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Books on the topic 'A criterion of creativity (originality)'

Author: Grafiati

Published: 4 June 2025

Last updated: 15 July 2025

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1

G, Aleinikov Andrei, Kackmeister Sharon, and Koenig Ron, eds. Creating creativity: 101 definitions (what Webster never told you). Alden B. Dow Creativity Center Press, 2000.

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2

Dasgupta, Subrata. Creativity in invention and design: Computational and cognitive explorations of technological originality. Cambridge University Press, 1994.

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3

Pięta-Kanurska, Małgorzata. Wpływ sektora kreatywnego na kształtowanie się polskich metropolii: Creative industries' contribution to shaping Polish metropolises. Wydawnictwo Uniwersytetu Ekonomicznego we Wrocławiu, 2013.

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4

Stiegele, Juliane. Utopia toolbox: For working on the future : an incitement to radical creativity. Penny W. Stamps School of Art & Design, University of Michigan, 2015.

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5

Kurbakova, Marina, Vladimir Voropaev, and Aleksandr Krinicyn. The concept of the family in the works of I.S.Turgenev. A family man or a wanderer? INFRA-M Academic Publishing LLC., 2023. http://dx.doi.org/10.12737/1871447.

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The monograph examines the problem of the family and the peculiar interpretation of the theme of childhood in the works of I.S. Turgenev, starting with the first poem "Parasha" and ending with the novel "Nov" and poems in prose. The analysis of the works was carried out taking into account new biographical data and the epistolary heritage of the writer. Such essential features of I.S. Turgenev's creativity as the role of life realities in his works, the typology of heroes, the structure of works and some features of their poetics are highlighted in a new way. It turns out what influence the facts of the biography, personality traits, views and beliefs of the writer had on his attitude to the institution of the family. The ambiguity of the concept of "children" and the originality of the artistic embodiment of this theme in the writer's work are revealed. The images of the central "lonely" characters in the writer's work are systematized. A separate chapter is devoted to the traditions and innovations of I.S. Turgenev in the covered topic and the Pushkin tradition in his work. It is surprisingly correlated in the personal aspect with the life of each person and now, what the reader has to learn. For a wide range of readers interested in the work of I.S. Turgenev. It can be useful for students, postgraduates and teachers of philological universities and faculties.

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6

Ross, Mark. Creativity: The Ability to Transcend Traditional Originality. Independently Published, 2019.

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7

Frosio, Giancarlo. Reconciling Copyright with Cumulative Creativity: The Third Paradigm. Elgar Publishing Limited, Edward, 2018.

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8

Esposti, Mirko Degli, Eduardo G. Altmann, and Francois Pachet. Creativity and Universality in Language. Springer London, Limited, 2016.

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9

Esposti, Mirko Degli, Eduardo G. Altmann, and Francois Pachet. Creativity and Universality in Language. Springer, 2016.

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10

Esposti, Mirko Degli, Eduardo G. Altmann, and Francois Pachet. Creativity and Universality in Language. Springer International Publishing AG, 2018.

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11

Ichiki, Hisako, and Takao Umehara. Extra Ordinary: An Amusing Guide for Unleashing Your Creativity. Rockport Publishers, 2005.

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12

Tam, Brian. Awrignawl Creativity: 65+ Inspirations on Chaos, Originality, and Transformation. Independently Published, 2019.

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13

Kakehashi, Ikutaro. Age Without Samples: Originality and Creativity in the Digital World. Leonard Corporation, Hal, 2018.

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14

An age without samples: Originality and creativity in the digital world. Hal Leonard, 2017.

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15

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

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16

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

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17

Cofone, Joey, and Baronfig Inc. Laws of Creativity: Unlock Your Originality and Awaken Your Creative Genius. Baronfig Inc., 2022.

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18

Cofone, Joey, and Baronfig Inc. The Laws of Creativity: Unlock Your Originality and Awaken Your Creative Genius. Baronfig Inc., 2022.

