Whitehead and Dewey called for a deep reform of philosophy. Although they respected one another, Dewey can be read as criticizing Whitehead for hisadherence to a traditional, and unfortunately conservative, way of conceiving of the discipline. This article provides an in-depth reconstruction as well as a qualified defense of Dewey’s charge.

The article develops a philosophical approach on how to handle the riddle of creativity. Section I presents reflections on the concept of creativity: its value; the meaning and sense of the word; the possibility of a science of creativity; and on different types of creativity. Section II focuses on the differences and relations between psychological and philosophical conceptions of creativity, introducing a signo-interpretational approach that is developed in more details in Section III. There the discussion also deals with the conditions, (...) structures and functions of creativity processes: the space of arbitrariness and polysemiosis; rule-following; rule violation; rule invention; and the shifting from possibilities to potentialities. (shrink)

Creativity pervades human life. It is the mark of individuality, the vehicle of self-expression, and the engine of progress in every human endeavor. It also raises a wealth of neglected and yet evocative philosophical questions. The Philosophy of Creativity takes up these questions and, in doing so, illustrates the value of interdisciplinary exchange.

An outstanding collection of specially commissioned chapters by leading philosophers who explore the relationship between philosophy and creativity. Essential readings for those interested in the philosophy of creativity, it is also an extremely useful resource for those in related subjects such as music, art and visual studies, literature and education.

This chapter presents and contextualizes empirical work done by philosophers on imagination and creativity. It also suggests new directions for future empirical research. It is argued that empirical work is not just beneficial, but also often necessary for philosophy of imagination and creativity. Further, it is argued that this work must sometimes be done by philosophers, and it will often be best if done by philosophers. Topics discussed include imaginative resistance, counterfactual imagination, scientific imagination, distinguishing imagination from other mental (...) states (e.g., supposition, memory), vividness of imagination, AI and imagination, creativity and praiseworthiness, creativity as a virtue, and AI and creativity. (shrink)

The article explores the philosophy of personality in the context of a culture of creativity, where creativity is considered a fundamental factor that contributes to the life-creativity of the individual - the process of active formation and understanding of one's own life in conditions of constant change. The relevance of this topic is due to the demands placed on a person by the constant change of the environment, which requires flexibility, the ability for innovative thinking, and deep internal development (...) from the individual. The importance of creativity is emphasized not only as a problem-solving skill, but also as an internal process that enriches the personality, determines its ability to self-knowledge and cultural self-expression. The aim of the article is to reveal the meaning of creativity as the main means of self-creation of the individual within the framework of the culture of creativity. The proposed working hypothesis states that creativity is not only a tool for creating new ideas or objects, but also a profound way of being that gives a person the opportunity to realize themselves through the creative act. The article also examines philosophical approaches to the problem of creativity, in particular the concepts of such thinkers as I. Kant, G. Hegel, and M. Berdyaev, who consider creativity to be an important component of individual freedom and the path to her self-realization. Additionally, modern psychological and cultural studies are analyzed, which help clarify the mechanisms of creative activity and its role in personal development (A. Maslow, M. Runko and others). Particular attention is paid to the concept of "culture of creativity", which is a space that ensures the development of creative life, providing the opportunity for self-realization through the expression of aesthetic, humanistic and ethical values. Creativity in this context appears as a process that not only shapes individuality, but also creates conditions for deep interaction with others, contributing to the development of new forms of cultural expression. The author argues that creativity should be integrated into all spheres of human existence – from education to intercultural dialogue – as an important resource for the development of not only the individual, but also society as a whole, which can contribute to harmonious development and mutual understanding between people of different cultures and worldviews. The conclusions outline the prospects for further research aimed at integrating philosophical, psychological and pedagogical approaches to the formation of a creative personality in the context of modern global challenges. (shrink)

This paper surveys some of the central issues in the philosophy of creativity and argues that an adequate treatment of them requires attention to the rich psychological literature on creativity. It also shows that the range of interesting philosophical questions to be raised about creativity is much wider than concerns its role in art. Issues covered include the definition of ‘creativity’; the relation of creativity to imagination; whether the creative process is rational; whether it is teleological; the relation (...) of creativity to knowledge; whether creativity can be explained; computational and Darwinian theories of creativity; whether creativity is a virtue; the relation of creativity to tradition; the aesthetic value of creativity; and whether creative activity is different in science and art. (shrink)

