Thesis (MA (Psychology))--University of Stellenbosch, 2005. / The current study investigates intercultural differences in suggestibility between Black, Coloured and White students at a South African university using the Creative Imagination Scale (CIS), (Wilson & Barber, 1978). The CIS and a short biographical questionnaire measuring embeddedness in traditional culture were administered to three samples (N=20 each) from students belonging to the above cultural groups. Statistical tests were applied to determine the effects of ethnicity, cultural embeddedness and gender on CIS scores. The results indicate that these three dimensions do not significantly impact on CIS scores. Implications of the results obtained are discussed and ensuing recommendations for future related research are made.

M.A.--University of the Witwatersrand, Faculty of Humanities, Film and Television / Scholarly discourses on documentary film have focused on the debate between documentary’s claims of ‘objectivity’ and ‘truthfulness’ versus the reality of its subjective ontology. At the turn of the 21st century, there seems to be appreciation of the constructiveness of documentary film. This development is taking place at the backdrop of emergence of more subjective documentary films produced by a new crop of filmmakers who do not shy away from exposing their subjective production thoughts and processes, contrary to earlier documentary filmmakers. This renewed interest is interesting and points to something that calls for an investigation in order to understand fundamental reasons behind it. In this report, I investigate the relationship between this development and the concept of ‘Creative Imagination’ normally associated with fiction film. Particularly, the paper investigates why ‘Creative Imagination’ may be understood to deploy aspects of realism style which manipulates time, space, character, and characterisation, in the production and analysis of documentary films. Through a production of a documentary film The Zulu Mask, this report hypothesises that documentary just like fiction film utilises the logic of creative imagination of the mind and aspects of realism style’ to mimic the real. Documentary and fiction, I argue are thus the products of the same thought process and desire.

No description available.

[pt] A complexidade, através dos processos criativos, nos conduz a um novo entendimento acerca do mundo natural, de nós mesmos e do nosso lugar. Isso é de suma importância para que se possa entender de que maneira a matéria se ordena produzindo sistemas vivos, e de que maneira a faculdade do pensamento emerge dos sistemas vivos. Na psicanálise, Bion pode ser visto, como um pensador da complexidade que observa pensamento: esse trabalho pretende investigar o lugar que os processos criativos ocupam em seu enfoque psicanalítico. Tomando os processos criativos como eixo central, vai-se falar de uma abordagem dialógica entre a complexidade nas ciências, a teoria do conhecimento na atualidade, e a psicanálise em Bion, enfocando particularmente a discussão de algumas das possíveis conseqüências de tal intercâmbio para a prática psicanalítica. / [en] Complexity, through creative processes, leads us to a new understanding of the natural world, of ourselves, and of our place in the Universe. This is of great importance for us to understand the way in which matter is organized, producing live systems, and the way in which the faculty of thinking emerges from these live systems. In psychoanalysis, Bion can be considered as a thinker of complexity who observes thinking: this paper aims at investigating the role of creative processes in Bion`s psychoanalytic approach. Based on creative processes as a central axis, we shall be speaking of a dialogic approach between complexity in Science, the theory of knowledge in actuality, and psychoanalysis in Bion, focusing specifically, on the discussion of some of the possible consequences that such an interchange brings into psychoanalytic practice.

Eudora Welty and Wallace Stevens share important aesthetic beliefs, especially regarding uses of the creative imagination by artists in acts of creation and characters in acts of living. A close reading of seventeen of Welty's stories, accompanied by references to related ideas in many of Stevens' poems, reveals how the imagination functions as epistemology and eucharist, while governing the shape of individual human views of the quotidian. The more abstract patterns of thought in their later works seem to move Welty closer to belief in a world beyond the quotidian than they do Stevens.

