Abstract This five-page paper presents a detailed description of the book "CreativeImagination Enlightment to Romanticism" by James Engell. The writer of this paper focuses on the Enlightment that leads up to Imagination. The writer uses Hobbes, Locke, Coleridge and Hazlitt to illustrate the point made in the book. There was one source used to complete this paper.
From the Paper "Throughout history philosophers and scholars have tried to define aspects of our lives and emotions. The concept of romanticism as well as imagination has been debated for many years. Romanticism was a concept developed in the 18th century and had to do with works of literature. The concept mandated melancholy moods and imaginations filled with emotion and romantic notions. Recently James Engell wrote a book called Creative Imagination Enlightment to Romanticism. In his book he attempts to explain how imagination and romanticism tied together to create the romanticism literature genre and era. In defining his points Engell uses the views of several prominent professionals including Locke, Hazlett, and Coleridge.
"The book actually traces the history of evolution to discovering the creative imagination. We are taken on an exploratory journey through the British empire and the advent of creative imagination when it comes to literature. We are then traveled toward the future and stop to study several theories before landing in the era of Romanticism, which became an important genre tool in the history of literature."
Tags: art, imagination, history, Latin, memory, creative, development
An examination of the imaginative journey in a comparison of Samuel Coleridge's poems, "Lime Tree Bower," "Frost at Midnight" and "Cover of Ivory Trail" and Tennessee Williams' "The Glass Menagerie."
1,407 words (approx. 5.6 pages), 0 sources, 2007, $ 46.95
Abstract This paper discusses the concept of the imaginative journey through Samuel Coleridge's poems, "Lime Tree Bower," "Frost at Midnight" and "Cover of Ivory Trail" and Tennessee Williams' "The Glass Menagerie." It explains how all of the texts assert the power of the imaginative journey in evoking the poetic, in moving beyond mere appearance, beyond exhausted realism, to provoke new insights into reality and creative processes.
From the Paper "The Glass Menagerie invites the reader on an imaginative journey. Williams' surrealist technique of magic lantern slides produces quite hazy, unfixed images, reinforcing Tom's assertion in his opening monologue that the play "is not realistic". Williams suggests a series of titles and images which evoke the evocative and illogical logic of dreams. For example, the images of blue roses at the beginning of scene 2- the projection of this surrealist image prior to any mention of 'blue roses' in the dialogue itself provokes the reader's imagination. However, when the image is finally referred to, the viewer's mind is likely to float back to the poetic image. Hence, Williams subverts the linear narrative and creates a strange, elliptical link between past and present moments. This technique is an attempt to engage the viewer in an imaginative journey to connect with reality in a more penetrating and fresh way and gain a more vivid understanding of things the way they are."
Abstract This paper provides a definition of creativity, followed by an outline of various factors, largely under the art teacher's control, that are prerequisites for fostering creativity: the proper setting; students who are not inhibited by fear of freedom; a teaching style that blends acceptance, seriousness toward art productions, a sense of fun, the absence of a desire to dictate acceptable outcomes and the time and materials for making art.
From the Paper "Art teachers, and teachers of many other disciplines, proclaim the nurturing of creativity as a principal component of their jobs. But definitions of creativity may vary considerably and what one individual sees as a creative exercise may seem to another to be rote learning of the simplest sort. In order to foster genuine creativity an art teacher must understand what creativity is and then develop the setting, attitudes, pedagogical style, and opportunities for children to develop their creativity. Although creativity is considered important in many subject areas--from learning to write to learning mathematics--it is often seen as the particular goal of art classes. But this does not mean that merely placing paint pot and paper in front of a child will nurture her/his latent creativity."
Abstract This paper summarizes the effects of creativity on employee satisfaction and production and outlines the benefits to the company. It also explains how management can encourage creativity throughout the company.
Paper Outline
Introduction
Creative Climate
Corporate Creativity How is Creativity Nurtured?
Organizational Creativity Leadership
Managing Creativity with Defiant Employees
Conclusion
References
From the Paper "Creativity is thought to be the ability of the human mind to bring into existence something that was not previously thought or known. The imagination is powerful and can change the course of history in a profound way. Artistic people are thought to be the most creative members of society and most people believe that you are born with the ability to create and that only a select few are chosen. Creativity is a buzzword in business today and organizations are scrambling to understand it, nurture it and use it to stay competitive."
