The article focuses on Chinese students' hopes and expectations before leaving to study abroad. The national political environment for their decision to go abroad is shaped by an official narrative of China's transition to a more creative and innovative economy. Students draw on this narrative to interpret their own educational histories and prior experiences, while at the same time making use of imaginaries of 'Western' education to redefine themselves as independent individuals in an increasingly globalised and individualised world. Through a case study of prospective pre-school teachers preparing to study abroad, the article shows how personal, professional and even national goals are closely interwoven. Students expect education abroad to be a personally transformative experience, but rather than defining their goals of individual freedom and creativity in opposition to the authoritarian political system, they think of themselves as having a role in the transformation of Chinese attitudes to education and parent-child relations.
Daniel T. Levin
Dean K. Simonton, Great Flicks: Scientific Studies of Cinematic Creativity and
Much has been written about Sartre’s views on artistic creativity as communication, but it has less often been remarked that the potential for not-communicating was inscribed from the outset within his theorisation of creation. This article is an exploration of those two apparent opposites, using the psychoanalytic theory of D.W. Winnicott as a counterpoint.
Remembering the Holocaust in Today’s Yiddish Song
The Holocaust was undoubtedly the single event that most influenced the course of Yiddish song during the twentieth century. Its effects on Yiddish culture were incalculable. Despite the increasing difficulty of Jewish life in central and Eastern Europe during the 1930s, this was also a period of flowering of Yiddish cultural life. Many believed that the strong network of Yiddish publications, education, cultural events and political organisations offered the promise of a secure and thriving Jewish life despite the restrictions being laid upon the Jews.
An Experiment in the Use of the Guest Interview, Focus Group Interviews and Learning Journals in the Teaching and Learning of the Anthropology of Modern Dance
Jonathan Skinner and Kirk Simpson
This article assesses the experimental teaching and learning of an anthropology module on 'modern dance'. It reviews the teaching and learning of the modern dances (lecture, observation, embodied practice, guest interview), paying attention to the triangulation of investigation methods (learning journal, examination, self-esteem survey, focus group interview). Our findings suggest that—in keeping with contemporary participatory educational approaches—students prefer guest interviews and 'performances of understanding' for teaching and learning, and that focus groups and learning journals were the preferred research methods for illuminating the students' teaching and learning experience.
There has been much discussion concerning whether or not some of Sartre's views on morality may be understood as endorsing Kant's views. Perhaps the most controversial issue has been whether in various places in his corpus Sartre invokes Kant's “universalizability principle.” Indeed, Sartre's frequent use of Kantian language, including the idea of universalizability and “kingdom of ends,” strongly suggests that there is some appreciable convergence between his views and those of Kant. While it is true that Sartre borrows Kant's language and expressions, he does not, I argue, use them in the same sense as Kant does.
Frederick Luis Aldama
This article at once celebrates and puts at cautionary arm's length the tremendous advances made in the cognitive and neurosciences as research that can deepen our understanding of creating and consuming of literature, films, comic books. After providing an overview of recent insights by scholars with one foot in the humanities and the other in the cognitive and neurosciences, the article reflects on some key precepts that might be useful in our continued shaping of a humanities and cognitive based research program. For instance, the article explores the way authors, film directors, and artists generally not only construct artifacts that elicit positive emotions but also negative emotions. It also proposes a model for understanding how the “aesthetic” is a relation and not a property nor an essence of the object (a film) nor something to be found in the subject (us viewing the film).
US Military Investments in the Concept of Creativity, 1945–1965
Bregje F. Van Eekelen
“Regressing in the Service of Ego” On 24 April 1957, the psychologist Abraham Maslow gave a lecture on “Emotional Blocks to Creativity” to the US Army Engineer School in Fort Belvoir, Virginia. Tending to the friction involved in the movement of
Between Ethnography and the Construction of Heritage
The article discusses the process of setting up an exhibition presenting the fragments of alternative creative practices in 1980s Maribor (Slovenia) in an art museum. Within an interdisciplinary approach – art historical, museological and anthropological, which is in focus here – I try to understand how such a heritage of alternative creative practices is constructed and produced. Furthermore, the question of the anthropological potentiality of exhibition-making as a method for researching certain aspects of urban practices and development is considered. During the exhibition the art museum became a collaborative place for negotiating, mediating and constructing a heritage between an imagined community of (once) alternative individuals and collectives who participated in the exhibition, the museum staff, visitors and the media. The exhibition was echoed in some other events in the city as it also addressed contemporary artistic, cultural and social issues in Maribor.
Heritage Narratives of Russian Old Believers in Romania
recourse to roots and belonging to instil a sense of duty for future preservation. As I discussed here, there is also an ambiguity of attachments, which locates their identity in the curious space of the liminal ( Clopot 2016b ), whereby creativity is