The boundaries of eros— Sex crime and sexuality in Renaissance Venice

Throughout Western history there have been two sharply differentiated beliefs about the character of creativity. However, one of these beliefs—Judaeo-Christian and neo-Platonic—has occupied such a dominant position that the very existence of the other has been obscured and ignored. Yet the evidence for this second belief is no less extensive or vivid. It has never been formulated in the same way as the first and so has never constituted a tradition as such; yet it has existed over as long a period of time and can therefore be called a tradition. Moreover, this second belief seems to bear a closer relation to the character of creativity displayed by people regarded as ‘creative’, as well as to what we have learnt about creativity in this century from psychologists. Attitudes to creativity in the modern period have generally been based on the first tradition, but the activities of creative people have borne out the validity of the second tradition. The attitudes, in other words, have been based on false expectations. To recover the lost tradition, therefore, may enable us to see more accurately what we may or may not achieve by being creative.     

The Rise of the Creative City: Culture and Creativity in Copenhagen

Culture and creativity as drivers of development are established features of the urban policy agenda. This article examines the interplay of culture, creativity and city planning using the example of Copenhagen, Denmark. Denmark presents an interesting example because whilst it has a tradition for linking culture with urban economic boosterism, recent research has suggested a social emphasis in its more contemporary urban cultural policies. The paper argues that the arrival of creativity upon the urban agenda has abruptly altered this policy context. Both culture and creativity have become central to attempts to stimulate the cultural and creative industries and to promote the city at an international level, attracting investment and the “Creative Class”. In tracing this development, the article discusses potential changes to the planning system designed to facilitate Copenhagen's transformation to a creative city and points to the potential impacts of these.     

CREATIVE CITIES: THE CULTURAL INDUSTRIES AND THE CREATIVE CLASS

The aim of this article is to critically examine the notion that the creative class may or may not play as a causal mechanism of urban regeneration. I begin with a review of Florida's argument focusing on the conceptual and theoretical underpinnings. The second section develops a critique of the relationship between the creative class and growth. This is followed by an attempt to clarify the relationship between the concepts of creativity, culture and the creative industries. Finally, I suggest that policy-makers may achieve more successful regeneration outcomes if they attend to the cultural industries as an object that links production and consumption, manufacturing and service. Such a notion is more useful in interpreting and understanding the significant role of cultural production in contemporary cities, and what relation it has to growth.     

Untangling creativity and art for policy purposes: ethnographic insights on Manchester International Festival and Manchester Day Parade

This paper draws on anthropological fieldwork of a civic parade in Manchester from 2010 to 2012 to argue for engaging with creativity as a process rather than an attribute of a particular sector or individual. It shows how the focus on funding and supporting ‘creative industries’ defined as ‘cinema, television, music, literature, performing arts, heritage and related areas’ actually excludes and diminishes the potential for others to engage with ideas and creative processes. Two major events in Manchester’s cultural calendar – Procession by artist Jeremy Deller, produced by Manchester International Festival and Manchester Day Parade, a council-led civic celebration – both combined community groups with artist input to put large-scale structures and people on the city’s streets. In this ethnographic analysis, I argue that the ‘creativity’ sought from these artists is their adaptive and productive approach to making ideas tangible. By focusing on creativity as a process rather than a character trait, there is even greater potential for stimulating a ‘creative’ city.     

Feeling at Home: Gender and Creative Agency at Red House

Much has been written about Red House, the home of Jane and William Morris between 1859 and 1865, as an example of architectural innovation and a place of artistic fellowship. In accounts by Morris's contemporaries and subsequent scholars, Red House has also been represented as a site of conviviality, creativity and youthful idealism, where a utopian way of life proved unable to withstand the vagaries of mature responsibilities. This essay reconsiders the happy memories attached to Red House and explores how the affective investments that linked people, spaces and objects were created and enhanced by a shared process of creative improvisation there. Drawing on recent scholarly work on feelings, emotions and affect, this essay pays particular attention to the gendered experience of intimacy and creativity at Red House and seeks to redress a tendency to discount women's creative agency in the household. In the web of relationships at Red House, expressed and enacted through practices of creative labour and hospitality, Jane Morris and Georgiana Burne-Jones articulated an increased capacity for agency not merely as aesthetic objects but as creative subjects.     

