Numerous studies had found that creativity is not only associated with low effort and flexible processes, but also associated with high effort and persistent processes especially when defensive behavior being induced negative emotions. The important role of self-esteem is to buffer the negative emotions and low self-esteem are prone to instigate various forms of defensive behaviors. Thus, we thought that the relationships between trait creativity and executive control brain networks might be modulated by self-esteem. The resting-state electroencephalogram (RS-EEG) (...) microstates can divided into four classical types (MS1, MS2, MS3 and MS4) which can reflect the brain networks as well as the dynamic characteristic of them. Thus, Williams creative tendency scale (WCTS) and Rosenberg Self-Esteem Scale (RSES) were used to investigate the modulating role of self-esteem on the relationships between trait creativity and the RS-EEG microstates. As our results showed, self-esteem consistently modulated the relationships between creativity and the duration and contribution of MS2 related to visual or imagery processing, the occurrence of MS3 related to cingulo-opercular networks, as well as transitions between MS2 and MS4 which was related to frontoparietal control networks. Based on these results, we thought that Moreover, individuals with low self-esteem might be more prone to influenced by negative emotions and develop low trait creativity; bottom-up information from vision or visual imagery might be beneficial to develop trait creativity for individuals with high self-esteem to improve trait creativity, while inhibition of irrelevant information could facilitate trait creativity for individuals with low self-esteem. (shrink)

Recently, there has been a debate focusing on the question of whether groups can literally have beliefs. For the purposes of epistemology, however, the key question is whether groups can have knowledge. More specifi cally, the question is whether “group views” can have the key epistemic features of belief, viz., aiming at truth and being epistemically rational. I argue that, while groups may not have beliefs in the full sense of the word, group views can have these key epistemic features (...) of belief. However, I argue that on Margaret Gilbert's infl uential “plural subject” account of group belief, group views are unlikely to be epistemically rational. (shrink)

Adult playfulness describes individual differences in framing everyday situations as personally interesting, and/or entertaining, and/or intellectually stimulating. We aimed at extending initial evidence on the interconnectedness between language use and adult playfulness by asking 264 participants to provide written descriptions of their understanding of playfulness and collected self-reports of their playfulness. We used the Linguistic Inquiry and Word Count methodology to quantitatively analyze the language use in these descriptions and tested the associations with individual differences in participants’ age, gender, and (...) playfulness. While higher expressions in all measures of playfulness did go along with writing more content when describing playfulness, facet-wise analyses revealed differential findings ; but the effects were small. We found that being a women and younger age were related to writing longer texts, and we discovered additional associations between certain LIWC categories and age and gender. Our study expands the knowledge about adult playfulness and its manifestations in natural language use. We embed our findings into previous research and discuss limitations and potential approaches for replication studies. (shrink)

Critical Qualitative Health Research seeks to deepen understandings of the philosophies, politics and practices shaping contemporary qualitative health related research. This accessible, lively, controversial introduction draws on current empirical examples and critical discussion to show how qualitative research undertaken in neoliberal healthcare contexts emerges and the complex issues qualitative researchers confront. This book provides readers with a critical, interrogative discussion of the histories and the legacies of qualitative research, as well as of the more recent calls for renewed criticality in (...) research to respond to global health concerns. Contributions further showcase a range of contemporary work engaging with these issues and the complex encounters with philosophies, politics and practices this involves; from seeking explicit engagements with posthuman ideas or detailed explorations of deeply engaged humanist approaches, to critical discussions of the politics and practices of emerging novel, digital and creative methods. This book offers postgraduate researchers, health researchers and students alike opportunities to engage more deeply with the emergent, complex and messy terrain of qualitative health related research. (shrink)

If the death of Jesus is nothing less than God's Christ hanging on a cross, we cannot speak about God—and ourselves—in any customary way. How do we preach this word of the cross as the word of life? Our answer points toward an apocalyptic homiletic.

This paper argues that current iterations of lesbian, gay, bisexual, transgender and intersex rights are limited by an overreliance on particular representations of sexuality, in which homosexuality is defined negatively through a binary of homosexual/heterosexual. The limits of these representations are explored in order to unpick the possibility of engaging in a form of sexuality politics that is grounded in difference rather than in sameness or opposition. The paper seeks to respond to Braidotti’s call for an “affirmative politics” that is (...) open to forms of creative, future-oriented action and that might serve to answer some of the more common criticisms of current LGBTI rights activism. (shrink)

Each book in the series includes six 40-minute studies designed to draw you into God’s Word through basic inductive Bible study.

This article reports data collected from 385 performing arts professionals using the HEartS Professional Survey during the COVID-19 Lockdown 1.0 in the United Kingdom. Study 1 examined characteristics of performing arts professionals’ work and health, and investigated how these relate to standardized measures of wellbeing. Study 2 examined the effects of the lockdown on work and wellbeing in the respondents’ own words. Findings from Study 1 indicate a substantial reduction in work and income. 53% reported financial hardship, 85% reported (...) increased anxiety, and 63% reported being lonelier than before the crisis. 61% sought support on finances while only 45% did so on health and wellbeing. Multiple regression analyses, using the Mental Health Continuum-Short Form, Center for Epidemiologic Studies Depression Scale, Social Connectedness Scale, and Three-Item Loneliness Scale as outcome variables, indicate that perceived financial hardship was associated with lower wellbeing and higher depression and loneliness scores. Higher self-rated health was associated with higher wellbeing and lower depression scores. More physical activity before lockdown was associated with higher wellbeing and social connectedness scores, as well as lower loneliness scores, and an increase in physical activity during lockdown compared with before, as well as older age, were associated with higher wellbeing and social connectedness scores, and lower depression and loneliness scores. Thematic inductive analysis of 341 open responses in Study 2 identified five overarching themes characterizing the effects of Lockdown 1.0: lost or uncertain work and income, including canceled work, financial concerns, and uncertainties for the future; constraints of lockdown working, including challenges of working at home, struggles with online work and skill maintenance, and caring responsibilities; loss and vulnerability, including reduced social connections, lack of support, vulnerability, feelings of loss and grief, and concern for others; detrimental effects on health and wellbeing, including anxiety, low or unstable mood, poorer physical health, and lack of motivation; and professional and personal opportunities, including coping well or living more healthily, more time and less pressure, new possibilities and activities, enhanced social connections, and new skills. Lockdown 1.0 had profound effects on performing arts professionals, but our findings reveal some opportunities and compelling links between positive wellbeing and physical activity. (shrink)

