Creativity is an amalgamation of many qualities. And the question of the components of human creativity is still open, although at the moment there are several hypotheses concerning this problem. Many psychologists associate the ability to creative activity, especially with the peculiarities of thinking. In particular, the famous American psychologist Guilford, who dealt with the problems of human intelligence, found that creative individuals are characterized by the so-called divergent thinking. People with this type of thinking, when solving a problem, do not concentrate all their efforts on finding the only correct solution, but begin to look for solutions in all possible directions in order to consider as many options as possible. Such people tend to form new combinations of elements that most people know and use only in a certain way, or form links between two elements that at first glance have nothing in common. The divergent way of thinking underlies creative thinking, which is characterized by the following main features:
- 1. Speed - the ability to express the maximum number of ideas (in this case, it is not their quality that matters, but their quantity).
- 2. Flexibility - the ability to express a wide variety of ideas.
- 3. Originality - the ability to generate new non-standard ideas(this may manifest itself in answers, decisions that do not coincide with generally accepted ones).
- 4. Completeness - the ability to improve your "product" or give it a finished look.
Well-known domestic researchers of the problem of creativity A.N. Bow, based on the biographies of prominent scientists, inventors, artists and musicians, highlights the following creative abilities.
- 1. The ability to see the problem where others do not see it.
- 2. The ability to collapse mental operations, replacing several concepts with one and using symbols that are more and more capacious in terms of information.
- 3. The ability to apply the skills acquired in solving one problem to solving another.
- 4. The ability to perceive reality as a whole, without splitting it into parts.
- 5. The ability to easily associate distant concepts.
- 6. The ability of memory to give out the right information at the right moment.
- 7. Flexibility of thinking.
- 8. The ability to choose one of the alternatives for solving a problem before it is tested.
- 9. The ability to incorporate newly perceived information into existing knowledge systems.
- 10. The ability to see things as they are, to distinguish what is observed from what is brought in by interpretation.
- 11. Ease of generating ideas.
- 12. Creative imagination.
- 13. The ability to refine the details, to improve the original idea.
Candidates of Psychological Sciences V.T. Kudryavtsev and V. Sinelnikov, based on a wide historical and cultural material (the history of philosophy, social sciences, art, individual areas of practice), identified the following universal creative abilities that have developed in the process of human history.
- 1. Relism of the imagination - a figurative grasp of some essential, general trend or regularity in the development of a cedant object, before a person has a clear idea about it and can enter it into a system of strict logical categories.
- 2. The ability to see the whole before the parts.
- 3. Supra-situational - transformative nature of creative solutions, the ability to solve a problem not just choose from alternatives imposed from the outside, but independently create an alternative.
- 4. Experimentation - the ability to consciously and purposefully create conditions in which objects most clearly reveal their essence hidden in ordinary situations, as well as the ability to trace and analyze the features of the "behavior" of objects in these conditions.
Scientists and teachers involved in the development of programs and methods of creative education based on TRIZ (theory of inventive problem solving) and ARIZ (algorithm for solving inventive problems) believe that one of the components of a person's creative potential is the following abilities.
- 1. The ability to take risks.
- 2. Divergent thinking.
- 3. Flexibility in thought and action.
- 4. Speed of thinking.
- 5. The ability to express original ideas and invent new ones.
- 6. Rich imagination.
- 7. Perception of the ambiguity of things and phenomena.
- 8. High aesthetic values.
- 9. Developed intuition.
Analyzing the points of view presented above on the issue of the components of creative abilities, we can conclude that despite the difference in approaches to their definition, researchers unanimously single out creative imagination and the quality of creative thinking as essential components of creative abilities.
Speaking about the formation of abilities, it is necessary to dwell on the question of when, from what age children's creative abilities should be developed. Psychologists call various terms from one and a half to five years. There is also a hypothesis that it is necessary to develop creative abilities from a very early age. This hypothesis finds confirmation in physiology.
The fact is that the child's brain grows especially rapidly and "ripens" in the first years of life. This is ripening, i.e. the growth in the number of brain cells and the anatomical connections between them depends both on the diversity and intensity of the work of already existing structures, and on how much the formation of new ones is stimulated by the environment. This period of "ripening" is the time of the highest sensitivity and plasticity to external conditions, the time of the highest and broadest possibilities for development. This is the most favorable period for the start of the development of all diversity human ability. But the child begins to develop only those abilities for the development of which there are incentives and conditions for the "moment" of this maturation. The more favorable the conditions, the closer they are to optimal ones, the more successfully development begins. If maturation and the beginning of functioning (development) coincide in time, go synchronously, and the conditions are favorable, then development proceeds easily - with the highest possible acceleration. Development can reach its greatest height, and the child can become capable, talented and brilliant.
However, the possibilities for the development of abilities, having reached a maximum at the "moment" of maturation, do not remain unchanged. If these opportunities are not used, that is, the corresponding abilities do not develop, do not function, if the child does not engage in the necessary activities, then these opportunities begin to be lost, degrade, and the faster, the weaker the functioning. This fading of opportunities for development is an irreversible process. Boris Pavlovich Nikitin, who has been dealing with the problem of developing the creative abilities of children for many years, called this phenomenon NUVERS (Irreversible Extinction of Opportunities for Effective Development of Abilities). Nikitin believes that NUVERS has a particularly negative effect on the development of creative abilities. The gap in time between the moment of maturation of the structures necessary for the formation of creative abilities and the beginning of the purposeful development of these abilities leads to a serious difficulty in their development, slows down its pace and leads to a decrease in the final level of development of creative abilities. According to Nikitin, it was the irreversibility of the process of degradation of development opportunities that gave rise to the opinion about the innateness of creative abilities, since usually no one suspects that in preschool age Opportunities for the effective development of creative abilities were missed. And the small number of people with high creative potential in society is explained by the fact that in childhood only a very few found themselves in conditions conducive to the development of their creative abilities.
From a psychological point of view, preschool childhood is a favorable period for the development of creative abilities because at this age children are extremely inquisitive, they have a great desire to learn about the world around them.
And parents, encouraging curiosity, informing children of knowledge, involving them in various activities, contribute to the expansion of children's experience. And the accumulation of experience and knowledge is a necessary prerequisite for future creative activity. In addition, the thinking of preschoolers is more free than that of older children. It is not yet crushed by dogmas and stereotypes, it is more independent. And this quality needs to be developed in every possible way. Preschool childhood is also a sensitive period for the development of creative imagination.
At the beginning of the 20th century, “creativity” became a strictly scientific subject of research (P.K. Engelmeyer). Then a surge of activity in the study of certain aspects of the development of the creative potential of the individual is noted in the 60-80s. in philosophy (S.R. Evinzon, M.S. Kagan, E.V. Kolesnikova, P.F. Koravchuk, I.O. Martynyuk and others), as well as in psychology (L.B. Bogoyavlenskaya, L. B. Ermolaeva-Tomina, Y. N. Kulyutkin, A. M. Matyushkin, Y. A. Ponomarev, G. S. Sukhobskaya, etc.) (Yatskova, 2012).
In pedagogy, an active study of this phenomenon began in the 80-90s. (T.G. Brazhe, L.A. Darinskaya, I.V. Volkov, E.A. Glukhovskaya, O.L. Kalinina, V.V. Korobkova, N.E. Mazhar, A.I. Sannikova, and etc.). The creative potential of a person, as O. Yu. Yatskova notes, was one of the key pedagogical concepts to comprehend the personality as a systemic integrity in connection with its development and the most complete realization of internal essential forces [Yatskova, 2012].
The category “potential” is one of the general scientific concepts and is characterized as mental capabilities, inclinations, abilities, qualities, inclinations, energy, productive forces, the need to know oneself (I. Kant, G. Hegel, N. A. Berdyaev, M. K. . Mamardashvilli and others). This concept in the studies of K. Rogers, A. Maslow, E. Fromm correlates with the processes of actualization, implementation, deployment, reproduction, disclosure, embodiment, ascent to oneself, the desire to "go beyond", the accumulation of social experience, self-creation, self-expression, self-affirmation, self-realization and development [Yatskova, 2012].
As I.M. Yarushin, the concept of “potential” implies such properties and possibilities of a person that can be realized and become a reality only under certain conditions. But the potential acts both as a result of development, and also as a complex systemic formation that contains new driving forces. further development[Yarushina, p.12].
Creativity is understood as a variety of psychological phenomena: the process of creating new material and spiritual values (E.L. Yakovleva, E. Torrance, N. Rogers), the spiritual state of a person (V.D. Shadrikov), interaction leading to development (I .A. Ponomarev), the creation of something unique (D. Morgan), an element of any labor process (T.N. Balobanova, T. Edison), intellectual activity (D.B. Bogoyavlenskaya).
According to E.A. Yakovleva, creativity is the process of revealing one's own individuality. Creativity is inseparable from the individuality of a person, it appears as a realization by the personality of its universality [Yakovleva, p.10].
An analysis of the literature showed that there are many points of view on the essence of creativity. With all the variety of definitions of creativity, its overall characteristic is that creativity is the ability to create something new, original.
As I.M. Yarushin, the meaning of human existence comes down to the realization of this desire, in self-expression as finding oneself. Creativity, the ability to create is a generic quality of a person, i.e. inherent in everyone, but can be developed to varying degrees [Yarushina, 2007].
Being a rather complex formation, the creative potential of the individual does not have an unambiguous interpretation, a generally accepted definition. So, from the point of view of the axiological approach (M.S. Kagan, A.V. Kiryakova, etc.), creativity is understood as a repertoire of acquired and independently developed skills and abilities, as an ability to act and a measure of their implementation in a certain field of activity and communication [Yarushina, 2007].
The authors of the ontological approach (M.V. Koposova, V.N. Nikolko and others) consider creativity as a characteristic property of an individual that determines the measure of his capabilities in creative self-realization and self-realization. M.V. Koposova considers creativity as “a characteristic property of an individual that determines the measure of opportunities in creative self-realization and self-realization” [Koposova, 2007].
This phenomenon is recognized as the most important generative factor of mankind, a way of actualizing the creative essence of a single person.
From the point of view of the developmental approach (OS Anisimov, VV Davydov, GL Pikhtovnikov), the creative potential of a person is defined as a set of real opportunities, skills and abilities, a certain level of their development.
Within the framework of the activity-organizational approach (G.S. Altshuller, I.O. Martynyuk, V.G. Ryndak), this phenomenon is considered as a quality that characterizes the degree of a person’s ability to carry out creative activities.
V.G. Ryndak defines creative potential as “a system of personal abilities that allow optimally changing methods of action in accordance with new conditions, and knowledge, skills, beliefs that determine the results of activity and encourage a person to creative self-realization and self-development” [Ryndak, 2008].
In the works of D.B. Bogoyavlenskaya, A.V. Brushlinsky, Ya.A. Ponomarev and others, an ability approach is presented that allows one to identify creativity with the creative abilities of a person and consider it as an intellectual and creative prerequisite for creative activity. In the works of D.B. Bogoyavlenskaya emphasizes that an indicator of creativity is intellectual activity, which combines two components: cognitive (general mental abilities) and motivational [Bogoyavlenskaya, 2003].
In the interpretation of Ya.A. Ponomarev's creativity is seen as "interaction leading to development". The researcher notes that “only a person with a developed internal plan of action is capable of full-fledged creative activity, which allows him to assimilate the amount of special knowledge of a particular field of activity necessary for its further development, as well as to demand personal qualities, without which it is impossible genuine creativity” [Ponomarev, 2006].
T.A. Salomatova, V.N. Markov and Yu.V. Sinyagin consider the creative potential of the individual from the standpoint of the resource approach. Researchers emphasize that potential, being a resource indicator, is constantly consumed, renewed in the course of the subject's life, realized in relationship with the outside world, and is also a systemic quality [Salomatova, 2009].
According to the supporters of the energy approach (N.V. Kuzmina, L.N. Stolovich), creativity is identified with the psychoenergetic resources and reserves of the individual, which are expressed in the extraordinary intensity of spiritual life and can be discharged in other activities [Kuzmina, 2006].
P.F. Kravchuk, A.M. Matyushkin's creative potential of the individual is studied from the standpoint of an integrative approach. Researchers define integrativity as its characteristic property, and characterize creativity as a gift that everyone has. At the same time, an integrative personal characteristic acts as a systemic dynamic formation, which reflects the measure of the possibilities of actualizing its essential creative forces in real transformative practice; expresses a person's attitude to creativity (positions, attitudes, orientation [Kravchuk, 2009].
T.G. Braje defines creativity as the sum of a system of knowledge, skills and beliefs on the basis of which activities are built and regulated; a developed sense of the new, a person's openness to everything new; a high degree of development of thinking, its flexibility, non-stereotyping and originality, the ability to quickly change methods of action in accordance with new conditions of activity. And the development of creative potential as a whole consists in finding ways to develop each of the components and ways of their interrelationships [Brage, 2006].
