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Auswahl der wissenschaftlichen Literatur zum Thema „Creative artefact with exegesis“
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Zeitschriftenartikel zum Thema "Creative artefact with exegesis"
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Arnold, Josie. „The PhD In Writing Accompanied By An Exegesis“. Journal of University Teaching and Learning Practice 2, Nr. 1 (01.01.2005): 39–53. http://dx.doi.org/10.53761/1.2.1.5.
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The position of this paper is to further the discussion on what constitutes academic assessment in the PhD by artefact and exegesis. In doing so, it explores some of the ideas that arose in setting up the PhD in creative writing at Swinburne University of Technology. Thus, I: • survey some of the questions that arise about the journeys made by the candidate, supervisor and examiner of the PhD in creative writing; • introduce discussion about what constitutes academic knowledge with particular reference to the PhD in writing at Swinburne University of Technology, Lilydale Campus; • bring to the fore multiple possibilities in understanding possible conceptualizations of legitimate scholarly, intellectual and cultural research; and • survey some ideas about research and/as creativity. In doing so, I provide the basis for discussion of the dynamic nature of research, and situate this discussion within the framework of assessment.
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BELL, C. „MISQUOTING FOUCAULT: PEREC AND CREATIVE EXEGESIS“. French Studies Bulletin 21, Nr. 75 (01.01.2000): 11–13. http://dx.doi.org/10.1093/frebul/21.75.11.
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Joosten, Jan. „Language, Exegesis, and Creative Writing in Chronicles“. Vetus Testamentum 70, Nr. 1 (20.01.2020): 55–66. http://dx.doi.org/10.1163/15685330-12341422.
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Abstract The verb התחפש is well-known in the meaning “to disguise oneself,” but this meaning does not seem to fit its context in 2 Chron 35:22. Why would Josiah disguise himself when going to battle with Necho? In this paper it will be argued that the verb was borrowed from the story on Micah ben Yimlah (1 Kgs 22:30) in the course of the Chronicler’s reshaping of Josiah in the image of Ahab, but that its semantics reflect a later interpretation of some elements in that story. The later interpretation is attested independently in the Peshitta and the Vulgate where התחפש is rendered as “to arm oneself.”
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Lyall, Mark. „Method emerging: a statement of poetics for a project-based PhD“. Qualitative Research Journal 14, Nr. 2 (08.07.2014): 134–49. http://dx.doi.org/10.1108/qrj-05-2013-0035.
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Purpose – The purpose of this paper is to give an account of the methods used for the author's project-based doctoral thesis, Hatred and History. The methodology is offered not as an exemplar, but rather as a case study of an integrated approach where exegesis and creative work are conceived as intertwining explorations of the same research materials. Design/methodology/approach – Hatred and History creatively explores the idea that science and intuition frame our experience of the world in distinct ways, and is expressed across an audio production and a written exegesis. The dyad of scientific and intuitive knowledge is embedded deeply within the production, from the initial choice of subject through the structuring and writing of the script to the techniques employed to write the music. This paper traces the transformation of the dyad from academic construct to creative construct, and should therefore be considered a statement of poetics. Findings – The creative exploration of science and intuition encouraged me to consider the “double articulation” of theory and practice, where poetics ceases to be merely a theory of rhetorical design and is assimilated into a theory of self-knowledge. Originality/value – This paper is offered in the hope that it will be of value to commencing PhD candidates in the creative arts who must navigate the waters between exegesis and creative output for themselves.
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Benevich, Grigory. „Maximus Confessor’s Interpretation of Abraham’s Hospitality in Genesis 18 and the Preceding Orthodox Tradition“. Scrinium 13, Nr. 1 (28.11.2017): 43–52. http://dx.doi.org/10.1163/18177565-00131p06.
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In Orthodox exegesis, there are two main interpretations of God’s theophany to Abraham in Gen 18: the three ‘men’ were either the pre-incarnate Christ and two angels, or, later, they were a type of the Trinity. This article deals with Maximus the Confessor’s exegesis of this passage. His interpretations are treated in the context of his teaching on love, his philosophical ideas and his mystical teaching. It shows that Maximus’ exegesis can be understood as a creative synthesis of the preceding Orthodox tradition’s two interpretations.
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Carey, Benjamin. „Artefact ‘Scripts’ and the Performer-Developer“. Leonardo 49, Nr. 1 (Februar 2016): 74–75. http://dx.doi.org/10.1162/leon_a_01117.
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This paper outlines the methodological and theoretical considerations encountered in the practice-based research of a performer-developer. Considering the relevance of self-reflective and autoethnographic methods for practice-based, creative-production research projects, the relationship between development and use of technological artefacts for musical performance is discussed with reference to relevant theory.
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Diamond, James A. „Isaac Arama’s “Nightmare:” Closing the Philosophical Exegetical Chapter Maimonides Opened“. European Journal of Jewish Studies 10, Nr. 2 (16.08.2016): 201–22. http://dx.doi.org/10.1163/1872471x-12341292.