Language diversity,language policy and the sovereign state

An analysis of Mark Bevir's account of the role of language and tradition on the one hand, and the individual on the other in the generation of ideas, and proposal of an alternative account It endorses Bevir's project of finding a middle way between individualism and collectivism, but finds that Bevir exaggerates the role of the individual. It argues that human selves always remains dependent on language even to articulate their own intentions to themselves. Whilst they have a capacity to create new linguistic expressions, this is always limited to the exploration of possibilities already latent in the language. However, no one is a mere recipient and conduit of a given language: everyone hands it on transformed by their unique appropriation of it. The antifoundationalist analyses of Wittgenstein, Newman Collingwood, and Neurath are invoked to argue that this state of affairs also applies to the individual's relation to the beliefs and values inherited traditionally: there is no possibility of a wholesale rejection of what is received; no individual can reject all received traditions, and erect an entire belief structure from scratch, but can only modify it on a piecemeal basis, so that received tradition always remains constitutive of the individual mind. It is also argued that human self-consciousness is always socially formed, and no person ever completely integrated, and stabilized. No one is ever therefore in a state of complete self-possession. One therefore must reject Bevir's claim that the historian of ideas must initially presume that individuals are sincere, conscious and rational in their expressed beliefs: ‘sincere’ self-consciousness is an ideal never fully achieved, and beliefs as to what constitutes ‘rationality’ are so varied that specific presumptions cannot be made.     

Language,tradition, and the self in the generation of meaning

An analysis of Mark Bevir's account of the role of language and tradition on the one hand, and the individual on the other in the generation of ideas, and proposal of an alternative account It endorses Bevir's project of finding a middle way between individualism and collectivism, but finds that Bevir exaggerates the role of the individual. It argues that human selves always remains dependent on language even to articulate their own intentions to themselves. Whilst they have a capacity to create new linguistic expressions, this is always limited to the exploration of possibilities already latent in the language. However, no one is a mere recipient and conduit of a given language: everyone hands it on transformed by their unique appropriation of it. The antifoundationalist analyses of Wittgenstein, Newman Collingwood, and Neurath are invoked to argue that this state of affairs also applies to the individual's relation to the beliefs and values inherited traditionally: there is no possibility of a wholesale rejection of what is received; no individual can reject all received traditions, and erect an entire belief structure from scratch, but can only modify it on a piecemeal basis, so that received tradition always remains constitutive of the individual mind. It is also argued that human self-consciousness is always socially formed, and no person ever completely integrated, and stabilized. No one is ever therefore in a state of complete self-possession. One therefore must reject Bevir's claim that the historian of ideas must initially presume that individuals are sincere, conscious and rational in their expressed beliefs: ‘sincere’ self-consciousness is an ideal never fully achieved, and beliefs as to what constitutes ‘rationality’ are so varied that specific presumptions cannot be made.     

Brave new world

This article asks if China can develop a truly creative economy and follow the lead of South Korea, Japan, Hong Kong, Taiwan and Singapore. If the benefits flowing from the creative economy (and creative industries) are so strategic to government, we need to ask what impact this re‐evaluation of creativity will have on a country often identified as having an overly regulated cultural sector. While there is ample evidence to support the idea of a dormant and often parasitic cultural sector, this article points to some areas where creativity is emerging as inputs into production, distribution and consumption.     

