Reverse Engineering Genius: Historiometric Studies of Superlative Talent
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Clios Psyche 6-4 Mar 2000
Clio’s Psyche Understanding the "Why" of Culture, Current Events, History, and Society Volume 6, Number 4 March, 2000 The Future of Psychohistory Psychohistory's False Start The Partial Success and Bright Rudolph Binion Prospects of Psychohistory Brandeis University Paul H. Elovitz Two premises together define psychohis- Ramapo College and the Psychohistory Forum tory: that human history all reduces to human do- As a historian, I find depictions of the fu- ings and that the reasons for human doings are ture tell me more about the past and their prognos- largely unconscious. Because it was psychoanaly- ticators, than about the future. What lies before us sis that first accessed the unconscious underside of will be built from the raw materials of the past and human doings, psychohistory began as applied psy- assembled in the cauldron of the human imagina- choanalysis. This was a false start. For one thing, tion. Thus, when I saw Star Wars in the 1970s, I it discouraged aspirant psychohistorians from thoroughly enjoyed identifying the historical raw learning the why of historic behavior from the his- materials combined with technology that made up toric record itself and encouraged them instead to the film which soon became a cultural sensation. (Continued on page 138) In publishing the political predictions of talented Twenty-First-Century Psychohistory .................... 153 IN THIS ISSUE David Lee The Future of Psychohistory Empathy, Kohut, and Intellectual History............. 154 Psychohistory's False Start ...................................................133 Vivian Rosenberg Rudolph Binion Resistance and Reconciliation............................... 156 Partial Success and Bright Prospects..................... 133 Howard F. Stein with Responses by Charles Strozier and Paul H. -
THE KING JAMES VERSION at 400 Biblical Scholarship in North America
THE KING JAMES VERSION AT 400 Biblical Scholarship in North America Number 26 THE KING JAMES VERSION AT 400 Assessing Its Genius as Bible Translation and Its Literary Influence THE KING JAMES VERSION AT 400 ASSESSING ITS GENIUS AS BIBLE TRANSLATION AND ITS LITERARY INFLUENCE Edited by David G. Burke, John F. Kutsko, and Philip H. Towner Society of Biblical Literature Atlanta THE KING JAMES VERSION AT 400 Assessing Its Genius as Bible Translation and Its Literary Influence Copyright © 2013 by the Society of Biblical Literature All rights reserved. No part of this work may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording, or by means of any information storage or retrieval system, except as may be expressly permit- ted by the 1976 Copyright Act or in writing from the publisher. Requests for permission should be addressed in writing to the Rights and Permissions Offi ce, Society of Biblical Literature, 825 Houston Mill Road, Atlanta, GA 30329 USA. Library of Congress Cataloging-in-Publication Data The King James version at 400 : assessing its genius as Bible translation and its literary influence / edited by David G. Burke, John F. Kutsko, and Philip H. Towner. p. cm. — (Society of Biblical Literature Biblical Scholarship in North America ; number 26) Includes bibliographical references and index. ISBN 978-1-58983-800-0 (hardcover : alk. paper) — ISBN 978-1-58983-798-0 (pbk. : alk. paper) — ISBN 978-1-58983-799-7 (electronic format) 1. Bible. English. Authorized—History—Congresses. 2. Bible. English. Authorized— Influence—Congresses. 3. -
Creative Genius As Inherently Relevant and Beneficial: the View from Mount Olympus
138 Vol. 5, Issue 2, 2018 Theories – Research – Applications Creative Genius as Inherently Relevant and Beneficial: The View from Mount Olympus Dean Keith Simonton University of California, Davis, USA E-mail: [email protected] ARTICLE INFO ABSTRACT Keywords: The author responds to Kaufman’s (2018) target essay from a unique perspective – research on creative genius. Alt- Genius hough the author began studying little-c creativity, he Big-C versus little-c creativity switched to Big-C creativity when he did his doctoral disser- Costs versus benefits tation, and continued that work for the rest of his career. One Creativity training implication of such research is that the relevance of creative Article history: genius cannot be questioned, even if its benefits are some- Received 15 November 2018 times ambiguous (however obviously consequential). Anoth- Received in revised form 20 November 2018 er implication is that creative geniuses do not require training Accepted 20 December 2018 in creativity, whatever usefulness such instruction may pos- sess for everyday creativity. ISSN: 2354-0036 DOI: 10.1515/ctra-2018-0009 James Kaufman (2018) raises some critical issues with which I have some sympathy. Af- ter all, I have made a long-term commitment to creativity research under the assumption that it was and remains a significant topic. Indeed, I started conducting my own original inquiries into creativity in the late 1960s while still an undergraduate (e.g., Simonton, 1980, published a decade later). Thus that initial interest was sparked about a half centu- ry ago! Moreover, I continued that fascination in graduate school despite being warned by various well-intentioned advisors that it was a dead topic that no longer attracted leading- edge research (Simonton, 2002). -
