Foundations Of Creativity Research Articles

Emotion as the Foundation of Creativity

The starting point for this study was the hypothesis that creativity is connected with emotions. The author applied CogAT, a widely known instrument for measuring creativity, calibrated it on the observed sample, and obtained a high level of internal consistency, as measured using Cronbach’s alpha coefficient (α = 0,83). In addition, he drafted his own instrument called CREM, measuring creativity and emotions. It was also calibrated using Cronbach’s alpha coefficient and obtained satisfactory coefficients (α = 0,50 for tasks in a mathematics textbook, α = 0,83 for positive emotions and α = 0,78 for negative emotions). Crossing variables showed that creativity is in fact driven by emotions, but more by negative than positive ones. The stability of the correlation was tested measuring the effect size. It turned out that the correlation increased over time (r = –0,41 to r = –0,88). This is indeed logical – the longer we carry a problem, the more frustration will grow over not finding a solution. What remains is to explore whether a creative solution elicits positive emotions.

Axiological Foundations of the Family in the Religious and Philosophical Thought and Publicism of Russian Emigration

This article analyzes the problem of preserving national traditions in the religious and philosophical thought and publicism of Russian emigration under the conditions of forced exile by the example of the oeuvre of N.S. Arsenyev, N.O. Lossky, and others. The central aspect of the study is the axiological foundations of family education. The article reveals the main principles providing, according to the said authors, high spiritual potential of family education, predominating of which being the creative foundations of evangelical piety.

A study on the cross level transformation from individual creativity to organizational creativity

We examined how entrepreneurs’ individual creativity is transformed into organizational creativity. Employees’ individual creativity is considered as the source and foundation of organizational creativity. Meanwhile, entrepreneurs have multiple identities in organizations, including employees, founders, and leaders. However, the effect of entrepreneurs’ creativity on organizational creativity remains unclear. We assumed that entrepreneurs’ individual creativity can be considered as the starting point for organizational creativity in creative enterprises. In addition, we proposed that entrepreneurs’ transformational and transactional leadership mediate the relationship between individual creativity and organizational creativity. 202 responses from creative entrepreneurs were used to evaluate and validate our proposed hypotheses. This study constructed a cross-level framework for creativity from the entrepreneurs’ perspective. More importantly, we provided a basic theoretical explanation about how creative entrepreneurs initiate a business utilizing their creativity, hence making an important contribution to the literature. The framework also provides practical guidance to entrepreneurs.

Сюрреалистические и футуристические интенции в паранаучном творчестве

The simultaneous existence of traditional and nontraditional trends in culture inevitably leads them to creative interaction. A case in point are such popular trends in the culture of the 20th and 21st centuries as surrealism, futurism, neo-surrealism, neo-futurism and parascientific creativity. A comparative analysis of these directions has shown that artistic activity in art is often manifested in a creative relationship of traditional and nontraditional cultural trends. It turns out that parascientific creativity, as a nontraditional direction of culture, in its content and plot properties is close to the works of the French surrealists A. Breton, P. Eluard, T. Corbière and Russian futurists V. Mayakovsky and I. Ignatiev, as well as contemporary neo-surrealists and neo-futurists. The author comes to the conclusion that contemporary art, based on parascientific creativity, realizes its spiritual content in culture and brings to life its new creative ideas. Thus, contemporary art is in the process of development and the search for new creative foundations in culture. The postmodern culture also contributes to this trend. It aims at constant change, novelty and originality, thereby influencing contemporary art and bringing it closer to nontraditional cultural trends.

