410 EMBARRASSMENT AS A CREATIVE FORCE IN MAIMONIDES’ META-HALAKHIC ENUMERATION OF THE 613 COMMANDMENTS

2019 ◽  
pp. 410-414
Keyword(s):  
2020 ◽  
Vol 10 (1) ◽  
pp. 87-92
Author(s):  
Kate White

Playful jazz improvisations and singing continue in creating the gift of emotional connection in a family living with Alzheimer’s. Sharing their poignant reflections provides a personal account of the centrality of music in reaching each other at a feeling level throughout the course of their lives. The recognition of music as a powerful and creative force for all of us, particularly when there is a dementia diagnosis, is explored.


1997 ◽  
Vol 18 (1-2) ◽  
pp. 130-158
Author(s):  
Judith Winther

Although Uri Zvi Grinberg had published poetry in both Hebrew and Yiddish from 1912 onward, it was with the appearance of the Yiddish volume Mefisto in 1921 and his Albatros in 1922–1923 that the new idiom, expressionism was introduced. In seeking to explain the transformation of Uri Zvi Grinberg from a minor romantic lyric poet in Yiddish and Hebrew into an Expressionist bard who emerged in the 1921 Mefisto, critics have advanced a number of elaborate and sometimes contradictory theories. His own special “creative force” in interplay with the highly eclectic dynamic of Yiddish modernism, spurred a turning point, which witnessed the return of his artistic attention, as of his confreres to the realities of the phenomenal world, in confrontation with symbolism (aestetic romanticist) and impressionist art.


Author(s):  
J. E. Smyth

During the early 1940s, journalists observed that after years of men controlling women’s fashion, Hollywood had become “a fashion center in which women designers are getting to be a big power.” In a town where “the working girl is queen,” it was women who really knew how to dress working women. Edith Head’s name dominates Hollywood costume design. Though a relatively poor sketch artist who refused to sew in public, Head understood what the average woman wanted to wear and knew better than anyone how to craft her image as the-one-and-only Edith Head. However, she was one of many women who designed Hollywood glamour in the studio era. This chapter juxtaposes Head’s career with that of a younger, fiercely independent designer who would quickly upstage Head as a creative force. In many senses, Dorothy Jeakins’s postwar career ascent indicated the waning of the Hollywood system and the powerful relationship between female designers, stars, and fans.


It would be impossible in an obituary of ordinary length to convey any idea of the many-sided activity by which Lord Kelvin was continually transforming physical knowledge, through more than two generations, more especially in the earlier period before practical engineering engrossed much of his attention in importunate problems which only he could solve. It is not until one tries to arrange his scattered work into the different years and periods, that the intensity of his creative force is fully realised, and some otion is acquired of what a happy strenuous career his must have been in early days, with new discoveries and new aspects of knowledge crowding in upon him faster than be could express them to the world. The general impression left on one's mind by a connected survey of his work is overwhelming. The instinct of his own country and of the civilised world, in assigning to him a unique place among the intellectual forces of the ast century, was not mistaken. Other men have been as great in some special department of physical science: no one since Newton—hardly even Faraday, whose limitation was in a sense his strength—has exerted such a masterful influence over its whole domain. He might have been a more learned mathematician or an expert chemist; but he would then probably have been less activity, the immediate grasp of connecting principles and relations; each subject that he tackled was transformed by direct hints and analogies brought to bear from profound contemplation of the related domains of knowledge. In the first half of his life, fundamental results arrived in such volume as often to leave behind all chance of effective development. In the nidst of such accumulations he became a bad expositor; it is only by tracing his activity up and down through its fragmentary published records, and thus obtaining a consecutive view of his occupation, that a just idea of the vistas continually opening upon him may be reached. Nowhere is the supremacy of intellect more impressively illustrated. One is at times almost tempted o wish that the electric cabling of the Atlantic, his popularly best known achievement, as it was one of the most strenuous, had never been undertaken by him; nor even, perhaps, the practical settlement of electric units and instruments and methods to which it led on, thus leaving the ground largely prepared for the modern refined electric transformation of general engineering. In the absence of such pressing and absorbing distractions, what might the world not have received during the years of his prime in new discoveries and explorations among the inner processes of nature.


2008 ◽  
Vol 5 (1) ◽  
pp. 109-133 ◽  
Author(s):  
PHILIP LAMBERT

AbstractPet Sounds, the landmark Beach Boys album of 1966, has received wide acclaim as one of rock’s first ‘concept albums’. It also represents a milestone in the artistic evolution of the group’s primary creative force, Brian Wilson. A thorough examination of the texts and music of the songs of Pet Sounds reveals a unified art work projecting a coherent textual narrative. Songs are associated and interrelated via recurrent motives and harmonic patterns, expressing extremely personal themes of romance and heartbreak. The musical ideas are mostly culminations of Brian Wilson’s earlier work – they are the ‘pet sounds’ that he had been raising and nurturing since the early 1960s – but they appear here in an unprecedented artistic context. Despite Wilson’s continued, if sporadic, productivity in the decades that followed, including the ill-fated Smile project, Pet Sounds stands as his crowning artistic achievement, an album with vast appeal and broad influence.


2021 ◽  
pp. 51-65
Author(s):  
Louisa Kate Penfold ◽  
Nina Odegard

Recent scholarship in childhood studies has raised concerns about humancentric, singular discourses regarding human-plastic relations. As a result, questions of how to develop new forms of learning with materials in environmental education are now an important issue for researchers, educators, and policymakers. This paper activates a feminist new materialist ontology to position plastic as an active participant in the formation of knowledge. Drawing on visual imagery of children’s and artists’ aesthetic experimentations, we explore the intra-related and complex relationship between plastic, children, and the planet. Haraway’s concept of making kin is operationalized to highlight plastic’s multidimensional complexities as both a destructive and creative force, producing a novel framework for understanding and learning with plastic in early childhood education.


2020 ◽  
Vol 6 (5) ◽  
pp. 420-425 ◽  
Author(s):  
D. Shvaiba

Scientific knowledge of the historical future requires methodology. And methodology is the application of ideology in scientific research in General, and in research of social processes in particular. For example, religion is always an ideology. It is an illusory ideology. Illusory not because it cannot be as described by the religious ideal (that the ideal is unattainable). For Man, as for his creation — God — there is no unattainable and cannot be. Religion is illusory, not in the sense of an ideal, but in the sense that it cannot be and become in this way, through faith. Religion creates and strengthens (fixes) the ideal but proceeds from the fact that the ideal created by man is a creative force. But God is not power. It’s just a representation of human power. And what the person who created it expects from God is a human goal.


Sign in / Sign up

Export Citation Format

Share Document