Under the Cover

Author(s):  
Clayton Childress

This book follows the life trajectory of a single work of fiction from its initial inspiration to its reception by reviewers and readers. The subject is Jarrettsville, a historical novel by Cornelia Nixon, which was published in 2009 and based on an actual murder committed by an ancestor of Nixon's in the postbellum South. The book takes you behind the scenes to examine how Jarrettsville was shepherded across three interdependent fields—authoring, publishing, and reading—and how it was transformed by its journey. Along the way, it covers all aspects of the life of a book, including the author's creative process, the role of literary agents, how editors decide which books to acquire, how publishers build lists and distinguish themselves from other publishers, how they sell a book to stores and publicize it, and how authors choose their next projects. The author looks at how books get selected for the front tables in bookstores, why reviewers and readers can draw such different meanings from the same novel, and how book groups across the country make sense of a novel and what it means to them. This book reveals how decisions are made, inequalities are reproduced, and novels are built to travel in the creation, production, and consumption of culture.

2021 ◽  
Vol 34 ◽  
pp. 175-179
Author(s):  
Liana Cusmano

Liana Cusmano’s interview with poet George Amabile focuses on his prize-winning 2018 collection Martial Music and the art of writing in general. He offers insights on the poetic process, how to research and produce a collection of poems. Amabile’s poetry is inspired by what he has experienced or witnessed. He talks about dealing with war and trauma. He shares his frustration with daily life getting in the way of the creative process. “Life is the subject and the inspirational/ motivational source of our work, but it also sucks up our time and frustrates our ability to give our unstinted attention to our creative efforts,” says George Amabile.


2015 ◽  
Author(s):  
Dirk Postma

While the neoliberal order is associated with the economy, government and globalisation, as a form of governmentality it effects a particular subjectivity. The subject is the terrain where the contest of control plays out. The subject is drawn into the seductive power of performativity which dictates its agency, desires and satisfactions and from which escape is difficult to imagine. Neoliberalism is particularly interested in an education which provides it with the much needed powers of production and consumption. This dependency of the neoliberal order on a particular kind of agential subjectivity is also its weakness because of the indeterminacy of the self. Within this openness of the human subject lies the possibility to be different and to escape any form of subjectification. Foucault’s account of the critical agent portrays a form of difference that opposes and transcends neoliberal ordering. Foucault finds the principle of practices of freedom in the Greco-Roman ethics of the care for the self. It is an ethics where the subject gains control of itself through the ascetic and reflective attention in relation to available ethical codes and with the guidance of a ‘master’. Such as strong sense of the self is the basis for personal and social transformation against neoliberal colonisation. The development of critical agency in education is subsequently investigated in the light of Foucault’s notions of agency and freedom. The contest of the subject is of particular importance to education interested in the development of critical agency. The critical agent is not only one who could identify and analyse regimes of power, but also one who could imagine different modes of being, and who could practice freedom in the enactment of an alternative mode of being. The educational implications are explored in relation to the role of the teacher and pedagogical processes.


Author(s):  
Anna Sokołowska

AbstractThis paper is an attempt to analyze the necessity of defining and extending the protection of the child’s creative process. The starting point for consideration is the key role of artistic instruction in the child’s education and development which justifies providing appropriate framework for that process. The present text defines artistic output as a personal good covered by legal protection and specifies relevant legal regulations underlying the subject. It also reveals the position of the child as a creator with his/her specific characteristics and possible dangers arising from those characteristics. Another issue discussed here is the creative process and its components. In a further part, legal aspects of the child’s situation in the context of creative activity are analyzed with references to the UN Convention on the Rights of the Child (1989), the (Polish) Family and Guardianship Code (1964), the UN Declaration on Rights of the Child (1959) and other legal acts. Finally, the paper addresses objectives of arts education in the light of the discussed issues. Conclusions include an indication of certain similarity between some areas of interest in pedagogy and in law. The main conclusion comes down to a statement that in the education process we should take into consideration so-called creative integrity which constitutes a personal good of both the adult and the child, and which is covered by legal protection.


Joseph Conrad ◽  
2020 ◽  
pp. 51-70
Author(s):  
Yael Levin

The chapter focuses on Conrad’s scenes of suspension as sites for an investigation of language and its role in the creation of the modernist subject. Heart of Darkness, Lord Jim, and Victory are read as the serial restaging of an unsolicited encounter with the language of the other. These unwarranted interruptions contribute to an exploration of a particularly passive and fragmented subjectivity that relinquishes the agency and cohesion afforded the Cartesian cogito. The insistence on the oral tradition is thus read not as an attempt to resurrect speech within an essentially silent medium but as a dramatization of the role of language in the evolution of the modernist subject and the narrative that houses him. Those same experimental narrative techniques that are often associated with Conrad’s commitment to an inherently epistemological philosophical inquiry are attributed here to the author’s effort to chart the ontological coordinates of character and narration.


