Creative Subjects Research Articles

EMPATHY AS CONDITIONS OF HUMAN CREATIVITY

In the history of aesthetics the problem of art creativity long time hasn't realized by the greater part of researchers in total of all its structural elements. It formed a rather paradoxical situation, because definition of aesthetics is always a part of it, such as art and – simultaneously – the issue is no science that reveals the essence of the person who creates the art. The purpose of this article is to study empathy as a special manifestation of human sensibility in the process flow of the creative act that reveals the essence of the artist's creative activity, developed sensuality is transformed into a work of art. Methodological and theoretical basis of the study was a combination of systemic, structural-functional and hermeneutic approaches; psychological and philosophical concepts of empathy problems and theoretical analysis of foreign and domestic literature in the field of philosophy, aesthetics, psychology. The scientific novelty of the research results is determined by the subject of study. The problem of art itself is in the field of modern aesthetic science, but in the context of its consideration of empathy reveals new theoretical aspects that deepen the level of processing and correcting the problem. Conclusions. Empathy, being a particular manifestation of human sensibility, is a necessary condition for creativity. After analyzing the nature of human creativity we came to the conclusion that the basis of the embodiment of sensibility of the artist in a work of art is a process of empathy. It is noted that the method of empathy is one of heuristic methods of creative activity, which is based on a process of empathy, i.e. identification of the object and the subject of creativity, "use", and creator inherent in any field of activity and is widely used in solving problems of art.

The Impact of the Arab Spring at an Egyptian University: A Personal Experience

The Egyptian Revolution on January 25—part of the 2011 Arab Spring—and the consequent June 30, 2013 Revolution have marked important turning points in the history of modern Egypt. The curricula and courses offered by Egyptian universities, as well as their academic activities and employment structure, have been greatly affected by these momentous events. Furthermore, the revolutions have opened wider territory of freedom and emboldened both staff members and students. This paper attempts answer questions related the changes that have occurred with regard the university courses, activities and structures. The paper additionally seeks explore Egypt's future and the possible ways that its people will defend and retain their dearly earned freedom. The paper is based on the writer’s personal experience as an associate professor in the English Department and in the Faculty of Education at Alexandria University. The paper is further influenced by the writer's experiences as an elected member of the committee that observed—after twenty years of appointment by the National Security Department—the new elections for deans and heads of departments; the same committee also moderated debates among the candidates for these posts. As teacher, I started new course on revolutionary literature—which I personally designed and taught—and another on politics and media in collaboration with colleague. From 2011 onward, I have linked and adjusted the materials of mandatory courses, American Studies, 18th Century English Novel and Contemporary Novel our revolutions and current events. I constructed holistic courses by using the three domains of learning: the cognitive, the affective and the psychomotor. The paper will discuss the way I used Bloom and Krathwohl taxonomies in combination with other methods cover these domains. This has made the courses more authentic and livelier the learners, encouraging them, quote Paulo Freire, to assume …the role of creative subjects and creating a relationship of authentic dialogue between teacher and students (5). The articles and texts I use, as well as the students' assignments and feedback, will be included in the paper as empirical materials.

Fashioning cross-cultural creativity: Investigating the situated pedagogy of creativity.

Creativity can be regarded as universally and internationally endorsed as a key trait for students and graduates across disciplines. This endorsement comes despite differing definitions of what creativity is and how it may manifest itself in creative individuals and products and in different contexts. The descriptor ‘creative’ has been applied to certain educational practices and institutions who claim advantage over others as mediators of creative education. This ‘creativity-branding’ is also evident at city and national level, with countries claiming competitive advantage for housing a high prevalence of creative people or products, often concentrated within ‘creative cities’. London is one such creative city with a reputation for fostering creativity especially within its long-established art schools. London has claims to being the location of several of the world’s most respected fashion schools and attracts students from the UK and internationally to study in its creative colleges. The diversity found within higher education institutes is often cited as part of their creative appeal, however there is evidence that students coming from cultures with differing definitions of creativity may find their work marginalised or negated. This paper explores London’s position as a creative city with respect to contemporary definitions of creativity across art and design, and discusses some of the issues educators in the creative arts face as we attempt to teach creative subjects in increasingly diverse classrooms and with an understanding of creativity as a culturally-situated practice.

Russian Culture Actors on the Subject of Artistic Creation <I></I>

Addresses the polemical nature of the Russian experience in understanding the key problems related to the notion of “a subject of artistic creativity.” The emphasis is put on the interdetermination between shifts in artist’s worldview attitudes and renewals in language of arts that the author believes specific to Russian culture.

