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  • 1 The Importance of Being Earnest

    The importance of being earnest (pjäs av Oscar Wilde)

    English-Swedish dictionary > The Importance of Being Earnest

  • 2 The Importance of Being Earnest

    חשיבותה של רצינות (מחזה של אוסקר ווילד)
    * * *
    ◙ (דליוו רקסוא לש הזחמ) תוניצר לש התובישח◄

    English-Hebrew dictionary > The Importance of Being Earnest

  • 3 The Importance of Being Earnest

    Het Belang van Ernst (toneelstuk van Oscar Wild)

    English-Dutch dictionary > The Importance of Being Earnest

  • 4 importance

    importance [ɪm'pɔ:təns]
    importance f;
    ∎ to be of importance avoir de l'importance;
    ∎ it is of great importance to act now il est très important d'agir maintenant;
    ∎ it's of no importance whatsoever cela n'a aucune espèce d'importance;
    ∎ to give or attach importance to sth attacher de l'importance à qch;
    ∎ a position of importance un poste important;
    ∎ pejorative to be full of one's own importance être imbu de sa personne
    ✾ Play 'The Importance of Being Earnest' Wilde 'De l'importance d'être constant'

    Un panorama unique de l'anglais et du français > importance

  • 5 the problem was recognized as being of great importance

    Универсальный англо-русский словарь > the problem was recognized as being of great importance

  • 6 give someone the bird

    expr sl
    1)

    One has known applause and one has known being given bird, and I don't think either is of any importance — Были и аплодисменты, были свист и шиканье, но я не думаю, что то или другое имеет какое-либо значение

    2)

    They had given him the bird for goofing off on the job — Они выгнали его с работы за то, что он постоянно сачковал

    3) AmE vulg

    A lot of kids give people the bird all the time because they see it on television — Дети показывают окружающим вот так рукой, потому что они видят это по телевизору

    The kid gave me the bird so I bopped him — Парень сделал мне неприличный жест рукой, поэтому я его ударил