For many, the two key thinkers about science in the twentieth century are Thomas Kuhn and Karl Popper, and one of the key questions in contemplating science is how to make sense of theory change. In Creatively Undecided, philosopher Menachem Fisch defends a new way to make sense of the rationality of scientific revolutions. He argues, loosely following Kuhn, for a strong notion of the framework dependency of all scientific practice, while at the same time he shows how such frameworks (...) can be deemed the possible outcomes of keen rational deliberation along Popperian lines. Fisch's innovation is to call attention to the importance of ambiguity and indecision in scientific change and advancement. Specifically, he backs the problem up, looking not at how we might communicate rationally across an already existing divide but at the rational incentive to create an alternative framework in the first place. Creatively Undecided will be essential reading for philosophers of science, and its vivid case study in Victorian mathematics will draw in historians. (shrink)

B a c k g r o u n d. The article examines the problem of authorship in the context of the development of modern philosophical concepts and challenges associated with the phenomenon of artificial intelligence. The classical ideas about the author, laid down in the ancient tradition (Plato, Aristotle), are compared with modern concepts (R. Barthes, M. Foucault), which have questioned the idea of an individual creator. The relevance of the topic is due to radical changes in the field (...) of cultural production, where generative AI systems create texts, images and ideas, which forces us to rethink the very concepts of creativity, originality and intertextuality. The aim of the study is to analyze the transformation of the philosophy of authorship – from the mythological ideal of inspiration to digital intertextuality – and to determine its ontological content in the era of AI. M e t h o d s. The study is based on historical-philosophical, hermeneutic and comparative methods. Historical-philosophical analysis allows us to reconstruct the evolution of the concept of authorship in different eras. The hermeneutic approach is used to interpret the texts of Plato, R. Barthes, M. Foucault and modern foreign and domestic philosophers, and the comparative method is used to compare classical and poststructuralist concepts with the phenomenon of digital creativity. R e s u l t s. It is demonstrated that in the times of antiquity, Plato, the author acts as a mediator between the divine and the human, while in the modern era, he is an autonomous creator. In the 20th century (R. Barthes, M. Foucault), the author becomes a function of discourse, which is why, according to poststructuralism, the text lives outside the author, and meaning is formed in the act of reading. In the 21st century, this idea finds new confirmation in the technological sphere, namely in AI algorithms that create content based on existing data, thereby embodying the idea of intertextuality in practice. The concept of "death of the author" acquires a new meaning, a new dimension of "network authorship", which changes the idea of creating meanings, where the author is already a collective, and the creative process is distributed between man and technology. C o n c l u s i o n s. In the philosophical sense, authorship appears as a historical form of spiritual activity, it is by no means an immutable property of the individual himself. It evolves along with the development of technology and art. Today, in the era of the spread and active development of artificial intelligence systems, the concept of "author" is significantly expanded and includes both inspiration and algorithmic replication of cultural codes. Addressing the methodological foundations of the philosophy of authorship allows us to more deeply understand not only the boundaries of creativity, but also a new ontology of the text, in which human and machine experiences interact in the creation of meaning. (shrink)

We propose a distinction between two different concepts of time that play a role in physics: geometric time and creative time. The former is the time of deterministic physics and merely parametrizes a given evolution. The latter is instead characterized by real change, i.e. novel information that gets created when a non-necessary event becomes determined in a fundamentally indeterministic physics. This allows us to give a naturalistic characterization of the present as the moment that separates the potential future from (...) the determined past. We discuss how these two concepts find natural applications in classical and intuitionistic mathematics, respectively, and in classical and multivalued tensed logic, as well as how they relate to the well-known A- and B-theories in the philosophy of time. (shrink)

We reflect on the nature of art, the creative process, and the connection between art and philosophy.

