Paul Balahur
Pages 24-32
DOI: 10.5840/cultura2006323
ABSTRACT
1. Language is a witness of change in the field of the knowledge. In its system of signs, also the “traces” that show “the movement of the signs” are conserved, meaning those dynamic signs that indicate problems and solutions of problems, and sometimes even the invention of new problems, which modify the paradigms of knowledge. In the case of the creativity problem, if we take language as the witness, we see the following: 1. In the first half of the 20″ century, the term used to denote the innovatory phenomena is that of ereation. This notion refers, most often, to the artistic works, but is step by step extended also to denote the great scientific discoveries or technical inventions and, more seldom, other types of activities which bear the mark of novelty or originality, generally with an “out of the ordinary character” (i.e., extra-ordinary). The word has an obvious value content and exactly by its evaluative significance, it is disseminated in the current cultural vocabulary. It can have more general meanings, due to the fact that it keeps, in its semantic memory, the archaic layers of the myths of creation, but also because it can be resignified metaphysically, as a cosmogony principle or one of the evolution of life (as in “Levolution creatrice” of H. Bergson). But its established place in the philosophical discourse is found mostly in the area of the philosophy of culture (W. Dilthey, G. Simmel, L. Blaga) or in that of the philosophy of value (M. Scheler, N. Hartmann, L. Lavelle) and especially in the philosophy of art. From here, it is overtaken by the art sciences, as the psychology of art, the history of art or the sociology of art. The term eeation means both the works, the products of the creation process, and the processes through which these works are accomplished. In the analysis of the creation process,