2,969 research outputs found
Conclusion: Future Directions?
No full textMany ideas reach a tipping point and then they escape the person who first came up with them. When people talk about the ‘theory of evolution’, Darwin’s authoritative voice is still resonant in the concept but researchers who have followed him have taken the initial ideas he proposed and developed them, elaborated on them, changed some basic concepts and carried those ideas forward until the propositions he originally put forward have taken on a life of their own. A similar process has occurred with the idea of ‘the culture industry’, a concept originally designed to shock. It was introduced by Adorno and Horkheimer ([1944] 2002) to express their concerns about the problems of developing a commercial imperative by putting art and industry together — two seemingly incompatible things. Others such as Bernard Miege (2004) and David Hesmondhalgh (2013) picked up the idea of a culture industry and presented empirical and well-reasoned evidence to support it, at the same time modifying and critiquing the central idea in the process. In undertaking the research necessary to confirm or reject what were initially theoretical propositions, these researchers lent their work to a steady evolution of them. We make a similar but more limited claim here. The systems approach to creativity, as described more fully by Fulton and Paton in Chapter 3, owes a lot to Mihaly Csikszentmihalyi (1988, 1997, 1999, 2014) but, as this book demonstrates, the idea is beginning to break free of its moorings
Print Journalism and the System of Creativity
No full textThis chapter is based on findings from a research project that employed Mihaly Csikszentmihalyi’s systems model of creativity to explore the creative process of print journalists. The research also drew on Pierre Bourdieu’s cultural production model and Donald Schön’s (1983) ideas about tacit knowledge as support theories. Using ethnographic techniques, the researcher investigated the system of print journalism in Australia by observing newsrooms, analysing documents and artefacts pertinent to print journalism, and interviewing journalists, cadet journalists, editors, subeditors and deputy editors. These participants represent members of what Csikszentmihalyi calls the field, the social group responsible for verification of creativity
The Systems Model of Creativity
No full textThe previous chapter demonstrates the importance of a systems approach to understanding creativity and gives a brief overview of the literature. This chapter describes and analyses the systems model of creativity developed by Mihaly Csikszentmihalyi (1988, 1990, 1994, 1997, 2003) and provides context for the analyses of creative systems in Part II. What is clear from the previous chapter is a gradual movement in thinking away from a focus on the individual towards confluence or systems approaches to creativity. With one or two notable exceptions, pre-twentieth-century ideas concentrate on creativity as divinely inspired, as the product of an extraordinary individual or genius or as a symptom of mental illness. These ideas were criticized in the twentieth century within the discipline of psychology, and others, as attempts were made to make creativity the subject of scientific study. Working under many of the same assumptions as those they criticized, this intensive period of research did little to alter the fundamental belief that creativity is located in the individual
Giving Evil a Name: Buffy's Glory, Angel's Jasmine, Blood Magic, and Name Magic
No full textPeer reviewe
Review of Tolkien, J.R.R., trans; ed. Christopher Tolkien. Beowulf: A Translation and Commentary. Houghton Mifflin Harcourt, 2014.
No full textReview of Tolkien's Beowulf translation focuses on its relation to his other works rather than the translation per se
Psyche in New York: The Devil Wears Prada Updates the Myth
No full textThe Psyche and Cupid story is a central myth of female maturation, among its other meanings. At its core, it is a story of a powerful older woman, a mother-figure, controlling a younger woman’s path to maturity, seemingly blocking her way by imposing impossible tasks, but through these tasks teaching her what she needs to learn to become an adult. In the Greek myth, the marker of maturity is full and socially sanctioned union with the god/husband; in the movie The Devil Wears Prada, the marker becomes a job that both “pays the rent” and that the young woman can hold with integrity and independence. I will also look at such diverse sources as the Tam Lin legend, Hayao Miyazake’s Spirited Away, C.S. Lewis’s retelling of the Psyche myth in Till We Have Faces, and the movie Julie & Julia as variants of the underlying “mother”/maiden conflict.This is the Version of Record (VoR) of the article originally published in Mythlore (2012). Mythlore is available in the electronic database Expanded Academic ASAP.Peer reviewe
[Review of] Fastitocalon: Studies in Fantasticism Ancient to Modern 4.1/2, editor in chief Thomas Honegger and Fanfan Chen; and Tolkien Studies XI, editors Michael D.C. Drout, Verlyn Flieger, and David Bratman.
No full textReview of special issue of Fastitocalon and the eleventh issue of Tolkien Studies.This is the Version of Record (VoR) of the article originally published in Mythlore (2015). Mythlore is available in the electronic database Expanded Academic ASAP
Review of The Body in Tolkien's Legendarium, ed. Chris Vaccaro
No full textReview of edited essay collection. Considers each item in the collection individually and the collection as a whole.This is the Version of Record (VoR) of the article originally published in Mythlore (2014). Mythlore is available in the electronic database Expanded Academic ASAP
World Clothing and Fashion: An Encyclopedia of History, Culture, and Social Influence
No full textPurchase of this item is not recommended for reference collections
Barrel-rides and She-elves: Audience and "Anticipation" in Peter Jackson's Hobbit Trilogy
No full textPeter Jackson’s Hobbit trilogy, to the audience that loved the Lord of the Rings films, is an exciting opportunity to revisit Tolkien’s fantastic world and see favorite characters acting out their earlier adventures. The reader of the books, though, is often likely to find the difference in tone between the children’s book and the vastly expanded films jarring. This talk will explore audience expectations, the difficulties of filming a “prequel” after a “sequel,” and issues of “anticipation” in relation to character development
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