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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
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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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
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
Tom Woodin

work that arose from workshops bore the marks of a more literary approach than other texts published by Fed groups, which might have involved an editorial group working with a single writer. In writing workshops, complex, onerous and prolonged feedback on multiple drafts ensured this was the case. Liz Thompson’s Just a Cotchell: Tales from a Dockland’s Childhood and Beyond has many of the hallmarks of a novel. Thompson developed her book through involvement with Basement Writers, which provided a launch pad into a creative exploration of her past. She developed a

in Working-class writing and publishing in the late twentieth century
Creativity at a time of institutional decline
Jesse Adams Stein

Greiner (elected in 1988) planned to raise revenue from the sale of government MUP_Stein_Printer2.indd 161 10/08/2016 15:39 162 Challenges and creative resilience assets: power stations, coal mines, railway infrastructure and printing offices.7 Workers were not oblivious to these transitions, and, rather than radicalising them, the disappearance of manufacturing often produced in them polarised and individualised responses; they sought merely to survive, not necessarily to overthrow the system.8 The making of foreign orders enabled subtle subversions, rather than

in Hot metal
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Don Fairservice

beneath a structuring system that seemed to give motion pictures a self-sustaining, dynamic existence of their own. Sustaining the narrator system Making a detailed assessment of the structural and editing developments in filmmaking during what was perhaps one of the industry’s most creative periods is fraught with difficulty. In 1908 there were ten major film-producing companies in America and numerous

in Film editing: history, theory and practice
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Messages, threads and tensions
Kathy Sanford and Darlene E. Clover

_Sandford.indd 175 05/04/2013 09:03 lifelong learning and the arts The wall of rationality, tradition and neoliberalism Shukaitis, Graeber and Biddle once asked why it was that we ‘assume creative and relevant ideas should be coming out of the universities in the first place?’ (2005: 15). They go on to say that modern universities have only existed for a few hundred years and during this time have not really fostered much in terms of new ways of learning and understanding or engaging with the world. Public universities are challenged by current socio-political changes in the

in Lifelong learning, the arts and community cultural engagement in the contemporary university
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Precarity in the fashion system
Ilaria Vanni

culture jamming or Situationist détournements, and more recently as a form of urban learning aimed at the elaboration of collective forms of self-organisation.5 The significance of Serpica Naro, however, goes beyond the value of the hoax and creative conflict produced by the intervention in Milan Fashion Week. Instead, leaning on Markussen’s notion of disruptive aesthetics, Julier’s design activism tactics and Fry’s redirective practice, I argue that Serpica Naro was a designerly act that reoriented the politics of precarity embedded in the fashion system.6 In

in Precarious objects
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Stephen Orgel

sources of the play’s unique intensity and to the peculiar power it has always exercised over audiences. In “ King Lear and the art of forgetting” I propose that forgetting, or the suppression or subversion of memory, is an essential creative principle. I have in mind both really big creative acts like forgetting that the Lear story has a happy ending, and really small but even more baffling creative

in Spectacular Performances