Musical Genius--Evolution and Origins of a Concept Author(S): Edward E
Musical Genius--Evolution and Origins of a Concept Author(s): Edward E. Lowinsky Source: The Musical Quarterly, Vol. 50, No. 3 (Jul., 1964), pp. 321-340 Published by: Oxford University Press Stable URL: http://www.jstor.org/stable/741019 . Accessed: 07/04/2013 10:19 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Oxford University Press is collaborating with JSTOR to digitize, preserve and extend access to The Musical Quarterly. http://www.jstor.org This content downloaded from 143.107.252.222 on Sun, 7 Apr 2013 10:19:11 AM All use subject to JSTOR Terms and Conditions MUSICAL GENIUS - EVOLUTION AND ORIGINS OF A CONCEPT* By EDWARD E. LOWINSKY ARE livingin an age in which musical and technicaldevelop- WE ments suggest the possibilitythat mathematical formulas and computermachines or "chance"I may take over essentialareas of musical creativity."Total organization"or "chance" are two sides of the same process.Both rule out the freeact of creationthat we ordinarilyassociate with the nature of genius. At the same time we observe a deflationof the idea of genius. In a recentbook the Italian architectLeonardo Ricci wrote:"if we say we no longerbelieve in genius,this does not mean only the genius of the past. -
Cross-Cultural Aspects of Creativity: a Relation with Self-Actualization and Schizotypy
Cross-cultural aspects of creativity: A relation with self-actualization and schizotypy Dissertation zur Erlangung des akademischen Grades Doktor rerum naturalium (Dr. rer. nat.) im Fach Psychologie eingereicht an der Mathematisch-Naturwissenschaftlichen Fakultät II der Humboldt-Universität zu Berlin von Dipl. Psych. Anastasiia Ilinykh Präsident der Humboldt-Universität zu Berlin Prof. Dr. Jan-Hendrik Olbertz Dekan der Mathematisch-Naturwissenschaftlichen Fakultät II Prof. Dr. Elmar Kulke Gutachterinnen/Gutachter: 1. Prof. Dr. Elke van der Meer 2. PD Dr. Steffen Landgraf 3. Prof. Dr. Olga M. Razumnikova Tag der Einreichung: 28.03.2014 Tag der Verteidigung: 15.08.2014 Table of contents 2 Table of Contents SUMMARY IN ENGLISH (ABSTRACT) ....................................................................................... 5 SUMMARY IN GERMAN (ZUSAMMENFASSUNG) ....................................................................... 7 1 INTRODUCTION .......................................................................................................... 10 1.1 GENERAL OVERVIEW ON CREATIVITY RESEARCH ...................................................... 10 1.1.1 Defining creativity ................................................................................................ 10 1.1.2 The ‘creative personality’ .................................................................................... 12 1.2 CREATIVITY AND PSYCHOPATHOLOGY ...................................................................... 14 1.2.1 Defining schizotypy ............................................................................................. -
Lexical Creativity and Humor in Translation: on Rabelais’ Linguistic Genius and the Difficulties in Translating His Works
Lexis Journal in English Lexicology 17 | 2021 Humor, creativity and lexical creation Lexical creativity and humor in translation: On Rabelais’ linguistic genius and the difficulties in translating his works Adrienn Gulyás Electronic version URL: https://journals.openedition.org/lexis/5143 DOI: 10.4000/lexis.5143 ISSN: 1951-6215 Publisher Université Jean Moulin - Lyon 3 Electronic reference Adrienn Gulyás, “Lexical creativity and humor in translation: On Rabelais’ linguistic genius and the difficulties in translating his works”, Lexis [Online], 17 | 2021, Online since 15 August 2021, connection on 20 August 2021. URL: http://journals.openedition.org/lexis/5143 ; DOI: https://doi.org/10.4000/ lexis.5143 This text was automatically generated on 20 August 2021. Lexis is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. Lexical creativity and humor in translation: On Rabelais’ linguistic genius a... 1 Lexical creativity and humor in translation: On Rabelais’ linguistic genius and the difficulties in translating his works Adrienn Gulyás Introduction 1 Translating humor deriving from lexical creativity, often bound to the form of the source text, is an imposing challenge for literary translators. The main concern of this article is to observe lexical creativity at work in François Rabelais’ Pantagruel and Gargantua and the translators’ solutions to render it in English and Hungarian. First, the theoretical background of the notion of “lexical creativity” will be explored, and a theoretical framework adopted from translation theory for the discussion of examples. In the analysis, a systematic contrastive approach will be applied to compare Screech’s English [2006] and my own Hungarian translations [Pantagruel 2010; Gargantua 2015]. -
Intellectualimpact
