Imaginative Work Research Articles

CONNECTING THE VANISHING FLORA, FAUNA AND ITS RELATION TO THE INDIAN REMOVAL POLICY AS SEEN IN COOPERS THE LEATHERSTOCKING TALES

This study aims at connecting the vanishing flora, fauna and its Relation to the Indian removal policy in Coopers The Leatherstocking Tales. This research applies an American Studies interdisciplinary principle supplemented by the myth and symbol theory proposed by Henry Nash Smith. Smith claimed the importance of imaginative works in revealing American culture. He declared that the historical, anthropological and cultural, sociological, and ecological data as covered in this research can be equipped by data from imaginative works. Hence, in this research, those data are presented integratedly in their context of past and present. In this research, in order to highlight environmental matters in Coopers The Leatherstocking Tales, the analysis covers the data above that are integrated with the data revealed in The Leatherstocking Tales as a whole by employing the concept of ecocriticism. The spirit of the immigrants to have a better life in the new world, stimulated by its rich, lush and beautiful circumstances, in fact, is not an aim of a sustainable life. The desire to improve their life is not enough without using and treating its environment wisely as well as facing it with the environmental conservation paradigm. The spirit of doing the exploitation is a consequence of western humanism value. The reason of coming to America to avoid the population density as well as the competition of life cannot be attained when the immigrants experience the same population density and harsh competition as in their old world and when the beautiful nature disappears, the forests become cities, the tranquility becomes noisy and crowded, and the people experience the uncomfortable life that many kinds of conflict can follow. It is not on the right path when they cannot maintain the grandeur of nature, because they are not directing their way to the right, sustainable way of life as alerted and meant by Cooper. Ecologically, the superabundance of the land when it was encountered by the European immigrants had been a factor that had made the American people arrogant with the environment. The damage of the environment that is understood anthropologically, culturally, sociologically and ecologically was not an individual mistake. It was the responsibility of the government to provide law enforcement but unfortunately the government got involved in the violation of human rights and of the activities of exploiting natural resources. To Cooper, as seen in his work, the spirit of exploiting life and the environment can be overcome by the moral of ecological awareness. It is a hierarchy that starts from love or compassion, then appreciation, respect, wisdom, and justice and this hierarchy should be assisted by law. Coopers ecological moral awareness arose as a protest against American progress. The immigrants progress to Cooper is an extermination of human, flora, and fauna.

The Library in Twelfth- and Thirteenth-Century French Literature: Benoît de Sainte-Maure'sRoman de Troie, Chrétien de Troyes'sCligès, and Adenet le Roi'sBerte as grans piés

The allusion to a real or imaginary source is a commonplace in medieval literature; however, some writers take this reference to sources a stage further and speak about the discovery of a work in a library or book collection, occasionally evoking particular place names or locations. If the library’s depiction in such instances elaborates upon a common motif, it also raises the issue of the imaginative work that this elaboration might perform, inviting reflection on the historical conceptualization of book collections and the relationship to knowledge they connote. To the extent that it features in more modern discussions, the library as a figure or metaphor has usually been thought about in connection with periods subsequent to the Middle Ages, often being associated with the organization or throwing into chaos of systems of knowledge. This article considers how the library as it appears in twelfth- and thirteenth-century francophone literature offers alternative ways of imagining hierarchies of knowledge from those associated with modernity and post-modernity, ways that are less concerned with systems of classification or notions of ordered space than with relationships among writers, readers, and texts.

Use of Embodied Imagination (EI) Work in a Clinical Case

Use of Embodied Imagination (EI) Work in a Clinical Case

F. B. Eyes: How J. Edgar Hoover’s Ghostreaders Framed African American Literature. William J. Maxwell. Princeton, NJ: Princeton University Press, 2015. Pp. x+367.

<i>F. B. Eyes: How J. Edgar Hoover’s Ghostreaders Framed African American Literature</i>. William J. Maxwell. Princeton, NJ: Princeton University Press, 2015. Pp. x+367.

