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Titlebook: A Discourse on Novelty and Creation; Carl R. Hausman Book 1975 Martinus Nijhoff, The Hague, Netherlands 1975 Edmund Husserl.consciousness.

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期刊全称A Discourse on Novelty and Creation
影响因子2023Carl R. Hausman
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图书封面Titlebook: A Discourse on Novelty and Creation;  Carl R. Hausman Book 1975 Martinus Nijhoff, The Hague, Netherlands 1975 Edmund Husserl.consciousness.
影响因子Over the past two decades, the number of studies of creativity has in­ creased enormously. Although these studies represent a wide variety of perspectives, the largest proportion of them falls within the province of the social and behavioral sciences. Perhaps this is due to the impetus of experimental psychologists, who recognized the special problems that arise when originality is treated under a general theory of cognition. But what­ ever the reason, human creativity has come to be viewed as one of the major concerns of the twentieth century. It has been referred to as the most pressing problem of our time. In spite of the importance of the topic, few philosophers have either analyzed or speculated systematically about creativity, as a distinct topic. This neglect may be the expression of a tacit and sometimes explicit con­ viction that creativity must be taken for granted and not subjected to analytic scrutiny. In any case, the determination of so many behavioral and social scientists not to fall behind in the search for understanding creativity has led to a proliferation of publications that are unrelated to one another and that lack dearly ordered and reflective consideration
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Carole Bedos,Sophie Génermont,Pierre Cellierictable events or as radical, unprecedented transformations in what we experience. Occurrences of what appears to be new have appealed to the imagination and have challenged the curiosity of reflective persons throughout the history of thought. For some, creativity has seemed awesome. At the very le
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Carole Bedos,Sophie Génermont,Pierre Cellieral consideration of the characteristics of acts that are thought to be creative. These characteristics are assumed. And they serve a role, usually tacit, in determining the direction inquiry takes. Generally, neither the assumptions nor the role the assumed characteristics play in determining the di
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Nabalegwa Wambede Muhamud,Asaba Joyfredpt the regularity and orderliness expected of an intelligible world.. Creativity exhibits a tension between two poles: on the one hand, the presence of spontaneity — of radical, irreducible difference — and on the other hand, the presence of an identity that invites a search for a continuity between
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Nabalegwa Wambede Muhamud,Asaba Joyfrede world. I have offered reasons for accepting such intrusions as irreducible increments in a potentially intelligible system of things and events. But I have also suggested a way in which creations may themselves be intelligible in spite of their paradoxical relation to their contexts. If creations
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