Cultural Differences in Creative Professional Domains

2018 ◽  
Author(s):  
Vlad Petre Glăveanu ◽  
Todd Lubart
Keyword(s):  
Dynamic System ◽  
Cultural Differences ◽  
Human Action ◽  
Professional Activity ◽  
Creative Work ◽  
Contextual Influences ◽  
Creative Activity ◽  
Creative Processes ◽  
Professional Groups ◽  
Norms And Values

This chapter offers a new conceptualization of culture, focusing on domains of professional activity. Culture is understood as a dynamic system integrating material, symbolic, and social elements and describing the context of human action. From this perspective, culture exists not only between nations but also within nations, at the level of different groups and communities. Professional groups are cultural units, which bring together people who share a number of norms and values, work within a given set of material constraints, and co-construct a common identity. Artists, scientists, and designers represent distinctive professional groups associated with recognized forms of creative activity. Research is presented concerning (a) the factors involved in creative expression in art, science, and design, and (b) the creative processes specific for different stages of creative work within each of these domains. The findings are interpreted in terms of cultural and contextual influences.

«The Forties, Fateful…» in David Samoylov’s Poetry: a Lingvo-stylistic Analysis of Three Poems about War (To the 100th Anniversary of the Birth)

2020 ◽  
Vol 81 (3) ◽  
pp. 63-69
Author(s):  
E. A. Frolova
Keyword(s):  
Comparative Analysis ◽  
20Th Century ◽  
100Th Anniversary ◽  
Stylistic Analysis ◽  
Creative Work ◽  
Creative Activity ◽  
War Poetry ◽  
Artistic Manner ◽  
Different Levels ◽  
Linguistic Means

The article presents an analysis of three poems about war («The Tale of Our Lady and Russian Soldiers» («Slovo o Bogoroditse i Russkih Soldatah»), «The Attack» («Ataka»), «The Forties» («Sorokovye»)) written by D. Samoylov in different periods of his creative activity. On the basis of the existing research of the creative work of the famous poet of the 20th century, a multilevel characteristic of his war lyrics is given. The aim of the article is to characterize the specific features of the poetic language of such an original author by means of a lingvo-stylistic analysis of D. Samoilov’s poems, to reveal the richness and diversity of his artistic manner. The following research methods were used: analytical reading, comparative analysis, ontological method, a multilevel analysis of poetry. The author accentuates reminiscences in D. Samoilov’s war poetry, the contrast and contrast means, repetition as an artistic device, paronomasia in the stylistic mixture of linguistic means belonging to different levels. A multidimensional poet’s approach to the theme of the war is the conclusion of the article.

Creativity as a Resource for the Development of a Service Enterprise (Through the Example of Event Agencies)

2020 ◽  
Vol 26 (9) ◽  
pp. 957-968
Author(s):  
K. I. Derevyanko ◽  
V. P. Orlovskaya
Keyword(s):  
Scientific Information ◽  
Professional Associations ◽  
Assessment Model ◽  
Professional Activity ◽  
Special Role ◽  
Economic Knowledge ◽  
Creative Activity ◽  
Practical Solution ◽  
Expert Opinions ◽  
Theoretical Conceptualization

Aim. The presented study aims to conduct a comprehensive phenomenological analysis of creativity as a resource for the development of a service enterprise through the example of the creative activity of event agencies. Tasks. The authors examine the phenomenon of creativity and develop a theoretical framework for considering creativity as a resource for the development of a service enterprise through the example of event agencies; identify the indicators of creativity of a service enterprise; develop a scale of creativity of event agencies operating in the modern services market. Methodology. The theoretical and methodological basis of this study includes the works of Russian and foreign scientists and experts in the field of creativity and its use as a resource for the development of service enterprises. The authors use the phenomenological method (to examine the phenomenon of creativity as a whole), comparative (comparison of approaches, ideas, and experience of different countries in the field of creative activity), hermeneutical (interpretation of various aspects related to the analysis of creativity), and systems analysis. To examine the indicators of creativity of event agencies, this study uses quantitative and qualitative analysis of information materials published on the official websites of the examined cities, convention and event agencies, statistics of professional associations of congress and exhibition organizations, including the International Congress and Convention Association (ICCA), as well as other analytical reports, expert opinions, and applied research on the topic. The study analyzes statistics on the number and themes of events held in each city, event infrastructure, the range of provided services, and the level of service. The cities are then comparatively analyzed based on the results of examination of each city, and general conclusions are formulated. Results. The main problem addressed by this study is associated with the concept of “creativity”, its content, degree, limits, and risks. The scientific novelty of the study is predicated upon the insufficient investigation of the problem of creativity as a resource for the development of a service enterprise. This study is one of the first attempts to develop a methodology for comprehensively analyzing the phenomenon of creativity with regard to event agencies. The results obtained during the study are vital for the theoretical conceptualization and practical solution of the problem of creativity in the context of economic knowledge: the key indicators of creativity of an event agency are identified and a creativity assessment model is developed based on the range of possible manifestations of creativity in the professional activity of event agencies. Creativity is analyzed as a resource for the development of a service enterprise through the example of the activity of event agencies. Eight indicators of creativity of an event agency are identified and an assessment scale is developed. The creativity indicators include “fluency”, “flexibility”, “originality”, “elaboration and synthesis”, “redirection”, “redefinition”, “reinitiation”, and “generation”. These eight indicators are incorporated into a creativity scale based on the Likert scale, which makes it possible to assess the degree (level) of creativity of an event agency on a scale of one to ten. As a result, the following problems are solved: the essence of the concept of “creativity” is determined and its main features are identified by analyzing the specific aspects of the modern MICE industry landscape. Scientific information on the topic is analyzed, systematized, and generalized. Russian and foreign experience of using creativity as a resource for the development of a service enterprise is comparatively analyzed. Conclusions. The special role of creativity as a resource for the development of an event agency is revealed, and the indicators of the agency’s creativity are formulated. A creativity scale is developed. The correlation between the competitiveness of a service enterprise and the use of the creative resource in its development is determined. This study is one of the first attempts to develop a methodology for comprehensively analyzing the phenomenon of creativity with regard to event agencies. The results of the study are important for the theoretical conceptualization and practical solution of the problem of creativity in the context of economic knowledge.