Studying Creative Genius An Overview of Historiometric Methods Outline • Definition • History • Applications • Conclusion Definition • “Historiometry is a scientific discipline in which nomothetic hypotheses about human behavior are tested by applying quantitative analyses to data concerning historical individuals” (Simonton, 1990, p. 3) • Historical individuals = eminent creators and leaders (aka “geniuses”) • Data = biography and history (“names, dates, and places”) • Quantitative = both measurement and statistical analyses (or math models) • Nomothetic hypotheses: e.g., the “laws of history” • N.B.: Historiometry ≠ psychohistory, psychobiography, nor even cliometrics History • First historiometric study: Quételet (1835) on the age-creativity relation • First definition: “historiometry” or “historiometrics” • “A new name for a new science” (Woods, 1909): term modeled after “biometry” • “Historiometry as an exact science” (Woods, 1911): designed to study the “psychology of genius” and the “causes underlying the rise and fall of nations” (p. 568) • First historiometric classic: Cox (1926) on the intelligence-eminence relation • Own historiometric research: 1974ff (albeit major technological changes) Applications • Products • Masterworks • Persons • Geniuses • Periods and Places • Golden Ages Products • Analytical units • Sampling strategies • Quantitative measures • Measurement quality • Specific illustration Products • Analytical units • Music: themes/melodies; songs; symphonies; operas • Art: sketches; paintings; architecture; films -
Galton, Terman, Cox: the Distinctive Volume II in Genetic Studies Of
GCQXXX10.1177/0016986220921360Gifted Child QuarterlySimonton 921360research-article2020 Article Gifted Child Quarterly 1 –10 Galton, Terman, Cox: © 2020 National Association for Gifted Children Article reuse guidelines: The Distinctive Volume II sagepub.com/journals-permissions DOI:https://doi.org/10.1177/0016986220921360 10.1177/0016986220921360 in Genetic Studies of Genius journals.sagepub.com/home/gcq Dean Keith Simonton1 Abstract With just one exception, all of the volumes in Terman’s Genetic Studies of Genius report the results of a longitudinal study of more than a thousand intellectually gifted children. That single exception is Volume II, Cox’s single-authored The Early Mental Traits of Three Hundred Geniuses, which instead was a retrospective study of 301 eminent creators and leaders, using historiometric methods to estimate their IQs (as well as to assess a subset of 100 on 67 character traits). This article discusses how this volume actually fits with the other four volumes in the set. After giving the historical background, discussion turns to the emergence of Cox’s doctoral dissertation. Then comes a narrative of the aftermath, including subsequent contributions by Cox, Terman, and numerous other researchers extending into the 21st century. The article closes by treating the ways that the intellectually gifted and the historic geniuses are not comparable, thus indicating the need for more recent replications and extensions of her work. Keywords archival, biographical, historical analysis, early childhood, gifted, intelligence Strictly speaking, Lewis M. Terman’s (1925-1959) monu- complete list of impressive big names provided on multiple mental and highly influential Genetic Studies of Genius con- occasions throughout the volume. -
The Psychology of Creativity
History of Creativity Research 1 The Psychology of Creativity: A Historical Perspective Dean Keith Simonton, PhD Professor of Psychology University of California, Davis Davis, CA 95616-8686 USA Presented at the Green College Lecture Series on The Nature of Creativity: History Biology, and Socio-Cultural Dimensions, University of British Columbia, 2001. Originally planned to be a chapter in an edited volume by the same name, but those plans were usurped by the events following the 9/11 terrorist attack, which occurred the day immediately after. History of Creativity Research 2 The Psychology of Creativity: A Historical Perspective Psychologists usually define creativity as the capacity to produce ideas that are both original and adaptive. In other words, the ideas must be both new and workable or functional. Thus, creativity enables a person to adjust to novel circumstances and to solve problems that unexpectedly arise. Obviously, such a capacity is often very valuable in everyday life. Yet creativity can also result in major contributions to human civilization. Examples include Michelangelo’s Sistine Chapel, Beethoven’s Fifth Symphony, Tolstoy’s War and Peace, and Darwin’s Origin of Species. One might conclude from these observations that creativity has always been one of the central topics in the field. But that is not the case. Although psychology became a formal discipline in the last few decades of the 19th century, it took several generations before the creativity attracted the attention it deserves. This neglect was even indicated in the 1950 Presidential Address that J. P. Guilford delivered before the American Psychological Association. Nevertheless, in the following half century the field could claim two professional journals – the Journal of Creative Behavior and the Creativity Research Journal – several handbooks (e.g., Sternberg, 1999), and even a two-volume Handbook of Creativity (Runco & Pritzker, 1999). -