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Isaac Arama (1420–1494), the most influential preacher in the generation of the expulsion from Spain, attempted a balance between what he considered a foreign Greek body of rational knowledge on the one hand, and a supra-rational revealed knowledge native to Judaism’s prophetic tradition on the other. This article focuses on an aspect of his creative exegesis and in particular his engagement with Maimonides that was powerful enough, in addition to other historical factors of course, to close the chapter on Jewish philosophical exegesis which Maimonides spearheaded. Often, his own exegesis is pointedly constructed to subvert Maimonides’ own exegesis and thus offer an alternative direction for biblical commentary that mediates between the rigor of philosophical reasoning, or the authority of the mind, and the existential faith commitment to revelation, or the authority of God.
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Gauntlett, David. „Using Creative Visual Research Methods to Understand Media Audiences“. MedienPädagogik: Zeitschrift für Theorie und Praxis der Medienbildung 9, Visuelle Methoden (29.03.2005): 1–32. http://dx.doi.org/10.21240/mpaed/09/2005.03.29.x.
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This article introduces an emerging area of qualitative media «audience» research, in which individuals are asked to produce media or visual material themselves, as a way of exploring their relationship with particular issues or dimensions of media. The process of making a creative visual artefact – as well as the artefact itself (which may be, for example, a video, drawing, collage, or imagined magazine cover) – offers a reflective entry-point into an exploration of individuals» relationships with media culture. This article sets out some of the origins, rationale and philosophy underlying this methodological approach; briefly discusses two example studies (one in which children made videos to consider their relationship with the environment, and one in which young people drew pictures of celebrities as part of an examination of their aspirations and identifications with stars); and finally considers some emerging issues for further development of this method.
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Williamson, H. G. M., B. Uffenheimer und H. Graf Reventlow. „Creative Biblical Exegesis. Christian and Jewish Hermeneutics through the Centuries“. Vetus Testamentum 40, Nr. 3 (Juli 1990): 377. http://dx.doi.org/10.2307/1519558.
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Nottingham, Paula, und Adesola Akinleye. „Professional artefacts: embodying ideas in work-based learning“. Higher Education, Skills and Work-based Learning 4, Nr. 1 (11.02.2014): 98–108. http://dx.doi.org/10.1108/heswbl-09-2012-0036.
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Purpose – The purpose of this paper is to present and examine the addition of a “professional artefact” to the course requirements for the BA Honours Professional Practice (BAPP) (Arts) programme at Middlesex University. Design/methodology/approach – This paper takes a case study approach using reflection, indicative theories and consideration of student work to evaluate the introduction of the “professional artefact” into the BAPP (Arts) curriculum. Following pragmatist and phenomenological descriptions of the lived experience as embodied (Dewey et al., 1989; Merleau-Ponty, 2002) and using learning models based on experience in the workplace (Boud and Garrick, 1999), the paper's methodology takes the work-based principle of “experience as knowledge” to examine the impact of the professional artefact on students learning. Findings – The professional artefact has proven to be a useful way for the learners on the course to reflect on the purpose of their own study and the ways in which work-based learning can be incorporated into their practice through embodied “ideas”. Practical implications – The paper suggests that the inclusion of a professional artefact to the curriculum provides a flexible means for bridging academic and workplace learning. The inclusion of the professional artefact could be recommended as a strategy for other work-based learning programmes. Originality/value – The added value for professional practice is that the professional artefact provides a flexible and creative means of communication for emerging and establishing workplace professionals.
Dissertationen zum Thema "Creative artefact with exegesis"
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Adédínà, Fémi A. „Death's laughter (novel) and crafting a novel (exegesis)“. Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2011. https://ro.ecu.edu.au/theses/388.
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This thesis consists of a creative component, a novel, Death’s laughter and an exegetical essay, Crafting a novel. The novel centres on a true Nigerian story: a Pentecostal pastor, who died in a plane crash, was a government official found out to have amassed large sums of money and assets that were far greater than could be accrued from his modest salary. In addition, he was accused of bigamy because he had two wives who did not know each other in two different cities within the country. This basic story serves as the nucleus of the novel. The novel tells the stories of various characters who were created with the intention of telling their own stories and, in doing this, giving the readers a montage of the pastor who was passive but ever present in the novel. Though the pastor dies in Chapter One of the novel, each character -- who is related or has a relationship with the pastor -- tells their own stories and together builds a picture of what happened to the pastor and the kind of person he was. Pastor Jude Akanmu Babajide in the novel represents the Pastor Femi Àkànní, who was the character in the true Nigerian story. This novel does not paint a picture based on the research into the Nigerian pastor, it creates a fictional account of the pastor and of the various characters who populated the novel. As the reader goes through the various tales he/she is given an insight into Nigerian society and an introduction to some Yoruba cultural concepts.
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Robinson, Ray. „Making electricity : an exegesis of the creative process“. Thesis, Lancaster University, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.730249.
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An exegesis of the creative process involved in writing the novel Electricity. This comprises: a preface; an analysis of the novel’s genesis; details of an interview with neuropsychologist Dr Alarcon; an examination of how the protagonist’s character was formed; the link between epilepsy and creativity; a brief analysis of how epilepsy is used in Dostoyevsky’s The Idiot', epilepsy as a structural device; memory and the novel as consciousness; the language of the epileptic body; the interpreter and qualia; reader criticism and writer response; an overview of the editorial process; a dialogue discussing the illusion of the female voice; and finally a conclusion.
