Dans la perspective de Gilbert Durand, cette étude traite de la conception de la création en général et, en particulier, de la création littéraire. Dans un premier temps, elle met l’accent sur le rôle de la création artistique en valorisant l’impératif de l’œuvre, puis, dans un second temps, sur celui de la création littéraire. Le but est de réfléchir sur la création et aussi sur son propre contenu, constitué de sens et de significations, du point de vue de l’imaginaire. La (...) méthodologie est basée sur le couple compréhension-explication de l’œuvre de l’auteur. En conclusion, il est important de souligner que la conception de la création durandienne s’exprime à travers l’impératif de l’œuvre, du lointain et de la fonction fantastique de l’imaginaire. The present study deals, from the perspective of Gilbert Durand, with the conception of creation, in general, and of the literary creation, in particular. At first, it focuses on the role of artistic creation by valuing the imperative of the work while, in a second moment, it focuses on the literary creation. The objective is to reflect on the creation and its own content, constituted of senses and meanings, from the perspective of the imaginary. The methodology is based on the explanation-understanding binomial and on the author’s work. As a conclusion, it is important to underline that the conception of Durandian creation is told through the imperative of the work, the Remote and the fantastic function of the imaginary. (shrink)

I argue that entities which best fill the role of musical works are discovered and not created. I begin by distinguishing two senses of ‘create.’ I then examine what our ordinary talk of musical works commits us to, paying special attention to this distinction. Finally, I look at Renée Cox's arguments for the creation view of musical works. One of her reasons actually supports the discovery position. Her other claims are consistent with the view that musical works are discovered. (...) I conclude that though our ordinary talk concerning musical works is often ambiguous, the discovery view is superior. (shrink)

"The texts published here reproduce, with some variation, those of five lectures held at the Mendrisio Academy of Architecture between October 2012 and April 2013.".

This article explores the notions of indeterminacy and creation in Castoriadis’ work. The notions of indeterminacy and creation are initially associated with Castoriadis’ conception of Being as Chaos contradicted with what Castoriadis calls “ensemblistic-identitary logic”. The conception of Being as Chaos is then linked with the notion of otherness analyzed as creation ex nihilo. In particular, creation ex nihilo is analyzed in the context of Castoriadis division of Being’s multiplicity into difference and otherness. I will (...) argue that Being’s multiplicity as difference refers to the “ensemblistic-identitary logic” while otherness comes up with a novel form of Being identified as ex nihilo creation. Finally, otherness is approached through Castoriadis’ conception of time whereby otherness and, consequently, time is further associated with Castoriadis’ notion of imaginary as the latter deploys in the social-historical field of mankind through the imaginary significations of society. (shrink)

As part of a wider program that studies the legislative creation process regarding work conditions in the Argentine Republic, the purpose of this research is to examine the different ways in which the written press represents, on one hand, the formulation and approval process of the Labor Risk Law reform, which concluded on 25 October 2012 with the passing of Law 26,773, and, on the other hand, the scope, content, and sense of said regulation. The perspective of the (...) research is interdisciplinary, its methodology is qualitative, and the process guiding the textual analysis is inductive and hermeneutic. The corpus is made up of the news related to the studied legislative process. The news analysis was carried out according to the proposal of a Sociological and Linguistic Discourse Analysis. Thus, the argumentative strategies and the linguistic resources deployed were associated with the interpretive models of reality underlying those texts, and moreover, the similarities and differences among the various news articles were examined as regards the representation of working conditions; workers and employers and their respective rights and obligations; the legitimacy, need, and legality of the regulation passed; the scope of the protection granted to workers; and the effect of this regulation on workers’ constitutional rights and guarantees. (shrink)

This book provides a hermeneutical reflection on the biblical notion of labor, combining texts from the book of Genesis with the conceptions of work in psychoanalysts and philosophers such as Sigmund Freud and Karl Marx.

