Aimed at lay, student, and academic readers alike, this book concerns the imagination and, specifically, imagination in music. It opens with a discussion of the invalidity of the idea of the creative genius and the connected view that ideas originate just in the individual mind. An alternative view of the imaginative process is then presented, that ideas spring from a subconscious dialogue activated by engagement in the world around. Ideas are therefore never just of our own making. This view is supported by evidence from many studies and corresponds with descriptions by artists of their experience of imagining. The third subject is how imaginations can be shared when musicians work with other artists, and the way the constraints imposed by trying to share subconscious imagining result in clearly distinct forms of joint working. The final chapter covers the use of the musical imagination in making meanings from music. The evidence is that music does not communicate meanings directly, and so composers or performers cannot be looked to as authorities on its meaning. Instead, music is commonly heard as analogous to human experience, and listeners who perceive such analogies may then imagine their own meanings from the music.

This book explains and demonstrates how creative writing can be used successfully in the context of professional education where traditionally a more distanced approach to reporting on professional experience has been favoured. It is based on many practical examples, drawn from several years' experience of running courses for social workers, nurses, teachers, managers and higher education staff, in which participants explore their professional practice through imaginative forms of writing. The participants experience of the work is presented through a discussion of interviews and evaluative documents. The book includes a set of distance-learning materials for those wishing to undertake such work for themselves or to establish similar courses, as well as a full analysis of the link between professional reflection and the artistic imagination. The book makes available a new and more broadly-based approach to the process of professional reflection, and the concept of the patchwork text has general relevance for debates about increasing access to higher education qualifications.

In this powerful and wonderfully accessible meditation on psychoanalysis, hermeneutics, and social constructivism, Donnel Stern explores the relationship between two fundamental kinds of experience: explicit verbal reflection and "unformulated experience," or experience we have not yet reflected on and put into words. Stern is especially concerned with the process by which we come to formulate the unformulated. It is not an instrumental task, he holds, but one that requires openness and curiosity; the result of the process is not accuracy alone, but experience that is deeply felt and fully imagined. Stern's sense of explicit verbal experience as continuously constructed and emergent leads to a central dialectic at the heart of his work: that between curiosity and imagination, on one hand, and dissociation and unthinking acceptance of the familiar on the other. The goal of psychoanalytic work, he holds, is the freedom to be curious, whereas defense signifies the denial of this freedom. We defend against our fear of what we would think, that is, if we allowed ourselves the freedom to think it. Stern also shows how the unconscious itself can be reconceptualized hermeneutically, and he goes on to explore the implications of this viewpoint on interpretation and countertransference. He is especially persuasive in showing how the interpersonal field, which is continuously in flux, limits the experience that it is possible for participants to reflect on. Thus it is that analyst and patient are together "caught in the grip of the field," often unable to see the kind of relatedness in which they are mutually involved. A brilliant demonstration of the clinical consequentiality of hermeneutic thinking, Unformulated Experience bears out Stern's belief that psychoanalysis is as much about the revelation of the new in experience as it is about the discovery of the old

Charles Altieri argues for a reconsideration of the Kantian tradition of Idealist ethics, which he believes can restore much of the power of the arguments for the role of aesthetics in art.

The human imagination manifests in countless different forms. We imagine the possible and the impossible. How do we do this so effortlessly? Why did the capacity for imagination evolve and manifest with undeniably manifold complexity uniquely in human beings? This handbook reflects on such questions by collecting perspectives on imagination from leading experts. It showcases a rich and detailed analysis on how the imagination is understood across several disciplines of study, including anthropology, archaeology, medicine, neuroscience, psychology, philosophy, and the arts. An integrated theoretical-empirical-applied picture of the field is presented, which stands to inform researchers, students, and practitioners about the issues of relevance across the board when considering the imagination. With each chapter, the nature of human imagination is examined - what it entails, how it evolved, and why it singularly defines us as a species.

Spring returns and with it the birds. But it also brings throngs of birders who emerge, binoculars in hand, to catch a glimpse of a rare or previously unseen species or to simply lay eyes on a particularly fine specimen of a familiar type. In a delightful meditation that unexpectedly ranges from the Volga Delta to Central Park and from Charles Dickens's Hard Times to a 1940s London burlesque show, Jeremy Mynott ponders what makes birds so beautiful and alluring to so many people. Princeton Shorts are brief selections taken from influential Princeton University Press books and produced exclusively in ebook format. Providing unmatched insight into important contemporary issues or timeless passages from classic works of the past, Princeton Shorts enable you to be an instant expert in a world where information is everywhere but quality is at a premium.

Leslie Bedford, former director of the highly regarded Bank Street College museum leadership program, expands the museum professional’s vision of exhibitions beyond the simple goal of transmitting knowledge to the visitor. Her view of exhibitions as interactive, emotional, embodied, imaginative experiences opens a new vista for those designing them. Using examples both from her own work at the Boston Children’s Museum and from other institutions around the globe, Bedford offers the museum professional a bold new vision built around narrative, imagination, and aesthetics, merging the work of the educator with that of the artist. It is important reading for all museum professionals.