Creative Principles Research Articles

Luigi Pirandello’s Works in Lithuania: Why the Dialogue Did Not Take Place

Luigi Pirandello (1867–1936) was an Italian modernist writer and playwright who enriched literature with questions of modern identity as it relates to the contradiction between human consciousness and reality. Pirandello pondered questions of art and reality, mask and essence, life and form, and the fragmentation of a personality. In his works, he also foresaw what would later constitute the base of existential philosophy.The reception of Pirandello’s works in Lithuania has been limited, in part because of the small number of his works translated into Lithuanian – only a dozen short stories, two plays, and a novel.The first more or less systematic and thorough introduction to the play wright and his works took place in 1934, when the Italian writer was awarded the Nobel Prize in Literature for his “bold and brilliant renovation of the drama and the stage.” A few articles on Pirandello’s creative principles appeared in the Lithuanian press. A Lithuanian poet, Kazys Binkis, translated the beginning of Pirandello’s play, Sei personaggi in cerca d’autore (Six Characters in Search of an Author, 1921), and a writer, Kostas Korsakas, edited a book consisting of five novels, Pirmoji naktis (‘First Night’). A Lithuanian translation of his novel, Il fu Mattia Pascal (The Late Mattia Pascal, 1904), and two plays, Sei personaggi in cerca d’autore and Enrico IV (Henry IV, 1922), came out during the Soviet period.All translations were accompanied by a foreword containing basic biographical details about and introducing Pirandello’s cultural, literary and creative life. Although Pirandello gets attention in Lithuanian university textbooks, no academic paper about him or his works has been published yet. There have been no translations of Pirandello’s theoretical texts, his thoughts on the cultural situation, literature, and man at the beginning of the 20th century, i.e., a volume of essays Arte e Scienza (Art and Science) written in 1908 or an important long essay, L’umorismo (On Humor), in which author also examines the principles of his own art. On the other hand, the literary reception of Pirandello’s works has been supplemented by theater performances. Five plays of his were mounted and the play, Henry IV, was twice produced on Lithuanian theater stage.The article examines why Pirandello’s artistic ideas, which reached Lithuania during the second decade of the 20th century, remained on the periphery and failed to influence the literary canon. Keywords: Luigi

The Organic School of the Russian Avant-Garde: Nature's Creative Principles. By Isabel Wünsche . Burlington, VT: Ashgate, 2015. 226 pp. Bibliography. Index. Photographs. $104.95, hard bound.

The Organic School of the Russian Avant-Garde: Nature's Creative Principles. By Isabel Wünsche . Burlington, VT: Ashgate, 2015. 226 pp. Bibliography. Index. Photographs. $104.95, hard bound.

Wassily Kandinsky: the Experience of Reflections on the Art of Abstraction

The article reviews the conception of abstract art, expounded by W. Kandinsky in his theoretical works “Concerning the Spiritual in Art” and “Point and Line to Plane”. In accordance with the painter’s target setting, the focus is given to the spirituality in art, methods, and means of implementation of this purpose in the creative practice. The article reveals the content of a number of concepts, principles, approaches, which characterize the specificity of the non-figurative art. Those concepts include “form”, “harmony”, “beautiful”, “artistic”, and “internal expediency”. The author states the theoretical importance of the conception by Kandinsky in recognizing abstractionism as a kind of art. There is given the artist’s detailed interpretation of the psychophysiological effects evoked by the color palette of a painting, as well as those associations and sensual emotions that different expressive means of the painting technologies cause. The tandem “form - artistry - spirituality”, traceable in the texts of W. Kandinsky, is carefully considered. The author suggests that the positions of the artist are conjugated with the Pythagorean idea of “numerical” harmony and the Kantian principle of expediency without purpose. The article focuses on the applicability of W. Kandinsky’s judgement to the creative principles of different types of art, especially to music.