In "Cultural Variation and Cultural Creation in Chinese Biographical Writing and Carnegie's Work" Weidong Zhou discusses the impact on Chinese biographical writing via biographies written in Chinese and translated from English about Andrew Carnegie's life and work. The interpretation of Carnegie's philanthropy includes Chinese traditional cultural concepts such as "righteousness," "cause and effect," and "self-cultivation" which constitute the unique understanding of "philanthropy" in modern Chinese literature. From a "moral model" to "successful person" the overall images following Carnegie (...) can reflect the processes of acceptance of Western "individualism." Zhu argues that Carnegie's example was shaped as a "Youth Idol" in the May Fourth Movement from which the unique route of modernization in Chinese literature and culture can be traced. (shrink)

This paper demonstrates the value of embracing digital technology in order to effect positive change in a non-governmental charity organisation, in this case the Irish Charity Crosscause. The outcome of the research was the creation of a charity video, Crosscause: Making a Difference, to showcase humanitarian work in Ireland and Romania with a view to inspiring others to contribute in some capacity to this cause. Video is an important medium to provide connections with a wider audience, as it (...) gives humanitarian workers and marginalised communities an opportunity to tell their story by making a compelling and evocative case to others. Visual media not only makes connections with an audience, but can also positively challenge people to consider what is happening in the world around them. The research process incorporated an entrepreneurial methodology - an Educational Entrepreneurial approach to action research-with four steps: Exploring, Understanding, Creating and Transforming, which is designed to guide practitioner-researchers as they embrace digital technology to resolve an identified need in a workplace context, including people in disadvantaged settings. In this research, there was an identified need for a charity video to link the giving in Ireland to the receiving in Romania, so that viewers could see the tangible effects of their contributions. A further aim of the research was to illustrate how volunteering can inspire solidarity among Irish and Romanian communities. (shrink)

Institutionalism gives priority to structure over agency. Yet institutions have never developed and operated without the intervention of interested groups. This paper develops a conceptual framework for the role of agency in historical institutionalism. Based on recent contributions following the coalitional turn and drawing on insights from sociological institutionalism, it argues that agency plays a key role in the creation and maintenance of social coalitions that stabilize but also challenge institutions. Without such agency, no coalition can be created, maintained, (...) or changed. Similarly, without a supporting coalition, no contested institution can survive. Yet, due to collective action problems, such coalitional work is challenging. This coalitional perspective offers a robust role for agency in historical institutionalism, but it also explains why institutions remain stable despite agency. In addition, this paper forwards several portable propositions that allow for the identification of who is likely to develop agency and what these actors do. (shrink)

In _My Job My Self,_ Gini plumbs a wide range of statistics, interviews with workers, surveys from employers and employees, and his own experiences and memories, to explore why we work, how our work affects us, and what we will become as a nation of workers. _My Job, My Self_ speaks to every employed person who has yet to understand the costs and challenges of a lifetime of labor.

Albertus Magnus’ alchemy is a subject that has attracted the attention of the scholars since the early decades of the 20th century. Yet, the research that has been conducted this far is characterised by its non philosophical character. As a matter of fact, the previous studies approached Albertus’ alchemy either in terms of history of science or of intellectual history. In this paper, I focus on Albertus’ definition of alchemical transmutation that is found in his De mineralibus and I analyze (...) it in terms of his theory of creation and of his theory of matter. Therefore, I show whether a re-creation of a metal is in accordance with Albertus’ philosophy and congruently I bring forth the Aristotle Graecus and the Aristotle Latinus that are found as background in his alchemical theory of transmutation. Ultimately this paper aims to show that the aforementioned theory is not an arbitrary statement from Albertus’ part, but the result of a serious philosophical endeavour. (shrink)

Entrepreneurs with social goals face various challenges; insights into how these entrepreneurs experience and appreciate their work remain a black box though. Drawing on identity, conservation of resources, and person–organization fit theories, this study examines how entrepreneurs’ social value creation beliefs relate to their work-related well-being (job satisfaction, work engagement, and lack of work burnout), as well as how this process might be influenced by social concerns with respect to the common good. Using data from (...) the German Public Value Atlas 2015 and 2019 and the Swiss Public Value Atlas 2017, a three-study design analyzes three samples of entrepreneurs in Germany and Switzerland. Study 1 reveals that entrepreneurs report higher job satisfaction when they believe their organization creates social value. Study 2 indicates that these beliefs relate negatively to work burnout; entrepreneurs’ perceptions of having meaningful work mediate this relationship. Study 3 affirms and extends these results by showing that a sense of work meaningfulness mediates the relationship between social value creation beliefs and work engagement and that this mediating role is more prominent among entrepreneurs with strong social concerns. This investigation thus identifies a critical pathway—the extent to which entrepreneurs experience their work activities as important and personally meaningful—that connects social value creation beliefs with enhanced work-related well-being, as well as how this process might vary with a personal orientation that embraces the common good. (shrink)