N. V. Novikova defines creative potential as “a set of internal capabilities, needs, values and appropriated means for a person to achieve such states of consciousness, which are expressed in the person’s readiness for creative self-realization and self-development; in the realization by the individual of his own individuality” [Novikova, 2011].
IN AND. Maslova defines the creative potential of an individual as a systemic characteristic (or system of properties) of an individual, which gives him the opportunity to create, create, find something new, make decisions and act in an original and non-standard way [Maslova, 2003].
An analysis of the philosophical and psychological literature shows that up to the present time there is no unity in the definition and content of the concept of "creativity".
In general, it can be concluded that the creative potential of the individual is an integral integrity of the natural and social forces of a person, providing his subjective need for creative self-realization and self-development.
From the point of view of Yu.N. Kulyutkin, the creative potential of an individual, which determines the effectiveness of his activity in a changing world, is characterized not only by the value-semantic structures that have developed in a person, the conceptual apparatus of thinking or methods of solving problems, but also by a certain general psychological base that determines them [Kulyutkin, 2006].
According to Yu.N. Kulyutkin, such a base (such a development potential) is a systemic formation of a personality, which is characterized by motivational, intellectual and psychophysiological reserves of development, namely:
- the wealth of the needs and interests of the individual, its focus on more and more complete self-realization in various areas of work, knowledge and communication;
- the level of development of intellectual abilities that allow a person to effectively solve new life and professional problems for him, especially of a global nature, that is: to be open to the new; to realistically approach emerging problems, to see them in all their complexity, inconsistency and diversity; have a broad and flexible mindset, see alternative solutions and overcome existing stereotypes; critically analyze experience, be able to draw lessons from the past;
– high working capacity of a person, his physical strength and energy, the level of development of his psychophysiological capabilities [Kulyutkin, 2006].
The structural and content plan of the creative potential, according to the researcher, reflects the complex of the abilities of the intellect, the complex of the properties of creativity, the complex of personal manifestations, but is not limited to them. The probability of manifestation of creative potential depends on the personal desire of a person to fully realize their capabilities, on the degree of their inner freedom; from the formulation of social feeling (effectiveness, creativity) [Kulyutkin, 2006].
Creativity contributes to bringing the individual to a new level of life - creative, transforming the social essence, when the individual realizes, expresses himself not only in the order of resolving the situation, responding to its requirements, but also in the order of a counter, opposing, transforming the situation and life itself decisions.
As I.M. Yarushina, when they talk about creativity in childhood, they most often mean the disclosure of the creative potential of the personality of a growing person in the process of education and upbringing [Yarushina, 2007].
Developing in the process of activity and being stimulated by its leading motives, creativity characterizes the measure of an individual's capabilities and manifests itself as the ability to productively change and create a subjectively new product, thereby determining the creative style of the activity itself. Therefore, the goal of developing the creative potential of an individual is to create the prerequisites for its creative self-realization [Yarushina, 2007].
As an initial factor in the accumulation and realization of the creative potential of V.I. Maslova highlights motivational readiness for creativity. If the role of the genotype in the formation of general intellectual ability is great, then the environment and motivation become the determining conditions in the development of creative potential (E.A. Golubeva, V.N. Druzhinin, V.I. Kochubey, A. Maslow). Most common characteristic and the structural component of the child's creative potential are cognitive needs, the dominant cognitive motivation. It is expressed in the search activity of the child, manifested in increased sensitivity and selectivity to the new and unusual [Maslova, 2003].
According to V.I. Maslov's creative potential includes the following structural components:
- the motivational component expresses the level and originality of the interests and hobbies of the child, the interest and activity of his participation in creative activity, the dominant role of cognitive motivation;
- the intellectual component is expressed in originality, flexibility, adaptability, fluency and efficiency of thinking; ease of association; in the level of development of creative imagination and in the use of its techniques; in the level of development of special abilities;
- the emotional component characterizes the emotional attitude of the child to the process and result of creative activity, the emotional attitude towards it, the emotional-figurative characteristics of the psyche;
- the volitional component characterizes the child's ability to the necessary self-regulation and self-control; qualities of Attention; independence; ability for volitional tension, striving for the goal of creative activity, the child's exactingness to the result of his own creativity [Maslova, 2003].
As V.I. Maslov, these components of creative potential are mutually interconnected and with its integral structure. Thus, providing conditions for the formation of interests will contribute to the development of the emotional sphere (K.E. Izard, A. Maslow, J. Singer, etc.); directed formation of the emotional-figurative sphere - the development of intelligence and motivation; the inclusion of an intuitive search and an associative process - the development of emotional and intellectual spheres; creation of intensive and long-term motivation for the development of all spheres; the formation of a critical attitude and aspirations to improve the products of creative activity - the development of the volitional sphere [Maslova, 2003].
An analysis of the psychological and pedagogical literature allows us to conclude that in order to develop creative potential, it is necessary to ensure the transition of the totality of creative abilities and mental neoplasms of preschoolers from a potential state to an actual one, from a state of possibility to an actual one, which as a result will encourage children to manifest and develop creative individuality.
Thus, the following conclusion can be drawn. As the analysis showed, there are the following approaches to the concept of "creativity": axiological, ontological, developing, activity-organizational, energy, ability, resource, integrative. The conducted theoretical analysis allows us to consider the creative potential of a person as a general personal ability of a person to create something new, which is expressed in the following features: personal (emotional stability, adequate or high self-esteem, focus on success, independence, self-confidence, motivation for creative self-expression); cognitive (curiosity, fluency, flexibility, originality of thinking); communication (empathy, developed ability to interaction).
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"Methods for diagnosing creativity"
Introduction
Creationis considered as a form of human activity that performs a transforming function, and as the basis of the internal mechanism of all cognitive processes - perception, attention, memory, thinking, imagination. The role of imagination in the creative process cannot be overestimated. Creativity is closely connected with all mental processes, including imagination. The degree of development of the imagination and its abilities are no less important for creativity than, say, the degree of development of thinking. The psychology of creativity is manifested in all its specific forms: inventive, scientific, literary, artistic, etc. What factors determine the possibility of creativity of a particular person? The possibility of creativity is largely provided by the knowledge that a person has, which is supported by the corresponding abilities, and stimulated by the purposefulness of a person. The most important condition for creativity is the presence of certain experiences that create the emotional tone of creative activity. The problem of creativity has always been of interest not only to psychologists. The question of what allows one person to create, and deprives another of this opportunity, worried the minds of famous scientists. For a long time, the view of the impossibility of algorithmization and teaching the creative process dominated, which was substantiated by the famous French psychologist T. Ribot. He wrote: “As for the “methods of invention”, about which much scientific reasoning has been written, they do not really exist, since otherwise it would be possible to fabricate inventors in the same way as mechanics and watchmakers are now fabricated. ". Gradually, however, this view began to be questioned. In the first place came the hypothesis that the ability to be creative can be developed. Thus, the English scientist G. Wallace made an attempt to investigate the creative process. As a result, he managed to distinguish four stages of the creative process: .Preparation (the birth of an idea). .Maturation (concentration, "pulling" of knowledge directly and indirectly related to a given problem, obtaining missing information). .Illumination (intuitive grasp of the desired result). .Examination. The result of creativity is a creative product that is distinguished by novelty, originality, and uniqueness. Creativity is going beyond the limits of the given, it also manifests the activity of unconscious mental processes. Creativity manifests itself in a potential (creative potential) or in an actual (creative activity) form. The creative potential of an intellectually gifted person characterizes his personality as a whole and is a system of cognitive and non-cognitive components, represented by intellectual (originality, flexibility, adaptability, fluency and efficiency of thinking; ease of associations; level of creative imagination), and personal (motivational, emotional, volitional, reflexive and value-semantic) characteristics in their interaction. Creativity management is possible by creating favorable conditions for this: · content of creative activity; · creation of a creative environment; · the orientation of formative work on the development of a creative personality. A person's ability to be creative is manifested in the process of his life, while any of the activities can be carried out by an individual, both at the reproductive and creative levels. The degree of manifestation of creativity is determined, on the one hand, by the creative potential of the person himself, and on the other hand, by the level of his activity in the development and realization of his own creative potential. Consequently, stimulation of activity in the development of one's creative potential can act as an independent pedagogical task in the process of educating a creative personality. The higher the readiness of a person to develop their own creative potential, the more efficient this process is and the more independent a person becomes as a subject of his own development. To comprehend the sources of creativity and its psychological mechanisms, it is necessary to consider creativity as a kind of holistic process, which cannot be done without relying on an understanding of a person's personality as a single and systemic entity. Since creativity is a phenomenon of a holistic personality. The problem of a holistic and systematic idea of a person's personality is traditional for psychology. Vygotsky, S.L. Rubinstein, A.N. Leontiev, B.P. Parygin, K.K. Platonov and; etc.). Each of the directions has its own advantages, disadvantages and a different degree of development. Purpose of the study: The study of the theoretical foundations of creativity and creativity, as well as to assess the level of its development among the subjects in the testing process. Subject of study: Creative potential. Object of study: The creative potential of man. Research objectives: 1.Explore theoretical basis creativity, creativity and methods for diagnosing the creative potential of an adult with the help of psychological literature. 2.Assess by testing the level of development of the creative potential of the subjects. The relevance of research: The study of creative potential is of scientific and practical relevance due to the fact that it is the individual originality and creative initiative of each person, implemented by him in the personal, professional and public spheres, that are an essential resource for the development of society. A large number of changes taking place in the life of our society urgently require a person to be ready to effectively use their capabilities in the new conditions of their development. But a person is not always ready for the changes taking place in society. In order to adequately respond to them, he must activate his creative potential, develop in himself such a quality as creativity (creativity). It is important to evaluate the creative potential of each person in order to help him and give him the opportunity to develop in the future in the right direction. Hypothesis: It is believed that for the development of creativity, the level of mental development should be slightly above average. Nevertheless, upon reaching the required level of intelligence, its further increase does not affect the development of creative abilities in any way. Methods used: 1.Methodology for the study of creative potential. (Fetiskin N.P., Kozlov V.V., Manuilov G.M. Socio-psychological diagnostics of the development of personality and small groups. - M., Publishing House of the Institute of Psychotherapy. 2002. - 490 p.). 2.Self-assessment of the creative potential of the individual (Fetiskin N.P., Kozlov V.V., Manuilov G.M. Social and psychological diagnostics of the development of personality and small groups. - M., Publishing House of the Institute of Psychotherapy. 2002. - 490 p.). 3."Culturally independent intelligence test" by R. Cattell (R. Rimskaya, S. Rimsky. Practical psychology in tests, or how to learn to understand yourself and others. - M .: AST-PRESS KNIGA. 1997. - 400 p., 4 l Ill. - (practical psychology)). 1. Theoretical analysis of creativity, creativity and its development
1.1 Creativity
Creation- the process of human activity that creates qualitatively new material and spiritual values or the result of creating a subjectively new. The main criterion that distinguishes creativity from manufacturing (production) is the uniqueness of its result. The result of creativity cannot be directly deduced from the initial conditions. No one, except perhaps the author, can get exactly the same result if the same initial situation is created for him. Thus, in the process of creativity, the author puts into the material some possibilities that are not reducible to labor operations or a logical conclusion, and in the end expresses some aspects of his personality. It is this fact that gives the products of creativity an additional value in comparison with the products of production. Creativity is an activity that generates something qualitatively new, something that has never existed before. Creativity is the creation of something new, valuable not only for this person, but also for others. Creativity is the process of creating subjective values. Creativity as a process (creative thinking) Many of the researchers reduce the problem of human abilities to a problem-creative personality: there are no special creative abilities, but there is a person with a certain motivation and traits. Indeed, if intellectual giftedness does not directly affect the creative success of a person, if in the course of the development of creativity the formation of a certain motivation and personality traits precedes creative manifestations, then we can conclude that there is a special type of personality - a “Creative Person”. One of the first researchers of creative thinking was the psychologist M. Wertheimer. According to Wertheimer, the process of solving problems as a result of simple recall and rote repetition is not intelligent thinking. He links creative thinking to two factors: adaptability and structure. Adaptability means that creative processes are aimed at improving the situation. Structurality is such creative thinking, when in the process of solving a problem situation, it is analyzed, with a subsequent change in the functional values of individual elements of the situation within the framework of an integral structure. Wertheimer was the first to draw attention to the fact that tasks that stimulate creative thinking should not be typical, unusual for a person. A person who solves a creative problem must look at the situation in a new way, trying to use the hidden properties of objects and their unusual connections. This view of human creative thinking gave rise to the possibility of diagnosing and testing the ability to be creative. Among the psychologists who experimentally study creative thinking are J. Gilford, E. Torrance, D.B. Bogoyavlenskaya, Ya.A. Ponomarev, R. Stenberg and others. The main factor in the presence of "creativity" is lightness, flexibility, originality and accuracy of thinking. Torrance derived 12 factors of the "material" of creative thinking, which, in turn, were divided into 3 groups: verbal, inventive and verbal - sound. The subject is required to show the ability to think creatively. So, if the answer that a person gives is very often repeated, this is a typical answer, if rarely, it is original. Any mentally normal person can be taught to think creatively. To do this, it is necessary to develop the appropriate abilities involved in the creative thinking process and overcome internal barriers to creativity. Stages of creative thinking G. Wallace The description of the sequence of stages (stages) of creative thinking, which was given by the Englishman Graham Wallace in 1926, is best known today. He identified four stages of creative thinking: 1.Preparation - task formulation; attempts to solve it. 2.Incubation is a temporary distraction from the task. .Illumination - the emergence of an intuitive solution. .Verification - testing and/or implementation of a solution. However, this description is not original and goes back to the classic report by A. Poincare 1908. A. Poincare Henri Poincare, in his report to the Psychological Society in Paris (in 1908), described the process of making several mathematical discoveries by him and identified the stages of this creative process, which were subsequently distinguished by many psychologists. 