Cities, corporeality and consciousness

This article seeks to explore the connections between our ability to live and work with symbols, our nature as a symbolic species, our physiologies, and our theologies, by examining the phenomenon of the (modern) city. It proposes that cities could be conceived of as ‘corporate’ expressions of human consciousness, that are founded on and continuously aim to purvey certain images and myths. These images and myth, it is argued, has been profoundly the work of a theological imagination. In an attempt to understand our modern (and seemingly secular) cityscapes, this article accordingly sets out to uncover some of the the particular theologies they articulate.

From Inspiration to Imagination: The Physiology of Poetry in Early Modernity

From the classical theory of divine inspiration as the explanation of how poetry is composed, to the widespread emphasis upon the work of the imagination in the production of literature within Romanticism, the inner sense of the imagination appears in the discourse of physicians and natural philosophers of the early modern period as ultimately responsible for the writing of poetry. The imaginative faculty, together with the humour of melancholy (at the time, simultaneously classified as a disease), are key in the works that ponder the physiological origins of poetry and the mental structure that makes the mind of the poet distinctive.

3월 11일 이후의 일본과 세계를 어떻게 상상할 것인가 = How to Imagine Japan and the World after 3/11

Since the Great East Japan Earthquake, Tsunami, and Fukushima nuclear accident(3/11), there have been many discourses which compared Japan after 3/11 to postwar Japan. This is not only because the ruins after the disaster remind people of the postwar catastrophe, but because it is recognized as an opportunity to change current Japanese society. However, after the anti-nuclear movement cooled down and people began to talk about a way out of the Fukushima accident, Japan now seems to be on its way to restoration. Based on above consideration, this article analyzes some fictions that imagine the future after 3/11, for fiction or literature is a sort of practice which changes “the real” by presenting a possibility to imagine a different world. Reading Fukuichi Kanko Project as a work of literary imagination, we come to understand that the future Japan or Fukushima it suggests is an extension of postwar Japan. Not only that, the project starts from supposing a collectivity of the Japanese nation as its basic intention shows. By contrast, some literature after 3/11 visualizes gaps and splits in seemingly unchanged reality. God Bless You 2011 reveals differences between before and after “that thing” by juxtaposing these two, and The Island of Eternal Life and Kentousi go one step further to describe Japan as a “closed” nation following an imaginary earthquake, tsunami and nuclear accident after 3/11. In particular, Kentousi questions if one imagines Japan and the Japanese language as completely closed boundaries. If it is possible to talk about “post 3/11 literature,” it would be a practice that can alienate so-called reality from itself and reveal differences in seemingly homogeneous collectivity.

Five Long Winters: The Trials of British Romanticism by John Bugg

John Bugg. Five Long Winters: The Trials of British Romanticism. Stanford: Stanford University Press, 2014. Pp. xii + 246. $60. Historicist criticism on the Romantic age from the 1980s to our present moment often appears to split into two different camps. There is the historicism that understands Romantic writing primarily in terms of what it sees, and the historicism that understands Romantic writing in terms of what it doesn't see (or refuses to see). Nicholas Roe's Keats and the Culture of Dissent provides a compelling instance of the first kind, for it shows how even images of classical culture in Keats's writing indicate his radical sympathies; Marjorie Levinson's work on Wordsworth provides a compelling instance of the second kind, for it shows how the poet's transcendent powers of imagination are achieved only by eliding or erasing features of a landscape that were present and visible in the poet's moment. The first kind of historicism, particularly when it claims that literary conventions are really political positions, occasionally looks like a resolute repudiation of literary form, or at least the formal work of literature is understood as a coding (even if covert and artful) of political affiliations or beliefs. The second kind of historicism might seem like a more open acknowledgment of literary form as an imaginative construction, although form is considered as a failed attempt to transcend the material circumstances of the author's moment. Thus what might seem like an acknowledgment of the work of imagination works out to be a more complete undermining of formalism than the first, since literary texts are not even considered as echoes of material contexts; they are re-established more firmly in that context (thanks to the critic's endeavor) than an author would willingly acknowledge. I mention this distinction in strategies to point out that in some ways John Bugg's exciting new book appears to be arguing against the second kind of historicism in order to embrace the first kind: a historicism that accounts for the way that literary works react to, and in a sense encode, specific historical conditions of the moment (Roe's work on Wordsworth and Coleridge is approvingly acknowledged throughout). Like other recent historicist critics like Daniel O'Quinn and E. J. Clery, who participate in something like a second wave of historicism, his work so carefully researches and synthesizes archival evidence that it changes our sense of what the historical conditions for writing actually were in the Romantic age. His book argues that the infamous laws known as the (The Seditious Meetings Act and the Treason Act, both of 1795) exerted a powerful effect on Romantic poetry. The acts need to be taken into account not because they simply stifled speech, writing, and publication, but because they provoked a range of creative reactions that have yet to be reckoned with completely in our critical commentary. The Ode to Liberty by the political prisoner John Augustus Bonney provides an opening example of Bugg's point in the introduction: the poem is spoken in the voice of a bird whose broken heart and silenced song reflect the atmosphere of the examined throughout the book (3-4). Neither entirely inhibited nor uninhibited in its utterance, the poem (like the bird) performs its constraint. The example of Bonney also shows how Bugg is actually producing an account that flexibly locates itself between the two dominant historicist methodologies: political engagement like Bonney's is not always explicit and requires a careful attention to literary figures and generic manipulations. When disguised, muffled, or even reduced to silence, that silence is spoken through the poem: it is expressive of the existence and persistence of repressive legislation. In his introduction and opening chapter, Bugg does for the Gagging Acts what John Barrell did for the treason trials of the 1790s in Imagining the King's Death. …

