Creative Circles Research Articles

“Здесь птицы не поют...” (российские антивоенные песни)

After 24 February 2022, anti-war songs emerged as a new phenomenon in Russian culture. They cover a variety of genres, from bardic song to rap, from travesty to tragedy. Songs containing clear anti-war stances reflect the shock of war, the tragic death of people, the destruction of culture and society in which the authors lived or with which they were spiritually connected before the attack on Ukraine, the end of an era in the existence of the Russian Federation. Anti-war songs mark a constantly expanding thematic field, and this article is only an early attempt to analyse and survey them. The presented text collection reveals the clear awareness among creative circles that after the war against Ukraine Russians will face the task of rebuilding their country on the wreckage of a failed state.

Interview: Daniel Kleinman

Daniel “Danny” Kleinman is recognised as one of advertising’s most established directors. After directing his first music video in 1983, Kleinman pioneered the use of many special effects in post-production. In all, he directed more than 100 videos in the 1980s for artists such as ZZ Top, Fleetwood Mac, Prince, and Madonna. From the 1990s he has directed commercials for clients such as Guinness, X-Box, Chrysler, Johnnie Walker, Sony and Audi. His skills in directing comedy and dialogue led to award-winning work for Boddingtons, John Smiths, Super Noodles, Durex and John West, and he has won multiple awards at Cannes, D&AD, the New York One Show, British Arrows, Clio, Creative Circle, and the Midsummer Awards amongst others. Since 1995, Kleinman has created eight title sequences for the James Bond films.

VISUAL PRESENTATION OF RECREATION IN THE SOVIET PRESS OF THE SECOND HALF OF THE 1940S -1950S

The purpose of the study. The article analyzes the visual content of the Soviet periodical press of the second half of the 1940s-1950s, in order to identify norms and anomalies in leisure practices inherent in Soviet everyday life. Conclusions. The coverage of the topic of leisure in the press was secondary to the labor theme. In the visual plots of newspapers and magazines of the second half of the 1940s - 1950s, priority was given to the practices of cultural recreation in parks, cultural centers, concerts, resorts, hiking trips, classes in creative circles, reading, etc. were popularized. Collectivism was an important feature of leisure activities. Mainly models of «cultural» leisure were put on the pages of newspapers and magazines - reading, visiting clubs, parks, rest homes, deviations were not visualized. The visual images created on the pages of periodicals in the second half of the 1940s - 1950s, to a large extent, reflected real-life objects (stadiums, libraries, cultural and recreational wigs, etc.) and leisure practices. At the same time, the real picture of people's lives differed from the picture created on the pages of periodicals: in the formulation of the problems of the content of the problem of leisure, in the proposed «cultural» forms of its implementation, the presence of significant categories of citizens who prefer «uncultured recreation».

Repere metodologice de organizare a activităţilor muzicale nonformale (extraşcolare) în cadrul cercurilor de creație

The extracurricular activity carried out within the musical-artistic creative circles represents a valuable educational component. The effective methodological approach represents an important aspect of the organization of activities within the circles, through which the student is gradually, systematically prepared for a „spiritual opening” to contact with music individually, continuously and permanently. In this context, the teaching staff will show a creative attitude, including, throug the application of various methodologies, both in the way of carrying out the actual activities and, especially, in the relations/communication with the students.