1. First, a task is posed and attempts are made to solve it for some time. “For two weeks I tried to prove that there could be no function analogous to the one that I later called automorphic. I was, however, quite wrong; every day I sat down at my desk, spent an hour or two at it, examining big number combinations, and did not come to any result. This is followed by a more or less long period during which the person does not think about the problem that has not yet been solved, is distracted from it. At this time, Poincaré believes, unconscious work on the task takes place. And finally, there comes a moment when suddenly, without immediately preceding reflections on the problem, in a random situation that has nothing to do with the problem, the key to the solution appears in the mind. “One evening, contrary to my habit, I drank black coffee; I couldn't sleep; ideas crowded together, I felt them collide until two of them came together to form a stable combination. In contrast to the usual reports of this kind, Poincaré describes here not only the moment of the appearance of a solution in consciousness, but also the work of the unconscious that immediately preceded it, as if miraculously becoming visible. Jacques Hadamard, drawing attention to this description, points to his complete exclusivity: “I have never experienced this wonderful feeling and I have never heard that anyone but him [Poincaré] experienced it” After that, when the key idea for the solution is already known, the solution is completed, tested, and developed. Theorizing, Poincare depicts the creative process (by the example of mathematical creativity) as a sequence of two stages: 1) combining particles - elements of knowledge and 2) subsequent selection of useful combinations. Poincaré notes that the combination occurs outside of consciousness - ready-made "really useful combinations and some others that have signs of useful ones, which he [the inventor] will then discard, appear in consciousness." Questions arise: what kind of particles are involved in the unconscious combination and how does the combination occur; how the "filter" works and what are these signs by which it selects some combinations, passing them into consciousness. Poincaré gives the following answer. The initial conscious work on the problem actualizes, "sets in motion" those elements of future combinations that are relevant to the problem being solved. Then, unless, of course, the problem is solved immediately, there comes a period of unconscious work on the problem. While the conscious mind is busy with other things, in the subconscious, the particles that have received a push continue their dance, colliding and forming various combinations. Which of these combinations enter consciousness? These are the combinations "of the most beautiful, that is, those which most affect that special sense of mathematical beauty known to all mathematicians and inaccessible to the profane to such an extent that they are often inclined to laugh at it." So, the most "mathematical beautiful" combinations are selected and penetrate into consciousness. But what are the characteristics of these beautiful mathematical combinations? “These are those whose elements are harmoniously arranged in such a way that the mind can effortlessly embrace them entirely, guessing the details. This harmony is at the same time the satisfaction of our aesthetic senses and a help for the mind, it supports it and guides it. This harmony gives us the opportunity to anticipate the mathematical law. “Thus, this special aesthetic sense plays the role of a sieve, and this explains why one who is deprived of it will never become a real inventor.” Factors hindering creative thinking: Uncritical acceptance of someone else's opinion (conformity, conciliation) external and internal censorship rigidity (including the transfer of patterns, algorithms in solving problems) desire to find an answer immediately Creativity and personality Creativity can be viewed not only as a process of creating something new, but also as a process that occurs during the interaction of a person (or inner world person) and reality. At the same time, changes occur not only in reality, but also in personality. The nature of the connection between creativity and personality “The personality is characterized by activity, the desire of the subject to expand the scope of his activity, to act beyond the boundaries of the requirements of the situation and role prescriptions; orientation - a stable dominant system of motives - interests, beliefs, etc." Actions that go beyond the requirements of the situation are creative actions. In accordance with the principles described by S.L. Rubinstein, by making changes in the surrounding world, a person changes himself. Thus, a person changes himself by carrying out creative activity. B.G. Ananiev believes that creativity is the process of objectifying the inner world of a person. Creative expression is an expression of the integral work of all forms of human life, a manifestation of his individuality. In the most acute form, the connection between the personal and the creative is revealed by N.A. Berdyaev. He writes: Personality is not a substance, but a creative act. Creativity Motivation V.N. Druzhinin writes: Creativity is based on the global irrational motivation of human alienation from the world; it is directed by a tendency to overcome it, it functions according to the type of "positive feedback"; a creative product only spurs the process, turning it into a pursuit of the horizon. Thus, through creativity, a person is connected with the world. Creativity is self-stimulating. 1.2 Creativity and its development
Creative potential(Eng. Creativepotential) - a set of human qualities that determine the possibility and boundaries of his participation in labor activity. Creativity is a complex, integral concept that includes natural-genetic, social-personal and logical components, which together represent the knowledge, skills, abilities and aspirations of the individual to transform (improve) the world around them in various fields of activity within the framework of universal norms of morality and ethics. Many authors associate the creative potential of a person with such personal traits as courage, self-confidence, freedom, self-recognition. F. Barron and D. Harrington add independence of judgment, the ability to find attraction in difficulties, aesthetic orientation and the ability to take risks to this list. M. Kshikzhentmihaly, describing a creative person, notes that her cognitive abilities, personality traits, and features of the motivational sphere are always involved in the creative process. Structure of creativity Creativity includes components: motivational target; operational and activity; reflexive-evaluative components. The motivational-target component reflects a personal attitude to activity, expressed in goals, interests, and motives. It assumes that students have an interest in a certain type of activity; striving to acquire general and special knowledge, skills and abilities. Represented by external motivation, which provides interest in the subject, and internal motivation, which is more significant for creative activity, is: motivation based on the result, when the student is focused on the results of activities; process motivation, when the student is interested in the process of activity itself. The operational-activity component is based on a set of skills and abilities for organizing creative activity. It includes methods of mental actions and mental logical operations, as well as forms of practical activity: general labor, technical, special. This component reflects the ability of students to create something new and is aimed at self-determination and self-expression in individual creative activity. The reflective-evaluative component includes: internal processes of reflection and introspection, self-assessment of one's own creative activity and its results; assessment of the ratio of their capabilities and the level of claims in creativity. It is believed that almost all children, with rare exceptions, are naturally capable of freely perceiving creative energy. Almost all children are endowed by nature with a rich imagination, the ability to think creatively and generate unusual ideas. Over time, under the influence of adults, these abilities fade. But somewhere in the depths of each of us lives a small child and his unrealized fantasies and dreams. Accordingly, if you want to develop your creative abilities, your dormant potential, you can try to release and realize the potential that remained unclaimed in childhood. What blocks our natural ability to be creative? When, at what point did we lose her? In childhood, many children loved to compose small quatrains, counting rhymes, etc. Imagine that you easily managed to write a short story, and you decided to show it to your parents. In turn, the parents laughed at the naive composition of the child, and did not express any delight. Thus, your creativity remained invaluable and unclaimed, and on that it died out. You can also imagine that when you were in elementary school, you wrote a poem about a classmate and let him go around the class. The poem "reached" the teacher safely, the teacher showed the poem to your parents, and your parents, in turn, scolded you strongly for poetry. Since the human subconscious mind thinks in associations - “if you are scolded for poetry, then writing poetry is bad,” after that you don’t want to compose poetry, it will be difficult for you to read poetry from another author. So, what are the most common factors blocking our creativity? It can be inattention, criticism and ridicule of others. This may be our own shyness, fear of seeming ridiculous, fear of revealing ourselves to others. This may be the opinion of others that children's creativity is something frivolous, unworthy of attention and useless in real life. Of course, each person has his own story of "the death of a genius within himself" and how many people, so many different individual reasons for the loss of creativity. And if you decide to resurrect the talent that was originally given to you, there are many practical ways for this. .3 Creativity
An indicator of creative development is creativity. Creativity(from English create - to create, English creative - creative, creative) - the creative abilities of an individual, characterized by a willingness to create fundamentally new ideas that deviate from traditional or accepted patterns of thinking and are included in the structure of giftedness as an independent factor, as well as the ability to decide problems that arise within static systems. According to the authoritative American psychologist Abraham Maslow, this is a creative direction that is innate in everyone, but lost by the majority under the influence of the environment. At the everyday level, creativity manifests itself as ingenuity - the ability to achieve goals, find a way out of a seemingly hopeless situation using the situation, objects and circumstances in an unusual way. Shire is a non-trivial and ingenious solution to the problem. Moreover, as a rule, scarce and non-specialized tools or resources, if the need is material. And a bold, non-standard, what is called a non-stamped approach to solving a problem or meeting a need located in an intangible plane. Creativity in terms of psychology According to Alice Paul Torrance, creativity includes an increased sensitivity to problems, to a lack or inconsistency of knowledge, actions to identify these problems, to find solutions based on hypotheses, to test and change hypotheses, to formulate the result of a solution. To assess creativity, various divergent thinking tests, personality questionnaires, and performance analysis are used. Learning situations that are incomplete or open to the integration of new elements can be used to promote creative thinking, and students are encouraged to formulate multiple questions. Expert and experimental assessments of a person's ability to produce knowledge show that a person's creative abilities are not very great. By involving all employees in the continuous improvement of the organization (Kaizen method), the creativity of the organization increases dramatically. Hypotheses of the origin of creativity There are several hypotheses on the emergence of creative abilities. According to the first, it is believed that the creative abilities arose in a reasonable person gradually, over a long time and were the result of cultural and demographic changes in mankind, in particular, population growth, by adding the abilities of the most intelligent and gifted individuals in populations, with the subsequent consolidation of these properties in offspring. According to the second hypothesis, put forward in 2002 by anthropologist Richard Kline of Stanford University, the emergence of creativity was spasmodic. It arose as a result of a sudden genetic mutation about 50,000 years ago. 1.4 Methods for diagnosing creativity
The problem is the diagnosis of creativity, a problem that psychologists themselves cannot figure out. Checking, testing someone else's creativity turned out to be an internally very contradictory task. Creativity tests are designed to encourage a person to invent new, diverse, original solutions. For example, you need to think of how more ways unusual use of the most ordinary object (pencil, brick, etc.), come up with as many improvements to a toy as possible, draw as many pictures as possible with a given initial element, etc. These are tasks for the so-called divergent thinking - for the ability to deploy mental activity in a variety of ways, which is the most important part of creative abilities. The total number of responses and their diversity are evaluated. The originality of each answer is also evaluated. It is calculated mechanically: how often answers are found in a previously surveyed group of people. There is a standard list of responses of varying degrees of originality; these lists may vary across cultures, occupational groups, and so on. Based on the scores calculated in this way, a total score for creativity is calculated. Everything seems very simple and logical. However, the paradox is that the problem of the test of creativity will never get a final solution, and any intermediate will quickly depreciate. For the development of creative potential, it is necessary to turn a person to his emotional states, carrying out a purposeful transformation of the intellectual problems he faces into emotional ones. This principle of transformation of cognitive content into emotional content acts as a basic principle for the development of creativity. The mechanism for developing creativity through emotions is universal; it works for all ages. .5 Methods for developing creativity and solving creative problems
Scientists divide methods of development of creative abilities into two groups. Methods of the first group (brainstorming, synectics, IFO, control questions) are based on common mechanisms - associative thinking and the deliberately random nature of the search. They are easy to use, but not related to the essence of the objects of application. The methods of the second group (ARIZ, functional cost analysis), on the contrary, are more difficult to use, but are well connected with the essence of the objects of application. The simplest method is the "trial and error" method; researchers have used and use this method in solving a wide variety of problems. The main purpose of this method is to help students understand that random search methods have become obsolete. The essence of this method is that the inventor, when searching for a solution to the problem, goes through all possible options solutions and find the most suitable one. The disadvantage of the method is that it is impossible to develop at least an approximate methodology for its use. Therefore, the "trial and error" method is laborious, and its use does not guarantee a successful solution of the problem. The next step in improving the "trial and error" method was the method of control questions. For example, a list of A.F. Osborn (although there are still methods of T. Eyloart and Hefele). 2. Experimental study
.1 Methods for researching creativity
15 people participated in the study of the level of creativity. Among them were 7 girls and 8 boys in the age category from 18 to 23 years. All the subjects are students and they all work in different fields. Among them are secretaries, managers, cooks, accountants, etc. The milestone test subjects have hobbies. Someone is fond of music, writes poetry, songs, reads rap, someone is professionally involved in football and is fond of photography, and someone is engaged in dancing. .2 Methodology for researching the level of creativity creativity creativity potential personality Target:The technique allows to determine the self-assessment of personal qualities or the frequency of their manifestation, which characterize the level of development of the creative potential of the individual. Carrying out procedure:The experimenter reads the instructions, answers the questions, and offers to start testing. After testing is over, the experimenter collects answer sheets and checks for answers to all test items. Instruction:On a 9-point scale, rate each of the 18 statements. Mark your choice on the answer sheet. Processing and interpretation of results Based on the total number of points scored, determine the level of your creativity. Sum of pointsLevel of creative potential of the individual18-39Very low40-54Low55-69Below average70-84Slightly below average85-99Average100-114Slightly above average115-129Above average130-142High143-162Very high 1.
