). Creativity, intelligence and their educational implications . San Diego, CA: EDITS/Knapp. Hocevar, D. (1979). Ideational fluency as a confounding factor in the measurement of originality. Journal of Educational Psychology, 71 , 191-196. Karau, S. J., & Williams, K. D. (1993). Social loafing: A meta-analytic review and theoretical integration. Journal of Personality and Social Psychology, 65, 681-706. Kasof, J., Chen, C., Himsel, A., & Greenberger, E. (2007). Values and creativity. Creativity Research Journal, 19, 105-122. Larey, T. S., & Paulus
Mark A. Runco, Ning Hao, Selcuk Acar, Jing Yang and Mengying Tang
Mark A. Runco, Ahmed M. Abdulla, Sue Hyeon Paek, Fatima A. Al-Jasim and Hanadi N. Alsuwaidi
. Farley & R. W. Neperole (Eds.), The foundations of aesthetics, art, and art education (pp. 91–106). New York: Praeger. Guilford, J. P. (1968). Creativity, intelligence, and their educational implications . San Diego, CA: EDITS/Knapp. Harrington, D. M. (1975). Effects of explicit instructions to 'be creative' on the psychological meaning of divergent thinking test scores. Journal of Personality , 43 , 434-454. Hocevar, D. (1979). Ideational fluency as a confounding factor in the measurement of originality. Journal of Educational Psychology , 71
This essay considers the question of how original/new interpretations help redefine (or reify) the original/old perception of Shakespeare and the work its cultural capital performs, demonstrating the inherent impossibility of reconciling an “original” Shakespeare with contemporary performances of his plays through a reading of Twelfth Night, and address some of the ideological implications of trying to conflate the two. It then takes a detour into contemporary marketing and consumer-psychology literature to explore the crucial roles which the concepts of “authenticity” and “originality” have come to play in contemporary consumer culture, circling back to Shakespeare, to ruminate on the implications of the use of his cultural capital as an ultimate positional good in the 21st century.
Ivonne Chand O’Neal, Sue Hyeon Paek and Mark A. Runco
). A comparison of statistical infrequency and subjective judgment as criteria in the measurement of originality. Journal of Personality Assessment, 43, 297-299. Hocevar, D. (1979b). Ideational fluency as a confounding factor in the measurement of originality. Journal of Educational Psychology, 71, 191-196. Hocevar, D. (1980). Intelligence, divergent thinking, and creativity. Intelligence, 4, 25-40. Holland, J. L. (1961). Creative and academic performance among talented adolescents. Journal of Educational Psychology, 53
The figure of the composer Sigismund Toduţă is among those creators whose style, although having a constant evolution towards complexity over several creative periods, remains essentially unitary from a stylistic point of view, rendering it recognizable by constant compositional masterpieces throughout his entire work.131 The existence of a significant number of studies, articles, analyses, integrated in various journalistic contexts (magazines, lexicons, doctoral theses), concerning various aspects of Toduţă creation, has made it possible to outline even from the beginning a general picture of the composer’s style, a valuable starting point for deepening the research in the spirit of the chosen theme.
Elemental Contours of the Aesthetic Economy of the United States
Camelia Corina Curuţiu-Zoicaş
The contemporary human is in an eternal transformation, in an unending metamorphosis, he or she projects his/her life and his/her own image in countless fictitious games, plays roles in imagined situations. He/she, though using false conscious representations, will obtain the right results because he/she operates with his/her creations or fictions as if they were real realities. This is social creativity. If all these are real-life defence elements, fireworks that help the individual to anticipate certain situations, to figure the effects of certain volitional impulses, to communicate and to act freely within the scenic arts, the artistic creativity involves a paradoxical relationship between creative freedom and rigorous laws. Artistic creativity is part of the artist/actor’s ability to produce ideas, new and original solutions, appropriate to the given problems and circumstances, being a first step in the innovation process. Thus, both creative imagination and artistic creativity become original components in the creation process and implicitly in the contemporary performing arts.