes allocated doctrinally. The German legislator names only inseparable co-authorship as a basis for the appearance of co-authors, all other cases are covered by the regime of linked works. Co-authorship can only arise if there is a joint creative work, which implies the understanding of the co-authors that they work together (subjective criterion), as well as a single period of time, being at the same «stage of production», the existence of an agreement between the co-authors, etc. (objective criterion). German jurisprudence clarifies: co-authorship is not excluded in the case of incremental contributions, but it assumes that each participant has made his own creative contribution, subject to a common idea. It is not required that the co-authors simultaneously participate in all stages of the development of the work. Accordingly, the so-called vertical division of labor is possible, in which the co-authors rely on already created preliminary versions of the work, as well as the horizontal division of labor, when the co-authors simultaneously create separate parts of the work, which then merge into a single work. The presumption in Russia of equal contribution of co-authors to the creation of a common work is applied in Germany on a subsidiary basis, if it is objectively impossible to determine this contribution. The main regulators of the rights of co-authors (authors) in Russia and Germany are the law and the contract, sometimes a court decision. The use of a work created by co-authors is carried out jointly, taking into account the principle of good faith, which is explicitly present in German law and follows from a systemic interpretation of the Civil Code of the Russian Federation.

Peaces of music: understanding the varieties of peace that music-making can foster

ABSTRACT This article offers a new conceptual and theoretical model for researching music-based peacebuilding, an emerging interdisciplinary field that is characterised by heterogeneity of practices, concepts, and analytical approaches. Drawing upon findings from a scoping study of 62 peer-reviewed English language publications that describe music-based peacebuilding practices, it presents a typology of six varieties of peace that this work can foster. Each peace is constituted by a combination of four key variables in approaches to practice and implementation: intergroup encounter; intentional engagement with the extant conflict or politics that drive the need for peace-promoting work; sociality and opportunities for independent social interactions and affective ties; and the projection of the peace message to an external audience. The typology brings needed coherence to this diverse field, providing a nuanced framework for articulating the peacebuilding potential of music and for engaging critically with the possibilities, limitations, and complexities of creative contributions to peacebuilding.

Social obstacles and enrichment to women's creativity: a possible connection

Gender stereotypes are still present in society and tend to privilege certain groups. Prejudice, discrimination, sexist norms, pressure, low valuation are some of the obstacles that women must face since an early age and affect them in the professional stage. Although they have the same creative potential as men, there are fewer eminent female creators in most diverse domains. In this theoretical essay, we analyzed biographies and investigations about those who were recognized for their creative contributions in socially valued domains. It is argued that overcoming gender barriers may have favored their motivation, determination, non-conventionality, as well as adding diversified resources for creative ideas. Nevertheless, the path to gender equity in creative recognition and social justice must not involve teaching women to benefit from overcoming barriers, but rather tearing them down. Considering creativity in a systemic perspective, it is necessary to change domains and fields. There will be more women recognized as creative when we manage to break gender stereotypes, favoring the openness of the domains and the impartiality of the fields.

A dialogue about experiences of collaboration in design practice

OVERVIEW The mass digital adoption and rapid industry transformation have increased the number of things that need to be designed. In addition, Lean and Agile development demands faster ways to reflect and foresee impact. Designers are tackling more complex challenges, contexts, and systems. To assess these design challenges and decentralize the creative contribution, designers seek distributed knowledge, diverse and systemic thinking, adopting various collaborative practices, and more inclusive and holistic approaches to perform their work. The following sub-study supports the assessment of collaboration in Design in the broader term, contributing to the overall PhD study that aims to develop a collaborative and systemic method and toolkit to design technological and responsible service solutions. It shows a thematic analysis of a virtual focus group discussion where four designers discuss the past, present, and future collaboration in and through Design.