Image of Ivan the Terrible in creativity of the composers: on question of national identity in musical art

The author of this article examines the phenomenon of implementation of Russian national identity in music in the creativity of the contemporary composers in their work on disclosure herein the embodiment of Ivan the Terrible’ s image. “Stichera for the 1000-th anniversary (millennium) of the Christianization of Rus” for symphony orchestra of Rodion Shchedrin and opera “Visions of Ivan the Terrible” of Sergei Slonimsky are defined as the representative samples for study. The composers managed to embody the concept of national cultural identity through ancient musical code – znamenny chant – in disclosure of the image of the tsar and of his era. For this purpose the composers have reproduced znamenny chant of Tsar Ivan, applied traditional Old Russian musical hymnographic creative principles of art in its development. This is a new word in disclosing the image of the Tsar Ivan and his time. Nobody of their great predecessors, who applied to the disclosure of the image of the Tsar Ivan and his time, implements the “znamennost” phenomenon in the music. Special attention is paid to the “Stichera” of Shchedrin. It is shown that the self-identification of image of the tsar, presented in the manuscript sources of the 16th – 17th centuries by Ivan himself, is correlated with musical image, presented by the composer, as well as with the idea of the spiritual elevation of the Russian State. Znamenny chant, found in depths of ancient Russian church-singing culture, has received scientific basis as the archetype of a national musical identity. Based on the ancient manuscript sources, the musical “Russianness” has deep historical cultural tradition and chronological substantiation.

Introducing the Creative Learning Principles: Instructional Tasks Used to Promote Rhizomatic Learning Through Creativity

ABSTRACTProving a child has been adequately educated is manifest through assessments evaluating the recall of facts or the deciphering of codes. How this information is taught and learned is the issue. Webb's depth of knowledge (DOK) and Bloom's taxonomy are cognitive models that drive instruction in today's classrooms. According to these models, creativity is a higher-order learning process. Although creativity has gained a renewed prominence in theoretic academic arenas, on the battleground of the typical classroom, creativity takes a back seat to instructional strategies with the goal of successful standardization of knowledge. Creativity, however, is the cornerstone of arts instruction. Creative learning principles (CLPs) is a system of instructional tasks developed in the arts and used to facilitate the metacognitive act of learning through creativity to solve problems. This article discusses how the CLPs create rhizomatic learning by facilitating connections between art and other disciplines and how they are used in planning.

Тенденции поп-арта в творчестве Леди Гага

The article reveals the connection between the creative principles of the popular singer Lady Gaga and the cult personality of pop art – Andy Warhol. On the basis of analysis of Lady Gaga’s performance practice, the features of her performing style, formed under the influence of the aesthetics of pop art are revealed. The dynamics of formation and development of the performing style of Lady Gaga is followed.

D. I. BLOKHINTSEV – SCIENTIST AND TEACHER. THE SPIRITUAL FOUNDATIONS OF SCIENTIFIC WORK

The aim of the publication is to state the creative principles of activity of the outstanding scientist and teacher Dmitry Ivanovich Blokhintsev (1/10/1908 – 1/29/1979) – the organizer and the first director of the Joint Institute for Nuclear Researches in Dubna in 1956–1965, one of the pioneers of Nuclear Science and Atomics, the corresponding member of the Academy of Sciences of the USSR. The author of the article shares memories about the teacher and the research supervisor, and gives a peculiar report on realization of ideas of D. I. Blokhintsev. D. I. Blokhintsev had the special, original point of view on spiritual bases of scientific creativity that was directly reflected in his research and pedagogical activity. There are two fundamental aspects of pedagogics. On the one hand, it is the science possessing own specific laws and methods. On the other hand, the pedagogics is an art which methods, unlike scientific methodologies, can’t be acquired by formal and logical schemes. They are broadcast from one personality to another in direct communication. Thus possibly the «correspondence» assimilation of methods of outstanding teachers is inefficient as a rule. Not enough attention in the press is paid to this informal aspect of pedagogics in the view of difficulty of its description and analysis. The discussed D. I. Blokhintsev’s heritage is valuable from positions of the characteristic of pedagogics as arts of creative skill transfer. At first sight, it can seem paradoxical that this part of pedagogics is considered in connection with work in the field of the Quantum Field Theory and Cosmology – one of the most formalized fields of Theoretical Physics. However, the science, as well as pedagogics, considering it from top-level creativity, is becoming some kind of art too. One more important direction of work of D. I. Blokhintsev continued by the author of the publication in the book «Principles of the Quantum Universe» is emphasized. It is connected with the development of idea about vacuum as a source of all variety of the material world surrounding us. This deep world outlook idea includes both philosophical and religious aspects. D. I. Blokhintsev was presented the Order of Saints of Cyril and Methodius of the 1st degree (Bulgaria, 1970) for his fundamental course «Bases of Quantum Mechanics» published in nine languages. The scientist was the chairman of the organizing committees of 17 international conferences «Science, Philosophy and Religion» held in Dubna from 1990 to 2015 together with Institute of Philosophy of the Russian Academy of Sciences, the Moscow Spiritual Academy in Sergiev Posad, Fund of Andrew the FirstCalled, and Center of National Glory of Russia. D. I. Blokhintsev not only has enriched world science with fundamental works in the field of Solid State Physics and Statistical Physics, Acoustics, Physics Of Reactors And Nuclear Power, Quantum Mechanics, Quantum Field Theory and Quantum Electrodynamics, Physics Of High Energy and an Atomic Nucleus, Philosophy and Methodology of Science, but also left the reserve stimulating creative scientific activity for future generation. The article shows how the principles of scientific creativity of D. I. Blokhintsev work in Modern Physics and Cosmology of the Universe.