scholarly journals Information Ethics in a Different Voice, Or: Back to the Drawing Board of Intercultural Information Ethics.

2010 ◽  
Vol 13 ◽  
pp. 6-11
Author(s):  
Karsten Weber
Keyword(s):  
Cultural Differences ◽  
Comparative Studies ◽  
Information Ethics ◽  
Norms And Values ◽  
Drawing Board ◽  
Different Cultures ◽  
Intercultural Information Ethics

Within the information ethics community one can observe a mainstream discussion including some fundamental presuppositions which appear to be something like dogmas. The most important of these dogmas seems to be that we must create a new kind of intercultural information ethics. It is often argued that (comparative) studies have shown that different cultures, according to culturally determined norms and values, react in different ways to the impacts of ICT; it is stressed that an intercultural information ethics must take these cultural particularities into account. But in the paper at hand it shall be argued that taking cultural differences into consideration does not create a necessity to invent a new intercultural information ethics. On the contrary it shall be claimed that we already know several intercultural ethics which only have to be applied to ICT and its impact to societies.

scholarly journals Creativity Unbound: The Interaction of Disciplinary Contexts and Extradisciplinary Thinking in Creative Processes

2019 ◽  
Author(s):  
Matthew Peacock ◽  
Gregory Tate ◽  
Rebecca Hoyle
Keyword(s):  
Theoretical Model ◽  
Focus Groups ◽  
Thematic Analysis ◽  
Qualitative Interviews ◽  
Academic Disciplines ◽  
Creative Work ◽  
Creative Processes ◽  
The Relationship

This article explores how academics in different disciplines articulate the role creativity plays in their work. Instead of attempting to test a pre-existing theoretical model of creativity, 32 qualitative interviews and 4 focus groups were conducted in which 7 academics working in diverse fields were encouraged to explore creativity in their own terms and discuss the extent to which it was relevant in their disciplines. Thematic analysis of their data generated a number of themes; those presented here describe the relationship between creativity and disciplinarity. Participants in different fields shared a tendency to characterise creative work as drawing on ideas and practices commonly utilised in their particular discipline but also requiring methods and styles of thinking falling outside those norms. Creative work in academic disciplines, therefore, may require both a fluency in one’s own disciplinary ways of working and the capacity to transcend those conventions when required. Practitioners in different disciplines placed different degrees of emphasis on these two elements and drew upon different language when describing the relationship between them. This paper uses these points of comparison to investigate how ideas about creative working interact with and sometimes transcend disciplinary contexts.

The anthropology of creativity in the context of S.N. Bulgakov’s sophiology

2019 ◽  
pp. 140-153
Author(s):  
O.V. Shchekaleva
Keyword(s):  
Creative Process ◽  
Human Life ◽  
Creative Work ◽  
Creative Activity ◽  
Ontological Status ◽  
Artistic Creativity ◽  
Artistic Creation ◽  
True Meaning ◽  
The Impact

This paper deals with Bulgakov’s doctrine on the human being and creative work. The reason why it is possible to interpret and understand Bulgakov’s conception of creativity in the light of anthropology is justified in the paper. It is indicated that many researchers of Bulgakov's philosophy did not make an explicit connection between anthropology and creativity and did not raise the question why man is capable of creativity. Anthropology and the concept of creativity are reconstructed using Bulgakov's texts. The role of Sofia in the creative process and her role in human life as a whole are determined. The change of the ontological status of man as a result of the original sin is analyzed. The specificity of Bulgakov's understanding of the creative act and its influence on man is revealed. The impact of creativity on a person is analyzed in the paper. It is proposed to consider artistic creation separately from self-creation, as it is fundamentally different from artistic creativity. It is emphasized that according to Bulgakov, self-creation can lead a person to salvation and even to Holiness. It is argued that self-creation as the implementation of one's own idea-norm is the true meaning of human life. Attention is drawn to the tragedy of creativity, which every person-creator experiences. In conclusion, it is pointed out that in the future the concept of Bulgakov's creativity can be ap-plied to the evaluation of works of art. The article concludes that, according to Bulgakov's philosophy, the main characteristics of a person that make him capable of creativity are his freedom, genius and talent. This way the importance of creative activity, both for an individual and for the whole world, is proved and the eschatological role of creativity is indicated.