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Ward, Harold Clifton. „Clement of Alexandria and the creative exegesis of Christian Scripture“. Thesis, Durham University, 2017. http://etheses.dur.ac.uk/12088/.
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How might one describe early Christian exegesis? This question has given rise to a significant reassessment of patristic exegetical practice in recent decades, and the present thesis contributes to this reappraisal of patristic exegesis in two significant ways. First, this thesis attempts to move beyond the idea of exegesis to investigate the textual practices that serve as its modus operandi. In order to accomplish this task, I develop the notion of "creative exegesis." I argue that creative exegesis permits one to pay attention in detail to two modes of archival thinking at the heart of the ancient exegetical enterprise: the grammatical archive, a repository of the textual practices learned from the grammarian, and the memorial archive, the constellations of textual memories from which textual meaning is constructed. Second, this thesis examines the textual practices of Clement of Alexandria, a figure whose exegesis has on the whole been neglected in modern scholarship. I argue that an assessment of Clement's creative exegesis reveals his deep commitment to scriptural interpretation as the foundation of theological inquiry, even in his works that cannot be explicitly labeled "exegetical." Clement employs various textual practices from the grammatical archive to read Scripture figurally, though he restricts the figural referents of Scripture to two mysteries, bound up in the incarnation of Christ and the knowledge of God. These mysteries are discovered in an act of rhetorical invention by reading Scripture for the constellations that frame its narrative. For Clement, the plot of Scripture—and the progression from Old Testament to New—is expressed under the dual constellations of "fear," by which God leads his people to faith, and "wisdom," through which God leads his people to the ultimate vision of the divine essence.
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Stringer, Mary-Ellen. „Cultivating A Beggar’s Garden: A Novel and Exegesis“. Thesis, Griffith University, 2015. http://hdl.handle.net/10072/366426.
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My novel, A Beggar’s Garden, and its accompanying exegesis, ‘Reading in A Beggar’s Garden: being without shadow’ are offered as sites of confluence where the political, the personal, the poetic and the polemic meet, blend, separate, reform and reconfigure. I hope the work rings with the ‘sociological poetics’ described by Paul Dawson – a poetics which recognises the ‘aesthetic or craft-based decisions of a writer are always the result … of ideological or political choice: the choice to employ social languages and the ideologies they embody … the choice to position a literary work in these languages, as an active intervention in the ideological work they perform’ (Dawson 2005: 211, emphasis in original). Critically and creatively I am telling stories that resonate in a contemporary register and with the tone and timbre of the language of affect which has here been derived from what Mark Davis describes as ‘the logic of affect since … this is the logic of contemporary politics and the public sphere’ (Davis 2007: 26-27). I use language as critique and explore through creative, critical and political idioms the intersections where these languages collide to produce the vernacular that positions, forms and informs subjectivity. The images, ideas, historiography and politics embedded in everyday languages are too often violent and proscriptive. I appropriate the violent tendencies laced through everyday languages and use them towards their opposite effect, towards compassion, belonging and dignity for the outcasts, outsiders and outriders of the community.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Humanities
Arts, Education and Law
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Leggett, Andrew Alfred George. „In Dreams, a Novel and its Exegesis: In Dreams – Novel; The place of dreams in the Novel and the Cinematic Work of David Lynch– Exegesis“. Thesis, Griffith University, 2016. http://hdl.handle.net/10072/366962.
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Dr Garrick Willis, the protagonist of my novel In Dreams, is a recently divorced neurologist who suffers premonitory dreams and intrusive violent fantasies. Willis loses his girlfriend Jade to a drug dealing pimp and comes to be wrongly accused of her murder, a crime that has plagued his waking fantasies and haunted his dreams. At the start of the novel, Garrick’s first patient for the afternoon is Nick Myshkin, with whom he has just shared a seat on the train from Meadowbrook to Princess Alexandra Hospital. Nick is a bass player in the grunge band Return of the Evil Youth for Christ, who deals amphetamines in Fortitude Valley nightclubs and pimps mysterious women on the streets. Garrick is not aware that his discomfort with Nick’s utterance of the name ‘Jade’, during complex partial seizures, is based in their common interest in the same woman, or that he and Nick were born to the same mother. Jade progressively unravels towards a violent end. Her attachment and investment moves from protagonist to antagonist, as her nursing colleague Rachel takes her place in Garrick’s heart.
Garrick struggles to contain the expression of his passionate and violent emotions in poetry, to translate his destructive impulses into clinical research and expressions of love. His poems, integrated into the text, serve as vehicles for twists in its structure. He fails to heed his premonitory dreams, and his vacillations cost him dearly. He does too little, and always arrives just too late.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Humanities, Languages and Social Science
Arts, Education and Law
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Da, Graça Moura Mário Alencoão Brígido. „Schumpeter's inconsistencies and Schumpeterian exegesis : diagnosing the theory of creative destruction“. Thesis, University of Cambridge, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.627439.
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Bayes, Chantelle Jasmin. „Writing Urban Nature: A Novel and Exegesis“. Thesis, Griffith University, 2016. http://hdl.handle.net/10072/366592.
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This thesis is comprised of a novel and exegesis which explores how contemporary fiction can contribute to understandings of nature and culture, questioning oppositional dualisms and ultimately re-placing the human within nature. The exegesis discusses how fiction writers might engage with nature in their writing, by concentrating on the potential of urban environments – places where nature and culture co-exist. I argue that through fiction, writers can re-imagine cities in ways that extend contemporary ideas of place, nature, urban experience and ecologies.
