Creative Subjects Research Articles

Old Genres in New Attire: Zsolna Ugron’s Novels

Abstract In the present study we propose a look at Zsolna Ugron’s works from a generic perspective in order to analyze what conventions of genres such as the romance, the epistolary novel and the historical romance the author has revived and what are the elements that she has added or changed in order to make them appealing to the public and yield to critical analysis. We also attempt an investigation of the formation of female subjectivity as illustrated by these fundamentally feminine novels, given that all four of them operate with female protagonists, women in the process of shaping their destinies, often at crossroads where - despite all the external factors that seem to determine their fate from history to social conventions and men around them - ultimately they make their own personal choices and position themselves as responsible, active and creative subjects.

Technical and creative subjects suffering in majority of schools

Accountability pressures of EBacc have had negative impact on vocational, technical and creative education, school leaders admit

Unveiling the subject behind diversity: Exploring the micro-politics of representation in ethnic minority creatives’ identity work

Much literature on the cultural industries celebrates ethnicity as a source of creativity. Despite its positive connotation, this discourse reduces ethnic minority creatives to manifestations of a collective ethnic identity automatically leading to creativity, creating a paradox of creativity without a creative subject. Approaching creatives with an ethnic minority background as agents, this article investigates how they self-reflectively and purposely discursively construct ethnicity as a source of creativity in their identity work. Empirically, we analyze interviews with well-established creatives with an ethnic minority background active in Belgium. Most respondents construct their ethnic background as ‘hybrid’, ‘exotic’, or ‘liminal’ to craft an identity as creatives and claim creativity for their work. Only few refuse to discursively deploy ethnicity as a source of creativity, crafting more individualized identities as creatives. Our study contributes to the literature on power and ethnicity in the creative industries by documenting ethnic minority creatives’ discursive micro-struggle over what is creative work and who qualifies as a creative. Specifically, we show their counterpolitics of representation of ethnicity in the creative industries through the re-signification of the relation between the ‘west’ and the ‘other’ in less disadvantageous terms. Despite such re-signification, the continued relevance of the discourse of ethnicity as a key marker of difference suggests that ethnicity remains a principle of unequal organization of the creative industries.

Overcoming the ‘daily bludgeoning by apartheid’: black South African women writers, agency, and space

This article examines creative agency in the lives of four black South African women writers during South African apartheid: Miriam Tlali, Lauretta Ngcobo, Gladys Thomas, and Sindiwe Magona. Drawing theoretically on Mamphela Ramphele’s conceptualizations of space, it analyzes life review interviews with these writers, who were among the first black women to publish novels and poetry in apartheid South Africa, about the ways in which they came to understand themselves as writers and creative subjects within a political system that severely curtailed their political and creative expression. It considers agency a key tool for understanding how these authors transcended their received identities as laborers and reproducers of labor for the apartheid nation, to become authors of their own lives and works. In elucidating how writing increased personal agency for these writers, the article posits the concept of creative re-visioning – a subject’s ability to re-envision what is possible for her to achieve beyond received expectations for her life. It theorizes such creative re-visioning as a strategy of resistance during apartheid and an additional dimension to feminist conceptualizations of human agency.

从自卑到自信：论沈从文早期创作的心路历程

文学创作风格的形成因素是多方面的，就创作主体来说，创作心理对创作有着重要影响。创作心理不仅可以为文学创作提供动力，还会以自身的发展变化带动创作的发展变化。沈从文的创作与其人生经历密切相关。小学学历，苗族血统，“乡下人”和都市的窘境使沈从文形成了自卑心理与逆反心理，而且在1924年~1936年间随着现实环境的变化不断发展深化，进而影响了沈从文的创作，使其创作由第一阶段的“原型湘西”向第二阶段的“文化湘西”转化。但是自卑感和逆反心理是可以被超越的，最终沈从文超越了自卑心理和身份认同的焦虑，以文学创作实现了自我救赎，实现了内心情感的抒发，并以其独特的生命体验和文学审美，表达了其人生的与文学的理想。 The formation factors of the literary creation style are dimensional. As far as the creative subject is concerned, the psychology of creation has an important influence on the creation. Psychology can not only provide impetus for literary creation, but also promote the development and change of creation with its own development. Shen Congwen’s creation is closely related to his life experience. Primary school education, Hmong descent, “rural people” and the plight of the city make Shen Congwen from the formation of inferiority complex and rebellious psychology, and in 1924- 1936 years with the change of the realistic environment, it continues to develop deepen, thereby affecting the creation of Shen Congwen, which is created by the first phase of the “prototype” of Xiangxi to the second stage of the “cultural Xiangxi” transformation. But the sense of inferiority and rebellious psychology can be transcended; eventually Shen Congwen beyond the inferiority and identity anxiety in literary creation to achieve self salvation, the inner feelings, and its unique life experience and literary aesthetic, expressing his life and literary ideal.