Artistic Creation and Ethical Criticism investigates an idea that underpins the ethical criticism of art but is rarely acknowledged and poorly understood - namely, that the ethical criticism of art involves judgments not only of the attitudes a work endorses or solicits, but of what artists do to create the work. The book pioneers an innovative production-oriented approach to the study of the ethical criticism of art, one that will provide a refined philosophical account of this important (...) topic as well as conceptual tools that can guide future philosophizing and criticism. (shrink)

Although creativity, from Plato onwards, has been recognized as a topic in philosophy, it has been overshadowed by investigations of the meanings and values of works of art. In this collection of essays a distinguished roster of philosophers of art redress this trend. The subjects discussed include the nature of creativity and the process of artistic creation; the role that creative making should play in our understanding and evaluation of art; relations between concepts of creation and creativity; and (...) ideas of tradition, metaphor, genius, imagination and genre. This is an important collection that will be eagerly sought by philosophers of art as well as theorists in art history, cinema studies and literary criticism. (shrink)

This paper is not merely an attempt to come to terms with Edward Schillebeeckx’s theology and his philosophical mindset. Such attempts have already been made years back, when his ties with phenomenology, and also with postmodern hermeneutics and culture were pivotal for us in order to better understand his influence on mid-20th century Continental philosophy. This present study partially remains on those premises, but also brings Schillebeeckx’s thought closer to the 21st century, since nowadays concepts like salvation and resurrection tend (...) to embed particular meanings, such as well-being and ancestrality, which until recently were considered halfway synonyms of the previous images, and thus were looked upon with less persuasion. This study follows their interchangeable use in Schillebeeckx’s doctrine of creation, where the purpose of the Christian creedal formula is to appease in a tribal sense, rather than to fun­ction as a confession of faith. On the other hand, Schillebeeckx’s take on the resurrection as a means to reconnect humanity to its ancestral faith will further be inspected as the starting point of his rehabilitated anthropology or the humanum. The initial discussion on the relationship between God and Jesus in the history of salvation finalized with Jesus’ death receives a new turn in Schillebeeckx’s thought when in this same context he talks about the resurrection. Jesus’ status after the resurrection is analyzed here considering the tribal flavors it receives in Schillebeeckx’s work with an accent on its outcome for the new humanity and its well-being. (shrink)

Under the symbol of Dionysus, god of annihilation, metamorphosis, tragedy, Nietzsche succeeded in fusing elements of the mythological with a new philosophical world view culminating in an anti-ethic «beyond good and evil». «Dionysian Aesthetics» delves into the three periods of Nietzsche's productivity, systematically analyzing the relationships between major works and adhering closely to Nietzsche's «Werdegang». The focus for an understanding of the aesthetic is shifted from «Die Geburt der Tragödie» to the late works of the philo- sophical-Dionysus period.

This article explores the extent to which the I‐You relation should be applied to domains other than the human and the divine focusing particularly on artifacts and technology. Drawing first on the work of Martin Buber, Gabriel Marcel, and Martin Heidegger, I contend that the I‐You tradition has maintained I‐You relations with objects are possible even when these same figures level strong critiques of the I‐It relation. I extend these discussions and argue that some kind of You‐speaking for artifacts (...) is needed to combat rampant consumption and reduction of the world to pure utility. But, I equally suggest that there are limitations to applying the I‐You relation to artifacts precisely when doing so keeps us from having genuine relationships with other people as outlined by psychologist Sherry Turkle. Finally, I outline how this proposal impacts the doctrine of creation. In sum, it expands our intuitions of what is included in that doctrine creation. (shrink)

This paper investigates how participants in cross-functional project groups use a formal work method in their sense making when dealing with the complexity of innovative work, especially in its inventive phase. The empirical basis of the paper is a prospective case study in which three project groups in three different companies are followed as they try to frame and solve their innovation tasks consisting in problems of a relatively general and vague character. The data are analyzed by means (...) of a modified version of the principles of grounded theory. This means that the lessons drawn from the empirical data are guided by a relational sense making perspective in which the formal method used by the participants is seen as a technological artifact. Among the lessons learned by using this frame of reference are that a formal method may be seen as an entity with a meaning depending on the relations it is embedded in; as an enacted cue for interpretation and action; and as a non-human actor. Compared to the tradition of organizational development, these lessons represent an alternative conception of the implementation of a work method and illuminate prevailing notions about the importance of improvisation in innovation. (shrink)

