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Author: Rama Mani

Oxford, Oxford, UK Abstract Th is article addresses the creative agency of women within the context of post-confl ict or transi- tional justice (TJ). Specifi cally it seeks to underscore the diverse ways in which women in societies emerging from violent confl ict and its attendant gender-based violations

In: International Criminal Law Review
Apparitions et réapparitions de l’image d’Artine
Author: Julie S. Kleiva
Dans Intertextualité surréaliste dans la poésie de René Char, Julie S. Kleiva montre comment la figure d’Artine, initialement une représentante du surréalisme charienne, se transforme en une image complexe, polymorphe et considérablement présente à travers l’œuvre de René Char (1907-1988). En adoptant une approche intertextuelle, Kleiva soutient que la figure d’Artine représente la force déroutante au cœur de l’imagination poétique charienne. L’image revenante d’Artine favorise l’idée d’une continuité dans l’œuvre poétique de Char malgré la rupture articulée au milieu des années 30.

In Intertextualité surréaliste dans la poésie de René Char, Julie S. Kleiva demonstrates how the initially surrealist figure of Artine becomes a complex, polymorphus and, most importantly, significally present image throughout the work of the French poet René Char (1907-1988). By adopting an intertextual approach, Kleiva argues that the figure of Artine is a disturbing and confusing creative agency that corresponds to the core of Char’s poetry. The reappearing image of Artine serves to demonstrate that Char’s poetic rupture of the years from 1935-1937 has been exaggerated, and must be viewed as a development rather than a clean break.
Author: Helen Yitah

sense, children exhibit creative agency by simultaneously engaging in arts criticism, social critique, and artistic expression. I situate this emerging tradition of children’s play songs in its larger socio-cultural and poetic context, in order to illuminate its aesthetic and imagination

In: Utafiti

describe, not private or idiosyncratic ritual or material transmissions of power, but rather the invocation and deployment of an authoritative tradition in a local performative context through the creative agency of a ritual expert and involving various ritual media . What is gained if we maintain this

In: Guide to the Study of Ancient Magic
Author: Abigail Pelham
In Contested Creations in the Book of Job: the-world-as-it-ought- and -ought-not-to-be Abigail Pelham reads the Book of Job both ‘forwards’—examining the perspectives on creation presented by Job and his friends and corrected by God’s authoritative voice from the whirlwind—and ‘backwards,’ demonstrating how the epilogue explodes readers’ certainties, forcing a reappraisal of the characters’ claims. The epilogue, Pelham argues, changes the book from one containing answers about creation to one which poses questions: What does it mean to make the world? Who has the power to create? If humans have creative power, is it divinely sanctioned, or has Job, acting creatively, set himself up as God’s rival? Engaging more thoroughly with Job’s ambiguity than previous scholars have done, Contested Creations explores the possibilities raised by these questions and considers their implications both within the book and beyond.
Author: Ira Livingston

If poetics refers broadly to the principles by which things are made, how is the kind of process that yields poetry (in the narrow sense) related to other kinds of making? This essay explores promising resonances between traditional poetics and new paradigms coming out of complexity and systems theory. Of particular interest is Terrence Deacon’s Incomplete Nature, an account of the relationships among layers of emergent order in the universe, under the heading of a general theory of dynamics. In particular, this essay understands poetry in relation to other kinds of making through three principles Deacon identifies as crucial: constraint, emergence, and absence. These principles tend to validate rather than to undermine traditional accounts of poetic making as inspiration, often involving entification in the form of attribution of creative agency to entities such as muses or to the text itself.

In: Frontiers of Literary Studies in China
Author: Jo Trowsdale

In a school, where creativity feeds and underpins the education of all learners, how are those responsible for generating such a culture best enabled to affect creative learning? Drawing upon models developed through the UK’s Creative Partnerships programme, this chapter critiques professional development for facilitators of creative learning. In recent years, in educational and creative/cultural sectors, there has been a move away from training. Instead more owned, bespoke practice is growing emphasising reflective practices such as mentoring, co-coaching and peer-networking. Cre8us, like many of the 25 national partner organisations delivering the Creative Partnerships programme (the UK government’s flagship creative learning programme) has given much attention to both enabling and evaluating the professional development of school staff and the creative partners who support staff and students’ creative learning journeys. Whether an embedded strand of a core programme with and for young people or a discrete targeted professional development programme, practice has been concerned with: a) developing enquiry-based, reflective practice; b) enabling partnership working across educational and creative/cultural sectors; and c) growing learning communities. Programmes have sought to make links between the creative and learning processes as well as to develop knowledge, understanding and a shared language of creative learning. Some propose a set of competencies for professionalising of the practice of hybrid creative enablers. Reviewing strategy, systems and the art of creative agency this chapter considers the key principles of and challenges in professional learning programmes to enable creative learning