The Art as a Representation of the Existential

The survey research was fulfilled within the interdisciplinary approaches “anthropology of art” and “existential art science”, updating the concept of “anthropic principle in artistic creativity” demanded by modern humanitarian science. The relevance of the topic is due to the special attention of the art of modern times to existential problems: art practice of the late 19th – the first two decades of the 21st century to the present day in its species, style and genre diversity actively present anthropological terms and meanings. The author of the article emphasizes the immanent nature of the existential foundations of artistic creativity, points to the special role of the phenomenon of Homo faber (man creating) in the composition of Homo sapiens as a biological species, but at the same time pays attention to the role of existential philosophy (starting with S. Kierkegaard), which influenced shaping strategies in world art. The author is interested in ways to represent existential meanings with the plastic capabilities of fine art, procedural forms of neo-avangard, screen arts, theater, poetry, and artistic prose. Special attention is paid to the anthropological potential of the art form — minimal elements of the language of art, plastic nuances of the means of artistic explanation. Within the stereoscopic existential-art-historical approach, the reader is invited to evaluate both the works of modern painting, graphics, sculpture, poetry and fiction, cinema and video art of Russia and the world, which have already become classics and practically unknown to the general public. A detailed panorama of images and languages of art is designed to represent the hypostasis of an existential person — transcending, creating, free, suffering, lonely, loving, frightening, experiencing the experience of death. The mentioned phenomena are considered as structural elements of the system of the existence of human being created by the author, analyzed from an aesthetic and artistic perspective. A similar method of analysis in this context is used for the first time in world science.

Semantical dimension of an artwork: culturological approach

The aim of the work is to identify semantically meaningful structures of musical texts that vividly represent the original compositional style not from the standpoint of their uniqueness, but as a complex multilayered semantic space. Methodology. This allows reaching a different analytical discourse which is the basis of a cultural approach that operates broader analytical means and is used to comprehend the composer's worldview, identify the significance of his stylistic foundations of creativity and understand the complex semantic processes of the composer's concept sphere as a whole. Scientific novelty consists in revealing semantically significant structural elements of musical texts at the pre-text, textual and post-text levels of meaning formation. Results. By analyzing the works of the Kharkiv composer V. Ptushkin, the content levels of musical texts are revealed, and the structural elements of musical speech are analyzed. The practical significance. The information contained in this paper may be used for further research and developing methodological material for the new courses of lectures and seminars in history and theory of Ukrainian culture.

ELABORATING CRITICAL THINKING SKILLS IN TEFL METHODOLOGY SUBJECT

Elaborating Critical Thinking Skills in TEFL Methodology subject has become one of the 21st century trends, prioritized in the pedagogic process of language courses. Lecturers as facilitators, motivators, boosters, co-learners and inspirational model are the foundation of innovative creativity to adapt and modify comprehensively, and integrate them in their teaching projects contextually; while, the learners themselves play as the active target of learning agents. This modern TEFL Methodology critically makes use of either authentic texts or real texts that are also confronted by the need to approach texts critically. This was revealed in this research, focused on the learners’ activities that enthusiastically engage critical thinking skills in their learning process. It runs actively, innovatively, creatively, dialogically, democratically and in a critical and interactive atmosphere. The importance of applying critical thinking skills in language learning process can empower learners to maximize the objective of TEFL Methodology learning target both oral and written in accordance with their social context. Learners enter in any task using the target language which contains the elements such as identification, investigation, analysis and problem solving then they must think critically. These kinds of communicative task are commonplace for they engage the learners in authentic communication settings. This is impressive and meaningful for the learners. Thus, recommending success in TEFL Methodology subject – as in life - requires effective use of language practically along with some measure of critical thinking.

«New simplicity» as a phenomenon of modern musicin the conceptual context of novelty