    The new dictionary of modern spoken language > give someone the bird

  • 7 Psychoanalysis

       [Psychoanalysis] seeks to prove to the ego that it is not even master in its own house, but must content itself with scanty information of what is going on unconsciously in the mind. (Freud, 1953-1974, Vol. 16, pp. 284-285)
       Although in the interview the analyst is supposedly a "passive" auditor of the "free association" narration by the subject, in point of fact the analyst does direct the course of the narrative. This by itself does not necessarily impair the evidential worth of the outcome, for even in the most meticulously conducted laboratory experiment the experimenter intervenes to obtain the data he is after. There is nevertheless the difficulty that in the nature of the case the full extent of the analyst's intervention is not a matter that is open to public scrutiny, so that by and large one has only his own testimony as to what transpires in the consulting room. It is perhaps unnecessary to say that this is not a question about the personal integrity of psychoanalytic practitioners. The point is the fundamental one that no matter how firmly we may resolve to make explicit our biases, no human being is aware of all of them, and that objectivity in science is achieved through the criticism of publicly accessible material by a community of independent inquirers.... Moreover, unless data are obtained under carefully standardized circumstances, or under different circumstances whose dependence on known variables is nevertheless established, even an extensive collection of data is an unreliable basis for inference. To be sure, analysts apparently do attempt to institute standard conditions for the conduct of interviews. But there is not much information available on the extent to which the standardization is actually enforced, or whether it relates to more than what may be superficial matters. (E. Nagel, 1959, pp. 49-50)
       3) No Necessary Incompatibility between Psychoanalysis and Certain Religious Formulations
       here would seem to be no necessary incompatibility between psychoanalysis and those religious formulations which locate God within the self. One could, indeed, argue that Freud's Id (and even more Groddeck's It), the impersonal force within which is both the core of oneself and yet not oneself, and from which in illness one become[s] alienated, is a secular formation of the insight which makes religious people believe in an immanent God. (Ryecroft, 1966, p. 22)
       Freudian analysts emphasized that their theories were constantly verified by their "clinical observations."... It was precisely this fact-that they always fitted, that they were always confirmed-which in the eyes of their admirers constituted the strongest argument in favour of these theories. It began to dawn on me that this apparent strength was in fact their weakness.... It is easy to obtain confirmations or verifications, for nearly every theory-if we look for confirmation. (Popper, 1968, pp. 3435)
       5) Psychoanalysis Is Not a Science But Rather the Interpretation of a Narrated History
       Psychoanalysis does not satisfy the standards of the sciences of observation, and the "facts" it deals with are not verifiable by multiple, independent observers.... There are no "facts" nor any observation of "facts" in psychoanalysis but rather the interpretation of a narrated history. (Ricoeur, 1974, p. 186)
       6) Some of the Qualities of a Scientific Approach Are Possessed by Psychoanalysis
       In sum: psychoanalysis is not a science, but it shares some of the qualities associated with a scientific approach-the search for truth, understanding, honesty, openness to the import of the observation and evidence, and a skeptical stance toward authority. (Breger, 1981, p. 50)
       [Attributes of Psychoanalysis:]
       1. Psychic Determinism. No item in mental life and in conduct and behavior is "accidental"; it is the outcome of antecedent conditions.
       2. Much mental activity and behavior is purposive or goal-directed in character.
       3. Much of mental activity and behavior, and its determinants, is unconscious in character. 4. The early experience of the individual, as a child, is very potent, and tends to be pre-potent over later experience. (Farrell, 1981, p. 25)
       Our sceptic may be unwise enough... to maintain that, because analytic theory is unscientific on his criterion, it is not worth discussing. This step is unwise, because it presupposes that, if a study is not scientific on his criterion, it is not a rational enterprise... an elementary and egregious mistake. The scientific and the rational are not co-extensive. Scientific work is only one form that rational inquiry can take: there are many others. (Farrell, 1981, p. 46)
       Psychoanalysts have tended to write as though the term analysis spoke for itself, as if the statement "analysis revealed" or "it was analyzed as" preceding a clinical assertion was sufficient to establish the validity of what was being reported. An outsider might easily get the impression from reading the psychoanalytic literature that some standardized, generally accepted procedure existed for both inference and evidence. Instead, exactly the opposite has been true. Clinical material in the hands of one analyst can lead to totally different "findings" in the hands of another. (Peterfreund, 1986, p. 128)
       The analytic process-the means by which we arrive at psychoanalytic understanding-has been largely neglected and is poorly understood, and there has been comparatively little interest in the issues of inference and evidence. Indeed, psychoanalysts as a group have not recognized the importance of being bound by scientific constraints. They do not seem to understand that a possibility is only that-a possibility-and that innumerable ways may exist to explain the same data. Psychoanalysts all too often do not seem to distinguish hypotheses from facts, nor do they seem to understand that hypotheses must be tested in some way, that criteria for evidence must exist, and that any given test for any hypothesis must allow for the full range of substantiation/refutation. (Peterfreund, 1986, p. 129)

    Historical dictionary of quotations in cognitive science > Psychoanalysis

  • 8 right as rain

    1. разг. adj phr
    1) совершенно здоров, в добром здравии; цел и невредим (тж. as right as a trivet, as ninepence, as the mail, as a bank) [выражение as right as a trivet создано Диккенсом; см. цитаты]

    ‘I hope you are well, sir.’ ‘Right as a trivet, sir,’ replied Bob Sawyer. (Ch. Dickens, ‘Pickwick Papers’, ch. L) — - Надеюсь, и вы здоровы, сэр? - Прекрасно себя чувствую, - ответил Боб Сойер.