Creative Problem Solving Methods in Education Field and Compare Classic and Matrix 2003

TRIZ - is the method enabling stimulation of creative problem solving by way of using the developed knowledge bases, similar system functioning and contradictions removal. The system of education is one of the most complex social systems, burdened with multiple contradictions. The education system’s contradictions comprise wishes of parents versus capabilities of children, wishes of teachers versus educational institution capabilities, etc., so that the need arises for presenting the assembling of educational requirements of the society for improving the level of education, versus writing new educational plans, by way of improved technical resources of the society. Being creative, the TRIZ method is an important part of the technological education program at high schools of professional studies and at faculties in the course of studying. An important link to TRIZ method application in education is envisaging of teachers’ perceptions in the education technology, which is the first step towards introducing TRIZ method into the educational plan and program at lower educational levels as well. By updating the classical contradiction matrix, there originated the 2003 matrix which takes into consideration and envisages frequency of innovative principles occurrence, thus rendering a significant progress in TRIZ method developing and application. The paper offers and develops application of new models of education management by way of TRIZ method, by the relocation innovative principles of classical and 2003 contradiction matrixes, with the special contribution of applying creative principles in the field of education.

The Role of Accounting in Colleges Increase the Credibility of Future Accountants

<p>This research aims to improve public confidence in the credibility of accountants. The involvement of professional accountants in some cases financial reporting proved to be detrimental to the public at large and potentially reduce the credibility of accountants. To prevent the recurrence of similar cases in the future, then the preventive efforts should be made early on that in college because of accounting students are candidates for professional accountants in the future. Accounting colleges need to improve the structure of the curriculum by providing more servings to the problem of moral ethics.</p><p>The study was conducted on two groups of respondents, academics (students and professors of accounting), as well as practitioners (public accountants and management accountants) in East Java. Data is primary, obtained through questionnaires, analyzed using a technique independent sample T-test and Regression Analysis.</p>The study concluded that academics perceive the credibility of accountants better than the practitioners. In deciding the accounting policies, academics more moral scenarios taking into account the magnitude of the consequences and social consensus. Meanwhile, practitioners tend to take advantage of the flexibility of financial reporting as a loophole to gain managerial. Understanding of the professional code of ethics is creative accounting practices and good corporate governance principles proven to affect the credibility of the accountant.

Paradigm Changes in the Logic of Creative Approaches in Media and Political Practice

The author of the study focuses on paradigm changes in the logic of creative approaches in media and political practice. The study applies a qualitative level of critical discursive analysis, the method of hermeneutic interpretation, as in the author's opinion it facilitates a selective and thorough approach to investigating the sources of theory. The study defines basic terms including paradigm change, creative approaches, media logic and post-democracy. The author considers them to represent processes, a specific quality and phenomena that have greatly influenced changes in the communications practices in these areas. The author operates on the premise that paradigm changes in the creative principles in media practices are conditioned by a relatively unilateral and schematic interpretation of events, the selection of topics and their classification in the backdrop of news and public relations and on the pages of periodicals according to an inverted hierarchy of importance vis-a-vis the individual events themselves. In addition, the author highlights the particular ways in which topics are processed based on the changing schematics and stereotypes in the work processes of the creators of media content. Based on the conclusions from the analysis and the interpretation of these findings in the broader context, the author sees a direct relationship between the consequences of the paradigm changes in creative approaches in media and practices of the world of politics, which reflect the crisis in media logic and factors conditioning the rise of post-democracy. DOI: 10.5901/mjss.2015.v6n6s4p404

