There is no prepared script for social and cultural life. People work it out as they go along. Creativity and Cultural Improvisation casts fresh, anthropological eyes on the cultural sites of creativity that form part of our social matrix. The book explores the ways creative agency is attributed in the graphic and performing arts and in intellectual property law. It shows how the sources of creativity are embedded in social, political and religious institutions, examines the relation between creativity and (...) the perception and passage of time, and reviews the creativity and improvisational quality of anthropological scholarship itself. Individual essays examine how the concept of creativity has changed in the history of modern social theory, and question its applicability as a term of cross-cultural analysis. The contributors highlight the collaborative and political dimensions of creativity and thus challenge the idea that creativity arises only from individual talent and expression. (shrink)

Visions and derisions of utopia -- Ernst Bloch and utopian critical theory -- Homo aestheticus -- Case study: Navajo design, culture and theology -- Archetypes, the unconscious and psychoanalysis -- Roger Fry and the language of form -- From Genesis to Job -- Homo absconditus.

Despite the prodigious inventiveness of the Middle Ages, the era is often characterized as deeply suspicious of novelty. But if poets and philosophers urged caution about the new, Patricia Clare Ingham contends, their apprehension was less the result of a blind devotion to tradition than a response to radical expansions of possibility in diverse realms of art and science. Discovery and invention provoked moral questions in the Middle Ages, serving as a means to adjudicate the ethics of invention and opening (...) thorny questions of creativity and desire. The Medieval New concentrates on the preoccupation with newness and novelty in literary, scientific, and religious discourses of the twelfth through sixteenth centuries. Examining a range of evidence, from the writings of Roger Bacon and Geoffrey Chaucer to the letters of Christopher Columbus, and attending to histories of children's toys, the man-made marvels of romance, the utopian aims of alchemists, and the definitional precision of the scholastics, Ingham analyzes the ethical ambivalence with which medieval thinkers approached the category of the new. With its broad reconsideration of what the "newfangled" meant in the Middle Ages, The Medieval New offers an alternative to histories that continue to associate the medieval era with conservation rather than with novelty, its benefits and liabilities. Calling into question present-day assumptions about newness, Ingham's study demonstrates the continued relevance of humanistic inquiry in the so-called traditional disciplines of contemporary scholarship. (shrink)

In recent years, inter-medial studies have attracted increasing attention in arts theory. The notion of 'inter-mediality' presupposes that each established art - such as theatre, painting, and cinema - indicates the existence of a particular medium, which preserves its distinct features in translations from art to art and, especially, in its combinations with others in single works. Nonetheless, this field of research is presupposed already in the traditional studies of 'ekphrasis', which focus on the verbal accounts of nonverbal works of (...) art; and in Wagner's notion of Gesamtkuntswerk. This renewed interest generated new fields of research, such as (a) the likelihood of the arts reflecting common grounds; (b) the necessity of a shared metalanguage; (b) the possibility of inter-medial translation; and (d) the inter-medial coexistence within a single work of art, without hindering the reading, interpreting and experiencing abilities of receivers. In honor of Eli Rozik, Ph.D., professor emeritus, former head of the Department of Theatre Studies, and Dean of the Faculty of Arts, Tel Aviv University, this collection provides overviews of all these theoretical issues, and tackles the contemporary practical questions that arise from attempts to transgress the boundaries between the established disciplines of arts studies. Considering first the theoretical aspects of inter-art, inter-mediality, and nonverbal literacy, Exploring the Common Grounds of the Arts goes on to discuss by means of performance analysis; dialogues between the arts within a single work; and correspondences between visual and auditory stimuli in musical contexts. It concludes with a discussion of practical examples of inter-mediality in religious representations, official processions, and public performances. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Achieving Social and Cultural Educational Objectives through Art Historical Inquiry PracticesJacqueline Chanda (bio)Some overburdened art or generalist teachers may ask: "With all the things we have to know and do these days, why should we be interested in art history inquiry processes? What educational value is there in promoting the use of art history inquiry processes in teaching and learning?" The answer to the first question lies in art (...) history's relationship to the humanities and the visual arts. The humanities is the branch of learning concerned with human thought and relations. We turn to the humanities when we wish to understand the human condition, social and cultural values, and ourselves. But some might say that historical inquiry methods do the same thing. What distinguishes art historical inquiry from general historical inquiry is the focus on the visual arts. Visual arts are in the branch of learning that deal with the production and study of visual imagery and material objects. In the context of art history inquiry, visual imagery and material objects are the primary data used for the study of changes in ourselves; religious, social, and cultural values; and human conditions. Visual imagery is one of the universal ways that the human condition and social and cultural values of the past and present are expressed. It is one of the fundamental means by which humans communicate feelings, emotions, ideas, ideologies, etc.Art educators have acknowledged for a long time the importance of the study of images and visual elements in the lives of children and the field of art education. This is even more evident today as the discipline moves to embrace notions of "visual culture," which emphasize exploring and studying all the things that visibly shape our lives. The acknowledgment of art history as an inquiry process rather than simply the study of facts about past artworks developed in the discipline-based arts education (DBAE) [End Page 24] movement of the 1980s and 1990s.1 In spite of the recommendations that art history be explored as a discipline of inquiry, much of the art history investigations that take place in the classroom today focus on understanding the artist through his/her biography and understanding the work of art through analysis of style and formal description.2 While the artist biography brings to light the artist's intention and a formal description examines what one can see in the work and makes reference to aspects of style and formal elements, the two approaches do not provide enough information to generate meaning and speculate about what social and cultural elements may have caused the work of art to look the way it does or the effects it may have had at the time of its creation. Unfortunately, many educators are not aware of how to extend their investigations to uncover these levels of analysis.Erickson provides one definition of inquiry as describing, attributing (determining who created the work), reconstructing (determining what the object originally looked like), and interpreting the artwork.3 While these aspects are all a part of an art historical investigation, they do not go far enough into the practices utilized by art historians when exploring a work of art. Therefore, in the context of this article the phrase "art historical inquiry processes" refers to the use of authentic activities (asking questions, collecting and analyzing data, interpreting, speculating about cause or effect, and disseminating knowledge) and approaches that art historians use when studying works of art; this approach goes beyond what is clearly seen in visual imagery in order to reveal not only the denotative but also the connotative meanings that are relevant to the historical and cultural context of the artwork. These authentic activities incorporate approaches related to structural analysis (that is, contemporary analysis—iconography, iconology semiotics, feminism, etc.—that draws from literary reading skills to generate meaning) and explore, examine, and facilitate the drawing of conclusions about the significance and place of visual imagery and material objects in the societies from which they come.4 The purpose of this article is to discuss the value of studying visual images and material objects using authentic art history inquiry processes to uncover meanings, and by extension... (shrink)