The relevance of research. The music of leading contemporary composers, representing the style of «new simplicity», becomes a manifestation of a certain attitude associated with a «new» approach to the technique of musical composition, in a wide sense – to the ontological foundations of music as a specific form of art and culture. Accordingly, the concept of «new» acquires special significance, which contains the essence of the novelty of the composer's understanding of music as an object of its creative realization and a way of communication with the listener. This issue is not often discussed in native researches of contemporary music (as well as the «new simplicity» in general), it is not presented as a special subject of musicological studies. The purpose of the research is to determine the conceptual foundations of the «new simplicity» as a phenomenon of contemporary musical art in the context of the semantic content of the concept of «new music». The methodological basis of the research is the systemic method, the method of comparative studies, as well as the methods of historical musicology and genre-style analysis. The scientific novelty of the article is determined by the theoretical development of the «new simplicity» as a genre and stylistic phenomenon of musical art in the context of the artistic and aesthetic foundations of contemporary composer's creativity. Main results. The conceptual meaning of «new music» as a phenomenon of professional musical art of the 20th century had a straight influence on the development of the aesthetic idea of the «new simplicity» and its creative implementation in individual composer’s styles at the turn of the 20th and 21st centuries. The essence of the «new» in the «new simplicity» consists of the fundamental rejection of the need to constantly changing the norms of the musical language and its total individualization, as well as in the return to a more accessible («simple») musical style. The return of the «new simplicity» to triad and consonance as the main constructive elements of the musical language represents a fundamentally different approach of modern composers to the technique of musical composition in the context of the «ban on consonance» proclaimed by the Western European musical avant-garde. «New» in this case is the understanding of the basic function of triad and consonance: it is associated not with the functional side of tonality, but with the phonic image of music – the factor that ensures its harmony in terms of auditory perception and the possibility of an emotional response. Conclusion. Musicological development of the conceptual aspect of the «new simplicity» opens up opportunities for studying this phenomenon of contemporary musical art in a wide historical perspective and understanding it as a natural link in the evolution of European academic music.

Teaching Scenario Planning in Sustainability Courses: The Creative Play Method

Sustainability management is rapidly progressing from an operational task to a strategic imperative one as environmental and social concerns shape the business environment. Scenario planning is increasingly being used by companies and governments to explore the potential impact of future challenges. Applied in a management education context scenario planning offers teachers of sustainability a tool through which they can promote creativity while developing student knowledge, skills, and abilities, preparing them for work in an increasingly dynamic market environment. Within this article, an instructional innovation is presented as a two-stage workshop designed as an experiential exercise to promote creativity and generate scenarios linked to sustainability. The first stage of the workshop utilizes LEGO to generate creativity before the second stage builds on these creative foundations guiding student teams through the construction of scenarios around sustainability challenges. An evaluation is presented for the instructional innovation reporting its success in producing skills in creative thinking within cohorts of postgraduate students at a major Australian university.

دور الإبداع التنظیمی فی تطویـر المؤسسات العامة المستقلة فی المملکة الأردنیة الهاشمیة Role of Organizational Creativity in the Development of Public Organizations, with the application of autonomous public institutions in the Hashemite Kingdom of Jordan