“Prose within the Poem” (Shi Zhong You Wen): Du Fu's Creative Breakthrough in the Light ofWuguNarrative Rhythm

AbstractIn the High Tang 盛唐 (roughly from 713 to 755), just as the pentasyllabic-line poetic form lay firmly under the sway of the Song-Qi 宋齊 (420–502) style, Du Fu 杜甫 (712–770) arrived at a solution to the problem of restoring to the mid-to-long wugu 五古 (ancient-style pentasyllabic) poem the old tenor of the Han 漢 (202 BCE–220 CE) and Wei 魏 (220–65) periods. However, Du Fu did not merely imitate his Han-Wei predecessors in terms of form and style. Instead, with his efforts at recovery of the creative principles driving the Han-Wei ancient form, Du Fu succeeded in distilling a novel wugu rhythm from the life and language of his own time. By its exploitation of the potential of the wugu form to narrate by single prose lines, by its enhancement of both the density of narrative sequences and the compactness of the rhythm of lines and passages, and by its exploration of the use of various modes of narration within a poem, Du Fu's work shows a key distinguishing feature we might term shi zhong you wen 詩中有文, or “prose within poem.” At the same time, in his mid-to-long poems, Du Fu was able both to bend the inherent capacity of the wugu for narration to its greatest expressive potential and also, by the use of expressive rhythm as a guiding force, to strictly maintain the fundamental distinction between poetry and prose. In considering why Du Fu's work is considered shishi 詩史 (history in poetry), we must recognize the critical formal expedient provided by this important creative breakthrough in the wugu form.

Creative Methods of A. Golovin and His Similarity to the Activities of the “Union of Russian Artists”

The article considers and analyses creative principles, methods of depiction, and world outlooks of A. Golovin, that influenced his art. Connection and similarity between the views of the artist on the process of painting and the views of masters of the association “Union of Russian Artists” are traced. The causes of this similarity are discovered - they are in their common artistic schooling. The role of color in Golovin’s works is accentuated.

Leo Tolstoy in Mikhail Prishvin’s Diary Discourse

The purpose of the article is to study the different aspects of Leo Tolstoy’s phenomenon in the diary discourse of Mikhail Prishvin, a Russian prose-writer, thinker/sophist and artist of a unique range, who lived through the tragic Russian history in the first half of the twentieth century. Prishvin’s diaries represent a unique chronicle of the difficult epoch, a lively, subjective and at the same time inherently veracious evidence of historical time. A great deal of attention is paid to the writer’s reflections on creative originality, philosophical and moral principles of many Russian and European prose-writers and poets, who considerably influenced Prishvin’s creative method, his artistic philosophy and aesthetic distinction. Leo Tolstoy occupies a special place in the domain of the writer’s internal dialogues, being the center of Prishvin’s reflection, a symbolic figure, whose creative life became a special link between the cultural paradigm of the classical literature of the XIX century and the emerging trends of the Russian philosophical and artistic modernism. Throughout his life, Prishvin was concerned about Tolstoy’s phenomenon, his ideas and life paradoxes. Prishvin tries to unravel “Tolstoy’s mystery” – the mystery of a brilliant artist, essay writer, philosopher, and preacher, agreeing and at the same time disagreeing with the most significant principles of his world perception. Prishvin does not accept him as a moralist and a preacher, claiming that the writer cannot “abandon art”. He has to serve only his creative gift. In Prishvin’s diaries Tolstoy is the artist who portrays people as they are in a crucial historical moment, because even being under delusion he has always served the truth, understanding life as a great integrity. DOI: 10.5901/mjss.2015.v6n5s4p27

CLASSICISM STYLE IN GUNS‟ DECORATIONS (ON THE EXAMPLE OF I. LYALYIN)

