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Reproduced in Whole Or in Part, by Photompy Or Other Means, Without Permission of the Author AUTHENTIC CREATIVITY: INTENSIVELY CONSCIOUS INDlVlDUALS WHOLEHEARTEDLY PARTlClPATlNG IN RESPONSlVE AND RESPONSIBLE CONSTRUCTIONS OF MEIR (WORLD(S)) by Bonita T. Whitety B.G.S.. Simon Fraser University. 1983 B.E.D.S., Technical University of Nova Scotia. 1987 B.A.E.D.. Nova Scotia Colkge of Art and Design. 1989 MISTHESIS IS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in the Facuity of Education O Bonita T. Whiteiy 1999 SIMON FRASER UNIVERSITY April, 1999 AU rights reserved. This work rnay not be reproduced in whole or in part, by photompy or other means, without permission of the author. National Library BiMiotheque nationale du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Wellington Street 395. rue WelIiingtW OMwaON KlAW Ottawa- K1AW cana& CiMada The author has granted a non- L'auteur a accordé une licence non exclusive licence ailowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or seii reproduire, prêter, distribuer ou copies of this thesis in microfonn, vendre des copies de cette thèse sous paper or electronic formats. la fome de microfiche/h, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fkom it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. Representatives kmthe disciplines of psychobgy, phibsophy and education have agreed that regard& of the bngeviîy of creativw questions, unprecedenteâ interest in them has marked this century. Art educatois have paiocipated in the emergirg discourse and one has gone so far as to procbim art education creativity's "bastion". The conception of creativity that proponent, Viktor Lowenfeld, was proposing be protected was initiated by his predecessor, Herbeit &ad. And Read had bonowed it frorn an existential philosopher's address at a 1925 conference on creativity, where Martin Buber had claimed that: uniqueness, authentic diabgue and wholeheartedness were the rneans of realaing creative potential. That relatively "contemporary" trinity, however, is king chalienged in iight of its perceived shortcom ings, especialiy by representatbes of more "traditionai" conceptions of creativity, disturbed by its apparent lack of ernphasis on disciplines and their artifacts. This thesis acknowledges criicisms of the contemporary conceptions of creativity. But, rather than perpetuating clairns that it has been either "misleading" or "dangerousu, proposes that in spite of king both misunderstood and insutkknt, iî is sound enough to warrant transforming into a more integrated and integraüve paradigm. And iî goes so faas to suggest that the transformations proposed offer of a means of mligating the subject objectspll claimed by many to be the western world's nernesis. To explain this, the application of Abraham Mas bw's 196û suggestion of integrating aspects of existential thought into the humanistic paradigm in psychology, is one of his six proposak claimed to warrant appropriating into art education as hicalextensions of the BuMan precedent. Both R.K. EllioWs academic support of existential approaches to creativity and his daim that existentialists transfomi archetypal creativi understood as worid making into a much needed seculai rnyth are introduced. And the seven face6 of Rolb May's iii existentialiy oriented "rede finition" of creativity : consciousness, receptivity, absorption, integration wlh the woriâ, ecstasy as the uniting of the Dionysian and Apobnian in "suprarationalim", and encounters that bring sorne new realiinto being, are posited as a potential nexus of the proposed transformation. As well as Bubeh exktential trinily, Kierkegaard's: "appropriation"; Sartre's 'respons bility"; Merleau-Ponty's "primacy of perception", Heidegger's "dwelling , "co- historicizing" and 'being-in-the-wor ld', Nietzsche's "ecstasy" and "self overcoming"; are intioduced and claimed to extend the prevailing paradgm's original emphasis on cunivaüng uniqueness and social consciousness, reciprocaliy . Maxine Greene's recentîy articulated extensions of aesthetic literacy and imagination, as well as her advocacy of a new paradigm empowering individuals to participate consciousty in worM reconstructions, are introduced and claimed to substantiate and extend Read's proposed reciprocity. And Greene's advocacy of cuitivating "awakeness" and "heightening consciousness" are claimed to substantiaie and extend both Car1 Jung's and Read's proposed augmentation of consciousness. How these proposats both can and have been reaiized in pedagogical situations are outlined. And one of Rafph Smith's hurnanist based