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19

Svasek, Maruska, and Birgit Meyer. Creativity in Transition: Politics and Aesthetics of Cultural Production Across the Globe. Berghahn Books, Incorporated, 2016.

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20

Svasek, Maruska, and Birgit Meyer. Creativity in Transition: Politics and Aesthetics of Cultural Production Across the Globe. Berghahn Books, Incorporated, 2016.

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21

Creativity in Transition: Politics and Aesthetics of Cultural Production Across the Globe. Berghahn Books, Incorporated, 2016.

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22

We All Need Heroes: Stories of the Brave and Foolish. Skyborn Works, 2012.

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23

Black, Steven, and Andreas Reckwitz. Invention of Creativity: Modern Society and the Culture of the New. Polity Press, 2017.

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24

Black, Steven, and Andreas Reckwitz. Invention of Creativity: Modern Society and the Culture of the New. Polity Press, 2018.

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25

Black, Steven, and Andreas Reckwitz. Invention of Creativity: Modern Society and the Culture of the New. Polity Press, 2017.

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26

Reckwitz, Andreas. The invention of creativity: Modern society and the culture of the new. Wiley-Interscience, 2017.

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27

Misawa Chiyoji no so no jidai: GNN ga hito mo kigyo mo nobasu = Creativity and originality : Open the door which leads to the future. Purejidentosha, 1990.

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28

Fogarty, Mary. Gene Kelly. Edited by Melissa Blanco Borelli. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199897827.013.008.

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This chapter explores the contemporary significance of Gene Kelly for street dance practitioners and cultural critics. Responses to a Volkswagen commercial remake of Kelly’s “Singin’ in the Rain” solo sequence raise questions about how creativity and originality are assessed in popular dance performances. By comparing the responses of film critics and hip-hop dance practitioners to both Gene Kelly’s performance in Singin’ in the Rain (Donen and Kelly 1952) and the commercial remake, a key theme emerges. Evaluations of creativity reveal how judgments about originality are as much a part of street dance practices as classic choreographic works. This chapter suggests that “remixes” of past popular dance performances reveal the pleasure created in aesthetic comparison. In fact, value judgments rooted in comparisons are a central component of popular dance assessment and appreciation.

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29

Cook, Nicholas. Creative in a different sort of way. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199347803.003.0004.

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This final chapter of Music as Creative Practice addresses a variety of contexts that shape practices of creative music-making. Topics include the prodigy phenomenon from Mozart to Michael Jackson; long-term relationships of creative intimacy, with a case study of Elgar; the teaching of creative performance, including issues of the relationship between tacit and explicit knowledge; the application of ideas of originality and innovation to music, leading to a critical analysis of copyright in music; and repetition, traditionally regarded as the opposite of creativity, but in music an illustration of the creative potential of thinking within the box. The aim is to develop the foundations for an approach to creativity that is better adapted to music than the innovation-based approaches that dominate the creativity literature, and also better adapted to the circumstances of everyday life—an approach that is fully presented in the book's Conclusion.

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30

Michie, Lindsay. Spirit of Resistance in Music and Spoken Word of South Africa's Eastern Cape. The Rowman & Littlefield Publishing Group, 2021. https://doi.org/10.5040/9781978735668.

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From an array of prominent activists including Nelson Mandela and Steve Biko to renowned performers and oral poets such as Johnny Dyani and Samuel Mqhayi, the Eastern Cape region plays a unique role in the history of South African protest politics and creativity. The Spirit of Resistance in Music and Spoken Word of South Africa's Eastern Cape concentrates on the Eastern Cape's contribution to the larger narrative of the connection between creativity, mass movements, and the forging of a modern African identity and focuses largely on the amaXhosa population. Lindsay Michie explores Eastern Cape performance artists, activists, organizations, and movements that used inventive and historical means to raise awareness of their plight and brought pressure to bear on the authorities and systems that caused it, all the while exhibiting the depth, originality, and inspiration of their culture.