The article examines and analyses the works of the most famous gunsmith of the XVIII – early XIX centuries, Ivan Lyalyin, who was one of the founders of the new style tendencies in decorating small arms of Tula meeting the spirit of those times and the aesthetics of classicism style. All samples of decorated arms were created by imagination and professional skills of gunsmiths not by chance. They reflected the development of the technologies and the history of styles which followed each other. The arms of the late XVIII century show the great interest to the antiquity, what is reflected in the décor elements borrowed from the Roman Empire heritage, including accessories and fittings reminding the ancient Roman ones (lictor‟s fasces, javelins, arrows in quivers), garlands made of leaves and roses, vases, wreaths, Amour‟s heads, heraldic images of animals and so on. Ivan Lyalyin is also famous for his original colour décor solutions. He used combinations of white bone and golden-plated bronze, sometimes adding black patterns or gilded bone and expensive types of wood to make his works look festive and posh. Lyalyin used new materials and technologies, created original technical solutions in designing arms. His followers and like-minded gunsmiths kept on developing his creative principles and styles, what brought to the creation of «the School of Ivan Lyalyin».

CLASSICISM STYLE IN GUNS‟ DECORATIONS (ON THE EXAMPLE OF I. LYALYIN)

The article examines and analyses the works of the most famous gunsmith of the XVIII – early XIX centuries, Ivan Lyalyin, who was one of the founders of the new style tendencies in decorating small arms of Tula meeting the spirit of those times and the aesthetics of classicism style. All samples of decorated arms were created by imagination and professional skills of gunsmiths not by chance. They reflected the development of the technologies and the history of styles which followed each other. The arms of the late XVIII century show the great interest to the antiquity, what is reflected in the décor elements borrowed from the Roman Empire heritage, including accessories and fittings reminding the ancient Roman ones (lictor‟s fasces, javelins, arrows in quivers), garlands made of leaves and roses, vases, wreaths, Amour‟s heads, heraldic images of animals and so on. Ivan Lyalyin is also famous for his original colour décor solutions. He used combinations of white bone and golden-plated bronze, sometimes adding black patterns or gilded bone and expensive types of wood to make his works look festive and posh. Lyalyin used new materials and technologies, created original technical solutions in designing arms. His followers and like-minded gunsmiths kept on developing his creative principles and styles, what brought to the creation of «the School of Ivan Lyalyin».

The Theme of Holocaust in the Visual Arts: To the Problem of Archetypes and Stereotypes of National Cultures

Examines reflections of the artists on the historical phenomenon, compares them to the universal human approaches and traces transformations of this phenomenon into the “given circumstances” (Konstantin Stanislavsky) in the course of artistic work. The author addresses the Russian national cinematography and argues that it may pretend on the leading position in representing the theme under examination. The Russian films reveal particular aesthetic and ideological paradigms, general cultural patterns, relationships, and positions related to the topic which are not that apparent in other arts, for example, in drama, music or literature. The author believes that all these principles eventually allow drawing conclusions on and proposing principles of ethnic cultural theory of film art which may be interpreted as a visual representation of the deeper archetypes and stereotypes of national cultures analysis of the Holocaust theme in mass shows. The cultural and the general creative principles and techniques of mass musical show productions are also examined.

Place-Making in Megaprojects in Melbourne

This article analyses state-led place-making practices in Melbourne. The two levels of government that influence planning in Melbourne make much of the city as ‘culturally vibrant’ and ‘creative’, and have incorporated creative city-inspired place-making principles into many layers of the planning system. An examination of the development of two mixed-use megaprojects in central Melbourne reveals however that ideals of culturally engaging public places, and indeed of creative landscapes for middle-class consumption, wither in the face of more basic imperatives for economic development. In these case studies the ‘creative city’, no matter how the idea is interpreted, has little traction either as a set of inclusive place-making principles or as a gentrification strategy. The article concludes that the creative city-inspired place-making objectives in the planning system at both state and local levels are ambiguous in their overall intents and completely unsupported by statutory controls. Such place-making objectives as are realised are the compromised results of the interplay of uncoordinated decisions, delivered at the pleasure of the developer.