ОДНА ІЗ БОЙЧУКІСТІВ. ДЖЕРЕЛА ДО БІОГРАФІЇ КАТЕРИНИ БОРОДІНОЇ

The present essay delves into the details of the biography of Kateryna Borodina, the Ukrainian artist and member of Mykhailo Boychuk’s school of monumental painters. Due to Kateryna Borodina's untimely death, her biography has been distorted and filled with false facts, with Boychukists being blamed by supporters of socialist realism as representatives of formalistic art. The article reveals that Kateryna Borodina hailed from a noble family, and her father was a renowned railway engineer. Despite being an ethnic Russian, influenced by Mykhailo Boychuk and his creative circle, the artist began to identify herself as Ukrainian. This shift was evident in various questionnaires where she repeatedly stated her affiliation, and she also adopted the Ukrainian language in her everyday life. Archival materials cited in the article provide additional information about the artist’s biography, including new details about her student years and the poor state of her health, ultimately leading to her premature death. The article includes illustrations such as childhood photos of the artist and two drawings currently known to belong to her friend Oksana Pavlenko. Despite Kateryna Borodina’s participation in the Venice Biennale and widespread representation of her paintings at Ukrainian exhibitions in the late 1920s, only two of her works are known in Ukrainian museums today. The article introduces various documents shedding light on the artist’s life, including her student archival file. Other documents depict the peculiarities of the everyday life of Ukrainian artists in the 1920s. The appendices of the essay contain nine letters from Kateryna Borodina to Oksana Pavlenko and Sofia Nalepynska-Boychuk, supplemented with comments.

Establishment of the Art Market in the Context of Ukrainian Historical and Cultural Tradition

The origins of the art market in Ukraine are analyzed on the basis of the life of artists, art exhibitions, art salons and creative circles of the 17th - early 20th centuries. The author researches the socio-cultural processes of different periods of Ukrainian culture that influenced the phenomenon of the art market, in particular its educational and commercial aspects. The peculiarity of the art market in Ukraine is connected with the popularization of young Ukrainian artists, the creation of favorable conditions for the realization of their talent, the unification of artistic forces from different Ukrainian regions and on. The art market is considered as a value-semantic space, where works of art are circulated, thanks to which new ideas emerge in the Ukrainian cultural space. The author uses the cultural-historical method, which allows to analyze, describe and generalize the patterns of origin, formation and development of the art market as an important component of socio-cultural evolution of Ukrainian culture. The important role of patronage, which contributed to the development of the Ukrainian art market, is considered. The origin and development of art exhibitions, which gained popularity in the 19th century, despite the long-standing tradition of exhibition activities in Ukraine, are studied. Mobile art exhibitions became a unique phenomenon, which determined the main trend in the fine arts of the last third of the 19th century. The activities of the Taras Shevchenko Scientific Society, which contributed to the creation of a portrait gallery – the largest project related to the fine arts, headed by M. Hrushevsky – are reviewed separately. The author emphasizes that the activities of progressive Ukrainian of art contributed to the creation of many artistic associations, which played an important role in promoting the works of Ukrainian artists, awakening public interest in art.

Spiritual component of the students-vocalists’ work (based on the Ukrainian composers’ repertory)