This review presents an analysis of the fundamental work “Creativity and religiosity in Russian culture. Philosophical Research” was written by the Russian philosopher and cultural scientist O.A. Zhukova who has been fruitfully researching the history of Russian culture and national thought for many years. The new book is the third part of a trilogy devoted to discussing the line of succession in Russian cultural and intellectual history, which is characterized by a religious understanding of creativity. The author formulates important theoretical (...) positions, as well as methodological approaches to the study in philosophy of Russian culture and history. The large scale work is highlighted by the original interpretation of the plots considered in it. In the book, O.A. Zhukova develops the thesis about the ideal-centering of Russian culture, she offers a philosophical-culturological model of the historical dynamics of Russian culture. The basis of this model is the creative experience of a personality. (shrink)

Philosophy has long either dismissed or paid only minimal attention to creativity, and even with the rise of research on imagination, the creative imagination has largely been ignored as well. The aim of this volume is to correct this neglect. By bringing together existing research in various sub-disciplines, we also aim to open up new avenues of research. The chapters in Part I provide some framing and history on the philosophical study of imagination and creativity, along with an (...) overview of the empirical literature. Part II explores imagination and creativity as they manifest in, and in turn shape, the individual. Part III surveys the role of imagination and creativity across a wide variety of artistic domains, and the chapters of Part IV turn to societal domains. Part V focuses on the interplay of imagination and creativity with regard to particular features of creative subjects and different kinds of creative subjects. *** -/- Part I: Theories and Approaches 1. Theories of Imagination (Peter Kung) 2. Theories of Creativity (Julia Langkau) 3. Historical Treatments of Imagination in the Western Tradition (Lucia Oliveri) 4. Historical Treatments of Creativity in the Western Tradition (Elliot Paul) 5. Non-Western Treatments of Imagination (Reza Hadisi and Jing Iris Hu) 6. Non-Western Treatments of Creativity (Nicolas B. Verger and Vlad Glăveanu) 7. Empirical Treatments of Imagination and Creativity (Dustin Stokes) 8. Experimental Philosophy of Imagination and Creativity (Michael T. Stuart) 9. The Relationship between Imagination and Creativity (Margherita Arcangeli) -/- Part II: Imagination and Creativity in Mind and Action 10. Imagination, Creativity, and Skill (Amy Kind) 11. Imagination, Creativity, and Attention (Bence Nanay) 12. Imagination, Creativity, and Agency (Caterina Moruzzi) 13. Imagination, Creativity, and Emotion (Julien Deonna and Fabrice Teroni) 14. Imagination, Creativity, and Embodiment (Adriana Clavel-Vázquez and María Jimena Clavel Vázquez) 15. Imagination, Creativity, and Gender (Luke Roelofs) 16. Imagination, Creativity, and Race (Nicholas Whittaker) 17. Imagination, Creativity, and Child Development (Thalia Goldstein, Anna Sofia Caruso, Darian Stapleton, and Lamin Fatty) -/- Part III: Imagination and Creativity in the Arts 18. Imagination, Creativity, and the Visual Arts (Claire Anscomb) 19. Imagination, Creativity, and Music (Matteo Ravasio) 20. Imagination, Creativity, and Fiction (Hannah H. Kim) 21. Imagination, Creativity, and Dance (David Davies and Anna Pakes) 22. Imagination, Creativity, and the Culinary Arts (Patrik Engisch) 23. Imagination, Creativity, and Film (Murray Smith) 24. Imagination, Creativity, and Acting (Tzachi Zamir) 25. Imagination, creativity, and fashion (Laura T. Di Summa) -/- Part IV: Imagination and Creativity in Society 26. Imagination and Creativity in the Scientific Realm (Alice Murphy) 27. Imagination and Creativity in the Moral Realm (Tim Mulgan) 28. Imagination and Creativity in the Political Realm (Avshalom Schwartz) 29. Imagination and Creativity in the Law (Maksymilian Del Mar) 30. Imagination and Creativity in the Religious Realm (Neil Van Leeuwen) 31. Imagination and Creativity in Business (Eric Peterson) 32. Imagination and Creativity in Times of Crisis (Jennifer Fraser and Noah Stemeroff) Part V: Emerging Issues in Imagination and Creativity Research 33. Imagination, Creativity, and Aphantasia (Andrea Blomkvist) 34. Imagination, Creativity, and Neurodivergence (Sofia Ortiz-Hinojosa) 35. Imagination, Creativity, and Non-Human Animals (Henry Shevlin) 36. Imagination, Creativity, and Artificial Intelligence (Peter Langland-Hassan) 37. Collective Imagination and Collective Creativity (Nick Wiltsher) . (shrink)

