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Plato and Freud on Art and Creativity, 2002.
A discussion of the views of both Freud and Plato on the creative process of writing.
1,650 words (approx. 6.6 pages), 2 sources, $ 62.95
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Abstract
This paper is an analysis on Freud's explanation of the creative process in writing. The focus of this paper will be the work titled "Writers and Day-Dreams (1908/7). This paper begins with a discussion of creativity as it is articulated in Plato, and then proceeds with a discussion of Freud. Whereas Plato maintain that there is such a thing as 'divine inspiration', and that poetry is the product of a seemingly intoxicated soul, Freud ground the process of creativity in the basic dynamics of 'play' and 'fantasy'. There is an extent to which this position essentially views creativity as 'child play', and it will be argued that in contrast to Plato, this is a fairly 'reductive' and 'problematic' view of the creative process with respect to the activity of writing.
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Freud on Art and Literature, 2001.
The paper looks at Freud?s conceptions about art and literature and the creative forces of motivation on an author.
2,953 words (approx. 11.8 pages), 7 sources, MLA, $ 87.95
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Abstract
This paper is about Sigmund Freud's concept of 'unconscious' and its relevance in the arts. The author discusses how Freud is commonly recognized as having invented the concept of the ?unconscious?. The author explaines that the subordination of the ?pleasure principle? by the ?reality principle? is done through a mental process that Freud refers to as sublimation. According to Sigmund Freud, dreams and fantasies (or phantasies) are the symbolic expression and fulfillment of wishes and desires that as a result of sublimation by the ?reality principle? cannot be fulfilled through daily life and are consequently repressed into the ?unconscious.? To Freud, ?the motive forces of fantasies are unsatisfied wishes, and every single fantasy is the fulfillment of a wish, a correction of unsatisfying reality? (Freud 485). Freud affirms that dreams are disguised, hallucinatory fulfillment?s of repressed wishes. He concludes that if expressed in undisguised form, they would be so disturbing that it would wake the dreamer from sleep. Freud?s fundamental assumption is that the sublimation of the artist?s unsatisfied libido is responsible for producing all forms of art and literature whether it be painting, sculpting, or writing. David H. Richter notes in his introduction to ?Sigmund Freud? that Freud was once criticized by Carl Gustav Jung, a fellow psychoanalytic theorist, for insinuating that artists were diseased individuals creating art out of their own personal neurotic needs. The writer feels that Freud insinuates that art is primarily an escapist method, that ?in an ideal world in which everyone had matured sufficiently to replace the pleasure principle by the reality principle, there would be no need for art? (Storr 103).
From the Paper
"The historical tradition of scholarly theory has been one in which literary texts are subjected to scrutiny regarding whether they are either implicitly or explicitly ideological in nature. Arguably so, nothing reflects a society?s fears, hopes, and desires about gender, class, and power more than what the society maintains about art and artists. A literary text is credible of fully reflecting the culture in which it was written, that is to say, it has the potential to embody certain sociological assumptions presented in the dichotomy between ?normal? and ?abnormal.? Sigmund Freud, the patriarch of psychoanalysis, is associated with Charles Darwin and Karl Marx as being ?one of the three original thinkers who have most altered man?s view of himself in the twentieth century? (Storr 145). Yet, even literary theorists, including Freud, realized that ?any comprehensive vision of human nature such as he provides must have implications for the nature of happiness, and for the relation of man?s natural capacities to his normal or ideal state? (Sousa 196). That is, numerous later theorists and critics believe that Freud?s own theories about the function and nature of the mind uncovered some fundamental truths about how an individual?s notions of ?self? are formed and how culture and civilization operate and are affected by these notions. Coinciding with Freud?s own account, the significance of everyday action is determined by motives that are far more numerous and complex than people are aware of or commonsense understanding takes into account. The most basic and constant of motives that influence our actions are those of the unconscious, moreover, those that are difficult to acknowledge or avow. Freud?s conception of the unconscious and his rediscovery of the importance of dreams encouraged painters, sculptors and writers to pay serious attention to their inner world of dreams; to find significance in thoughts and images they previously would have dismissed as absurd or illogical. Therefore it is plausible that notions of art and literature as described by Sigmund Freud, are created through the ramifications of the unconscious or the sublimation of an unsatisfied carnal appetite."
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Plato and Freud, 2001.
Comparing theories by Plato and Freud about the soul and the self.
1,710 words (approx. 6.8 pages), 8 sources, MLA, $ 55.95
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Abstract
This paper analyzes and examines Plato?s theory of the soul and Freud?s concept of the self. In Part II, Plato?s theory of the soul is discussed. Part III outlines Freud?s concept of the self. Lastly, this paper concludes with recommendations for integrating both Plato?s and Freud?s theories in order to establish a good society.
From the Paper
"Plato contended that all true knowledge is recollection. According to Plato, all individuals possess innate knowledge that tells us about the things we experience in our world. Plato believed that individuals acquired this knowledge when the soul resided in the invisible realm, the realm of The Forms and The Good. Under Plato?s theory of The Forms, everything in the natural world is representative of the ideal of that form. For example, a table is representative of the ideal form Table."
