A practitioner concept of contemporary creativity

This article reviews conceptualisations from three academic areas: the sociology of art, the psychology of creativity, and research on the cultural and creative industries. These are compared with findings from a critical discursive study with UK practitioners. The meanings and associations these ‘maker artists’ attach to creativity are discussed as a ‘practitioner concept’. For the practitioners, the association of creativity with art carries a promise of transcendence and escape from ordinary life, but also a potential challenge to their own entitlement and claims to a creative status. The article shows, first, that the academic areas utilise different and conflicting conceptualisations and, second, that the practitioner concept is not consistent with any one of these. The article argues that the contemporary celebration of creativity is based on different meanings and unacknowledged conflicts. The article proposes that future social psychological research on creativity requires a more critical approach to the concept

Underdevelopment and African literature: emerging forms of reading

ABSTRACT: People looking for work in cities are immersed in English as the lingua franca of the mobile phone and the urban hustle – more effective instigations to reading than decades of work by traditional publishers and development agencies. The legal publishing industry campaigns to convince people to scorn pirates and plagiarists as a criminal underclass, and to instead purchase copyrighted, barcoded works that have the look of legitimacy about them. They work with development industry officials to “foster literacy” – meaning to grow the legal book trade as a contributor to national economic health, and police what and how the newly literate read. But harried cash-strapped audiences will read what and how they can, often outside of formal economies, and are increasingly turning to mobile phone platforms that sell texts at a fraction of the price of legally printed books. Series: Cambridge elements. Elements in publishing and book culture; Variation: Cambridge elements.; Elements in publishing and book culture

Postcolonial writers in the global literary marketplace

Combining analysis with detailed accounts of authors' careers and the global trade in literature, this book assesses how postcolonial writers respond to their own reception and niche positioning, parading their exotic otherness to metropolitan audiences, within a global marketplace

Work as art and art as life

This chapter considers two influential conceptions of contemporary labor, which emerge from and contribute to radically divergent interpretive traditions, but share surprising common ground. First is the largely celebratory idea of a “creative class” branded by Richard Florida, a management professor and globetrotting consultant to government and industry. Second is the account of “immaterial labor” assembled by a group of thinkers linked to the radical Leftist autonomia movement, including Michael Hardt, Antonio Negri, Maurizio Lazzarato, and Paolo Virno. What do these various thinkers have to do with literature? I suggest that knowledge of literature’s material history-in particular, of the emergence and then mainstreaming of a romance with the figure of the writer as original creator-prompts a critique of the assumptions about subjectivity that their work tends to circulate, legitimate, and naturalize

Literature and the creative economy

For nearly twenty years, social scientists and policy makers have been highly interested in the idea of the creative economy. This book contends that mainstream considerations of the economic and social force of culture, including theories of the creative class and of cognitive and immaterial labor, are indebted to historic conceptions of the art of literary authorship. What's more, it shows how contemporary literature has been involved in and has responded to creative-economy phenomena, including the presentation of artists as models of contentedly flexible and self-managed work, the treatment of training in and exposure to art as a pathway to social inclusion, the use of culture and cultural institutions to increase property values, and support for cultural diversity as a means of growing cultural markets. Contemporary writers have not straightforwardly bemoaned these phenomena in a classic rejection of the instrumental application of art. Rather, they have tended to explore how their own critical capacities have become compatible with or even essential to a neoliberal economy that has embraced art's autonomous gestures as proof that authentic self-articulation and social engagement can and should occur within capitalism. Taking a sociological approach to literary criticism, Brouillette interprets major works of contemporary fiction by Monica Ali, Aravind Adiga, Daljit Nagra, and Ian McEwan alongside government policy, social science, and theoretical explorations of creative work and immaterial labor