هدفت هذه الدراسة إلى تحليل مفهوم الإبداع التنظيمي وتوضيح کيفية تطبيقه في تطويـر المنظمات العامة، وکذلک التعرف على مقومات ومعوقات الإبداع التنظيمي، وما هي مجالات الأستفادة من الإبداع التنظيمي في تطويـر المؤسسات العامة المستقلة الأردنية. وقد تکون مجتمع الدراسة من القيادات الإدارية في المنظمات العامة الأردنية، وتم اعتماد الفئات القيادية على مستوى رئيس مجلس إدارة والمدراء العامون، والفئات الإشرافية على مستوى المدراء وحتى رؤوساء الأقسام.وخلصت الدراسة إلى مجموعة من النتائج أهمها أن الإبداع التنظيمي يساهم بدور متميـز في تطويـر المنظمات العامة. وأن هناک مجموعة من مقومات الإبداع التنظيمي يجب توافرها في المنظمات أهمهما توافر رسالة واضحة للمؤسسة، وتحسيـن علاقات العمل، والاهتمام بتبسيط الإجراءات وتطويـر نظم العمل، والتخلص من الإجراءات الروتينية المعقدة التي تحول دون انطلاق الأفکار والإبداع، والحرص على مشارکة العامليـن في اتخاذ القرارات الإدارية، وأخيـرا حرص الإدارة العليا على اکتشاف العناصر الخلاقة المبدعة داخل المنظمة. وبينت الدراسة بأن الإبداع التنظيمي يواجه ممجموعة من المعوقات تحول دون الاستفادة منه في مجال العمل.وأوصت الدراسة بضرورة زيادة وعي القيادات الإدارية بدور الإبداع التنظيمي في عملية تطويـر المنظمات بالاستفادة من إبداعات العامليـن. إضافة إلى ضرورة إعادة صياغة مقومات الإبداع التنظيمي وتقسيمها إلى مجموعات، وإضافة عناصر جديدة لتلک الموجودة أصلا للتوصل إلى نسبة أعلى من هذه المقومات، للتعرف بالضبط على المقومات الرئيسية والأساسية للإبداع في المنظمات، ومحاولة التخلص من المعوقات للاستفادة من إبداعات العامليـن في تطويـر المنظمات This study aimed at analyzing the concept of organizational creativity and explaining how it is applied in the development of public organizations, as well as identifying the elements and constraints of organizational creativity, and what are the areas of benefiting from organizational creativity in developing Jordanian autonomous public institutions. The study population may consist of the administrative leaderships in the Jordanian public organizations, and the leadership groups were approved at the level of the chairman, directors, general managers, supervisors, managers, and even department heads. The study concluded that creativity organizational contribute greatly to the development of autonomous public institutions of Jordan, the study showed that innovation organization plays a distinct role in the development of public organizations in the development of autonomous public institutions, as well as a range of ingredients that must be met for the creativity of organizational structure, and also study showed that Organizational innovation is facing a wide range of obstacles that prevent the benefit from it in the workplace. The study recommended the necessity of increasing the awareness of administrative leaders about the role of organizational creativity in the process of developing organizations by making use of the creations of workers. In addition to the necessity of reformulating the foundations of organizational creativity and dividing them into groups, and adding new elements to those already existing to reach a higher proportion of these constituents, to know exactly the main and essential elements of creativity in organizations, and trying to get rid of obstacles to benefit from the creativity of workers in the development of organizations.

دور الإبداع التنظيمي في تطويـر المؤسسات العامة المستقلة في المملکة الأردنية الهاشمية

هدفت هذه الدراسة إلى تحليل مفهوم الإبداع التنظيمي وتوضيح کيفية تطبيقه في تطويـر المنظمات العامة، وکذلک التعرف على مقومات ومعوقات الإبداع التنظيمي، وما هي مجالات الأستفادة من الإبداع التنظيمي في تطويـر المؤسسات العامة المستقلة الأردنية. وقد تکون مجتمع الدراسة من القيادات الإدارية في المنظمات العامة الأردنية، وتم اعتماد الفئات القيادية على مستوى رئيس مجلس إدارة والمدراء العامون، والفئات الإشرافية على مستوى المدراء وحتى رؤوساء الأقسام.وخلصت الدراسة إلى مجموعة من النتائج أهمها أن الإبداع التنظيمي يساهم بدور متميـز في تطويـر المنظمات العامة. وأن هناک مجموعة من مقومات الإبداع التنظيمي يجب توافرها في المنظمات أهمهما توافر رسالة واضحة للمؤسسة، وتحسيـن علاقات العمل، والاهتمام بتبسيط الإجراءات وتطويـر نظم العمل، والتخلص من الإجراءات الروتينية المعقدة التي تحول دون انطلاق الأفکار والإبداع، والحرص على مشارکة العامليـن في اتخاذ القرارات الإدارية، وأخيـرا حرص الإدارة العليا على اکتشاف العناصر الخلاقة المبدعة داخل المنظمة. وبينت الدراسة بأن الإبداع التنظيمي يواجه مجموعة من المعوقات تحول دون الاستفادة منه في مجال العمل.وأوصت الدراسة بضرورة زيادة وعي القيادات الإدارية بدور الإبداع التنظيمي في عملية تطويـر المنظمات بالاستفادة من إبداعات العامليـن. إضافة إلى ضرورة إعادة صياغة مقومات الإبداع التنظيمي وتقسيمها إلى مجموعات، وإضافة عناصر جديدة لتلک الموجودة أصلا للتوصل إلى نسبة أعلى من هذه المقومات، للتعرف بالضبط على المقومات الرئيسية والأساسية للإبداع في المنظمات، ومحاولة التخلص من المعوقات للاستفادة من إبداعات العامليـن في تطويـر المنظمات This study aimed at analyzing the concept of organizational creativity and explaining how it is applied in the development of public organizations, as well as identifying the elements and constraints of organizational creativity, and what are the areas of benefiting from organizational creativity in developing Jordanian autonomous public institutions. The study population may consist of the administrative leaderships in the Jordanian public organizations, and the leadership groups were approved at the level of the chairman, directors, general managers, supervisors, managers, and even department heads. The study concluded that creativity organizational contribute greatly to the development of autonomous public institutions of Jordan, the study showed that innovation organization plays a distinct role in the development of public organizations in the development of autonomous public institutions, as well as a range of ingredients that must be met for the creativity of organizational structure, and also study showed that Organizational innovation is facing a wide range of obstacles that prevent the benefit from it in the workplace. The study recommended the necessity of increasing the awareness of administrative leaders about the role of organizational creativity in the process of developing organizations by making use of the creations of workers. In addition to the necessity of reformulating the foundations of organizational creativity and dividing them into groups, and adding new elements to those already existing to reach a higher proportion of these constituents, to know exactly the main and essential elements of creativity in organizations, and trying to get rid of obstacles to benefit from the creativity of workers in the development of organizations.

