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Books on the topic 'Expression of creativity'

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Published: 4 June 2021
Last updated: 10 February 2022

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1

Cultural expression, creativity and innovation. Los Angeles: SAGE, 2010.

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2

Banned expression: Stifling creativity and dissent in Tibet. Dharamsala: Tibetan Centre for Human Rights and Democracy, 2013.

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3

Friesen, Eugene. Improvisation for classical musicians: Strategies for creativity and expression. Boston, MA, USA: Berklee Press, 2012.

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4

Bright, Susie. Full exposure: Opening up to sexual creativity and erotic expression. San Francisco: HarperSanFrancisco, 1999.

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5

Detskoto tvorchestvo : samobitnost i sŭotvetnost: Child creativity : originality and self expression. Sofii︠a︡: Sv. Kliment Okhridski, 2009.

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6

Detskoto tvorchestvo : samobitnost i sŭotvetnost: Child creativity : originality and self expression. Sofii︠a︡: Sv. Kliment Okhridski, 2009.

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7

The art of abstract painting: A guide to creativity and free expression. Tunbridge Wells: Search Press, 2009.

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8

Boston, Mass ). International Congress of Psychopathology of Expression (2000. Developmental aspects of creativity: Proceedings of the ASPE International Congress of Psychopathology of Expression 2000, Boston, Massachusetts. Brookline, MA: American Society of Psychopathology of Expression, 2001.

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9

Individuality, self-expression & other keys to creativity: Using the four conditions of self-esteem in elementary and middle schools. Santa Cruz, Calif: ETR Associates, 1992.

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10

Hinkley, Coralie. Innovisions: Expressions of creativity in dance. Nedlands, W.A: University of Western Australia Press, 1990.

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11

The map of your mind: Journeys into creative expression. Toronto: M&S, 2001.

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12

Pisarska, Alicja. Creativity of translators: The translation of metaphorical expressions in non-literary texts. Poznań: Uniwersytet im. Adama Mickiewicza w Poznaniu, 1989.

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13

University of British Columbia. Museum of Anthropology. --Investigating, preserving and presenting objects and expressions of humam creativity. Edited by Webb Jennifer and McLennan Bill. Vancouver: Museum of Anthropology, University of British Columbia, 1999.

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14

Harchenko, Vera. The Poetry Of Nicholas Perovskogo. ru: INFRA-M Academic Publishing LLC., 2020. http://dx.doi.org/10.12737/1064942.

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The focus of the author are the characteristics of creativity of the poet Nikolai Perovsky (1934-2007), which are considered in the triad: poetry-line verse in the whole creative process. Examines the richness of its vocabulary, the language of emotions, perception and many other components of style. Emphasizes asiaturkey and cultural mission of poetry. The question is raised about the inclusion of fragments of poetry N. Perovsky in different dictionaries. The result of the analysis is the annotated list of achievements of the poet. For specialists in the language of artistic expression, as well as for writers, journalists, culturologists.
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15

Fox, John. Finding what you didn't lose: Expressing your truth and creativity through poem-making. New York: Putnam, 1995.

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16

The feelings book: Expressing emotions creatively : a guide for children and grownups. Evergreen, Colo: Cordillera Press, 1988.

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17

Cultural Expression, Creativity and Innovation Cultural expression, creativity and innovation. 1 Oliver's Yard, 55 City Road, London EC1Y 1SP United Kingdom: SAGE Publications Ltd, 2010. http://dx.doi.org/10.4135/9781446251010.

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18

Freed, Ph D. Jennifer. Creative Expression: Creativity and Self Exploration. Lulu.com, 2007.

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19

author, Tomal Daniel R., Rajan Rekha S. author, and National Association for Music Education, eds. Songwriting: Strategies for musical self-expression and creativity. Rowman & Littlefield Publishers, Incorporated, 2017.

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20

Tomal, Daniel R., Jim Peterik, Rekha S. Rajan, and Christian V. Hauser. Songwriting: Strategies for Musical Self-Expression and Creativity. Rowman & Littlefield Publishers, Incorporated, 2017.

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21

The Fruits of Labour: Creativity, Self-Expression and Motherhood. Women's Press, 2001.

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22

Driscoll, Scott, Guy Hoffman, Gil Weinberg, and Mason Bretan. Robotic Musicianship: Embodied Artificial Creativity and Mechatronic Musical Expression. Springer, 2020.

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23

The fruits of labour: Creativity, self-expression and motherhood. London: Women's, 2001.

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24

Bright, Susie. Full Exposure: Opening Up to Sexual Creativity and Erotic Expression. HarperOne, 2000.

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25

Jarow, Rick. Opening to Shakti: Practices for Creativity, Self-Expression, and Freedom. Sounds True, 2000.

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26

Expresion y creatividad en preescolar / Expression and Creativity in Preschool. Editorial Limusa S.A. De C.V., 2001.

