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1
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.
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Fuller, Ted, Lorraine Warren, Sarah Thelwall, Fizza Alamdar und David Rae. „Rethinking Business Models as Value Creating Systems“. Leonardo 43, Nr. 1 (Februar 2010): 96–97. http://dx.doi.org/10.1162/leon.2010.43.1.96.
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The generic notion of a business model is well understood by investors and business managers and implies a number of anticipations; chiefly that it is a replicable process that produces revenues and profits. At its heart is some replicable process, artefact or proposition around which the everyday practices are formed. There are a number of reasons why this conception is weak in the Creative Industries. We have identified that the rationale for ‘business models’ in the Creative Industries includes providing an attractor for non goal oriented creative activity, for stabilising emergent properties from creative activities and for maintaining the stability of these by anticipating revenues.
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Alexey P., Karpov. „“The Other”: Ascension from Hell. Based on the Book by Leonid Polyakov “The Block of Hell / Hell of the Block. Twelve Chapters on the “The Twelve” Poem”. Part Two“. Almanac “Essays on Conservatism” 4 (30.10.2022): 308–14. http://dx.doi.org/10.24030/24092517-2022-0-4-308-314.
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Based on L. V. Polyakov’s symbolic exegesis of Alexander Blok’s poem “The Twelve”, an attempt is made to resolve the problem of the “Other” posed by Blok as a “great creative force” of the Russian people, ascending from the Hell of inorganicity to its true historical subjectivity.
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Kadari, Adiel. „A Sage Story as Dramatized Biblical Exegesis“. Zutot 14, Nr. 1 (09.11.2017): 6–18. http://dx.doi.org/10.1163/18750214-12341283.
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Abstract In the study of rabbinic legend there is a widely accepted generic distinction between those legends that expand on biblical stories (exegetical narratives) and those that feature the sages of the Mishnah and the Talmud (sage stories). This article questions the absolute nature of this generic distinction by examining the circumstances that shaped the development of a sage story that appears in the midrashic collection Leviticus Rabbah and its parallels. I seek to demonstrate that occasionally stories about the sages emerge from the exegesis of biblical verses. My article demonstrates how a verse from Psalms takes on the shape of a story, which serves to solve a linguistic problem in the verse. This example sheds new light on the relationship between exegetical narratives and sage stories, and suggests that we view them as part of the same broader creative intellectual context.
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Mortensen Steagall, Marcos. „New thinking in practice-led research in Design in Aotearoa New Zealand“. DAT Journal 8, Nr. 1 (15.03.2023): 1–4. http://dx.doi.org/10.29147/datjournal.v8i1.705.
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In recent years, creative work and its potential relationships to scholarly research are increasing in influence and introducing critical vitality to Universities, opening new approaches for collaboration, interdisciplinarity and community engagement. For practitioners, it offers a research approach that merges personal experience into the designer practice, skill set and design artefact. [...]
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FILIPPIDIS, ADAM, Thomas Lagkas, Haralambos Mouratidis, Sokratis Nifakos, Elisavet Grigoriou und Panagiotis Sarigiannidis. „Enhancing information security awareness programs through collaborative learning“. European Conference on Games Based Learning 16, Nr. 1 (29.09.2022): 803–10. http://dx.doi.org/10.34190/ecgbl.16.1.896.
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Information security attacks targeting human nature, such as phishing, are rising rapidly. Information security Awareness (ISA) programs have been proven to be valuable proactive measures that increase Return On Investment (ROI) regarding information security enhancement. These programs tend to focus on concepts and technical aspects. Although these customary instruction methodologies have their preferences, trainees can additionally take advantage of educational techniques that are more intuitive and situation driven. This study aims to increase the efficiency of learning in such programmes by using design science to create an artefact for learning and then testing the acquired knowledge. Design science will be used as a research method. The creative method, a brainstorming technique, and five steps in design science are performed: explicate the problem, define requirements, design and develop artefact, demonstrate artefact, and evaluate artefact to develop a process framework to respond to this problem. The problem is explicated with a literature review and the requirements to be met by Game-Based Learning (GBL) are set. The first artefact, which is an interactive book support quizzes, crossword puzzles, multimedia such as video, and “complete the word” simple games that enhance the learning process. The second artefact is a printed board game with hackers and cards with the goal to support the learning process and assess the ability of the participants to respond and take actions based on this new knowledge. At last, limitations that exist in security education such as lack of user-centered modules and limited guidelines from learning theories are elaborated and future work is also presented.
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Ings, Welby. „The Authored Voice: Emerging approaches to exegesis design in creative practice PhDs“. Educational Philosophy and Theory 47, Nr. 12 (04.11.2014): 1277–90. http://dx.doi.org/10.1080/00131857.2014.974017.
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Harwood, Max. „Living Death: Imagined History and the Tarrant Manifesto“. Emotions: History, Culture, Society 5, Nr. 1 (13.07.2021): 25–50. http://dx.doi.org/10.1163/2208522x-02010112.