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31

Loveless, Megwen. Between the Folds of Luiz Gonzaga’s Sanfona. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037207.003.0014.

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This chapter focuses on the fascinating life story of the Brazilian accordionist Luiz Gonzaga, while examining Brazil's national musical and political context that allowed this extraordinary musician to come forth as the creator of a new accordion-driven music and dance genre called forró. With his “unwieldy” instrument in his hands, the bohemian Gonzaga shaped a quintessentially Brazilian music—one that, unlike the urban samba and the cosmopolitan bossa nova, stands for the rural roots of the nation. Part of Gonzaga's success was due to his ability to create a credible onstage persona, to portray a “country bumpkin” identity with a unique performance style and musical accent—the accordion undoubtedly underlined his hinterlandishness. His creativity and originality made him into one of Brazil's most successful recording artists.

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32

Benson, Bruce Ellis. In the Beginning, There Was Improvisation. Edited by Benjamin Piekut and George E. Lewis. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199892921.013.004.

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The theological doctrine ofcreatio ex nihiloattempts to safeguard both the power and freedom of God. If creation is understood as God’s work of art, thencreatio ex nihilois the strongest artistic account of creation possible. The Kantian artist possesses something like this power and freedom, since his or her original and exemplary ideas arise inexplicably. The modern and romantic artistic traditions have perpetuated this myth of the lone artist whose creation is a kind of godlike activity. This chapter claims that “improvisation,” or the fabrication out of what is already on hand, constitutes creativity for humanity. Thus, artistic genius always begins somewhere:creatio ex improvisatio. As a result, tradition is incredibly important to improvising art. Improvisation casts doubt on the myth of the disconnected genius and necessarily maintains a play between quotation and originality.

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33

Redekop, Vern Neufeld, and Thomas Ryba, eds. René Girard and Creative Mimesis. The Rowman & Littlefield Publishing Group, 2013. https://doi.org/10.5040/9781978732094.

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For half a century René Girard’s theories of mimetic desire and scapegoating have captivated the imagination of thinkers and doers in many fields as an incisive look into the human condition, particularly the roots of violence. In a 1993 interview with Rebecca Adams, he highlighted the positive dimensions of mimetic phenomena without expanding on what they might be. Now, two decades later, this groundbreaking book systematically explores the positive side of mimetic theory in the context of the multi-faceted world of creativity. Several authors build on Adams’ insight that loving mimesis can be understood as desiring the subjectivity of the other, particularly when the other may be young or wounded. With highly nuanced arguments authors show how mimetic theory can be used to address child and adult development, including the growth of consciousness and a capacity to handle complexity. Mimetic theory is brought to bear on big questions about creativity in nature, evolutionary development, originality, and religious intrusion into politics.

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34

Groom, Nick. Romanticism Before 1789. Edited by David Duff. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780199660896.013.1.

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This chapter explains that the movement that eventually came to be known as Romanticism had its origins in politicized canon-formation. A particular literary taste was developed by Whig writers as a reflection of commercial, Protestant, and constitutional values that was focused on the sublime, originality and creativity, the power of the imagination, and anti-classicism. These ‘cultures of Whiggism’ became increasingly influential and blossomed in the 1760s—most notably in the work of literary forgers such as Macpherson and Chatterton—by which time they had combined with equally political eighteenth-century reactions to the medieval past, most powerfully expressed through the cultural movement of the Gothic. Gothicism provided the new aesthetics with a progressive model of history and national identity, as well as with a lexicon of supernatural imagery. Ironically, then, Romanticism was a consequence of the literary agenda of establishment party politics.

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35

L. Pressly, William. America's Paper Money: A Canvas for an Emerging Nation. Smithsonian Institution Scholarly Press, 2023. http://dx.doi.org/10.5479/si.24871410.