This article is in three parts. Part I gives an account of Erwin Schrödinger's growing up and studies in Vienna, his scientific work—first in Vienna from 1911 to 1920, then in Zurich from 1920 to 1925—on the dielectric properties of matter, atmospheric electricity and radioactivity, general relativity, color theory and physiological optics, and on kinetic theory and statistical mechanics. Part II deals with the creation of the theory of wave mechanics by Schrödinger in Zurich during the early months (...) of 1926; he laid the foundations of this theory in his first two communications toAnnalen der Physik. Part III deals with the early applications of wave mechanics to atomic problems—including the demonstration of equivalence of wave mechanics with the quantum mechanics of Born, Heisenberg, and Jordan, and that of Dirac—by Schrödinger himself and others. The new theory was immediately accepted by the scientific community. (shrink)

Recent work on the evolution of signaling systems provides a novel way of thinking about genetic information, where information is passed between genes in a regulatory network. I use examples from evolutionary developmental biology to show how information can be created in these networks and how it can be reused to produce rapid phenotypic change.

In several papers, Petr Koťátko defends an “ontologically modest account of fictional characters”. Consider a position (which I have been defending) that is anything but ontologically restrained: positing fictional characters like Andrei Bolkonsky in War and Peace as abstract artifacts. I will argue, first, that such a position turns out to offer a nice fit with Petr Koťátko’s proposal about narrative fiction, one that fares better than an alternative pretense-based theory that doesn’t posit Bolkonsky as existing in any sense. Second, (...) I will explore a recent challenge by Jeffrey Goodman—which I will call the inadvertent creation challenge—that is originally posed for those who hold that fictional characters and mythical objects alike are abstract artifacts. The crux of the challenge is this: if we think that astronomers like Le Verrier, in mistakenly hypothesizing the planet Vulcan, inadvertently create an abstract artifact, then the inadvertent creation” element turns out to be inescapable yet theoretically unattractive. Third, based on considerations about actually existing concrete objects being featured in fictional works (as Napoleon is in War and Peace), I argue that regardless of where one stands on mythical objects, admitting fictional characters as abstract artifacts is enough to give rise to the inadvertent creation challenge; yet this very set of considerations serves to undermine the challenge, indicating that inadvertent creation is not nearly as worrisome after all as Goodman is suggesting. Taking fictional characters (and mythical objects) to be abstract artifacts therefore remains a viable option. -/- . (shrink)

Peter Zumthor est aujourd’hui considéré comme « l’architecte des atmosphères ». De ce fait, son œuvre est souvent rapprochée des théorisations de la notion d’atmosphère issues de la phénoménologie allemande. L’article vise à ressaisir la singularité de la problématique de l’atmosphère chez Zumthor (liens à la théorie du projet et à la production architecturale, aux notions centrales d’image et d’histoire), ainsi qu’à revenir sur les sources de ce concept chez Aldo Rossi, cela afin de comprendre de manière synthétique la nécessité, (...) le sens et les évolutions du recours à l’atmosphère dans cette manière de penser en architecture. (shrink)

Social work is a contested tradition, torn between the demands of social governance and autonomy. Today, this struggle is reflected in the division between the dominant, neoliberal agenda of service provision and the resistance offered by various critical perspectives employed by disparate groups of practitioners serving diverse communities. Critical social work challenges oppressive conditions and discourses, in addition to addressing their consequences in individuals’ lives. However, very few recent critical theorists informing critical social work have advocated revolution. (...) A challenging exception can be found in the work of Cornelius Castoriadis (1922–97), whose explication of ontological underdetermination and creation evades the pitfalls of both structural determinism and post-structural relativism, enabling an understanding of society as the contested creation of collective imaginaries in action and a politics of radical transformation. On this basis, we argue that Castoriadis’s radical-democratic revisioning of revolutionary praxis can help in reimagining critical social work’s emancipatory potential. (shrink)