Dans cette étude, les psychologies et les philosophies de William James et de Théodore Flournoy sont comparées et analysées à travers leur conception respective de la politique et de la religion. En effet, la question de la politique et de la religion est tôt apparue en comparant leurs psychologies et leurs philosophies, car, s'il nous a été permis de comparer leurs pensées, c'est que ces deux professeurs d'université, qui étaient d'abord des amis, ont noué à travers leur rencontre, en 1889, une volonté commune de concilier la science et la religion. Dès lors, il fallait pour nous partir de leur conception respective de la religion à laquelle ils appliquèrent l'approche psychologique pour identifier à travers les résultats qu'ils délivrèrent en 1901-1902 des différences théoriques permettant de comprendre leurs points de vue philosophiques opposés. C'est en effet à partir de leurs théories psychologiques sur la religion que l'on aperçoit deux orientations qui laissent supposer des prises de position politique contradictoires. La question de la politique est d'autant plus pertinente que William James ne souhaitait pas que la philosophie demeure sur un plan théorique, puisque la vocation de la philosophie était selon lui de se vérifier, alors que Flournoy conçut la philosophie sur un plan idéal, qu'il assimila à une surface plane sans obstacles, et qui, tout en ayant la liberté de l'imagination, fait se jouer des séries hétérogènes d'éléments hétérogènes (télépathie et télékinésie). C'est là que sa conception de l'imagination créatrice signale toute l'originalité qu'il nous fallait explorer pour saisir la dimension éminemment subversive de sa pensée. / Ln this dissertation, the psychologies and philosophies of William James and Théodore Flournoy have been compared and analyzed through their respective conception of poli tics and religion. Indeed, by comparing their ideas, the question of politics and religion proved to be important as these two academies, who were first of all friends, had developed their thoughts ever since their first meeting in 1889 from a common ambition to reconcile science and religion. Accordingly, this investigation had to begin with their different conceptions of religion. To this domain they applied a psychological perspective to identify, from the basis of results achieved in 1901-1902, sorne theoretical differences that enlighten two opposed philosophical viewpoints. ln fact, it's from their psychological theories on religion that one can perceive two orientations, which exposes contradictory political stances. The question of politics is particularly relevant since William James didn't want philosophy to remain on a theoretical level, given that the vocation of philosophy according to him was verification, whereas Flournoy had â rather idealistic view on philosophy, which he considered as an area without obstacles where the freedom of imagination provided for the interplay of heterogeneous and experimental elements (telepathy and telekinesis). ln this regard, Flournoy's conception of creative imagination points out the originality needed to understand the subversive dimension of his thought.

La présente étude aborde une œuvre de Théophile Gautier, Arria Marcella, au regard de la thématique de l’imagination créatrice. L’analyse se concentre sur la nouvelle elle-même, mais prend largement en compte aussi l’ensemble des œuvres narratives, et au-delà, du polygraphe – critique d’art, critique dramatique, récit de voyages et dans une moindre mesure poésie. Ce travail s’organise en trois temps : la première partie expose les différentes composantes de la nouvelle, montre la manière dont Gautier organise sa narration à partir d’un matériel intertextuel, et d’un objet transitionnel qui lui permet de mettre en scène l’aventure rétrospective d’un jeune homme du xixe siècle dans l’antiquité, à la rencontre de son idéal féminin. Arria Marcella est d’abord le récit d’un parcours, diurne, puis nocturne ; réel, puis mental. La seconde partie traite de l’imagination créatrice, donc de l’image et de sa restitution fécondante par l’écriture, à travers le travail descriptif d’un regard qui prend position. Il ne s’agit pas de restituer, mais d’enchanter le réel en le passant au révélateur du fantastique, de la survivance et de la figurabilité. La troisième partie analyse Arria Marcella à travers le prisme de lectures complémentaires qui entendent montrer la richesse de l’œuvre, laquelle occupe une position stratégique permettant d’éclairer la production de Gautier dans son ensemble. L’approche procède en trois temps : esthétique ; philosophique, par le biais d’un examen approfondi de la composante platonicienne et néoplatonicienne, fondamentale bien que filtrée, dans Arria Marcella et plus largement dans les œuvres narratives de l’auteur; générique enfin, puisqu’il s’agit de montrer comment la nouvelle pompéienne atteint au Gesamtkunswerk en mêlant les genres créatifs. / The subject of this PhD is a short story by Théophile Gautier, entitled Arria Marcella, as seen through the theme of creative imagination. Although the present dissertation focuses on this particular short story, it also takes into consideration the author’s entire works – fiction, art criticism, travel literature and to a lesser degree, poetry. The 3-part study begins by describing the different sections of the short story, and the way Gautier organized his narration. The story is based on different literary sources and a transitional object (a museum artefact) through which he staged the adventures of a nineteenth-century young man encountering his female ideal in ancient times. Arria Marcella is the story of a walk at daytime then nighttime, in reality and in the character’s mind. The second part deals with creative imagination: image and the way it is transformed and enriched in literature through descriptive work as seen through the writer’s eye. Rather than remaining faithful to reality, it is a matter of enchanting reality through the fantastic genre, survival and figurability. The third part is devoted to an analysis of Arria Marcella through further readings so as to highlight its complexity. Thus, this work, which holds a strategic position among Gautier’s works, can help explain his writings. The viewpoint is threefold: aesthetic, philosophical, through a close examination of the Platonism and Neoplatonism features – essential though filtered, and finally generic since it shows how the Pompeian short story reaches Gesamtkunswerk by combining different creative genres.