Creativity pervades human life. It is the mark of individuality, the vehicle of self-expression, and the engine of progress in every human endeavor. It also raises a wealth of neglected and yet evocative philosophical questions: What is the role of consciousness in the creative process? How does the audience for a work for art influence its creation? How can creativity emerge through childhood pretending? Do great works of literature give us insight into human nature? Can a computer program really (...) be creative? How do we define creativity in the first place? Is it a virtue? What is the difference between creativity in science and art? Can creativity be taught? The new essays that comprise The Philosophy of Creativity take up these and other key questions and, in doing so, illustrate the value of interdisciplinary exchange. Written by leading philosophers and psychologists involved in studying creativity, the essays integrate philosophical insights with empirical research. CONTENTS I. Introduction Introducing The Philosophy of Creativity Elliot Samuel Paul and Scott Barry Kaufman II. The Concept of Creativity 1. An Experiential Account of Creativity Bence Nanay III. Aesthetics & Philosophy of Art 2. Creativity and Insight Gregory Currie 3. The Creative Audience: Some Ways in which Readers, Viewers and/or Listeners Use their Imaginations to Engage Fictional Artworks Noël Carroll 4. The Products of Musical Creativity Christopher Peacocke IV. Ethics & Value Theory 5. Performing Oneself Owen Flanagan 6. Creativity as a Virtue of Character Matthew Kieran V. Philosophy of Mind & Cognitive Science 7. Creativity and Not So Dumb Luck Simon Blackburn 8. The Role of Imagination in Creativity Dustin Stokes 9. Creativity, Consciousness, and Free Will: Evidence from Psychology Experiments Roy F. Baumeister, Brandon J. Schmeichel, and C. Nathan DeWall 10. The Origins of Creativity Elizabeth Picciuto and Peter Carruthers 11. Creativity and Artificial Intelligence: a Contradiction in Terms? Margaret Boden VI. Philosophy of Science 12. Hierarchies of Creative Domains: Disciplinary Constraints on Blind-Variation and Selective-Retention Dean Keith Simonton VII. Philosophy of Education (& Education of Philosophy) 13. Educating for Creativity Berys Gaut 14. Philosophical Heuristics Alan Hájek. (shrink)

The article is focused on the topic of how to practice philosophy and support creativity in kindergartens and elementary schools with the help of fairy tales, in particular with the help of the story of Pinocchio. Emphasis is placed on Lipman's activity of philosophy for children, which he tried to connect with Vygotsky's theories. The aim of the article is to show the importance of developing critical thinking in the form of dialogue in connection with creative thinking, (...) which Gianni Rodari focused on. Rodari was based on Vygotsky's theory of imagination as a process of the human mind, which is a characteristic of all human being. (shrink)

This chapter examines the imagination, its relationship to “common sense,” and its recent development in the notion of the social imaginary in Western philosophy and the contributions Miki Kiyoshi and Nakamura Yūjirō can make in this regard. I trace the historical evolution of the notion of the productive imagination from its seeds in Aristotle through Kant and into the social imagination or imaginary as bearing on our collective being-in-the-world, with semantic and ontological significance, in Paul Ricoeur, Cornelius Castoriadis, and (...) Charles Taylor. The two Japanese philosophers, when brought into dialogue with the above contemporary Western thinkers, can contribute to this recent development of the imagination’s creativity into the collective sphere. Miki shows a connection between the imagination and a certain form-formlessness dynamic he inherits from Nishida. Nakamura in turn points to a connection between imagination and place via his development of the Aristotelian notion of common sense. Both have implications on how we understand the social imaginary. (shrink)

The Vedanta of conciousness : transcendence, enlightenment and everyday life -- The alienated self and the Kabbala of transformation -- The Zen of creativity and the critique of the discursive intellect -- The Tao of love and unconditionality in commitment -- The yoga of action and effortless efficiency -- The nous of perception and the re-enchantment of the tree of life -- The gnosis of freedom and the Fana of fulfilment.