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27

Bright, Susie. Full Exposure: Opening Up to Sexual Creativity and Erotic Expression. HarperOne, 2000.

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28

Robert, Kelly, and Leggo Carleton Derek 1953-, eds. Creative expression, creative education: Creativity as a primary rationale for education. Calgary: Detselig Enterprises, 2008.

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29

Freedom of Expression (R): Overzealous Copyright Bozos and Other Enemies of Creativity. Doubleday, 2005.

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30

Rothermel, MLS Barbara. Lynchburg College Symposium Readings Vol III Shaping Truth: Culture, Expression and Creativity. Xlibris Corporation, 2005.

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31

Lynchburg College Symposium Readings Vol III Shaping Truth: Culture, Expression and Creativity. Xlibris Corporation, 2005.

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32

500 kids art ideas: Inspiring projects for fostering creativity and self-expression. 2015.

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33

Imagination in action: Secrets for unleashing creative expression. Shambhala, 2015.

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34

Rajner, Mirjam. The Orient in Jewish Artistic Creativity. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190912628.003.0008.

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This chapter examines the “Oriental” theme and self-Orientalization among Jewish artists such as Samuel Hirszenberg and Leopold Pilichowski. In postcolonial discourse, the Western imagining of the Orient is often understood as being part of a pejorative and politically charged ideology known as Orientalism. More recently, the art-historical approach has revealed that Orientalist art does not only comprise works that reflect a Western or European construction of the “other,” but also the Oriental response to Western culture and modernization. The chapter considers the “Oriental” works of Maurycy Gottlieb as an expression of an emerging alignment of Jewish artists with modernism and universalism. It also discusses the 1873 World Exhibition in Vienna and Gottlieb’s encounter with the Orient before concluding with the argument that the unexpected, imaginative abandonment and self-fashioning by Jewish artists as non-European “others” might be a Jewish version of European Orientalism, which found expression in the art of Gottlieb.
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35

Isar, Yudhishthir Raj, and Helmut K. Anheier. BUNDLE : Cultures and Globalization : Conflicts and Tensions/ the Cultural Economy/ Cultural Expression, Creativity and Innovation/ Heritage, : Cultures and Globalization: Conflicts and Tensions/ the Cultural Economy/ Cultural Expression, Creativity and Innovation/ Heritage,. SAGE Publications, Limited, 2012.

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36

Glăveanu, Vlad. Creativity: A Very Short Introduction. Oxford University Press, 2021. http://dx.doi.org/10.1093/actrade/9780198842996.001.0001.

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Creativity: A Very Short Introduction explores the history, theory, and practice of creativity from a psychological perspective. For thousands of years humanity has engaged in creative expression, allowing us to relate to other people, build an identity, and give meaning to our existence. From the painted caves in Lascaux and the invention of the first tools to modern day advertising campaigns and inventors’ labs, creativity has a long past. This VSI discusses how one can understand creative people and their creations within the social, material, and historical context that made them possible. It addresses the meaning and value of creativity beyond its contribution to economic growth and personal well-being.
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37

Expressing Creativity in Preschool. The National Association for the Education of Young Children, 2015.

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38

Hasan-Rokem, Galit. Jewish Folklore and Ethnography. Edited by Martin Goodman. Oxford University Press, 2009. http://dx.doi.org/10.1093/oxfordhb/9780199280322.013.0038.

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This article describes folklore as a unique form of cultural creativity and expression and discusses Jewish folklore through the ages and the scholarship of Jewish folklore. Folklore is a form of creativity and expression that exists in all the cultures we know. It is characterized by its qualities of collectivity and tradition, by its oral mode of expression, and usually by anonymity. Folklore is created and transmitted among individuals and groups through all the audio-visual interpersonal channels of communication. The discussion offers remarks on the field of folkloristics, to facilitate the application of accepted general terminology to the survey of Jewish folklore. The collective aspect of folklore is expressed both in the immediate interaction established between performer and audience, and in the concept of authority and ownership of the work, that is considered as belonging to the group and not an individual.
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39

Saussy, Haun. Introduction. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198812531.003.0001.

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We commonly understand by “translation” the creation, in one language, of an expression that will be the equivalent of a pre-existing expression in another language. But much happens in actual translating, especially literary translation, that is not covered by that definition. For example, calques and transliterations import expressions from one language to another; and translators often allude to elements of the cultural background of the target language, thus artificially creating a context for the translated text. The intent of this book is to scrutinize such aspects of translation and to consider them as normal and central to the translating process, not exceptional or marginal. Indeed, they are a mark of the creativity of translators. These features also remind us of the internal diversity of languages, which are always in contact and always in a process of change.
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40

Jennings, Maureen. Map of Your Mind: Journeys into Creative Expression. Diane Pub Co, 2001.