GEOGRAPHY OF SCIENCE AND CULTURE OF UKRAINE (UkrSSR) AS ASSESSED BY PROF. MYRON KORDUBA

Professor Myron Korduba’s (1876 – 1947) creative contribution into geography of science and culture of Ukrainian Socialist Soviet Republic (UkrSSR) from the day of its formation and until the 1930s is disclosed. Development and allocation of scientific establishments of the Ukrainian Academy of Sciences, as well as the same of the republican archives, museums and libraries was highlighted through Prof. M. Korduba’s eye. Preconditions and details of accelerated growth of Ukrainian scientific movement at the beginning of post-revolution time in Ukrainian SSR are cleared up, as well as territorial specificities for the same are presented, namely, the availability of scientific Ukrainian associations outside the borders of Russia; a significant number of outstanding Ukrainian scientists in the Tsarist Russia itself; participation of representatives of different- ethnicity authors living on the territory of Ukraine in Ukrainian-language publications Three stages in brief history of Ukrainian Academy of Sciences are outlined and characterized as follows: 1918-1923 – the stage of formation; 1923-the last quarter of 1930 – full-scale development; and, the end of 1930 – the period of persecution and repressions of the members of the Ukrainian Academy of Sciences; consolidation of “communist” science on the basis of Marxist-Leninist methodology. &#x0D; The activity of three departments within the Ukrainian Academy of Sciences is highlighted, namely, I. Historic-Philosophic; II. Physic-Mathematic; and, III. Social-Economic. Each of these had its own sections and boards to prepare a series or even several series of publications. Among the most distinctive collections of expressly geographical content, Myron Korduba outlined the “Historic-Geographic Series (1927; 4 volumes edited by the Board for Compilation of Geographical Dictionary of Ukraine); “Materials of the Seminar for the Study of National Economy of Ukraine” (from 1926), “Writings of Demographic Institute” (from 1924), “Transactions of Social-Economic Department of Ukrainian Academy of Sciences” (from 1923, 6 volumes), “Collection of Works by Social-Economic Department of Ukrainian Academy of Sciences” (from 1925, 35 issues).&#x0D; An essential portion of attention was given by Prof. Myron Korduba to institutes, associations and establishments affiliated and closely connected with the Ukrainian Academy of Sciences. Among these, there was National Library of Ukraine in Kyiv, Institute for Ukrainian Scientific Language, Kyiv and Odesa Boards for Regional Studies.&#x0D; The scientist had assessed the activity of 52 self-employed scientific departments, institutes and associations close to Ukrainian Academy of Sciences. The most important of them, to Prof. Myron Korsuba’s opinion, was the group of institutes for public education that published their “Writings”, i.e., Volyns’kyy in Zhytomyr, those in Dnipropetrovs’k, Kamyanets’-Podil’skyy, Kyiv, Luhansk, Nizhyn, Odesa, Poltava, Kharkiv, and Kherson.&#x0D; Of great importance and interest is the scientist’s information on archiving in Ukrainian SSR as of the beginning of the 1930s. Prof. Korduba distinguished between three classes of archives in the republic, namely, 1. Central; 2. Land (oblast); and 3. District (rayon) archives, and presented the map of territorial disposition of the same in the Soviet republic.&#x0D; Specificities of territorial organization of 95 republican museums are disclosed, where 19 were national-level museums, 54 – regional and district, 6 were associated with the Academy of Sciences and the Commissariat for Public Education, and 15 – with the other establishments.&#x0D; Myron Korduba brought special thoroughness to assessment of heritage available in 28 libraries of Ukrainian SSR. In particular, the scientist scrupulously characterized territorial differences in librarian funds and the number of visitors, while his analysis of bibliographic editions and of bibliographical science of is a unique study of the achievements of the Ukrainian Soviet republic.&#x0D; Prof. Myron Korduba’s assessment of the development of science and culture in the Ukrainian SSR is presented with a breakdown into every rayon of the republic and bears an expressly geographic aspect. &#x0D; Key words: Professor Myron Korduba, geography of science and culture of UkrSSR, “Minerva-Zeitschrift”.