    ‘There!’ said Mr. Bailey. ‘He's all right now... He's righter than a trivet!’ (Ch. Dickens, ‘Martin Chuzzlewit’, ch. XXVIII) — - Ну вот! - сказал мистер Бейли. - Теперь он в порядке... Он здоров как бык!

    ‘And little Polly is she, too, all right, Jerry?’ ‘Right as ninepense; never seed [= saw] her look better.’ (R. Greenwood, ‘The True History of a Little Rugamuffin’, ch. XI) — - А малышка Полли, она тоже здорова, Джерри? - Отлично себя чувствует. Никогда так хорошо не выглядела.

    She was horrified to see that he had a bandage round his head... ‘Landy! Landy! Are you all right?’ He jumped from the train before it had stopped. ‘Right as a bank.’ (D. Cusack, ‘Southern Steel’, ch. XXXI) — Энн пришла в ужас, увидев, что у Лэнди завязана голова... - Лэнди! Лэнди! Ты здоров? - Совершенно здоров, - ответил Лэнди, на ходу соскочив с поезда.

    Mrs. Boyle: "There, dear, lie down in the bed, an' I'll put the quilt across you... that's it... you'll be as right as the mail in a few minutes." (S. O'Casey, ‘Juno and the Peacock’, act 2) — Миссис Бойл: "Ложись, сынок, ложись! Дай я прикрою тебя одеялом... Ну вот... так, глядишь, через минуту все пройдет."

    2) в хорошем состоянии, в полном порядке (тж. as right as a trivet или as the mail)

    The two mates urged the master to go below... Tall young Mr. Creighton smiled down at him cheerfully: ‘She's right as a trivet! Take a spell, sir.’ (J. Conrad, ‘The Nigger of the ‘Narcissus’’. ch. III) — Два помощника уговаривали капитана пойти вниз... Мистер Крейтон, высокий молодой человек, весело улыбнулся ему и сказал: - Теперь судно в полном порядке. Вам пора отдохнуть, сэр.

    Algernon: "...You don't mean to say Gwendolen refused you? I know it is a way with her. She is always refusing people..." Jack: "Oh, Gwendolen is right as a trivet. We are engaged." (O. Wilde, ‘The Importance of Being Earnest’, act I) — Элджернон: "...Не хотите ли вы сказать, что Гвендолин отказала вам? Мне известно, что ей свойственно так поступать. Она всегда отказывает людям..." Джек: "Что вы! С Гвендолин все улажено. Мы обручены."

    ‘I'm right as the mail,’ he said at length ‘The way I am!’ (A. J. Cronin, ‘Three Loves’, book I, ch. 2) — - Мне и так хорошо живется, - сказал Фрэнк.

    ‘Hello, Eden. How's things?’ ‘Right as rain, thanks.’ (D. Cusack, ‘Picnic Races’, ch. XIX) — - Привет, Иден. Как дела? - Спасибо, как нельзя лучше.

    2. adv phr или adj phr
    совершенно верно, правильно

    ‘Your dad didn't marry me; I married 'im... I knew he'd make a good 'usband and father. I've never 'ad cause to regret it and no more 'as your dad. That's right, Samuel, isn't it?’ ‘Right as rain, Beatrice,’ he said quickly. (W. S. Maucham, ‘Complete Short Stories’, ‘The Kite’) — - Не твой папа женился на мне, а я женила его на себе... Я знала, что он будет хорошим мужем и отцом. Я никогда не жалела, что вышла за него замуж. И он не жалел тоже. Верно я говорю, Сэмьюэл? - Совершенно верно, Беатрис, - поспешно подтвердил он.

    ‘We got to catch up with them all right. Right, boss?’ ‘Right as rain, Mel.’ (M. Wilson, ‘My Brother, My Enemy’, ch. IV) — - Мы должны их догнать, хоть тресни! Правильно, хозяин? - Правильней некуда, Мэл.