Self-assessment of the creative potential of the individual Target:The technique allows you to determine the creative potential of the subject. Carrying out procedure:The experimenter reads the instructions, answers the questions, and offers to start testing. After the end of testing, the experimenter collects the forms, checking the answers to all items of the test. Instruction:Choose one of the proposed behaviors in these situations and write it down in the answer sheet. Results processing and interpretation Calculate the points: for the answer "a" - 3 points, for "b" - 1, "c" - 2 points. 49 or more points.You have a significant creative potential, which provides you with a rich selection of creative opportunities. If you can actually use your abilities, then a wide variety of different forms creativity. You are lucky, because you already know what your talent is and where you can show your abilities. But you have a difficult task ahead of you - to preserve and develop what you have. Therefore, constantly improve your memory, acquire new knowledge, create and invent new things. From 24 to 48 points.You have quite normal creativity. You have those qualities that allow you to create, but you also have problems that hinder the creative process. In any case, your potential will allow you to express yourself, if you so desire, of course. If you want, you will succeed, only for this you need to understand yourself deeper, figure out what attracts you most, find the area of activity in which you can show your talent to the maximum. Ask yourself the question more often: “Is this my business?” 23 points or less.Your creativity, alas, is small. But maybe you just underestimated yourself, your abilities? Lack of self-confidence can lead you to think that you are not capable of creativity at all. Get rid of it and thus solve the problem. You need to believe in your strengths and knowledge, in your abilities and talent. Believe that there are no untalented people in the world. Every person has the makings of a talent, it just needs to be discovered. In order for this to happen, look for your talent, start various businesses, try yourself in different areas of activity. And you will definitely find your talent, your place, yourself. Explanations for the test: Group consisting of questions numbered 1,2,13,14
, determines the level of your curiosity; 11
and 18
- stability; 16
- ambition; 3
and 17
- auditory memory; 8
- visual memory; 6
- your desire for independence; 9
and 15
- the ability to abstract; 4
- the ability to focus on one thing. From these abilities, creative potential is formed. The higher the performance in a group, the more developed the named ability. 2.
Culturally-free test of intelligence by R. Cattell Target:The test is intended to determine the level of intellectual development of persons who are unfamiliar even with the alphabet - regardless of the influence of factors such as cultural level, education, etc. Carrying out procedure:Before testing, the subject is given a response form and a test book (form A and B). The psychologist asks the subject to open the 1st page of the Test Book and begin to get acquainted with the general instructions for the test: After the psychologist is convinced that the instruction is understood by the subjects correctly, the command “turn the page” is given, and work begins on the subtests of the 1st part of the test. Each subtest begins with 2-3 "trial" tasks or examples, which allow the subject to master the logic of task execution. In this case, the correct answer is indicated only in the first example (it has already been crossed out on the Answer Form). The remaining examples are solved by the subject independently and cross out the letters corresponding to the correct answers in the Answer Form. The psychologist checks the correctness of the solution of the remaining examples and, together with the subject, corrects the errors. The response form consists of 2 parts corresponding to two parts of the test. Each part of the Answer Form contains 4 columns corresponding to 4 subtests. The number of rows in the column reflects the number of tasks in each subtest. After completing all the “trial” tasks, the psychologist gives the command: “Turn the page, start,” and marks the time with a stopwatch. On command "Stop" the subject finishes work on the subtest. Between the 1st and 2nd parts of the test, you can take a short break. The 2nd part of the test begins with a repetition of the main points of the general instruction. Each subtest still starts with 2-3 "trial" tasks or examples. The correct answer is indicated only for the 1st example. The remaining examples are solved by the subject independently, the psychologist checks the correctness of the solution. Unlike the 1st part of the test, no verbal explanations are given for the "trial" tasks. Work on the main tasks begins with the command “turn the page, start”, ends with the command “stop”. The letters corresponding to the correct solutions are crossed out on the second part of the Answer Form. Individual and group testing is possible. In group testing, each subject must have a Test Book and a Response Form. The subjects sitting next to each other are advised to offer different forms of Test Books (A and B). You should also use parallel forms when retesting with a small time interval. Time spent working on individual subtests (in minutes) Subtest 1Subtest 2Subtest 3Subtest 41 part4433part 23333
Instruction:“This test consists of two large parts, built in a similar way. Each part contains graphic tasks, which are divided into four groups (four subtests) of 8-14 tasks each. In each subtest, the tasks are arranged in order of increasing difficulty. You may not be able to solve all the tasks correctly. Still, always try to solve as many as you can. If you are not sure about the correctness of the solution, then it is better to choose the solution that seems most likely than not to solve the task at all. All tasks have only one correct solution. The time for solving each subtest is limited. You will start and end the work exactly as the experimenter directs. If you finish early, check your solutions again. Record all decisions on the Answer Form. Do not write anything or make any notes in this notebook. Wait for instructions for further work! Don't turn the page without permission!" Processing and interpretation of results:Response forms with the results of the subject are processed using special keys. For each correct answer, the subject is awarded one point. The sum of "raw" points is calculated separately for the 1st and 2nd parts of the test, as well as for the 1st and 2nd parts of the test together. The amounts of "raw" points are entered in the first final table of the Answer Form. Raw scores are converted to scale IQ scores (X = 100; σ = 15 ) using normative tables. The number of the translation table depends on the age of the subject (the number of full years and full months at the time of testing) indicated above each table. The results obtained are graphically reflected in the second summary table. It also reflects the ratio of IQ-scores and percentiles. The final assessment of the test is the intelligence quotient (1Q), which is an integral indicator of the subject's intellectual development. It's believed that average rate is in the range from 90 to 110 points. Indicators above this level may indicate the giftedness of the subject, below it - a lag in mental development. 2.3 Analysis of results
According to the results of the first study, it became known that two subjects had a high level of creativity, five subjects had an above average level of creativity, six subjects had a slightly above average level of creativity, and three subjects had an average level of creativity. Table 1 Level of creativity Number % of subjects with a given level of creativity Very low level0 Low level0 Below average0 Slightly below average0 Average2 pers. (13.3%) Slightly above average6 pers. (40%)Above average5 pers. (33.3%)High level2 pers. (13.3%)Very high level0 According to the results of the second study, it became known that all 15 subjects had quite normal creative potential. All of them have those qualities that allow them to create, but they also have problems that hinder the process of creativity. In any case, the potential of the subjects will allow them to express themselves, if, of course, they so desire. If the subjects want to, they will succeed, only for this they need to understand themselves deeper, figure out what attracts them especially, find the area of activity in which they can show their talent to the maximum. Subjects should often ask themselves the question: “Is this my business?” The data obtained mean that without any basis of learning, without a good intellectual foundation, a high development of creative potential is impossible. This means that a Person with an IQ of 150 may be less creative than a person with an IQ of 125. However, with a very high IQ (170-180 units), as in the case of insufficient development, an obstacle is created over the normal development of creative potential. Highbrow intellectuals are rarely creative people, as they are focused on learning and assimilation. Conclusion
In the course of the study, I studied the theoretical foundations of creativity, creativity and learned methods for diagnosing the creative potential of a person. I also assessed the level of creativity of the subjects using two methods and analyzed the results. It became known to me that the creative potential in a person is inherent from childhood, and if it is not blocked, it will develop, the main thing is to guide the child in the right way and help him develop his talents. I also became aware that in order to develop your creative potential, you just need to start doing something completely new, the main thing is that you like this new activity. Then the "new" will unite with the "old" in previously unknown, amazing and wonderful forms. New skills will be formed, social experience will be enriched and creativity will increase. From the biographies of famous creative people, it was noticed that a new, abstract occupation radically changed their fate, determined their success, and sometimes saved their lives. For example, David Sanborn was able to survive only thanks to his saxophone, Elvis Presley owned karate, and for a long time this saved him from leaving for another world. And Steve Gadd - the famous drummer - learned to tap dance, which allowed him to form his ingenious style of playing the drum set. Many psychologists use this method of increasing creativity to treat many psychological and physiological illnesses. Because it is the new hobby that effectively increases the creative potential and improves the soul of the individual. Bibliographic list
1.Varlamova E.P., Stepanov S.Yu. Psychology of creative uniqueness. - M.: Institute of Psychology of the Russian Academy of Sciences, 2002. - 256 p. 2.Gamezo M.V .
General psychology. ( Teaching aid). M.: - Os-89, 2007. - 352 p. 3.Granovskaya R.M. Creativity and conflict in the mirror of psychology. St. Petersburg: Speech, 2010. - 416 p. 4.Gracheva L.V. Inner Freedom Training. Actualization of creative potential. M.: Speech, 2006. - 60 p. 5.Dozorova I.V. Development of the creative potential of the individual in the system of additional education. Materials from the Internet - conference. URL:#"justify">6. Druzhinina V.N. Psychology: A textbook for humanitarian universities. 2nd ed. St. Petersburg: Piter, 2009. - 656 p.: ill. - (Series "Textbook for universities"). 7.Zankovsky A.I. Formation of creative abilities: essence, conditions, efficiency // Sat. scientific tr. Sverdlovsk: SIPI, 1990. S. 28. 9.Klyuchnikov S.Yu. Path to yourself: How to awaken creativity. Ed. 3rd, revised, add. M.: Belovodie, 2006. - 544 p. 10.Leontiev A.N. Lectures on General Psychology. Textbook. St. Petersburg: Meaning, Academy, 2007. - 512 p. 11.Martynovskaya S.N. On the criteria for actualizing the creative potential of a future specialist // Contemporary Issues science and education. - 2006. - No. 1 - P. 70-70 URL: www.science-education.ru/9-81 (date of access: 06/09/2011). 12.Maklakov A.G. General psychology: Textbook for universities. - St. Petersburg: Peter, 2007. - 583 p.: ill. - (Series "Textbook of the new century"). 13.Molyako V.A. Problems of the psychology of creativity and the development of an approach to the study of giftedness // Questions of Psychology. 1994. No. 5. pp. 86-95. 14.Naumova N.E. Development of creative potential and personal abilities of students.URL: #"justify">15. Nemov R.S. Psychology. Textbook for pedagogical students educational institutions. Moscow: Vlados. 1998. 16.Ponomarev Ya.A. Psychology of creativity. M.: Science. 1976 - 303 p. 17.Rubinshtein S.L. Fundamentals of General Psychology: in 2 vols. - Vol. 1. - M., 1989. (Imagination: 344-360.) 18.R. Rimskaya, S. Rimsky. Practical psychology in tests, or how to learn to understand yourself and others. - M.: AST-PRESS KNIGA.1997. - 400 pages, 4 sheets. Il. - (practical psychology) 19.Tertel A.L. Psychology. Course of lectures: textbook. allowance. Prospekt Publishing House LLC, 2006. -248 p. 20.Fetiskin N.P., Kozlov V.V., Manuilov G.M. Socio-psychological diagnostics of personality development and small groups. - M., 2002. C.65-67. 21.Kharlamova T.M. Creativity in the structure of artistic abilities of a teacher of fine arts [Electronic resource] // Psychological research: electron. scientific magazine 2010. No. 3 (11). URL: www.psystudy.ru/index.php/num/2010n3-11/329-kharlamova11.html (date of access: 06/08/2011). 22.Chufarofsky G.A. General foundations of psychology. 4th edition. Moscow: Vlados, 2000. 23.Yakovleva E.L. Thesis. Psychology of the development of the creative potential of a schoolchild. 1997 URL: www.childpsy.ru/dissertations/id/20273.php/ 24.Internet magazine POINT/Creativity Test/URL: www.point.ru/news/stories/2027/#story (Accessed 05.05.2011). 25.Wikipedia is the free encyclopedia. Creativity. URL: #"justify">26. Wikipedia is the free encyclopedia. Creation. URL: #"justify">27. Electronic resource. Personality and creativity. URL: #"justify">28. Electronic resource. School of young writers. Forum. URL: #"justify">29. Electronic resource. Tests collection for the class teacher / Evaluation of the level of the creative potential of the individual / URL: #"justify"> 30. Electronic resource. Library on-line. Creativity score/URL:#"justify">31. Electronic resource. Tests. The work of a journalist: your creativity / URL: http://evartist.narod.ru/text8/34.htmSimilar works to - Methods for diagnosing creativity
A.V. Lukanowska
The article focuses on the structural components of the creative potential of the individual. There are various interpretations of the phenomenon of creativity, its nature, basis, structure of the creative process, methods of developing creative abilities, etc. Recently, the search for ways and means of developing the creative potential of the individual has intensified.