I use several methodologies in the creation of this novel and exegesis including practice-led research, eco-criticism, reflection, and embodied experience. My aim is to develop a method of writing-practice based on the hybrid role of doctoral candidate as creative writer/researcher and nature writing as a hybrid of poetic and scientific expression. I walk the boundary between real and fictional, natural and cultural, self and other. I seek to extend understandings of nature through the concepts of ‘situated knowledges’ and lived experiences with reference to Estelle Barrett and Donna Haraway. By questioning the binary set up between theory and practice, situated knowledge allows engagement between theoretical and creative inquiry and results in a more complex understanding of the creative-practice/research relationship.
I argue that the definition of nature writing can be broadened to include fiction, urban areas and narratives that contribute a range of knowledge (poetic, scientific, personal, relational, and mythical). I consider the way language and meaning might play a role in understanding place and non-human nature. By re-conceptualising the way landscape, terroir, wilderness, country and nature are used and understood, I find new ways to think about nature/culture relationships. Eco-criticism, particularly through a social ecology lens has provided me with a critical frame to negotiate my own use and understanding of these conceptions.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Humanities, Languages and Social Science
Arts, Education and Law
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Utter, Emily Kathryn. „Wedgewood : a novel extract with exegesis : memory, place and the 'pain of individuality'“. Thesis, University of Aberdeen, 2016. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=230592.
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Book I of Wedgewood tells the story of two generations of women struggling to define themselves as individuals within the boundaries of a sometimes abusive, strongly patriarchal family. This first half of the novel exposes the distinct and powerful ways that women use language to recall and narrate the past through performative narrative strategies, and it navigates these complex familial relationships through its remote, distinctly Canadian setting, and themes. The first chapter of the exegesis analyses the intersection of memory, identity and trauma in the family. Various narratological interpretations of inherited memory are explored in the context of a patriarchal family dynamic. John McGahern's Amongst Women and Marilynne Robinson's Housekeeping are approached in terms of the representational strategies they employ to engage with and illuminate theories of inherited memory, domestic trauma, and the patriarchal family dynamic. Insight into how these texts compare and contrast with my own writing are considered throughout. Chapter Two analyses the formal and structural outcomes of my approach to Wedgewood. My analysis draws on elements of Frank O'Connor's writings on the short story and Alberto Moravia's writings on novel and short story ideologies. Bernhard Schlink's novel, The Reader, and Donna Tartt's novel, The Goldfinch are explored in terms of their uses of voice and tense, and their capacity to self-consciously represent memory in fiction. Jennifer Egan's A Visit From the Goon Squad is discussed in terms of its categorisation as a story cycle, and its influence on Wedgewood's form and structure. Chapter Three builds on the discussion of memory, trauma, and family by analysing their narratological implications through a gendered lens. The subjugation and marginalisation of female voices and narratives within the family are explored against the backdrop of the current socio-political climate. Mikhail Bakhtin's theory of the dialogic figures prominently in the discussion about the novel's 'polyvocality' and its influence on my own writing. The fourth chapter approaches many of the key ideas and methodologies outlined thus far by engaging with notions of 'life writing,' and provides an in-depth reflection on the writing process, including Wedgewood's varied uses of lived experience and family history, and its formal progression from a short story to a novel.
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Beasley, Carolyn. „The fingerprint thief a crime novel and exegesis /“. Swinburne Research Bank, 2009. http://hdl.handle.net/1959.3/66861.
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Thesis (PhD) - [Higher Education Division - Lilydale], Swinburne Institute of Technology, 2009.Submitted for the degree of Doctor of Philosophy, [Higher Education Division - Lilydale], Swinburne University of Technology, 2009. Includes bibliographical references (p. 351-371)
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Curtin, Amanda. „Ellipsis: a novel and exegesis“. Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2006. https://ro.ecu.edu.au/theses/337.
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This thesis comprises a novel entitled 'Ellipsis' and an exegesis entitled 'Ellipsis: Ambiguous genre, ambiguous gender'. The novel blends archival records and fiction into two woven narratives, one contemporary, one historical. In the contemporary narrative, set in 2004-2005, Willa Samson, flayed by guilt and grieving the loss of her daughter, is a hermit, unable to work, communicating with the world mainly through the Internet. But her desire to research a fragment of local history that has haunted her for years gently forces her back into the world. Willa is convinced that in the story of a nineteenth-century murder she can see an unlikely parallel with her daughter: that, like Imogen, the victim was intersexed. The historical narrative is a speculative telling of the life of the murder victim, known as Little Jock.
Imogen's story, which unfolds through Willa's memories, dramatises the devastating though well-intentioned protocol established by twentieth-century medicine for dealing with intersex births: 'normalising' surgery to fashion the newborn into the sex deemed to be appropriate, followed by hormone treatment, rigid social conditioning and an aura of secrecy to silence any confusion or hint of difference. Imogen grows up suspecting that she is different, but no one will tell her the truth.