Education to Theatricality: The Theatrical Workshop as a Training Model the Expressive and Performing Arts in Education

Background: Education to Theatricality as pedagogical and artistic research is experienced by almost twenty years inItaly in laboratories and projects organized in collaboration with universities, schools, theaters, educational centers,cultural centers, educational and social services, associations. Education to Theatricality is a science that includesdifferent of disciplines such as pedagogy, sociology, human sciences, psychology and the performing arts in general.The scientific basis of this discipline allows us to apply it in all possible contexts possible and with any individual,because it keep the man as he is in the center of its pedagogical process. One of the fundamental principles ofEducation to Theatricality is the construction of the actor - person; the main aim is the development of creativity andimagination through a scientific training leads by the actor on himself. The present theoretical writing syntheticallyintroduces the fundamental elements of the theory.Method: This study discusses relationship between theater and education analyzing the main elements of this meeting.First part presents the theories: the birth of the theatrical workshop, development of Education to Theatricality and thedefinition of its theoretical issues: I-AM’s scheme; creative subject, creative act; laboratory and its aestheticphilosophy: Art as a vehicle. Second part presents theater pedagogy through creative movement. The text presentsthe exercises on the languages of human communication the method of work. Third part presents projects andplanning in education laboratory expressive arts.Conclusions: Education to Theatricality as pedagogy uses the expressive arts into the theatre workshop for to lead thesubject to path of growth and training activating the original potential skills of this person.

Book Reviews

This issue marks a changing of the guard. After fifteen years as editor of book reviews, Bob O'Malley is stepping down. I am sure you will all agree with me that Bob has done a tremendous job, and I will admit that I feel some trepidation as I attempt to step into his shoes. At the same time I am excited for the opportunity to serve SIAM in this capacity. I have put together an editorial board to help me with the task; I thank Michele Benzi, Krešo Josić, Hinke Osinga, Nick Trefethen, and Thaleia Zariphopoulou for agreeing to work with me. The book reviews in this issue were assembled by Bob; soon it will be my turn. The featured review by Andreas Albrecht takes a detailed look at Max Tegmark's quest for the ultimate nature of physical reality. He recommends the book and even suggests that it would be of value to readers who are not technically oriented. He declares himself unready to jump on Tegmark's bandwagon but finds that the book was well worth reading nevertheless. Each physicist defines boundaries for himself (or herself) and walks a line between being too conservative and being a crackpot. Albrecht writes, “Reading this book has caused me to stop and reflect on my own boundaries and the ideas that create structure for my own research.” As usual we have reviews on a wide variety of topics. The book Introduction to Global Optimization Exploiting Space-Filling Curves by Sergeyev, Strongin, and Lera, reviewed by Sergiy Butenko, particularly caught my eye. I would never have thought that space-filling curves could be practical tools for global optimization. I can see that I am going to learn a lot in this new job. The issue concludes with two reviews by Bob O'Malley himself, one on a collection of recollections about the brilliant ex-mathematician Alexander Grothendieck, the other on a different sort of collection: views of mathematicians on the subject of creativity.

Realtà, Morte e Sogno: Capitolazione di un Baluardo nella <em>Trilogia della vita</em> di Pasolini

In this work I will address the filmic Trilogy of Life as one of the most emblematic and effective expressions of Pasolini’s intellectual intervention in the Italian cultural panorama of the late 60s and early 70s. Through a stylistic and structural analysis, I will focus firstly on Pasolini’s personal understanding of the relationship between a creative subjectivity and the world of the objects that need to be engulfed and shaped in order to be properly represented by the subjective artistic impulse. In the first part of this study, I will identify such a dynamic process of representation with Pasolini’s typical poetics of contamination. In the second part I will utilize the considerations of the first part as a point of access to both Pasolini’s theory of cinema and the practical realization of it in the Trilogy of Life. In the analysis of this cinematic trilogy I will use as a constant point of reference two articles written by Pasolini as defensive commentary and political justification of the Trilogy of Life: Libertà e Sesso Secondo Pasolini and Abiura dalla «Trilogia della vita». Moreover, through a close reading of the three movies of the trilogy – Il Decameron, I Racconti di Canterbury and Il Fiore delle Mille e Una Notte – I will specifically address the dreamlike tone that permeates Pasolini’s three-fold cinematic work and its especially saturated presence in the last movie. In conclusion, I will show how this saturation overturns and undercuts the tone suggested by the title – Trilogy of Life – to produce a trilogy that is more about death than life.