Statement of the problem. The history of Ukrainian culture is a continuous ascending path of trials, on which the mental level of Ukrainian music – its song melos, from crying and lyrics to heroics and jokes – appears as the quintessence of spirituality. A large layer of the Ukrainian folk song tradition and academic genres of music, in particular chamber and opera, from the past to the present, embodies spirituality as a guiding principle. Through the worldview position of its author, artistic images convey the “spirit of the time”. The creativity of a singerperformer is connected with the knowledge of the inner world of a person, its artistic “reflection”, with reliance on a strong spiritual foundation for realizing higher spiritual priorities in the hierarchy of values of national musical culture. So, the topicality of the topic is due to: a) the need to preserve national Ukrainian art at the current stage of development of higher art education in Ukraine; b) the needs of spiritual and personal education of young singers; c) understanding of the spiritual content of vocal works of various genres and styles, which are included in educational programs for solo singing. The significance of the formation of spiritual values of a creative personality is actualized in the scientific works of I. Bekh (2018), O. Oleksiuk (2017), V. Antoniuk (2007), O. Rudnytska (2001); the question of the spirituality of music is considered by L. Shapovalova (2014), S. Ship (2016). The innovativeness of the study is conditioned by consideration of the spiritual component of the vocal students’ creation based on the national musical background. The purpose of the study is to substantiate the role of external and internal levels of manifestations of spirituality as components of the student’s creative experience in the class of solo singing. The study of the problem of the singer’s spiritual education presupposes the application of general and special scientific approaches and methods, including: comparative typological analysis of the interpretation of vocal works; interpretative and instructive understanding of the performance through the reflection of the mentality of the imaginary hero (Shapovalova, 2014: 30); a personal and creative approach in creating a “spiritual circle” in the “teacherconcertmaster-student” system. The results of the study support the necessity of realizing the spiritual content of vocal works of different genres and styles included in the solo singing curricula. The special significance of Ukrainian song examened in the spiritual and personal dimension in the performing work of vocal students is emphasizes. Vocal pieces based on T. Shevchenko’s poems as the embodiment of a deep national idea are presented. L. Kolodub’s opera “The Poet” is given as an example of the genre of tragic-lyrical phantasmagoria, where the figure of Taras Shevchenko himself is presented. Another dimension of folk spirituality continuing of the traditionally funny images of Ukrainian opera, is considered in the example of the V. Hubarenko’s opera “The Reluctant Matchmaker”. Colorful images created on the stage of M. Lysenko KhNATOB by outstanding singers (E. Chervoniuk, V. Grashchenko) are considered in aspects embodying spiritual components of vocal image. The problem of the spiritual experience of creative communication between a teacher and a student in the solo singing class is considered in the individual context (according H. Rickert). The ways of forming a spiritual model of creative relations in the system “teacher-accompanist-student” are analyzed. Conclusion. It is proved that the professional self-affirmation of a vocal student is impossible without spiritual self-improvement and social orientation of his work, without realization the essence of the “inner feat”: during the performance he is both a spiritual reflection of the author and the personification of an imaginary hero. It was revealed that the precondition to form the spiritual foundations of the creative process is the general uplifting mood of the student and teacher, a feeling of festivity and “holiness” of the creative process. Individual manifestations of interpretive independence in combination with models implementing spiritual components within the creative circle “teacher-accompanist-student” become the basis for the formation of spiritual experience of a future singer.

ინვაირონმენტალისტური კინო და სამართლიანი საზოგადოების პრინციპები

The UN Summit on Climate Change in Paris was held in 2015, at which the Framework Convention was signed by many countries around the world, including Georgia. The document is the basis of the EU Green Agreement, which was approved in 2019 and which doubles the commitment of Georgia, a member of the Eastern Partnership, to promote a green economy and culture, which not only is not the case but on the example of Namakhvani HPP reveals the fact that the country has been arranged according to a wrong economic model. Cinema is the medium that has the most outstanding ability to reorganize the world and, therefore, has great potential. Cinema, as the screen of discourses best reflects a culture that stands out from the point of view of consumer values alike to ordinary people and nature, the environment, ecology. Marx's theory of fetishism, which has evolved since the advent of the term ideology, well explains the attitude of the culture towards natural (or human) resources. We must not forget that a culture that is a conglomerate of discourses, and like discourses, it is produced by ideology (superstructure). Ideology possesses the intellectual levers through which the dominant forces, the classes, are established by presenting the values of this class as the "norm". Culture, therefore, is directed to save the verticals of power by concealing problems, or by telling incomplete truth. Nevertheless, it is a culture that implies confrontation with the laws of nature and discourses based on those laws. However, first and foremost, capitalist ideology seeks to adapt thought systems to itself, including culture. Georgian cinema has always had an ideological line, but in the 1960’s the process of devaluation of communism in intellectual and creative circles shifted the focus to the problem of individualism. For example, in several of Merab Kokochashvili's films, the mainline is drawn between the relationship of the individual and the environment, where the apparatus (state) is presented only as a clear source of evil. It is regulations that create the environmental context that is the only way to stop profit-oriented destructive systems. Neither competition nor individual or corporate responsibility can solve ecological disasters and human exploitation problems. In modern Georgian cinema, there are more and more attempts to extract a broader holistic picture of the impact on the environment. Salome Jashi explores the whim of the richest Georgian - the passion for arranging a dendrological park with centuries-old trees, which is a class catastrophe along with an ecological catastrophe. Alexander Koberidze's "What do we see when we look at the sky?" asks the main question, "What do we answer our children" when they discover that they live in an unjust world that is sacrificed to the greed of a small number of people in power.

