Sarah H. Awad – författare

This book offers a new approach to imagination which brings its emotional, social, cultural, contextual and existential characteristics to the fore. Fantasy and imagination are understood as the human capacity to distance oneself from the here-and-now situation in order to return to it with new possibilities. To do this we use social-cultural means (e.g. language, stories, art, images, etc.) to conceive of imaginary scenarios, some of which may become real.Imagination is involved in every situation of our lives, though to different degrees. Sometimes this process can lead to concrete products (e.g., artistic works) that can be picked up and used by others for the purposes of their imagining. Imagination is not seen here as an isolated cognitive faculty but as the means by which people anticipate and constructively move towards an indeterminate future. It is in this process of living forward with the help of imagination that novelty appears and social change becomes possible.This book offers a conceptual history of imagination, an array of theoretical approaches, imagination’s use in psychologist’s thinking and a number of new research areas. Its aim is to offer a re-enchantment of the concept of imagination and the discipline of psychology more generally.

This book offers a new approach to imagination which brings its emotional, social, cultural, contextual and existential characteristics to the fore. Fantasy and imagination are understood as the human capacity to distance oneself from the here-and-now situation in order to return to it with new possibilities. To do this we use social-cultural means (e.g. language, stories, art, images, etc.) to conceive of imaginary scenarios, some of which may become real.Imagination is involved in every situation of our lives, though to different degrees. Sometimes this process can lead to concrete products (e.g., artistic works) that can be picked up and used by others for the purposes of their imagining. Imagination is not seen here as an isolated cognitive faculty but as the means by which people anticipate and constructively move towards an indeterminate future. It is in this process of living forward with the help of imagination that novelty appears and social change becomes possible.This book offers a conceptual history of imagination, an array of theoretical approaches, imagination’s use in psychologist’s thinking and a number of new research areas. Its aim is to offer a re-enchantment of the concept of imagination and the discipline of psychology more generally.

This book offers a new approach to imagination which brings its emotional, social, cultural, contextual and existential characteristics to the fore. Fantasy and imagination are understood as the human capacity to distance oneself from the here-and-now situation in order to return to it with new possibilities. To do this we use social-cultural means (e.g. language, stories, art, images, etc.) to conceive of imaginary scenarios, some of which may become real.Imagination is involved in every situation of our lives, though to different degrees. Sometimes this process can lead to concrete products (e.g., artistic works) that can be picked up and used by others for the purposes of their imagining. Imagination is not seen here as an isolated cognitive faculty but as the means by which people anticipate and constructively move towards an indeterminate future. It is in this process of living forward with the help of imagination that novelty appears and social change becomes possible.This book offers a conceptual history of imagination, an array of theoretical approaches, imagination's use in psychologist's thinking and a number of new research areas. Its aim is to offer a re-enchantment of the concept of imagination and the discipline of psychology more generally.

This book offers a new approach to imagination which brings its emotional, social, cultural, contextual and existential characteristics to the fore. Fantasy and imagination are understood as the human capacity to distance oneself from the here-and-now situation in order to return to it with new possibilities. To do this we use social-cultural means (e.g. language, stories, art, images, etc.) to conceive of imaginary scenarios, some of which may become real.Imagination is involved in every situation of our lives, though to different degrees. Sometimes this process can lead to concrete products (e.g., artistic works) that can be picked up and used by others for the purposes of their imagining. Imagination is not seen here as an isolated cognitive faculty but as the means by which people anticipate and constructively move towards an indeterminate future. It is in this process of living forward with the help of imagination that novelty appears and social change becomes possible.This book offers a conceptual history of imagination, an array of theoretical approaches, imagination's use in psychologist's thinking and a number of new research areas. Its aim is to offer a re-enchantment of the concept of imagination and the discipline of psychology more generally.

This brief charts out principles for a cultural psychology of remembering. The idea at its core is a conceptualization of remembering as a constructive process--something that occurs at the intersection of a person and their social-cultural world. To do this, it moves away from the traditional metaphor of memory as storage and develops the alternative metaphor of construction as part of wider social and cultural developments in society. This new approach is developed from key ideas of Lev Vygotsky and Frederic Bartlett, in particular their concepts of mediation and reconstructive remembering. From this foundation, the authors demonstrate how remembering is conflictual, evolving, and transformative at both the individual and collective level. This approach is illustrated with concrete case studies, which highlight key theoretical concepts moving from micro-level processes to macro-level social phenomena. Among the topics covered are:The microgenesisof memories in conversationThe role of narrative mediation in the recall of historyRemembering through social positions in conflictsUrban memory during revolutionsHow memorials are used to channel grief and collective memoryRemembering as a Cultural Process traces our ongoing journey to answer the question of the different ways in which culture participates in and is constitutive of what it means for humans to remember. It will be of interest to undergraduate and graduate students as well as researchers in the fields of memory studies or cultural psychology.

This brief charts out principles for a cultural psychology of remembering. The idea at its core is a conceptualization of remembering as a constructive process--something that occurs at the intersection of a person and their social-cultural world. To do this, it moves away from the traditional metaphor of memory as storage and develops the alternative metaphor of construction as part of wider social and cultural developments in society. This new approach is developed from key ideas of Lev Vygotsky and Frederic Bartlett, in particular their concepts of mediation and reconstructive remembering. From this foundation, the authors demonstrate how remembering is conflictual, evolving, and transformative at both the individual and collective level. This approach is illustrated with concrete case studies, which highlight key theoretical concepts moving from micro-level processes to macro-level social phenomena. Among the topics covered are:The microgenesisof memories in conversationThe role of narrative mediation in the recall of historyRemembering through social positions in conflictsUrban memory during revolutionsHow memorials are used to channel grief and collective memoryRemembering as a Cultural Process traces our ongoing journey to answer the question of the different ways in which culture participates in and is constitutive of what it means for humans to remember. It will be of interest to undergraduate and graduate students as well as researchers in the fields of memory studies or cultural psychology. 

This book explores how street art has been used as a tool of resistance to express opposition to political systems and social issues around the world. Aesthetic devices such as murals, tags, posters, street performances and caricatures are discussed in terms of how they are employed to occupy urban spaces and present alternative visions of social reality. Based on empirical research, the authors use the framework of creative psychology to explore the aesthetic dimensions of resistance that can be found in graffiti, art, music, poetry and other creative cultural forms. Chapters include case studies from countries including Brazil, Canada, Chile, Denmark, Egypt, Ireland, Mexico and Spain to shed new light on the social, cultural and political dynamics of street art not only locally, but globally. This innovative collection will be of particular interest to scholars of social and political psychology, urban studies and the wider sociologies and is essential reading for all those interested in the role of art in social change.