The purpose of this thesis is to examine Michelle Cliff’s No Telephone to Heaven (1996), and to scrutinize, through Christopher’s mental illness, the couched, unspoken, and deeply embedded presence of imperial hegemony in the Caribbean. I shall argue that Christopher’s mental illness is not, as one might have it, an inexplicable lapse into insanity, but both a fitting, polyrhythmic expression of longstanding postcolonial/neocolonial abuse, and a dynamic form of counterhegemonic resistance. Thus, my use of the term, imperial illness, refers to colonial impacts on the Caribbean, and how those impacts continue to play a significant role in postcolonial/neocolonial societies and, concurrently, the strategies imagined by postcolonial subjects to resist. Christopher’s mental illness, then, is the result of sustained imperial socio-psychological torment, which produces, quite ironically, the conditions that make possible his acts of resistance.

Comment faire un travail scientifique si le chercheur est déjà trop obsédé par son objet d’étude et si, d’ailleurs, ce dernier n’est pas seulement un objet réifié mais doté d’une certaine réalité de l’âme ? La distance délicate entre le subjectif et l’objectif est ainsi l’enjeu principal de cette thèse, une recherche dont le chercheur est un cinéphage devenu cinéphile, qui est hanté par sa passion pour son objet bien vivant qu’est le cinéma de Wong Kar Wai mais qui a envie de vivre symboliquement cette passion. Il s’agit donc de l’équation personnelle d’après C. G. Jung et de cette distance ironique selon Antoine de Baecque. Vis-à-vis d’une telle difficulté méthodologique qui est en fait une occasion très généreuse, une approche empirique et une attitude religieuse se proposent. D’où le chercheur-cinéphile se lance dans un itinéraire homérique, à la recherche de son mythe du cinéma total qui n’est rien d’autre que son archétype du cinéma dont le symbole vivant se veut exactement Wong Kar Wai. Cette recherche devient, au fur et à mesure, une découverte, vu que la nostalgie n’est pas ailleurs, mais chez soi. Dans une telle circumambulation sous la forme d’une mise en abîme, le rapprochement entre une histoire du cinéma et une Histoire du cinéma n’est qu’inéluctable. Re-contextualisés sont les souvenirs personnels du chercheur du cinéaste hongkongais et plusieurs protagonistes rencontrés dans sa cinéphilie (Bresson, King Hu, Langlois, Bazin, Tarkovski, la bande de Truffaut, Dumont, etc.) sur la route et envisageable est une filiation toujours en devenir entre ce qui arrive avant et ce qui vient après. Que ces pages soient une scène de la création-critique et que la fonction cinéphile se manifeste à travers elle. / How to conduct a scientific work if the researcher is himself already incurably obsessed by his study material? This question fits in quite well for the present case, since the PhD student is an inveterate lover of Wong Kar Wai’s cinema. In other words, the situation is that of a cinephage-turned-cinephile — extremely conditioned by a living work inescapably defined by an amorous aura — who is trying to find a way out, in a relatively rational way, that is to say, symbolically, to deal with this entanglement as mise en abyme. Two methodological as well as deontological perspectives are thus drawn on, “the personal equation” adapted by C. G. Jung and “the ironic distance” coined by Antoine de Baecque. Hopefully, the writing of this dissertation could be regarded as a circumambulation whose goal is nothing more than its very process which is a nostalgic yearning for the cinema archetype, or, in terms of André Bazin’s idea(l): the myth of total cinema.