This article uses computerized analysis of text, along with a close reading of text, to trace change and development in Burkitt's lymphoma research. While past researchers have focused on the way a text enters the literature, we wish to learn what happens to knowledge claims after they arrive in the published literature. In order to explain why some claims are successfully solidified into facts while others remain as isolated, unsupported claims, we rely upon the notion of the material and social (...) technology required to do successful work in a research area. (shrink)

According to the classical Doctrine of Double Effect, there is a morally significant difference between intending harm and merely foreseeing harm. Versions of DDE have been defended in a variety of creative ways, but there is one difficulty, the so-called “closeness problem”, that continues to bedevil all of them. The problem is that an agent's intention can always be identified in such a fine-grained way as to eliminate an intention to harm from almost any situation, including those that have been (...) taken to be paradigmatic instances in which DDE applies to intended harm. In this paper, we consider and reject a number of recent attempts to solve the closeness problem. We argue that the failure of these proposals strongly suggests that the closeness problem is intractable, and that the distinction between intending harm and merely foreseeing harm is not morally significant. Further, we argue that there may be a deeper reason why such attempts must fail: the rationale that makes the best fit with DDE, namely, an imperative not to aim at evil, is itself irredeemably flawed. While we believe that these observations should lead us to abandon further attempts to solve the closeness problem for DDE, we also conclude by showing how a related principle that is supported by a distinct rationale and avoids facing the closeness problem altogether nevertheless shares with DDE its most important features, including an intuitive explanation of a number of cases and a commitment to the relevance of intentions. (shrink)

America’s unfinished revolution The_revolutionary spirit that runs through American history and whose_founding_father and greatest advocate was Thomas Paine is fiercely traced in Thomas Paine and the Promise of America ._Showing how Paine turned Americans into radicals—and how we have remained radicals at heart ever since—Harvey J. Kaye presents the nation’s democratic story with wit, subtlety, and, above all, passion. Paine was one of the most remarkable political writers of the modern world and the greatest radical of a radical age._Through writings (...) like Common Sense —and words such as “The sun never shined on a cause of greater worth,” “We have it in our power to begin the world over again,” and “These are the times that try men’s souls”—he not only turned America’s colonial rebellion into a revolutionary war but, as Kaye demonstrates, articulated an American identity charged with exceptional purpose and promise. Beginning with Paine’s life and ideas and following their vigorous influence through to our own day, Thomas Paine and the Promise of America reveals how, while the powers that be repeatedly sought to suppress, defame, and most recently co-opt Paine’s memory, generations of radical and liberal Americans turned to Paine for inspiration as they endeavored to expand American freedom, equality, and democracy. (shrink)

Machine generated contents note: -- Series Editors' PrefaceAcknowledgementsNotes on ContributorsHow Things Are Elsewhere; W. Schwarz Information Change and First-Order Dynamic Logic; B.Kooi Interpreting and Applying Proof Theories for Modal Logic; F.Poggiolesi & G.Restall The Logic(s) of Modal Knowledge; D.Cohnitz On Probabilistically Closed Languages; H.Leitgeb Dogmatism, Probability and Logical Uncertainty; B.Weatherson & D.Jehle Skepticism about Reasoning; S.Roush, K.Allen & I.HerbertLessons in Philosophy of Logic from Medieval Obligations; C.D.Novaes How to Rule Out Things with Words: Strong Paraconsistency and the Algebra of (...) Exclusion; F.Berto Lessons from the Logic of Demonstratives; G.RussellThe Multitude View on Logic; M.Eklund Index. (shrink)

Philosophy is both fun and good for kids’ brains, as it encourages them to think deeply and develop their own solutions to complex problems. With this colorful book about philosophy for kids, they’ll learn all about introductory concepts and important thinkers in a way that’s fun and approachable, but still in-depth and substantial. -/- In this book, your child will explore questions like: “What is real?”, “How do I know something is true?”, “How can I be a good person?”, and (...) “If this is true, what else is true?” A detailed glossary offers easy-to-understand definitions for the more advanced words and ideas in the book. (shrink)

_ Source: _Volume 23, Issue 2, pp 127 - 160 This article illuminates rabbinic concepts of temporality through examining metaphorical uses of the root qbʿ. The root has both concrete and metaphorical meanings, describing the physical attachment of objects as well as temporal ideas of permanence, stability, and endurance. While it has been argued that rabbinic texts do not display concepts of time in the modern sense, a combination of philological and conceptual analysis shows how rabbinic images of temporal themes (...) can be elicited from rabbinic texts. Moreover, attention to the multivalence of words can clarify complex Bavli passages that engage overlapping but distinctive metaphorical meanings of the root. (shrink)

