“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
US Military Investments in the Concept of Creativity, 1945–1965
Bregje F. Van Eekelen
Daniel T. Levin
Dean K. Simonton, Great Flicks: Scientific Studies of Cinematic Creativity and
The emergence of translocal dervish cults in Bosnia-Herzegovina
In postsocialist and postwar Bosnia-Herzegovina, popular dervish cults are re-emerging after several decades of (semi)clandestine existence due to official bans and repression imposed by the Yugoslav state socialist governmentality. This article explores how an absence of divine knowledge ensuing from this disruptive history—strongly felt among various Bosnian dervishes today—is transformed into spiritual creativity and an improvisatory dynamic mediated by charismatic sheikhs. It traces “creative moments” leading toward the formation of a Bosnian dervish cult and its realignment with translocal networks of dervish lodges to explore the dynamics of divine knowledge and its creation inside these networks. The ethnography presented here suggests that we move a step beyond mere sociological descriptions of how translocal cults are organized across distance to explore in a more nuanced way the historicity and the dynamics of how divine knowledge is (re)created and idiosyncratically appropriated within these networks.
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.
Creativity and Black Girlhood
Crystal Leigh Endsley
-feminist poetic and communitarian politic centered in Black women's and girls’ creativity” (11). In other words, we must hear, as her title suggests, because her call to action is centered on creativity and, as readers, we are interpellated into the process. From
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.
African Trade and Chinese Oil Production in Western Chad
space of experimentation, creativity, and improvisation ( Ingold and Hallam 2007 ) that both sides entered from their respective positions of capabilities as well as uncertainties in order to develop solutions that could not be envisioned beforehand. Iba
Disturbance and creativity
It is an old trick and one most of us get our students to do some time or other: Look up the word “culture” in a standard English dictionary. The usual first two entries are always good for a debate. There is the anthropological one, “as customs, values, etc., ‘especially at a particular time’”; and there’s the lit-crit one “as appreciation of art, literature, etc.” Which is right? How do they connect?—and so on. Then there’s the older meaning, “as improvement and development through care . . . cultivation.”
Creating Situations and Spaces of a City's Counter-narrative
This article explores the creation of new structures of participation and counter imaginaries within the city between the poles of arts and politics. On the basis of two case studies, one situated in the non-institutionalised artistic field and one in the non-institutionalised political field, I will explore narratives of a 'topography of the possible' in the city of Salzburg. Aiming to outline collage pieces of a topography of the possible and of counter-narrative in and of the city – the city is looked at in terms of collage, understood as overlapping layers of the three spatial dimensions materiality (physical space), sociability (social space) and the imaginary (symbolic space). These are understood as differing but interrelated spatial dimensions, each one unfolding forms of collective appropriation of a city. The focus lies on the creation of social relations and collective imaginaries on the micro-level of cultural and political self-organised initiatives, looked at under terms of narration and storytelling. My ethnographic project asks for the creative potentiality of a city and for the creative power of social relations and collective imaginaries.
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.