Abstract

This article differentiates between the concept of art synthesis and a new intellectual practice, which the author calls “creativity.” This distinction is based on studies of works of art and dance by Aida Aylamazyan and the author. Using the works of Guzel Yakhina and Meir Shalev, the author analyzes the turn from art to life and creativity. The article consistently reveals the theoretical depth of this turn, substantiating its connection with the phenomenological turn in contemporary culture. The author demonstrates that phenomenological discourse (a rejection of Aristotelian poetics, a focus on the personality of the creator and their existential problems) becomes key to understanding creativity. It is within the framework of this turn that phenomenological discourse is realized, among other things. Shalev’s 1985 work “The Bible Today” is examined; it is a fascinating read, but it makes it virtually impossible to understand the type of creativity involved. Several sections of this work are written as fictional short stories, others refer to biblical commentaries and scientific research, others to the author’s reflections on life, others to the history of Israel, others to contemporary life, and others to various forms of creativity and knowledge. Nevertheless, this work is perceived as holistic and organic. All of this is characteristic of creative writing. The question arises: how does creative writing manage to create a coherent work, a truly new world, from completely different discourses and constructs (artistic, scientific, psychological, historical, etc.)? The author demonstrates that metaphors and other expressive devices are used here: drama, themes, rhythm, melody, images, meanings, speech and linguistic structures. The article concludes with a discussion of the characteristics of creative writing.

Keywords

work, art, creativistics, reconstruction, understanding, discourse, creativity, approach, reality, content