Suchergebnisse

This article is dedicated to students' creativity in precious metal working during the institute training period. The most effective methods and processes of Turkic peoples' traditional technologies of precious metal working are given here. The developed conception, on the base of ethno-technical creative work, introduced in the process of education, contributes the excellence of skill achievements in the jewel making.

Creativity at the tertiary level of education refers to analyzing creativity in higher education institutions through segments such as creativity among teachers and students and creativity in the business/functioning of the institution, which is one of the goals of this paper. A chapter on increasing the level of creativity in organizations/faculties was specially presented, with a special emphasis on increasing creativity with the help of creative techniques. The focus is also on the question of how management can encourage creativity in faculties, without excluding employees and their creative behavior in organizations.
It tries to show the specificity of creativity in higher education institutions; do teachers and students use creative strategies in the teaching process and what is needed to encourage creativity in higher education institutions.

"How do creative workers work? This book brings together insights from a range of relevant disciplines to help answer this significant research question. Featuring case studies from the European context, contributors tap into the experiences and practices from creative workers, demonstrating their attempts to navigate a changing environment which affects spaces, identities, and professional roles. A cross-disciplinary re-thinking of work, labour processes and management practices in the creative and cultural industries, the book offers perspectives on the importance of highlighting creative work as a phenomenon and practice beyond a particular industry, market, or public sector. Providing an opportunity to expand our conception of what creative work is, the book draws on evidence from a range of examples including the seaweed industry, children's writing, and rented spaces that operate like creative hubs. The result is a volume that will interest advanced students and scholars with an interest in the creative industries"--

How do creative workers work? This book brings together insights from a range of relevant disciplines to help answer this significant research question. Featuring case studies from the European context, contributors tap into the experiences and practices from creative workers, demonstrating their attempts to navigate a changing environment which affects spaces, identities, and professional roles. As cross-disciplinary re-thinking of work, labour processes and management practices in the creative and cultural industries, the book offers perspectives on the importance of highlighting creative work as a phenomenon and practice beyond a particular industry, market, or public sector. Providing an opportunity to expand our conception of what creative work is, the book draws on studies of a range of activities, practices and sectors that are usually included in the cultural and creative industries as well as ones that are more untraditional. The result is a volume that will interest students, practictioners, and scholars with an interest in the creative industries. The Open Access version of this book, available at www.taylorfrancis.com, has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.

This book taps into the growing awareness amongst practitioners that centralized notions of 'one size fits all' approaches to work with offenders in inevitably limited in its effectiveness, and instead seeks to consider more creative alternatives to reduce both re-offending and social exclusion. This book proves interesting reading for students on criminal justice, criminology, and social work courses, as well as professionals working in related fields.

This article explores some of the key dynamics of the UK fashion sector as an example of a post-industrial, urban based, cultural economy comprising of a largely youthful female workforce. It argues that the small scale, independent activities which formed the backbone of the success of British fashion design as an internationally recognized phenomenon from the mid 1980s to the mid 1990s, represented a form of female self-generated work giving rise to collaborative possibilities and co-operation. However without an effective lobby or association (despite the expansion of the fashion media) and under conditions of rapid individualization and in an increasingly harsh climate of neo-liberalization, this creative economy has been overtaken and virtually demolished by the joint forces of a re-vitalized high street fashion culture and the aggressive presence of corporate fashion ('Prada-ization'). While the UK government celebrates the growth of the cultural economy, it also overlooks the processes making the livelihoods of its predominantly female workforce either untenable or else requiring de-specialization and 'multi-tasking'.

Creative workers have been celebrated internationally for their flexibility in new labour markets centred on culture, creativity and, most recently, innovation. This book draws on research with novice and established workers in a range of specializations in order to explore the meanings, aspirations and practical difficulties associated with a creative identification. It investigates the difficulties and attractions of creative work as a personalized, affect-laden project of self-making, perpetually open and oriented to possibility, uncertain in its trajectory or rewards. Employing a cross-disciplinary methodology and analytic approach, the book investigates the new cultural meanings in play around a creative career. It shows how classic ideals of design and the creative arts, re-interpreted and promoted within contemporary art schools, validate the lived experience of precarious working in the global sectors of the creative and cultural industries, yet also contribute to its conflicts. 'Contemporary Identities of Creativity and Creative Work' presents a distinctive study and original findings which make it essential reading for social scientists, including social psychologists, with an interest in cultural and media studies, creativity, identity, work and contemporary careers.

Since the second half of the 20th century, there has been an increased interest in traditional forms of culture, which is probably associated with an increase in the national self-awareness of the peoples of the Russian Federation. Based on this, the authors considered the features of the use of the folklore heritage of Russian creative youth. The authors have studied the creative works of 24 young writers aged from 25 to 35. In particular, they have studied the types of folklorism in their creative works, provided the general estimate of the productivity and significance of the youth's experience of using the folkloric heritage in the modern literary process and generally in culture. The paper is defining the phenomena of the youth culture in the early decades of the 21st century (fiction, CG). The authors have made a conclusion on the diversity of the youth's creative works' connection with the folkloric samples: the construction of the social-ethnographic reality, the field of the characters' identity, a new 'cosmos', creation of the individual universes as well as the literary version of folkloric fairytale on their basis. We have also noted the tendency towards the use of the Russian folkloric characters with the purpose of giving them some universal traits of the characters of the popular computer games. The authors found that the fabulous texts are used by young authors in both the genre category and one of the ways to create on their basis new texts, various types of aesthetic experiments and games.

Freelancers work for companies, but also apart from them - at home, on site, or in shared workspaces. This chapter examines how clients and freelancers manage and organise the employment relationship at a distance. Utilising interview data with freelancers working in the Dutch creative industries, Henri Lefebvre's method of 'rhythmanalysis', Nitzan and Bichler's theory of 'capital as power', and John Holloway's understanding of human creativity as 'doing', the chapter examines the conflicting rhythms of freelance creative work. It shows that freelancers remain subject to traditional workplace-oriented structures of control, particularly in creative agencies. Freelancers' use of time must correspond to client processes of measurement and valuation. Different client relationships, and the proximity they imply, produce different rhythms of work.