THE STRUCTURE OF THE WORLDVIEW IN THE EMBLEMATIC POEMS OF «VERTOGRAD MNOGOTSVETNYY»: THE ANALYSE OF INTERRELATIONS OF CONCEPTS BY MEANS OF CONCEPT MAPS

The article analyses emblematic poems in «Vertograd mnogotsvetnyy» by Simeon Polockij, Russian poet of the second half of 17th century. Typical features of the structure of worldview, as they were reflected in his emblematic poetry, are revealed by means of original author’s method of text analysis using concept maps. The accomplished analysis allows to divide the concepts, that were used by the author of the collection of poems, into three groups based on their place in the worldview structure: they can be used solely as interpreted images, solely as interpretation, or combine both above-mentioned functions. Each of these groups has its own intensional function in the text of «Vertograd mnogotsvetnyy». The article contains also the description of underlying creative principles of Simeon Polockij’s poetics: the central place of a person in the worldview, combi-ning traditions of medieval didactic literature with baroque poe-tics, directly related to processes of culture secularization, that were typical for Russian literature of transition period.

THEOSOPHY AND THE IMPACT OF ORIENTAL TEACHING ON THE DEVELOPMENT OF ABSTRACT ART

This article focuses attention on a marginal topic that has received little attention in art history to date – the great interest shown by the avant-garde artists in the early 20 century in the occult sciences, especially theosophy, and the infuence of these occult sciences on the development of modern art, and first and foremost, on non-representational art. Although, as a result of the modernisation in the 19 with its whirlwind of rapidly developing scientifc discoveries and technological processes people increasingly turned their back on Christianity, it would be wrong to describe this time as one when religion was totally abandoned. Alongside Christianity, the study of Far Eastern and Middle-East religions and philosophical systems became popular, and in the cultural sphere, Christianity started to be treated as a purely cultural phenomenon, and not as the centre of absolute truth and morality. Spiritualism, occultism, and theosophy, the latter being a mixture of philosophical, religious and scientifc views that was moving in the direction of a systematic set of beliefs, became extremely popular in the second half of the 19 pressure of a materialistic worldview. In the early 20 avant-garde artists were gripped by these ideas, including Wassily Kandinsky and Piet Mondrian, whose work formed the basis for different trends in abstract art. The infuence of the occult sciences on both artists was decisive in the development of their theoretical points of departure and creative principles. Attention was focused on the infuence of the occult sciences on the oeuvre of these artists already in the mid-1960s (Sixten Ringbom, Robert Welsh). When the works of Hilma af Klint, which had been unknown to date, were made public, a topic, which had been relatively marginal in the study of the spiritual sources for abstract art, increased in importance. A question developed, not only about abstract art as a radical innovation of form, but as a search for new spiritual meaning, which sought fll the void that resulted from the abandonment of Christianity. The strong interest in Far-Eastern religions that developed in the youth culture of the 1960s also spread to Estonia, although in a modest form and for diferent reasons than in the West. This interest was realised in the abstract works of several artists (Tõnis Vint, Leonhard Lapin). The activities of Linnart Mäll, a scholar of Buddhism, who worked at the University of Tartu, also infuenced this process. Therefore, material related to Estonian art also exists that can form the basis for examining, when and how the spiritual vacuum that has developed in today’s world has been replaced/supplemented.

THE CREATIV PRINCIPLS OF Y.B. VAKHTANGOV IN PRACTICE OF MODERN STUDIO THEATER

Studio theaters at which origins K. S. Stanislavsky and his disciples Y. B. Vakhtangov, М. А. Chekhov, V. E. Meyerhold played an important part in development of the Russian theater. Saratov was also marked as the city where during the third period of studio movement (the 80-90th years) there were theaters studios. Nowadays the theater studio is distinguished from them at Balaganchik theater. Vakhtangov's rules are successfully realized by the director and actors of this theater studio. Vakhtangov's pedagogical experience, his rules of the organization and existence of studio, the birth of theater from studio, the principles of education and training of the actor are very modern today. This article is devoted to application of the creative principles of Vakhtangov at studio theater at the Saratov theater "Balaganchik". In conclusions is noted that the rules of the master, his way to organize performance become irreplaceable for the modern artist, which try to understand and transform the reality through creativity. Creative rules of Vakhtangov are successfully realized in creative activity of theater studio at the Saratov theater "Balaganchik".