Transformations, Ideology, and the Real in Defoe’s “Robinson Crusoe” and Other Narratives: Finding “The Thing Itself.” by Maximillian E. Novak

Reviewed by: Transformations, Ideology, and the Real in Defoe’s “Robinson Crusoe” and Other Narratives: Finding “The Thing Itself.” by Maximillian E. Novak Nicholas Seager Maximillian E. Novak. Transformations, Ideology, and the Real in Defoe’s “Robinson Crusoe” and Other Narratives: Finding “The Thing Itself.”. Newark: Delaware, 2014. Pp. x + 239. $75. Defoe is sometimes accused of cobbling together the Serious Reflections during the Life and Surprizing Adventures of Robinson Crusoe (1720) out of a motley mix of unconnected essays written many years earlier. The present book comprises eleven of Mr. Novak’s previously published essays, some lightly (and tacitly) revised, with a new introduction and afterword. The oldest essay was originally published in 1982, though most are more recent: eight are from 2007 or later. Mr. Novak explains that the essays are “partly products of my writing the extensive notes and introductions to the three volumes” of Robinson Crusoe that will be published as part of the laggard Stoke Newington Daniel Defoe Edition. Collectively the essays situate Defoe as an experimental and innovative novelist during the “miraculous years of inventiveness and imagination” from 1718 to 1724 in which he produced his major prose fictions. Robinson Crusoe is the focus of all of the essays, though there are insightful comments on the author’s other [End Page 114] novels. No less than Defoe’s essays in the final part of Crusoe, Mr. Novak’s pieces hang together surprisingly well in their repurposed form. In Chapter 1, “Defoe as an Innovator of Fictional Form” (first published in The Cambridge Companion to the Eighteenth-Century Novel in 1996), Mr. Novak demonstrates that Defoe progressively explored ways of rendering “independent characters who tell their stories as emanations of their character and experiences,” as he advanced from works like A Continuation of Letters Written by a Turkish Spy (1718), through Robinson Crusoe (1719) and Moll Flanders (1722), to The Fortunate Mistress (1724). Mr. Novak shows in Chapter 2 how Defoe’s interest in the techniques of realist painting, and in Chapter 3 how his “sense of the inadequacy of language,” informed his practice as an imaginative writer. These aesthetic and intellectual contexts account not only for his vivid attempt to render “the Thing itself”—to find a form of verisimilitude that did justice to lived experience—but also for his conceptual investigation of the inherent difficulty of so doing. Defoe emerges not as a naïve realist and accidental novelist, but as a man with a vast range of interests that he brought to bear on the form and content of his fiction, whether as an effort to capture realistically a seascape during a torrent or to flag the deceptive uses of language by self-apologists like Roxana. Chapter 4 addresses Crusoe’s early reception, particularly Defoe’s playful yet persistent presentation of the novel, in the Serious Reflections, as an authentic memoir that is simultaneously allegorical and satirical. For Mr. Novak, neither autobiographical allegory nor topical satire satisfactorily explains Defoe’s generic achievement in Crusoe; he prefers the broader label “fiction,” which defines an imaginative work designed to entertain the reader by producing a “world vividly imagined” and foregrounding a “novelistic character, with a variety of emotions and a history that weighs on his memory.” But though Defoe was deliberately working out questions of form, including technique and genre, for Mr. Novak Defoe is above all an artist of ideas, who in Crusoe explored the complexity of social, ethical, and anthropological themes such as cannibalism (chapter 5), utopianism (chapter 6), seafaring (chapter 8), and exile (chapter 10). In these chapters, the practical-minded Defoe, the topical writer who was trying to ascertain how navigation might be improved and how colonies could be established in the Caribbean, exists alongside Defoe the thinker, prepared to investigate utopian possibilities despite his pessimism over their achievability and concerned with “exile as both a painful physical and a psychological state,” a metaphor and a real condition. The point is not just that Defoe simultaneously established a new realism committed to rendering the physical world and explored the multitudinously symbolic potential of fiction, but also that these aspects of his works are inseparable, just as the distinction...