A Scholarly Edition of Samuel P. Newman’s A Practical System of Rhetoric

Beth Hewett’s Scholarly Edition of Samuel P. Newman’s A Practical System of Rhetoric provides an authoritative version of this underappreciated landmark in American rhetoric and writing instruction. The volume includes a foreword by a descendant of Newman’s, an eighty-four-page introduction, a thoroughly annotated text (that of the seventh edition [1839]), which Hewett contends is “settled” (71), a series of appendices featuring significant selections from earlier editions, an extensive bibliography, and an index. Hewett’s notes, among other helps, trace textual differences in the many editions Newman published during his lifetime and locate the sources of many—although not all—of the quoted passages unidentified by the author.Hewett’s enthusiasm for Newman’s work is quickly palpable. Although she acknowledges at the outset that, because of his devotion to eighteenth-century belletrism and his perceived exclusionary tendencies, “[Newman] has been disdained within most histories of rhetoric as more harmful to the discipline than facilitative of it” (2), her introduction and textual apparatus provide a rich sense of the book’s rhetorical and cultural context in the process of constructing a credible case for its enduring significance as “the first substantively original U.S. rhetoric” (61). In fact, her treatment constitutes an homage to the text and is clearly a labor of love.Aligned with Jeffrey Walker’s emphasis on rhetoric’s “pedagogical enterprise” (2011, 3), Hewett’s case for Newman’s importance builds on the contention that “it may be more in the daily practice of teaching that rhetoric scholars develop their most original and creative contributions to the field” (2–3). Following this trajectory, Hewitt ably demonstrates the special status of the Practice System as a teacherly bridge between eighteenth-century British rhetoric (characterized by Hugh Blair’s belletrism and George Campbell’s philosophical inquiry), on the one side, and nineteenth-century American composition pedagogy, on the other. She characterizes Newman’s “most original contribution to American rhetorical study” as “inflecting Belletrism with American models” (59) and carefully explains how Newman adapts concepts essential to the rhetorical scholarship of the Scottish Enlightenment such as taste, imagination, the sublime, and the beautiful for a distinctly nineteenth-century American pedagogy. Furthermore, she suggests connections between Newman’s pedagogy and contemporary writing studies such as his explication of the clumsy quotation practice now known as patch writing. And, although she explicates the considerable contributions of A Practical System of Rhetoric, she is not unaware of its limitations, as demonstrated by her discussion of Newman’s minimal coverage of rhetorical invention and reasoning, a deficit characteristic of nineteenth-century writing pedagogy.I find Hewett’s editorial work solid, her case for Newman’s enduring relevance to rhetorical study sound, and her textual glosses engaging. I do note that her account of A Practical System of Rhetoric’s nineteenth-century American context is stronger than her treatment of its eighteenth- and nineteenth-century British roots. Likewise, her bibliography of American rhetoric appears to be more up-to-date than its British counterpart (which is missing a number of important recent studies), and she exhibits an overreliance on older secondary sources for eighteenth-century texts. Nonetheless, I heartily recommend this edition for students of nineteenth-century American rhetoric and—more generally—compositionists with an interest in our complex, contentious, endlessly captivating family tree.