Science, technology, commerce and consumerism have set humankind on a trajectory towards a catastrophe of inestimable proportions. To respond appropriately to this danger, theology must replace obsolete contextualisations of its message with currently relevant ones. ‘Creation out of nothing’ is a case in point. Will God create a new and perfect world ‘out of nothing’ after we have messed up the one we have? Probably not! In Part I, I show that ‘creation out of nothing’ is not a (...) relevant issue in the biblical tradition. In Part II, I argue that the concept is based on the unsupported metaphysical postulate of ‘divine perfection’. In Part III, I try to find an equivalent for the concept in science that theology could link up with. ‘Creation’ can be equated with a cosmic evolution proceeding in levels of emergence. But ‘out of nothing’ cannot be supported by science. Even at the most fundamental level, energy and the way it operates, are presupposed. At lower levels, the process is guided by causality and (embedded) contingency. Intentionality and agency only appear at the personal and social levels. Dealing with existential needs, faith (appropriately) intuits a personal transcendent Source and Destiny of reality, but (inappropriately) absolutizes the personal at the expense of the impersonal aspects of reality. The laws of nature are also of God; they are essential; they are valid. They leave sufficient space for novelty and agency, but God works as much through regularity as through contingency. Contribution: The dynamic nature of the biblical tradition demands constant re-contextualisations of its central message. ‘Creation out of nothing’ is part of the contextualisation of the message into the ancient Hellenistic worldview, which does not fit into the modern scientific worldview and must be replaced with a contemporarily more appropriate alternative. (shrink)

One of the most important and most frequently discussed theological problems related to cosmology is the creation problem. Unfortunately, it is usually considered in a context of a rather simplistic understanding of the initial singularity (often referred to as the Big Bang). This review of the initial singularity problem considers its evolution in twentieth‐century cosmology and develops methodological rules of its theological (and philosophical) interpretations. The recent work on the “noncommutative structure of singularities” suggests that on the fundamental (...) level (below the Planck's scale) the concepts of space, time, and localization are meaningless and that there is no distinction between singular and nonsingular states of the universe. In spite of the fact that at this level there is no time, one can meaningfully speak about dynamics, albeit in a generalized sense. Space, time, and singularities appear only in the transition process to the macroscopic physics. This idea, explored here in more detail, clearly favors an atemporal understanding of creation. (shrink)

Philosophy & Social Criticism, Volume 48, Issue 6, Page 813-832, July 2022. Ricoeur interpreted the work of compromise as a creative process to imagine a new world by projecting ourselves into other people. The challenge of compromise is to learn to tell our own story differently within the contours of a broader collective narrative, in compliance with the paradigm of translation. As such, Ricoeur’s political ethics of compromise is at risk of highlighting the element of creation, which refers (...) to the social imagination of a shared vision of a better society, at the cost of recognition of the element of renunciation, which refers to the reciprocal shelving of ideas and desires that the other side considers to be truly intolerable. However, I argue that we can read a delicate connection between forgetting, forgoing and forgiving in Ricoeur’s thought. It is, then, the model of forgiveness, as part of the paradigm of translation, that gives due respect to the importance of renunciation through the emphasis on the unjustifiable, for which renunciation even cannot suffice. The ‘poetics of pardon’ brings creation and renunciation together and, by doing so, it highlights that compromise always remains an object of hope. (shrink)

The renewal of the concept of continuous creation follows two steps: (1) an establishment of the concept of novelty in an exercise of philosophy of nature, as a means of interpreting the scientific discourse concerning the evolution of life; (2) starting out from philosophical and theological critiques and from the concept of novelty, this work proposes a reformulation of the concept of continuous creation in its dynamic perspective. If the universe of possibilities of creation proceeds from (...) the Divine Word by the will of the Father, as the first timeless ex nihilo creative moment, the Holy Spirit allows, in a second creative moment, the universe of possibilities to proceed continuously through a creative partnership in which all creatures are involved. Created novelty is the expression of a procession of one possibility among others, which has been selected by creatures during the evolutionary process, due to the interdependence of constitutive interactions and the propensities in which creatures are situated. (shrink)

Many scholars in religious ethics and political theory read Augustine's emphasis on pride as tied to a pessimism about politics and human nature as well as a neutralist vision of politics. Against these views, this essay argues that Augustine's vision of political humility is at once tied to a thick, non‐neutralist vision of the good and a limited view of politics' role in achieving this good on its own. To make this argument, I compare Augustine's largely neglected commentary on Genesis (...) with that of Hobbes, a political pessimist with whom Augustine is often compared. While Hobbes's political combatting of pride adheres to a vision of mere “preservation,” Augustine's instead entails a vision of “re‐creation.” Political re‐creation is aspirational, participating in a re‐instantiation of creation's order, but it is also limited, since (re‐)creation is ultimately the work of God. (shrink)