МОЛОДІЖНИЙ ПРОСТІР У ФІЛОСОФСЬКО-УРБАНІСТИЧНІЙ ТРАДИЦІЇ

У статті здійснено огляд урбаністичних практик молоді уконтексті модерних і постмодерних теорій простору. Дослідженоособливості культурної присутності молоді в урбанізованомупросторі. Проаналізовано топоси міста з урахуваннямспецифіки виявлення молодіжної суб’єктності. Молодіжнірухи презентовані як просторова відповідь на сучасні викликиурбанізації. Пропонується нове вирішення проблеми ідентифікаціїміських просторів через експлікацію особливостейприсутності молоді на урбанізований простір. Молодь постаєне лише як об’єкт особливої турботи у просторі міста, а й якактивний суб’єкт просторового творення. Розглядаютьсяконцептуальні параметри нового етапу творчого включеннямолоді до міста. Окреслюються евристичні можливості проактивнихпрактик молоді для урбаністики через перспективуформування інклюзивного міста, а також концептуальногопроектування «нової культурної реальності». The article deals the review of the urban experience ofyoung people in the context of modern and postmodern theoriesof space. The characteristics of cultural presence of youth in anurban space are investigated. The city toposes analyzed takinginto account the specificity of detection of youth subjectivity.Youth movements are presented as a spatial response to the currentchallenges of urbanization. It proposed a new solution tothe problem of identification of urban spaces through the explicationof features youth presence in an urban space. Youngpeople considered not only as an object of special care in the cityspace, but also an active subject of spatial creativity. The conceptualparameters of a new stage of creative inclusion of youngpeople in the city are considered. The heuristic possibilities ofproactive practices for urban youth are defined in term of formingthe inclusive city, and also the conceptual design of the “newcultural reality”.

Incorporating the creative subject: Branding outside–in through identity incentives

This article explores the intersection of branding, identity and control. It develops the notion of identity-incentive branding and links research on the collective-associative construction of occupational identities with work on identity incentives as an engaging form of control. Empirically, we draw on a case study of a North American grocery chain that is known for employing art-school graduates and other creative talents in creative (store artist) and non-creative shop-floor positions. The study shows that the brand is partly built outside–in through association with employees who embody brand-relevant characteristics in their identities and lifestyles. In return, those employees receive identity opportunities to validate their desired sense of self as ‘creative subject’. We discuss the dual nature of identity-incentive branding as neo-normative control and outline its implications for the organization and the employees.

Australian Modernists in London: William Dobell’s The Dead Landlord and Patrick White’s The Ham Funeral

When Patrick White was awarded the Nobel Prize for Literature in 1973, it was primarily for his novels. Less well recognised is the significance of White’s dramatic literature and his involvement in the theatre. This article offers a new analysis of White’s first notable breakthrough into theatre and drama, The Ham Funeral, which he wrote in postwar London and which was produced in Adelaide in 1961. This article argues that a modernist idiom of 20th-century Australian drama can be found in this play that laid the groundwork for a poetics of language, image and theatricality. The play’s aesthetic modernism is found primarily in the blend of expressionist and surrealist elements, the poetic language, the alienated creative subject and the representation of sexuality and the unconscious. White’s thematics also become political, concerned with power, masculinity and gendered assumptions about rationality and emotion, poetry and the body. Having lived in London during the interwar years, White was also part of the networks that included Australian-born artists, and he was exposed to influences from visual arts as well as theatre. Of these, the artist William Dobell was central to the genesis of The Ham Funeral, as was the Polish-born modernist artist S. Ostoja-Kotkowski, who was critical to the design of the brooding expressionist set that set the standard for subsequent stage realisations of the play.