ANNA LĀCIS’S ACTIVITIES IN LATVIA IN THE 1920s: A GESTURE OF EXPRESSIONISM

The theatre director Anna Lācis belongs to the generation of modernists who found the origins of their creative impulses in the bright and erudite flow of arts education at the beginning of the 20th century. The wheel of the turn of the centuries threw Anna Lācis into the expression of idealism of the revolution, ideology and art forms. The stage requirements for this expression organised the flexibility of the actor along geometrically constructive laconic lines. Anna Lācis was one of the creators of this kind of gesture for a short time in Latvia in the 1920s. Her activity in Latvia was focused on the ideas and practice of formation of the so-called Proletarian Theatre. Anna Lācis’s choice of working with amateurs was determined not only by her position of an adherent to proletarian ideology and her brave civic liberty, but probably also by the coincidence of circumstances. When Anna Lācis was in Latvia, she gladly communicated not only with the left-wing revolutionary intellectuals (the poet Linards Laicens, the writer Leons Paegle, and others), but also with the representatives of Riga theatrical environment of the time. Unfortunately we cannot speak about Anna Lācis’s creative contribution to the Latvian Professional theatre of the time; however, her stagings lend us a wonderful opportunity to see a part of the multi-faceted spectrum that the beginning of the 20th century offered to the stage form of the actor and appreciate the erudition that her education had provided.

Redefinition /redirection and incremental change: A systematic review of innovation in teacher education research

This systematic literature review shows how innovation is used within teacher education research; how conceptualised; and whether different types of innovation can be distinguished. 156 studies met the selection criteria. Analysis comprised: frequency of use; research design; and type of innovation, adapting Sternberg et al.’s (2003) typology. Demonstrating that the use of innovation is an increasing, international phenomenon in the field, predominant types of innovation are identified – creative contributions towards new directions and others representing incremental change. However, innovation is often left un-theorised. We suggest that, without theorisation, such studies may have limited value in developing practice and policy.

Respite. Quiet. A House of Dreams.

Respite. Quiet. A House of Dreams.

Mysterious and Mythological Foundations of Ukrainian Musical Theatre of the 19th Century (based on the work of S. Gulak-Artemovsky and M. Lysenko)

The purpose of the study is to reveal the sacred and mysterious genesis and spiritual foundations of the classics of Ukrainian musical theatre, represented by the work of S. Gulak-Artemovskyi and M. Lysenko. Research methodology. Interdisciplinary, historical-cultural, genre-stylistic approaches were essential for this work. The scientific novelty of the work is determined by its analytical perspective, which takes into account not only the originality of the creative contribution of S. Gulak-Artemovskyi and M. Lysenko, but also the spiritual and mysterious genesis of their opera heritage. Conclusions. The poetics of the Ukrainian musical theatre was formed against the background of the traditions of the baroque school theatre, the genre specifics of which went back to the Byzantine ritual and cult practice and liturgical drama in combination with the mythological and archetypal instructions of the Ukrainian national consciousness. The classics of Ukrainian opera of the 19th century, represented in the work of S. Gulak-Artemovskyi and M. Lysenko, inherit this theatrical-mysterial and ethical-didactic basis in the cultural-historical realities of its era. “Zaporozhets by the Danube” within the comic genre highlights the archetypal features of the Zaporozhian Cossack type, as well as the mythologem of the “search for paradise”. Against the background of the poetics of the historical-heroic opera, this problem is presented in “Taras Bulba” by M. Lysenko, which creates an author's version of Gogol's story with obvious parallels with the biblical theme and an appeal to the dominant bass timbre, which genetically descended from the Orthodox cult singing practice. M. Lysenko's children's operas at the level of mini-mysteries symbolise involvement in national mythology and its archetypal instructions, an appeal to the Ukrainian mysterious Universe through the author's “cosmological fairy tale”.&#x0D; Key words: Ukrainian musical theatre, school theatre, mystery, interlude, S. Gulak-Artemovsky's “Zaporozhets by the Danube”, musical theatre by M. Lysenko.