PHILOSOPHY OF HISTORY AFTER 1945: A BIBLIOMETRIC STUDY

Much has been said about what philosophy of history should be. This bibliometric assessment of research in the philosophy of history examines what scholars in this field have actually produced. The study covers a dataset—a subsection of the bibliography of the International Network for Theory of History—of 13,953 books, articles, book chapters, dissertations, and other scholarly publications, encompassing materials written in seven different languages published between 1945 and 2014. This material was classified according to a multilayered system of taxonomy consisting of keywords representative of themes discussed in the field. Separate quantitative analyses were made to elucidate characteristics about the publication outputs in the field in the different language groups. Changes in paradigm, often referred to as “turns” or “trends,” have been mapped in this study, according to a quantitative analysis of the most recurrent keywords within a five‐year interval, which give an indication of the most debated themes in each period. ?Religion/theology/secularization? is the most frequent keyword during the period 1945 to 1969, followed by ?Marxism/historical‐materialism?¹ from 1970 to 1984, in what can be considered a second period of the field. Although many of the key publications of the linguistic turn were written within this second period, our dataset shows that it is not until the third period (1985–2014) that their writing goes on to influence other authors in the field.     

SOVEREIGNTY AND SOFTWARE

This article will critically appraise two approaches to cultural policy. The first focuses upon the need for a national cultural policy in order to establish a national “common culture” among its citizens, through measures to promote the arts and popular media sectors, and set limits to the flow of imported materials into the nation. This is what has been termed the “sovereignty” model, and has historically been the driver of cultural policy debates. The second approach, which is called the “software” approach, aims to create cultural infrastructure and other environmental factors to promote a creative economy, whether at local, regional, national or supra‐national levels. It questions the historical divides between “culture” and “industry”, and between “creativity” and “innovation”, and is focused upon the development of future ideas and creative concepts. It draws upon the very different conditions associated with the development of software to those of established arts and media sectors, and aims to extend the “software” model more widely into cultural and creative industries policy.     

The I.H.S. Monogram as a Symbol of Catholic Resistance in Seventeenth-Century Ireland

It has been suggested that the presence of religious images and scenes in secular buildings of sixteenth-century date can be viewed as an expression of resistance by the native Irish to English colonial activity in the aftermath of the Munster Plantation (J. A. Delle, 1999, International Journal of Historical Archaeology 3: 11–35). Such images, however, may merely represent a continuation into the early modern period of a Medieval tradition of adorning secular houses with devotional images. If a religious symbol of native Catholic resistance to English colonization and Protestantism in Munster is to be sought then perhaps a more appropriate image would be the I.H.S. monogram—a symbol associated with the Counter Reformation and the Jesuits. The paper presents an example of the monogram located within a tower house at Gortnetubbrid in County Limerick, Ireland.     

Youthful Creativity in Regional Australia: Panacea for Unemployment and Out‐Migration?

This paper addresses the theme of youth out‐migration from rural Australia, in the context of recent policy discussions about creativity and its role in regional development. Ethnographic fieldwork in one rural location – the New South Wales Far North Coast – is drawn upon to highlight how creative industries are being cast as a potential way of promoting cultural activities and jobs for young people, and in turn, how they might be imagined as a means to mitigate youth out‐migration. Yet, creative industries have contradictory employment and social outcomes. Creative industries are likely to generate higher rates of youth participation in economic activities than public data reveal. However, strategies for future job growth should also consider the limitations and instabilities of creative industry employment. Second, and more broadly, the paper discusses those socio‐cultural dimensions of nascent creative industries that may have a more substantial impact when conceived as part of strategies to stem youth exodus from rural areas. Creative activities may contribute to rural development in indirect ways, especially if linked to policy goals of increased tolerance of youth activities, better provision of cultural services, and improved well‐being for young people. While formal job‐creation may be limited, creative industries could mitigate some of the impacts of youth migration to cities by enriching regional social life and mediating perceptions of the advantages and drawbacks of rural versus urban life. This kind of policy imagination requires a shift in attitudes towards young people and a more genuine commitment to encourage young people to feel that they belong in non‐metropolitan areas.     