Key words: creativity, creative activity, creative abilities, creative potential of the individual, structural components, psychological aspect.
The article focuses on the structural components of the creative potential of the individual. There are various interpretations of the phenomenon of creativity, its nature, foundation, structure of the creative process, methods for developing creative abilities, etc. Recently, the search for ways and means of developing the creative potential of the individual has intensified.
Key words: creativity, creative activity, creative abilities, creative potential of the individual, structural components, psychological aspect.
The problem of creative development of personality is acute in the modern world. Every civilized country, or one that wants to be civilized, takes care of the creative potential of society in general and of each person in particular. All this together is connected with the level of general education, attention to the development of the creative potential of the individual, giving her the opportunity to show her abilities.
Today, creativity is proclaimed an integral part of any human activity. And the place of creativity in the structure of activity will increase in connection with the transformation of the human environment from natural to created, man-made. The urgent need to intensify creatively transformative activity in the new realities of social development has necessitated a deep scientific development of the problem of creativity. As a result, the problem of creativity, the problem of man as a creator, the problem of human life as a creative ascent to one's own "I" are among the most important in philosophy, psychology and pedagogy. The main attention is paid to the development of the creative potential of the individual. Scientists are looking for means to identify and develop the natural talents of each child, to help her realize herself, to make creativity an integral part of her activity. This is explained by the fact that creativity makes a person happy and useful to society.
In the 20-30s of the XX century. Creativity was studied mainly by psychologists and physiologists. From the second half of the 1950s to the present, the phenomenon of creativity has been developed at various levels. The works of G. Altshuller, D. Bogoyavlenskaya, I. Volkov, A. Shumilin and others are devoted to clarifying the essence of creativity and its mechanisms. G. Kostyuk dealt with questions of the psychology of creativity in his time. He carried out an analysis of abilities, their structure, with an emphasis on the importance of natural inclinations, which are successfully developed in the corresponding activity. Labor JI. Vygotsky, I. Volkov, A. Luka, O. Leontiev, V. Molyako, Ya. Ponomarev, V. Chudnovsky
Yurkevich and others reveal the ways and means of developing the creative abilities of the individual. The works of I. Semenov,
Stepanov, V. Molyako, V. Rybak. Sh. Amonashvili, D. Jola. B. Nikitin, V. Sukhomlinsky, V. Shatalov and others discovered the pedagogical conditions for the development of creative abilities, found out the features of the development of creative abilities of schoolchildren in various types activities. The problems of developing the creative abilities of schoolchildren of different ages are discussed in the works of A. Andreichak, I. Bekh, D. Bogoyavlensky, A. Bodalev, M. Borishevsky, A. Vasilyeva, E. Golovakha, V. Davydov, A. Kirichuk, A. Kononko , A. Kronik, I. Kulaginoi, N. Leites, A. Luka, A. Matyushkin, V. Molyako, V. Rybaki, L. Fridman, M. Friesen, I. Yakimanskaya, E. Yakovleva and others. D. Dzhola and B. Shcherbo point to the importance of aesthetic education, the role of art in the development of the creative abilities of students of different age groups. A. Maslow, V. Molyako, V. Rybak, K. Rogers and others explore the dependence of a person's creative abilities on the social conditions of his dwelling. Side effects K. Abulkhanova-Slavskaya, Yu. Babansky, V. Davydov, I. Rodak, P. Pidkasisty and others are studying the involvement of schoolchildren in creative activity (including the formation of their cognitive activity).
An analysis of the results of the studies performed allows us to state that the researchers managed to reveal the significance of figurative thinking in the creative process, to track its connection with verbal-conceptual thinking, to rethink the connections between thinking and speech, to show the role of the subconscious and intuition in creativity, to determine hypotheses, analogies, modeling in the creative search for problem solving, understand the relationship between formal and dialectical logic, show that dialectical logic is the logic of creativity, inventions and discoveries.
The versatility of creativity attracts attention, its various aspects are reflected in the concepts of creativity, creative possibilities, creative abilities, creative thinking, creative activity, creative attitude, creative activity, creative work, creative personality. For a long time, creativity was seen as the most fully expressed manifestation of the human spirit. At the same time, it was believed that this phenomenon does not lend itself to scientific analysis at all.
Creativity is often defined as an activity, the result of which is the creation of qualitatively new material and spiritual values. Together, creativity is the ability of a person to create a new reality from the existing material of reality on the basis of knowledge of the laws of the objective world. A body that satisfies a variety of social and personal needs.
Shumilin identifies the following signs of creativity.
Creativity is an activity that consists in the production of essentially new social values: methods of activity, material and spiritual products.
Originality - non-standard methods and means are used.
Creation of new useful combinations from elements of existing objects, methods, means by combining.
Organic connection with the knowledge of reality. Creating new values, a person relies on existing knowledge and at the same time expands it. The act of creativity is at the same time an act of knowledge. The two main ways of cognition are the disclosure of existing patterns due to the reflection of reality and in the process of transforming reality, in creativity.
Creativity is a form of development of society, environment, culture.
Creativity is the highest type of activity, a form of development and a generic essence and sign of a person.
Creativity is characterized by the unity of the ideal and the material.
Molyako states that "in psychological aspect creativity should be understood as the process of creating, discovering something new, previously unknown to this particular subject.
Within the framework of this approach, creativity is studied in two main aspects - procedural and personal. In the procedural aspect, the features of the subject's transformation of the object of creativity, objective reality as a whole, are determined. Therefore, the stages, stages, phases and results of the named transformation come to the fore. In the personal aspect, the main place is occupied by the qualities, abilities of the personality as a subject of creative activity, its needs, motives, interests, knowledge, skills, characterological properties, emotions, feelings, etc., as well as their development. Recently, the tendency of rapprochement, the combination of the procedural and personal aspects of the study of the problem of creativity, has become more and more pronounced. This is facilitated by the introduction systems approach in scientific research.
It should be noted that the study of creativity actualized the rapid development of production in the late XIX - early XX centuries. As a consequence, there are studies of scientific and technical creativity; subsequently, individual aspects of organizational and artistic creativity are intensively studied.
Creativity at its different levels is available to everyone. In the understanding of creativity as an activity, it gives rise to a fundamentally new one, contains a statement about the absence of a creative principle in an ordinary person, which is available and is convexly represented in gifted individuals. From this position, K. Cox, K. Taylor, E. Rowe and others explore the characterological, emotional, motivational, communicative qualities of gifted individuals, as a result of which their generalized personality portrait is created. In contrast to the indicated JI. Vygotsky wrote that the highest manifestation of creativity is still available only to a few selected geniuses of mankind, but in Everyday life everything that surrounds us, creativity is a necessary condition for existence, and everything that goes beyond the limits of routine and contains at least an iota of new, obligations "is linked by its origin to the creative process of man.
The internal source of creativity is the interaction of the qualities and properties of the individual, capable of realizing a particular creative act. This phenomenon is called creativity. Potential is a value that characterizes potential energy subject of creativity. Creativity in philosophical terms is considered as a synthetic quality of the individual, characterizes the measure of P opportunities to set and solve new problems in the field of activity of social importance. It can be represented as a set of transformative-objective (skills, abilities, abilities), cognitive (intellectual abilities), axiological (value orientations), communicative (moral and psychological qualities), artistic (aesthetic abilities) possibilities. The mental characteristics of a person are considered in psychology as the consequences of a spontaneous process of deployment of hereditary development programs, and also as a result of the formation of the human psyche in certain cultural, social, historical conditions. Throughout the previous history of development, thanks to heredity, humanity has accumulated the necessary potential for creative activity.
The internal personal tendency to creative problem solving is called "creativity". From a psychological point of view, creativity is closely related to other traits in a holistic system of personality traits. Views on the nature of creativity are revealed in the works of S. Arieti, E. Chris, JI. Cuba. It was the subject of a special study in the studies of such scientists as Wallach, J. Gilford, X. Gruber, J. Davidson, V. Druzhinin, N. Kogan, V. Kozlenko, P. Kravchuk, JI. Lyakhova, S. Mednik, V. Molyako, G. Mooney, J. Odor, Ya. Ponomarev, P. Torrens, K. Torshina, D. Feldman, D. Harrington, A. Stein and others.
D. Bogoyavlenskaya considers intellectual activity to be the main indicator of creative potential. E. Yakovleva understands creativity as a personal characteristic, but not as a set of personality traits, but as a person's realization of his own individuality. Human individuality is inimitable and unique, so realization is a creative act (introducing something new into the world, moreover, non-existent). The characteristics of creativity, from her point of view, are objective (in the sense of the presence of a product, material or ideal), non-processual, because this is the process of revealing one's own individuality. The expression of one's own individuality is nothing but the expression of one's feelings, emotions. Smell, taste, tactile, sound, visual sensations are used to provide opportunities for emotional self-expression. Breaking patterns of emotional response provides an opportunity to develop your own, individual, unique repertoire of emotional response.
The structure of abilities, according to A. Melik-Pashayev, is not a combination of individual qualities, but the number of manifestations of "something united." The analysis shows that the views of this author are somewhat different from the concept of abilities professed by representatives of the scientific school of the activity approach: abilities not only manifest themselves in the process of activity, but also arise in it. Abilities are a condition for successful activity, at the same time they develop in the process of activity. Involvement in creative activity, in particular, determines the development of a person’s imagination, thinking, the ability to abandon the usual methods of solving problems, evaluate a phenomenon from several points of view at once, see more of what others see, quickly focus and switch attention, etc. .
In his study, I.S. Voloshchuk notes that the structural creative potential of the individual is determined by the main forms of manifestation of the human psyche, namely: cognitive and emotional-volitional processes, mental states, properties, etc. The above means the fact that the creative potential of the individual has a universal human nature.
Since creative ideas have an empirical basis, the creative potential of an individual, of course, is determined by his ability to reflect objects and phenomena of objective reality. At the same time, there is no scientific data that testifies to the connection between the creative potential of an individual and the characteristics of his sense organs. This is the basis for considering the latter as necessary condition mental activity and not single them out as a component of the creative potential of the individual. Together, intuition suggests that the creative abilities of the individual in a certain way must have depended on the specific processes of sensation. Indirect confirmation of what has been said are cases of significant creative abilities of individuals with unique characteristics of the processes of sensation at the expense of the loss of others.
Creativity potential is, of course, the ability of an individual to concentrate on an object of perception, which determines the strength with which its individual properties act on the senses, and the effectiveness of activation of temporary nerve connections.
One of the signs of an individual associated with his inherent features of perception, without which his work is not conceived, is observation. Observation is manifested in the ability to notice in the object of perception imperceptible, but significant details. It is they who allow us to see and formulate a problem that requires its solution. Observation is a basic quality of personality.
For effective creative activity, it is necessary to have the ability to optimally perceive objects and phenomena of the objective world. In the case of excessive breadth of the formulated problem, it is very difficult to find its solution. In the case of an excessively narrow problem, it actually does not exist as such, and the solution is more in the nature of an image of simple improvement than a qualitatively new approach.
The creative potential of an individual is also his ability to perceive objects and phenomena of the surrounding reality optimally and holistically. Perceiving this or that object, a person must see it as a whole and, at the same time, single out its components. Excessive integrity makes it difficult to see behind the whole its structural components. Insufficient integrity of perception, on the contrary, does not allow one to form a whole out of individual components and see in it something different from the sum of structural components.