Resumen: El piano, de origen europeo, es la cristalización de la civilización musical occidental y es conocido como el rey de los instrumentos musicales. Después de cientos de años de desarrollo, ha desarrollado un sistema relativamente completo de creación, interpretación y enseñanza. En este proceso, se puede ver que hay muchas obras de música para piano con el estilo y el encanto únicos del pensamiento tradicional chino, utilizando el método de la música folclórica china y la melodía con características chinas. (...) La combinación de pensamientos tradicionales y piano demuestra el encanto único de la música china, con una fuerte herencia cultural y atractivo artístico. Por lo tanto, las obras de música para piano infiltradas en el pensamiento tradicional chino no son sólo un tesoro de China, sino también un elemento indispensable en la interpretación y educación del piano chino. El propósito de este artículo es comprender y reflexionar profundamente sobre las obras de música para piano en la cultura tradicional china, explorar la singularidad y el encanto de las obras de música para piano chinas y comprender la encarnación de los pensamientos tradicionales chinos en la creación de música para piano, explorando así la singularidad y la innovación. de la creación de música para piano china, proporcionando referencia y apoyo para promover el desarrollo de las obras de música para piano china. (shrink)

The concept of work engagement has existed in business and psychology literature for some time. There is a significant body of research that positively correlates work engagement with organizational outcomes. To date, the interest in the work engagement of nurses has primarily been related to these organizational outcomes. However, the value of work engagement in nursing practice is not only an issue of organizational interest, but of ethical interest. The dialogue on work engagement in nursing (...) must expand to include the ethical importance of engagement. The relational nature of work engagement and the multiple levels of influence on nurses’ work engagement make a relational ethics approach to work engagement in nursing appropriate and necessary. Within a relational ethics perspective, it is evident that work engagement enables nurses to have meaningful relationships in their work and subsequently deliver ethical care. In this article, I argue that work engagement is essential for ethical nursing practice. If engagement is essential for ethical nursing practice, the environmental and organizational factors that influence work engagement must be closely examined to pursue the creation of moral communities within healthcare environments. (shrink)

This chapter contains sections titled: Initial Reservations Coming to Be and Being Self‐Sustenance Conservation Principles and Secondary Causes Divine Intervention Works cited.

Appearing in English for the first time, Jean-Luc Nancy’s 2002 book reflects on globalization and its impact on our being-in-the-world. Developing a contrast in the French language between two terms that are usually synonymous, or that are used interchangeably, namely globalisation (globalization) and mondialisation (world-forming), Nancy undertakes a rethinking of what “world-forming” might mean. At stake in this distinction is for him nothing less than two possible destinies of our humanity, and of our time. On the one hand, with globalization, (...) there is the uniformity produced by a global economical and technological logic leading to the contrary of an inhabitable world, “the un-world” (l’im-monde)—as Nancy refers to it—an un-world that entails social disintegration, misery, and injustice. And, on the other hand, there is the possibility of an authentic world-forming, that is, of a making of the world and of a making sense that Nancy calls a “creation” of the world. Nancy understands such world-forming in terms of an inexhaustible struggle for justice. This book is an important contribution by Nancy to a philosophical reflection on the phenomenon of globalization and a further development on his earlier works on our being-in-common, justice, and a-theological existence. (shrink)

ABSTRACT Could public education as a cultural institution promote the commonwealth? This paper argues proper education enfranchises the young through proper relationships to place, past and present, culture and creation, life, and work. Wendell Berry is the principal guide and standard in describing and considering proper relationships in the commonwealth and their consequences. Other major authors include Wes Jackson, Gustavo Esteva, Vine Deloria, Alan Watts, Matthew Crawford, Roger Scruton, Nablan and Trimble, Alison Gopnik. Proper relationships, defined essentially in (...) terms of proper scale, play, and learning, preserve the means of co-creation between human culture and creation. They are measured by health, durability, beauty, harmony, resilience, fecundity, and wellbeing. (shrink)