Círculo virtuoso creativo entre la docencia, investigación y extensión

Círculo virtuoso creativo entre la docencia, investigación y extensión

Татарские просветители и творчество Гафура Гуляма: культурное и литературное сотрудничество

The article discusses the influence of cultural and literary cooperation between Tatar, Bashkir and Uzbek enlighteners on the development of contemporary Uzbekistan and the country’s creative circles. The paper reveals the role of the outstanding Tatar poet, literary critic, publicist and translator G. Tukay in the formation of the Uzbek poet and publicist Gafur Gulyam’s worldview. The authors conducted a retrospective historical and literary analysis of the Uzbek and Tatar Soviet Socialistic Republic poets and writers.

Broadening Our Insight: Bridging and Blurring Boundaries Between Creativity and Innovation

The symposium sets out to foster a deeper dialogue between two interrelated bodies of literature that are too often treated as disconnected, namely research on creativity and innovation in organizations. We present and interrelate five contributions that blur both the disciplinary boundaries and levels of analysis of these traditions. At the heart of our broadening effort is a reconsideration of neglected and overlapping processes of bringing about something new. Examples range from idea thieving behaviors, idea evolution and relationships in creative circles, elaborative play to deal with hazy problems, and creativity assessment over time by institutional gatekeepers, to understanding how diversity in producers and/or products drives innovation. Such processes range from micro- level, individual behaviors, to shifting institutional fields, and back. Take the Seed or the Fruit?: Mis(Predicting) Idea Thieves’ Preference for Early vs. Late Ideas Presenter: Lillien M. Ellis; Cornell U. Presenter: Brian J. Lucas; Cornell U. Re-Defining Problems and Developing Ideas Through Elaborative Play: An Inductive Study of Circus R&D Presenter: Mel Yingying Hua; U. College London Presenter: Colin Muneo Fisher; UCL School of Management Circles as a Social Unit of Creativity Presenter: Patrick Reilly; U. of British Colombia How Do Critics Construct Creative Products? Location, Breaches, and Meaning in Hollywood Franchises Presenter: Spencer Harrison; INSEAD Presenter: Arne Carlsen; BI Norwegian Business School Presenter: Miha Skerlavaj; U. of Ljubljana, School of Economics and Business “Are You ready for a New Sensation”: Innovation and Diversity in Popular Music, 1965-2015 Presenter: Khwan Kim; INSEAD Presenter: Noah Askin; INSEAD

Contingent Effects of Decision-making and Customer Centricity on Public-Sector Innovation Success

ABSTRACT Public sector organizations need to become more innovative to meet growing demands for better services. Innovations enhance public sector efficiency. It is the speed and efficiency of the public sector that determine the cost-effectiveness of operations. The latter then boost national competitiveness and prosperity. However, the paucity of studies on public innovations does not afford much knowledge on the key determinants that amplify innovation success, particularly in the context of a developing economy. This paper investigates how three major elements of dynamic innovation capabilities, namely technological, marketing, and team organization capabilities, affect the success of public sector innovation projects. The paper also explores the contingent effects of project management (decision-making comprehensiveness, management direction) and customer emphasis (customer solution orientation, external integration) on the domain relationships. This exploration is important to determine if the extent of comprehensiveness in decision-making in exploiting the opportunities for innovation has a greater desired impact on service delivery. Also, innovations pursued independently of customer needs and expectations are bound to fail. Analysis from survey data of 225 Innovative and Creative Circle (ICC) public sector projects in Malaysia indicate that technological, marketing and team capabilities are antecedents of innovation success in the public sector. Indeed, team capabilities represent the more important factor. Decision-making comprehensiveness, management direction, customer solution orientation, and external integration were found to exert significant moderating effects. We discuss important implications for public administrators to uplift their effort toward realizing successful innovation projects.

Formation of students ‘spiritual education through creative circles in secondary schools

The article highlights the importance of strengthening the aesthetic education of children through creative circles organized in schools, fostering their strong spiritual outlook. It is also necessary to acquaint them with the best examples of world and national culture, to develop all-round creative skills.