PRÁTICAS PEDAGÓGICAS: ARTE/ EDUCAÇÃO INFANTIL NA PERSPECTIVA ÉTNICO-RACIAL

We present the qualitative results of the pedagogical intervention project: African Play and Literature in the School Environment, developed by academics from the Pedagogy course at Unifap. It is a didactic-pedagogical activity of the curricular component: Theory and Practice of Art Teaching, held at the Municipal Nursery Nosso Cantinho do Amor, focusing on the ethnic-racial theme and on the training of basic education teachers, with art / education as a theoretical, methodological, creative and strategic foundation for the applicability of federal law No. 10,639 / 03, in early childhood education. We highlight the importance of the professional development of pedagogical academics, around educational practices for teaching art / education and combating racism, discrimination and racial prejudice in a school environment.

Mermaidism. The poetry of Julia Fiedorczuk

The article deals with the range of ways myths function in the poetry of Julia Fiedorczuk. As well as being a poet, Fiedorczuk is also a professional academic, translator. Her writing, rooted in American modernist poetry, while also belonging to the fields of eco-criticism and feminism, is one of the most fascinating bodies of work in Poland today. This article analyses the poetic strategies known as hybridism, describing it on numerous semantic levels. In it, I introduce the category of mermaidism, which is connected with hybridism; it is the creative foundation for poetry which opposes the forces of unification, bonding, thinking of continuum and symmetry.

Constructions and creativity

AbstractThe first principle of cognitive linguistics is to look for the origins of linguistic powers in robust mental operations not specific to language. For millennia, language science has assumed that human beings possess mental operations for unifying, combining, and merging patterns to create expressions, and that, conversely, they can analyze expressions they encounter to recognize patterns that were combined to produce them. The third section of this article reviews some of the literature concerned with these powers to combine patterns into expressions and to analyze expressions into patterns that were blended to create them. Any assumption about such a linguistic power takes out a loan on theory that must be cashed out with a non-language-specific explanation if the theory is to count as cognitive. One can stipulate to the existence of some unexplained power that is needed for linguistic performance, but that stipulation is insubstantial until it is grounded in a demonstrated non-language-specific operation. An assumption or stipulation about a linguistic power is cashed out when we locate and model the non-language-specific cognitive operations that make that linguistic power possible. The first section of this article presents the proposition that the non-language-specific mental operation that accounts for these linguistic powers is blending, otherwise known as conceptual integration. The second section provides a topical review of blending in specific communicative form-meaning pairs and their combination. Blending is the foundation of creativity in communication, or, more specifically, in the creation and combining of form-meaning pairs, also called “constructions.”