Athanaric the Visigoth: monarchy or judgeship. A study in comparative history

The decision to risk an attempt at functional comparison between two historical figures over a period of more than four hundred years proceded from etymological considerations of various types, but was first suggested by the contrast between Athanaric and Armimus as they are portrayed in modern historical literature. As in the case of the institutional analogy of the judge of the Goths with the vergobretos of the Celts, there exists no historical relationship between the life histories of the two Germanic chieftains, in the sense that Athanaric cannot have been influenced to act as he did by the story of Arminius, nor can we assume a direct dependence of the later institution on the earlier one, any more than we can accept the possibility of arriving at the name for the Gothic judge from Celtic, in a way in which this is possible for reiks. Such an observation, otherwise trivial in itself, serves to characterize the methods and limits of the functional comparison. This yields historical insights which apply to the individual case in question: along with new considerations concerning rex-reiks, an argument is developed against the opinion that Athanaric's judgeship was one of a lower rank than genuine kingship, before which the Gothic chief — for whatever reason — was supposed to have drawn back in fear. This makes his judgeship look more like an ‘institutionalized magistracy’, exercising royal power for a set term, than a mere ethnic dignity. Further, the comparison establishes that the Celtic, as well as the Gothic, judgeship was possibly held in dual fashion, or could be held that way, before the period under observation; however, the pairs to be dealt with here do not represent any ‘Dioscurian’ double chiefdom but rather pairs of chieftains rivalling each other. The archaic experience may serve in this instance only as a model for shaping the tradition.Finally, it is recognized — and this could well be our most important finding — that the judgeship is limited, not only in time but also in territory: it had valid jurisdiction only inside the tribal territory itself. It follows from this that the judge's duties comprised defense of the fatherland as well as the execution of judgments.Along with the ‘external’ comparison among Goths, Celts, and Cheruscans, an ‘internal’ functional comparison is drawn within fourth-century Gothic constitutional history. In so doing, the possibility is opened for reconstructing the family leadership of the Balts three generations before Alaric. Then, within Gothic tradition, we are able to arrive of the ruling and institutional function of the ‘wisdom’, which both the Gothicized Decaeneus and Theoderic, as well as Athanaric     

基于文化创意产业的历史街区提升改造研究——以南锣鼓巷为例

本文以南锣鼓巷为例,剖析了基于文化创意产业的历史街区改造与提升方式。分析结果显示:在历史街区发展文化创意产业是一种新型的改造与提升方式,二者关系密切,互利共生;发展文化创意产业需以不破坏历史街区风貌为前提,主要应该注意开店位置、扰民现象、墙体的颜色、门窗的颜色及质地、遮阳棚放置、空调等、灯光强度等因素;发展本地文化为主要创意来源的文化创意产业是避免"千城一面"的绝佳途径,不仅可以传承保护当地文化特色传统,还可以有效避免其他城市或地区的抄袭和复制。     

Creativity,Culture and Urban Strategies: A Fallacy in Cultural Urban Strategies

Two fields of knowledge have been of special importance for the emergence of culture-led urban planning in Norwegian cities: one concerns the understanding of the potential of culture as an economic driving force in urban regeneration, while the other focuses on the emergence of the concept of the “creative class” and has drawn attention to the importance of competence and creativity in urban development. Despite clear connections between the two fields, it may appear that false connections have been made in regeneration strategies in a number of cities. Based on analyses of the culture-led urban strategy of Kristiansand, a small Norwegian city, these knowledge fields are discussed and it is claimed that there seems to be a fallacy in how they are treated in the culture-led urban strategy. The fallacy concerns the way that creativity is equated with culture and further how theories about the emergence of the creative class are equated with a culture industry approach to urban planning. Questions are raised about the potential of culture industry strategies and it is argued that the potential for growth in small cities may not be as great as the public debate and research conducted in large metropolises might suggest.     

On the use of species-area curves to detect the effects of sample size

Archaeologists have long been concerned about sample size. To monitor the relationship between sample size and the magnitude of a variable of interest, archaeologists have constructed three distinct kinds of what in ecology are known as species area curves (SACs). Sampling to redundancy SACs involve adding successive samples cumulatively to determine if the information provided by new samples is unique or redundant with information provided by earlier (smaller) samples. Rarefaction SACs involve pooling multiple samples and then rarifying the pooled sample—making it smaller probabilistically—so that the originally large but rarified sample may be compared with originally small samples. Regression SACs determine if there is a significant statistical relationship between samples of different sizes and the magnitude of the variable of interest per sample. Each of the three SACs used by archaeologists has a distinct analytical purpose.     