It is known that not all details of an object or phenomenon are equally brightly reflected in the representation. Those that have significant significance for the individual appear in relief, those that do not have such significance are indistinct. The same properties of objects and phenomena in some cases may appear essential, in others - insignificant. Therefore, for effective operation with them and, ultimately, for creativity, it is important to perceive objects and phenomena of the objective world in the largest possible combination of their properties and represent them in situations in which various properties act as essential. This quality of the individual helps him to see objects and phenomena of the objective world from different angles of view, makes the idea of them dynamic and actually opens the way to using them in non-standard situations, when the non-essential properties of objects and phenomena become essential.
The leading place in the structure of the creative potential of the individual is occupied by the characteristics of the imagination. Creating a mental image, an individual uses previous experience, analyzes it, singles out structural elements in it, applies some of them, combining them according to his plan, or completely accidentally comes to create a new image. If an individual easily combines individual elements that are interconnected by a deep connection, then he has a rich imagination.
Since by-products of object action participate in the production of new ideas, the creative potential of the individual must necessarily be represented by his well-developed involuntary memory. In addition, for productive creativity, it is important that the memory is mobile and accurate.
Among the structural components of the creative potential of the individual, perhaps, the central place belongs to the qualities of thinking. J. Gilford claim??, what for creativity special meaning have such signs of thinking as speed, flexibility, originality and accuracy. E. Torrens is on the same positions. It is quite natural that a well-developed logical thinking is necessary for productive creative activity, since the creative process begins with the formulation of a problem situation: analysis of what is available, identification of imperfect, obsolete in it, advancement of the ultimate goal, discovery of a contradiction between the data of the situation and the ultimate goal. No less important in the structure of the individual's creative potential is well-developed intuitive thinking, since new idea is the result of the intersection of two independent series, a leap of thought aimed at overcoming the psychological barrier, carried out on an intuitive level.
One of the prerequisites for creative thinking (without which it is impossible to solve a creative problem) is the ability of an individual to think independently. In order for an individual to be able to think independently, he must first of all possess such a trait of character. Yu as courage. After all, in order to find a creative solution to a problem, you need to question the existing solution. To find a problem, to formulate a problem, it is often necessary to challenge the authorities on the exhaustibility of their proposed systems or solutions to certain problems. Of course, courage must be developed as far as possible, since general criticism of the results of other people's labor, rejection of the ideas of others has nothing to do with productive creativity. From the individual is required not only the ability to question the reliability or completeness of the results obtained by others, but also to offer their own effective solutions to this criticized. Therefore, the courage of criticism and doubt has to be supplemented by fear that one's own results will be better and more effective. As a result, smart balance, slightly shifted towards doubt, should characterize the creative potential of the individual.
Offering a solution to a creative problem, a person, as a rule, cannot foresee all the consequences arising from it. This is especially true of organizational technical creativity. In this case, one has to make risky decisions that can result in serious economic or social problems. If you do not offer innovative (partially risky) solutions, then there are more chances to avoid conflict situations, but non-risk steps, as a rule, are trivial, not much different from existing methods for solving certain problems. This, of course, does not mean that any risky decisions can be justified. Risk must necessarily take place in creative activity, but the risk must be weighed, thought out. To make risky decisions, you must first predict the consequences of your actions. And yet, with a relative balance of willingness to take risks and the desire to accurately predict the consequences of the proposed solutions to certain problems, the former should prevail in the creative potential of the individual. And this is possible under the condition that an individual has such a character trait as courage.
Decisiveness is a valuable personality trait. Often the individual realizes that the method, device or process that he uses does not give the desired results, and therefore must be improved. Often he even has an idea for such an improvement, but the forces of inertia prevent him from taking on improvement, joining the creative process. Sometimes he is sure that he will bring the matter to its logical conclusion, will receive a positive result, and therefore does not dare to take up its implementation. Determination is needed to overcome the forces of inertia.
A person involved in innovative processes, due to objective circumstances, is constantly forced to defend his views, ideas, solutions to certain problems. Often such upholding is accompanied by a clash of interests, a conflict with representatives of other views on the same problems. As a rule, the forces are uneven, therefore it is always more difficult to introduce the new than to defend the old. So, from an individual who proposes new solutions to a problem, a certain courage is required in order to withstand, not to submit and defend his case, giving a start to life to his own decisions. Meanwhile, it may happen that ideas that seemed right, in time, in the process of discussion, turn out to be false. Then courage is needed again, but not in order to prove anything that one is right, but on the contrary, in order to abandon one's views.
An equally valuable feature in the structure of creative potential is perseverance in achieving the goal. Here we mean volitional efforts aimed at overcoming the difficulties that arise in the process of solving a creative problem. Perseverance helps to prove solutions Connect to their logical conclusion, not ziits from a distance halfway. The path to the heights of creative achievements is thorny and difficult. Often a scientist or artist encounters seemingly insurmountable difficulties on it. In such a situation, faith should come to the rescue that it is possible to reach the cherished distances, that the difficulties are temporary, that not the whole road is covered with them, that there will be minutes of rapid approach to the goal. It is impossible to convince yourself of this without being an optimist.
A valuable component of the creative potential of the individual is to give them the advantage of the complex over the simple, the desire to know the meaning, and not be limited to the form. This contributes to the individual obtaining non-traditional, non-standard solutions to creative problems, as well as the formulation of problems, the solutions of which potentially contain a significant leap forward, since the contradictions in the content are always fundamental?? And, than the contradictions in form, and the elimination of the first is always accompanied by more radical changes than the elimination of the rest. In the process of solving problems, a person is faced with the opportunity to turn off the non-standard path of developing his opinion and go on the knurled path. In order not to be tempted to such actions, the individual must have the desire to move away in the process of solving problems as far as possible from ordinary, trivial solutions, while at the same time showing his "I", the originality of his own thinking, in essence is the same preference for the complex over the simple. It must be remembered that the desire to move away from the usual as far as possible should not be an end in itself, but should serve as a condition for finding an original solution to a creative problem. The desire to be original in everything is as harmful as the unwillingness to stand out from others.
Complex tasks often require the mobilization of the creative forces of a whole group of scientists, engineers, economists, etc. The effectiveness of a collective search for a solution depends on many factors, the leading among which are the individual's adherence to principles in essentials and compromise in trifles. Where we are talking about principles, fundamentals, a fundamental difference in approaches, there you need to prove your case within reason until you convince your opponent, or you yourself are not convinced. But where we are talking about partial, superficial, not fundamental, to the individual for the sake of the general positive result you need to be able to compromise, agree with your opponent, even without completely sharing his views. The optimal ratio of adherence to principles and compromise in the character of the individual helps him bypass competing factors in the process of independent work on the problem. This is especially true for technical and organizational creativity, when it is impossible to negate the negative impact of certain factors, and therefore something has to be eliminated, and something has to be put up with. The effectiveness of collective and individual creativity is largely affected by the impartial attitude of the individual to other people's views, thoughts, ideas, etc.
An active life position must find its place in the creative potential of the individual! modesty in assessing the results of their own work. People with an active lifestyle seek to master the forces of nature and use them for the benefit of mankind. Individuals who are characterized by the above modesty are aware of the meagerness of their own achievements in comparison with the huge size of unsolved and available problems for solution.
The purposefulness of the individual affects the results of creative activity. Each person, in order to achieve something in life, needs to set a certain goal for himself and, without changing it, gradually approach it. This requirement somewhat contradicts the guidelines for comprehensive development. Therefore, in order to achieve success in creativity, an individual has to optimally combine general and special knowledge and interests and, on this basis, purposefully achieve the goal in life.
Structurally, the individual's creative potential also appears to be a balanced demand for the results of his labor. History of science and technology, etc. replete with examples when the authors, having made a certain discovery or invention, were in no hurry to publish them. There are cases when the emotional result of the results obtained is so great that the author is unable to resist not to report them, additionally, NOT convinced of their authenticity. Both the first and second extremes are harmful.
An important feature of the character of a person is a passion for streamlining, systematizing existing knowledge and ideas. Looking for a logical connection between the individual elements, which consist of a certain structure, the individual often comes across elements that do not fit with all the others. In this case, empty spaces, unfilled cells may appear in the formed structures. The opening of such empty cells is a prerequisite for the emergence of a problem situation and the formulation of a problem or a creative task. At the same time, this character trait should not contradict tolerance for temporary without order, chaos, absurdity. On the example of the interaction of these features, their dialectical relationship is observed. First, the individual seeks to organize the existing material, then it turns out that he ordered it not in order to be satisfied with it, but in order to come through order to a new disorder, and so on without end.
A. Melik-Pashayev is one of those researchers who attribute spirituality to the components of the creative potential, although in his interpretation it appears in the concept of “soul”. A. Kirichuk considers spirituality as an important prerequisite for the creative self-realization of the individual, and not on an ideal, but on a real-practical level. This author considers spirituality not as an a priori existing substance, but as one that should be purposefully developed in a person. The spirit is considered by him as the immanent ability of a person to free action, deed, spirituality - as a systemic mental formation, a specific human trait, is represented by its value-semantic consciousness, in contrast to the conceptual-logical one; catharsis (in general terms) - true self-purification, aimed at separating the individual (personality) from the environment and its unlimited rise above this environment. Spiritual-cathartic activity is manifested at the creative-creative level of self-regulation of leisure-playing, physical-health-improving, artistic-figurative, object-related, educational-cognitive, social-communicative, socially useful, national-civil activity of the individual. A prerequisite for spiritually cathartic activity is a sufficiently developed "I" - the concept of "personality" - a system of ideas of a person about himself, on the basis of which he builds his relationship with the world and himself.
Realizing the complexity of the structure of the creative potential of an individual, some researchers still try to identify in it such qualities that, with their minimum quantity, would characterize creative intelligence as a whole. In one of the approaches, divergence of thinking is distinguished among the dominant features. Imagination is often distinguished among the leading personality traits. Often, a creative person is associated with an individual who is characterized by learning from past experience. Sometimes the level of creativity of an individual is judged on the basis of how he gets out of impasses with temporary setbacks. There are cases when the value, emotional-motivational and intellectual spheres are distinguished in the structure of creative potential. There are other approaches to revealing the structure of the individual's creative potential, but all of them, despite their value, have certain drawbacks, typical of which are their limitations, tearing out individual qualities from the integral structure of the personality.
Recently, the search for ways and means of developing the creative potential of the individual has intensified. This is explained by the fact that in the conditions of high-tech production without the proper creative potential, an individual, a social group or a people find themselves on the sidelines of civilizational processes. E. Yakovleva, in particular, developed a program for the creative development of the individual, tested on school-age students. The program consists of four blocks: 1) "I-I" (communication with myself), 2) "I am different" (communication with another)
"I am society" (communication with public institutions) 4) "I am the world" (how I explore this world). This program was developed taking into account the fact that the undoubted dependence of the level of development of abilities on natural inclinations, features nervous system; Another source of development of abilities is the social conditions of training and education of the individual.
So, we can conclude that the structural creative potential of the individual is determined by the main forms of manifestation of the human psyche, namely: cognitive and emotional-volitional processes, mental states, properties, etc. Creativity, no doubt, is determined by the ability of the individual to concentrate on the object of perception . One of the signs of an individual, without which his creativity is not conceived, is observation. For effective creative activity, it is necessary to have the ability to optimally perceive objects and phenomena of the objective world. Creativity is also determined by the ability to perceive objects and phenomena of the surrounding reality optimally and holistically. For creativity, it is important to have the ability to perceive objects and phenomena of the objective world in the largest possible combination of their properties and represent them in situations in which various properties act as essential. The leading place in the structure of the creative potential of the individual is occupied by the characteristics of the imagination. Since by-products of object action are involved in the production of new ideas, the creative potential of the individual must necessarily be represented by his well-developed involuntary memory, in addition, for productive creativity, it is important that the memory be mobile and accurate. Among the structural components of the creative potential of the individual, perhaps, the central place belongs to the qualities of thinking; of particular importance are such signs of thinking as speed, flexibility, originality and accuracy; it is natural that logical thinking is well developed for productive creative activity; no less important in the structure of the individual's creative potential is a well-developed intuitive thinking. One of the prerequisites for creative thinking is the ability of the individual to think independently. In order for an individual to be able to think independently, he must first of all possess such a character trait as courage. Decisiveness is a valuable personality trait. From the individual who proposes new solutions to the problem, a certain courage is required. In order not to get lost in an uncertain situation, the individual must be an optimist. An equally valuable feature in the structure of creative potential is perseverance in achieving the goal. A valuable component of the creative potential of the individual is to give them the advantage of the complex over the simple, the desire to know the meaning, and not be limited to the form. The effectiveness of a collective search for a solution to a problem depends on many factors, the leading among which is the individual's adherence to principles in essentials and compromise in trifles. The effectiveness of collective and individual creativity is largely affected by the impartial attitude of the individual to other people's views, thoughts, ideas, etc. In the creative potential of the individual, an active life position of the individual and his modesty in evaluating the results of his own work find their place. The purposefulness of the individual affects the results of creative activity. Structurally, the individual's creative potential also appears to be a balanced demand for the results of his labor. An important trait of a person's character is a passion for streamlining, systematizing existing knowledge and ideas; however, this character trait should not contradict the tolerance for temporary disorder, chaos, absurdity. The components of the creative potential of the individual include his spirituality.