The visual creativity of famous Russian ballerina Anna Pavlova is studied in the article within the context of the synthetic approach to working on stage roles. There are data on Anna Pavlova that have not been included in existing publications concerning her artistic, mainly sculptural experiments. This information provides understanding of not only professional tasks that the ballerina has set, but of the tools through which these tasks have been dealt with in a gradual process of formation of plastic dance (...) images. At the same time, the data reflect the very essence of her unordinary poetically-plastic talent. The author systemizes and analyzes extant sculptural and graphic works created by the ballet dancer that are scattered on various, mostly private collections and often known only by copies. There are rare documentary material and sources confirming the basic conclusions of the article. The main purpose of the article is to reveal visually depictive aspects of the formation of the stage means of А. Pavlova, which have played important role in her art, to trace way to the mastery of the concrete stage subjects, which go through the mastery of plastic material. Accentuation of the synthetic sense of A. Pavlova’s heritage is determined by the fact that her sculpture has focused or refracted the dance. After mastering academic construction of form, ballerina filled it with new content provided not only by her fantasy, but also by detailed study of the phenomena of nature, plastic of organic forms. It is possible to say with confidence that the fixed image could serve as the excellent model of the study of the motives of stage behavior and dynamic manifestations of her personality in choreography. It is obvious that the study of the artistic style of A. Pavlova reveals not only her plastic uniqueness, but also the mysterious aspiration of the skill of ballerina to the embodiment of her romantic searching in the dance. (shrink)

In this article, I explore Aquinas’s account of divine creative activities as a type of efficient causation. I propose that Aquinas’s works hold a framework for understanding God as an efficient cause and creating as an act of divine efficient causation that makes explicit what Aquinas views to be implicit in Aristotle’s account of efficient causation. I explore Aristotelian efficient causation in depth, offering a detailed analysis of the components of Aristotelian efficient causation. After this exploration, it is necessary to (...) address what reasons Aquinas has for viewing creation as efficient causation. I explore Aquinas’s understanding of creation and relate it to Aristotle’s analysis of efficient causation, analyzing how, precisely, Aquinas’s conception of efficient causation—which includes change, creation, and conservation—aligns with Aristotle’s. Because Aquinas’s account is derivable directly from elements in Aristotle’s account, Aquinas’s account can be understood to be implied by Aristotle’s account. (shrink)

La production et la diffusion des résultats scientifiques soulèvent un certain nombre de questions juridiques. L’activité scientifique est en effet, en bonne part, une activité de création, donnant naissance à des œuvres au sens du Code de la propriété intellectuelle. Le chercheur est aussi et souvent un auteur dans l’accomplissement de sa tâche. En France, comme dans un certain nombre d’autres États, la recherche est pour l’essentiel du côté du secteur public, dont les personnels relèvent, en général, du statut de (...) la fonction publique, et la production dans ce cadre doit articuler liberté de créer du chercheur et intérêt public. La reconnaissance des droits des chercheurs sur la création scientifique se heurte à certaines difficultés, dont un bon nombre se concentrent sur les questions de paternité. Le mode collectif sur lequel se réalise la création scientifique rend encore plus ardue la détermination de la qualité d’auteur. Les nouveaux modes de production de la connaissance sur les réseaux Internet s’accommodent mal des différents schémas de création collective. Comment qualifier une œuvre initiée par une personne, volontairement versée dans l’espace public pour être discutée, poursuivie et transformée par d’autres ? La question du statut de la création rejoint ici celui de son mode de diffusion.The production and dissemination of scientific results raise a number of legal questions. Scientific activity is in fact, and largely, a creative activity that produces « works » as defined in the Intellectual Property Code. Researchers are often also authors in the performance of their tasks. In France, as in a number of other countries, research is essentially a public sector activity employing staff who are usually civil servants and whose output needs to reconcile the freedom to perform creative research with the public interest. The recognition of researchers’ rights in creative scientific work comes up against a number of difficulties, many of which have to do with paternity issues. The collective nature of creative scientific work makes authorship all the harder to determine. The new methods of knowledge production through the Internet do not fit easily into the various provisions covering collective creation. What description can be given to a work initiated by one person, deliberately handed over into the public sphere for discussion, then continued and transformed by other people? In this context, the question of creative authorship is closely tied to the issue of science dissemination. (shrink)

Cosmological narratives like the creation story in the book of Genesis or the modern Big Bang are popularly understood to be descriptions of how the universe was created. However, cosmologies also say a great deal more. Indeed, the majority of cosmologies, ancient and modern, explore not simply how the world was made but how humans relate to their surrounding environment and the often thin line which separates humans from gods and animals. Combining approaches from classical studies, anthropology, and philosophy, (...) this book studies three competing cosmologies of the early Greek world: Hesiod's Theogony; the Orphic Derveni theogony; and Protagoras' creation myth in Plato's eponymous dialogue. Although all three cosmologies are part of a single mythic tradition and feature a number of similar events and characters, Olaf Almqvist argues they offer very different answers to an ongoing debate on what it is to be human. Engaging closely with the ontological turn in anthropology and in particular with the work of Philippe Descola, this book outlines three key sets of ontological assumptions - analogism, pantheism, and naturalism - found in early Greek literature and explores how these competing ontological assumptions result in contrasting attitudes to rituals such as prayer and sacrifice. (shrink)