Abstract This paper takes up the idea of loss of imagination, a popular idea of romantic poetry, that is the central theme of the poem, "Dejection: An Ode." The author compares this poem to the biblical story,
"The Fall" in order to show that there is a "point of no return" that is associated with the biblical example and that this must also be assumed in Coleridge's comparison to a loss of imagination.
From the Paper "Consider for a moment the absence of all imagination. Of course, such an act is impossible. The very fascination of such an idea prompts the human mind to initiate its most creative powers. Nonetheless, Coleridge presents a hope-tinged lament to the notion of a loss of imagination in
"Dejection: An Ode." The demise of "genial spirits" in response to Wordsworth is depicted as permanent, and readers are offered no hopes of the visionary consolation through memory found in "Intimations Ode Instead, the speaker's "grief without a pang, void, dark, and drear" is irreversible and comes from deep within. The only expectation from which he may draw solace is that his "Lady" who is "pure of heart" may "evermore rejoice".
Abstract In this article, the writer notes that for many years, experts have studied the possible link between creativity and madness. Throughout history, some of the most creative people on earth have behaved in ways that seemed outside of the norm. The writer discusses a study that indicates that while mental illness does not have to accompany creativity, there is a connection between the two in many cases.The writer points out that recent scientific research concluded that there are more mentally ill people in the creative professions and arts than there are in the scientific or business world. The writer concludes that these studies lend credibility to the thought that creativity and madness are closely linked.
From the Paper "It is commonly believed by experts in the mental health field, that mood disorders are sometimes responsible for the enhancement of creativity. Bipolar patients will stop taking medications because they believe it stunts their creative flow and they are unable to write or compose while taking them."
"The study into the correlation between mental illness and creative ability, gathered intensive biographies of more than 1,000 people, over a decade long period. They were all deceased by the time the study took place, and they had all lived in the 20th century. This was important as it leveled the playing field and removed the ability to attribute differences to cultural or evolutionary processes."
Abstract This paper discusses the creativity and innovation in business. It defines the differences between creativity and innovation. The author explores how creative people can be nurtured and developed. The paper focuses on the importance of creative people to a business.
From the Paper "There is much publicity about creativity and innovation in business today. Companies are told that they must innovate or die and individuals are encouraged to be creative and to think ..."
Abstract This paper discusses how creativity in young children can be inspired in many ways. A youngster between the ages of 2 and 7 is naturally curious, with his or her mind inquisitive about everything they come into contact with. The paper further discusses how parents, teachers and caregivers have the ability to promote creative thinking by allowing the child to inquire expand on ideas or associate the item with fantasy. Psychologists believe that when the child is hindered from these abilities the child will eventually stop using his or her creative mind. When this occurs the child lacks the ability to solve complex problems, leading to greater issues in adult life. Therefore, promoting creativity in young children is a healthy approach to letting a child develop cognitively.
Abstract This paper begins with a review of literature on the concept of creativity and how it correlates to certain personality traits. The paper then presents a hypothesis, which states that it is possible to use one or more personality inventory tests to describe potential creativity in adult populations with approximately a 50 percent degree of certainty. The paper includes the methodology for proving this hypothesis and concludes with suggesting that existing material is sufficient for the study.
From the Paper "Whether the schools are to blame, or lazy parents or too much TV, or even a diminishing gene pool, the fact remains that it would be advantageous to be able to identify which of the possible applicants for schools or jobs are likely to be creative. While numerous studies have been conducted regarding what the personality traits of creative people are observed or reported to be, fewer have been done in pairing various traits with later creative production. In other words, while it is relatively easy to paint a picture of the ?creative type,? predicting creativity based on a complex of traits is much more riskier."
Abstract This paper argues that science is often too bound by convention to derive creative solutions to problems. The paper studies the complex nature of creativity. The paper also discusses the limitations of traditional scientific models.
From the Paper "The nature of creativity is a complex one, especially in those fields that are generally, at least from the outside, not considered to be creative, such as science. In fact science, or at least good science, is a highly creative endeavor -- one that requires the scientist..."
