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Storytelling and organizing creativity in luxury and fashion
Pierre-Yves Donzé
Ben Wubs

creative process within luxury conglomerates remained autonomous and decentralized, according to the existing literature. 1 The French holding company Moët Hennessy Louis Vuitton (LVMH), the world’s largest fashion and luxury group, is an excellent embodiment of this organizational change. 2 Today, LVMH presides over a €35 billion (approximately $39 billion) luxury and fashion empire from headquarters in the upmarket eighth arrondissement in Paris. This chapter is a case study of LVMH that explores the evolution of the fashion and luxury industries, entrepreneurship

in European fashion
Towards a poetics of adaptation
Pim Verhulst

breakdown of one work often led to a breakthrough with another, whose writing process was ‘ended’ or ‘stopped’ rather than ‘finished’ or ‘completed’, and intersected with several other activities, a dynamic that Dirk Van Hulle ( 2021 ) has called ‘creative concurrence’ and which equally accommodates creative dead ends. In many ways, for Beckett, as for Stephen Dedalus in the ‘Proteus’ chapter of James Joyce's Ulysses , ‘errors’ – though not necessarily ‘volitional’ – were ‘the portals of discovery’ ( 1986 : 156). Together with self-translation, which Beckett similarly

in Beckett’s afterlives
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Darlene E. Clover
Kathy Sanford

Introduction Darlene E. Clover and Kathy Sanford We need to transgress boundaries and take risks with our programmes, our learners and ourselves as adult educators. (Lipson Lawrence, 2005: 81) I Universities should be the places where we fearlessly encourage complex thinking and doing, creating and collaborating. (Burnett, 2011) maginatively educate. Aesthetically elucidate. Visually illuminate. Creatively investigate. Theatrically explicate. Artistically animate. Performatively resonate. These concepts characterise the innovation, energy and courage Lipson

in Lifelong learning, the arts and community cultural engagement in the contemporary university
Don Randall

1 Contexts and intertexts An examination of David Malouf’s overall writing career reveals a remarkably continuous concern with encounters between self and other. What most distinguishes his work is its strong tendency to find in otherness (or alterity) the stimulus and orientation for a creative unsettling of identity. The other, in Malouf, does not typically enable a consolidation of selfhood, nor does it unproductively impede or confuse identity formation. Encounter with the other provokes creative self-transformation, a self-overcoming, a becoming other than

in David Malouf
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Catherine J. Frieman

What leads to innovativeness? Are some groups really more creative than others? If previous chapters of this book concerned themselves with asking what innovation is and how it operates as a social practice, then perhaps this chapter is best read as my attempt to answer the rather abstract question “Why is innovation?” In the previous chapter, I explored conservatism, which I pulled apart into various threads – tradition, resistance, continuity, persistence. In this one, I conduct the same sort of dissection of innovativeness. I have already suggested that most

in An archaeology of innovation
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Through everything
Nicholas Royle

chief engineer. The book engineers itself. If the engine cuts out, it’s a question of being patient. Patience, she suggests, is something ‘with or despite desire’, ‘something continually strange’. 3 You’re aboard, perhaps uncertainly adrift, but things start up again. ✂ Cixous works a sort of magical découpage on creative and critical writing, over all their surfaces – and in the depths. ✂ There are supposedly clear and secure distinctions between ‘critical writing’ and ‘creative writing’. Each apparently has its own name, its own

in Hélène Cixous
David MacDougall

that with which we are most familiar, because it is almost universally employed in commercial documentaries and television productions. By this I mean the ‘industrial’ model I referred to earlier, in which specialised creative tasks are assigned to different members of a crew. The resulting films combine multiple talents and generally express a corporate rather than a personal perspective. It takes a strong director to override such a powerful system, which is perhaps why the auteur directors of

in The art of the observer
Writers in British society and tales of their private lives and personal affairs
Nigel Mather

and sexual relationships in British social history which the film biographies explore and engage with in wide-ranging, dramatically stimulating and provocative ways. Sylvia Plath’s complex story might seem as if it cannot be easily accommodated into a feature-length narrative, but I will seek to illustrate that Christine Jeff and John Brownlow’s film Sylvia is a thoughtful and compelling account of two creative writers (Plath and the future Poet Laureate, Ted Hughes), torn apart by Hughes’s infidelity and the passionate feelings of both love and resentment which

in Sex and desire in British films of the 2000s
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also recently acknowledged the importance of the Hermit card in tarot for Carrington. 4 I would therefore like to consider the question of solitude as a necessary moment within the creative process as well as a sense of critical awakening, and how this has become manifest in the practices of two distinctive writers critically invested in her legacy, Chloe Aridjis and Heidi Sopinka (both born in 1971). For both, the roman-à-clef and techniques of the surrealist marvellous are harnessed and revised

in The medium of Leonora Carrington
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Creative belonging
Paul Carter

Uffington White Horse. Christine Peacock, a Torres Strait Islander woman with affiliations through marriage to the Turrbal people, whose country includes Brighton and Margate (suburbs of Brisbane), invited me to be involved in a project called ‘Margate to Margate’. Under the rubric supplied by T.S. Eliot, that ‘We shall not cease from exploration / And the end of all our exploring / Will be to arrive where we started / And know the place for the first time’, she was proposing a creative research project involving, among others, the London Print Studio, the visual artist

in Translations, an autoethnography