O granicach interpretowania prawa według Karla Engischa Studium przypadku niemieckiego

We are probably not mistaken when we state here that one of the most heatedly debated issues in German legal doctrine remains the problem of the delimitation of the limits of judicial lawmaking (Richterrecht). In other words, and in the most succinct terms, the judge’s right to legislate. For the judicial law is, and it would be difficult not to agree with such an opinion, one of the most interesting but also controversial issues in contemporary legislation. The question as to whether a judge is merely the „mouthpiece of the law”, or whether he or she is allowed to make a creative contribution to its interpretation, cannot be regarded, even today, as not serious or merely outdated. Hence, the attempt of Karl Engisch (1899–1990), one of the most prominent German criminal law theorists of the 20th century, to answer this question can and should be seen not only in terms of casuistic demonstration, but also (and who knows if not primarily) as the evidence of a scholar who rejects seeing the judge as a kind of automaton acting according to cognitive dogmas. From the Polish perspective, this account remains convincing insofar as one takes into consideration Engisch’s rejection of National Socialist delusions in the study as well as in the application of law. An attitude which, as we know, was not typical of this milieu during the Third Reich.

How to design contests and motivate participants to engage in crowd innovation contests

Increasing numbers of companies are hosting multiple-stage student contests to solicit creative ideas and solutions, develop new products and services, and/or to address corporate issues. However, research on this topic to date has been limited to how to design multiple-stage student contests and motivate contestants to make novel and creative contributions. This study utilizes job design and motivation theories to develop a framework that positions student engagement as a key determinant of creativity. In all, 466 valid questionnaires were collected and analyzed using structural equation modeling. The results showed that contest designs and intrinsic motivation have a positive impact on student engagement. Extrinsic motivation has a nonsignificant effect on engagement. Intrinsic motivation and student engagement have a significant effect on creativity. These findings suggest that the design of crowdsourcing contests should focus on rapid feedback and autonomy. Furthermore, contests must include learning opportunities for students in the process.

The Problem of the Actress in Modern German Theater and Thought by S. E. Jackson

Reviewed by: The Problem of the Actress in Modern German Theater and Thought by S. E. Jackson Ellwood Wiggins The Problem of the Actress in Modern German Theater and Thought. By S. E. Jackson. Rochester, NY: Camden House, 2021. Pp. xiii + 232. Cloth $99.00. ISBN 9781640140868. S. E. Jackson's fascinating monograph opens by connecting Nietzsche's "Problem of the Actor" to his problem with women (1). This brilliant move heralds her exploration of the centrality of gender to performance and performers in fin-de-siècle Germany. Actresses are not just a side issue or specialized topic when it comes to modernist theater. The questions posed by performing women instead point to the most pressing theoretical and practical issues of the day. Jackson's book is a veritable treasure trove of materials, narratives, and perspectives from German-language sources around 1900. It should be mandatory reading for anyone interested in gender, performance, or theater history in German modernism. The Problem of the Actress successfully straddles intellectual history and theater historiography by showing how intimately related conceptual debates (about issues as seemingly disparate as femininity and temporality, for instance) were to influential stage performances in the early 1900s. In the process of this back and forth between pseudo-philosophical publications (such as the repulsive misogynist Otto Weininger's Geschlecht und Charakter) and "paratheatrical writing" (production reviews, memoirs, and metatheatrical fiction), the book unfolds a striking cultural history of Wilhelmine Germany. Especially impressive is the way Jackson has marshaled a rich collection of little-known (and never-translated) contemporary treatises on acting and reviews of performances to paint a thickly textured portrait of the age. The first two chapters lay out the conceptual oppositions that both animated theoretical debates and constricted the practical conditions of female performers. These are followed by three chapters that use close readings of texts and performances to open up explorations of wider themes. All five chapters explore the creation of identity as a site of negotiation between heteronomous subjects who must respond to the ineluctable gender expectations of others. One admirable strength of the book is the way it weaves the longer tradition of German performance history into its lively account of Wilhelmine theater. Jackson [End Page 579] clearly demonstrates her reliance on previous scholarship about women in performance in the long eighteenth century both as methodological models for her own project and to outline the powerful continuities between acting traditions. Too often studies of modernism present the era as radically new and fail to notice the prevalence of older forms of thought even in what seem to be reactions against the past. Jackson avoids this trap by tracing the transformations of established paradigms in the new age. Her frequent citations of Mary Helen Dupree's groundbreaking study of Enlightenment and Romantic actress-writers, The Mask and the Quill (Bucknell University Press, 2011), in particular, show how abiding were the paradoxical demands of naturalness and artifice constructed around performing the feminine. In many ways, Jackson's study can be read as an exciting sequel to Dupree's, carrying the same incisive and sensitive readings of women's performance and women's writing forward into the next century. It is heartbreaking to see how little had changed for women in the intervening years. Jackson sums up a 1928 novel by the actress Tilla Durieux, for instance, by saying that it "presents the obligatory performance of femininity as destructive for women" (149). This quote could easily function as a precise digest of Mary Wollstonecraft's argument in the Vindication of the Rights of Woman (1792). But Jackson's acknowledgement of continuity simultaneously allows her to showcase even more precisely the very real novelties in intellectual concepts and theatrical practice that make the early twentieth century such a momentous era in European history. This achievement of the book becomes most evident in the final chapter. By focusing on the actress Gertrud Eysolt's 1903 performance of Elektra, Jackson persuasively shows how the character and in fact the entire drama would have been inconceivable without the actress's creative contributions. In a way, the book invites a recasting of the three-way antagonism between actor, writer, and director—all...

