ILONA MIELKE
- Published in print:
- 2007
- Published Online:
- January 2012
- ISBN:
- 9780197264195
- eISBN:
- 9780191734540
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197264195.003.0013
- Subject:
- Psychology, Cognitive Psychology
Autism is diagnosed through a symptom of clusters known as the diagnostic triad. One of these is the rigid adherence to routines, repetitive activities, and narrowly focused interests which represent ...
More
Autism is diagnosed through a symptom of clusters known as the diagnostic triad. One of these is the rigid adherence to routines, repetitive activities, and narrowly focused interests which represent behavioural and cognitive biases due to a lack of imaginative cognition. The other two clusters include impairment in communication and social interaction because of impairments of imagination. These symptoms gave rise to the assumption that autism impairs imagination. Symptoms consistent with this view are prominent throughout the clinical and research profile of Autism Spectrum Disorders (ASD). However, some individuals diagnosed with autism exhibit excellent gifts in the field of creative imagination such as in arts, music, and poetry. Some of these personages who suffered from autism include Samuel Beckett, Albert Einstein, Andy Warhol, and Ludwig Wittgenstein. This claim purports that autism is not only compatible with creative imagination but in some sense promotes it. This chapter discusses the evidence for the impairment of the imagination in ASD and shows how these problems align with the key psychological models of autism. It evaluates the evidence for elements of preserved imagination by considering autistic visual arts and autistic spectrum poetry. It also highlights the implications of the relationship of autism and imagination.Less
Autism is diagnosed through a symptom of clusters known as the diagnostic triad. One of these is the rigid adherence to routines, repetitive activities, and narrowly focused interests which represent behavioural and cognitive biases due to a lack of imaginative cognition. The other two clusters include impairment in communication and social interaction because of impairments of imagination. These symptoms gave rise to the assumption that autism impairs imagination. Symptoms consistent with this view are prominent throughout the clinical and research profile of Autism Spectrum Disorders (ASD). However, some individuals diagnosed with autism exhibit excellent gifts in the field of creative imagination such as in arts, music, and poetry. Some of these personages who suffered from autism include Samuel Beckett, Albert Einstein, Andy Warhol, and Ludwig Wittgenstein. This claim purports that autism is not only compatible with creative imagination but in some sense promotes it. This chapter discusses the evidence for the impairment of the imagination in ASD and shows how these problems align with the key psychological models of autism. It evaluates the evidence for elements of preserved imagination by considering autistic visual arts and autistic spectrum poetry. It also highlights the implications of the relationship of autism and imagination.
STEVEN MITHEN
- Published in print:
- 2007
- Published Online:
- January 2012
- ISBN:
- 9780197264195
- eISBN:
- 9780191734540
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197264195.003.0001
- Subject:
- Psychology, Cognitive Psychology
The modern human is a product of six million years of evolution wherein it is assumed that the ancestor of man resembles that of a chimpanzee. This assumption is based on the similarities of the ...
More
The modern human is a product of six million years of evolution wherein it is assumed that the ancestor of man resembles that of a chimpanzee. This assumption is based on the similarities of the ape-like brain size and post-cranial characteristics of the earliest hominid species to chimpanzees. Whilst it is unclear whether chimpanzees share the same foresight and contemplation of alternatives as with humans, it is nevertheless clear that chimpanzees lack creative imagination — an aspect of modern human imagination that sets humanity apart from its hominid ancestors. Creative imagination pertains to the ability to combine different forms of knowledge and ways of thinking to form creative and novel ideas. This chapter discusses seven critical steps in the evolution of the human imagination. These steps provide a clear picture of the gradual emergence of creative imagination in humans from their primitive origins as Homo sapiens some 200,000 years ago. This chronological evolution of the imaginative mind of humans involves both biological and cultural change that began soon after the divergence of the two lineages that led to modern humans and African apes.Less
The modern human is a product of six million years of evolution wherein it is assumed that the ancestor of man resembles that of a chimpanzee. This assumption is based on the similarities of the ape-like brain size and post-cranial characteristics of the earliest hominid species to chimpanzees. Whilst it is unclear whether chimpanzees share the same foresight and contemplation of alternatives as with humans, it is nevertheless clear that chimpanzees lack creative imagination — an aspect of modern human imagination that sets humanity apart from its hominid ancestors. Creative imagination pertains to the ability to combine different forms of knowledge and ways of thinking to form creative and novel ideas. This chapter discusses seven critical steps in the evolution of the human imagination. These steps provide a clear picture of the gradual emergence of creative imagination in humans from their primitive origins as Homo sapiens some 200,000 years ago. This chronological evolution of the imaginative mind of humans involves both biological and cultural change that began soon after the divergence of the two lineages that led to modern humans and African apes.