scholarly journals CONDITIONS OF FORMATION OF CREATIVE POTENTIAL OF THE FUTURE TEACHER OF TECHNOLOGICAL EDUCATION

2020 ◽  
Vol 1 (191) ◽  
pp. 41-43
Author(s):  
Snizhana Bohomaz-Nazarova ◽  
Keyword(s):  
Creative Process ◽  
Professional Training ◽  
Future Teacher ◽  
Professional Activity ◽  
Creative Activity ◽  
Technological Education ◽  
Future Teachers ◽  
Creative Potential ◽  
The Future ◽  
New Ideas

The article considers issues related to the concept of creativity, creative potential, creative abilities, creative process, recommendations for the development of creative potential of the future teacher of technology using methods, techniques and tools that generate new ideas for creativity. The analysis of methods of professional training of the modern specialist of educational branch is carried out. The necessity of using the competence approach which is aimed at training future teachers and consists in the acquisition and development of students during training a set of key, general and subject competencies that determine his successful professional activity. It is determined that in order to teach students creativity, the teacher must have a sufficient level of creative potential. Students majoring in "Technology", to a greater extent, have certain creative talents and abilities, motivation to learn new techniques and tools, and experience of creative activity, so the role of the teacher in practical classes to show new methods, techniques and means of creative activity, to expand the horizons of imagination and the limits of application of these methods in further professional activity, to prove to students the necessity and feasibility of developing their creative potential. In the educational field "Technology" (labor training) the use of the project method contributes to the formation of students' foundations of technological literacy, work culture, creative approach to solving tasks, learning different ways of processing materials and information. It is the use of non-standard methods of generating new ideas for creativity and activity at the first and especially the second stage (design) will give the greatest effect in the development of creative potential of future teachers of technological education. It is substantiated that the levels of creative preparation should not be used to assess the creative potential of students, but to take into account the teacher's opportunities for creative promotion of each student and a differentiated approach to using existing methods and techniques of involving students in the creative process.

scholarly journals Cultural Variations in Evaluation of Creative Work: A Comparison of Russian and Emirati Samples

2021 ◽  
Vol 12 ◽  
Author(s):  
Anatoliy V. Kharkhurin ◽  
Sergey R. Yagolkovskiy
Keyword(s):  
College Students ◽  
Cultural Differences ◽  
Implicit Theory ◽  
Creative Work ◽  
Cultural Variations ◽  
Undergraduate College Students

The study investigates how cultural variations influence evaluation of creative work. Russian and Emirati undergraduate college students were asked to judge alien creature drawings produced by their country mates in previous studies’ structured imagination test. We found cultural differences in creativity judgment. Emirati participants’ judgments were significantly lower than Russian participants’ judgments. We also found that Russians judged their compatriots significantly higher than the Emirati judged their compatriots. Russians also judged foreigners significantly lower than the Emirati judged foreigners. These findings were speculatively placed in the context of the cultural differences in the implicit theory of creativity.

scholarly journals Model of a Creative Man in Modern Economy: Experience of Creation

2020 ◽  
Vol 12 (4) ◽  
pp. 7-20
Author(s):  
O. I. Lozina ◽  
V. N. Rogozhnikova ◽  
L. A. Tutov
Keyword(s):  
New Technologies ◽  
Institutional Factors ◽  
Creative Work ◽  
Opportunistic Behavior ◽  
Creative Activity ◽  
Modern Economy ◽  
Interdisciplinary Approaches ◽  
The World ◽  
Economic Reality ◽  
Special Protection

This article is an experience of creating a model of a creative man in the economy. Economics is a creative activity, because the essence of Economics is the constant creation of new things: new technologies, products, services, institutions, and the economic reality itself. Creativity is also one of the most important characteristics of the age of uncertainty – creative work is opposed to mechanical work that robots can perform, and needs special protection in the world of algorithms and opportunistic behavior; creativity is impossible without freedom, which depends on a variety of individual and institutional factors; creativity is expressed in the creation of new technologies that radically change the world and people. Thus, creativity is a factor of unpredictability, novelty in human behavior, so for a modern economy focused on the analysis of this behavior, the problem of creativity is particularly acute.The purpose of the work is to create a model of a creative person in the economy. The paper uses comparative analysis, systematic and interdisciplinary approaches, and a historical approach.

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