How and when does speech-acting generate social innovations

Speaking is a normal, a special and ubiquitous human activity. Speaking or writing as a subjective and willful activity directed at others takes place within a dense set of behavioral norms. Speaking also activates selectively resources, concepts, logics and rules in language. We investigate the power of the language institution, speech-acting, constructed narratives and deliberations in creating social innovations. We look at new organizations, especially the constitution of new groups with operative collective intentions as social innovations. We ask how speech-acting theory can add or deepen insight into the constitution, the creation, the sustainability and the breakdown of organizations. Speech-acting theory has a focus on rationality as reasoning. Both Amartya Sen and John Searle have delved into reasoning – as creative subjectivity in multi-institutional settings. We try to exploit critically some of their philosophical findings into the field of empirical organization and social innovation studies.

FUTURE BACHELORS’ TECHNOLOGY OF PROJECT LEARNING IN DESIGN GROUPS AS A MEANS OF INNOVATIVE TEACHING ACTIVITIES SUBJECT’S TRAINING

The article is devoted to the bachelor’s preparation, the basic conceptual idea of is to achieve efficiency and social and educational importance of integrative cultural and educational space as a system to ensure the teachers’ readiness to innovative professional work at school. The solution to this problem is in the competence-based approach to students’ design activity in the conditions of design groups as a means of mastering professionalvaluable innovative technologies of socialization of pupils and methodological tools of their motivation to the designer's creativity. The article notes that the process of mastering the future bachelors of professional competence in the design group based on the multidisciplinary integration and implemented in an environment of a complex interaction of its epistemological (scientifictheoretical) and value (spiritual practice) aspects. They are based on the integration of knowledge of different areas of science, the disclosure of the relationship and interdependence of general scientific, social, technological, aesthetic, economic, environmental, educational, psychological and other problems in the system of global problems of general and professional culture of the future teacher, teaching them values of subjectivation. Diversity and structure of such an interrelation and interdependence in project activities of students due to the specifics of scientific, aesthetic, design, technological, technical and economic means to achieve the desired, socially significant result of project activities. It also stems from the need of didactic thinking by students of dialectical nature monism categories and the principles of technology and aesthetics, and innovative teaching technologies and methods of students' teaching and the technological development of the world in accordance with the design principles of their development as active and creative subjects of social and labor relations. This article emphasizes that such a hike to the individual, paired or group (cooperative learning) curriculum design and creative activities at the university is considered the moral foundation of social development and creative subjectification small design teams of the future teachers of pedagogical ideals of a unified system. In this regard, project learning for future bachelors Design Group as substantive and procedural components of prescribed curriculum 44.03.05 "Pedagogical education" profile "Technology" aesthetic training at the university, is a key area of its initiation to human and professional values that form the basis of the cultural environment and therefore - one of the highest forms of socialization of the person as a teacher.

Seeing like a classroom: theatre and performance in education

The status of drama, theatre and performance in Higher Education is inevitably shaped and affected by shifts in educational policies that manage and administrate compulsory education. In this article, I draw on cultural theorist Claire Bishop’s concept of an ‘educational turn’ in contemporary social practice as starting point for unpicking some of the complexities facing the status and value of the Arts in compulsory and higher education. My arguments are underpinned by my role as a teacher in the state comprehensive system in which shifts to understanding education as comprised of ‘facilitating’ and ‘non-facilitating’ subjects risks undermining creative subjects as both key pedagogic tools and subjects in their own rights.