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<p dir="ltr">The Massachusetts Bay Colony in 1690 became the first government in the Western world to print paper money, the imagery for which initiated an indigenous American art form of remarkable dynamism and originality. After the Revolutionary War, disillusioned by how quickly its promiscuous printing of Continental currency had led to hyperinflation, the U.S. government left it to private institutions such as state-chartered banks to carry on this artistic American tradition. Adorned with a vast variety of images, bank notes soon became the fledgling country’s primary currency. With pressures of the Civil War, the federal government in 1861 began taking charge of the paper-money supply by creating a national currency; simultaneously, the Confederate States of America was creating a competing self-image, making heavy use of bank-note vignettes. Later, collaboration between government engravers and well-known artists on the 1896 Silver Certificates marked the apex of U.S. government currency design. For two centuries, American creativity and technical ingenuity resulted in imagery on paper money that helped create and enhance the nation’s imagined self.</p>

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36

Coghen, Monika, and Anna Paluchowska-Messing, eds. Romantic Dialogues and Afterlives. Wydawnictwo Uniwersytetu Jagiellońskiego, 2021. http://dx.doi.org/10.4467/k7164.74/20.20.15512.

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Romantic writers often asserted their individuality, but this assertion tended to take the form of positioning themselves in relation to other authors and literary texts. Thus they implicitly acknowledged the rich network of broadly understood poetic dialogue as an important and potent source for their own creativity. When in 1816 John Keats wrote “Great spirits now on earth are sojourning,” he celebrated the originality of his contemporaries and the historical significance of his times, pointing to deep interest in “the hum of mighty works” in all the fields of human activity, to which “the nations” ought to listen. Keats’s sonnet suggests not only stimulating exchanges between poets, artists and social thinkers in the same language, but also the idea of transnational appreciation and dialogue. The volume takes up this idea and explores the dialogues of Romantic authors within the wide scope of European and American cultures. Essays by scholars from Germany, Britain, Bulgaria, Poland, Canada and the United States of America examine Romantic writers’ responses to their contemporaries, explore their dialogues with the culture of the past, and their interactions across the arts and sciences. They also scrutinize the Romantics’ far-reaching influence on later writers and artists, and thus extend the network of artistic exchange to modern times. The volume offers a rich tapestry of interconnections that span across time and space, interlace languages and cultures, and link Romantic writers and artists with their predecessors and successors across Europe and America. The essays in the collection invite the reader to join ongoing dialogues between writers and their audiences, of the past and present.

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37

Troeller, Jordan. Ruth Asawa and the Artist-Mother at Midcentury. The MIT Press, 2025. https://doi.org/10.7551/mitpress/15395.001.0001.

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How a group of artist-mothers in postwar San Francisco refused the centuries-old belief that a woman could not make art while also raising children. For most of modern history, to be an artist and a mother was to embody a contradiction in terms. This “awful dichotomy,” as painter Alice Neel put it, pitted artmaking against caretaking and argued that the best art was made at the expense of family and futurity. But in San Francisco in the 1950s and 1960s, a group of artists gathered around Ruth Asawa (1926–2013) began to reject this dominant narrative. In Ruth Asawa and the Artist-Mother at Midcentury, Jordan Troeller analyzes this remarkable moment. Insisting that their labor as mothers fueled their labor as artists, these women redefined key aesthetic concerns of their era, including autonomy, medium specificity, and originality. Delving into the archive, where the traces of motherhood have not yet been erased from official history, Troeller reveals Ruth Asawa's personal and professional dialogue with several other artist-mothers, including Merry Renk, Imogen Cunningham, and Sally Woodbridge. For these women, motherhood was not an essentialized identity, but rather a means to reimagine the terms of artmaking outside of the patriarchal policing of reproduction. This project unfolded in three broad areas, which also structure the book's chapters: domesticity and decoration; metaphors for creativity; and maternal labor in the public sphere, especially in the public schools. Drawing on queer theory and feminist writings, Troeller argues that in belatedly accounting for the figure of the artist-mother, art history must reckon with an emergent paradigm of artmaking, one predicated on reciprocity, caretaking, and futurity.

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