    Large English-Russian phrasebook > right as rain

  • 9 paronomasia

    парономасия, игра слов
    simultaneous realisation of two meanings through
    a) misinterpretation of one speaker's utterance by the other, which results in his remark dealing with a different meaning of the misinterpreted word or its homonym

    "Have you been seeing any spirits?" "Or taking any?" - added Bob Allen. (Ch.Dickens) (The first "spirit" refers to supernatural forces the second one - to strong drinks)

    b) speaker's intended violation of the listener's expectation

    There comes a period in every man's life, but she is just a semicolon in his. (B.Evans) (a punctuation mark instead of an interval of time)

    There are two things I look for in a man. A sympathetic character and full lips. (I.Shaw)

    Source: V.A.K.

    "Bow to the board," said Bumble. Oliver brushed away tow or three tears that were lingering in his eyes; and seeing no board but the table. fortunately bowed to that" (Ch.Dickens)

    ••
    близость звучания контекстуально связанных слов. (I.V.A.)

    But still he strummed on, and his mind wandered in and out of poultry and politics,... (J.Galsworthy)

    See: cluster SDs

    English-Russian dictionary of stylistics (terminology and examples) > paronomasia

  • 10 pun

    парономасия, игра слов
    simultaneous realisation of two meanings through
    a) misinterpretation of one speaker's utterance by the other, which results in his remark dealing with a different meaning of the misinterpreted word or its homonym

    "Have you been seeing any spirits?" "Or taking any?" - added Bob Allen. (Ch.Dickens) (The first "spirit" refers to supernatural forces the second one - to strong drinks)

    b) speaker's intended violation of the listener's expectation

    There comes a period in every man's life, but she is just a semicolon in his. (B.Evans) (a punctuation mark instead of an interval of time)

    There are two things I look for in a man. A sympathetic character and full lips. (I.Shaw)

    Source: V.A.K.

    "Bow to the board," said Bumble. Oliver brushed away tow or three tears that were lingering in his eyes; and seeing no board but the table. fortunately bowed to that" (Ch.Dickens)

    ••
    близость звучания контекстуально связанных слов. (I.V.A.)

    But still he strummed on, and his mind wandered in and out of poultry and politics,... (J.Galsworthy)

    See: cluster SDs

    English-Russian dictionary of stylistics (terminology and examples) > pun

  • 11 it makes no matter

    разг.
    это неважно, не имеет значения, несущественно

    Algernon: "I am greatly distressed, Aunt Augusta, about there being no cucumbers, not even for ready money." Lady Bracknell: "It really makes no matter, Algernon." (O. Wilde, ‘The Importance of Being Earnest’, act I) — Алджернон: "К моему величайшему сожалению, тетя Августа, огурцов не оказалось, даже за наличные." Леди Брэнелл: "Ну, ничего, Алджернон."

    Large English-Russian phrasebook > it makes no matter

  • 12 old boy

    разг.-фам.
    1) старый школьный или университетский товарищ, однокашник

    ...a series of class banquets at which the "old boys" got together and listened to patriotism and jokes. (U. Sinclair, ‘Boston’, part II, ch. XIV) —...на встречах однокашников старые друзья вспоминали прошлое, шутили.

    The old boy bears his age wonderfully well. — Этот старикан отлично выглядит для своих лет.

    3) старина, старикан, братец, дружище (в обращении; тж. по отношению к животным); см. тж. big boy 1)

    Algernon: "Didn't it go off all right, old boy? You don't mean to say Gwendolen refused you?" (O. Wilde, ‘The Importance of Being Earnest’, act I) — Алджернон: "А что, разве не вышло, дружище? Неужели Гвендолен отказала тебе?"

    ‘Come on, old boy!’ The dog came slowly all black foursquare on his feathered legs. (J. Galsworthy, ‘Flowering Wilderness’, ch. XVII) — "Поди сюда, малыш!" Пес медленно приблизился, черный, без единого пятнышка, квадратный, на обросших длинной шерстью лапах.

