scholarly journals CREATIVE IMAGINATION, TRAGIC-POETIC ART AND EDUCATION OF SENSIBILITIES 

2018 ◽  
Vol 1 (22) ◽  
pp. 18-42
Author(s):  
Luzia Batista de Oliveira Silva ◽  
Ivone Oliveira Tavernard ◽  
Junior Tavernard
Keyword(s):  
Creative Imagination ◽  
Privileged Position ◽  
Birth Of Tragedy ◽  
Mountain Summit ◽  
The Individual ◽  
Moral Elevation

This article aims to discuss about how creative imagination, tragic art and the education of sensibilities provides images of dreams of flying, ascension and freedom, contributing to the understanding of a poetic education of the child and the adult. The aesthetics of the poems and the literary lessons attest that art educates the sensibilities. We recognize this in Bachelard when he approaches the education-poetics in childhood and in the tragic-poetic art of Nietzsche, according to The Birth of Tragedy and Thus Spoke Zarathustra. In these works, the images are full of dreams of freedom represented in the ascents to the mountain summit, in the pure air breath and in the contemplation of aerial landscapes, which enables the individual -from a privileged position - to become a lover of life, who refuses its heavy side, its dark elements, the melancholy atmosphere, the disseminated Greek serenity. The heights, the silence against the crowd and the noise, as well as "states of soul" - in Bachelard's vision and analysis of the work "Thus spoke Zarathustra" - are at the same time exalted and reveals the dreams of freedom, of ascension and moral elevation. Keywords: Culture. Poetic Education. Aesthetics. Bachelard. Nietzsche.

The Signature of Modernity: Experiential Foundations of the Open Society

2019 ◽  
Vol 29 (1) ◽  
pp. 105-122
Author(s):  
Wolfgang Leidhold
Keyword(s):  
Intellectual Life ◽  
Collective Identities ◽  
Open Society ◽  
Liberal Society ◽  
Creative Imagination ◽  
Self Reflection ◽  
Western Modernity ◽  
Second Stage ◽  
The Individual ◽  
Two Stages

The open society and its complement, the open mind, are the foundations of modernity. On both the individual and social levels, openness results from the combination of four specific modes of experience. These modes have evolved in two stages: first in the time of Greek antiquity and later during Western modernity. In the first stage, the discovery of self-reflection occurred, and the noëtic turn emerged. As a result, both in political and intellectual life, methods gained priority over faith in sacred authorities. In the second stage, the discovery of creative imagination took place, and the turn to consciousness evolved. Creativity led to the innovative dynamics of modernity, and personal and collective identities developed from the turn to consciousness. The combination of these four modes of experience constitutes the signature of modernity, crystallizing in the intellectual and political discourse of modernity, and creating what we call a liberal society.

scholarly journals «MUSIC FRESCOES» BY BOHDANA FILTS AS A FACTOR OF DEVELOPMENT OF CREATIVE AND POTENTIAL FORCES OF THE MUSICIAN'S PERSONALITY

2020 ◽  
Vol 1 (190) ◽  
pp. 81-85
Author(s):  
Valentina Belikova ◽  
Keyword(s):  
Educational Process ◽  
National Character ◽  
Musical Language ◽  
Musical Expression ◽  
Creative Potential ◽  
Considerable Effort ◽  
Creative Imagination ◽  
Musical Works ◽  
Piano Cycle ◽  
The Individual

The activity of a teacher of music-pedagogical profile always involves the use of musical works. The latter makes it possible for teachers to use such musical works, the musical basis of which is available both for performance by the teacher and for perception by students. After all, students' perception of a teacher-performer will always be brighter than the perception of technical means for sounding a piece of music. In the classroom there is a kind of creative search for the teacher-performer (performance always requires considerable effort of imagination, creative inspiration). The teacher's verbal preface will help pupils to reproduce in their minds the necessary musical image, which serves to be a special coverage of the individual to whom there is a specific dedication of the cycle. The means of musical expression used by the composer influence the feelings of the listeners, develop their creative imagination, and the school lesson turns into a long-awaited musical meeting with the music of Bohdana Mykhailivna Filts. The piano cycle «Musical Frescoes» is an example of glorifying the musical impressions of the artist, which remained from the meeting with people of previous years, who became her friends and good acquaintances, with whom Bohdana Mykhailivna had to work in the field of Ukrainian musical art. Summing up the review of «Musical Frescoes» by Bohdana Filts, we highlight the general features of the musical language of the composer's works that influence and develop the creative potential of the future specialist, namely: application of traditional forms of musical expression (two-part and three-part musical forms); use of foreslags, soft syncopated rhythmic shifts; use of sound comparisons of polar registers; combination of homophonic-harmonic and polyphonic textures of representing musical material; emphasizing with a dynamic line the wavy development of musical phrases of the work, etc. The national character of the musical language of Bohdana Filts' works is manifested in the whole complex of expressive means of the composer's piano cycle, which provides a basis for the active use of the cycle in the educational process of various levels of musical institutions.

scholarly journals The study of cross-hierarchical linear correlation between the teacher's creative teaching and the imagination of the teacher as well as the school principal's visionary leadership