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Abstract This essay analyses the manifesto of terrorist Brenton Tarrant, the perpetrator of the 2019 Christchurch mosque shootings. Reading Tarrant’s manifesto (The Great Replacement) as a cultural artefact of digital white nationalism, it is possible to identify a specific worldview and emotional subjectivity that is also shared with the actions and writing of Anders Breivik, the perpetrator of the 2011 Oslo and Utøya massacre. After examining both terrorists’ manifestos, their biographical particulars and drawing from ethnographic research into the online communities that Tarrant frequented, a shared phenomenological framework emerges. This framework is presented as ‘the imagined past and present’ of the Replacement Theory terrorist. This essay will address these white nationalist imaginings via a cultural exegesis of Tarrant’s and Breivik’s manifestos, as well as an analysis of their comparable monastic aesthetic or ‘living death’ in the lead up to their attacks.
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Allen, Garrick V. „Paratexts and the Reception History of the Apocalypse“. Journal of Theological Studies 70, Nr. 2 (13.07.2019): 600–632. http://dx.doi.org/10.1093/jts/flz092.
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Abstract Biblical scholarship usually engages with reconstructed texts without taking into account the form and material culture of the manuscripts that transmit the texts used in reconstruction. This article examines the influence of paratexts on biblical studies and reception history, using the book of Revelation as a test case, in an effort to rediscover the significance of transmission for comprehending the ways in which past reading communities engaged their scriptural traditions. The liminal features of manuscripts that are often ignored in modern editions are an integral part of the artefact that influence and shape a text’s reading. This study argues that paratexts represent an underdeveloped resource for reception history, insofar as the relationship between text and paratext is rarely taken into consideration by modern interpreters. Material culture, textual transmission, reception history, and exegesis are integrally linked processes.
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Weinberg, Joanna. „The Concept of the Victim in Midrashic Literature“. European Judaism 49, Nr. 2 (01.09.2016): 127–34. http://dx.doi.org/10.3167/ej.2016.490214.
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AbstractThe creative authors of the Midrashim treated the topic of ‘the persecuted’ or ‘the victim’ in a constellation of fascinating homilies on the lectionary portion for Passover. This short article will examine how the theme of persecution is elaborated in various midrashic texts, and point to similarities between rabbinic exegesis and Jewish Hellenistic and Christian Syriac discussions of the same theme.
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Tugang, Noria, und Gregory Kiyai @ Keai. „THE ADAPTATION OF NATURE IN IBAN CULTURAL ARTEFACT“. Jurnal Borneo Arkhailogia (Heritage, Archaeology and History) 7, Nr. 1 (22.12.2022): 86–101. http://dx.doi.org/10.51200/jba.v7i1.4133.
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Iban or also known as Sea Dayak has inhabited the island of Borneo for hundreds of years. From the previous timeline, the Iban community has adapted to their surrounding nature in developing their culture which is consisted of customs based on the foundation of ancestral beliefs. As a result, the development of Iban culture became more creative and innovative in producing cultural artifacts referring on surrounding nature. Incidentally, the cultural developed by the early Iban have become a legacy and identity for the modern Iban society today. Therefore, this paper is an ethnographic studies emphasis on human artifacts. Therefore, the scope of this studies discussed the researcher's proposed theory of the role of nature that has contribute to shaped human cultural artifacts, particularly the Iban cultural artifacts. This study applied qualitative methods and the research findings have concluded that nature have a significant function as a driving force to influenced early human culture and experience changes based on relevance and human preferences.
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Gallagher, Eugene V. „Extraterrestrial Exegesis: The Raëëlian Movement as a Biblical Religion“. Nova Religio 14, Nr. 2 (01.11.2010): 14–33. http://dx.doi.org/10.1525/nr.2010.14.2.14.
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Interpretation of the Bible has played a central role in the origins and development of the Raëëlian movement. Claude Vorilhon's first encounter with the "Elohim" was immediately followed by an intensive week of Bible study that gave him a new identity as the messianic prophet "Raëël," a new direction for his life as the earthly ambassador of the Elohim, and a new doctrine that would serve as the intellectual foundation of a new religious movement. The Raëëlian movement and other new religions in which interpretation of the Bible figure prominently do not originate one-sidedly in a "cultic milieu" or "occulture" that is divorced from the broad biblical tradition. Rather, they represent creative blendings of biblical and other sources. Part of the attractiveness of the Bible for new religions is that it contains and legitimizes multiple examples of successful religious innovation.
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Obed Acquah, Emmanuel. „Bibliographic and Discographic Inquiries in Music Composition“. Journal of Humanities,Music and Dance, Nr. 25 (15.09.2022): 4–12. http://dx.doi.org/10.55529/jhmd.25.5.13.
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This article touches on developed research designs in music composition called bibliographic and discographic research designs which are geared towards inquiries in music composition that involves producing a creative work and at the same time maintaining the intellectual phase of that creative work. It was established out of an experience encountered in teaching music composition research, supervising and assessing graduate dissertations in music theory and composition. It is situated within the qualitative paradigm of research and links to the compositional process under the framework of the Stage Theory propounded by Wallas. The design has three phases: Data collection and Generation phase, Analytic phase, and Creative phase. These phases provide an epistemic approach in music composition research that may not necessarily need creative ethnomusicological stance for composing intercultural musical artefact. It is envisaged that it advances the relevant knowledge in music composition research by means of practice and to offer solutions to the problems encountered by graduate music composition candidates during their dissertation journey.
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Nazaruddin, Muzayin. „Tartu-Moscow Semiotic School and the Development of Semiotic Studies in Indonesia“. Asian Journal of Media and Communication 3, Nr. 2 (01.10.2019): 51–58. http://dx.doi.org/10.20885/asjmc.vol3.iss2.art1.