PHILIPPE DE VITRY, BISHOP OF MEAUX

AbstractPhilippe de Vitry’s tenure of the bishopric of Meaux in the last decade of his life, 1351–61, the crowning event of his court and church career, has often been regarded as a period of retirement from creative activity. A reassessment of this judgement is timely, following new musical discoveries and literary work exposing links between Vitry and his contemporaries. Using new archival material, this article explores the geopolitical context of Vitry’s work in the diocese of Meaux; his engagement with political society, king and court; and his role in events under a national government fractured by the capture of Jean II at Poitiers in 1356. It examines the interplay of Vitry’s career, relationships and output, identifying the composer’s house in Paris, and exploring his family relationships, and his engagement with Pierre Bersuire, among others, in the creative circles of mid-fourteenth-century Paris. It also illuminates a context and opportunities for the continuation of his creative work into the late 1350s, some remnants of which survive in the literary miscellany Paris, BN Lat. 3343.

1919: A KISEBBSÉGI, IRODALMI ÖNESZMÉLÉS ÉVE NAGYBECSKEREKEN

A tanulmány a bánáti Nagybecskerek példáján, az 1919-es év kulturális/irodalmi eseményeinek, megnyilatkozásainak, jelenségeinek számbavételével, valamint a releváns társadalmi háttéresemények felvázolásával helyezi értelmezési keretbe s mutatja be a kisebbségi vajdasági magyar irodalom kezdeti lépéseit, öneszmélésének első megnyilatkozásait, jellegzetességeit. Az egykori megyeszékhely írói, megfelelő intézményi háttér hiányában, valamint az 1918. december 1-jén létrejött Szerb–Horvát–Szlovén Királyság megszorító intézkedései mellett – nem csekély leleményességgel – műkedvelői körökben, informális asztaltársaságokban tudtak elsőként megnyilatkozni, s e műkedvelői háttérből bontakozhatott ki később a kisebbségi magyar lap- és könyvkiadás és virágozhatott fel a vajdasági magyar irodalom, amelynek egyik fontos tartópillérét éppen a nagybecskereki írók alkották. Nemcsak azért, mert 1919-ben ott látott napvilágot a vajdasági magyar irodalom első regénye (Tarkó János: Amíg a nagy vihar tombolt…), hanem azért is, mert e közösség úttörője volt a kisebbségi magyar irodalmi lapkiadásnak (Renaissance – 1920, Fáklya – 1922) és irodalmi szerveződésnek is (Ady Társaság – 1923).

The Educational Role of the Journals of Social and Educational Associations in the Second Republic of Poland as Exemplified by “Citizen Work” of the Women’s Citizen Work Association

The organisational press, as exemplified by “Praca Obywatelska”, published by ZPOK, served a vital role from the point of view of the reborn state, its administration, and local government, as well as the expectations of broader social circles (particularly women) and political parties; it fulfilled the awakened demand and expectations of engaged women citizens in the areas of information on the political, social, economic, and cultural life of the country, its regions, and local communities. The press of women’s organisations defended the interests of women and facilitated the forming of their political, social, and economic beliefs. It was a tool of propaganda and political agitation in various local and central events; it popularised the ideologies and programmes of political parties and expressed the convictions of particular sections of public opinion, while bringing together clearly defined political and creative circles. This press also served to develop various social initiatives and fulfil the cultural needs of intellectuals, and it participated actively in the popularisation of interest in the country, regions, and local communities.

ПІДХОДИ ДО ВИВЧЕННЯ КРЕАТИВНОЇ ЕКОНОМІКИ

A research of creative economy is impossible without an in-depth review of the existing approaches to its study. By analyzing approaches to the study of creative economy through the prism of most popular theses and ideas of prominent researchers in this field, e. g. J. Ruijssenaars, Suciu М.-С., Howkins J., Florida R. and others, it is revealed that the creative economy is a new type of the economy with the culture in its core with its clearly established and commonly accepted components which, at the same time, constitute its fundamental parts: talent, creativity and tolerance. But these components are integrated in each of the industries that are creative economy components, namely: cultural objects, traditional types of cultural self-expression, performing arts, media, audiovisual activities, artistic creation, printing and publishing, design and engineering practices in the field industrial production, creative services. Such combination of the material and the spiritual in each of the aforesaid industries complicates their investigation and analysis for a researcher. Given that now each of these industries develops in the conditions of intersecting three vectors, technological-digital, creative and entrepreneurial, there appears a need in organizing and conducting additional monitoring, in employing alternative and unorthodox methods for analysis and providing well-grounded and sound opinions concerning creative economy development. It is supposed in the article that in line of the creative circle of Howkins J. a successful creative idea (or product) developed or improved by use of technological-digital means and with support from business will be profitable in future.