Time and eternity in the theological context

Time and eternity are compatible determinants in theological reflection. They coexist inextricably, inseparable and immutable in God-man rescuing dynamics. Of course, eternity is beginningless and endless, while time has its own beginning and duration, in order to be given a new dynamic in the reality of the 'new heaven' and 'new earth' during the Everlasting Day of the God. Through Christ in the Church, everything is the new reality, 'new creation' through affirmative approach to all human creative activities. No one denies the creative freedom. It has been expected of every creative subject to shows responsibility as a measure of its lifetime realization. It would be good for everyone to really creative reflects itself in time and in eternity. No soul can neither impose nor deny that. Different creations and projections are possible and have been required here, as well assumptions that initiate and design culture of competition and culture of dialogue.

Edukacja kształtująca spełniający się twórczy podmiot – ideałem pedagogicznym cywilizacji łacińskiej

Edukacja kształtująca spełniający się twórczy podmiot – ideałem pedagogicznym cywilizacji łacińskiej

Correlation of faith and knowledge in pedagogical and educational work

Correlation of faith and knowledge is possible and needed and it means progressive creativity of all creative subjects in pedagogical work and education. Each single way is a destructive fact, which excludes individuals from the process of creating. This is why it is necessary to nourish culture of dialogue and culture of competition all the time in the most positive context, and this contributes to creative success apart from all the differences which we show and which we meet. Pedagogical work and education are at the same time the right and obligation of each personality and all social communities. In the places where there is a good correlation between faith and knowledge, creative success of and individual and community is likely to be realised, whereas in the places where there is disharmony and a conflict between knowledge and knowledge, there are unavoidably two dangerous kinds of one-sidednesses called religious fantaism and scientific atheism. Since, our area has experienced the tragedy of each of them, with danger of a new one-sidedness nowadays, our opinion is that this piece should provoke all good intentioned creators to ponder upon and solve the correlation between faith and knowledge. Without depending on someone's orientation, which cannot be posed violently, we want to stress responsibility of each creator (particularly in the process of pedagogical and educational work of children and the young), which provokes good intentions. In this way, all differences get appropriate measure, become creative facts in creative coexistence of responsible and good intentioned creators.

El proceso creativo en el taoísmo y en la psicología occidental

Mostrando algunas analogías entre el pensamiento oriental, especialmente del antiguo taoísmo chino, y algunas escuelas psicológicas contemporáneas cercanas al neohumanismo gestáltico y la llamada psicología transpersonal, en el presente artículo se presentan y discuten los principales hallazgos de la ciencia psicológica sobre el proceso creativo, las características de personalidad de los sujetos altamente creativos y las circunstancias psicosociales que suelen favorecer el surgimiento de la creatividad.Traza una línea en el espacio y ya tienes un lado y el otro. Piensa en algo y te diré que lo contrario también existe con su monto de verdad. Justifícame el ser, que yo te justificaré el no ser.Arriba y abajo, izquierda y derecha, vida y muerte, belleza y fealdad, bien y mal, éxito y fracaso, luz y oscuridad, tristeza y alegría, etc., los anteriores son apenas algunos ejemplos de conceptos contrarios que, tal vez, son realmente opuestos en la realidad o solo son concebidos como tales por la forma en la cual funcionan nuestros procesos sensoriales y cognitivos.