Performing Porosity

This piece of writing acts as a practice statement of sorts—one through which I attempt to find an alternative foundation for creativity and practice by making sense of the materiality of bodies in search of an embodied position. This writing invites readers to (re)search for ways we can imagine participatory futures and shape alternative worlds from the ashes of the present. The text speaks through the methodological tool of diffraction (Barad, 2007) and then by conceptualizing a practice of performing porosity (a way of enacting the material abilities of bodies) presents a diffractive approach to artistic practice. Exploring two concepts presented by Karen Barad, intra-action (2007) and indeterminacy (2017), and reading them iteratively through one another, I position contemporary art as a participatory dynamism that entails its own undoings, and with it the undoing of our imag(in)ing of world(s), our capabilities, and the extent of our power. The format of this text is diffractive as opposed to conclusive; it attempts to open rather than close, and it flows from one thought suddenly into another. These thoughts in their simultaneous occurrence could not, alas, be written on top of one another and so are presented instead as ebbs and flows, avoiding the linear presentation of a method statement. Instead, there are notes from practice and encounters with porosity, diffracting several states of water (a tear, a puddle, a river, a human and so forth) and considering how we might take them on to think through how our making-sense (a sense related to making that calls on our embodied knowledge) can help us imagine new possibilities of our bodies and their reach.

CREATIVE FEATURES OF HUMAN SPIRITUAL ACTIVITY

Objective. The objective of the article is to carry out social and philosophical analysis of the factors of the spiritual sphere of human activity, to study a religious factora as determinants of the creative process of personality, to study the creative process through the prism of the spiritual as a specific human peculiarity. Methods. The study of the specific features of creativity as a sphere of human spiritual activity and its influence and interaction in the context of social consciousness involves the use of the following methods: to study the socio-philosophical features of the phenomenon of religion the analytical method is applied, which allow to obtain a complete and comprehensive analysis of the phenomenon. Investigating the peculiarities of the interaction of the spiritual sphere and creativity, a synthesis method is used to study the components of the spiritual, structural and functional approach in revealing the algorithms of the creative process within the spiritual activity and its social manifestations. Results. Religion is investigated as an axiological component of the creative process, an irrationalistic way of knowing and being creative. The mythological features of human consciousness as the foundations of creativity are studied. For the first time, the peculiarities of the ecology of creativity in relation to creatology are analyzed. Religion and spirituality are considered as a social qualification of a creative act, the peculiarities of extrapolation of creationism to the creative properties of a particular person are established. According to scientism and technocratism, creativity is inherent in the ability to create something new not only by God but also by dark forces, which creates the need to correlate all creative products with human activities, to evaluate, to qualify, to include in the system of moral regulation. Creationism is not merely a property of God, but also a characteristic inherent in man. Being God-like, the desire to bring one’s exclusivity to a new level can be a determining factor in the analysis of creativity as a property of man. Thus, it should be noted that the influence of a religious factor on the formation of creativity as a personal and social property is essential. It is the determinant of the creative process, the axiological factor of the creative product, the moral measure of the creative act, the social consequence of the creative process and the result in the projection of universal social consequences and perspectives. The peculiarities of the ecology of the creative process, their study from the point of view of the ecology of thinking of the individual, the ecology of the result of the blood process, ecology as a general principle of the existence of society, because of the need to adhere to certain principles for the further existence of society, are promising.

Topos of irony in the receptive-interpretative space of the postmodern literary text