Milton and the New Scientific Age: Poetry, Science, FictionCatherine GimelliMartin, ed. New York: Routledge, 2019. xv + 242pp. ISBN 13: 9780367182731. $140.00 (cloth).

Milton and the New Scientific Age: Poetry, Science, FictionCatherine GimelliMartin, ed. New York: Routledge, 2019. xv + 242pp. <scp>ISBN</scp> 13: 9780367182731. $140.00 (cloth).

СПОСОБ ВЫЯВЛЕНИЯ КРЕАТИВНЫХ ЛИЧНОСТЕЙ В НАУЧНЫХ КОЛЛЕКТИВАХ

An approach is developed to quantify the creativity of scientific and pedagogical staff using the Russian Science Citation Index in terms of their professional performance, including scientometric indicators. The problems of conducting surveys and testing large audiences of respondents are analyzed. Variants of possible criteria and indicators used to assess employees’ professional activities, including identifying their creative contribution to the collective indicator, are considered. The concept of intellectual products of educational and scientific institutions is defined, since their creation, development and publication are one of the requirements for employees. The article shows the interrelation of the respondents’ personal intellectual abilities, including creative ones, and their contribution to the institution scientific potential. The authors substantiate that it is advisable for faculty members to use such categories as educational, methodological, scientific activities, advanced training. The interrelation of distributing the employees’ contribution to the institution scientific potential with the Gauss law is considered. The authors propose to apply the Pareto principle, according to which “20% of efforts give 80% of the result, and the remaining 80% of efforts is only 20% of the result” to assess the creativity level. About a quarter of the employees are proven to produce about three-quarters of the entire intellectual potential of the university or a scientific institution. A threshold equal to 0.44 is justified, according to which the Pareto principle is implemented when evaluating each employee’s contribution. The developed analytical apparatus and illustrative material revealing the essence of the developed method are presented. Conclusions are drawn and directions for future research are outlined.

만성 조현병 당사자 밴드가 경험한 커뮤니티 음악치료 사례 연구

The purpose of this study is to analyze the contents and meanings of the band consisting of chronic schizophrenia patients through community music therapy. The researcher and 2 musicians made five songs with this band for a year and three months from February 2021 to April 2022. During that period we recorded them in a professional studio, released an album through music platforms. Also filmed and released live videos. In this study, named ‘The Square Project’, the top topics of the experience felt by the participants are as follows. First, the psychological and musical growth of individuals and band are mentioned. Second, a unique identity as a band with mental disabilities was derived. Third, the band's wish for future activities to improve creative contribution and overcome social prejudice was experienced. Based on these results, the significance of this study is that community music therapy can be a powerful practice in which the marginalized people become the main participants.