Zizek insisted on the ‘temporal gap between the production of value and its actualization’ (Zizek, 2009b [2006], p. 52): ‘the temporality here is that of the futur antérieur: value “is” not immediately, it only “will have been,” it is retroactively actualized, performatively enacted’ (ibid.). His use of the word ‘gap’ calls to mind the psychoanalytic literature on which Zizek draws, which provides a way to understand the 2007 Global Financial Crisis (GFC) and its aftermath. This paper presents three key ideas (...) about the GFC. First, the GFC was a traumatic encounter with lack, in which global capitalism confronted a gap at the centre of its chain of signifiers. Whether the financial system is seen as a series of promises or a system for allocating and hedging risk, a gap or lack remained at the origin of its chain of signifiers. Secondly, many explanations of the crisis focus on ‘getting back to fundamentals’, which can be read as an attempt to paper over the lack. Finally, in the panic to re-establish the master signifier, global finance tossed aside core justifications for capitalism, and it is not yet clear what the results will be: re-establishment of the old regime, a return to a Primal Father, or a turn to the analyst’s discourse. (shrink)

Resumen: En el presente ensayo se expone y discute la idea de que el lenguaje, más allá de ser un medio de comunicación, se manifiesta como poesía; esto en el sentido de que es en el lenguaje donde diariamente se configura el mundo con sentido humano. Poesía del lenguaje aparece como una expresión que busca dar cuenta de la energía creadora del lenguaje a la hora de instituir la realidad en la dimensión lingüística de esta. La discusión toma la forma (...) de comentarios y diálogo con tesis de pensadores como Heidegger, Saussure, Benjamin, Maturana, y de poetas como Novalis, Neruda, Huidobro, con el propósito de elucidar la dimensión poética del lenguaje y sus efectos prácticos y morales en la vida social.: In this essay we explain and discuss the idea that language, beyond its quality of being a means of communication, manifests itself as poetry; in the sense that it is in language where the daily configuration of a world with human meaning takes place. The poetry of language appears as an expression that thrives to explain the creative energy of language, as it institutes reality in its linguistic dimension. The discussion take shape in the form of comments on, and dialogue with, thinkers such as Heidegger, Saussure, Benjamin, Maturana, and with poets such as Novalis, Neruda, Huidobro, with the purpose of elucidating the poetic dimension of language and its practical and moral effects on social life. (shrink)

Creative association is inherent and essential to creativity and insight. Here we utilised a Chinese compound Remote Associates Task (cRAT) to identify the potential impact of word order (i.e., solution position hereinafter) and word frequency on creative association across two behavioural experiments. Experiment 1 identified the effects of (a) word order and word frequency on cRAT-induced association without considering the specific strategies used during solving such problems and (b) their interaction not only on performance in solving the cRAT, including (...) solution time and accuracy, but also on difficulty rating. Following a coarse-to-fine approach, Experiment 2 examined the effect of both factors on creative association determined according to each participant’s trial-by-trial reports regarding insight solution strategies. Main effects of word order and word frequency, and a two-way interaction, were found on the accuracy and self-rated difficulty. These findings shed light on creative association, multiply-constrained problem solving and constructing compounds. (shrink)

Colour word usage within languages follows the same ordering as that proposed by Berlin and Kay between languages. This provides additional validation and support for Berlin and Kay's schema.

Book XI of his Confessions contains Augustine’s celebrated ‘treatise’ on time. In reality, however, the ‘treatise’ is no such thing, but rather an integral part of a discussion of God’s creation through the Word: if God creates by speaking, as Scripture affirms, then how can God speak, given the fact that he must be thought not to be subject to time? What is a timeless word? While these are the questions that Augustine explicitly addresses in Book XI, there is something (...) very important that he does not justify at all: namely, the possibility of speaking the world into existence. My paper investigates the episteme within which such a claim can make sense. How must one conceive of the relationship between the world and words to be able to assume that the latter can ‘make’ the former? (shrink)

This paper examines definitions and uses of reflective and creative writing in health care education classrooms and professional development settings. A review of articles related to writing in health care reveals that when teaching narrative competence is the goal, creative writing may produce the best outcomes. Ultimately, the paper describes the importance of defining literary creative writing as a distinct form of writing and recommends scholars interested in using literary creative writing to teach narrative competence study pedagogy of the field.

In scientific communications, journal articles, and philosophical aesthetic debates the words “art”, “creativity”, and “machine” are put together more and more frequently. Since some machines are designed to, or happens to, imitate human artistic creativity, it seems natural to use the same words to talk about human artists and machines which imitate them. However, the evolution of language in light of technology may conceal specific features of the phenomena it is supposed to describe. This makes it (...) difficult to understand what machine creativity actually is and how it is connected to human creativity. The aim of the paper is to investigate why, and in what sense, the functioning of some machines may be described in terms of artistic creativity and what is the relation between machine creativity and its human archetype. I start (§1) by introducing some general ideas concerning how language evolves alongside new technologies and focusing on the case of machine creativity. In §2 I review how some creative machines have been presented to the public, thus showing that a linguistic habit which connects machines to artistic creativity has already formed. In §3 I survey the debate on machine aesthetics and I highlight the main traits of the issue. In §4 I submit a primary scheme of machine creativity which draws on the concept of functional autonomy. Finally (§5), I argue that machine creativity cannot be mistaken for a substitute of the human kind, despite the fact that the word is the same. Creative machines are technological mediums by which new forms of human aesthetic experience can be explored. The kind of creativity machines enjoy displays a functional nature. (shrink)