The philosophical “problem of evil” goes back at least as far as Epicurus and has remained a powerful argument against the existence of God in contemporary philosophy. The argument is rooted in apparent contradictions between God’s divine attributes and various conditions of human existence. But these contradictions arise only given certain assumptions of what we should expect both God and the world to be like given God’s existence. In this paper, I argue that we can utilize the work of (...) the 20th century French philosopher Simone Weil to craft a coherent metaphysical picture of God, creation, and suffering which rejects these common assumptions. Further, I contend that this picture very plausibly follows from commonly-accepted tenets of traditional monotheism. Given this, I argue that this Weil-inspired framework provides serious reasons for reframing the problem of evil and its corresponding theodicies by presenting a radically different view of how God must relate to creation. Yet, this picture does not necessarily vindicate the theist. I argue that this picture may leave us with a new question about creation in the face of evil. Namely, is it possible to understand God’s initial creative act as Weil describes it—as an act of love? (shrink)

A distinction between basic archetypes of urban form was made by Bruno Fortier: the accumulation city as opposed to the creation city. These archetypes derive from archaeology - being based on the Roman and the Egyptian city - but are interpreted as morphological paradigms, as a set of assumptions and underpinnings determining spatial planning and design. The creation city is described as expression of modernity - the paradigmatic origins of which can be traced back to Descartes’ ideas on (...) the city - analysed as an ontology of destruction, among other things. A conceptual framework connecting the creation city to modernity is presented by interpreting Fortier’s archetypes through the anthropological work of W.T. Jones. Influenced by postmodern cultural analysis and architectural discourse, the paradigmatic importance of the accumulation city seems to increase. It is argued that interest in the accumulation city is related to a discord which is characteristic of modernity but which seems to be denied by the urbanistic modernism of the 20th century. Methodologically, we argue that modernism should be seen as part of a post-paradigmatic phase of modernity rather than as an expression of modernity at its zenith. It is argued that the discord of modernism should not lead to a discussion of modernism and postmodernism as contrary paradigms, but that the understanding of the city oscillates dialectically between these two paradigms. (shrink)

There is a long-standing discussion on the positive interactions between enterprise value creation and business competitiveness. The corporate value can be seen as being created from three major sources within the cycle - from employees, from processes, and from customers or investors through reinvestment. To achieve competitive advantages, a firm must create more value than its competitors in the industry. Emphasizing that, firms should explore the positive drivers of customer value creation, allowing for a true value creation (...) that will lead to increments in competitiveness. In reality, however, there are also barriers that hinder customer value creation. Targeting the above issues that have not yet been explored or analyzed, we have collected related literature at the first stage. Based on these presumable assumptions, this paper then conducts an empirical study by surveying and analyzing the relevance given by the investigated leading machinery measuring equipment firms in Taiwan, regarding the concerns as drivers and barriers in relation to customer value creation. This paper expecially aims to answer several key questions: What drivers revolving around employees and processes can facilitate the organization to create more value for its customers? Conversely, what barriers block the organization from creating value for customers in examining the same dimensions? Does value creation direct an organization's profitability and competitiveness? Our questionnaire survey results show that the most recognized and agreed drivers of customer value creation in consideration of employees are "distinctive skills", "personal experience", "learning and training", and "team work"; and, in regard to the firm's processes, the key drivers are "innovation and evolution", "R&D capability", and "capability for differentiation". Conversely, the most recognized and agreed barriers to customer value creation in relation to employees are a "distrustful environment" and "inadequate knowledge"; and, in terms of processes, they are "short of core technology", "poor resource support", and "bad services and attitudes". Furthermore, our in-depth interview outcomes reveal that "capital sufficiency" and "mergers and acquisitions" are in practice considered to be other important customer value creation drivers; in contrast, "cultural and structural barriers" and "short of mechanisms to measure customer value creation effectively" are viewed as additional critical barriers to customer value creation. (shrink)