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This paper proposes the importance of the infusion of Tartu-Moscow Semiotics School (TMSS) into the development of semiotic studies in Indonesia. Semiotic studies in Indonesia have mostly departed from the ideas of Peirce, Saussure, and Barthes, while TMSS has not been recognized by Indonesian scholars. The paper proposes two concepts of TMSS, namely ‘text’ and ‘semiosphere’, which would significantly enhance semiotic studies in Indonesia. Indonesian scholars usually regard text as a concrete artefact, causing overgeneralization that every artefact is text, as well as oversimplification that every text is concrete artefact. Semiotic studies in Indonesia tend to exclude text as the object study from its cultural context and to analyse it in its individuality. While, TMSS defines text based on its meaningfulness, authority, and cultural functions. Besides its function as message carrier, TMSS proposes three functions of text, namely creative, poetic, and memory functions. These functions are connection points between a text and its wider cultural and historical contexts and its dynamic aspects. Finally, the concept of semiosphere, an abstract model in which semiosis occurs and outside of which semiosis cannot exist, would drive a holism perspective, avoiding the tendency to analyse the discrete text in its individuality.Keywords: Tartu-Moscow Semiotic School; text; text function; semiosphere; sign system.
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Sacks, Elias. „Exegesis and Politics Between East and West: Nachman Krochmal, Moses Mendelssohn, and Modern Jewish Thought“. Harvard Theological Review 114, Nr. 4 (Oktober 2021): 508–35. http://dx.doi.org/10.1017/s0017816021000274.
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AbstractRecent scholarship on modern Jewish thought has sought to overcome the field’s Germanocentrism by recovering diverse visions of Jewish life across eastern and western Europe. While studies typically emphasize either striking differences or surprising affinities between these settings, I use the neglected eastern European philosopher Nachman Krochmal to highlight a strategy of creative appropriation and redirection—an eastern European strategy of breaking with German-Jewish philosophy precisely by deploying that tradition’s own resources. One of modern Jewish philosophy’s early episodes, I argue, is a politically charged engagement with biblical exegesis involving Krochmal and the German-Jewish thinker Moses Mendelssohn. Implicitly drawing on yet revising the treatment of biblical interpretation in Mendelssohn’s Hebrew writings, Krochmal seeks to retrieve what he sees as a vital element of Jewish politics: possessing neither a shared land nor military strength, he insists, Jews have long sustained their diasporic collective through hermeneutical endeavors such as rabbinic midrash, and they should continue to do so by launching a transnational project of historically sensitive exegesis. The resulting image of a transnational Jewish collective whose fate is separate from that of non-Jewish polities breaks with Mendelssohn’s political vision, pointing to an east-west dynamic of creative repurposing—an instance of an eastern European thinker drawing on a German-Jewish predecessor to develop a sharply contrasting philosophical vision.
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Lum, Kristen, und Marcos Mortensen Steagall. „Breakthrough: An illustrated autoethnographic narrative into professional identity and storytelling“. DAT Journal 8, Nr. 1 (15.03.2023): 336–69. http://dx.doi.org/10.29147/datjournal.v8i1.694.
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This article presents a practice-led artistic research project focused on the creative process of a scripted and illustrated graphic novel that draws from autoethnographic methods to engage with high levels of originality. The project: Breakthrough: An illustrated autoethnographic narrative into professional identity and storytelling responds to a rhetorical question that asks: How can one express personal identity in the form of a graphic novel? The design outcome of this project is a published graphic novel which explores ideas surrounding identity, particularly professional identity and finding or rediscovering oneself. The novel’s storyline draws upon the researcher’s journey as an artist and illustrator, the experiences of losing and regaining creative passions and stimulus. The graphic novel’s creative process employs creative expression skills to conceptualise and visualise the narrative. The design outcome is intended to resonate with others studying or working in creative industries and inspire young creatives in their journeys. The research project contributes to discourses about using ethnographic methods to engage originality in producing visual communication design outcomes underpinned by personal novelties and meaning. Additionally, it contributes to understanding practice-led research methodologies and the exegetical writing that supports a design artefact.
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Ramos, Ana Margarida. „Picturebook Format“. Libri et liberi 9, Nr. 1 (18.11.2020): 61–74. http://dx.doi.org/10.21066/carcl.libri.2020.1.4.
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The purpose of this paper is to present picturebooks as a special format instead of a literary genre, due to the growing relevance of book design and peritextual elements in defining the characteristics of this art form. The creative investment in the peritexts has implications in the construction of the message and in the reading process, creating an original artefact. The paper also describes different types of picturebooks and explores the influence of the picturebook format on other genres, underlining its importance in contemporary Portuguese publishing.
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Harrower, Scott. „Visual Exegesis at ‘The World’s Oldest Church’: a Case Study for Historiography“. Zeitschrift für Antikes Christentum / Journal of Ancient Christianity 22, Nr. 3 (27.11.2018): 456–79. http://dx.doi.org/10.1515/zac-2018-0035.