Middle English Romance and the Craft of Memory by Jamie McKinstry

Reviewed by: Middle English Romance and the Craft of Memory by Jamie McKinstry Karen Derelle Norwood Jamie McKinstry, Middle English Romance and the Craft of Memory (Cambridge: D. S. Brewer 2015) 276 pp. While much has been done in the study of medieval memory practices and the history of the craft of memory, McKinstry discusses in his book Middle English Romance and the Craft of Memory how previous research has stopped short in the examination of how memory functions within individual medieval tales themselves. Because “romances are imaginative, creative works and rely on the memory of past cultures and contexts in order to create present fiction,” the author argues that memory is an essential component of the medieval romance genre (8). McKinstry sets out to demonstrate how romances themselves employ memory and how both characters and audience participate in the creation, recollection, and practice of memory within romances. Using precise organization through eight chapters and a conclusion that progressively build off of one another, McKinstry not only provides a clear and concise background to the study of medieval memory practices, but also further applies the many complex aspects of memory to a variety of texts such as Sir Gawain and the Green Knight, Emaré, Sir Orfeo, Ipomadon, Le Morte D’Arthur, and many others. McKinstry provides an overview of classical and medieval memorial theorists and techniques in the second chapter giving specific attention to Aristotle, Hugh of Saint Victor, and Thomas Aquinas. McKinstry is careful to clarify that it is unlikely that the lay public audiences of medieval romance would have had such detailed knowledge of these processes of memory; he instead proposes that memory practices and recollection were a part of everyday life as implemented by different professions, human relationships, and the church. The third chapter goes on to examine how specific romance elements such as place and material objects function in terms of recollection in order to create connections between the past and the present. McKinstry highlights the medieval landscape in Sir Orfeo as a constructed connection to the classical setting of Ovid’s Metamorphoses. He further demonstrates the power of recollection to connect the past to the present in objects such as the magic embroidered cloth in Emaré that contains woven scenes from past tales where each image on the cloth corresponds to a current event in Emaré’s own life. McKinstry argues that the insertion of past images into highly-wrought, new imaginative works shows how “decorative memories allow romances to encode a genetic identity along with their place within that very tradition” (67). McKinstry concludes this [End Page 307] chapter with his assertion that the frequent use of memory in the genre of medieval romances is conventional and even ritualistic. The fourth chapter continues with the identification of rituals and structural patterns in romances. McKinstry also uses this chapter to discuss and demonstrate how locations of “present confusion” within tales such as the forest are connected to memory and ritual. Both the fourth and fifth chapters examine the complicated relationship of memory and trust between the creativity of the author and the audience who has the task of constant recollection. Chapter 5 explores the ways romances promote memory and how the audience can trust memory such as through the implementation of memorial objects in Sir Isumbras and King Horn. One of the most interesting features of this section is McKinstry’s discussion of dreams and visions in relation to memory and the past. McKinstry draws attention to complex characters like Merlin who serve as dream interpreters and who are able to recall the past and predict the future. Examining in particular the dreams in King Horn and William of Palerne, McKinstry emphasizes the significant connection dreams have to memory as they are experienced, remembered, and ultimately validated within the romance narrative. Chapter 6 sets out to identify the challenges posed to the memory of both the characters and the audience through destructive forces of forgetfulness and falseness. McKinstry pays particular attention to the tales of Sir Launfal, Floris and Blancheflour, and Gamelyn to demonstrate a variety of ways memory may be compromised or complicated for effect. Chapter 7 examines the progression of time and its...