SUSAN BLACKMORE
- Published in print:
- 2007
- Published Online:
- January 2012
- ISBN:
- 9780197264195
- eISBN:
- 9780191734540
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197264195.003.0003
- Subject:
- Psychology, Cognitive Psychology
This chapter determines the existence of human imagination and creativity through the concept of human culture and meme. It aims to rebut the two assumptions governing creative imagination in humans. ...
More
This chapter determines the existence of human imagination and creativity through the concept of human culture and meme. It aims to rebut the two assumptions governing creative imagination in humans. The first assumption suggests that imagination evolved because humans are biologically adaptive. The second assumption claims that the existence of consciousness is the driving force behind creativity and imagination. In this chapter, it is argued that human creativity is the result of evolutionary processes based on memes rather than genes. This concept suggests that if hominid ancestors of humans are capable of imitation, a new set of replicators are set loose driving human minds to become better at copying, storing, and recombining memes. This coevolution of memes and their copying machinery led to the modern imaginative minds which evolved not because they are biologically adaptive but because they are advantageous for the memes. Hence the driving force behind human imagination is therefore not consciousness but aevolutionary algorithm which function is not biological but memetic.Less
This chapter determines the existence of human imagination and creativity through the concept of human culture and meme. It aims to rebut the two assumptions governing creative imagination in humans. The first assumption suggests that imagination evolved because humans are biologically adaptive. The second assumption claims that the existence of consciousness is the driving force behind creativity and imagination. In this chapter, it is argued that human creativity is the result of evolutionary processes based on memes rather than genes. This concept suggests that if hominid ancestors of humans are capable of imitation, a new set of replicators are set loose driving human minds to become better at copying, storing, and recombining memes. This coevolution of memes and their copying machinery led to the modern imaginative minds which evolved not because they are biologically adaptive but because they are advantageous for the memes. Hence the driving force behind human imagination is therefore not consciousness but aevolutionary algorithm which function is not biological but memetic.
W. Norris Clarke, SJ
- Published in print:
- 2009
- Published Online:
- March 2011
- ISBN:
- 9780823229284
- eISBN:
- 9780823236671
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fso/9780823229284.003.0014
- Subject:
- Religion, Early Christian Studies
This chapter engages in a philosophical exploration of the creative imagination in human beings, seeking to discern its basic structure and its significance for the understanding of what it means to ...
More
This chapter engages in a philosophical exploration of the creative imagination in human beings, seeking to discern its basic structure and its significance for the understanding of what it means to be human. Humans enjoy a far wider scope of creative imagination partly because of human intelligence to abstract thought, and partly from the freedom in which human imagination participates because it is associated with the free will of the human spirit.Less
This chapter engages in a philosophical exploration of the creative imagination in human beings, seeking to discern its basic structure and its significance for the understanding of what it means to be human. Humans enjoy a far wider scope of creative imagination partly because of human intelligence to abstract thought, and partly from the freedom in which human imagination participates because it is associated with the free will of the human spirit.
W. Norris Clarke, SJ
- Published in print:
- 2009
- Published Online:
- March 2011
- ISBN:
- 9780823229284
- eISBN:
- 9780823236671
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fso/9780823229284.003.0015
- Subject:
- Religion, Early Christian Studies
This chapter discusses the relationship creative imagination has to the guidance and rule of reason, and what that relationship tells about the nature and dignity of the human person as an embodied ...