Little Jock must also keep bodily truth hidden, for in the nineteenth century intersexuals-then termed 'hermaphrodites'-were often exploited as freaks. After leaving Northern Ireland during the Potato Famine, the child who becomes Little Jock finds, in the tenement slums of Glasgow, a place to disappear. A series of petty crimes results in his transportation to Western Australia-one of the nearly ten thousand convicts plucked from English prisons and sent to the Swan River Colony. The authorities believed all of them were male.
Willa's research leads her to Scotland and Northern Ireland, and finally to Western Australia's South West, helped along the way by genealogists-people who cherish the bonds of family and history. And in the search for Little Jock, she draws closer to understanding what has happened to Imogen.
The exegesis, after outlining the provenance of the novel's research, is structured as two essays linked by the themes of ambiguity and classification. The first, on ambiguous genre, sets out to investigate the framing (that is, in the form of an explanatory note) of hybrid sub genres of fiction, novels that draw directly or indirectly on people, events and issues that are part of the historical record. In considering what authors should say about 'what is real and what is not,' the essay canvasses ethics and reader expectations, the right to speak and the freedom to create, and the ways books are marketed, classified and read. The second essay, on ambiguous gender, draws on historical aspects of the classification of intersexed people, along with gender theory, to consider 'Ellipsis' in terms of the social forces acting on the ambiguous bodies of Little Jock in the nineteenth century and Imogen in the twentieth century, and how these characters survive in bodies that pose a challenge to deeply held cultural norms.
Bücher zum Thema "Creative artefact with exegesis"
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Benjamin, Uffenheimer, und Reventlow Henning Graf, Hrsg. Creative Biblical exegesis: Christian and Jewish hermeneutics through the centuries. Sheffield: JSOT Press, 1988.
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Uffenheimer, Benjamin, und Henning Graf Reventlow. Creative Biblical exegesis: Christian and Jewish hermeneutics through the centuries. [London, England]: T & T Clark, 2009.
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Uffenheimer, Benjamin, und Henning Graf Reventlow. Creative biblical exegesis: Christian and Jewish hermeneutics throught the centuries. Sheffield, Eng: JSOT Press, 1988.
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4
Ward, Graeme. History, Scripture, and Authority in the Carolingian Empire. British Academy, 2022. http://dx.doi.org/10.5871/bacad/9780197267288.001.0001.
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This book offers a detailed analysis of the work of the ninth-century historian Frechulf of Lisieux. Completed c. 830, Frechulf’s Histories comprise a vast account of the world from its creation through to the seventh century. Despite the richness of the source, it has long been overlooked by modern scholars. Two factors account for this neglect: Frechulf’s narrative stops over two centuries short of his time of writing, and was largely a compilation of earlier, late antique histories and chronicles. It is, however, the lack of ostensibly ‘contemporary’ or ‘original’ material that makes the text so typical, not only of Carolingian historiography but also of ninth-century theological literature more broadly. In examining Frechulf's historiographical compendium, this book challenges a dominant paradigm within medieval studies of understanding history-writing primarily as an extension of politics and power. By focusing instead on the transmission and reception of patristic knowledge, the compilation of authoritative texts, and the relationship between the study of history and scriptural exegesis, it reveals Frechulf's Histories to be an unexpectedly rich artefact of Carolingian intellectual culture.
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Creative Biblical Exegesis (JSOT Supplement). Sheffield, 1989.
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Nichols, Stephen R. C. Jonathan Edwards’ Principles of Interpreting Scripture. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190249496.003.0003.
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Stephen R. C. Nichols explores the principles of interpretation at play in Jonathan Edwards’ exegesis. He argues that the underlying principle of his exegesis was harmony. This principle carried several implications for interpreting Scripture: that Scripture is the best interpreter of Scripture (that is, Scripture is harmonious with itself); that the Bible exhibits doctrinal harmony; and that Scripture achieves a harmony with the regenerate reader. Despite this view of harmony and Edwards’ continuity with the Reformed and Puritan traditions of interpretation, Nichols also holds that he was willing to experiment with that tradition, particularly in relation to typology, sometimes blurring the line between typology and allegory. Nichols concludes that Edwards both functioned within the boundaries of his tradition and explored creative innovations.
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Maharaj, Ayon. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190868239.003.0001.
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The introduction articulates the two main aims of the book. The book’s exegetical aim is to provide accurate and charitable reconstructions of Sri Ramakrishna’s philosophical views on the basis of his recorded oral teachings. Throughout the book, the task of philosophical exegesis goes hand in hand with a broader cross-cultural project: bringing Sri Ramakrishna into creative dialogue with recent Western philosophers, thereby shedding new light on central problems in cross-cultural philosophy of religion. As a contribution to this nascent field, the book participates in the recent movement away from comparative philosophy and toward more creative and flexible paradigms for engaging in philosophical inquiry across cultures.
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Fishbane, Michael A., und Joanna Weinberg, Hrsg. Midrash Unbound. Liverpool University Press, 2013. http://dx.doi.org/10.3828/liverpool/9781904113713.001.0001.