Francis Galton
Journal ofMedical Ethics 1998;24:99-105 J Med Ethics: first published as 10.1136/jme.24.2.99 on 1 April 1998. Downloaded from Francis Galton: and eugenics today David J Galton, and Clare J Galton St Bartholomew's Hospital, London and Princess Alexandra Hospital, Brisbane, Queensland, Australia Abstract Laws proposes many social measures to improve Eugenics can be defined as the use ofscience applied the quality of future generations.' to the qualitative and quantitative improvement of Galton strongly believed, following on from the human genome. The subject was initiated by Darwin's theories of evolution and natural selec- Francis Galton with considerable support from tion, that "we should attempt to exert control over Charles Darwin in the latter half of the 19th century. organic evolution in the same way as we exert Its scope has increased enormously since the recent control over the physical world and to direct it into revolution in molecular genetics. Geneticfiles can be channels of our own choosing".4 This would pro- easily obtainedfor individuals either antenatally or at vide practical applications for Darwin's theories birth; somatic gene therapy has been introducedfor and replace his idea of natural selection by a type some rare inborn errors of metabolism; and gene of artificial selection. The publication of Darwin's manipulation ofhuman germ-line cells will no doubt Origin ofSpecies in 1859 and the elaboration ofhis occur in the nearfuture to generate organs for theory of evolution by natural selection provoked transplantation. both bitter theological controversies with the The past history ofeugenics has been appalling, creationist proponents of the animal world as well with gross abuses in the USA between 1931 and as spirited debates on its application to social copyright. -
Heredity and Hereditarianism
Philosophy of Education An Encyclopedia Editor J.J. Chambliss Garland Publishing, Inc. New York & London 1996 HEREDITY AND HEREDITARIANISM Barry Mehler Department of Humanities Ferris State University Big Rapids, MI 49307 2500 words. Heredity is usually defined as the genetic transmission of characteristics from parent to offspring. This, however, is an oversimplification. The child does not inherit characteristics or traits from its parents. Children do not inherit musical ability, criminal tendencies, or IQ. Neither do they inherit physical characteristics such as skin or hair color. The child inherits one set of allele's from each parent. Together they form the child's genotype. The child also inherits mitochondria which are outside the nucleus of the cell. Genes code for the production of proteins which in turn interact with the environment to produce a phenotype. What we refer to as traits or characteristics are the phenotypes. The human being in all his or her complexity is the result of this interaction of a unique genotype with a unique environment. The modern study of heredity began with the rediscovery in 1900 of the work of Gregor Mendel (1822-1884) by Hugo De Vries, Karl Correns, and Erich Tschermak. Mendel discovered the basic laws of segregation and independent assortment of paired alleles which opened the way for the modern science of genetics. The American geneticist, Thomas Hunt Morgan (1866-1945) carried on studies of heredity in Drosophila (fruit fly) and was awarded the Nobel prize in 1933 for his discoveries relating to the laws and mechanisms of heredity. Morgan showed the existence of genes located at specific sites on chromosomes. -
Children of Genius: Affirmation of Will in Schopenhauer's Aesthetics
Georgia State University ScholarWorks @ Georgia State University Philosophy Theses Department of Philosophy 5-9-2019 Children Of Genius: Affirmation Of Will In Schopenhauer's Aesthetics Clare Mauney Follow this and additional works at: https://scholarworks.gsu.edu/philosophy_theses Recommended Citation Mauney, Clare, "Children Of Genius: Affirmation Of Will In Schopenhauer's Aesthetics." Thesis, Georgia State University, 2019. https://scholarworks.gsu.edu/philosophy_theses/249 This Thesis is brought to you for free and open access by the Department of Philosophy at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Philosophy Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. CHILDREN OF GENIUS: AFFIRMATION OF WILL IN SCHOPENHAUER’S AESTHETICS by CLARE MAUNEY Under the Direction of Jessica Berry, PhD ABSTRACT While Schopenhauer is well-known for his pessimistic outlook on life, I argue that not all aspects of his philosophical project support this outlook. Specifically, I argue that Schopenhauer’s aesthetic genius must necessarily affirm life through artistic creation. To show that this is the case, I contend that the aesthetic genius’ engagement with the world of representation precludes him from engaging in the denial of the will-to-live, and that his desire to communicate his knowledge of the world entails an affirmation of the will-to-live. I furthermore outline and explore significant parallels between artistic creation