The article is devoted to the main semantic and text-forming mechanism for organizing a literary text - the topos of irony from the standpoint of establishing its role in the reception and interpretation of the postmodern worldview embodied in such a text. Since reality is not conceived of postmodernly outside of the language (text), the need for receptive competence and the handling of information defined by a specific area of ​​communication and possessing accuracy increases. The recipient focuses only on the necessary part of the information flow, so the text is the basis of the methodology of world perception. Cultural codes and cultural competencies acquire the properties of regulatory mechanisms capable of selecting perceived facts. The relevance of the article consists in establishing those correlative relationships and factors that determine the reception and interpretation of the postmodern literary text. These factors include topos of irony, the correct decoding of which is due to presuppositions characteristic of the representative of a particular socio-linguistic and cultural collective. All postmodern literary texts are characterized by a playful character, which, in turn, now determines the foundation of artistic creativity in general, and not just those texts that put comic or only satire as part of the comic in the center of the art world, determining their aesthetic tasks. The purpose of the article is to determine the ontological status of the topos of irony in the receptive-interpretative space of the postmodern literary text. The topos of irony in the postmodern literary text is the textual and style-forming principle of the aesthetic practice of a particular author, the purpose of which is to engage the recipient in the dialogue, co-creation in receptive and interpretive activities, “unrolling” the literary text itself in the coordinates of the ironic and game scenario. Since irony is a kind of intellectual provocation that allows the author to identify “his” reader, there is also the need to consider the topos of irony in relation to the specifics of a socio-linguistic and cultural collective.

Theatricalization as inverted communication

Inverted communication is an enticing appearance lie being used to achieve power over “crowd”. An inverted communication engage people, destroying the spiritual foundation of creativity.

ГЕРМЕНЕВТИКА Х.-Г. ГАДАМЕРА ЯК ФІЛОСОФІЯ МОВИ

The sequential development of H.-G. Gadamer philosophical doctrine of language as the basis of its philosophical hermeneutics. The various stages of representations of the language are analyzed in connection with the criticism of the instrumental approach and understanding of the language as the foundation of historical discourse and poetic creativity. The latter is considered as the pre-reflexive basis of the language, a fundamental expression of its essence. Moreover, artistic experience is presented as a procedure for knowing the truth, to the extent that this experience contains understanding, it itself is a hermeneutical phenomenon.The linguistic turn, which marked one of the turning points in the development of modern philosophy, led to the formulation of a fundamentally new question about the essence of language. We are, of course, not talking about some kind of planned event or about any single process that coincides in its characteristics, or is something close to different philosophical directions. It is difficult to say how correctly it is to compare interest in language within the framework of linguistic philosophy and the phenomenological school, in the framework of which the development of hermeneutics took place.The latter, from a method that was essentially intended to serve historical-philological and religious discourse, hermeneutics has evolved into an independent philosophical discipline that reflects the very essence of metaphysical issues. First of all, this change is connected with the development of the phenomenological tradition, and especially with the works of M. Heidegger, who was able to free hermeneutics from the excessive influence of theories of language and to base it on metaphysical inquiry. This, of course, does not mean that the language itself has been given to philosophical oblivion; it is only a matter of changing the accents and research attitudes.This task, in our opinion, was set and largely solved by H.-G. Gadamer, in any case, if we accept his theoretical assumption about the transcendence of the meaning of the interpreter.Gadamer interprets the hermeneutic phenomenon very broadly, in which he sees the integral unity of the three aspects – understanding, interpretation and application. Gadamer argues for their inseparability, an actual identity: understanding is always an interpretation and always implies an application of what is to be understood. The concept of application in Gadamer outlines the limits of the phenomenon to be interpreted and establishes the fact that all phenomena of spiritual culture in a particular situation must be understood differently.

Artistic Journalism: Confluence in Forms, Values and Practices

ABSTRACT In the context of changing values, practices and working arrangements, the worlds of journalism and art converge. Evaluating these professions in conflux and beyond their (supposed) opposing ideologies and discourses, remains both controversial and complex. Through a critical hermeneutic analysis, this paper highlights key areas of tension regarding the confluence of journalism and arts. It is argued that journalism is and always has been inextricably interwoven with the arts, a shared existence not limited to Western democracies. The article proposes a continuum as a theoretical model for mapping and exploring the coexistence of artistic and journalistic approaches of news and news work. This “arts and journalism” continuum offers a potentially fruitful dimension of studying news work as a form of artistic practice in a variety of contexts. In conclusion, a consideration of “Artistic Journalism” is proposed as a way for the profession to articulate its creative foundation with its goal to pursue the truth, including the intrinsic and affective motivations of its practitioners.