One Size Fits All? Applying the Creative Class Thesis onto a Nordic Context

The creative class thesis put forward by Florida [(2002a) The Rise of the Creative Class and How it's transforming Work, Leisure, Community and Everyday Life (New York: Basic Books)] has in recent years been subject to vivid debate and criticism. This article applies the creative class thesis onto a Nordic context in order to examine whether Florida's theory proves fruitful in a context different from the US. Based on qualitative data, the paper analyses the role of people climate and business climate for the location of the creative class and firms in three different kinds of regions in four Nordic countries. The analyses demonstrate that the people climate tends to be of secondary importance to the business climate in explaining the location of the Nordic creative class. This should be seen as a result of the urban hierarchy within the Nordic countries as well as a strong welfare policy, which ensures an equal distribution of public provision and supports dual career households. Together, these factors diminish the role of people climate for location choices. The study also finds that the notion of people climate has different meanings in various places, and what attracts or repels the creative class depends on the life phases of the members of the creative class. The study raises concerns about the potential for applying the creative class approach beyond large city regions, which limits its usability in regional planning.     

Reflections on the Identities and Roles of the Artists in European Paleolithic Societies

In an attempt to introduce concerns with social identities into the discussion and understanding of the making of what we call Paleolithic art, this article considers issues of gender, skill, apprenticeship, and tradition. We note that, as in every period of history, Paleolithic art can be seen as embedded in the society that studies it. Over the last 20 years, the research attention given to women in Paleolithic societies has grown considerably, leading us to ask what could have been the roles of women in Paleolithic art. On what criteria could we base a determination of those roles or of other social identities that were likely part of the making and viewing of Paleolithic art?Thanks to our microscopic analysis of engravings, it is possible to identify the skill level and expertise of the artists and thus to address the question of apprenticeship and how these techniques were transmitted. We observe many similarities that allow us to group together various works of art, sometimes from very distant sites, which indicate a movement of ideas, objects, and people. Are we talking about “imitation”? How can we define an “invention” within a social context strongly bound by traditions?     

The tyranny of the definite article: Some thoughts on the art of intellectual history

This essay argues, following an insight of Burckhardt, that the philosophy of history is a ‘centaur’, and that it has a tendency to hinder rather than to encourage the practice of history. It challenges many of the presuppositions of Bevir's study, demonstrating that The Logic of the History of Ideas is not, in any meaningful sense, an historically minded work. The ‘logic’ of the essay looks to the arts, especially literature and music, as providing genuinely illuminating parallels to the discipline involved in the practice of intellectual history. History cannot be understood as a process of philosophical abstraction; pertinent examples are of its essence, and plurality is therefore central to its richly textured nature. It still has much to learn from the reflexive procedures of anthropology. By examining the idea of ‘tradition’ the essay demonstrates that ‘the past’ is never dead, and that the relationship between texts is a living process: the intellectual historian is him/herself an artist, and his/her task is no less demanding than that of the creative artist, and it is always humblingly provisional.     

A systematic review of climate change education: giving children and young people a ‘voice’ and a ‘hand’ in redressing climate change

ABSTRACT

The reality of anthropogenic climate change has been established ‘beyond reasonable doubt’ by leading scientists worldwide. Applying a systematic literature review process, we analysed existing literature from 1993 to 2014 regarding climate change education for children and young people, with the aim of identifying key areas for further research. While a number of studies have indicated that young people’s understandings of climate change are generally limited, erroneous and highly influenced by mass media, other studies suggest that didactic approaches to climate change education have been largely ineffectual in affecting students’ attitudes and behaviour. The review identifies the need for participatory, interdisciplinary, creative, and affect-driven approaches to climate change education, which to date have been largely missing from the literature. In conclusion, we call for the development of new forms of climate change education that directly involve young people in responding to the scientific, social, ethical, and political complexities of climate change.