This research article explores the integration of Buddhist and philosophical principles into educational methodologies to enhance learning skills. The objectives were to develop a creative educational model, identify key factors influencing learning skills, and assess the approach’s effectiveness. The study targeted students from higher education institutions as the population. A purposive sampling technique was employed, selecting participants who demonstrated an interest in or familiarity with Buddhist teachings and philosophical inquiry. The research employed a mixed-methods approach, combining qualitative and quantitative (...) data collection techniques. Tools included questionnaires/surveys, semi-structured interview questions, and observations, supplemented by focus group discussions and thematic analyses and a suitability and feasibility evaluation form. The analyses were performed using Principal Component Analysis (PCA), content analysis, theme analysis, and data saturation. Statistics were in the form of percentages, means, SDs, t-values, and exploratory factor analyses (EFA). The results indicated that integrating Buddhist practices, such as mindfulness and reflective thinking, with philosophical methods, such as critical inquiry and dialogue, significantly improved students’ cognitive, emotional, and ethical development. Key findings highlighted the importance of fostering an environment encouraging open-mindedness, self-reflection, and ethical reasoning. The study’s significance lies in its contribution to educational innovation, providing a framework for integrating spiritual and philosophical dimensions into contemporary education. This approach enhances traditional academic skills and promotes holistic development, preparing students for personal and societal challenges. (shrink)

"This is the second of two volumes dealing with the history of philosophy, especially of metaphysics.

Building on the writings of Wittgenstein on rule-following and deviance, Kristóf Nyíri advanced a theory of creativity as consisting in a fusion of conflicting rules or disciplines. Only such fusion can produce something that is both intrinsically new and yet capable of being apprehended by and passed on to a wider community. Creativity, on this view, involves not the breaking of rules, or the deliberate cultivation of deviant social habits, but rather the acceptance of enriched systems of rules, the adherence (...) to which presupposes simultaneous immersion in disciplines hitherto seen as being unrelated. The paper presents a demonstration of the fruitfulness of this theory by means of an account of some of the political, cultural and intellectual peculiarities of the Habsburg Monarchy. (shrink)

There is a demand to nurture scientific creativity in science education. This paper proposes that the relevant conceptual infrastructure with which to teach scientific creativity is often already included in philosophy of science courses, even those that do not cover scientific creativity explicitly. More precisely, it is shown how paradigm theory can serve as a framework with which to introduce the differences between combinational, exploratory, and transformational creativity in science. Moreover, the types of components given in Kuhn’s disciplinary matrix (...) are argued to indicate a further subdivision within transformational creativity that makes explicit that this most radical type of creativity that aims to go beyond and thus to transform the current paradigm can take many different directions. More generally, it is argued that there are several synergies between the topic of scientific creativity and paradigm theory that can be utilized in most philosophy of science courses at relative ease. Doing so should promote the understanding of scientific creativity among students, provide another way to signify the relevance of paradigm theory, and more strategically be a way of reinforcing the place of philosophy of science in science education. (shrink)

This rich collection of essays offers a broad array of perspectives from prominent international 'philosophy for/with children' scholars and practitioners regarding the interface between P4wC and teacher education and training curricula. The book considers the deep and varied points of contact that exist between the pedagogical and philosophical principles of the philosophical community of inquiry and teacher education and training programs. It is designed to help improve education systems worldwide as they seek to shift their attention towards the student, (...) student inter-relations, and student-other relations and foster independent high-order, critical, creative, and caring thinking within democratic, pluralistic societies. It proposes an innovative, creative way of approaching teacher education and training--a central subject in today's educational world. Offering diverse perspectives on integrating progressive educational philosophy and contemporary pedagogy, Philosophy with Children and Teacher Education is a must-read for all those studying philosophy for/with children and researching in this area. (shrink)

Chapter INTRODUCTION Charles Sanders Peirce is quickly becoming the dominant figure in the history of American philosophy. The breadth and depth of his work...

The Wenzi: Creativity and Intertextuality in Early Chinese Philosophy. By Paul van Els. Studies in the History of Chinese Texts, vol. 9. Leiden: Brill, 2018. Pp. xiv + 233. $108, €90.