Pendidikan Seni, Hubungannya dengan Ambang Sadar, Imajinasi dan Kreativitas serta Manfaatnya untuk Proses Belajar yang Bermutu

It seems obvious that all theories of learning, teaching, training, and curriculum are borrowed from developed countries. However, from past and present experience, all of those theories will be less suitable for Indonesia. Therefore, we need the courage to study what happened in the West and compare the results with our own traditional education. Based on our own researches, then we can generate what is the present-day modern education of Indonesia.This article discusses about "inner-communication" "“ "image-communication" within our nerve system, where the awareness, imagination and creativity works. It is also a form of appeal to conduct research on education, especially on visual art education, so it will be suitable for Indonesian environment and society. Art education has the ability to increase the quality in other education fields, because the learning process transform into creation process.

« Elle peint comme elle chante... »

The large part of Marie Krysinska’s poetry is pictorial in the intrinsic way. The range of the references to painting, both explicit and implicit, is not less significant than the musical references. Being a musician, Krysinska is as well sensitive to the colours and lines, she makes one hear and see her poetic images. This ability lets her create “images en l’air” whose pictorial intensity is varying, from the impression to the ekphrasis. Through different painting references Krysinska reveals her rooting in the culture, enters into the continuum of aesthetic reflection, involves herself in a dialogue between arts – which incessantly lasts throughout the ages – on the synchronic and diachronic level. Consciousness which diffuses through the poetic-pictorial work of art is consequently complex and heterogenic, both individual and collective. Pictoriality becomes a code, cultural and emotional, which reinforces the work of imagination and lets one feel a twofold aesthetic satisfaction.

Cultivating imaginative thinking: teacher strategies used in high-performing arts education classrooms

This article reports on recent case-study research that examined teacher- and student-level processes in nine Australian arts classrooms. The selected classrooms, based on the results of a connected longitudinal study, demonstrated strong positive links between arts participation and academic motivation, engagement and achievement. The focus here is on how teachers supported their students to conceive, shape and present imaginative work. Although different approaches were apparent in the dance, drama, film, music and visual arts classrooms, patterns were detected in the processes used to transform imaginative ideas into a creative work. The research indicated that important skills were being developed as the students encountered the ambiguity of the creative process. Furthermore, insights were gained into how work drawing on the imagination can be initiated and sustained through the highs and lows of development to become both a work of art and a learning experience that will augment future creative work.

Evil, Imagination and the Unrepressed Unconscious: The Value of William Blake's Satanic ‘Error’ for Clinical Practice

The images and writings of William Blake offer profound insights for the clinician in a form that clearly reveals his visionary ability regarding the unrepressed unconscious. He is particularly helpful with the work of imagination and the presence of evil concerning unconscious process. This paper explores the creative value of Blake's contribution when working with certain patients in the consulting room and for the purposes of psychotherapeutic research: he has inspired many psychoanalytic and Jungian papers in the past. However, in the world of psychotherapy, Blake's complicated but illuminating mythology has been somewhat neglected in favour of interpreting him through the lens of analytic thought. While setting this paper within an analytic frame, the writer aims to offer an overview of Blake's central concepts – particularly those concerning Satan and the state of ‘Error’ – that are revealed in their most refined form in his celebrated ‘Illustrations of the Book of Job’. A number of Blake's paintings and etchings illustrate this paper, providing an additional and vital avenue of communication through image. Clinical vignettes related to psychotic levels of the psyche illustrate the central theme.

Dennis, Alan and Arthur x 3: Literary Legacies of the ‘Blazing Car Murder’ of 1930

The ‘blazing car murder’ committed by Alfred Arthur Rouse in 1930 was a sensational cause célèbre due to a number of factors, including Rouse's reference, on his arrest, to his ‘harem'; his career as a travelling salesman; and the failure to identify the corpse found burned to death in his car. The case has inspired famous authors, such as the playwright and television writer Dennis Potter, the graphic comic novelist Alan Moore, and the detective fiction writers Dorothy L. Sayers and P.D. James, to write imaginative literary works linked to the case. This article analyses the more significant of those works – those by Potter and Moore – and addresses the link between true crime and literary imagination.