Bibliography
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The emphasis on the structural components of personality creative potential is made in the article. Various interpretations of the phenomenon of creation, its nature, basis, structure of creative process, methods of development of creative capabilities take place and others like that. The searches of ways and facilities of development of personality creative potential activated lately.
Key words: creation, creative activity, creative capabilities, creative potential of personality, structural components, psychological aspect.
- contradictions
- Relevance of the problem
- Goal and tasks
- Main part
- Diagnostics of the development of the creative potential of students
- Expected results
- Main tasks for achieving results
- Planned educational outcomes
- Conclusion
- Introduction
We live in the age of the scientific and technological revolution, and life in all its manifestations is becoming more diverse and more complex; it requires from a person not stereotyped, habitual actions, but mobility of thinking, quick orientation, and a creative approach to solving large and small problems. It is easier for a person with a creative mindset not only to change professions, but also to find a creative "zest" in any business, get carried away with any work and achieve high labor productivity.
The school must respond to these changing social conditions: we must teach creativity in the same way as reading, math and other subjects.
- contradictions
In modern scientific, methodological and practical research, an effective model of the educational process for the development of the creative potential of students has not been determined, and optimal mechanisms for its implementation have not been identified. There are no sufficiently clear, systematized conditions for optimizing the declared pedagogical system in the educational process, which is focused on the requirements of a new personal paradigm of education, which puts the development of the child's personality at the forefront; there are no programs for the development of the creative intelligence of students, necessary for the implementation of intellectual and creative activities.
Thus, there are currently contradictions:
Between the objective need for the development of the intellectual and creative potential of the student and the insufficient development of the theoretical and technological foundations of this problem, the lack of experience in this direction in the practice of educational institutions;
Between the focus of the majority of students on performing activities and the unwillingness of a number of teachers to create special development environments that contribute to the education of the necessary attitudes in the child's activity to realize the value of gaining creative experience in the intellectual field of activity and the need to carry out this work in connection with the requirements for a modern school;
Between the need for a generation of people who are able to think outside the box, and the lack of such models of the educational process that would maximally contribute not to the formation of normative knowledge among students, but to the formation, development, improvement of personal qualities that provide the possibility of realizing the intellectual and creative potential.
1.2. Relevance of the problem
The new organization of society, the new attitude to life, make new demands on the school. Today, the main goal of education is not only the accumulation by the student of a certain amount of knowledge, skills and abilities, but also the preparation of the student as an independent subject of educational activity. At the heart of modern education is the activity of both the teacher and, no less important, the student. It is this goal - the education of a creative, active personality who knows how to learn, improve independently, and the main tasks of pedagogical activity are subordinated.
The social order of society orients the domestic educational process towards the development of a creative person who has not only deep and solid knowledge, but is able to solve the problems of the new century at a high level. But today's education system is experiencingacute deficit in the experience of creative activity, and there is a need to create new pedagogical programs and methods that will contain a component of the development of creative abilities in schoolchildren of different ages. And also, special attention should be paid to the development of individual creative abilities of the younger generation.
Solution to this problem involves an increase in the number of classes with in-depth study of individual subjects in the field of humanitarian, natural-mathematical, technical disciplines, the differentiation of the educational process in all schools of the country, the introduction of methods for developing creative abilities among students in grades 5-9 in lessons in cultural disciplines.
- Objective - a review of the means and methods for developing the creative potential of middle-level students (grades 5-9) in lessons in cultural disciplines (music, fine arts, literature, history, social science, etc.).
- Main part
- Creativity and its development.
Creative potential is a set of human qualities that determine the possibility and limits of his participation in labor activity.
Creativity is a complex, integral concept that includes natural-genetic, social-personal and logical components, which together represent the knowledge, skills, abilities and aspirations of the individual to transform (improve) the world around them in various fields of activity within the framework of universal norms of morality and ethics.
Any person has creative potential, you just need to create conditions for its disclosure and development. The process of formation of the child's personality and its abilities can be carried out only in education. But it begins long before school age, almost from the first day of a child's life. Each individual is born with biological prerequisites for search activity, which is already manifested in newborns. But this quality can be finalized, realized only in the process of individual development and training. The development of the creative potential of students includes the following components:
- expansion of the general outlook and erudition of children, replenishment vocabulary, increasing the level of activity and creativity when performing tasks of any nature and complexity;
- mastering students' mental and practical skills;
- diagnostics of personality's creative abilities;
- control of knowledge and skills by the teacher;
- actualization of knowledge, skills, creative abilities of the individual.
The initial prerequisite for the development of abilities in primary and secondary students are those innate inclinations with which the child is born. With the appropriate inclinations, abilities can develop very quickly even under adverse circumstances (lack of proper attention from parents and teachers, little practice, superficial theoretical knowledge, etc.). However, excellent inclinations in themselves do not automatically ensure high achievements. On the other hand, and in the absence of inclinations, (but not with complete), a person can, under certain conditions, achieve significant success in the relevant activity.
For a student, all activity is to learn, to acquire a certain set of knowledge, skills and abilities in various subjects. And therefore, the task of teachers is to create such conditions for each child so that he can learn all this as much as possible, as much as possible.
- Structure of creativity
Creativity includes components:
Motivational target;
Operational and activity;
Reflective-evaluative.
Motivational targetthe component reflects a personal attitude to activity, expressed in goals, interests, motives. It assumes that students have an interest in a certain type of activity, the desire to acquire general and special knowledge, skills and abilities. Represented by external motivation, which provides interest in the subject, and internal motivation, which is more significant for creative activity, is:
Motivation based on the result, when the student is focused on the results of activities;
Motivation by process, when the student is interested in the process of activity itself.
Operational and activity componentbased on the organization of creative activity. It includes methods of mental actions and mental logical operations, as well as forms of practical activity: general labor, technical, special. This component reflects the ability of students to create something new and is aimed at self-determination and self-expression in individual creative activity.
Reflective-evaluative componentincludes: internal processes of reflection and introspection, self-assessment of one's own creative activity and its results; assessment of the ratio of their capabilities and the level of claims in creativity.
- The use of means and methods for the development of the creative potential of the individual in the lessons of cultural subjects
For the successful development of the creative potential of students in the lessons of cultural disciplines, I use a number of basic methods for organizing the educational cognitive process:
Basic methods of organizing the educational process | Types of work/activities |
work with text | a) retelling, searching for answers to the questions posed, and compiling questions to the text; b) first-person retelling, in which the student is asked to tell the story in their own name; c) act out the text “in roles” (theatrical performance of the song - clip); d) in grades 7-9, work with an additional source when writing essays, speeches, projects. |
work with written tasks of various types | a) various types of tests: closed, semi-open and open, when the student himself completes the correct answers b) tasks like "Fill in the meaning" and "Insert the missing words", "Define the concept" or "Select the appropriate term for the definition" c) tasks for building logical chains: insert the missing link, complete the logical series, the definition of a person, concept or term according to a description or example d) assignments for the definition of logical pairs and correlation: “Connect by meaning”, “Select the match”, “Define the identity of concepts” e) tasks for the selection of synonyms, antonyms, paronyms, rhymes to words f) composing several small words from one compound word simple words, the solution to the charade of words g) playing the "Field of Miracles" h) filling in the tables i) solving puzzles, crosswords, scanwords, etc. |
work with illustrative material and artistic creativity | a) creation of drawings, illustrations for the text, comics; B) work in special workbooks; c) creation of graphs, diagrams, statistical sweeps, visual models based on graphs |
A large role is given to the methodology of working with technical teaching aids. According to their purpose and features of use in training, educational and information materials are divided into:
- demonstration (filmstrips, transparencies, video recordings, etc.);
- control and verification (tests, standardized questions and tasks, control programs, etc.);
- control and training (training programs, training programs);
- algorithmic.
According to UNESCO, when a person listens, he remembers 15% of speech information, when he looks - 25% of visible information, when he sees and listens - 65% of the information received. Thus, the need to use TCO, which, as audiovisual means, can affect various senses, is undeniable.
The most valuable are the works of a research nature, carried out with students both in the classroom and in extracurricular work, contributing to the formation of analytical skills, the ability to work with primary sources.
Research work often requires parental involvement, but an important condition is the clarification of the essence of project methods and its significance for the development of the personality of children. Parents need to disclose the main stages of project activities and the forms of their possible participation in it so that they do not take on part of the work on projects, otherwise the very idea of the project method is ruined. But help with advice, information, manifestation of interest on the part of parents is an important factor in supporting motivation and ensuring the independence of schoolchildren when they carry out project activities.
This method is always focused on the independent activity of students - individual, pair, group. Various forms of independent activity are used: research, study of literature, analysis of the work, selection of illustrations.
Individual abilities of students are taken into account: strong - a difficult task, weak - according to their real capabilities.
The research method makes it possible to apply one's knowledge in new situations, forms the leadership features of a creative personality and is a condition for the formation of interest in the subject being studied.
Extra-curricular activities play a huge role in the development of creative abilities. It contributes to moral and aesthetic education, introducing students to cultural traditions, reveals the individual abilities of each child and is able to organize a teenager's leisure. That is why it should be interesting and exciting.
The traditional type of extracurricular activities is the holding of literary and musical evenings. The children are divided into groups, distribute duties, independently select musical arrangements, prepare theatrical performances (fairy tales of the peoples of the Volga region), select costumes and scenery with enthusiasm, and rehearse. Such work contributes not only to the development of creative abilities, but also artistic and aesthetic taste, teaches the culture of stage behavior.
- Diagnostics of the development of the creative potential of students.
Among the creators of theories and tests of creativity for children, the most famous is an American psychologist who has devoted his whole life to this problem. This is Paul Torrance. Creativity studies were started by him in 1958, but long before that were prepared by his practical work as an educator and psychologist with gifted children and adults.
CREATIVITY was defined by P. Torrens as a process of emergence of sensitivity to problems, lack of knowledge, their disharmony, inconsistency, etc.: fixing these problems; search for their solutions, hypotheses; testing, changing and retesting hypotheses; and. finally, the formulation and communication of the result of the decision (1974). In order to more accurately define what creativity is, Torrens considered at least about fifty formulations.
As a result, he settled on the definition of creativity as a natural process that is generated by a strong human need to relieve tension that arises in a situation of uncertainty or incompleteness. Consideration of creativity as a process makes it possible to identify both creative abilities and the conditions that envelop and stimulate this process, as well as evaluate its products (results).
(Appendix No. 1)
- Expected results
3.1. Main tasks for achieving results
Develop in students:
1) the desire to acquire new knowledge in the lessons of cultural subjects;
2) the ability to independently acquire knowledge and study scientific facts;
3) the ability to use the acquired knowledge in practice;
4) creativity and initiative.
3.2 . Planned educational outcomes
1. Assimilation by students of additional educational programs that ensure the full development of the individual.
2. Development of personal motivation for knowledge and creativity.
3. Expansion of cognitive abilities and creative activity of children.
4. Formation of theoretical knowledge and practical skills, disclosure of the creative abilities of the individual in the chosen field of activity.
5. Creation of conditions for self-realization, self-determination of the personality, its vocational guidance.
The development of the creative potential of students will be successful if:
Pedagogically stimulating factors and new methodological approaches will be found that are adequate to the characteristics of age development and the intellectual experience of students, increasing the productivity of thinking;
By expanding the individual experience of cognitive activity;
Educational information will be considered by the teacher and the student as a cultural and educational material that reflects the intellectual and scientific heritage of mankind and has an open character;
The student will be focused on creating a new original product as a form of the results of his intellectual creativity;
The result of intellectual work will be evaluated by him and the teacher as a valuable product in itself, reflecting the dynamics of his mental activity, personal self-improvement and creating the basis for further self-development.
- Conclusion.
When choosing the means and methods of work to develop the creative potential of middle-level students in the lessons of cultural disciplines, the teacher should rely on simple universal methods of working with text, illustrative material, etc.
A significant disadvantage of the modern education system is the contradiction associated with the main goal of the educational process: on the one hand, the school should train future specialists in various fields, first of all, teach and give the necessary amount of knowledge, and on the other hand, form the personality of the child, which can develop independently, independently learn and perceive the world around them.
The resolution of contradictions is possible only with the implementation of an individual and differential approach in teaching and upbringing, the integration of content and approaches, the use of new technologies for developmental education, special training of teachers in the theoretical and practical direction, the creation of permanent and problematic creative groups (laboratories) for obtaining practical skills and development own creative potential of teachers.