This is an interesting book in many ways. But, it is not a study of creativity in American philosophy. It is more accurate to call it a labyrinth through which Charles Hartshorne’s view of creativity finally emerges. It is a sketch of how Hartshorne reacted to those in the philosophical tradition to whom he was exposed and, more specifically, what he found worthwhile or enduring, from his perspective, in their philosophical outlooks. There is more candor and objectivity to his (...) approach than one finds in Bertrand Russell’s history of Western philosophy, but the purpose served by the exploration is similar. Invariably there are omissions and distortions. (shrink)

The category of creativity unquestionably occupies a central position in Alfred North Whitehead’s philosophy of organism. Its employment is hardly surprising given his project to establish a speculative philosophy that is compatible with modern science. This article examines the use of such a category in this project and argues that the separation between creativity and God causes several problems, including the absence of an ontological principle that may ground the interaction of the various elements in this metaphysical scheme. (...) A more fundamental question is also raised concerning the nature of this project, which walks a fine line between philosophy and science. Keywords: Whitehead, creativity, the Category of the Ultimate, metaphysics, Aristotle, organism, God. Abstrak: Kategori kreativitas jelas memperoleh tempat sentral dalam filsafat organisme Alfred North Whitehead. Kehadiran kategori ini tidaklah mengherankan mengingat usahanya untuk membangun sebuah filsafat spekulatif yang selaras dengan sains modern. Artikel ini hendak mengevaluasi penggunaan kategori ini dan menyampaikan argumen bahwa pemisahan antara kreativitas dan Tuhan memuat sejumlah masalah, termasuk ketiadaan sebuah prinsip ontologis yang dapat menyatukan interaksi berbagai unsur dalam skema metafisika ini. Sebuah pertanyaan lebih mendasar juga diajukan terkait dengan hakikat proyek ini sendiri yang memperlihatkan tipisnya batas antara filsafat dan sains. Kata-kata Kunci: Whitehead, kreativitas, Kategori Pokok, metafisika, Aristoteles, organisme, Tuhan. (shrink)

Creativity and PhilosophyBerys Gaut and Matthew Kieran Routledge. 2018. pp. 394. £30.99.

This paper is dealing with western scientific heritage in social thought regarding the ideas of elite. Pareto, Moska, Michels and other grounded the inevitability of elite top to be distinguished according to it indispensable role in the system of social control. However, social-historical practice showed new possibilities and functions of pluralistic elites, particularly the usefulness of elitist approach for solving certain social problems. Special attention has been given Toynbee's conception of elite. We chose and described four conceptions of creative (...) elite in the western social philosophy: economic-technocratical, political-legal, psychological, cultural. Key words: creative elite, cultural-historical process, elite conception. (shrink)

The subject of the research in this article are certain aspects of the "philosophy of culture" of the prominent thinker, theologian, historian of Russian thought Georgy Vasilyevich Florovsky, which influenced the evolution of his worldview. Special attention is paid to the facts of the "European" period of his biography, the analysis of his "Eurasian" works, as well as his assessments of the philosophical concepts of some Russian thinkers and calls for the conversion of the process of cultural creativity to (...) spiritual principles. Particular attention is paid to the content of the discussion that unfolded between G.V. Florovsky, N.S. Trubetskoy and (in absentia) N.Ya. Danilevsky on the problem of the status of "universal culture" and the mutual influences of cultures. The study reveals the philosophical nuances of the evolution of G. Florovsky's views as a "Eurasian" author based on his own works and the assessments contained therein. Scientific literature often emphasizes the influence of Eurasian ideology on G. Florovsky, expressed, in particular, in his ideas about culture and cultural creativity. However, based on the analysis of the material presented in the article, the author comes to the conclusion that G.V. Florovsky, although he was a member of the Eurasian circle, on some significant issues differed from the main direction of development of the Eurasian ideology presented by E. Trubetskoy. (shrink)

A vigorous and wide-ranging defense of Hartshorne’s “neoclassical metaphysics” of creative freedom.

At the dawn of the Third Millennium, philosophy is at an important crossroads in its role as paideia—philosophy educating humanity. A major challenge for philosophy today is to mediate the emergmg science-religion dialogue, and enhance understanding of the relationship between science, ethics, and faith. Curiously, the methodological dilemmas and thorny issues of demarcation between science and religion reflect a new awareness regarding metascientific questions posed by science itself. We are at the threshold of a new Golden Age (...) of scientific discoveries and faith-informed, interdisciplinary, and liberal learning interconnecting once more all areas of knowledge with ethics and faith. The likely key to new discoveries is an interdisciplinary approach seeking interrelatedness between all phenomena. This means also that the restoration of philosqphy in the classic sense as sophia or the love of wisdom can only be achieved within the larger framework of dialogue among all disciplines in the quest for truth. (shrink)