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41

Hinkley, Coralie. Innovisions: Expressions of Creativity in Dance. International Specialized Book Services, 1990.

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42

Hinkley, Coralie. Innovisions: Expressions of Creativity in Dance. Players Pr, 1991.

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43

Jennings, Maureen. The Map of Your Mind: Journeys into Creative Expression. McClelland & Stewart, 2001.

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44

Burnard, Pamela, Valerie Ross, Laura Hassler, and Lis Murphy. Translating Intercultural Creativities in Community Music. Edited by Brydie-Leigh Bartleet and Lee Higgins. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190219505.013.6.

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The term ‘intercultural’ (as in ‘intercultural creativity’) acknowledges the complexity of locations, identities, and modes of expression in a global world, and the desire to raise awareness, foster intercultural dialogue, and facilitate understanding across and between cultures. In a globalized world faced with unprecedented challenges, intercultural communication and dialogue is considered key to facilitating possibilities that, previously, might not have been available to us. In this chapter, we identify how intercultural creativity can be recognized and evaluated in the practice of community musicians. The notion of ‘translation’ is related to the interrogation, not only of what intercultural creativity is, but also how it is experienced. This chapter features the work of Netherlands-based Musicians without Borders and UK-based Music Action International, and the voice of a Malaysia-based composer working in an intercultural environment. We examine collaboration between diverse communities and musicians. The chapter concludes with implications for educating and developing the community musician.
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45

Expressing New Mexico: Nuevomexicano Creativity, Ritual, and Memory. University of Arizona Press, 2007.

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46

Expressing New Mexico: Nuevomexicano creativity, ritual, and memory. Tucson: University of Arizona Press, 2007.

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47

Brown, Andrew R. Algorithms and Computation in Music Education. Edited by Roger T. Dean and Alex McLean. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190226992.013.17.

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The chapter discusses how bringing music and computation together in the curriculum offers socially grounded contexts for the learning of digital expression and creativity. It explores how algorithms codify cultural knowledge, how programming can assist students in understanding and manipulating cultural norms, and how these can play a part in developing a student’s musicianship. In order to highlight how computational thinking extends music education and builds on interdisciplinary links, the chapter canvasses the challenges, and solutions, involved in learning through algorithmic music. Practical examples from informal and school-based educational contexts are included to illustrate how algorithmic music has been successfully integrated with established and emerging pedagogical approaches.
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48

Beaney, Michael. Analytic Philosophy: A Very Short introduction. Oxford University Press, 2017. http://dx.doi.org/10.1093/actrade/9780198778028.001.0001.

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Analytic Philosophy: A Very Short Introduction introduces some of the key ideas of the founders of analytic philosophy—Gottlob Frege, Bertrand Russell, G. E. Moore, Ludwig Wittgenstein, and Susan Stebbing around the turn of the 20th century—by exploring certain fundamental philosophical questions and showing how those ideas can be used in offering answers. Considering the work of Susan Stebbing, it also explores the application of analytic philosophy to critical thinking, and emphasizes the conceptual creativity that lies at the heart of fruitful analysis. Throughout, this VSI illustrates why clarity of thinking, precision of expression, and rigour of argumentation are rightly seen as virtues of analytic philosophy.
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49

Jacques, Sabine. The Parody Exception in Copyright Law. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198806936.001.0001.

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Parodies have been created throughout times and cultures. A glimpse at the judicial latitude generally afforded to parodies, satires, caricatures, and pastiches demonstrates the social and cultural value of this particular form of artistic expression. With the advent of technologies and the evolution of copyright legislation, creative endeavours in the form of parody were rejuvenated but became unlawful. While copyright law grants exclusive rights to right-holders, these rights are not absolute. Legislation includes specific exceptions, which preclude right-holders from exercising their prerogatives in particular cases which foster creativity and cultural diversity within that society. The parody exception pertains to this ultimate objective by permitting users to reproduce copyright-protected materials for the purpose of parody. To understand the meaning and scope of the parody exception, this book examines and compares five jurisdictions which differ in their protection of parodies: France, Australia, Canada, the United States, and the United Kingdom. It is concerned with finding an appropriate balance between the protection awarded to right-holders and the public interest. This is achieved by analysing the parody exception to the economic rights of right-holders, the preservation of moral rights, and the interaction of the parody exception with contract law. As parodies constitute an artistic expression protected under the right to freedom of expression, this book also considers the influence of freedom of expression on the interpretation of this specific copyright exception. Furthermore, this book aims at providing guidance on how to resolve disputes where fundamental rights are in conflict.
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50

H, Ballard Paul, Couture Pamela D. 1951-, and International Academy for Practical Theology., eds. Creativity, imagination and criticism: The expressive dimension in practical theology. Cardiff: Cardiff Academic Press, 2001.

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