Vulnerability as a Space for Creative Transformation

2021 ◽  
pp. 56-60
Author(s):  
Laurie Anderson Sathe
2010 ◽  
Vol 22 (1) ◽  
pp. 181-195 ◽  
Author(s):  
Anthony Cordingley

This essay argues for the presence of Aristotelian ideas of cosmic order, syllogism, space and time in Beckett's . It accounts for how such ideas impact upon the novel's 'I' as he attempts to offer a philosophical 'solution' to his predicament in an underworld divorced from the revolving heavens. Beckett's study of formal logic as a student at Trinity College, Dublin and his private study of philosophy in 1932 is examined in this light; particularly his “Philosophy Notes,” along with some possible further sources for his knowledge. The essay then reveals a creative transformation of Aristotelian ideas in which led to formal innovations, such as the continuous present of its narrative.


2021 ◽  
Vol 2 (2) ◽  
Author(s):  
Mindy McGarrah Sharp

Assessment and grading can elicit rage on the part of both learners and teachers.  Can rage lead to creative transformation of classroom cultures to support students in achieving learning goals? Can rage sharpen pedagogical commitments? The author reviews a critical incident of unexpected grading rage that emerged in her once a week three-hour masters level introductory pastoral care classroom, what she did about it in the moment, and how three strategies she employed could be helpful for teaching and learning religion and theology more broadly. When grading rage emerges in the pastoral care classroom and beyond, teaching and learning misunderstanding stories, facilitated by neutral questions in charged contexts, can make room for creative transformation when supported by third voices.


2016 ◽  
Vol 1 (19) ◽  
pp. 52-54
Author(s):  
Serhii Shevchenko

Existential-humanistic psychology has started the tradition of the creative transformation of classical-existentialist ideas in the practice of their involvement and application in psychology and psychotherapy. The source of these qualitative changes in the psychology of the twentieth and early XXI centuries was, in particular, the multifaceted creativity and ideas of S. Kierkegaard. His religious anthropology was rooted not only in Christology, but also in psychology. But psychology does not become a means of indulgence for a little foolish person, but a way to show her what she had not known about herself before. Contrary to the natural sciences of the time, his method did not set human boundaries, because it proceeded from the fact that the horizons of her hopes are, in principle, endless and the purpose of each person is to become equal with him. "WITH. Kierkegorov's main idea is, "writes M. Biergoso," that a person should be understood as a relationship: a constant attitude towards himself, his environment, and God. This is the most successful definition of the inseparable triad of the basic existential problem ..., which defines Kierkegaard's thinking as a whole "


Author(s):  
Anthony Cordingley

This chapter explores the impact of the dialectics of the Ancient world after Plato upon Beckett’s French novels and the peculiar set of relations between characters and their physical environment in How It Is. It accounts for the presence of Aristotelian ideas of cosmic order, syllogism, space and time. Beckett’s study of formal logic as a student at Trinity College, Dublin and his private study of philosophy in 1932 is examined in this light; particularly his “Philosophy Notes,” along with further sources for his knowledge. The Aristotelian world view of his “I” is shown to be confronted with a set of relations resembling those of the Ancient Greek Stoics. The materiality of spatio-temporal relations in How It Is and the metaphysical coordinates between the “I”, its cosmos and any transcendent other are interrogated. The dialectic between Aristotelian and Stoic physics and metaphysics in How It Is emerges as a conceptual framework for exploring many of the novel’s contradictions, as well as the many confusions and digressions of its narrator/narrated. Beckett’s creative transformation of this ancient dialectic is shown, furthermore, to lead him to formal innovations, such as the novel’s continuous present tense and its complex narrative structure.


Author(s):  
Ryan M. Milner

This chapter focuses on the social dimensions of memetic practices, arguing that the memetic lingua franca is a vernacular premised on the creative transformation of expressions that have come before. In this way, memetic participation depends on the interrelations of fixed premise and novel expression. Just as spoken conversations are “prepatterned” by norms, tropes, and colloquialisms, memetic conversations are prepatterned by the expressions others have produced before. The chapter then outlines the vernacular creativity required in memetic conversation, emphasizing the collective standards guiding that creativity. Memetic expression is simultaneously influenced by and influences collective conversations. Because of this reciprocity, vernacular creativity is susceptible to the jargons, marginalizations, and antagonisms inherent to all collective conversations. Ultimately, memetic conversations are vibrant, if imperfect.


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