    4) шутл. чёрт, дьявол ( всегда the old boy)

    I'll be so careful hiding it the Old Boy himself'd never find it. The Old Boy is Satan, of course. The devil. (J. O'Hara ‘Ourselves to Know’) — Я так запрячу пистолет, что враг человеческий его не найдет. Враг человеческий - это сатана, конечно. Дьявол.

    Large English-Russian phrasebook > old boy

  • 13 according to all accounts

    (according to all accounts (тж. by all accounts))
    по общему мнению, по общим отзывам, как все считают

    ‘Ah!’ cried another voice, that of the youngest hand on board, and evidently full of admiration, ‘He was the flower of the flock, was Flint!’ ‘Davis, was a man, too, by all accounts.’ (R. L. Stevenson, ‘Treasure Island’, ch. XI) — - Эх, - услышал я восхищенный голос самого молодого из наших матросов, - что за молодец был этот Флинт! - Дэвис, говорят, был не хуже, - сказал Сильвер.

    Chasuble: "...He is not one of those whose sole aim is enjoyment, as, by all accounts, that unfortunate young man, his brother, seems to be." (O. Wilde, ‘The Importance of Being Earnest’, act 2) — Чезюбл: "...Мистер Уординг не похож на своего злополучного младшего брата, у которого, по общему мнению, одна цель - развлечения."

    ‘He's a good enough lad, by all accounts,’ said Gorman reflectively. (E. O'Connor, ‘The Last Hurrah’, part II, ch. VI) — - Мак-Класки, как все считают, парень неплохой, - задумчиво проговорил Горман.

    Large English-Russian phrasebook > according to all accounts

  • 14 lift a load from smb.'s mind

    снять тяжесть с души у кого-л., успокоить кого-л. (ср. от сердца отлегло, словно камень с души свалился); см. тж. take a load from smb's mind

    Gwendolen: "...Cecily, you have lifted a load from my mind. I was growing almost anxious." (O. Wilde, ‘The importance of Being Earnest’, act II) — Гвендолен: "...Сесили, вы сняли тяжесть с моей души. Я уже начала тревожиться."

    Scobie moved away towards the bar: once again a load was lifted from his mind. The evening was not spoilt... (Gr. Greene, ‘The Heart of the Matter’, book I, part I, ch. I) — Скоби отошел от них и направился в бар, у него отлегло от сердца. Вечер не будет испорчен...

    A few minutes later they were gone. Paul could scarcely believe it. A load seemed to be lifted from his mind. (A. J. Cronin, ‘Beyond This Place’, part II, ch. XIX) — Через несколько минут они уехали. Поль не мог в это поверить. У него словно гора с плеч свалилась.

    Large English-Russian phrasebook > lift a load from smb.'s mind

  • 15 pure and simple

    как таковой, без примеси, самый настоящий, не что иное как; просто-напросто [этим. фр. pur et simple]

    Jack: "That, my dear Algy, is the whole truth pure and simple." (O. Wilde, ‘The Importance of Being Earnest’, act I) — Джек: "Вот, мой дорогой Алджи, вся правда, и притом чистая правда."

    ‘You see, ours was a marriage of convenience pure and simple.’ (W. S. Maugham, ‘Complete Short Stories’, ‘A Marriage of Convenience’) — Наш брак, видите ли, не что иное, как брак по расчету.

    These two young things, she was sixteen and he was twenty, fell in love with one another at first sight. That is... love pure and simple. (W. S. Maugham, ‘Complete Short Stories’, ‘Red’) — Эти два юных существа - ей было шестнадцать, а ему двадцать лет - влюбились друг в друга. С первого взгляда. И это была... самая настоящая любовь.

    He's a gambler, pure and simple. (A. Christie, ‘The Body in the Library’, ch. 11) — Марк Гаскелл заядлый игрок.