More
This chapter discusses the relationship creative imagination has to the guidance and rule of reason, and what that relationship tells about the nature and dignity of the human person as an embodied spirit and image of God. The creative imagination is the incarnation of idea in matter. The role of the creative imagination is to be creative in expanding the arts and literature, technology, economy, politics, and culture. The only wise way of exercising the creative imagination is under the guidance and illumination of human reason.Less
This chapter discusses the relationship creative imagination has to the guidance and rule of reason, and what that relationship tells about the nature and dignity of the human person as an embodied spirit and image of God. The creative imagination is the incarnation of idea in matter. The role of the creative imagination is to be creative in expanding the arts and literature, technology, economy, politics, and culture. The only wise way of exercising the creative imagination is under the guidance and illumination of human reason.
Suzi Adams
- Published in print:
- 2011
- Published Online:
- January 2012
- ISBN:
- 9780823234585
- eISBN:
- 9780823240739
- Item type:
- book
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823234585.001.0001
- Subject:
- Philosophy, General
This book is the first systematic reconstruction of Castoriadis's philosophical trajectory, and pays particular attention to his dialogue with phenomenology. It critically interprets the shifts in ...
More
This book is the first systematic reconstruction of Castoriadis's philosophical trajectory, and pays particular attention to his dialogue with phenomenology. It critically interprets the shifts in his ontology by reconsidering the ancient problematic of “human institution” (nomos) and “nature” (physis), on the one hand, and the question of “being” and “creation,” on the other. Unlike the order of physis, the order of nomos has played no substantial role in the development of Western thought. The first part of the book suggests that Castoriadis sought to remedy this by elucidating the social-historical as the region of being that eludes the determinist imaginary of inherited philosophy. This ontological turn was announced in his 1975 magnum opus, The Imaginary Institution of Society. With the aid of archival sources, the second half of the book reconstructs a second ontological shift in Castoriadis's thought that occurred during the 1980s. The book argues that Castoriadis extends his notion of “ontological creation” beyond the human realm and into nature. This move has implications for his overall ontology and signals a shift toward a general ontology of creative physis.Less
This book is the first systematic reconstruction of Castoriadis's philosophical trajectory, and pays particular attention to his dialogue with phenomenology. It critically interprets the shifts in his ontology by reconsidering the ancient problematic of “human institution” (nomos) and “nature” (physis), on the one hand, and the question of “being” and “creation,” on the other. Unlike the order of physis, the order of nomos has played no substantial role in the development of Western thought. The first part of the book suggests that Castoriadis sought to remedy this by elucidating the social-historical as the region of being that eludes the determinist imaginary of inherited philosophy. This ontological turn was announced in his 1975 magnum opus, The Imaginary Institution of Society. With the aid of archival sources, the second half of the book reconstructs a second ontological shift in Castoriadis's thought that occurred during the 1980s. The book argues that Castoriadis extends his notion of “ontological creation” beyond the human realm and into nature. This move has implications for his overall ontology and signals a shift toward a general ontology of creative physis.
Anthony Kenny
- Published in print:
- 1992
- Published Online:
- October 2011
- ISBN:
- 9780192830708
- eISBN:
- 9780191670527
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780192830708.003.0008
- Subject:
- Philosophy, Philosophy of Mind, Metaphysics/Epistemology
This chapter makes a distinction between fancy and imagination. It also discusses creative, linguistic, and intellectual imagination. It argues that the creative imagination is not something which ...
More
This chapter makes a distinction between fancy and imagination. It also discusses creative, linguistic, and intellectual imagination. It argues that the creative imagination is not something which can be contrasted with the intellect in the way in which the fancy can: it is one aspect of the intellectual faculty. In the case of any substantial intellectual structure, the question whether it is to be attributed to imagination or to insight, whether it is to be saluted as a creation or discovery, is a question which cannot be settled by looking within the mind or examining the expression in language of the intellectual structure. It depends on whether the structure can be regarded as a true account of the world.Less
This chapter makes a distinction between fancy and imagination. It also discusses creative, linguistic, and intellectual imagination. It argues that the creative imagination is not something which can be contrasted with the intellect in the way in which the fancy can: it is one aspect of the intellectual faculty. In the case of any substantial intellectual structure, the question whether it is to be attributed to imagination or to insight, whether it is to be saluted as a creation or discovery, is a question which cannot be settled by looking within the mind or examining the expression in language of the intellectual structure. It depends on whether the structure can be regarded as a true account of the world.