Many studies about organizational experiences and theories converge today in the idea that the economic factor, most competitive now in the production of value, is the de-materialization of the economical and organizational processes. Immaterial factors (like knowledge, services, information, relationships, virtual transactions, etc.) are the competitive and crucial innovations for future competition and, at the same time, the most important criteria to rethinking and understanding the future organization. If this is true, we can realize that every person in organizations, every (...) personal history in organizations, or better the evolutionary uniqueness of every person in organizations, is the real depositary and bearer of this de-materialization. (shrink)

Creativity is a popular but heterogeneous word in educational parlance these days. By looking at a selection of recent discourses that refer to creativity to sustain their positions, the paper suggests that two key themes emerge, both with questionable assumptions. Romantic individualists would return us to a naïve bygone age of authentic self-expression, while politicians and economists would use the term instrumentally by binding it to the future needs of the workforce without questioning substantive issues. Cultural theories of (...) creativity indicate pathways out. (shrink)

In this study, the words that Abū al-Ṭayyib al-Lughawī did not consider as aḍdādwhile his predecessors accepted the same words as aḍdād(contronym), are examined. These words are examined with the purpose of determining his approach towards contronmy words (aḍdād). There is disagreement about the definition and the number of aḍdāds, which can shortly be defined as the word which has two opposite meanings. In this study, brief information about the definition and limitation of aḍdādand the reasons (...) that produce aḍdādare given, and then the words that Abū al-Ṭayyib does not accept as aḍdād are analysed under the four titles – based on the classification made by himself. The author does not accept the words which have the same ism al-fāʿil(active participle) and ism al-mafʿūl(passive participle) format because of the verb’s being ecwefor the middle letter’s being combined with the final letter of the verb as aḍdād. Besides, he does not accept the words that have two opposite meanings due to their figurative meaning as aḍdād. He also states that he does not take the words included inaḍdādcategory just because their meanings are reversed by Arabs as aḍdād. With this attitude, the author has rendered the concept more comprehensible by showing what is not aḍdād. In this study, Abū al-Tayyib’s work named Kitāb al-aḍdādis taken as the primary text, and the pieces of poetry and prose shown as examples by the author are stated with their primary sources.SummaryThere are many scholars who worked on aḍdād, which is a terminological expression for the words that have two opposite meanings. Abū al-Ṭayyib al-Lughawī is one of the scholars to write a work about this subject. The author had the opportunity to examine most of the studies about aḍdādand making a comparison between these studies, he wrote Kitāb al-Aḍdād fı̄ kalām al-ʿArab. The work was composed by arranging the words, which had been accepted as aḍdādby the former scholars, in an alphabetical order according to their initial letters alone. The author completed his work by using expressions showing his objection or confirmation about the words’ being aḍdādor not while mentioning the words. Abū al-Ṭayyib added an addendum to the end of the work and in this section, he noted some words which the former scholars had accepted as aḍdādbut he did not. Although he explained the reason of adding this addendum as not to be thought of unaware of these words, he aimed to correct a mistake made by the previous linguists by identifying it thanks to the mentioned addendum.The words الجَوْن(used both with the meaning of black and white), النوء(to arise and to set), الصَّرِيم(night and day), جَلَل(big and small) and السُّدْفَة(dark and light) can be given as examples for the concept of aḍdād, which is terminologically used for the words having two opposite meanings. The words such as البَيْع(to sell and to buy), بَصِير(sighted and blind), ثَلَّ(to repair and to bring down), الأخْضَر(green and black), الخَلّ(well- fed calf/camel and undernourished calf/camel, which have two opposite meanings at the same time, are among the words that Abū al-Ṭayyib presents as aḍdādin his work. Although there are various definitions of aḍdād, the clearest and most comprehensive one belongs to Abū al-Ṭayyib. He makes the following definition which distinguishes aḍdādfrom common wording: “Aḍdādis the plural form of didd(antonym). Antonym means the opposite of something, such as black and white, generosity and meanness, courage and cowardice. Everything that is opposite of something is not necessarily the antonym of it. For example, although strength and ignorance are two opposite words, they cannot be taken as antonyms. Because, the antonym of strength is weakness and the antonym of ignorance is knowledge. This difference arises from the fact that the term opposite is more comprehensive than the term antonym. Although all aḍdādwords are opposites, not all the opposite words are antonyms (aḍdād).” The biggest controversy about aḍdādis about the number of the words that are accepted as aḍdād. While some scholars represent the numbers of aḍdādwords in Arabic language as four hundred, they are not more than twenty for some other scholars. In spite of the controversy about the numbers of aḍdādwords in the language, the existence of aḍdādin Arabic language is an accepted situation.There are some reasons leading to aḍdādin Arabic language, one of which is dialect difference. The word السُدْفَةwhich is used for the meaning of “dark” by Temı̄m clan means “light” in Ḳays tribe. Some changes in language are also stated among the reasons causing aḍdād. It is stated that the original meaning of the word الصَّرِيمwas “interrupted,” but then it was used with the meaning of both night and day for the reason that night is interrupted by day and day is interrupted by night. Another reason is purported as being psychological and social factors. Using the term الكَرِيم“generous” to make fun of a mean person is an example for this situation. One of the reasons causing aḍdādis the morphological structures of the words. As it is the case with the word خائِفٌ“frightened/frightening,” the use of ism al-fāʿiland ism al-mafʿūlmodes in the same form has caused to using the same word with two opposite meanings. There are also some scholars who accept the words that gain two opposite meaning to each other because of rhetorical factors like metaphor. Using the word إِرَةٌboth with the meaning of fireand metaphorically the pit where fire is lightedis an example for this sort. The scholars’ acceptance or rejection of the reasons leading to aḍdādhas resulted in their expanding or narrowing the numbers ofaḍdādwords in the language. In this context, the numbers of aḍdādwords are more for a scholar who accepts most of the reasons mentioned. Abū al-Ṭayyib is among the scholars to cast a wide scope for aḍdādwords. Since the author accepts the aḍdādwords arising from dialect and metre difference, the words that he takes as aḍdādare quite many. In Kitāb al-aḍdād, he states that there are total of 320 aḍdādwords and at the same time he collects the words that he does not accept as aḍdād but which were accepted so by the former scholars under four headings. In the first group, there are the words thought as aḍdādbecause of being an ecwefverb. For the author, the reason these words are supposed to be aḍdādis that ism al-fāʿil(active participle) and ism al-mafʿūl(passive participle) modes of these words turn into the same structure as a result of ʿilālrules. The fact thatالمُجْتَابmeans both “the one who wears” and “the thing that is worn”; المُبْتَاعis used as ism al-fāʿilwith the meaning of “the one who buys stuff” and as ism al-mafʿūl with the meaning of “the stuff sold” is an example for this situation. In the second group, there are the words which are taken as aḍdādbecause of merging (idghām) middle letter of the word to its final letter. It is seen that ism al-fāʿiland ism al-mafʿūl forms of these words are the same due to various reasons. The fact that مُكْتَنٌّis used both for disguisedand the place to disguise; مُحْتَشٌّis used for “the one who gathers grass” and “the grass gathered” is of this sort. In the third group, there are words which are assumed to be aḍdādas they are named after their reasons. There is mostly metaphorical meaning in the words that are placed in this group. One of the words that Abū al-Ṭayyib presents as an example to this group is العَقِيقَة. ʿAqı̄qameans the hair on the head of the baby when it is born. An animal is sacrificed when this hair is shaved. In time, the animal sacrificed has begun to be called as ʿaqı̄qa, as well; and so, ʿaqı̄qais used both for the hair and the sacrifice. Abū al-Ṭayyib argues that such words are absolutely not aḍdād. In the fourth group, there are expressions that result from fāʿil’s replacing mafʿūland mafʿūl’s replacing fāʿilor the words that appear in similar ways. For instance, using the expression “the lizard climbed up the tree” not with the common usage اِنْتَصَبَالْحِرْبَاءُفِيالْعُودِbut by changing the places of fāʿiland mafʿūlاِنْتَصَبَالْعُودُفِيالْحِرْبَاءِis an example for this group. Abū al-Ṭayyib objects to the acceptance of the words used in this way as aḍdād, and argues that aforesaid usages do not comply with the definition of aḍdād. (shrink)