    He's come to make a provocation, pure and simple. That's his sense of humour, probably. I'm going to throw him out. (S. Heym, ‘Goldsborough’, ch. V) — Он просто-напросто хочет спровоцировать меня. Видно, его это еще и забавляет. Вот возьму и спущу его с лестницы.

    Large English-Russian phrasebook > pure and simple

  • 16 true-love knot

    "узел верности", двойной узел ( как символ преданности и любви)

    Splendid cake, covered with cupids, silver, and true-lover's knots. (Ch. Dickens, ‘Our Mutual Friend’, book I, ch. X) — Свадебный торт великолепен, украшен купидонами, сахарной глазурью и фигурами, символизирующими любовь, верную и вечную.

    Cecily: "...The next day I bought this little ring in your name, and this is the little bangle with the true lover's knot I promised you always to wear." (O. Wilde, ‘The Importance of Being Earnest’, act II) — Сесили: "...На другой день я купила вот это колечко, ваш подарок, и этот браслет с узлом верности и дала обещание не снимать их."

    Large English-Russian phrasebook > true-love knot

  • 17 remark

    REMARK, REMARK ON
    Глагол remark с прямым дополнением означает 'заметить, обратить внимание на': to remark the beauty of the scene. Remark on имеет значение 'делать замечание по какому-л. поводу': to remark on the importance of being always in time.

    Difficulties of the English language (lexical reference) English-Russian dictionary > remark

  • 18 a blessing in disguise

    скрытое благо, неприятность, оказавшаяся благом; ≈ не было бы счастья, да несчастье помогло, нет худа без добра

    Chasuble: "...What seem to us bitter trials are often blessings in disguise." (O. Wilde, ‘The Importance of Being Earnest’, act II) — Чезьюбл: "...То, что представляется нам тяжкими испытаниями, иногда может обернуться благом."

    Good fortune followed him from the cradle to the grave. Occasionally it appeared to fail him; but its absence always turned out to be a blessing in disguise. (L. Strachey, ‘Biographical Essays’, ‘Gibbon’) — От колыбели до могилы фортуна благоприятствовала Гиббону. Даже когда она поворачивалась к нему спиной - это оказывалось для него благодетельным.

    Large English-Russian phrasebook > a blessing in disguise

  • 19 as you sow you shall mow

    посл.
    (as you sow you shall mow (тж. as a man sows, so he shall reap; as you sow, so will you reap))
    что посеешь, то и пожнёшь; см. тж. reap as one has sown

    Chasuble: "Was the cause of death mentioned?" Jack: "A severe chill, it seems." Miss Prism: "As a man sows, so shal he reap." Chasuble (raising his hand): "Charity, dear Miss Prism, charity! None of us are perfect. I myself am peculiarly susceptible to draughts." (O. Wilde, ‘The Importance of Being, Earnest’, act II) — Чезюбл: "И в ней упоминается причина смерти?" Джек: "По-видимому, острая простуда." Мисс Призи: "Что посеешь, то и пожнёшь." Чезюбл (воздевая руки горе/): "Милосердие, добрейшая мисс Призм, милосердие! Никто из нас не совершенен. Я сам в высшей степени подвержен простуде."