proposafs is therefore, also noted, dong with heof Read's. Even Gablik's recent advocacy of a çocioecobgical paradigm in art education is claimed to be reaiizable by integrating a conternporized version of Read's proposal. And her advocacy of new myths is clairned to be addressed jointiy by the transformation of the creation myth into a secular one depicting individuals as limited divinKies and Saint Exupery's depictions of: uniqueness, responsibilii and imagination in The Lile Prince (1943). So together, an otherwise disparite collection of art educators, philosophers, and psychologists, are claimed to have engendered a paradgm worth perpetuating for: personal gratification, professional augmentation, and political efficacy - based on authentic creativity understood as: consciously responsive, responsible, wholeheaded participation in world (constructiin((s))). TaMe of Contents ii ApQroval iii Abstract v Table of Contents vii Preface Chapter 1. Introduction: "To Be, or Not to Be?" People, Processes, and Products in Conceptions of Creativity Inlorming Pedagogical Paradigms in Art Mucation Chapter 2. A Contemporary Conception of Creabiiity and a Plausible Historical Precedent Chapter 3. Seven Aspects of Rolb May's Conception of Creativity and Their Pedagogical Implications Chapter 4. A Conception of Aesthetic Literacy Consistent With The Contemporary Conception of Creativity Chapter 5. Awakeness: Making An lmplicit Aspect of Authentic Creativity Explicit Chapter 6. p.1 M. "Uniqueness" That Em bodies Gcistentiai Landscapes As Essential ta Contemporary Conceptions of Cteativity in Both The Prevailing and Praposed Paradgms Chaptei 7. p.113. "Responsibility". "Geography", and the Possibiliiy of "Dweliing" As Aspects of Social Consciousness and Creativity Chapter 8. p.125. Imagination (Glimmerings from Kant to Kent) Chapter 9. p.145. Sa of Cari Rogers Contributions To The Contemporary Discourse On Creativity Chapter 10. p.165. Six of Abraham Maslow's Contributions 10 Contemporary Theories Of Creativity Chapter 11. p.182. Conclusion: "We're Wonderful One Times One" These thesis contains three linguistic idiosyncrasies. Where it can be done coherently, plural words suggesting plural visions have their multiple possbilitk reinforced by bacWi the 's', as in vision(s). The word "worid", however, is surrounded by an extra bracket when 1 is representing both the possbiiii of intersubjective woild(s) and world((s)) combining b brm a shared and common worîd, with the symbiotic relationship indicated by using the word (workf((s))). And, whenever possible to do so coherently, all pronouns that could be representing either gender, especiaiîy hase in oîder quotes, begin with a btacketed (sj, as in [slhe, to emphasize gender equity. When revising his text Introduction to Philoso~h~of Education (1982), one of the educator/philosophers referred to in this thesis, Robin Barrow, explains his rationale for making any adjustments comparable to the 1st one noted in the preceding paragraph, as his beiiif that using the masculine pronoun is an accepted linguistic convention. Since, however, I not only see language as an underutilired tooi, but ako share at least some of Marshall Mcluhan's conviction that 'the medium is the message'. I cannot, in good faith, participate in a convention I believe to unnecessarily and covertly perpetuate inequity. It is hoped that the three Iinguistic idiosyncrasies noted will not be perceived as distracting affectations, since they are, in fact, consistent with the thesis and both draw attention 10, and symbolize, three aspects of the conception of creativdy articulated in it, namely 1) pluralistic visions that emphasize 2) the uniqueness of individuaf(s) and their potentially 3) authentic integrations into shared and common (world((s))). And, since none of the concepts noted are ones I am cornfortable being passive about, 1 is hoped that the conscious manipulation of language does not unduiy distract the reader and apologies are extended brthe inconvenience, if they do. vii Chapter 1 INTRODUCTION "10 Be, or Not to Be?" People, Processes, and Products in Conceptions of Creativity lnforming Paradigms in Art Education Hausrnan and Rothenberg, the editors of The Creativiîv Question (1W6), reveal the bngevity of questions about the nature of creativity by opening their text with excerpts hom Plato's hypothesis on the topic, and subsequentty introducing ot her hypotheses that span from pre-Christiantimes until the third quarter of this century. And, William Fleming's daim, in && & ldeas(1980), that "one concem of the artist
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