2020 ◽  
Author(s):  
Yu-Hsi Yuan ◽  
Hsin-Hao Chen
Keyword(s):  
Primary Schools ◽  
Visionary Leadership ◽  
Survey Study ◽  
Moderating Effects ◽  
Creative Imagination ◽  
Creative Teaching ◽  
Individual Level ◽  
The Cross ◽  
The Individual ◽  
The Impact

This study aims to investigate how a teacher’s creative teaching is affected by the teacher’s imagination and his or her school principal’s visionary leadership and how the contextual moderating effects are at play among the cross-hierarchical factors. The research framework is divided into two levels, the individual level on how “teacher’s imagination” affects “teacher’s creative teaching”, and the group level on the impact of “the principal’s visionary leadership”. From the teachers of 65 primary schools in southern Taiwan invited to participate the survey study, 861 valid data were returned. The demographic variables were analyzed by the use of descriptive statistics. The cross-level moderating effects were further examined via Hierarchical Linear Modelling (HLM). The results show that the “teacher’s imagination” will impact the “creative teaching” positively. The “vision practice” will affect “autonomous learning and challenge-presenting” positively as well. Moreover, the “vision feedback” plays a positive moderator role in how “creative imagination” contributes to “interactive discussion and open-mindedness”.

scholarly journals Islam and the Creative Imagination in Senegal

2021 ◽  
Vol 1 (2) ◽  
pp. 1-22
Author(s):  
Mbye B. Cham
Keyword(s):  
Subject Matter ◽  
Sub Saharan Africa ◽  
Creative Imagination ◽  
Religious Vision ◽  
Modern Media ◽  
Sub Saharan ◽  
Religious Ideals ◽  
The Individual ◽  
Secular Life

In few other places in the creative traditions of sub-Saharan Africa isthe factor of Islam more prominent and influential than in Senegal.Manifested on the level of form and subject-matter and spanning a widecross-section of talent in both the traditional and modern media ofcreative expression, this prominence and influence can be attributed toanumber of factors ranging from the artistic maturity, religioussensibility, intellectual astuteness and ideological orientation ofindividual artists to the more general impact that Islam, as a dominantreligious force, is perceived to have had on secular life in Senegal. Thesefactors, to a large extent, determine the various ways in which individualSenegalese artists define themselves and their art vis-a-vis Islam, inparticular, and society, in general, definitions which creatively translateinto formal choice, thematic focus and, to use a cliche, “message”.Two opposite sets of equally militant attitudes constitute the polarextremes that bracket the range of Senegalese artists’ creative responseto Islam, thus paralleling or ‘reflecting’ similar patterns that obtain inthe society at large. This is hardly surprising, given the conception thatSenegalese, and indeed, most African artists, have of the nature andfunction of art in society. On one pole is that ensemble of attitudes shapedby a zealous embrace and vigorous advocacy of the primordiality ofIslam as the most, indeed, the only, legitimate and effective vehicle forthe totalization of the individual and the society. Art in the hands ofindividuals on this end of the creative spectrum becomes an instrumentof propagation of religious ideals, in this case Islamic religious ideals.But beyond this religious vision or in conjunction with it, cultural and ...

scholarly journals Formation of the Creative Imagination of Children and Adolescents by the Means of Artistic Pedagogy

2021 ◽  
Vol 20 (1) ◽  
pp. 140-147
Author(s):  
Alexey P. Efremenko ◽  
◽  
Tatyana A. Lomakina ◽  
Keyword(s):  
Children And Adolescents ◽  
Psychological Characteristics ◽  
Creative Imagination ◽  
Wide Range ◽  
Different Types ◽  
Younger Generation ◽  
The Individual ◽  
Art Pedagogy

The article deals with the main pedagogical conditions and the essence of the creative imagination of children in the artistic and pedagogical process. The author analyzes the pedagogical possibilities of involving children and adolescents in various forms of activation of this activity; the characteristics of different types of creative imagination are given, taking into account the individual psychological characteristics of children. The corresponding method of studying the peculiarities of imagination and its pedagogical potential in the process of introducing the younger generation to the achievements of literature and art is proposed. Further prospects for the development of creative imagination with the use of promising strategies and technologies of art pedagogy are outlined. The article may be of interest to a wide range of specialists in the field of art pedagogy.

scholarly journals The study of cross-hierarchical linear correlation between the teacher's creative teaching and the imagination of the teacher as well as the school principal's visionary leadership

2020 ◽  
Author(s):  
Yu-Hsi Yuan ◽  
Hsin-Hao Chen
Keyword(s):  
Primary Schools ◽  
Visionary Leadership ◽  
Survey Study ◽  
Moderating Effects ◽  
Creative Imagination ◽  
Creative Teaching ◽  
Individual Level ◽  
The Cross ◽  
The Individual ◽  
The Impact

This study aims to investigate how a teacher’s creative teaching is affected by the teacher’s imagination and his or her school principal’s visionary leadership and how the contextual moderating effects are at play among the cross-hierarchical factors. The research framework is divided into two levels, the individual level on how “teacher’s imagination” affects “teacher’s creative teaching”, and the group level on the impact of “the principal’s visionary leadership”. From the teachers of 65 primary schools in southern Taiwan invited to participate the survey study, 861 valid data were returned. The demographic variables were analyzed by the use of descriptive statistics. The cross-level moderating effects were further examined via Hierarchical Linear Modelling (HLM). The results show that the “teacher’s imagination” will impact the “creative teaching” positively. The “vision practice” will affect “autonomous learning and challenge-presenting” positively as well. Moreover, the “vision feedback” plays a positive moderator role in how “creative imagination” contributes to “interactive discussion and open-mindedness”.