PBL을 적용한 창의공학설계 교수설계 방안 연구

21세기 교육은 객관적 지식이나 정보를 전달하는 것에서 학습자들의 비판적사고력과 문제해결 능력을 배양하는 것으 로 바뀌고 있다. 더욱이 대학교육에서는 학습자들이 졸업 후 진출하게 될 분야에서 담당하게 될 실제적인 업무를 미리 경험 하게하고 자기주도적 학습과 협동학습 능력을 배양할 수 있는 학습자 중심 교육환경의 필요성이 대두되고 있다. PBL은 현재 학습자가 처한 상황을 고려하여 학습자의 흥미를 이끌어 낼 수 있는 현실적이고 실제적인 문제에 관심을 가진다. PBL에서 학습자는 일방적인 지식을 습득하기보다는 다양한 생각과 배경지식을 가진 동료 학습자들과 시식을 공유하고 의미를 협상해 나가는 과정을 통해 협력적 지식을 구축하는 사회적 학습을 경험한다. 이러한 PBL의 장점으로 인해 학교 현장에서 PBL방법 의 활용도가 점차 확대되고 있다. 그러나 공학교육에서는 PBL방버비 활동되지 못하고 있다. 따라서 이러한 현 상황을 개선하 기 위한 새로운 방법이나 방안들을 개발하거나 도입하여 이를 활용할 필요가 있다. 본 연구는 현대산업 사회에서 요구하는 창의적 문제 해결 능력을 갖춘 인재를 양성하기 위하여 효율적으로 학습할 수 있도록 하기 위한 방안으로 창의공학설계 교과 목에 대한 PBL 교수설계 모형을 개발하였다. 이 모형은 크게 5가지 절차로 구성되어 있는데 즉, 분석, 설계, 개발, 실행, 평가 로 구성된다. 개발한 PBL 교수설계 모형에 기반하여 창의 공학 설계 교과목을 설계하였다. 본 연구는 창의공학 설계 수업을 위한 PBL 교수 설계 과정에 초점을 두었다. 이러한 교수 설계가 실효성을 거두기 위해서는 실제 많은 강의 현장에 적용해 보는 연구가 뒷받침되어야 할 것이다.

The work analysis study of the Late Choseon Dynasty real landscape painting - focusing on the perspective and narrative of creative subject

The work analysis study of the Late Choseon Dynasty real landscape painting - focusing on the perspective and narrative of creative subject

Correction: Neural Correlates of Musical Creativity: Differences between High and Low Creative Subjects

Correction: Neural Correlates of Musical Creativity: Differences between High and Low Creative Subjects

Introduction:

Introduction:

Kristeva before Kristeva: Gender and Creativity in Russian Symbolism

In this article I will look at Julia Kristeva's theory of subjectivity and creativity in the context of early Russian modernism, that is, Russian symbolism. My anachronistic way of with is based on my argument that comparing Kristeva and early modernist culture and its gendered aspects will provide a deeper understanding of Kristeva's theoretical background and of how Kristeva's concepts and theoretical thinking help analyze the gendered aspects of the aesthetics and literary practices of Russian symbolism. Moreover, Kristeva's thinking enables us to distinguish the specific circumstances these practices create for women writers. Kristeva's theoretical thinking (along with that of her contemporary feminist critics) provides analytical tools and new viewpoints for reading women writers' strategies in the gendered and androcentric aesthetical discourse of Russian symbolism. I will begin by discussing Kristeva's thoughts on subject and creativity from the point of view of gender and some feminist responses to those thoughts. After that I will show the (Russian) fin-de-siecle roots of her thinking. Feminist responses to Kristeva and her theoretical background in fin-de-siecle culture lead me to the women writers of Russian symbolism. I will look at their reactions to contemporary aesthetical discourse, and, as a case study, I will analyze the strategies of two women poets, Zinaida Gippius (1869-1945) and Liudmila Vilkina (1873-1920). They developed special strategies for constructing female creative subjectivity within androcentric symbolist discourse, and, as I will show in the last part of this article, these strategies resonate with Kristeva and her feminist critics. CREATIVITY AND GENDER IN KRISTEVA Kristeva builds her understanding of creativity and the creative process by using the central concepts of the semiotic and the symbolic. In general, these concepts refer to the two orders that participate in the constitution of the subject, production of discourse, and regulation of social relations, as Elizabeth Grosz summarizes (49). In Revolution in Poetic Language, Kristeva uses the concepts of the semiotic and the symbolic to explain the creative process and especially modernist artistic practices and their political significance. The symbolic process refers to the establishment of sign and syntax and to grammatical and social constraints. The semiotic process can also be understood as a kind of pre-verbal energy at work in the text, the source of inspiration. In Kristeva's thinking, the semiotic is related to the child's pre-oedipal relationship with the mother, the mother's body, and, therefore, the feminine. In contrast, the symbolic process refers to the paternal, masculine function. While the symbolic maintains order, the semiotic includes revolutionary aspirations, which threaten order. Kristeva introduces into the formulation of the semiotic the concept of chora: a non-expressive (in the sense of non-verbal) totality underlying language, a non-spatial, non-temporal receptacle of energy and drives. Kristeva borrows the term chora from Plato, who describes it as an invasive and formless being which receives all things and in some mysterious way partakes of the intelligible, and is most incomprehensible (Plato qtd. in Roudiez 6). The uncertain and undetermined chora lacks thesis or position, unity or identity. Like the semiotic, the chora is qualified as feminine in the sense that it precedes any formations of subjectivity and phallic identity (Smith 21). Although Kristeva was a central thinker in the feminist discussions of the 1980s, her ideas about female subjectivity and women's creativity were controversial. Because the semiotic and the symbolic orders are so strongly marked by gender difference, Kristeva's thought has evoked many questions about the differences between the creativity and subjectivity of men and women. However, to this most important question, her theory does not give any clear answer. …