Author(s):  
Neal Robinson

Ibn al-‘Arabi was a mystic who drew on the writings of Sufis, Islamic theologians and philosophers in order to elaborate a complex theosophical system akin to that of Plotinus. He was born in Murcia (in southeast Spain) in AH 560/ad 1164, and died in Damascus in AH 638/ad 1240. Of several hundred works attributed to him the most famous are al-Futuhat al-makkiyya (The Meccan Illuminations) and Fusus al-hikam (The Bezels of Wisdom). The Futuhat is an encyclopedic discussion of Islamic lore viewed from the perspective of the stages of the mystic path. It exists in two editions, both completed in Damascus – one in AH 629/ad 1231 and the other in AH 636/ad 1238 – but the work was conceived in Mecca many years earlier, in the course of a vision which Ibn al-‘Arabi experienced near the Kaaba, the cube-shaped House of God which Muslims visit on pilgrimage. Because of its length, this work has been relatively neglected. The Fusus, which is much shorter, comprises twenty-seven chapters named after prophets who epitomize different spiritual types. Ibn al-‘Arabi claimed that he received it directly from Muhammad, who appeared to him in Damascus in AH 627/ad 1229. It has been the subject of over forty commentaries. Although Ibn al-‘Arabi was primarily a mystic who believed that he possessed superior divinely-bestowed knowledge, his work is of interest to the philosopher because of the way in which he used philosophical terminology in an attempt to explain his inner experience. He held that whereas the divine Essence is absolutely unknowable, the cosmos as a whole is the locus of manifestation of all God’s attributes. Moreover, since these attributes require the creation for their expression, the One is continually driven to transform itself into Many. The goal of spiritual realization is therefore to penetrate beyond the exterior multiplicity of phenomena to a consciousness of what subsequent writers have termed the ‘unity of existence’. This entails the abolition of the ego or ‘passing away from self’ (fana’) in which one becomes aware of absolute unity, followed by ‘perpetuation’ (baqa’) in which one sees the world as at once One and Many, and one is able to see God in the creature and the creature in God.


2002 ◽  
Vol 27 (2) ◽  
pp. 16-17
Author(s):  
Emmanuella Saint-Denis

The importance of the creative process at Cirque du Soleil informed the establishment of its Documentation Centre nine years ago. The desire for conservation, a concern of the founding president as early as 1984, was initially related to the need to use earlier documents and materials in the creation of shows, rather than a desire to preserve history. Subsequently, the role of the archives has evolved and today Cirque du Soleil values the importance of memory and has put various tools in place to facilitate the collection and conservation of its history.


2018 ◽  
Vol 46 (4) ◽  
pp. 560-585
Author(s):  
Sinja Graf

This essay theorizes how the enforcement of universal norms contributes to the solidification of sovereign rule. It does so by analyzing John Locke’s argument for the founding of the commonwealth as it emerges from his notion of universal crime in the Second Treatise of Government. Previous studies of punishment in the state of nature have not accounted for Locke’s notion of universal crime which pivots on the role of mankind as the subject of natural law. I argue that the dilemmas specific to enforcing the natural law against “trespasses against the whole species” drive the founding of sovereign government. Reconstructing Locke’s argument on private property in light of universal criminality, the essay shows how the introduction of money in the state of nature destabilizes the normative relationship between the self and humanity. Accordingly, the failures of enforcing the natural law require the partitioning of mankind into separate peoples under distinct sovereign governments. This analysis theorizes the creation of sovereign rule as part of the political productivity of Locke’s notion of universal crime and reflects on an explicitly political, rather than normative, theory of “humanity.”


Author(s):  
Charles O. Jones

The creative work involved in writing the Constitution of the United States in Philadelphia in 1787 has been interpreted and analysed in political and policy debate ever since. ‘Inventing the Presidency’ considers how the Founders of the United States tried to create unity in a separated system. Why was the title of president selected? What was the role of president going to look like? How long should the single executive serve? Should the person be term-limited? Providing a legislative or law-making role for the president was the subject of considerable debate at the beginning. Inventors solve problems: they tinker until they have a workable device. The creation of the presidency was a process of trial and error.


2020 ◽  
Vol 47 (6) ◽  
pp. 486-500
Author(s):  
Carlin Soos ◽  
Gregory H. Leazer

The “author” is a concept central to many publication and documentation practices, often carrying legal, professional, social, and personal importance. Typically viewed as the solitary owner of their creations, a person is held responsible for their work and positioned to receive the praise and criticism that may emerge in its wake. Although the role of the individual within creative production is undeniable, literary (Foucault 1977; Bloom 1997) and knowledge organization (Moulaison et. al. 2014) theorists have challenged the view that the work of one person can-or should-be fully detached from their professional and personal networks. As these relationships often provide important context and reveal the role of community in the creation of new things, their absence from catalog records presents a falsely simplified view of the creative process. Here, we address the consequences of what we call the “author-as-owner” concept and suggest that an “author-as-node” approach, which situates an author within their networks of influence, may allow for more relational representation within knowledge organization systems, a framing that emphasizes rather than erases the messy complexities that affect the production of new objects and ideas.


2018 ◽  
Vol 3 (Fall 2018) ◽  
pp. 43-54
Author(s):  
Silvio Anaz

The creative process in Hollywood’s movie industry is the result of a complex combination of symbolic elements arising from imaginations of screenwriters, directors, executives, marketing experts and producers. This article analyzes the anatomy of the creative process inserted in the logic of production of major studios. The earliest scripts of three movies—Back to the Future, Blade Runner and Star Wars: A New Hope—and their theatrical movie versions are compared to find some patterns in the formation of the imaginary during the creative process in mainstream productions. The theoretical approach is mainly based on Gilbert Durand’s theories about the imaginary.


Sign in / Sign up

Export Citation Format

Share Document