David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Rafael De Clercq
Ezio Di Nucci
Jack Alan Reynolds
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Educational Philosophy and Theory 43 (4):321-335 (2011)
This paper addresses the subject of textual creativity by drawing on work done in classical literary theory and criticism, specifically new criticism, structuralism and early poststructuralism. The question of how readers and writers engage creatively with the text is closely related to educational concerns, though they are often thought of as separate disciplines. Modern literary theory in many ways collapses this distinction in its concern for how literariness is achieved and, specifically, how ‘literary quality’ is accomplished in the textual and the social dimension. Taking literary and aesthetic creativity as a point of departure in the reading of five central authors in classical literary criticism, the paper identifies the processes of narrative imagination and emotional identification as central to the role that the textual dimension plays in the creative process of the author/reader—particularly in the way it provides a space for experimentation and self-reflexion through ‘storying’
|Keywords||narrative aesthetic creativity literary theory learning|
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References found in this work BETA
Martha Craven Nussbaum (1990). Love's Knowledge: Essays on Philosophy and Literature. Oxford University Press.
H. S. N. McFarland & Jerome S. Bruner (1965). On Knowing: Essays for the Left Hand. Philosophical Quarterly 15 (58):79.
Mike Radford (2004). Emotion and Creativity. Journal of Aesthetic Education 38 (1):53-64.
Cleanth Brooks (1947). The Well-Wrought Urn. Journal of Aesthetics and Art Criticism 6 (2):185-186.
Jonathan Culler (1976). Structuralist Poetics: Structuralism, Linguistics and the Study of Literature. Journal of Aesthetics and Art Criticism 34 (3):352-353.
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