Gregory Currie
- Published in print:
- 2002
- Published Online:
- October 2011
- ISBN:
- 9780198238089
- eISBN:
- 9780191679568
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198238089.003.0002
- Subject:
- Philosophy, Philosophy of Mind, Aesthetics
This chapter focuses on the similarities and differences between beliefs and so-called belief-like imaginings. It argues that there is a need for a category of desire-like imagining, and ...
More
This chapter focuses on the similarities and differences between beliefs and so-called belief-like imaginings. It argues that there is a need for a category of desire-like imagining, and distinguishes between the character and the content of imaginings.Less
This chapter focuses on the similarities and differences between beliefs and so-called belief-like imaginings. It argues that there is a need for a category of desire-like imagining, and distinguishes between the character and the content of imaginings.
Vlad Petre Glăveanu, Maciej Karwowski, Dorota M. Jankowska, and Constance de Saint-Laurent
- Published in print:
- 2017
- Published Online:
- October 2017
- ISBN:
- 9780190468712
- eISBN:
- 9780190698843
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190468712.003.0004
- Subject:
- Psychology, Social Psychology
This chapter focuses on the relationship between imagination and creativity as reflected in the study of creative imagination. It is argued that, in order to appreciate today’s close association ...
More
This chapter focuses on the relationship between imagination and creativity as reflected in the study of creative imagination. It is argued that, in order to appreciate today’s close association between imagination and creativity, we need first to consider the intellectual trajectory of these concepts before and after the advent of “scientific” psychology. Using sociocultural perspectives in psychology, the authors challenge the easy assumption that creative imagination is all about generating new, original, or vivid images and, following the legacy of Vygotsky, they conceive of creative imagination as both grounded in and constructive of experience. They use three simple illustrations of children making drawings of Victory to introduce and discuss, comparatively, three sociocultural approaches to (creative) imagination: the gap-filling, the loop, and the perspectival models. The authors conclude by raising new questions about imagination as a cultural, developmental, and creative process.Less
This chapter focuses on the relationship between imagination and creativity as reflected in the study of creative imagination. It is argued that, in order to appreciate today’s close association between imagination and creativity, we need first to consider the intellectual trajectory of these concepts before and after the advent of “scientific” psychology. Using sociocultural perspectives in psychology, the authors challenge the easy assumption that creative imagination is all about generating new, original, or vivid images and, following the legacy of Vygotsky, they conceive of creative imagination as both grounded in and constructive of experience. They use three simple illustrations of children making drawings of Victory to introduce and discuss, comparatively, three sociocultural approaches to (creative) imagination: the gap-filling, the loop, and the perspectival models. The authors conclude by raising new questions about imagination as a cultural, developmental, and creative process.
Suzi Adams
- Published in print:
- 2011
- Published Online:
- January 2012
- ISBN:
- 9780823234585
- eISBN:
- 9780823240739
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823234585.003.0001
- Subject:
- Philosophy, General
The introduction presents a brief overview of Castoriadis's philosophy and the social theory of creation. It situates Castoriadis's thought within a cultural hermeneutic of modernity, with especial ...
More
The introduction presents a brief overview of Castoriadis's philosophy and the social theory of creation. It situates Castoriadis's thought within a cultural hermeneutic of modernity, with especial reference to Enlightenment and Romantic currents of thought and contextualizes his thought within phenomenology and the history of philosophy, more generally.Less
The introduction presents a brief overview of Castoriadis's philosophy and the social theory of creation. It situates Castoriadis's thought within a cultural hermeneutic of modernity, with especial reference to Enlightenment and Romantic currents of thought and contextualizes his thought within phenomenology and the history of philosophy, more generally.
June O. Leavitt
- Published in print:
- 2011
- Published Online:
- January 2012
- ISBN:
- 9780199827831
- eISBN:
- 9780199919444
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199827831.003.0012
- Subject:
- Religion, Religion and Literature
A close reading of Kafka’s post-1911 prose reveals that he continued to be infected by the widespread fascination with invisible forces. However, this fascination was not merely theoretical, but ...