Abstract This paper examines a test, administered to 488 undergraduate psychology students, measuring the relationship between creativity and intelligence. The paper analyzes the data collected from the administration of the Ravens Progressive Matrices for Intelligence Scores (RPM) and the Remote Associates Test (RAT).
From the Paper "This study examined the association between intelligence as measured by the RPM and creativity as measured by the RAT. The expectation based on the literature was that a strong positive association would exist between intelligence and creativity. Data were collected through the administration of the RPM and the RAT to undergraduate psychology students."
Abstract The paper is a book review of "Creative Advertising" by Mario Pricken. The paper notes that this is a book offering practical advice on the secrets of how ads are created, how they appeal to the consumer and how they use different techniques to sell products. The paper points out that the book is divided into subjects as if teaching the incipient advertiser how to learn about the field and how to learn to express ideas through copy and image together.
From the Paper "Advertising is a major form of promotion for businesses in America, with visual advertising in the form of newspaper and magazine ads, ads on billboards, television ads and similar ways of reaching the consumer. Anyone interested in the field of advertising, whether as a practitioner or a consumer will find much useful information in the book "Creative Advertising" by Mario Pricken, a book offering practical advice on the secrets of how ads are created, how they appeal to the consumer and how they use different techniques to sell products. The book is divided into subjects as if teaching the incipient advertiser how to learn about the field and how to learn to express ideas through copy and image together. Pricken first creates a framework for the creative team that will produce an ad and he always emphasizes the need for teamwork and for utilizing the best of the different individuals who make up the creative team."
Abstract This paper discusses and reviews Twyla Tharp's book, "The Creative Habit: Learn it and Use it for Life: A Practical Guide." It discusses the content and issues that Tharp introduces in the book, as well as the set-out of the book. The paper then looks at the style that Tharp wrote in and discusses whether this was the most effective way to present her information.
From the Paper "This book, while the subject matter was interesting, was drawn out longer than it had to be and was written in a confusing order. Tharp used examples from her own life so much that the reading often became boring and repetitive. What could have been explained in a few sentences to a paragraph is drawn out to a whole chapter. For example, in the chapter on organization where Tharp advises creating a system to contain your ideas, she goes into a lengthy account of her choice of using boxes, the pros and cons of using boxes, a time when she used a box, and examples of other systems that people may use. Also, the order of the book was strange in that the chapters jump back and forth in time. Why talk about organizing your ideas before explaining how to come up with those ideas in the first place? For the purpose of this book report Tharp's points were re-arranged into a more logical order."
Abstract This paper discusses Freud's belief that creative writing is a form of daydreaming, in which fantasies are given literary life. The paper explains how Freud showed creative writing to be a kind of wish fulfillment in which the writer imagines, or daydreams, a different world and then spins a literary exterior around that dream.
From the Paper "Understanding the source of inspiration of a creative writer--or any artists for that matter--has been one of the primary goals of literary critics, psychologists, and philosophers alike. Thus it should come as little surprise that Sigmund Freud approached the problem himself during his career as a psychologist in developing his theories of psychoanalysis. Freud (1907) tackles this problem in his oft-cited essay "Creative Writers and Day-Dreaming." Quite conversationally, Freud outlines the issue at hand: it is entirely unclear from what source the creative writer draws."
Abstract This paper discusses the differences between Samuel Taylor Coleridge's two poems: "Frost at Midnight", and "Pains of Sleep". These two poems are of different themes and forms and yet exhibit the creativeness found in Coleridge's works. The author also explains how Coleridge was also a literary critic who defined the category of conversation and imagination poems.
From the Paper ""Pains of Sleep" is another literary work from Coleridge, and it was written in 1803. Contrary to the melancholy tone yet positive outlook of the poet's behavior in "Frost at Midnight", "Pains of Sleep" shows the agony experienced by the poet in his struggle to overcome his opium addiction and its after-effect. The poem discusses Coleridge's fear of sleep, and of dreaming. It is evident in the poem's anguished tone that it Coleridge describes his agony in descriptive detail. "Pains of Sleep" is categorized as an example of an imagination poem, a poem that contains brilliant imagery and supernatural elements, and is "far-off" from the ordinary world of people. Imagery during the Romantic period is a powerful tool to express a message in creative and descriptive detail, and is often referred to as "the sensations that language creates in the mind" "