The object of this paper is creativity as a cultural philosophical and historical-philosophical phenomenon. The subject of the research is the substantiation of the essence of creativity by Russian religious philosophy on the example of the doctrine of V.S. Solovyov and N.A. Berdyaev. The aim of this research is to identify and articulate the key semantic constructs of creativity from the positions of the above-mentioned thinkers. The article also explores ideas about the nature of creativity and the specific features (...) of a creative subject through the prism of relevant concepts of a socio-humanitarian orientation. A brief historical and philosophical excursion into the understanding of the ontological essence of creativity is carried out, modern ontological concepts of creativity are revealed and an existentially oriented concept of creativity is proposed. The theoretical basis of the research is the original works of V.S. Solovyov and N.A. Berdyaev, as well as various commenting scientific sources. The methodological foundation of the research is a comparative analysis and a method of contextual vision of creativity. The main result of the conducted research is the articulation of key aspects of the understanding of creativity by V.S. Solovyov and N.A. Berdyaev. It is shown that for the first philosopher, the central task of creativity is the spiritualization of the material world through the realization of the unity of Goodness, Truth and Beauty, while the second thinker considers the main mission of creativity to be the establishment of a fundamentally different spiritual being by the subject. The scientific novelty of the research also lies in the comparative characterization of the concepts of creativity of these thinkers in terms of essence, tasks, meaning, material, sources, functions, result and other structural aspects. (shrink)

The American Philosophical Association suggests that studying philosophy can have an important impact on one's creative thinking ability. This paper abstracts from the empirical research on creativity a reasonable model of creative thinking, and discusses what the account implies about fostering creative thinking in philosophy courses. Given the empirical research on creativity and the nature of philosophy, studying philosophy can have an important impact on one's creative thinking ability, but faculty need to (...) focus on it in their courses. (shrink)

The article traces the lines of interrelation of philosophy as a systematic knowledge of the world and literature as a form of artistic contemplation. Conceptual and figurative comprehension of the world, according to the author, are attributive properties of the spiritual life of society. In the paradigm of this understanding, the union of philosophy with diverse types of literary creativity is considered as a basic component of the national spiritual culture of the XIX — early XX century, which (...) determined its national peculiarity, becoming a kind of symbolic code. On the one hand, she set the main vector of literary creativity, including the search for the meanings of being, and filled the intuitions of artistic and imaginative thinking with philosophical content, on the other hand, she "added" metaphysics of philosophical thought with ideological questions about progress, social justice and equality, insuring philosophical reflection from the dictates of rigid conceptual schemes. (shrink)

The prominent Russian intellectual, Nikolai Berdyaev, is renowned for his metaphysics of creativity, which he founded on a unique concept of freedom. His unorthodox interpretation of human freedom and the reality of the Spirit became a kind of manifesto for religious existentialism. This article analyzes the social and metaphysical significance of Berdyaev's philosophy of creativity in the context of the European and Russian philosophical traditions.

The article elucidates the pivotal role of philosophical knowledge in nurturing students’ capacity for scientific creativity. Grounded in D.B. Bogoyavlenskaya’s typology of cognition levels (stimulus-productive, heuristic, and creative), the authors illustrate that authentic creativity is not merely tied to the acquisition of subject-specific knowledge but is deeply rooted in personal engagement with science and the primacy of cognitive motivation. The decisive factor in sculpting a scientist’s creative potential lies in their immersion in the culture of philosophical thought, characterized (...) by its pursuit of the universal, critical reflection on the foundations of cognition, and problematization of the apparent. Drawing from the experience of teaching philosophy to students in the natural sciences, the article showcases the significance of philosophical practices and pedagogical approaches that inspire students to creatively grapple with scientific quandaries within the context of cultural universals. Firstly, it emphasizes the cultivation of a culture of understanding as a process of grasping the essence of the phenomena under study. The importance of hermeneutic approaches and engaging with philosophical texts to deepen understanding is accentuated. Secondly, it highlights the refinement of communication skills and the experience of collective discourse as a mechanism for objectifying individual ideas and insights. Thirdly, it stresses the nurturing of independence and initiative in thinking, as well as personal investment in the research process, which constitute the bedrock of genuine scientific creativity. The culmination should be the emergence of a personality imbued with a culture of seeking the universal within the particular, equipped with sophisticated skills in categorical thinking, and enriched by the experience of philosophical reflection on the boundaries of entrenched paradigms of perceiving reality. The challenges and prospects of implementing the proposed model of philosophical engagement are examined, taking into account the social challenges of the information society and the psychological idiosyncrasies of the current generation of students. The authors arrive at the conclusion that philosophy, as the methodological nucleus of university education, ensures the integrity and openness of scientific knowledge, establishing the foundational value orientations and guiding principles for the creative endeavors of a future scientist. (shrink)