More
A close reading of Kafka’s post-1911 prose reveals that he continued to be infected by the widespread fascination with invisible forces. However, this fascination was not merely theoretical, but pragmatic. Kafka’s diary entry of June 25, 1914 is a case in point. This diary passage provides evidence that the “I” voice was employing some method to bring on a vision the purpose of which was ontological in nature. The visualization exercises the narrator used, which seem to have been revivals of Renaissance and ancient cabalistic practices, not only correspond to those espoused by Steiner. The visualization exercises the narrator used evoke certain practices associated with occult societies which were flourishing in Prague. However, the meticulous details of the vision of an angel described by the first person narrator, also suggests that Kafka genuinely experienced such a vision, if not on June 25, 1914, at some time prior to that.Less
A close reading of Kafka’s post-1911 prose reveals that he continued to be infected by the widespread fascination with invisible forces. However, this fascination was not merely theoretical, but pragmatic. Kafka’s diary entry of June 25, 1914 is a case in point. This diary passage provides evidence that the “I” voice was employing some method to bring on a vision the purpose of which was ontological in nature. The visualization exercises the narrator used, which seem to have been revivals of Renaissance and ancient cabalistic practices, not only correspond to those espoused by Steiner. The visualization exercises the narrator used evoke certain practices associated with occult societies which were flourishing in Prague. However, the meticulous details of the vision of an angel described by the first person narrator, also suggests that Kafka genuinely experienced such a vision, if not on June 25, 1914, at some time prior to that.
- Published in print:
- 2008
- Published Online:
- June 2013
- ISBN:
- 9780804748636
- eISBN:
- 9780804779395
- Item type:
- chapter
- Publisher:
- Stanford University Press
- DOI:
- 10.11126/stanford/9780804748636.003.0031
- Subject:
- Literature, World Literature
This chapter presents two verses to show that poets err through excess due to lack of proportion, restraint, and precision in using their poetic tools. Shinkei does not fault these verses for ...
More
This chapter presents two verses to show that poets err through excess due to lack of proportion, restraint, and precision in using their poetic tools. Shinkei does not fault these verses for deviating from a decorous norm and are thus deemed unnatural. He defends poets from charges of excess and deviancy by appealing to the essential freedom of the creative imagination. In fact, he himself had been guilty of using the kind of inverted and illogical syntax cited by Retired Emperor Juntoku in Yakumo mishō. In poetry, even the most exaggerated conception or unnatural diction is justified, as long as it contributes to the moving quality, charismatic appeal, or evocative power that constitutes Shinkei's ideal of the quintessentially poetic (en).Less
This chapter presents two verses to show that poets err through excess due to lack of proportion, restraint, and precision in using their poetic tools. Shinkei does not fault these verses for deviating from a decorous norm and are thus deemed unnatural. He defends poets from charges of excess and deviancy by appealing to the essential freedom of the creative imagination. In fact, he himself had been guilty of using the kind of inverted and illogical syntax cited by Retired Emperor Juntoku in Yakumo mishō. In poetry, even the most exaggerated conception or unnatural diction is justified, as long as it contributes to the moving quality, charismatic appeal, or evocative power that constitutes Shinkei's ideal of the quintessentially poetic (en).
Roger Keys
- Published in print:
- 1996
- Published Online:
- October 2011
- ISBN:
- 9780198151609
- eISBN:
- 9780191672767
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198151609.003.0015
- Subject:
- Literature, 20th-century Literature and Modernism, European Literature
This chapter focuses on the complex transformations which Andrei Belyi's theory of symbolism underwent. What changed from time to time was his view of the way in which the artist acquires knowledge ...
More
This chapter focuses on the complex transformations which Andrei Belyi's theory of symbolism underwent. What changed from time to time was his view of the way in which the artist acquires knowledge of the ‘world beyond’ and of the processes by which his art might mediate it to others. It was difficult to find a place of the ‘creative imagination’ in his early theory, because there the artist was regarded primarily as a clairvoyant able to glimpse pre-existent noumenal truths and his language as a transparent, corresponsive medium enabling him to communicate such ‘transcendent’ knowledge to others with a minimum of distortion.Less
This chapter focuses on the complex transformations which Andrei Belyi's theory of symbolism underwent. What changed from time to time was his view of the way in which the artist acquires knowledge of the ‘world beyond’ and of the processes by which his art might mediate it to others. It was difficult to find a place of the ‘creative imagination’ in his early theory, because there the artist was regarded primarily as a clairvoyant able to glimpse pre-existent noumenal truths and his language as a transparent, corresponsive medium enabling him to communicate such ‘transcendent’ knowledge to others with a minimum of distortion.