Narrating the “Asylum Story”: Between Literary and Legal Storytelling

In 2014 the United Nations High Commission for Refugees reported that the number of forcibly displaced people worldwide had exceeded 50 million for the first time since the Second World War. The entanglement of literary and legal technologies in the asylum decision-making process as it operates today in legal, advocacy and creative circles excludes asylum seekers from incorporation as rights-bearing individuals if they do not conform to a particular narrative of persecution. In a moment of anxiety over “the meaning and scope of citizenship” comparable to that of the postwar period – and facing a refugee crisis of a similar scale – an investigation of the means by which asylum protection is constituted by and enacted through narrative forms is long overdue. This essay analyses the procedural characteristics of the asylum decision-making process, which produces what I call the “asylum story”: an idealized version of refugeehood on which the civic incorporation of the asylum seeker depends and which circulates in a narrative economy that sets the terms for the enunciation of refugee experience. It considers how the notion of a discoverable truth has inflected literary engagements with asylum, which are beset by the same anxieties around veracity and authenticity endemic to the legal process of decision-making on asylum, and ends with an analysis of Chimamanda Ngozi Adichie’s short story “The American Embassy” from her 2009 collection The Thing Around Your Neck. I argue that the story exposes the narrative instabilities of the asylum determination process, highlighting the ways in which those international institutions designed to protect human rights continue to be deeply implicated in regimes of truth which regulate upon whom they may be conferred.

The Impact of Creative Circles on EFL Learners’ Reading Comprehension

The aim of this study was to investigate the impact of Creative Circles approach in developing Saudi EFL middle school learners’ reading comprehension. The study was carried out at a Saudi middle school in Jeddah, involving three intact third grade classes. A triangulated approach was adopted in order to collect data by means of multiple instruments- reading comprehension test, reflective journals and semi-structured interviews over the period of a school term. The results revealed a significant improvement in the experimental group’s reading comprehension abilities. The success of Creative Circles approach could be attributed to its adoption of collaborative reading as a teaching/learning technique, explicit teaching of reading skills, attention to low-level and high level reading processes and metacognitive awareness. Moreover, the experimental group as well as their teacher indicated that the new approach has immensely helped in addressing the issue of vocabulary learning. They also described the approach as efficient and flexible in large and mix-abilities classes.

The Rochester Amateurs and The Fall of the House of Usher

Abstract In 1928 James Sibley Watson, Jr. (former editor of The Dial), and Melville Webber (an art historian) created a silent film based on “The Fall of the House of Usher” in a Rochester, New York, carriage barn. Using published and previously unpublished documents, it is clear that this amateur film was intended to create a new visual adaptation and interpretation of Edgar Allan Poe's original story, rich in the modernist ambiguity of the early twentieth century. A member of this creative circle was a young and not very experienced composer, Alec Wilder. He was asked to create a new score for this film, but in the end his inability to perform it adequately and lack of confidence caused it to be suppressed. The rediscovery of Wilder's original avant-garde score provides evidence of how he was able to create a modernist composition to mirror the visual perspective of the film. In the mid-1950s, Wilder, by then a respected composer of popular songs, was approached by one of the actors in the original film, Hildegard Lasell Watson, to write a new score. This, written in his more lyrical and popular classical style and creating a more subtle reading of the film's ambiguities, was synchronized by Dr. Watson to create the authorized version. The film has continued to inspire other contemporary composers, such as Colin Z. Robertson and Iris ter Schiphorst, to create their own interpretations of Watson's and Webber's unique adaptation of Poe's tale.