Mujeres dramaturgas obreras a principios del siglo xx en Chile y la estrategia de la escritura solapada

<p>Este artículo se constituye desde el estudio y presentación exploratoria de una creación escritural que a la vez es una “no escritura”, la cual se instituyó en una palabra dramatúrgica concreta, la que al mismo tiempo definió un proceso histórico. Específicamente hablaremos de la contribución de mujeres proletarias en la creación, representación y recepción de la dramaturgia anarquista chilena de principios del siglo xx. Ello como un modo de autoría indesmentible, no solo en la constitución de los personajes, sino también en el aporte encubierto de voces femeninas silenciadas, pero que, no obstante, en estos textos dramáticos de agitación están plenamente presentes a nivel valórico; expresándose en una subjetividad creativa femenina que se diferencia de la voz masculina con nitidez. Lo anterior asumido desde la perspectiva de la antropología literaria.</p>

Los cuatro ejes de la cultura participativa actual. De las plataformas virtuales al medialab

La nueva cultura digital ha transformado de forma drástica muchos de los paradigmas asumidos por las generaciones nativo-analógicas. En materia comunicacional y creativa esta afirmación se hace si cabe más traumática, pues la participación directa del consumidor-prosumidor en la creación de contenidos, puede entenderse ya como propio de una generación vinculada a un nuevo modelo cultural. Pero, ¿cuáles son los ejes sobre los que se vertebra este modelo? ¿Qué conceptos o significados y qué nuevas prácticas y procesos se imponen? ¿A qué nivel inciden estos sobre las prácticas implementadas en los centros culturales o medialabs? ¿Se atisban nuevos modelos como una nueva realidad híbrida que genera transferencias de lo virtual a lo físico y viceversa en este sentido?La respuesta a estas cuestiones, de vital importancia en el contexto actual, nos desvelará el nivel de impacto e influencia del modelo cultural sobre la sociedad, a través del análisis de los ejes que conforman esta nueva realidad.

Effects of cartoon programs on behavioural, habitual and communicative changes in children

Background: Children have become much more interested in cartoons over many years and it has become a primary action to some lives. This has become a problem because too many children are watching too much cartoon program and they have become violent and addictive. Methods: An observational cross sectional study was conducted on 200 children of 5 to 15 years of age watching cartoon programs using simple random sampling in indore city over the period of 4 months. Pre designed, pre tested, semi structured questionnaire was used for data collection. Data was analysed using MS excel & SPSS version 20. Results: 33% of children showed an increase in violent behavior. 39% of children watch both (violent & nonviolent) type of cartoon programs. 64% of children neglect things told by parents while watching cartoon programs, 45% of children throw things/becomes violent when parents either switch off T.V/ask him to do some other work, 61% of children try to copy stunts after they have started watching cartoon programs. 81% of children have shown increased interest towards creative subjects and 73% of children have become sensitive towards others since they have started watching cartoon programs.Conclusions: Watching cartoons programs had significant effect on behaviour of children. Changes were negative and positive both. Majority of the children behave the way they watch people performing activities on the television screen and follow them in their everyday life.

ЛИНГВОКУЛЬТУРНОЕ ПРОСТРАНСТВО «ЧЕЛОВЕК – ПРИРОДА» В ХУДОЖЕСТВЕННЫХ ТЕКСТАХ: КОГНИТИВНОПРАГМАТИЧЕСКИЙ АСПЕКТ

Eldarova Ruzanna Alievna – post-graduate student of common linguistics dpt. Adygea State University. Abstract . The magnitude of representation of nature images, the links to the author’s mind, the hero, the reader can be considered in literary texts as one of the most important sources for identifying the parameters of the national picture of the world and the individually author’s transformation of its components. Researches that identify patterns of functioning linguacultural spaces in the texts are able to give new results projected in the linguistic picture of the ethnic group of the world due to reflections in literary texts of archetypal, stereotyped images of peculiar linguistic culture and ethnic group as a whole as well as individually-copyright, which characterize a particular linguistic identity and its conception of the world. Cognitive paradigm of modern linguistics, anthropocentric in nature allows to consider culture as a process modeling language, which naturally highlights the problem of linguistic linguaculture of predetermined value. Great importance in this regard is the concept of space as linguocultural cognitive model of objective reality. Cognitive-pragmatic potential of a literary text is deepening due to the introduction the descriptions of nature, since they always implement the ethical, aesthetic, and intellectual abilities of the creative subject. Key words : anthropomorphism, linguacultural space, cognitive model, semiosis culture, cognitive-pragmatic aspect.