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Abstract This article highlights the importance of acknowledging the underlying methodology in the interpretation of early Christian art. I raise these issues via an engagement with the frescoes at Dura Europos, as interpreted by Michael Peppard in his recent work, The World’s Oldest Church. I demonstrate that Peppard’s ideology and archaeological methodology entail a creative, hermeneutical nexus for interpreting the initiation rituals at the Dura Europos house church. For Peppard, this nexus entails an innovative interplay between non-canonical sources, art and liturgical identity. This yields a surprising interpretation of initiation rituals at Dura Europos and, by extension, of early Christianity in Syria. After describing some problematic aspects of Peppard’s ideological and archaeological choices, I offer suggestions for a related proposal on Christology and visual exegesis at the Dura Europos house church baptistery. This proposal begins with clarification of ideological issues that foreground visual exegesis at Dura Europos, and argues for the adoption of six essential criteria when reconstructing the operative Christology in the baptistery of Dura Europos.
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Sunaryo, Rony Gunawan. „MENGIKUTI LANGKAH PIKIR ROMO MANGUN : Sebuah Tinjauan Mengenai Metode Perancangan Arsitektur Yusuf Bilyarta Mangunwijaya“. DIMENSI (Journal of Architecture and Built Environment) 35, Nr. 1 (09.07.2007): 41–45. http://dx.doi.org/10.9744/dimensi.35.1.41-45.
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In Indonesian architecture history, Romo Mangun is known as an architect and planner with multi-perspective of knowledge because of his educational and experience background. His architectural artefact is very much affected by his richness of knowledge and experience. The design process of Romo Mangun's artefact consists of philosophy approach, creative approach, technical approach and communication with client and builder. This process is very valuable to be discussed because it includes two different sides work inline; technical side which is mechanical view and non-technical side which is human view. Abstract in Bahasa Indonesia : Dalam wacana arsitektur Indonesia Romo Mangun dikenal sebagai seorang arsitek dan perencana dengan pemikiran yang multiperspektif dikarenakan latar belakang pendidikan dan pengalaman yang multidisiplin. Kekayaan wacana pengetahuan dan pengalaman beliau turut mewarnai artefak arsitektur yang dihasilkan. Perwujudan sebuah artefak arsitektur melalui sebuah rangkaian proses panjang meliputi filosofi, proses kreatif, pelaksanaan hingga komunikasi dengan klien dan pelaksana. Proses ini selalu merupakan topik yang menarik untuk dikupas kembali karena menyingkapkan dua sisi sekaligus, yaitu sisi teknis yang mekanis dan sisi non teknis yang manusiawi. Kata kunci: Romo Mangun, proses perancangan arsitektur.
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Choi, Suk Kyoung. „What happened to the subject? Mediated anticipation in neural painting“. Technoetic Arts 19, Nr. 3 (01.11.2021): 301–20. http://dx.doi.org/10.1386/tear_00071_1.
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This article presents a phenomenology of artistic painting as an anticipatory process. I propose that the artist seeks to establish a state of equilibrium in a model of self-awareness expressed and represented in a self-constituted physical artefact intended to communicate to others, not representationally but affectively. ‘Neural painting’ is an arts-based research method employing a simple computational model of human aesthetic discrimination to study the creative realization of the artistic image. I use this method to explore the relationship of self and ‘other’ in computationally mediated self-portraiture. I develop an image in an exchange with a neural network by reflecting on its output and inputting autographic modifications to those images, blending visceral gesture with the ‘black box’ of artificial intelligence. Through this deeply personalized and perhaps agonistic interchange between organic self and algorithmic reflection, I seek to expose the tacit mediation implicit in the technical artefact, opening an understanding of the existential relations between natural systems (the artist) and technical entities positioned as collaborators in an anticipatory aesthetics.
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Angurala, Nidhi. „Decoding the Thematic Imagery in Charlotte Perkins Gilman's “The Yellow Wallpaper” and Katherine Mansfield’s “Bliss”“. SMART MOVES JOURNAL IJELLH 8, Nr. 3 (28.03.2020): 10. http://dx.doi.org/10.24113/ijellh.v8i3.10471.
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This paper deploys the methodology of textual analysis to re-read and undertake an exegesis of the short story “The Yellow Wallpaper” written by Charlotte Perkins Gilman and “Bliss” penned by modernist writer Katherine Mansfield. The exploration of the symbols and imagery that abound in the texts reveal and underscore the thematic framework of the short stories. While the colour, animal and food imagery add richness to the story of Bertha Mason in “Bliss”, the multifarious symbols are symptomatic of the protagonist’s mental make-up and the descent into madness of her creative propensity in “The Yellow Wallpaper”.
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Roskam, Geert. „SOME FRESH AIR INTO THE NEOPYTHAGOREAN TRADITION: THE FRAGMENTS FROM ON KINGSHIP BY DIOTOGENES“. Cambridge Classical Journal 66 (05.02.2020): 203–20. http://dx.doi.org/10.1017/s1750270519000113.
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The Neopythagorean Diotogenes, author of a lost treatise On Kingship of which some fragments have come down to us in Stobaeus’ Anthology, is a largely neglected writer. Scholars either ignore him or briefly discuss him in the context of general overviews of Greek political thinking, usually comparing him to other Neopythagoreans such as Sthenidas and Ecphantus. This article argues that Diotogenes deserves to be read for his own sake, as a creative and subtle thinker who managed to contribute to his own philosophical tradition by benefiting from Homeric exegesis and by taking into account the more concrete demands of daily life.
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Dillon, Amanda. „“I Am the Nail”: A Multimodal Analysis of a Contemporary Reception of Isaiah 53“. Religions 14, Nr. 3 (10.03.2023): 370. http://dx.doi.org/10.3390/rel14030370.