    Large English-Russian phrasebook > as you sow you shall mow

  • 20 Creativity

       Put in this bald way, these aims sound utopian. How utopian they areor rather, how imminent their realization-depends on how broadly or narrowly we interpret the term "creative." If we are willing to regard all human complex problem solving as creative, then-as we will point out-successful programs for problem solving mechanisms that simulate human problem solvers already exist, and a number of their general characteristics are known. If we reserve the term "creative" for activities like discovery of the special theory of relativity or the composition of Beethoven's Seventh Symphony, then no example of a creative mechanism exists at the present time. (Simon, 1979, pp. 144-145)
       Among the questions that can now be given preliminary answers in computational terms are the following: how can ideas from very different sources be spontaneously thought of together? how can two ideas be merged to produce a new structure, which shows the influence of both ancestor ideas without being a mere "cut-and-paste" combination? how can the mind be "primed," so that one will more easily notice serendipitous ideas? why may someone notice-and remember-something fairly uninteresting, if it occurs in an interesting context? how can a brief phrase conjure up an entire melody from memory? and how can we accept two ideas as similar ("love" and "prove" as rhyming, for instance) in respect of a feature not identical in both? The features of connectionist AI models that suggest answers to these questions are their powers of pattern completion, graceful degradation, sensitization, multiple constraint satisfaction, and "best-fit" equilibration.... Here, the important point is that the unconscious, "insightful," associative aspects of creativity can be explained-in outline, at least-by AI methods. (Boden, 1996, p. 273)
       There thus appears to be an underlying similarity in the process involved in creative innovation and social independence, with common traits and postures required for expression of both behaviors. The difference is one of product-literary, musical, artistic, theoretical products on the one hand, opinions on the other-rather than one of process. In both instances the individual must believe that his perceptions are meaningful and valid and be willing to rely upon his own interpretations. He must trust himself sufficiently that even when persons express opinions counter to his own he can proceed on the basis of his own perceptions and convictions. (Coopersmith, 1967, p. 58)
       he average level of ego strength and emotional stability is noticeably higher among creative geniuses than among the general population, though it is possibly lower than among men of comparable intelligence and education who go into administrative and similar positions. High anxiety and excitability appear common (e.g. Priestley, Darwin, Kepler) but full-blown neurosis is quite rare. (Cattell & Butcher, 1970, p. 315)
       he insight that is supposed to be required for such work as discovery turns out to be synonymous with the familiar process of recognition; and other terms commonly used in the discussion of creative work-such terms as "judgment," "creativity," or even "genius"-appear to be wholly dispensable or to be definable, as insight is, in terms of mundane and well-understood concepts. (Simon, 1989, p. 376)
       From the sketch material still in existence, from the condition of the fragments, and from the autographs themselves we can draw definite conclusions about Mozart's creative process. To invent musical ideas he did not need any stimulation; they came to his mind "ready-made" and in polished form. In contrast to Beethoven, who made numerous attempts at shaping his musical ideas until he found the definitive formulation of a theme, Mozart's first inspiration has the stamp of finality. Any Mozart theme has completeness and unity; as a phenomenon it is a Gestalt. (Herzmann, 1964, p. 28)
       Great artists enlarge the limits of one's perception. Looking at the world through the eyes of Rembrandt or Tolstoy makes one able to perceive aspects of truth about the world which one could not have achieved without their aid. Freud believed that science was adaptive because it facilitated mastery of the external world; but was it not the case that many scientific theories, like works of art, also originated in phantasy? Certainly, reading accounts of scientific discovery by men of the calibre of Einstein compelled me to conclude that phantasy was not merely escapist, but a way of reaching new insights concerning the nature of reality. Scientific hypotheses require proof; works of art do not. Both are concerned with creating order, with making sense out of the world and our experience of it. (Storr, 1993, p. xii)
       The importance of self-esteem for creative expression appears to be almost beyond disproof. Without a high regard for himself the individual who is working in the frontiers of his field cannot trust himself to discriminate between the trivial and the significant. Without trust in his own powers the person seeking improved solutions or alternative theories has no basis for distinguishing the significant and profound innovation from the one that is merely different.... An essential component of the creative process, whether it be analysis, synthesis, or the development of a new perspective or more comprehensive theory, is the conviction that one's judgment in interpreting the events is to be trusted. (Coopersmith, 1967, p. 59)