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Three Views on Ethics: Socrates, Plato, and Freud, 2004.
A comparison of the differing attitudes of Plato, Freud, and Socrates towards ethics.
1,113 words (approx. 4.5 pages), 2 sources, MLA, $ 38.95
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Abstract
This paper explains how Socrates and Plato differ in detail, but their basic view of reason as the key to ethical thinking and the right thing as an objective standard remain the same. Freud differs significantly because he adds the ideas on the subconscious mind to the issue. In doing so, Freud rejects reason as the basis of ethical thinking and also shows that the right thing is subjective, rather than objective. This paper considers these differences in more detail. Firstly, the ethical theories of each are described ,and this is followed by a consideration of the specific differences.
From the Paper
"Socrates view of ethics was one based on seeing it as a rational process. According to Socrates nobody would purposely choose to do the wrong thing. Instead, a person would only do the wrong thing if they didn?t have the information to know any better. This view places reason as central to ethics, where the person who knows what is right does what is right. With this view, the only barrier to ethical action is knowledge. This is a view where reasoning is considered as the basis by which decisions are made. Especially notable is that Socrates does not suggest that emotions might impact thinking, or even that a person just might think irrationally. Instead, people are considered to always think rationally, while any error in thinking is based on not having enough information."
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The Nature of Freud, Socrates and Plato, 2002.
Comparing the theories of human nature according to Freud, Socrates and Plato.
1,257 words (approx. 5.0 pages), 2 sources, MLA, $ 42.95
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Abstract
According to Freud, human nature is guided by superego and a relative state of morality. On the other hand, Socrates and Plato believe that human nature is determined by reason and absolute standards of morality. This paper guides the reader through the philosophies of these three thinkers to conclude their theories regarding human nature.
From the Paper
"Freud?s entire theory regarding human psyche and nature is based upon the hedonistic principle where superego plays an important role whereas Socrates and Plato believe that man is a rational being and because of this, reason plays the most important part in developing his nature and assisting him in discovering the highest good or finally attaining self-fulfillment. Though Freud believes that man operates on the pleasure principle, he asserts this principle does not allow any relevant space to super-ego. In Freud's three-part model of the mind, the superego assumes the role of conscience, acting as an internal monitor over the actions of the ego. However the role of super-ego as a conscience is limited to its role as a source of guilt. Freud believes that man is not driven by reason but by the super-ego?s role as a source of guilt. He asserts that man is only restrained from doing any harm to fellow beings because of the presence of super-ego which is both a conscience and a source of guilt. Since presence of superego will make a man feel guilty in event of a wrong action, Freud believes that this guilt is the primary restraint in human psyche, provided by superego and not reason."
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Freud and Plato, 2002.
Examines how theories on self and soul are expressed through the ideas of Sigmund Freuda and Plato.
3,650 words (approx. 14.6 pages), 15 sources, $ 133.95
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Abstract
This paper compares and contrasts the theories of the self by Freud with that of Plato's theories on the soul, within a historical context.
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The Uncanny of Freud, Urban Life, and Contemporary Art, 2004.
A look at Freud's definition of the uncanny as explained in his 1919 paper, "The Uncanny".
2,346 words (approx. 9.4 pages), 27 sources, MLA, $ 72.95
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Abstract
This paper presents an overview of several interpretations of Freud's definition of the uncanny and then takes a look at how it relates to contemporary thought and postmodern theory and art.
From the Paper
"The uncanny is created or emerges in that fissure formed by a tension that results from a collapse of fixed certainties and accepted familiarity. Central elements in the idea of the uncanny, which has been adopted by the post-structural community and by elements of contemporary art, includes the idea of dislocation, de-centeredness, the un-homely and nothingness in place of habitual identity. Furthermore, the meaning of the uncanny has the potential to disturb the logocentric views of modernism."
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Creativity, 2002.
A discussion of David Campbell?s model of creativity, as he describes it in his book "Take the Road to Creativity and Get Off Your Dead End".
1,617 words (approx. 6.5 pages), 0 sources, $ 52.95
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Abstract
This paper reviews "Take the Road to Creativity and Get Off Your Dead End" by David Campbell, a useful, hands-on approach to anyone who does in fact want to increase their creativity. It evaluates how his advice is useful not only for those who plan to enter what are typically considered to be the creative fields but for all of us. It examines how Campbell's creative process can be broken down into five distinct phases, how each of these is essential and attempting to bypass any one of them will tend to have the effect of short-circuiting the entire process. The phases, which are described in turn with examples are-- preparation, concentration, incubation, illumination and verification.
From the Paper
"Campbell calls the third and most important phase of creativity ?incubation?. This is the phase that most of us tend to neglect in whatever activity that we are pursuing that could be aided by a creative approach. Incubation is a time in which we are not actively, intentionally focused on a particular activity. It is that phase when we have pushed that activity to a corner of our brains ? perhaps because we are busy doing schoolwork, or grocery shopping, or doing the laundry. Or perhaps because we are engaged in that essential if much maligned activity of ?daydreaming?. The phase of ?incubation? is closely tied to the next phase, which is ?illumination?."