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The Arma Christi, the instruments of the Passion of Christ, are a fascinating collection of symbols evident throughout the history of Christian art. This article considers the striking re-emergence of visual depictions of the Arma Christi in the contemporary spiritual practice of Bible Journaling. How have these symbols of the Passion made their way back into the popular Christian imaginary and creative expression of Bible readers today? The creative, devotional practice of Bible Journaling is gaining popularity in many countries, notably the US. Almost exclusively practiced by women, Bible Journaling involves making artistic interventions directly in the material artefact of the printed Bible, with different creative media. In considering the value of this practice for women’s spirituality, this article employs a social semiotic approach, multimodal analysis, to survey their visual representations and to analyse in detail one specific creative intervention, “I AM THE NAIL”, as a reception of a contemporary understanding of salvation through the suffering of Jesus Christ on the cross. Also considered are intertextual readings of the Hebrew Bible (Isaiah 53: 3–5) and the NT. The semiotic influence of popular cultural products such as The Passion of the Christ movie on the visual idiom embraced by the journalers forms part of this analysis.
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Merk, Tara. „Beyond markets: The DADA case for NFTs in art“. Technoetic Arts 21, Nr. 1 (01.08.2023): 73–89. http://dx.doi.org/10.1386/tear_00098_1.
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The rise of non-fungible tokens (NFTs) has been astonishing, in particular for the arts and creative industries. The dominant discourse both in mainstream media and in academia today focuses predominantly on what this new technology can do for the art market rather than art itself. However, framing NFTs in art in the context of money and markets draws attention away from the more subtle and creative role of NFTs. Consequently, this article asks: What is the role of NFTs in art, beyond the market? This research complements existing empirical work, by conducting a case study and interviews with members of DADA, a historic NFT art project which is particularly critical towards the role of the art market. The findings foregrounded five roles that NFTs play in art: as (1) a tool for systemic change, (2) a new way to community, (3) a ritual artefact, (4) a means for preservation and (5) a new medium.
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Piovanelli, Pierluigi. „What Is a Christian Apocryphal Text and How Does It Work? Some Observations on Apocryphal Hermeneutics“. NTT Journal for Theology and the Study of Religion 59, Nr. 1 (18.01.2005): 31–40. http://dx.doi.org/10.5117/ntt2005.59.031.piov.
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Abstract The new trend in the study of Christian apocryphal texts is to include among them not only the traditional ‘New Testament apocrypha’, but also other texts written later than the first centuries of our era, or clearly reworked in the Middle Ages. Behind this wider choice stands the opinion of Éric Junod and Jean-Claude Picard that there is no temporal limit for the rise of apocryphal texts. Using the evidence provided by some modern ‘strange new Gospels’, I argue that the process of producing apocryphal narratives is the outcome of a creative exegesis that is still at work in many cultural contexts.
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Quinn, James. „Reflecting on reflection: Exploring the role of writing as part of practice-led research“. Journal of Writing in Creative Practice 13, Nr. 2 (01.02.2020): 243–58. http://dx.doi.org/10.1386/jwcp_00007_1.
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The phrase ‘writing up’ is often framed as the point where a research project is nearing its end, with only a summarizing thesis between a student and their completion. This text seeks to interrogate this dichotomy between research practice and writing. Instead, the text engenders reflective writing as a constant undercurrent of dialogue that continually shapes research through reflective thought. The text implements concepts from two key texts to meet these ends: Kamler and Thompson’s Helping Doctoral Students Write: Pedagogies for Supervision and Bolt and Barrett’s Practice as Research: Approaches to Creative Arts Enquiry. The first of the texts problematizes the notion of a formal ‘writing up’ stage often cited by students and supervisors in research study, arguing instead for a shift towards a more dynamic role for writing in research, or indeed writing as research. The second of the contributing texts presents Barbara Bolt’s notion of the ‘exegesis’ as ancillary to this thought – outlining written practice in arts research as an intrinsic, generative process, married to any practical outcome. Using the rhetoric outlined in these two references, this article then summarizes with an application of the notion of the ‘exegesis’ to an assortment of personal written texts, such as reflective journal entries and assessed written works across three years of postgraduate study. Herein lies the key claim of this article – that exegesis permeates every meaningful or developmental step of practice-led research, forming a crucial reciprocal relationship between visual and written work not unlike other hybridized methodologies outlined by authors such as Mieke Bal in her text, Travelling Concepts in the Humanities: A Rough Guide.
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Abdillah, Nasirin. „A fictocritical narration of the complexity of nation-building in Malaysia“. Southeastern Philippines Journal of Research and Development 28, Nr. 2 (30.09.2023): 1–11. http://dx.doi.org/10.53899/spjrd.v28i2.277.
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Nation-building in Malaysia can be problematic due to its politicized racial divides. Malaysia as a nation is 60 this year, but issues of race and ethnicity are still prevalent factors that may thwart racial togetherness in modern Malaysia. Malaysia’s different races live in harmony but not necessarily in unity. This article centers upon the racial issues of Malaysia creatively and critically. It looks at the sociopolitical, cultural, and mythical nuances in the form of creative arts, where the genre of fictocriticism serves as a creative contextualization narrating the complexity of the idea of nation and racial identity. In other words, this study used a creative arts methodology approach where fictocriticism is put into practice to show the iterative processes of practice-led research and research-led practice following the ‘Iterative Cyclic Web’ model (Smith & Roger, 2009). Fictocriticism produces a dual narrative: one which employs a fictional voice and the other, a critical voice. The critical voice in the fictocriticism allows for commentaries on the issues of the positioning of ‘self’ and ‘other.’ In addition, an exegesis, in the forms of results and discussion, was provided after the fictocritical parts to explicate further and contextualize issues related to nation-building in Malaysia. It is hoped that this article may contribute to narrating the nation, its hopes and aspirations, in the context of creative arts.