For most people, a lie would be defined solely as a false statement. However, many philosophers argue that a statement does not need to be false to be considered a lie, what is important is that the speaker believes that the statement is false. In a prototype semantic analysis, there are three elements of a lie, namely factual falsity, belief, and intention (Coleman and Kay, 1981). As in the case of philosophers’ arguments, English, Spanish, Arabic and Hungarian speakers consider belief (...) as the main element of a prototypical lie. By replicating Coleman and Kay’s study of Indonesian speakers, the present paper tries to answer the following research questions. (1) Does the Indonesian word bohong ‘lie’ consist of the Coleman & Kay’s prototype elements? (2) If it does, what is the order of the elements? (3) Do Indonesians interpret the situation in which a lie occurs similarly to speakers of other languages? And (4) how to interpret the results of this experiment from the philosophical perspective? The results reveal that not all elements suggested by Coleman and Kay (1981) are present in lying according to Indonesians and the factuality of the statement is more important to Indonesians than belief. Thus, Indonesians have a perception of a lie that is different from the definitions suggested by the philosophers. (shrink)

The aim of the paper is to argue that the difference between creative and non-creative mental processes is not a functional/computational, but an experiential one. In other words, what is distinctive about creative mental processes is not the functional/computational mechanism that leads to the emergence of a creative idea, be it the recombination of old ideas or the transformation of one’s conceptual space, but the way in which this mental process is experienced. The explanatory power of the functional/computational theories (...) and the experiential account is compared and it is pointed out that if creativity is a natural kind, it is not a functional/computational, but an experiential natural kind. (shrink)

For Merleau-Ponty, the question of phenomenological method was always connected to the problem of expression, in that the results of successful expression can for him amount to a catching of the world “in its nascent state”. In other words, elucidating the phenomena as they show themselves demands a certain amount of creativity to come through. But even though creative expression is without doubt of chief importance for Merleau-Ponty, it is not so easy to determine what exactly it consists (...) in. Minimally, it is more demanding than simply repeating an already formulated expression. On the other hand, it cannot start from nothing – we must begin within an existing tradition, with its acquired expressions, that we somehow take up and transform. A recurrent image of creative expression comes from Malraux, who claimed that it is a “coherent deformation” of what is given in the world. In this paper, I will use Saussure’s principle of analogy to throw light upon the notion of coherent deformation and of creativity. Although Merleau-Ponty merely mentions this principle in passing, I argue that it can clarify the productivity of language that he saw as crucial also for Saussure’s linguistics. (shrink)

Grammar is a word associated with the rules that govern language and its related pedagogy for articulating types of declarative knowledge. It can also refer to the organizational structure of practices and their related forms of knowledge, as described here by Ludwig Wittgenstein: “Essence is expressed in grammar.... Grammar tells us what kind of object anything is. (Theology as grammar.)”1 Wittgenstein’s remark about theology can be generalized to visual art, and, by extension, to the grammatical structure of art education. The (...) grammar of creative practices is described by George Steiner as the “articulate organisation of perception, reflection and experience, the nerve structure of consciousness when.. (shrink)

This chapter contains sections titled: Bedtime Stories It's For Your Own Good; Or Is It? Truth, Lies, and Parental Whoppers Lies, Rights, and Rationality Conclusion: It Isn't Easy Being Honest Notes.