Made available in DSpace on 2014-12-17T14:20:13Z (GMT). No. of bitstreams: 1 RodrigoVS_DISSERT_Parcial.pdf: 471483 bytes, checksum: 7f52e05cf7a83e90eb41cd67ce5fbea4 (MD5) Previous issue date: 2013-04-29 / As Sociology becomes a mandatory subject in the curricular componentof Brazilian high schools, we find anopportune moment to proposals and changes in the subject and in teaching, in a general aspect. It s noticed the great importance of the role that the create imagination plays in individual s formation (BACHELARD), and it s also seen that Brazilian education system has marginalized imagination to the detriment of a unifocused scientism that sterilizes creativity, playfulness and poetry in its educational process. Nevertheless, a way of thinking redefinitions to the educational horizons of Sociology as a subject and education is upheld. An educational practice that reconnects the prosaic and the poetic, using images/songs as paths/strategies of the teaching-learning process. As for that, the school structure was used where the tutor work was done to undertake experiences that made the use of songs as strategy to facilitate/stimulate the learning of the subject Sociology in high school. From thoughts and results of this experience, plus the bibliographic studies, analysis were made. The goal of this essay is to make use and stimulate the creation of poetic images from the teaching point of view, specially the Sociology subject in high school, rethinking and searching more efficient and playful ways of approaching and building educational methods from images; stimulating the development of the Thinking Reform and the Anthropoetics of the human gender (MORIN); acknowledging that imagination is an indispensable part of our integral formation / Com a obrigatoriedade da Sociologia como componente curricular do Ensino M?dio no Brasil, vivemos um momento oportuno para proposi??es e transforma??es na disciplina e no ensino em geral. Percebe-se a grande import?ncia do papel que a imagina??o criadora tem na forma??o do sujeito (BACHELARD), e observa-se, tamb?m, que a educa??o brasileira vem marginalizando a imagina??o em detrimento de um cientificismo unifocal que esteriliza a criatividade, a ludicidade e a poesia nos nossos processos educacionais. Contudo, destaca-se uma via para pensar redefini??es dos horizontes educacionais da disciplina Sociologia e da educa??o. Uma pr?tica educativa que religue o prosaico e o po?tico, usando imagens/can??es como caminho/estrat?gia do ensino/aprendizagem. Para isso, fez-se uso do espa?o escolar no qual se exerceu o of?cio de docente, para empreender experi?ncias que possibilitassem o uso de can??es como estrat?gia para facilitar/estimular a aprendizagem da disciplina Sociologia no Ensino M?dio. A partir das reflex?es e resultados dessas experi?ncias, somadas aos estudos bibliogr?ficos, realizou-se an?lises. Objetiva-se, nesta disserta??o, fazer uso e estimular a cria??o de imagens po?ticas suscitadas por can??es brasileiras, e aprofundar a perspectiva do uso das imagens sob o vi?s do ensino, especialmente da disciplina Sociologia no Ensino M?dio, repensando e buscando formas mais eficazes e/ou mais l?dicas de abordagem e constru??o de m?todos educativos a partir de imagens; estimulando ao desenvolvimento da Reforma do Pensamento e da Antropo?tica do g?nero humano (MORIN); e reconhecendo que a imagina??o ? parte imprescind?vel na nossa forma??o integral / 2020-01-01