Folk and scholarly conjectures on the nature of creative genius often focus on intrapsychic processes: The explanations centre on the person, the creator, transcending the more prosaic forces that shape everyday, routine cognition. Focusing on the alleged extraordinary character of a creator deflects attention from the emergent, distributed and relational nature of creativity. A more productive research agenda considers a range of factors, operating at different time scales, that guide and constrain the manufacture of creativity. We argue that a transactional perspective is particularly fruitful for the analysis of the dramatic work of William Shakespeare. Drama is an inherently relational art form created by the writer, the director, actors and audience. Further, Shakespeare’s output is a palimpsest of classical texts and writers contemporary to him, and was shaped by practical constraints. Viewing his work as situated in a historical time period and in a dialogue with other voices gives us a fuller account of the ontological locus of his creativity.
Falls das inline PDF nicht korrekt dargestellt ist, können Sie das PDF hier herunterladen.
Bate, J. (1997). The genius of Shakespeare. London: Picador.
Barthes, R. (1988). The death of the author (1977). Image, music, text. essays selected and translated by Stephen Heath, 142-48.
Barzun, J. (1989). The paradoxes of creativity. The American Scholar, 337-351.
Bone, D. (1989). The emptiness of genius: Aspects of Romanticism. In P. Murray, (Ed.) Genius: The history of an idea (pp. 113-128). Oxford: Blackwell.
Clare, J. (2014). Shakespeare’s stage traffic. Cambridge: Cambridge University Press.
Csikszentmihalyi, M., Getzels, J. W., & Kahn, S. P. (1984). Talent and achievement: A longitudinal study of artists (project report). University of Chicago.
Csikszentmihalyi, M. (1998). Genius : A systems perspective. In R. Steptoe (Ed.) Genius and the mind: Studies of creativity and temperament in the historical record (pp. 39-67). Oxford: Oxford University Press.
Csikszentmihalyi, M. (1999) Implications of a systems perspective for the study of creativity, In R. J. Sternberg (Ed.), Handbook of creativity (p. 313-335). Cambridge: Cambridge University Press.
Csikszentmihalyi, M., & Sawyer, K. (1995) Creative insight: The social dimension of a solitary moment. In The systems model of creativity: The collected works of Mihaly Csikszentmihalyi (pp. 73-98). Netherlands: Springer
Csikszentmihalyi, M. (2015). The systems model of creativity: The collected works of Mihaly Csikszentmihalyi. Springer: Netherlands.
Crane, M. T. (2014). Framing authority: Sayings, self, and society in sixteenth-century England. Princeton NJ: Princeton University Press.
Dahl, M. (2016). Authors of the mind. Journal of Early Modern Studies, 5, 157-173.
Eco, U. (1989). The open work (A. Cancogni, Trans.). Cambridge: Harvard University Press. (Original work published 1962).
Eliot, T. S. (1919) reprinted in Eliot, T.S. (1982). Tradition and the individual talent. Perspecta, 19, 36-42.
Engeström, Y. (2001). Expansive learning at work: Toward an activity theoretical reconceptualization. Journal of education and work, 14, 133-156.
Ericsson, K. A., Krampe, R. T., & Tesch-Römer, C. (1993). The role of deliberate practice in the acquisition of expert performance. Psychological Review, 100, 363.
Fischer, G., Giaccardi, E., Eden, H., Sugimoto, M., & Ye, Y. (2005). Beyond binary choices: Integrating individual and social creativity. International Journal of Human- Computer Studies, 63, 482-512.
Florio, J. (1603). Montaigne’s Essays retrieved from https://scholarsbank.uoregon.edu/xmlui/bitstream/handle/1794/766/Emerson.pdf?sequence=1.
Glăveanu, V. P. (2010). Paradigms in the study of creativity: Introducing the perspective of cultural psychology. New Ideas in Psychology, 28, 79-93.
Glăveanu, V. P. (2014). Distributed creativity: Thinking outside the box of the creative individual. Cham/Heidelberger: Springer International Publishing.
Glăveanu, V. P. (2015). The status of the social in creativity studies and the pitfalls of dichotomic thinking. Creativity. Theories-Research-Applications, 2, 102-119.
Glăveanu, V. P. (2018). Epilogue: Creativity as immersed detachment, Journal of Creative Behaviour.
Jowett, J. (2013) Shakespeare as collaborator. In P. Edmonson and S. Wells (Eds.), Shakespeare beyond doubt (pp. 88-100). Cambridge: Cambridge University Press.