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Midrash is arguably the most ancient genre of Jewish literature, forming a voluminous body of scriptural exegesis over the course of centuries. There is hardly anything in the ancient rabbinic universe that was not taught through this medium. The diversity and development of that creative profusion are presented here in a new light. This book covers a broad range of texts, from late antiquity to the modern period and from all the centres of literary creativity, including non-rabbinic and non-Jewish literature, so that the full extent of the modes and transformations of Midrash can be fully appreciated. A comprehensive introduction situates Midrash in its historical and cultural setting, pointing to creative adaptations within the tradition and providing a sense of the variety of genres and applications discussed in the body of the book. The book is innovative in both its scope and content, seeking to open a new period in the study of Midrash and its creative role in the formation of culture.
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Dreyfus, Hubert L. Background Practices. Herausgegeben von Mark A. Wrathall. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198796220.001.0001.
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Hubert Dreyfus is one of the foremost advocates of European philosophy in the anglophone world. His clear, jargon-free interpretations of the leading thinkers of the European tradition of philosophy have done a great deal to erase the analytic–Continental divide. But Dreyfus is not just an influential interpreter of Continental philosophers; he is a creative, iconoclastic thinker in his own right. Drawing on the work of Heidegger, Husserl, Merleau-Ponty, Foucault, and Kierkegaard, Dreyfus makes significant contributions to contemporary conversations about mind, authenticity, technology, nihilism, modernity and postmodernity, art, scientific realism, and religion. This volume collects thirteen of Dreyfus’s most influential essays, each of which interprets, develops, and extends the insights of his predecessors working in phenomenological and existential philosophy. The essays exemplify a distinctive feature of his approach to philosophy, namely the way his work inextricably intertwines the interpretation of texts with his own analysis and description of the phenomena at issue. In fact, these two tasks—textual exegesis and phenomenological description—are for Dreyfus necessarily dependent on each other. In approaching philosophy in this way, Dreyfus is an heir to Heidegger’s own historically oriented style of phenomenology.
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Minett, Mark. Robert Altman and the Elaboration of Hollywood Storytelling. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197523827.001.0001.
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Robert Altman and the Elaboration of Hollywood Storytelling reveals an Altman barely glimpsed in previous critical accounts of the filmmaker. This re-examination of his seminal work during the “Hollywood Renaissance” or “New Hollywood” period of the early 1970s (including M*A*S*H, Brewster McCloud, McCabe & Mrs. Miller, Images, The Long Goodbye, Thieves Like Us, California Split, and Nashville) sheds new light on both the films and the filmmaker, reframing Altman as a complex, pragmatic innovator whose work exceeds, but is also grounded in, the norms of classical Hollywood storytelling rather than someone who rejected those norms in favor of modernist art cinema. Its findings and approach hold important implications for the study of cinematic authorship. Largely avoiding thematic exegesis, it employs a historical poetics approach, robust functionalist frameworks, archival research, and formal and statistical analysis to demystify the essential features of the standard account of Altman’s filmmaking history and profile—lax narrative form, heavy reliance on the zoom, sound design replete with overlapping dialogue, improvisational infidelity to the screenplay, and a desire to subvert based in his time in the training grounds of industrial filmmaking and filmed television. The book provides a clear example of how a filmmaker might work collaboratively and pragmatically within and across media institutions to elaborate on their sanctioned practices and aims. We misunderstand Altman’s work, and the creative work of Hollywood filmmakers in general, when we insist on describing innovation as opposition to institutional norms and on describing those norms as simply assimilating innovation.
Buchteile zum Thema "Creative artefact with exegesis"
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López-Forniés, Ignacio. „Game-Based Learning and Assessment of Creative Challenges Through Artefact Development“. In Smart Pedagogy of Game-based Learning, 1–20. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-76986-4_1.
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„Critique and Exegesis“. In The Bloomsbury Introduction to Creative Writing. Bloomsbury Academic, 2019. http://dx.doi.org/10.5040/9781350056718.ch-009.
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Ward, H. Clifton. „Reading as “Creative Exegesis”“. In Clement and Scriptural Exegesis, 118—C7.P54. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192863362.003.0008.
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Abstract This chapter develops further the implication of the previous chapter that the art of rhetorical memory is, in fact, an art of recollection—the skill of recalling items from one’s memorial archive. After examining the art of recollection in Aristotle’s De memoria and Cicero’s De oratore, the chapter utilizes a helpful illustration to argue that Clement presents the entire process of memory and recollection as an art of literary “invention.” Rhetorical invention in Christian exegesis is much like the constellations of astronomers. These astronomers never intended to recall groups of stars that “looked like” certain mythic creatures, but rather assumed, as we do, that the patterns of the stars were the significant pieces of information to be understood from the constellations. Similarly, and employing the Pauline building metaphor in 1 Cor. 3, Clement marks an early stage in a tradition of creative exegesis that will continue into the medieval monastic practices of memoria sacra. This chapter argues that Clement is rightly seen as an exegete whose enterprise of literary analysis is not only grounded in the grammatical tradition, but also an activity of rhetorical invention—the imaginative act of discovering what may be said about a text in any given instance.
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Ward, H. Clifton. „Reading as “Creative Exegesis”“. In Clement and Scriptural Exegesis, 13—C1.P42. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192863362.003.0002.