Speakers routinely rely on a vast store of fixed and semi-fixed institutionalized utterances. In our mother tongue, we know how to combine pre-patterned phrases, complete semi-fixed expressions, and produce deviant versions for humorous effect. There are analogies with the way traditional folk musicians embellish tunes with a largely fixed structure, and the way jazz musicians improvise, and also with oral traditions in which poets composed or improvised tales during performance by using fixed formulas and formulaic phrases (though without the metrical (...) requirements of Homeric poetry). In written literature, the use of ready-made language was long disparaged as the opposite of creativity, but Barthes describes both speech and literature in general as consisting entirely of transformations of words that have already been set in order, and describes individual style as essentially a citational process, and the transformation of earlier formulae. Formulaic language can be shown to underlie much linguistic creativity. (shrink)

From whence spring the sparks of creativity? It is to this very question that the field of depth psychology--especially that of C.G. Jung and his intellectual descendants--has much to contribute. Just as the Muses were the offspring of Mnemosyne, the goddess of memory, our memories are the ancestors of our creativity that finds its multifaceted expression in the written word, image, theater, dance, and music. The Unconscious Roots of Creativity seeks to push the investigation into that domain (...) of memory that is beyond our conscious reach. With articles from 16 contributors, the "red thread" running through each of the offerings in this volume is that, whatever its ultimate expression, the creative impulse has its roots deep in the psyche. Edited By Kathryn Madden, Leonard Cruz and Steven Buser with articles by Linda Carter, Anna Maria Costantino, Carol Thayer Cox, Leonard Cruz, Lisa Raye Garlock, James Hollis, Naomi Ruth Lowinsky, Ian Livingston, Kathryn Madden, Jordan S. Potash, Susan Rowland, Murray Stein, Ann Ulanov, Tjeu van den Berk, Robin van Loben Sels, and Heidi S. Volf. (shrink)

What I hope to do in this paper is to sort out three basic senses of the word ‘creativity’ in order to make clear why creativity is not a basic category in Hegel’s philosophy. When it is read as a systematic philosophy, Hegel’s philosophy runs counter to nearly every current usage of the word ‘creativity,’ whether it be theological, common sensical, artistic or scientifically empirical. Which is not to say that creativity has no place in his (...) philosophy. But, whereas Jewish and Christian theology, modern art, modern common sense and empirical science take creativity to be of fundamental significance, Hegel - as Professor Schmitz’s paper shows - “weakens” the theological, epistemological and aesthetic doctrines of creativity to an argument concerning the necessity of contingency presented in his Science of Logic. (shrink)

We have, as a theological community, generally lost a language in which to speak of the created-ness of the world. As a consequence, our discourses of reason cannot bridge the way we know God and the way we know the world. Therefore, argues Oliver Davies, a primary task of contemporary theology is the regeneration of a Christian account of the world as sacramental, leading to the formation of a Christian conception of reason and a new Christocentric understanding of the real. (...) Both the Johannine tradition of creation through the Word and a Eucharistic semiotics of Christ as the embodied, sacrificial and creative speech of God serve the project of a repairal of Christian cosmology. The world itself is viewed as a creative text authored by God, of which we as interpreters are an integral part. This is a wide-ranging and convincing book that makes an important contribution to modern theology. (shrink)

Creativity has become an oft-used word in UK public policy, but perhaps it is also under-imagined. This paper contends that there is an instrumental tendency to narrowly frame creativity as innovation, implying a reproducible product, instead of more openly as improvisation, a situational, embodied and temporal process. This is not a simple dichotomy (innovation and improvisation, product and process, can be mutually informing concepts), nor is it specifically a question of definition; rather, it relates to an ontological orientation, (...) and related to that are issues of epistemological implications. In particular the paper is concerned with the value of the arts in public policy, as situated in the social, and therefore human, spaces of health and care; and more generally the arts in society. The paper brings together a broad discussion from across disciplines, not in an interdisciplinary attempt to solve a problem, or to be reductive in the analysis, but to begin to approach a reorienting of understandings of creativity and the human value and foundation of the arts in society. (shrink)

The notion of creativeness is widely used in a number of sciences. The same time meaning of this word is not so obvious as it may seem at first sight. In most cases the notion definitions contain only one of it's meaning features unchangeable: creativeness is a kind of ability to create something new. There are several sometimes absolutely different points of view regarding to the following questions: who is a bearer of this ability, what are the main peculiarities of (...) it’s appearance, not to mention its formation possibility and methods. We analyze these points of view to approach to the comprehension of the nature of creativeness. Demands of modern world to person increase. Creativeness is one of these aspects. Besides this one is foundation of human’s nature. Sodeciding this problem we make a base for solving many other problems. Probably the decision of this problem lies in dividing of creativeness types. (shrink)

As one tries to grasp love and its images within José Leonilson's production, a multiplicity of aspects and meanings are seen that also relate to Louise Bourgeois's oeuvre in regard to the interest in human relations. Through a comparative approach to both artists' poetics, an understanding is created that love is not a simplistic action and all the words read in or applied to their visual discourse must be considered within a wide range of love in visual and literary (...) images. Keywords: literature and visual arts / love / creativity / Bourgeois, Louise / Leonilson, José / word and image. (shrink)