Aesthetic Experience as an Aspect of Interpretive Activities

Every conception of aesthetic experience has to deal with two antagonistic aspects that are inherent to the very notion itself. I will try to outline these two aspects by referring to Kant’s explanation of aesthetic experience, which is paradigmatic in this regard (as it is in many regards). On the one hand, Kant conceives of aesthetic experiences as an experience in which the subject is passive. According to Kant, the object affects the subject in a specific way, namely by giving rise to a free play between the imagination and the understanding. On the other hand, Kant claims that the way the subject is affected is relevant to the subject itself. To experience a free play of imagination and understanding is to experience that cognition is possible, for cognition presupposes that imagination and understanding work together. In Kant’s view, aesthetic experiences are experiences of the possibility of cognition and are hence valuable for the subject experiencing them. I may articulate the antagonism between these two aspects that I have conceived of with Kant by asking the question: How is it possible that a subject can learn something about itself through an experience in which it is ultimately passive?

Imagination in Vico and Hobbes: From affective sensemaking to culture

Giambattista Vico and Thomas Hobbes both are known for the particular emphasis they put on the workings of imagination in human understanding. Their respective concepts of imagination are compared in this article, with attention to the sensory basis and cultural products related to this capability. The connections and contrasts established in the analysis are contextualized by the notion of affective semiosis. An affective component can be traced at the basis of the process of image creation in both authors. The primary level of human semiotic activity where the most basic differentiation and identification processes take place must describe not only in terms of sensation but also affect, imagination, and memory. The expression of these processes on the level of culture is however understood and valued differently by Vico and Hobbes. Vico sees in myth and metaphor the necessary elements of imaginative sensemaking, for Hobbes they take the role of by-products in mind’s struggle toward rationality.

Wonder, Marvels, and Metaphor in the Squire’s Tale

With reference to Chaucer’s Squire’s Tale , this article argues that poetry appeals to marvels in order to highlight the similar imaginative work that poetry and marvels perform. It draws on medieval philosophical theories of marvels and metaphor to show that both pique the creative imagination by creating a rupture between what things are and what they seem. Inspiring wonder, marvels and metaphor also highlight the power of imaginative representation, which can account for an object’s force and impact better than strictly mimetic representation.

This staffing model is great news for nursing.

Imagine working in an NHS organisation that enforces a 70:30 split between registered and unregistered staff, and that ensures ward sisters and those in similar roles are wholly supervisory; where hospital managers guarantee there will be between 1.25 and 1.8 nurses per bed. Well, this is exactly what is being promised by the five NHS trusts in Northern Ireland, as you can discover by reading a feature in this week's Nursing Standard.

Womanspirit Still Rising? Some Feminist Reflections on ‘Religious Education’ in the UK

It is a complex and sometimes frustrating business to effect change that is in accordance with recognizably feminist principles in the world as it is and we inevitably risk confrontation, misunderstanding and compromise. In this paper I consider some of the complexities and obstacles to effecting feminist-friendly changes in educational spaces with specific reference to the field of teaching most familiar to a majority of us – Religion/Religious Studies or Theology and Religious Studies (TRS). I suggest an approach to change based on the mobilization of spirituality – characterized as becoming – as one metaphor that has been grasped to effect in the past by pioneers such as Carol Christ and Judith Plaskow to bring about changes in the western theological academy. This imaginative work has itself generated resistance and critique from scholars of religion and some feminists, but remains, I believe, one fruitful starting point for thinking through what needs to change in educational spaces identified as ‘religious’, and for avoiding the gendered traps that are laid for us in the process. Primarily these are traps that frustrate our abilities to explore the widest possibilities of difference/s and lead us back into the constrictions of sameness – here, that state of being tied either to a historical view of Christianity that privileges a disembodied, masculine, monotheistic God or to a post enlightenment view that privileges a disembodied, so-called ‘secular’ masculine rationality that just as fearfully excludes the Otherness of the feminine and all she represents.