       In the daily stream of thought these four different stages [preparation; incubation; illumination or inspiration; and verification] constantly overlap each other as we explore different problems. An economist reading a Blue Book, a physiologist watching an experiment, or a business man going through his morning's letters, may at the same time be "incubating" on a problem which he proposed to himself a few days ago, be accumulating knowledge in "preparation" for a second problem, and be "verifying" his conclusions to a third problem. Even in exploring the same problem, the mind may be unconsciously incubating on one aspect of it, while it is consciously employed in preparing for or verifying another aspect. (Wallas, 1926, p. 81)
       he basic, bisociative pattern of the creative synthesis [is] the sudden interlocking of two previously unrelated skills, or matrices of thought. (Koestler, 1964, p. 121)
        11) The Earliest Stages in the Creative Process Involve a Commerce with Disorder
       Even to the creator himself, the earliest effort may seem to involve a commerce with disorder. For the creative order, which is an extension of life, is not an elaboration of the established, but a movement beyond the established, or at least a reorganization of it and often of elements not included in it. The first need is therefore to transcend the old order. Before any new order can be defined, the absolute power of the established, the hold upon us of what we know and are, must be broken. New life comes always from outside our world, as we commonly conceive that world. This is the reason why, in order to invent, one must yield to the indeterminate within him, or, more precisely, to certain illdefined impulses which seem to be of the very texture of the ungoverned fullness which John Livingston Lowes calls "the surging chaos of the unexpressed." (Ghiselin, 1985, p. 4)
       New life comes always from outside our world, as we commonly conceive our world. This is the reason why, in order to invent, one must yield to the indeterminate within him, or, more precisely, to certain illdefined impulses which seem to be of the very texture of the ungoverned fullness which John Livingston Lowes calls "the surging chaos of the unexpressed." Chaos and disorder are perhaps the wrong terms for that indeterminate fullness and activity of the inner life. For it is organic, dynamic, full of tension and tendency. What is absent from it, except in the decisive act of creation, is determination, fixity, and commitment to one resolution or another of the whole complex of its tensions. (Ghiselin, 1952, p. 13)
       [P]sychoanalysts have principally been concerned with the content of creative products, and with explaining content in terms of the artist's infantile past. They have paid less attention to examining why the artist chooses his particular activity to express, abreact or sublimate his emotions. In short, they have not made much distinction between art and neurosis; and, since the former is one of the blessings of mankind, whereas the latter is one of the curses, it seems a pity that they should not be better differentiated....
       Psychoanalysis, being fundamentally concerned with drive and motive, might have been expected to throw more light upon what impels the creative person that in fact it has. (Storr, 1993, pp. xvii, 3)
       A number of theoretical approaches were considered. Associative theory, as developed by Mednick (1962), gained some empirical support from the apparent validity of the Remote Associates Test, which was constructed on the basis of the theory.... Koestler's (1964) bisociative theory allows more complexity to mental organization than Mednick's associative theory, and postulates "associative contexts" or "frames of reference." He proposed that normal, non-creative, thought proceeds within particular contexts or frames and that the creative act involves linking together previously unconnected frames.... Simonton (1988) has developed associative notions further and explored the mathematical consequences of chance permutation of ideas....
       Like Koestler, Gruber (1980; Gruber and Davis, 1988) has based his analysis on case studies. He has focused especially on Darwin's development of the theory of evolution. Using piagetian notions, such as assimilation and accommodation, Gruber shows how Darwin's system of ideas changed very slowly over a period of many years. "Moments of insight," in Gruber's analysis, were the culminations of slow long-term processes.... Finally, the information-processing approach, as represented by Simon (1966) and Langley et al. (1987), was considered.... [Simon] points out the importance of good problem representations, both to ensure search is in an appropriate problem space and to aid in developing heuristic evaluations of possible research directions.... The work of Langley et al. (1987) demonstrates how such search processes, realized in computer programs, can indeed discover many basic laws of science from tables of raw data.... Boden (1990a, 1994) has stressed the importance of restructuring the problem space in creative work to develop new genres and paradigms in the arts and sciences. (Gilhooly, 1996, pp. 243-244; emphasis in original)

    Historical dictionary of quotations in cognitive science > Creativity

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