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The Importance of Creativity in Business, 2004.
A discussion of how creativity enhances the business environment.
4,373 words (approx. 17.5 pages), 17 sources, APA, $ 115.95
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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."
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John Stuart Mill & Nietzsche on Creativity, 1996.
Describes & compares philosophers' views on history as creative source, creative individuals; Nietzsche's views on free spirits & good & evil.
2,025 words (approx. 8.1 pages), 5 sources, $ 71.95
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From the Paper
"In On Liberty (1859) John Stuart Mill (1806-1873) begins his meditations on the past as the source of creativity by citing the philosophical and social writings of the German thinker, Baron Wilhelm von Humboldt (1761-1835). In his chapter "On Individual-ity", Mill focuses on Humboldt's claim that "originality" derives from the "individuality of power and development" which depends upon "the two requisites of freedom and variety of situations" allowing "individual vigour and manifold diversity" to manifest itself (Mill, 1985, 121). Mill agrees with Humboldt that individuality is to be highly prized. Mill's position is that individuals should not be expected merely to mimic the past and its greatness. Rather the greatest achievement for an individual according to Mill is to "use and interpret experience in his own..."
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Managing Innovation and Creativity, 2004.
Examines how professionals manage issues of innovation and creativity within an organization.
6,436 words (approx. 25.7 pages), 20 sources, APA, $ 149.95
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Abstract
This paper argues that successful and innovative organizations are those that respond dynamically to the external environment?s changes, while retaining a creditable and, above all, creativity-oriented, internal organizational culture in which the employee feels free to communicate innovative and creative ideas to the management structure and also feels motivated to affect change and dynamism. The report looks at case examples of successful companies that have managed innovation and creative ideas in an effective manner, such as General Electric. The report also looks at how creativity and innovation affects issues of organizational management and leadership. This report advances the idea that a cohesive company is a successful one, and a company can only be cohesive when all levels of employees believe that they can speak up and make a difference in terms of adding their own creative input to decision-making structures that exist in the organization. The paper looks at the management of creativity and innovation from the perspective of both internal and external organizational environments, providing, as mentioned, case examples from existing businesses, as well as support from primary and secondary source material.
From the Paper
"By recognizing that the possibilities are limitless, creative decision-makers can align goals and funding internally in a setting in which they do not need to rely on making seemingly-endless lists of possibilities. This is not to disparage the value of evaluation as a process, but it is to highlight that evaluation should be centered more on real-world solutions than possibilities. ?Sometimes people think that evaluation is something that comes only at the end of a project. However, this is wrong. Evaluation works best when it is an integral part of a project from its initial development to completion? (Boulmetis and Dutwin, 2000). This also helps in goal alignment and funding internally, as employees become more focused on innovative and creative goals and visions."
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Creativity and Teaching Methodology, 2007.
An analysis of the importance of nurturing creativity in children.
878 words (approx. 3.5 pages), 1 source, MLA, $ 31.95
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Abstract
This paper discusses how creativity is natural or an innate exploration of new ideas. It then discusses the importance of a creative approach in nurturing creativity in children and how it should be used in a teaching environment. Finally the paper describes methods for instilling creativity in children. The paper bases its discussion on "Art and Creative Development for Young Children" by Robert Schirrmacher.
From the Paper
"One method for instilling creativity in children is to firstly understand the basis of learning models for children with these learning sets. For example, if creativity is defined as being "artistic", then the teacher should learn the basic concepts of paintings or other forms of artistic expression such as drawing, sculpting, etc. By garnering a knowledge in this form of creativity, the teacher should be able to relate these tools of creativity to help the child build skills along established standards. However, the pure physicality and exploration of art may only require the teacher to provide paints, clay or whatever building blocks that helps the child "play" with materials. This will help bring out possibly innate creative qualities that will support a more open response on the part of the child to learn how to be creative."
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Creativity, 2002.
Discusses ways to foster and nurture creativity in children in school art classes.
1,350 words (approx. 5.4 pages), 10 sources, $ 47.95
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Abstract
Discusses ways to foster and narture creativity in children in school art classes. Importance of creativity. Different definitions. Counter-craetive tendency of many teachers. Approaches to creative thinking. Importance of setting and space for art projects. Atmosphere conducive to creative thinking. Teacher's pedagogical approach. Need for students to develop creative goals.
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. In this discussion a definition of creativity is ..."
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Creativity and Development in Childhood, 2006.
A discussion regarding the development of creativity in young children.
1,125 words (approx. 4.5 pages), 3 sources, $ 44.95
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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.
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Creativity and Innovation, 2005.
A discussion on the importance of creativity and innovation in a business.
2,070 words (approx. 8.3 pages), 8 sources, MLA, $ 71.95
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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 ..."
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