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Nottingham, Paula McIver. „Professional artefacts: evaluating creative outcomes for work-based inquiry“. Journal of Work-Applied Management 12, Nr. 2 (16.06.2020): 127–39. http://dx.doi.org/10.1108/jwam-03-2020-0014.
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PurposeThis paper aims to explore graduate perspectives about the creation and use of professional artefacts to communicate work-based inquiry projects to professional audiences.Design/methodology/approachThe study was based on constructivist qualitative interviews with 14 graduates from a part-time professional practice in arts programme and used thematic analysis to interpret and discuss the findings.FindingsParticipants indicated a perceived value in the use of the professional artefact as a way of articulating their professional inquiry. Professional artefacts enable essential communication skills for professional contexts, have the capacity for engaging with professional audiences that are external to the university, have the potential for enabling further study and workplace employability, show awareness of project management and leadership capabilities and helped some individuals build on and share their own personal philosophy of practice with peer professionals.Research limitations/implicationsAs a small-scale research project that used purposive sampling, the findings are not representative, but could provide the creative means to develop professional artefacts within work-related educational programmes and workplace learning programmes.Practical implicationsIt is argued that the process and production of professional artefacts can provide the means for communicating work-based projects to professional audiences within workplace settings.Originality/valueProfessional artefacts explore and present developmental aspects of work-based inquiries with distinctive creative approaches to favour practice knowledge and innovation that can be expressively shared with peer professionals.
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C. B. McLeish, Tom. „Remembering John Polkinghorne: a vision of one world, and one culture“. Theology 124, Nr. 5 (September 2021): 324–31. http://dx.doi.org/10.1177/0040571x211043170.
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A personal recollection of gratitude reports on the way that the writings of John Polkinghorne inspired and guided the author’s own thinking in science and theology since meeting him as a graduate student. Themes of both agreement and disagreement are selected from the many to be found in Polkinghorne’s corpus. Closer attention is paid to two of his books, Science and Christian Belief and Faith, Science and Understanding. A running theme is the creative tension of a ‘bottom-up thinker’, one of whose salient and influential arguments was that of ‘top-down causation’. Although there is disagreement over Polkinghorne’s exegesis of divine character in Job, thinking the argument through did bear fruit.
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van Nes, Hans. „And the Streams of Rome Will Be Turned into Pitch Attitudes towards Rome in European Versions of Targum Jonathan“. Aramaic Studies 10, Nr. 1 (2012): 125–43. http://dx.doi.org/10.1163/17455227-0101007.
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This study focuses on the appropriation of Biblical doom saying to the city of Rome in Targum Jonathan. After discussing the phenomenon of anti-Roman utterances within Jewish exegesis, we will examine seven Targum verses that mention Rome. The appearance, modifications and disappearance of references to Rome are shown in Medieval manuscripts representing Targum Jonathan’s various textual branches and in early modern printed editions of the Rabbinic Bibles and the Polyglot Bibles. When transmitting such anti-Roman Targum verses, Christian Hebraists faced tension, as will be demonstrated, between loyalty to the Church’s capital city and academic integrity, which demanded compliance with the Aramaic consonantal text. We will therefore also show their, at times, creative solutions.
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Mclaughlin, Ryan Patrick. „A Meatless Dominion: Genesis 1 and the Ideal of Vegetarianism“. Biblical Theology Bulletin: Journal of Bible and Culture 47, Nr. 3 (August 2017): 144–54. http://dx.doi.org/10.1177/0146107917715587.
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I argue that a strand of biblical tradition, represented in Genesis 1:26–29, depicts a nonviolent relationship between humans and nonhumans—indicated by the practice of vegetarianism—as a moral ideal that represents the divine intention for the Earth community. This argument is supported by four claims. First, the cultural context of Genesis 1 suggests that the “image of God” entails a democratized royal charge of all humans to make God present in a unique manner in the created order. Second, this functional role must be understood in light of the unique deity (Elohim) in Genesis 1, a deity whose peaceful and other-affirming creative act is distinctive from violent creative acts of deities in other ancient Near Eastern cosmologies such as the Enuma Elish. Third, Genesis 1 provides an exegesis of humanity's dominion over animals in verse 29, which limits humanity's food to vegetation. Finally, juxtaposing Genesis 1 with Genesis 9 reveals a nefarious shift from human dominion, which is meant to be peaceful and other-affirming, to something altogether different—a relationship that is built upon terror.
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O., Justice, und Emmanuel O.A. „The Creation of Abelengro: A Cross-Cultural Art Music Composition“. Journal of Advanced Research and Multidisciplinary Studies 1, Nr. 1 (14.05.2021): 13–25. http://dx.doi.org/10.52589/jarms-mzflgssm.