In: Creative Engagements With Children Inside and Outside School Contexts

It is well known that the Surrealists partook avidly and frequently in various games of both a visual and verbal nature, the most salient example being The Exquisite Corpse. The collective nature of participation in these games was deemed an essential feature, since the inclusion of multiple participants was a way to undermine individual creative agency and rational control over artistic production. The objective of the game, however, was not mere disinterested play. Rather, these games facilitated a form of ‘experimental research’ whose purpose was to bring into contact the subjective and the objective in a sort of ‘borderline experience’ or collage. Chains of visual and verbal associations, emerging apparently haphazardly from these games, were seen to provide evidence of what Breton referred to as ‘le hasard objectif.’ Breton defined objective chance somewhat arcanely as ‘the meeting of an external causality and an internal finality.’ This chapter examines the ambiguities emerging from this definition, ambiguities that surround Surrealist notions of collage and automatic writing as practiced in the game of The Exquisite Corpse. Ultimately, Breton’s concept of objective chance remains an aporia. Both fortuitous and necessary, objective chance leads to the shock of the ‘apparently meaningful encounter of two distant realities.’ While no single individual controls the production of the final drawing or sentence, the game of The Exquisite Corpse seems, somewhat miraculously, to produce a ‘necessary’ meaning. Commenting upon the contradiction inherent in this enigma, Denis Lejeune notes Breton`s simultaneous attraction to chance and his rejection of it. For Lejeune, Breton likes to edge close to the vicinity of chance, with ‘its potential, its creative power, its purity,’ while at the same time refusing to surrender to its senselessness. I will explore the game of The Exquisite Corpse as a means to encounter and heighten this tension.

In: Play of Individuals and Societies

Partington notes that clothing produced by individual consumers through adaptation of patterns is contextualised as a watered down version of original couture. In its most reductive form, this notion characterises fashion as commercial and exploitative. Descriptors such as appropriation, imitation, copy and so forth have restricted the opportunity to understand fashion as a major global cultural form and institution. Therefore exploring and understanding the concept of adaptation will shift the attention from a superficial assessment of original versus imitation or copy to adaptation as a practice that provides a better framework for the understanding of designers’ and couturiers’ innovative practices and creativity, describing also the active engagement of consumers with fashion at the micro level. Adaptation can also provide a way to understand different historical shifts in the fashion system, from individual creative agency with home dressmaking and re-making to the explosion of the mass market and the consequent abandonment of such practices. Home dressmaking has been replaced by fashion remix of mass produced garments, a practice that thrives in our environment of globalised fast fashion. Thus this chapter suggests the need for a contextual requalification of concepts such as original, copy, imitation and copyright, and argues that these categories have been played against each other, but they are in fact interdependent. Today, big labels and conglomerates try to control knowledge and innovation through copyright, but, fashion escapes copyright because, in fashion, creativity is contextual. The institutionalisation of couture from 1868 served as a way to control knowledge about production processes in fashion; on the other hand, adaptation practices, often subversive, have been fundamental to the democratisation of fashion.

In: Fashion-Wise
Author: Bridget Haylock

In this chapter I argue that the radical textual practice in Barbara Baynton’s (1857- 1929) novel, Human Toll (1907), foreshadows contemporary feminine appropriation and subversion of the Bildungsroman genre which testifies to traumatic experience; specifically the creative emergence from the traumatic inheritance of feminine embodiment, demonstrated by concern with feminine subjectivity and signified by the colonised female (body). What Baynton argues for in Human Toll is an autonomous place for feminine expression, for écriture feminine, in the symbolic world. In a perturbation of genres, Baynton combines melodrama - the genre par excellence in which women have agency by default; romance; and the Bildungsroman, to create an impression of how fraught access to creative agency is for women in the context of trauma, and the cultural constraints on women at the cusp of Federation in the Australian Bush. As her heroine emerges from the feminine traumatic paradigm, her encounters with many aspects of the phallocentric world provoke traumatic repetition. For Baynton, no masculine edifice is sacrosanct: Catholicism, property law, marriage, sex, education, wealth, and class are all found to be wanting in relation to the feminine. Experiences of opposition and denial serve to spur the protagonist into a fervent conviction of her desire for agency, and to find creative and cathartic expression in writing. In doing so, as Suzette Henke contends, the female author initiates an enabling discourse of testimony and self-revelation. In audaciously re-inscribing the claims of feminine desire into the texts of a traditionally patriarchal culture, this écriture feminine attempts to reframe embodied experience through experimentation of assumptions around signifying practices, interrogating the outcome for its relation to power and feminine subjectivity.

In: Is this a Culture of Trauma? An Interdisciplinary Perspective