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Abstract This chapter assesses the claim that the textual practices learned first at the hands of the grammarians were employed by Christian readers to interpret the Scriptures predominantly in their literal sense. The result of this line of argument is that the exact same strategies of literary analysis have rarely been employed to analyze the figurative interpretation of early Christian exegetes in any similar fashion. Exegesis, however, regardless of whether it is performed toward literal or figural ends, is always driven by textual practices—what one does with texts at hand. This chapter argues that the grammatical traditions of ancient literary analysis are best viewed not as an atomistic project with steps that must be followed sequentially. As the chapter progresses by examining the use of grammatikē by Dionysius Thrax, Sextus Empiricus, and the Hellenistic grammarians, it shows that exegesis is itself a holistic project of commentary focused on the clarification of a prior text’s obscurity. By viewing exegesis in this way, as a practice of commentary, one is placed in a better position to describe the form and function of early Christian exegesis. By its conclusion, this chapter suggests one half of a working definition of “creative exegesis,” the second half of which will be supplemented in Chapter 2 on ancient exegesis in figurative mode.
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Ward, H. Clifton. „Reading as “Creative Exegesis”“. In Clement and Scriptural Exegesis, 103—C6.P53. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192863362.003.0007.
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Abstract In a striking image at the outset of his magisterial Stromateis, Clement describes his teacher Pantaenus as “the true Sicilian bee, culling flowers from the meadow of the prophets and apostles and producing a pure substance of knowledge in the souls of his hearers.” In noting that the imagery of a bee culling honey from the flowers was a prominent image for grammatical work in the Second Sophistic, this chapter makes the case that Clement considers exegesis as a process of rhetorical invention (inventio). Classics scholars have argued that grammatical exegesis and the language of the commentary supplant and displace ancient rhetoric as the preeminent academic discourse in the Middle Ages. This chapter suggests, however, that such a transformation happened even earlier. It examines the metaphors for rhetorical memory in antiquity (e.g., a treasury, bees culling honey, and digestion), focusing on writers such as Plato, Seneca, and Philo of Alexandria. After surveying the role of rhetorical memory in ancient reading practices, it examines Clement’s employment of these metaphors throughout his corpus. It argues that, when taken collectively, these metaphors reveal the significant role of memory in the process of reading and study both in antiquity broadly and specifically in early Christian exegesis.
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„Clement of Alexandria’s Reception of the Gospel of John: Context, Creative Exegesis and Purpose“. In Clement’s Biblical Exegesis, 259–76. BRILL, 2017. http://dx.doi.org/10.1163/9789004331242_012.
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Halivni, David Weiss. „The Direction of Rabbinic Exegesis“. In Peshat And Derash, 23–51. Oxford University PressNew York, NY, 1991. http://dx.doi.org/10.1093/oso/9780195060652.003.0002.
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Abstract The history of rabbinic exegesis consists of biblical exegesis (as practiced by the rabbis of the Talmud) and talmudic exegesis (the way the rabbis of the Talmud interpreted the Mishnah and other authoritative rabbinic texts). Rabbinic biblical exegesis and talmudic exegesis overlap in time but are distinct in nature, each with its own momentum of change, each with its own course of development. Their constitutive parts display different modes of assumption, different inner creative forces. Yet both, over time, tended toward a greater preference for less interference with the actual wording of the text, a greater preference for peshat.
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Ward, H. Clifton. „The Grammatical Archive“. In Clement and Scriptural Exegesis, 30–54. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192863362.003.0003.
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Abstract Can the account provided of the exegetical aims of the literary analysis of grammarians and forensic orators in Chapter 1 account for both the literal and figurative exegesis of early Christians? Chapter 2 turns to ancient figurative readers—those concerned with the “poetics of the riddle.” Though scholars have at times contrasted these figurative readers with those ancient exegetes espousing an Aristotelian “poetics of clarity,” this chapter suggests that the gulf between these two modes of reading is much narrower than is often said. Instead, it argues that ancient figurative readers employed the same techniques of the grammarians to create their imaginative commentary, and it examines some of the reading practices that they draw from this “grammatical archive” (stylistic ambiguity, plausibility, propriety, textimmanence). Having shown that figurative reading is as much dependent on the grammatikē outlined in Chapter 1 as literal reading is, Chapter 2 completes the definition of “creative exegesis,” which will serve as the foundation for describing early Christian biblical interpretation throughout the book.
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Ward, H. Clifton. „Epilogue“. In Clement and Scriptural Exegesis, 195—C11.P14. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192863362.003.0012.
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Abstract The Epilogue quickly rehearses the major theses of the book. By exploring the practices of Clement’s exegesis, regardless of our estimation of the success of these techniques, we find that Clement nevertheless claims that the exegesis of Scripture built on the commentarial activity of the grammarian is the foundational practice of Christian theology. To conclude, the Epilogue suggests that this is true not merely for Clement. Scriptural exegesis is at the heart of the development of all early Christian theology. And although I am not the first scholar to make this claim, the weight of this study suggests that scholars would be best served by analyzing the creative exegesis of individual Christian readers before proposing any judgments on the substance of “early Christian theology” or even “patristic exegesis” as a whole. One might just find that Clement—frequently neglected as both a theologian and an exegete—proves a veritable prophet on the Christian exegetical tradition that follows him.
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Maxwell, Kate. „The Medieval (Music) Book: A Multimodal Cognitive Artefact“. In Distributed Cognition in Medieval and Renaissance Culture, 190–204. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474438131.003.0011.