The upbringing of a person, a citizen is a complex, multifaceted, and always relevant task. Creativity is the most powerful impulse in the development of a child. Potential genius lives in every person, and the task of the teacher is to develop creative forces in a small person. But for a creative atmosphere, freedom and a sense of confidence that creative manifestations will be noticed, accepted and correctly evaluated are necessary.
- Bibliography
1. Alekseeva, E.A. Creative potential of personality / E.A. Alekseev. - Nizhny Novgorod: VGAVT, 1998. - 31 p.
2. Alekseeva, T.B. Culturological approach in modern education: scientific and methodological manual / T.B. Alekseev. St. Petersburg: Book House, 2008. - 301 p.
3. Bozhovich L. I. Studying the motivation of the behavior of children and adolescents. - M., 1972.
4. Vorontsov A.B., Chudinova E.V. Educational activity. M., 2004.
5. Zhuravlev D. Motivation and learning problems. No. 9, 2002.
6. Korotaeva E.V. On the situation of success in educational activities. - RYASH No. 1, 2003.
Electronic resources:
1. Site materialshttp://www.allbest.ru/ ;
2. Site materials http://www.prescol.km.ru/
3.Materials of the site lib.direktor.ru
4. Materials of the site www.vestniknews.ru
Application No. 1
Exists great amount various methods of psychodiagnostics of human creative abilities. The most popular of these is the Torrens test.
Creativity according to Torrens (from the Latin creatio - creation) is a sensitivity to tasks, deficits and gaps in knowledge, the desire to combine diverse information; creativity identifies problems associated with disharmony of elements, looks for their solutions, puts forward assumptions and hypotheses about the possibility of solutions; checks and refutes these hypotheses, modifies them, rechecks them, and finally substantiates the result.
E. Torrens developed 12 tests grouped into a verbal, visual and sound battery. The non-verbal part of this test, known as the Torrens Figural Forms, was adapted by the Scientific Research Institute of General and Pedagogical Psychology of the APN in 1990. Another part of the test - "Completion of pictures" (Complete Figures) was adapted in 1993-1994 in the laboratory for the diagnosis of abilities and the PHC of the Institute of Psychology of the Russian Academy of Sciences.
The figured test by E. Torrens brought to your attention is intended for adults, schoolchildren and children from 5 years old. This test consists of three tasks. Answers to all tasks are given in the form of drawings and captions to them.
The time for completing the task is not limited, since the creative process involves the free organization of the temporary component of creative activity. The artistic level of performance in the drawings is not taken into account.
Torrens creativity test, diagnostics of creative thinking:
Instruction - description for the Torrens test, stimulus material:
Subtest 1. "Draw a picture."
Draw a picture, while taking a colored oval spot cut out of colored paper as the basis for the drawing. The color of the oval is up to you. The stimulus figure has the shape and size of an ordinary chicken egg. You also need to give a name to your drawing.
Subtest 2. "Completion of the figure."
Draw ten unfinished stimulus figures. And also come up with a title for each picture.
Subtest 3. "Duplicate lines."
The stimulus material is 30 pairs of parallel vertical lines. Based on each pair of lines, you need to create some kind of (non-repeating) pattern.
Processing of results.
Processing the results of the entire test involves the evaluation of five indicators:"fluency", "originality", "elaboration", "resistance to closure" and "abstractness of names".
Key to the Torrens test.
"Fluency" - characterizes the creative productivity of a person. Scored only in subtests 2 and 3 according to the following rules:
2. When calculating the indicator, only adequate responses are taken into account.
If a drawing, due to its inadequacy, does not receive a score for "fluency", then it is excluded from all further calculations.
The following drawings are considered invalid:
drawings in which the proposed stimulus (an unfinished drawing or a pair of lines) was not used as an integral part of the image.
drawings that are meaningless abstractions with a meaningless name.
· meaningful, but repeated several times, drawings are considered as one answer.
3. If two (or more) unfinished figures in subtest 2 are used to create one picture, then the number of points corresponding to the number of figures used is awarded, as this is an unusual answer.
4. If two (or more) pairs of parallel lines in subtest 3 are used to create one picture, then only one point is awarded, since one idea is expressed.
"Originality"-the most important measure of creativity. The degree of originality testifies to the originality, uniqueness, and specificity of the creative thinking of the person being tested. The indicator of "originality" is calculated for all three subtests in accordance with the rules:
1. The score for "originality" is based on the statistical rarity of the answer. Ordinary, frequently occurring answers are rated at 0 points, all others at 1 point.
2. The picture is judged, not the title!
3. The overall score for originality is obtained by adding the scores for all the drawings.
List of answers for 0 points for "originality":
Note: If the list of non-original answers answers “human face” and the corresponding figure is turned into a face, then this drawing receives 0 points, but if the same unfinished figure is turned into a mustache or lips, which then become part of the face, then the answer is rated 1 score.
Subtest 1 - only the subject that was drawn on the basis of a colored glued figure is evaluated, and not the plot as a whole - a fish, a cloud, a cloud, a flower, an egg, animals (whole, torso, muzzle), a lake, a person's face or figure.
· Subtest 2. - note that all unfinished figures have their own numbering, from left to right and top to bottom: 1, 2, 3, ..10.
1. - number (numbers), letter (letters), glasses, human face, bird (any), apple.
2. - a letter (letters), a tree or its parts, a person's face or figure, a panicle, a slingshot, a flower, a number (numbers).
3. - number (numbers), letter (letters), sound waves (radio waves), wheel (wheels), month (moon), human face, sailing ship, boat, fruit, berries.
4. - a letter (letters), waves, a snake, a question mark, a person's face or figure, a bird, a snail (a worm, a caterpillar), an animal's tail, an elephant's trunk, a number (numbers).
5. - number (numbers), letter (letters), lips, umbrella, ship, boat, person's face, ball (ball), dishes.
6. - vase, lightning, thunderstorm, step, ladder, letter(s), number(s).
7. - number (numbers), letter (letters), car, key, hammer, glasses, sickle, scoop (ladle).
8. - number (numbers), letter (letters), girl, woman, face or figure of a person, dress, rocket, flower.
9. - number (numbers), letter (letters), waves, mountains, hills, lips, animal ears.
10. - number (numbers), letter (letters), Christmas tree, tree, branches, bird's beak, fox, human face, animal muzzle.
Subtest 3: book, notebook, household appliances, mushroom, tree, door, house, fence, pencil, box, person's face or figure, window, furniture, dishes, rocket, numbers.
"abstract name"- expresses the ability to highlight the main thing, the ability to understand the essence of the problem, which is associated with the thought processes of synthesis and generalization. This indicator is calculated in subtests 1 and 2. The assessment takes place on a scale from 0 to 3.
· 0 points: Obvious titles, simple titles (names) stating the class to which the drawn object belongs. These names consist of one word, for example: "Garden", "Mountains", "Bun", etc.
1 point: Simple descriptive names that describe specific properties of the drawn objects, which express only what we see in the drawing, or describe what a person, animal, or thing is doing in the drawing, or from which the names of the class to which it belongs are easily deduced. object - “Murka” (cat), “Flying seagull”, “Christmas tree”, “Sayans” (mountains), “Boy is sick”, etc.
2 points: Imaginative descriptive names "Mysterious mermaid", "SOS", names describing feelings, thoughts "Let's play" ...
· 3 points: abstract, philosophical names. These names express the essence of the drawing, its deep meaning"My echo", "Why leave from where you will return in the evening."
"Short circuit resistance"- displays "the ability to remain open to novelty and variety of ideas for a long time, to postpone the final decision long enough in order to make a mental leap and create original idea". Only counted in subtest 2. Score from 0 to 2 points.
0 points: the figure closes the fastest and in a simple way: using a straight or curved line, solid hatching or shading, letters and numbers is also equal to 0 points.
· 1 point: The solution is superior to a simple closing of the figure. The test subject quickly and simply closes the figure, but then complements it with details from the outside. If details are added only inside a closed figure, then the answer is 0 points.
· 2 points: the stimulus figure does not close at all, remaining an open part of the drawing, or the figure closes with the help of a complex configuration. Two points are also awarded if the stimulus pattern remains an open part of a closed pattern. Letters and numbers - respectively 0 points.
"Development» - reflects the ability to develop thoughtful ideas in detail. Scored in all three subtests. Evaluation principles:
· 1. One point is awarded for each significant detail of the picture that complements the original stimulus figure, while details belonging to the same class are evaluated only once, for example, a flower has many petals - all petals are considered as one detail. For example: a flower has a core (1 point), 5 petals (+1 point), a stem (+1), two leaves (+1), petals, core and leaves are shaded (+1 point) total: 5 points for the drawing.
· 2. If the drawing contains several identical objects, then the elaboration of one of them is evaluated + one more point for the idea to draw other similar objects. For example: there may be several identical trees in the garden, identical clouds in the sky, etc. One additional point is given for each significant detail of flowers, trees, birds and one point for the idea to draw the same birds, clouds, etc.
· 3. If the items are repeated, but each of them has a distinctive detail, then it is necessary to give one point for each distinctive detail. For example: there are many flowers, but each has its own color - one new point for each color.
· 4. Very primitive images with minimal "development" are evaluated at 0 points.
Interpretation of Torrens test results.
Sum the scores for all five factors (fluency, originality, abstractness of title, resistance to closure, and sophistication) and divide that sum by five.
Slides captions:
Means of developing the creative potential of middle school students in the lessons on cultural subjects Completed by: Danshina Alena Ivanovna, teacher of music and fine arts, secondary school No. 12 pos. Schmidt G. o. Novokuibyshevsk
content 1 . Introduction 1.1. Contradictions 1.2. Relevance of the topic 1.3. Purpose and tasks 2. Main part 2.1. Creativity and its development 2.2. Structure of creative potential 2.3. The use of means and methods for the development of the creative potential of the individual in the lessons of cultural subjects 2.4. Diagnostics of students' creative potential development 3. Expected results 3.1. Main tasks for achievement of results 3.2. Planned educational outcomes 4. Conclusion 5. List of references
The contradictions between the objective need for the development of the intellectual and creative potential of the student, the insufficient development of the theoretical and technological foundations of this problem, the lack of experience in this direction in the practice of general educational institutions, the focus of most students on performing activities, between the need for a generation of people capable of thinking outside the box, and the unpreparedness of a number of teachers to the creation of special development environments by the absence of such models of the educational process that maximally contributed to the formation, development, improvement of personal qualities I I I
Relevance of the problem The education system is experiencing an acute shortage in the experience of creative activity, and there is a need to create new pedagogical programs and methods that will contain a component for the development of creative abilities in schoolchildren of different ages. lessons in cultural disciplines.
The purpose of the work is to review the means and methods for developing the creative potential of middle-level students (grades 5-9) in lessons in cultural disciplines (music, fine arts, literature, history, social science, etc.).
Creative potential is a set of human qualities that determine the possibility and limits of his participation in labor activity. components: expanding the general outlook and erudition of children, replenishing vocabulary, increasing the level of activity and creativity when performing tasks of any nature and complexity; mastering students' mental and practical skills; diagnostics of the creative abilities of the individual; control of the acquisition of skills by the teacher; actualization of knowledge, skills, creative abilities of the individual
The structure of the creative potential is motivational-targeted; meaningful; operational and activity; reflexive-evaluative Methods of organizing the educational cognitive process work with text work with written assignments of various types work with illustrative material and artistic creativity work with technical teaching aids and the research method in out-of-class work
Diagnostics of the development of the creative potential of students (P. Torrens test) Expected results The main tasks for achieving results To develop in students: 1) the desire to acquire new knowledge in the lessons of cultural subjects; 2) the ability to independently acquire knowledge and study scientific facts; 3) the ability to use the acquired knowledge in practice; 4) creativity and initiative. Planned educational results 1. The assimilation by students of additional educational programs that ensure the full development of the individual. 2. Development of personal motivation for knowledge and creativity. 3. Expansion of cognitive abilities and creative activity of children. 4. Formation of theoretical knowledge and practical skills, disclosure of the creative abilities of the individual in the chosen field of activity. 5. Creation of conditions for self-realization, self-determination of the personality, its vocational guidance.
Conclusion When choosing the means and methods of work to develop the creative potential of middle-level students in the lessons of cultural disciplines, the teacher should rely on simple universal methods of working with text, illustrative material, etc. A significant disadvantage of the modern education system is a contradiction associated with the main goal of the educational process: on the one hand, the school should prepare future specialists in various fields, first of all, to teach and provide the necessary amount of knowledge, and on the other hand, to form the personality of the child, which can develop independently, independently learn and perceive the world around.
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