Kearney, R. (1988). The wake of imagination: Ideas of creativity in Western culture. London: Hutchinson.
Malafouris, L. (2008). Between brains, bodies and things: tectonoetic awareness and the extended self. Philosophical Transactions of the Royal Society of London B: Biological Sciences, 363, 1993-2002.
Malafouris, L. (2015). Metaplasticity and the primacy of material engagement. Time and Mind, 8, 351-371.
March, P.L. (2017). Playing with clay and the uncertainty of agency. A Material Engagement Theory perspective. Phenomenology and the Cognitive Sciences, 1-19.
Mardock, J. & Rasmussen, E. (2013). What does textual evidence reveal about the author? In P. Edmonson and S. Wells (Eds.), Shakespeare beyond doubt (pp. 111-121). Cambridge: Cambridge University Press.
Masten, J. (1997). Textual intercourse: Collaboration, authorship, and sexualities in Renaissance drama. Cambridge: Cambridge University Press.
Men, W., Falk, D., Sun, T., Chen, W., Li, J., Yin, D., Zang, L. & Fan, M. (2014). The corpus callosum of Albert Einstein‘s brain: Another clue to his high intelligence? Brain, 137, 268.
Montuori, A., & Purser, R. E. (1995). Deconstructing the lone genius myth: Toward a contextual view of creativity. Journal of Humanistic Psychology, 35, 69-112.
Muir, K. (2014). Sources of Shakespeare's plays. London: Routledge.
Nuttall, A. D. (2007). Shakespeare the thinker. New Haven, CT: Yale University Press.
Petersen, L.B. (2016). Between authorship and oral transmission: Negotiating the attribution of authorial, oral and collective style markers in Early Modern playtexts. Journal of Early Modern Studies, 5, 277-306.
Plutarch. (1909). Shakespeare’s Plutarch: Vol 2. Ed. C.F. Tucker Brooke, New York: Duffield and Company. Retrieved from http://oll.libertyfund.org/titles/1843.
Potter, L. (2014). Shakespeare and other men of the theater. Shakespeare Quarterly,65, 455-469.
Rosso, O. A., Craig, H., & Moscato, P. (2009). Shakespeare and other English Renaissance authors as characterized by Information Theory complexity quantifiers. Physica A: Statistical Mechanics and its Applications, 388, 916-926.
Runco, M., & Jaeger, G. (2012). The standard definition of creativity. Creativity Research Journal, 24, 92-96.
Shakespeare, W. (1997). Antony and Cleopatra. In S. Greenblatt (Ed.) The Norton Shakespeare (pp 2619-2708). New York: Norton. (Original work 1606-7).
Simonton, D. K., Taylor, K., & Cassandro, V. J. (1998). The creative genius of William Shakespeare: Historiometric analyses of his plays and sonnets. In R. Steptoe (Ed.), Genius and the mind: Studies of creativity and temperament in the historical record, (pp 167-192). Oxford: Oxford University Press.
Simonton, D. K. (2004). Thematic content and political context in Shakespeare's dramatic output, with implications for authorship and chronology controversies. Empirical Studies of the Arts, 22, 201-213.
Simonton, D. K. (2010). Creativity in highly eminent individuals. In J. Kaufman & R. Sternberg (Eds.) The Cambridge handbook of creativity (pp.174-188). Cambridge: Cambridge University Press.
Steptoe, R. (Ed.) (1998) Genius and the mind: Studies of creativity and temperament in the historical record. Oxford: Oxford University Press.
Sternberg, R. J. (1996). Costs of expertise. In K. A. Ericsson (Ed.), The road to excellence: The acquisition of expert performance in the arts and sciences, sports, and games (pp. 347-354). Mahwah, NJ: Erlbaum.
Weisberg, R. (1986). Creativity: Genius and other myths. New York: W.H. Freeman.
Weisberg, R. (1993). Creativity: Beyond the myth of genius. New York: W.H. Freeman.
Weisberg, R. (2006). Creativity understanding innovation in problem solving, science, invention, and the arts. Hoboken, NJ: John Wiley & Sons.
Wells, S. (2006). Shakespeare and Co.: Christopher Marlowe, Thomas Dekker, Ben Jonson, Thomas Middleton, John Fletcher, and the other players in his story. London: Penguin.
Williams, W.P. (2018). [Review of Taylor, G. and Egan, G. (Eds), The New Oxford Shakespeare: Authorship companion. Oxford and New York: Oxford University Press.] In Notes and Queries, 263, 131-134.