Gerri Kimber, Todd Martin, and Christine Froula (eds)
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9781474439657
- eISBN:
- 9781474453813
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474439657.001.0001
- Subject:
- Literature, 20th-century Literature and Modernism
Katherine Mansfield’s ardent overture to Virginia Woolf launched a historic friendship of mutual admiration and fascination shot through with wary misunderstandings, rivalry, and envy. These ...
More
Katherine Mansfield’s ardent overture to Virginia Woolf launched a historic friendship of mutual admiration and fascination shot through with wary misunderstandings, rivalry, and envy. These comparative essays explore the shared terrain of these modernist women writers and shed new light on their 'curious & thrilling' literary relationship – absorbing, intimate, distant, secretly critical, competitive, sometimes foundering in ‘quicksands’ – and its profound impact on their creative imaginations. Critical essays include Katherine Mansfield Essay Prizewinner Karina Jakubowicz on Woolf’s Kew Gardens, Maud Ellmann on disgust, Maria DiBattista on these artists’ distinctive takes on ‘reality’, Sydney Janet Kaplan on the Conrad Aiken connection, and Christine Froula on Mansfield’s secrets. Creative artists include Vanessa Bell in painterly dialogue with her sister’s classic manifesto A Room of One’s Own, the celebrated novelist Ali Smith -- ‘Scotland’s Nobel-laureate-in-waiting’, says Irish playwright Sebastian Barry – whose ‘Getting Virginia Woolf’s Goat’ leads the creative section, ['and' deleted] Barbara Egel’s dramatic adaptation of Woolf’s story ‘Moments of Being: "Slater’s Pins Have No Points"’ and [deleted:original; add:] new poems by Jackie Jones and Maggie Rainey-Smith.Less
Katherine Mansfield’s ardent overture to Virginia Woolf launched a historic friendship of mutual admiration and fascination shot through with wary misunderstandings, rivalry, and envy. These comparative essays explore the shared terrain of these modernist women writers and shed new light on their 'curious & thrilling' literary relationship – absorbing, intimate, distant, secretly critical, competitive, sometimes foundering in ‘quicksands’ – and its profound impact on their creative imaginations. Critical essays include Katherine Mansfield Essay Prizewinner Karina Jakubowicz on Woolf’s Kew Gardens, Maud Ellmann on disgust, Maria DiBattista on these artists’ distinctive takes on ‘reality’, Sydney Janet Kaplan on the Conrad Aiken connection, and Christine Froula on Mansfield’s secrets. Creative artists include Vanessa Bell in painterly dialogue with her sister’s classic manifesto A Room of One’s Own, the celebrated novelist Ali Smith -- ‘Scotland’s Nobel-laureate-in-waiting’, says Irish playwright Sebastian Barry – whose ‘Getting Virginia Woolf’s Goat’ leads the creative section, ['and' deleted] Barbara Egel’s dramatic adaptation of Woolf’s story ‘Moments of Being: "Slater’s Pins Have No Points"’ and [deleted:original; add:] new poems by Jackie Jones and Maggie Rainey-Smith.
Arthur Krystal
- Published in print:
- 2002
- Published Online:
- October 2013
- ISBN:
- 9780300092165
- eISBN:
- 9780300145601
- Item type:
- chapter
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300092165.003.0014
- Subject:
- Literature, Criticism/Theory
This chapter looks at the history of creative imagination. It explains that imagination was once of profound relevance to artists, writers, and philosophers but it has lost its place in the ...
More
This chapter looks at the history of creative imagination. It explains that imagination was once of profound relevance to artists, writers, and philosophers but it has lost its place in the intellectual universe. It highlights the importance of understanding the concept of imagination for it is a word whose history records the history and the diminution of the human spirit.Less
This chapter looks at the history of creative imagination. It explains that imagination was once of profound relevance to artists, writers, and philosophers but it has lost its place in the intellectual universe. It highlights the importance of understanding the concept of imagination for it is a word whose history records the history and the diminution of the human spirit.