Nietzche, Wagner y el Renacimiento italiano

2001 ◽  
pp. 85-106
Author(s):  
Giuliano Campioni
Keyword(s):  
Richard Wagner ◽  
Italian Renaissance ◽  
Free Spirit ◽  
German Ideology ◽  
Birth Of Tragedy ◽  
Close Relationship ◽  
History Of ◽  
Definition Of ◽  
The Individual ◽  
Greek World

The purpose of this essay is to redefine Nietzsche’s relationship with the Renaissance, beyond some outstanding and terrible simplifications, and the literary and aesthetic creations of myths focused on the constellation superman, Renaissance-will-of-power, and Antichrist. Richard Wagner strongly conditions Nietzsche’s ideas with his valuations of the Renaissance. There is, in the young author of The Birth of Tragedy, a strong diffidence on the footsteps of the German ideology of the musician and of his rooted aversion to the Renaissance. The Italian Opera seems to be a false revival of the Greek Opera in its paradigmatic model of the artifice, and of the luxury of a selfish aristocracy, far from the feeling of the Volk. As a philologist and a promoter of a revival of the Greek world in Germany, Nietzsche had in the Italian Renaissance a necessary model of comparison. After an initial hostility followed a freer and more open evaluation that can be read in his posthumous documents, regardig the complexity of its experimental movement. The influence of Burckhardt in particular shows a progressive turning point, considerable for bringing a new definition of his relationship with the musician. The essay pauses on Nietzsche’s notes to the lessons dedicated to The Discovery of the Antiquity among the Italians, which turned out to be a mosaic of quotations from The Civilization of the Renaissance in Italy. It is certainly the most important document, largely ignored throughout history, of the close relationship between Nietzsche and Burckhardt. On the search for complexity and plurality that characterizes the superior culture, Nietzsche discovers and enhances the value of the Latin Renaissance in direct opposition to the German Renaissance impressed by Wagner’s illusion. With Burckhardt, he discovers the individual man and the poet-philologist, a prototype of the free spirit, putting into practice the detachment from the German myth of the Volk and opening the way to the culture of Romanticism.

Classics and Dance

Classics ◽  
2017 ◽  
Author(s):  
Fiona Macintosh
Keyword(s):  
18Th Century ◽  
Modern World ◽  
Greco Roman ◽  
15Th Century ◽  
The Arts ◽  
Birth Of Tragedy ◽  
The Status ◽  
Tragic Drama ◽  
The Individual ◽  
The Impact

The impact of ancient Greek and Roman dance on modern dance has been perceptible since at least the 15th century. While classical reception in dance is now recognized as a sub-category within dance studies and a serious dimension to classical performance reception, previously this interrelationship, if acknowledged at all, was generally discussed in terms of modern dance’s regular dependence on Greco-Roman myth for its subject matter rather than with reference to any systematic formal links. However, with the recent interest in ancient pantomime scholarly attention has been given to the ancient origins of modern ballet, ballet d’action, which in the first decades of the 18th century took its cues from Roman pantomime. In the first decade of the 18th century, the synthesis of the arts began to unravel and dance was no longer allied to opera or spoken theatrical entertainment. It now had to find its own genealogy and Aristotle’s idea of dance as mimetic action, combined with treatises on Roman pantomime (itself a direct descendent of Greek tragedy), provided the theoretical underpinning for the 18th-century ballets d’action. Dance was to follow the ancients in having something important to say; and Greek tragic drama was realized in 18th-century danced drama without the aid of either speech or (unlike ancient pantomime) song. By the last quarter of the 18th century, ballet had acquired sufficient status to become a high cultural art form sui generis; and it had done so with the ancient example as both guide and legitimizing authority. Ballet, like other performance arts, depends very much on its genealogy: not least because its major stars very often belong to dancing dynasties. Ballet continued to look back to antiquity, but with the decline in the status of the dancer in the 19th century the links with antiquity were often deliberately suppressed. However, by the end of the century, and especially following Nietzsche’s The Birth of Tragedy out of the Spirit of Music (1872), where the singing/dancing chorus was restored to discussions on tragedy, Greek dance finally began to attract attention among scholars and artists alike. The aim of this bibliography is to trace this perceived, occasionally actual and tactical, but very often suppressed, debt to ancient dance in the modern world from the 15th century down to the present day, focusing on the individual dancer, dancing collectivities, and their relationship to scholarship.

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