At the current stage, the cultural and creative industry, as an emerging economic form, is increasingly becoming an important engine driving socio-economic development. Cultural and creative products are not only the material embodiments of cultural resources but also innovative expressions of cultural values. This paper explores innovative pathways for the design of cultural and creative products from the perspective of sustainable development based on traditional philosophy. By combining elements of traditional philosophy with modern design concepts, (...) the design of cultural and creative products can achieve an organic fusion of cultural heritage and innovation, creating products that possess both rich cultural depth and meet contemporary aesthetic and functional demands. This paper analyzes the application of traditional philosophy in the design of cultural and creative products, emphasizing the deepening of cultural connotations, the stimulation of design innovation, and the construction of brand identity. Furthermore, in conjunction with the concept of sustainable development, it proposes specific strategies for the design of cultural and creative products in terms of material ecological sustainability and cultural diversity. (shrink)

• Sixteen collected essays examine Chinese Philosophy around 4 major topics • Furthers and deepens fundamental inquiries, including: What is philosophy? Is there more than one origin of philosophy? Have we embraced other traditions as well as integrated others into our own? How do we view Chinese philosophy in the multi-origins of the world philosophy and vice versa? • The second volume of the festschrift for celebrating the Journal of Chinese Philosophy’s 40th anniversary.

This article develops an ontological theory of imagination within the framework of the Philosophy of Belonging. It argues that imagination emerges from the incomplete and relational structure of existence itself rather than functioning merely as a secondary cognitive or aesthetic faculty. Because reality remains open, uncertain, and historically transformative, imagination becomes fundamental to meaning formation, creativity, scientific reasoning, institutional development, religion, and freedom. -/- The article critically engages phenomenology, existentialism, embodied cognition, predictive processing theory, symbolic anthropology, and theories of (...) social imaginaries. It proposes that imagination constitutes one of the mechanisms through which ontological openness becomes historically productive. (shrink)

In the “Age of Information”, we are confronted by a strange paradox: on one hand, we have at our disposal resources for creating that far exceed what any previous generation could have imagined, bu...

Part I: Reprinted articles -- Twenty-fourth award of Aquinas medal by the American Catholic Philosophical Association to W. Norris Clarke, SJ -- Interpersonal dialogue : key to realism -- Causality and time -- System : a new category of being -- A curious blind spot in the Anglo American tradition of antitheistic argument -- The problem of the reality and multiplicity of divine ideas in Christian neoplatonism -- Is the ethical eudaimonism of Saint Thomas too self-centered? -- Conscience and the (...) person -- Democracy, ethics, religion : an intrinsic connection -- What cannot be said in Saint Thomas's essence-existence doctrine -- Living on the edge : the human person as frontier being and microcosm -- The metaphysics of religious art : reflections on a text of Saint Thomas -- Part II: New articles -- The immediate creation of the human soul by God and some contemporary -- Challenges -- The creative imagination : unique expression of our soul-body unity -- The creative imagination as treated in western thought -- The integration of personalism and thomistic metaphysics in twenty-first-century Thomism. (shrink)

At a time when religion and science are thought to be at loggerheads, art is widely hailed as religion's natural spiritual ally. Philosophy, Art, and Religion investigates the extent to which this is true. It charts the way in which modern conceptions of 'Art' often marginalize the sacred arts, construing choral and instrumental music, painting and iconography, poetry, drama, and architecture as 'applied' arts that necessarily fall short of the ideal of 'art for art's sake'. Drawing on both history (...) of art and philosophical aesthetics, Graham sets out the historical context in which the arts came to free themselves from religious patronage, in order to conceptualize the cultural context in which religious art currently finds itself. The book then relocates religious art within the aesthetics of everyday life. Subsequent chapters systematically explore each of the sacred arts, using a wide range of illustrative examples to uncover the ways in which artworks can illuminate religious faith, and religious content can lend artworks a deeper dimension. (shrink)