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Ethnomusicology has an important mission of providing a body of musical knowledge that can be drawn on by artist-composers, performers, dancers as well as scholars in the field of music. The paper therefore presents an outcome of a creative ethnomusicological study of abele music among the Yeji people of the Bono-East Region in Ghana. Using Euba’s theory of creative ethnomusicology and Nketia’s concept of syncretism, the study highlights the indigenous elements of abele musical genre and unearths the process where these elements were used to create a musical artefact called Abelengro. Data for the study were collected through observation and adopted definitive analysis to provide the materials for the composition. The study revealed that Abele music contains rich source materials for creating a neoclassicism of African traditional music that could be enjoyed by a wide range of people. It is envisaged that these rich indigenous musical elements and idioms are harnessed by contemporary art musicians to achieve the uniqueness of African identity in art music compositions in Ghana.
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Tuckwell, Jason. „Productive and Creative Poiesis and the Work of Art“. Transcultural Studies 13, Nr. 2 (01.02.2017): 99–118. http://dx.doi.org/10.1163/23751606-01302001.
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There are two ancient formulations of the problem art presents to us: poiesis understands art as a generic ontological problem and techné treats art as a particular kind of work—a skilful, intentional practice to deviate processes of becoming. Arguably, this distinction leads to very different procedures for determining the ‘work of art’; poiesis considers artistic praxis as resolved into the artefact while techné considers it as a problem in-itself. This tension is evident in the generic designation of the ‘work of art’ which tends to conflate process with what this process produces. This conflation about the work of art can be illuminated via a return to Aristotle’s concept of techné. This is because techné (the kind of work art performs) remains irreducible to both poiesis (to make) and praxis (deliberative action). Where poiesis and praxis are constructive activities differentiated by their intentional ends, techné remains a more foundational power to work upon processes of material causation. What these Aristotelian distinctions clarify is that the work of art is neither resolvable in the terms of its productions (poiesis) or the terms of its practices (praxis, deliberative actions); rather, art works by deviating these productive processes in the midst of their becoming, by bringing unprecedented differences into being. As such, the work of art apprehended by Aristotelian techné is not reducible to any poiesis; it works upon and divides poiesis into another workflow—a creative poiesis. The work of art thus appears as a creative, causal power counter-posed to all production.
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Isaac, Jeffrey C. „The Cambridge Companion to Hannah Arendt Edited by Dana Villa. Cambridge: Cambridge University Press, 2001. 320p. $55.00 cloth, $20.00 paper.“ American Political Science Review 96, Nr. 3 (September 2002): 627–28. http://dx.doi.org/10.1017/s0003055402400366.
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This is an excellent collection of essays about the political thought of Hannah Arendt. Its editor, Dana Villa, has assembled a first-rate group of scholars, many of whom are already well known for their contributions to Arendt studies. The volume is distinguished by the high quality of its contributions and by the effort of so many of its contributors to go beyond standard lines of exegesis to raise interesting questions and to press the boundaries of Arendt commentary. Arendt's work has received a great deal of attention from political theorists in recent years. The Cambridge Companion to Hannah Arendt makes clear the richness of her thinking, the range of her concerns, and the ability of her writings to inspire creative commentary and constructive political theory.
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Blackshield, Tony, und Rosemary Huisman. „Exemption and exegesis: Judicial interpretation of exemption clauses in England, Australia, and India“. Semiotica 2016, Nr. 209 (01.03.2016): 77–97. http://dx.doi.org/10.1515/sem-2016-0006.
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AbstractA feature of the modern consumer economy is the so-called “standard form contract,” printed in advance to establish the terms on which a corporate supplier deals with its customers. Typically these terms include an “exemption clause,” seeking to limit the supplier’s liability for loss or damage, and often to exclude legal liability altogether. Sometimes such clauses are given effect according to their apparent intention, but in other cases judges may endeavor to avoid that result – either by denying the clause any legal effect whatsoever, or by reading it so as not to apply to the precise kind of liability that has in fact arisen. We illustrate these varied responses by reference to judicial decisions in England, Australia, and India. The analysis suggests different expectations within these different judicial discourse communities: in England, from 1980 onwards, the renewed ideological emphasis on freedom of contract led judges to retreat from the creative solutions of earlier decades, returning to an emphasis on the actual words of such clauses; in Australia, in contrast, judges declined to take part in such a retreat; in India, a prevailing insistence on the need to interpret contracts strictly according to their literal terms has failed to prevent occasional attempts at ingenious interpretive solutions.
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Robertson, Sara, Sarah Taylor, Robert Christie, John Fletcher und Luca Rossini. „Designing with a Responsive Colour Palette: The Development of Colour and Pattern Changing Products“. Advances in Science and Technology 60 (September 2008): 26–31. http://dx.doi.org/10.4028/www.scientific.net/ast.60.26.
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This paper presents an illustrated discussion of the potential for creative design applications of thermochromic textiles brought into contact with specifically designed heat-profiling circuitry. The results are derived from a current research programme at the design/technology interface on the application of colour change technology in interior textile design. Examples are given of textile samples combining printed thermochromics with circuitry to demonstrate the aesthetic qualities that can be achieved from integration of the technologies in a flexible fabric system. Dynamic colour change effects controlled by prototype circuitry and power electronics are demonstrated. The paper concludes with an analysis of the potential for product/artefact development in the area of “smart” design and how, as a consequence, a responsive interior might be envisaged.
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Safi, Louay. „The Foundation of Knowledge“. American Journal of Islam and Society 34, Nr. 2 (01.04.2017): 102–6. http://dx.doi.org/10.35632/ajis.v34i2.769.