Sos Eltis
- Published in print:
- 1996
- Published Online:
- October 2011
- ISBN:
- 9780198121831
- eISBN:
- 9780191671340
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198121831.003.0004
- Subject:
- Literature, 19th-century and Victorian Literature, Drama
According to Oscar Wilde's theories of art, the genius of the artist lies not in invention but in adaptation. The critic is therefore the supreme artist, superior to the original creator; the critic ...
More
According to Oscar Wilde's theories of art, the genius of the artist lies not in invention but in adaptation. The critic is therefore the supreme artist, superior to the original creator; the critic refashions the works of others, using them as raw material for his own creative imagination. In writing Lady Windermere's Fan (1892), Wilde was therefore both creator and critic. For his first successful play, Wilde appropriated the plots and conventions of numerous popular contemporary dramas, reshaping and subverting their material to criticize the social principles on which they were founded. Lady Windermere's Fan won acclaim as a conventionally sentimental drama of society manners, remarkable only for its epigrammatic wit. It was a highly popular and successful play.Less
According to Oscar Wilde's theories of art, the genius of the artist lies not in invention but in adaptation. The critic is therefore the supreme artist, superior to the original creator; the critic refashions the works of others, using them as raw material for his own creative imagination. In writing Lady Windermere's Fan (1892), Wilde was therefore both creator and critic. For his first successful play, Wilde appropriated the plots and conventions of numerous popular contemporary dramas, reshaping and subverting their material to criticize the social principles on which they were founded. Lady Windermere's Fan won acclaim as a conventionally sentimental drama of society manners, remarkable only for its epigrammatic wit. It was a highly popular and successful play.
Judith L. Sensibar
- Published in print:
- 2009
- Published Online:
- October 2013
- ISBN:
- 9780300115031
- eISBN:
- 9780300142433
- Item type:
- chapter
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300115031.003.0029
- Subject:
- Literature, American, 20th Century Literature
This chapter discusses the combined influence of Estelle Oldham, Caroline Barr, and Maud Faulkner on William Faulkner's writing career. It suggests that The Sound and the Fury is evidence of ...
More
This chapter discusses the combined influence of Estelle Oldham, Caroline Barr, and Maud Faulkner on William Faulkner's writing career. It suggests that The Sound and the Fury is evidence of Oldham's, Maud's, and Barr's lifelong roles in shaping, sustaining, and constantly renewing Faulkner's creative imagination. It also provides three other documents that confirm the maternal imaginary influence of the three women in Faulkner's life.Less
This chapter discusses the combined influence of Estelle Oldham, Caroline Barr, and Maud Faulkner on William Faulkner's writing career. It suggests that The Sound and the Fury is evidence of Oldham's, Maud's, and Barr's lifelong roles in shaping, sustaining, and constantly renewing Faulkner's creative imagination. It also provides three other documents that confirm the maternal imaginary influence of the three women in Faulkner's life.
David Morgan
- Published in print:
- 2012
- Published Online:
- January 2017
- ISBN:
- 9780520272224
- eISBN:
- 9780520952140
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520272224.003.0008
- Subject:
- Art, Visual Culture
This chapter argues that external and internal images are interrelated since external images are the medium for grasping and maintaining the internal, which are ephemeral, unstable, and evolving ...
More
This chapter argues that external and internal images are interrelated since external images are the medium for grasping and maintaining the internal, which are ephemeral, unstable, and evolving compared to anything material. This notion supports the belief that fleeting, private, inscrutable, or contrived images are all made available and credible by a process of visualization. The idea of artistic inspiration adapted to religious revelation enables artists to transform old imagery into new, and forget the mundane visual source. This allows devout artists and admirers of their work to explain artistic inspiration as a miraculous or visionary operation, an act of visual revelation whose medium is the creative imagination.Less
This chapter argues that external and internal images are interrelated since external images are the medium for grasping and maintaining the internal, which are ephemeral, unstable, and evolving compared to anything material. This notion supports the belief that fleeting, private, inscrutable, or contrived images are all made available and credible by a process of visualization. The idea of artistic inspiration adapted to religious revelation enables artists to transform old imagery into new, and forget the mundane visual source. This allows devout artists and admirers of their work to explain artistic inspiration as a miraculous or visionary operation, an act of visual revelation whose medium is the creative imagination.