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This chapter considers the medieval book as an example of embedded creative cognition. Through a detailed case-study analysis of a single opening from the interpolated Livre de Fauvel, the chapter shows how the modern-day reader takes an active part in the cognitive ecology that produced the book. The argument draws on theories of distributed cognition, multimodality, book history, and the writings of Augustine of Hippo to demonstrate the close connections between the mind, the body, and the book that are both still in action and under transformation today.
Konferenzberichte zum Thema "Creative artefact with exegesis"
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Ben Guefrache, Fatma, Cedric Masclet, Guy Prudhomme, Gaetano Cascini und Jamie Alexander O'Hare. „REAL-TIME CODING METHOD FOR CAPTURE OF ARTEFACT-CENTRIC INTERACTIONS IN CO-CREATIVE DESIGN SESSIONS“. In 15th International Design Conference. Faculty of Mechanical Engineering and Naval Architecture, University of Zagreb, Croatia; The Design Society, Glasgow, UK, 2018. http://dx.doi.org/10.21278/idc.2018.0468.
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Vallis, Carmen. „Writing against the tide“. In 25th Australasian Association of Writing Programs Conference 2020. Australasian Association of Writing Programs, 2020. http://dx.doi.org/10.32613/acp/2020.73.
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A tide of conservatism is rising. Despite bushfires and a global epidemic, many are unwilling or unable to grapple with the facts behind these catastrophes. What is not said drifts in and out of public consciousness. In present silences and lacunae, past stories wait to be told anew. In this presentation, I reflect on discontinuity and continuity in the curious silence around the Joh Bjelke-Petersen era in Queensland history, a time remembered for corrupt politicians and cops, but otherwise culturally (and conveniently) forgotten in literary fiction. I discuss my creative response to this era, and outline processes that are saving me from drowning in entwined political, cultural and personal silences as I write an exegesis and novel.
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Ellmers, Grant, und Chris Moore. „Process not product: negotiating innovative interdisciplinary honours outcomes“. In ASCILITE 2020: ASCILITE’s First Virtual Conference. University of New England, Armidale, 2020. http://dx.doi.org/10.14742/ascilite2020.0111.
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This paper describes an interdisciplinary approach to a creative arts honours collaboration that set aside a conventional approach to facilitate an experimental methodology to support greater creative innovation and knowledge acquisition. This paper examines an honours study which explored analogue and digital hybridity in board game design. The methodology employed a practice-led research approach with the Double Diamond design process model used to structure the study. A structured and critical reflective practice model was used to identify and analyse the thinking present within the creative project. A core innovation of this approach was the shift from a focus on a finalised project consisting of a separate creative work and critical thesis, to a study where the critical and creative work were still separate, but included a greater focus on process and prototyping as a means to engage with design principles, rather than a finalised product or artefact. Lessons from the collaboration are identified to inform interdisciplinary honours in the future.
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Aparo, Ermanno, Liliana Soares und Evandra Gonçalves. „The will-to-power to design a violin“. In 14th International Conference on Applied Human Factors and Ergonomics (AHFE 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1003541.
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This paper intends to highlight the competence of Design to determine productive and creative connections for the creation of a complex instrument such as the violin as an interpreter and precursor of innovation in the processes of sustainability of society.Over time, but particularly from the 17th century onwards, violin production was characterized by a profound relationship between knowledge of materials and experimentation with techniques that, in some cases, have remained practically identical until the days of today. For some researchers (Bonaventura, 1933; Hutchins, 1981; Bonfils et Fabretti, 2019) it seems quite curious to be able to understand how, in the 18th century, some luthiers were able to produce instruments whose sound qualities are still highly appreciated today, considering the little knowledge in the scopes of chemistry, physics and acoustics. The relationship between the construction and the artefact of this instrument has always been characterized by a connection between the mystique and the culture of the place propitiated for the religious cult that characterized the cultural contest and the capacity to benefit from the resources available in the place and that involves the history of some violinists in the construction of the instrument itself. In this sense, in the history of the construction of this instrument, there are religious references such as the Agnus Dei related to the ancient strings in lamb guts or even the Regis Purpura of the varnish that recalls the color of the blood of Christ (Borer, 2006). In this construction process, there is also a coherent use of the material available in the area, such as, for example, red spruce or maple wood. The presence of this material in large quantities in the alpine areas where firewood itself transited (Blom, 2021), argues its use in the violin. Today, the lack and high cost of some resources make a new interpretation of the relationship between design and production necessary, namely, establishing new connections between materials, processes, and the contemplation of the artifact in its production, as well as in its appreciation. The productive analysis carried out today must considerer a new assessment of the relationship between the various forces that constitute the production of the artifact, determining a connection that can improve the result, but always having the classical reference as a starting point.In this sense and referring to the concept of “will-to-power” (Nietzsche, 2008), to design a musical instrument such as a violin becomes liberating from the theological thought of the time. A possibility that allows the individual to base courage on himself and not on a divine reason, allowing courage to be the general condition of practical reason, synonymous with the space-time relationship and the unplanned.With this article, the authors intend to demonstrate that the use of sustainable materials, which make use of traditional lutherie methods, can determine a new mystique that accompanies environmental principles and helps human beings to get closer to nature and the values that intend it to preserve, defend but also venerate.