’Being in the Zone’ of Cultural Work

In the cultural industries, workers surrender themselves to ultra-intensive work patterns in order to be recognised as properly creative subjects. In its more affirmative versions, there is a recurrent idea that captures that special moment of crea-tive synthesis between the ever-striving worker and the work – the moment of ’being in the zone’. Being in the zone (hereafter BITZ) describes the ideal fusion of the intensively productive mind and the labouring body. But what precisely is this ’zone’, and what is its’ potential? As part of a wider project examining exemplary and intensified subjectivity, in this article I examine BITZ from different perspectives. The main aim is to contrast affirmative readings of BITZ (mostly derived from ’positive’ social psychology) with other, more critical perspectives that would seek to politicise the conditions of its emergence and examine its range of social effects. The overall aim of the article is therefore to suggest the kinds of social and cultural frameworks that might facilitate exploration of the political potential of BITZ in different kinds of empirical context.

The Place of English Revisited

In this essay I explore the constraints and opportunities confronting me as a newly qualified teacher and how these affect my pedagogy. I have reflected on my own development from beginning to newly qualified teacher and considered how such forces have shaped my identity as a teacher, my values and my approach to the job. As part of my exploration of my practice and the values I hold, I have revisited ‘The Place of English’, an essay I wrote midway through my Postgraduate Certificate in Education (PGCE) year; I have reconsidered how the current climate of educational reform and my subsequent experience have altered or strengthened these initial perceptions. In what follows I have reflected critically on two episodes of teaching and learning with my Year 10 class, my most challenging group, in order to further understand the way in which I have responded to the responsibilities and pressures placed on a classroom teacher. These pressures, I suggest, are intensified by the preconceptions of age and gender within my school and implicit more widely in the traditional values of our culture. The fragments of my practice that I have explored reveal tensions that gesture at a gap between educational theory, first-hand professional experience and governmental policy. They present an argument to resist the temptations of oversimplified, linear conceptions of teaching and learning, and maintain the place of English as a subject of creativity, exploration and expression that, at its heart, values both individual and collective student voices and identities.

Moving Studies: Somatic-Performative Research in a Wide Dance Field

This is a presentation of the principles of somatic-performative research with application to the audience's research. The proposal has been developed over ten years of artistic-scientific research at the Graduate Program of Performing Arts of Federal University of Bahia, Salvador BA, Brazil. The approach associates Somatic Education and Performance in dance research, especially regarding inner impulse in relation to the environment and collective awareness in a micro-macro political attitude.While quantitative and qualitative research deals with practice as an object of study, in performative research, practice is in itself a research method (Haseman 2006). Somatic-performative research is defined and organized by thesomatic practice (“experienced body”), transforming the ephemeral nature of dance into the research'smodus operandi. From the starting point of inter-artistic moving principles with/in the environment, the object of study becomes a creative, live, and relational subject. Therefore, studies and methods become contaminated by the subject's dynamic nature, melting any prejudice ora priorisettings. In an unpredictable, autonomous, yet integrated, pulsing that destabilizes borders, discourses, and manners, dance becomes a spread-out medium of studies (rather than something to be studied).As an integrated “soma,” dance research constantly dis-re-organizes “the way we form things,” subverting power relationships and discourses over art and the body. Somatic-performative exploration dilutes the separation and conflict between practice and theory, body and mind, art and science, dynamic multidimensional movement and fixed linear record, human and environment, place and non-place, matter and energy. In a connecting quantumspacetime, “being” is permanently perceived and reinvented as trans-cellular intelligence in movement or creative somatic wisdom in a “culture of becoming” with/in a “deep ecology.”

‘The Detached Course to be Oriented by Lyric Poetry’, or the Course to be Oriented by the Creative Subject:On the Focus with Park, Yong-Cheol's Poetics

‘The Detached Course to be Oriented by Lyric Poetry’, or the Course to be Oriented by the Creative Subject:On the Focus with Park, Yong-Cheol's Poetics