Martin Munro
- Published in print:
- 2015
- Published Online:
- September 2015
- ISBN:
- 9781781381465
- eISBN:
- 9781781382233
- Item type:
- book
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9781781381465.001.0001
- Subject:
- Literature, World Literature
What are the effects of a catastrophic earthquake on a society, its culture and politics? Which of these effects are temporary, and which endure? Are the various effects immediately discernible, or ...
More
What are the effects of a catastrophic earthquake on a society, its culture and politics? Which of these effects are temporary, and which endure? Are the various effects immediately discernible, or do they manifest themselves over time? What roles do artists, and writers in particular have in witnessing, bearing testimony to, and gauging the effects of natural disasters? What is the worth of literature in a time of disaster? These are the fundamental questions addressed in this book, which examines the case of the Haitian earthquake of 12 January 2010, a uniquely destructive event in the recent history of cataclysmic disasters, in Haiti and the broader world. The book argues that Haitian literature since 2010 has played a primary role in recording, bearing testimony to, and engaging with the social and psychological effects of the disaster. It further shows that daring literary invention—what Edwidge Danticat calls “dangerous creation”—constitutes one of the most striking and important means of communicating the effects of such a disaster, and that close engagement with the creative imagination through disaster writing is one of the most privileged ways for the outsider in particular to begin to comprehend the experience of living in and through a time of catastrophe.Less
What are the effects of a catastrophic earthquake on a society, its culture and politics? Which of these effects are temporary, and which endure? Are the various effects immediately discernible, or do they manifest themselves over time? What roles do artists, and writers in particular have in witnessing, bearing testimony to, and gauging the effects of natural disasters? What is the worth of literature in a time of disaster? These are the fundamental questions addressed in this book, which examines the case of the Haitian earthquake of 12 January 2010, a uniquely destructive event in the recent history of cataclysmic disasters, in Haiti and the broader world. The book argues that Haitian literature since 2010 has played a primary role in recording, bearing testimony to, and engaging with the social and psychological effects of the disaster. It further shows that daring literary invention—what Edwidge Danticat calls “dangerous creation”—constitutes one of the most striking and important means of communicating the effects of such a disaster, and that close engagement with the creative imagination through disaster writing is one of the most privileged ways for the outsider in particular to begin to comprehend the experience of living in and through a time of catastrophe.
- Published in print:
- 2010
- Published Online:
- March 2013
- ISBN:
- 9780226723327
- eISBN:
- 9780226723358
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226723358.003.0011
- Subject:
- History, History of Science, Technology, and Medicine
The philosopher of mind Colin McGinn has argued for the importance of what is known as the image-ination, or the ability to form and manipulate mental images having no direct correlation with visual ...
More
The philosopher of mind Colin McGinn has argued for the importance of what is known as the image-ination, or the ability to form and manipulate mental images having no direct correlation with visual perception itself. He concludes that images and percepts are two coequal species of visual apprehension, and also suggests that the creative imagination (an image-generating mental power) is even constitutive for understanding and generating language. The subject of visual thinking in physics has been examined in detail by Arthur I. Miller, whose work on imagery and the visual imagination deals with the work of twentieth-century physicists, but also has implications for research on chemistry in the nineteenth century. Miller's evidence for the importance of visual mental imagery in scientific thought was largely taken from a close study of Albert Einstein, who acknowledged many times that his thinking took place mainly in the form of visual imagery.Less
The philosopher of mind Colin McGinn has argued for the importance of what is known as the image-ination, or the ability to form and manipulate mental images having no direct correlation with visual perception itself. He concludes that images and percepts are two coequal species of visual apprehension, and also suggests that the creative imagination (an image-generating mental power) is even constitutive for understanding and generating language. The subject of visual thinking in physics has been examined in detail by Arthur I. Miller, whose work on imagery and the visual imagination deals with the work of twentieth-century physicists, but also has implications for research on chemistry in the nineteenth century. Miller's evidence for the importance of visual mental imagery in scientific thought was largely taken from a close study of Albert Einstein, who acknowledged many times that his thinking took place mainly in the form of visual imagery.