Selection theory requires multiple, distinct, simultaneously-actualized states. In cognition, each thought or cognitive state changes the 'selection pressure' against which the next is evaluated; they are not simultaneously selected amongst. Creative thought is more a matter of honing in a vague idea through redescribing successive iterations of it from different real or imagined perspectives; in other words, actualizing potential through exposure to different contexts. It has been proven that the mathematical description of contextual change of state introduces a non-Kolmogorovian (...) probability distribution, and a classical formalism such as selection theory cannot be used. This paper argues that creative thought evolves not through a Darwinian process, but a process of context-driven actualization of potential. (shrink)

In the middle of the 19th century a new value began to appear in Western Europe - the belief that (in the words of Matthew Arnold) 'the exercise of a creative activity is the true function of man'. This book gives an account of the stages by which, and the reasons why, this development occurred at that time. In so doing it reveals a historical puzzle, for the main factors which can be seen to have given rise to the (...) new value - mainly scientific, technological, economic and political - were not reflected in the value itself, for that was applied almost exclusively to artistic and cultural activity. John Hope Mason sets out to explain this puzzle by showing how throughout European history there have been two radically different views of the creative attribute. An early example of one view was the character of Prometheus in Greek mythology; influential examples of the second were the figures of God the Creator in Judaeo-Christian theology and the neo-Platonic One in Hellenistic philosophy. The book shows how the contrast represented by those figures informed discussions of genius in the 18th century and indicates why the notion of creativity which came to prevail then assimilated it with purely aesthetic and moral concerns. Combining a broad perspective with a close analysis of key figures - from Adam Smith, Rousseau and Kant, to Arnold, Marx and Nietzsche - this book casts a new light on a central value of the modern world. (shrink)

The Word's Body integrates depth psychology and linguistic philosophy to illuminate a metaphor of the creative process, specifically the performance of literature in public or private as 'the word becoming flesh.'.

The Word's Body integrates depth psychology and linguistic philosophy to illuminate a metaphor of the creative process, specifically the performance of literature in public or private as 'the word becoming flesh.'.

The article focuses mainly on linguistic aspects, paying special attention to meanings of the word ZHEN 貞. The research is based on the text version and commentary by Wang Bi 王弼 from Wei Dynasty, classical Ten Wings commentaries from the 1st mil. BC, works by scholars from Han, Tang, Song and Qing Dynasties, as well as translations by Western sinologists. In the first part of the article, the semantic approach is applied, in order to trace origins and existing definitions of (...) the term ZHEN. In the second part, a creative deconstruction approach will be used to analyze the entire text, revealing atypical meanings within various schemes: 1) in the layer of hexagram succession chain and judgments, 2) in relationships of lines, 3) in problematic and inauspicious situations where the word is mentioned. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Creativity in Teaching and Building a Meaningful Life as a TeacherDavid T. HansenMy point of departure in this essay is the idea that creativity in teaching often has less to do with inventiveness per se than it does with responsiveness. To draw on terms from John Dewey, creative teachers "rise to the needs of the situation" presented in the educational setting.1 They respond well to circumstances not (...) because they necessarily have the pedagogical equivalent of Twyla Tharp's talent for choreography or B.B. King's brilliance on the blues guitar; rather, I want to suggest that creative teachers, at least in many cases, "rise" and do what is needed because they have learned to pay attention both to students and to the subject(s) at hand. In other words, I propose that we consider the idea that creativity in teaching often manifests itself most vividly, if also subtly, in a kind of ongoing attentiveness, by which I mean a dynamic combination of patience, listening, and initiative.I will begin the discussion by first sketching a conception of creativity in teaching centered around the idea of attentiveness. Then I address two [End Page 57] consequences of this conception. The first is that the most suitable models of good practice for new teachers to start with are not the profession's versions, presuming such exist, of Pablo Picasso, Marie Curie, or Michael Jordan. I do not mean that it is uniformly inappropriate to place such models in front of teacher candidates, any more than it would be wrong to put before art students the work of a Cassatt or Rembrandt. However, I will argue that among the best and most consequential initial models are those experiences in which teacher candidates themselves truly listened to the doings of the world around them and heeded what was said, whether the latter "spoke" in the form of a work of art, a human voice or gesture, or the play of wind in the trees. If new teachers take seriously this kind of experience, they can gain a valuable perspective for approaching the long and often difficult process of appreciating teaching's details and engaging them in educational settings. I illustrate these claims by examining a field-based activity that was part of a teacher education program I used to direct.The second consequence of the conception of creativity in teaching I will put forward points to the title of this essay. If new teachers deepen their ability to pay attention and to engage in creative work, they position themselves to receive one of teaching's primary offerings to its practitioners, namely, a life of meaning."Ordinary" Pedagogical CreativityCreativity in teaching can take many forms. We witness it in the structuring of an artful lesson plan; in the logic, flow, and pacing of a dynamic lecture; or in a timely and evocative example or illustration the teacher employs to clinch a point in the midst of a class. All of this is familiar and an important, indeed indispensable, way to think about good teaching. Creativity in practice is associated here, among other things, with notions of expertise and of knowledge gained through experience.However, I want to add to this portrait the notion that creativity in practice can also spring from responsiveness. Rather than issuing solely from what the teacher brings to the educational setting — consider again terms such as expertise and knowledge — creativity can point to what the teacher is capable of deriving or drawing from it. Creativity as responsiveness denotes a form of openness to the setting, which may or may not complement or fit harmoniously with what is preset, prefigured, or anticipated. Experienced teachers would be the first to say that there are times when it becomes educationally vital to shelve a preset plan. There are times when one form of creativity in teaching, embodied in a well-wrought lesson plan, must give way to another form, embodied in what I am calling responsiveness. The art of teaching consists, in part, of balancing these expressions of pedagogical creativity.Let me share the following vignette as a basis for elucidating this point. One morning in March 2002, during which... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 53-64 [Access article in PDF] Emotion and Creativity Mike Radford Introduction Creativity may be seen as a complex process of informational processing within a given framework, or, as Margaret Boden has termed it, "conceptual space." 1 It is in the context of such frameworks that the process of managing information makes sense. The framework offers the possibilities within which information (...) can be combined and separated, grouped and regrouped,and may be seen to define the boundaries of that which makes sense both within the space and at its parameters. Boden suggests that we can, by playing around with the variables within a "conceptual space," be creative. We can generate multiple possibilities in terms of meaningful articulations.We can also aspire to a more fundamental level of creative thought oraction by engaging in the high-risk process of challenging the very rules that support the coherence of the space itself. In other words we can think, hypothesize or "play" at the boundaries of sense. Such explorations might result in changing those boundaries, thus transforming the conceptual space. Such changes might be minor but at other times dramatic, constituting major transitions in human thought and expression. This account seems to explain both the gradual process of creative development in the arts and sciences as well as the dramatic transformations that we observe in the history of intellectual and cultural development. Some conceptual spaces may be clearly defined with relatively closely controlled parameters. Others might be more open, more accommodating both within and at their boundariesA number of questions arise in the context, two of which are of particularinterest. First, how do novel combinations or reorganizations of information within the conceptual space come to be made and how they are recognized as sensible and of value within the system? Second and more fundamentally, how are new and original articulations that stand at the parameters or boundaries of the sense-making system constructed? How are we guided [End Page 53] when we seek to make sense at its very boundaries? It may be that few are called to such profound levels of creative articulation but for the rest of us, how do we recognize these creative articulations when they are made? How do we make sense of an activity, a new scientific theory, or work of art when it challenges the very principles that govern its sense in the first place?It is important to give full cognizance to the complexity of the information-processing task being performed and it is highly doubtful if all elements, all items of information, and the relationships between them, are before the conscious mind of the individual creative intelligence at any one time. There may be a sense of consonance or harmony within this system that enables us to recognize its sense or coherence. In this way much of the information contained within it is simply not noticed. Only when some item of information or process is out of place, dissonant with the organization, do we perceive difficulties. All systems contain dissonances either obvious or manufactured. In science for example there are items of evidence that do not fit within the theoretical frameworks or the paradigms that it has to offer. There are also substantial areas of human experience that might seem to fall outside the paradigm altogether. For many years scientists have been able to predict the exact day, time, and locality within which we may observe an eclipse of the sun. What they have been unable to do, even within a few hours of the event, is predict whether the weather conditions will be such that we can actually observe it. In time it may be that there is the development of a new paradigm that promises accuracy in weather predictions or newly discovered evidence that warrants a review of particular theories within a paradigm.Sometimes it may seem that there is a perversity in human intelligence, particularly in the arts, that seeks out or deliberately manufactures such dissonances in order to challenge us in the way that we are thinking, to shake complacency... (shrink)