The Romantic Tradition and the (Re)Interpretation of the Romantic Self in Boris Pasternak's and Virginia Woolf's Prose Writing

The article makes an attempt to sound the novelty of Virginia Woolf's and Boris Pasternak's literary theory in the context of literary tradition. I argue that at least in two crucial fields, in the definition of the self and the treatment of the relationship of art and reality, it is the paradigm established by the Romantics that seems to be the most important point of reference. In order to prove this, I discuss both the authors' statements about romanticism and the romantic traits in their philosophies of art. Some of their concepts relevant to the topic (for example, Woolf's moments of being, or Pasternak's idea of creative subjectivity), expounded mainly in ‘A Sketch of the Past’ and in A Safe Conduct, and the Romantic influences on their work are in the focus of the paper.

Creativity, paranormal beliefs and cognitive impairment in the elderly

In the case of older people, aesthetic thought and creativity are ways to keep mind and imagination active by contributing to prevent cognitive decline. Furthermore, having a religious belief system or even a belief system or paranormal experiences has proved to be beneficial for the health of the elderly. The objective was to study the relationship between creativity, degree of cognitive impairment and paranormal beliefs. The existence of differences depending on sociodemographic characteristics was analyzed. A group of 36 elderly people (16 men) aged between 66 and 95 years were administered the Mini-Mental State Examination (MEC), the CREA Test and the Paranormal Beliefs Scale. The main outcomes include that: those with better cognitive status are more creative; the less creative subjects had more traditional religious beliefs and even greater superstition; the elderly with better cognitive status were the least superstitious. It is remarkable that men were more creative, while women excelled in traditional religious beliefs. The study allows reflecting on the importance of professionals who work with the elderly to carry out programs to encourage creativity and even collect information about the belief system.

Creativity, paranormal beliefs and cognitive impairment in the elderly

In the case of older people, aesthetic thought and creativity are ways to keep mind and imagination active by contributing to prevent cognitive decline. Furthermore, having a religious belief system or even a belief system or paranormal experiences has proved to be beneficial for the health of the elderly. The objective was to study the relationship between creativity, degree of cognitive impairment and paranormal beliefs. The existence of differences depending on sociodemographic characteristics was analyzed. A group of 36 elderly people (16 men) aged between 66 and 95 years were administered the Mini-Mental State Examination (MEC), the CREA Test and the Paranormal Beliefs Scale. The main outcomes include that: those with better cognitive status are more creative; the less creative subjects had more traditional religious beliefs and even greater superstition; the elderly with better cognitive status were the least superstitious. It is remarkable that men were more creative, while women excelled in traditional religious beliefs. The study allows reflecting on the importance of professionals who work with the elderly to carry out programs to encourage creativity and even collect information about the belief system.

Study on the Essence of Marx’s Political Philosophy in the View of Materialism

Marx believed that, all material can furnish the practical rule which is determined by the will of self-love of the humanity. All the course of self-love can be manifested as the development of human desire. In the field of materialism, Marx has distinguished the concepts of higher and lower desires. Marx used his method of dialectic materialism to explain the dynamic component of the universe phenomenon that the subjectivity of the world should belong to humanity and human should be considered as a creative subjectivity.

F. Scott Fitzgerald’s Unique Literary and Writing Style

The importance of including Fitzgerald in American Literature anthologies cannot be overestimated. He believed that he was an original. Fitzgerald's style is completely his own and perhaps the most incomparable aspect of his prose. It is neither so subtly different that it takes perfect pitch to identify nor so eccentric as to be self-consciously sui generis as some other modernist writers. He frequently exploited and became famous for his material rather than because of his technical innovations. The central thematic concerns of Fitzgerald were those of his time and of his country. As writers' material—the subjects, experiences, ideas that they examine and re-examine—is what makes them the kinds of authors they are, this paper tries to investigate more intensely on the influence of three important literary movements: Realism, Modernism and Existentialism on Fitzgerald’s creative works, his material, subjects and themes and techniques and style based on his creative novels.