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The interlinked nature or interconnected dimension of al-‘ulūm al-Islāmīyah(Islamic sciences), which comprise such areas as syntax, morphology, semantics,linguistic philosophy, logic, legal theory and jurisprudence, prosody, rhetoric,exegesis, hadith, and one or two related others, has arguably remainedan unsung story in contemporary scholarship. Such an interesting feature ofIslamic traditional knowledge should not be obscured, especially in view ofthe centrality of such areas of learning to uṣūl al-fiqh (the science of Islamicjurisprudence), which cannot be a functional whole if any of them are absent.The work under review, The Foundation of Knowledge, has done creditablywell by not only underscoring such interconnectedness, but also by analyzing(somewhat comparatively) the classical Muslim and modern western methodswith a view to exposing the inadequacy of established methods before attemptinga creative synthesis of the two.
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Flavin, Michael, und Bethany James. „‘To give an outsider an idea of what it could be like’: A case study of the creative representation of hearing voices“. Arts and Humanities in Higher Education 17, Nr. 1 (21.12.2016): 134–47. http://dx.doi.org/10.1177/1474022216684633.
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This paper reports on a case study which aims to recreate the hearing voices symptom in schizophrenia. The case study was submitted for a co-curricular module at King’s College London by a first-year undergraduate Music student, Bethany James, and was created using the web application, Mahara. The core of the case study consists of a soundscape of both everyday and unusual sounds, in conjunction with an original musical composition. The paper describes the case study and discusses it using chaos narrative as an analytical lens. The paper argues that the case study (‘A Beautiful Mind – Artefact’) effectively evokes the hearing voices symptom, conveying a lucid sense of the experience to non-sufferers and thus potentially creating use value for clinicians and care workers.
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Yahalom, Shalem. „Nahmanides’ Disputes with Rashi as a Gateway to His Worldview“. Review of Rabbinic Judaism 23, Nr. 2 (08.09.2020): 207–28. http://dx.doi.org/10.1163/15700704-12341370.
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Abstract Although he highly praises Rashi’s Torah commentary, Nahmanides emphasizes that Rashi’s work is not beyond criticism. This article points out one aspect of Nahmandes’ disagreement with Rashi. Rashi, for his part, is willing to cite traditional Midrashic commentaries without significant additions, assuming that tradition is an effective tool for transmitting reliable information. Nahmanides argued with Rashi over this claim. Rather than sufficing to repeat exegetical traditions, in his Torah commentary, Nahmanides expands them and raises alternatives. In this way, he asserts the importance of analyzing all information critically. This article demonstrates how reservations regarding tradition stand behind several exegetical and halakhic disputes between Rashi and Nahmanides. Through analyzing this principle, the study demonstrates how Nahmanides, under the guise of a guardian of tradition, constructed an original, creative spiritual world in the areas of exegesis, halakha, and kabbalah.
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Ardern, Sophie, und Marcos Mortensen Steagall. „Awakening takes place within: a practice-led research through texture and embodiment“. DAT Journal 8, Nr. 1 (15.03.2023): 70–100. http://dx.doi.org/10.29147/datjournal.v8i1.701.
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This article explores contextual research and creative design methodologies to understand the relationship between the researcher’s embodied approach and the produced artefact. The question of: ‘How might I honestly depict my own embodied textural world to awaken others?’ frames the project in a way which allows the designer/researcher to produce work organically and honestly. Encompassing different navigational directions and frameworks of information allows personal understanding to pervade through. The ideas of place, nostalgia, storytelling and texture are explored throughout the physical artefacts of a textural archival book ‘Awaken’ and a series of posters. The methodology of a heuristic-led enquiry activated by embodiment enabled the translation into something more significant than an abstract thought. Exploring the contextual knowledge of texture and its multi-sensory ability, nostalgia and embodiment, frames the project in the broader context allowing for a critical work commentary.
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Bruce, Greg. „Surmounting the Skepticism: Developing a Research-Creation Methodology“. Acta Academiae Artium Vilnensis, Nr. 109 (14.08.2023): 101–23. http://dx.doi.org/10.37522/aaav.109.2023.162.
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This paper was written to help address the tenuous status of research-creation at the University of Toronto, where I am a Doctor of Musical Arts candidate. There, I devised a “feedback saxophone” system in which I combine the tenor saxophone with various microphones and speakers to encourage and control acoustic feedback. The DMA program at U of T is classified as professional, so the premise of centering my thesis around my feedback saxophone practice was met with some healthy skepticism. This was not because it was viewed as uninteresting, but because creative practice is not typically considered a justifiable form of research in thesis writing. To therefore bolster research-creation as a legitimate form of scholarly inquiry and to build a model for my own research in music, I aim to answer two questions, insofar as they pertain to my research-creation project: (1) “How is creative practice research?” and (2) “What methods are appropriate for carrying out my creative practice as research?” In answering the first, I draw from the literature to demonstrate how research-creation is a form of knowledge gener- ation that complements conventional modes of investigation. Following this, I examine different categories of research-creation and illustrate them on a music research “compass” to facilitate comparison and understanding. To answer the second question, I discuss two relevant research-creation methodologies and combine them to construct my own “problem-practice-exegesis” approach. I conclude by detailing how I carry out my research using this methodology. Through this work, I endeavor to provide a practical model for graduate artist-researchers who are interested in integrating their creative practices with thesis writing and to contribute to the validation of research-creation within Canadian graduate music programs and beyond.