In a certain sense, trust really cannot be created at all, because trust lies outside that which we can decide. But trust itself contains some creative element in the sense that trust allows our feeling for the new to gain a place in our experience of the world, including our experience of our own future and the future of others as promising. In that sense, there is an intrinsic element of generation or creation in trust. This circularity between trust and (...) creation points to a virtuous circle of dependency or interdependency between people that communicate. In order to describe this connection between maintaining an open mind towards the new and trust, trust is seen as threefold. It is an attitude of trust in oneself or self-confidence; it is trust in the people one knows and shares experiences with; and it is a more generalized trust understood as an affinity for new things – that is, confidence in meeting whatever the unknown brings on. Looking at both Hannah Arendt's and K.E. Løgstrup’s phenomenological analyses of trust, we see trust as the experience that one is not a sovereign being, but a being that is given over – or as Løgstrup puts it: surrendered - a self-surrender that entails a risk of becoming self-exposure if one’s trust is not accepted. The core of trust is that a person leaves something up to the other, and if that something falls on barren soil, then it withers and dies. But when we are seen and heard, not only as individuals, but as persons with opinions and actions, we achieve visibility, not only to others, we also become visible to ourselves, and experience the world as real in a manner we cannot access by any other means. Løgstrup even speaks of “a trust in life itself, in the ongoing renewal of life” when we are met by others in dialogue. The strength in Løgstrup’s and Arendt’s phenomenological analyses of trust lies in their ability to point out the mutual interdependency between self-surrender and trust, and between appearance and community. Appearance is the ability to be counted on as a person who can stand behind one's actions, and a person who can give promises to others. Community, in this context, both connects and divides us as people with different opinions and perspectives of the same thing. This makes the promise the ultimate deed a person can perform with words, namely, creating relationships with other people in mutuality and respect. One’s ability and, especially, one’s will to be bound to something and to allow oneself to be bound by the promise – these constitute the creativity of trust. Making a promise both creates and confirms the common space within which people count on each other and trust each other. (shrink)

This paper considers the claim that imagination is implicated in our most apparently straightforward human transactions with the world, that our 'knowing' of the world (both in experience and our subsequent symbolic ordering of it) is in some sense imaginatively constructed from the outset. Second, drawing in particular on the work of Mark Johnson, it explores the senses in which such imaginative transactions are both experience constituted and experience constitutive (that, in Ricoeur's words, imagination 'invents in both senses of (...) the word'). Third, it attends to one apparent theological cost of ascribing to human imagination a 'creative' role in relation to the human world. Fourth, it focuses in particular on Charles Taylor's account of the imaginative construction of the self as a moral entity. And finally, it considers just one example of how the arts may be active in shaping moral identity, and thereby the human world in which we live and move and have our being. (shrink)