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1.
The concept of the ‘creative’ in creative writing has a vexed history. This article explores the myths surrounding creativity and how they have influenced the way teachers have approached playwriting pedagogy. It reports on research into the teaching and learning experiences of students and teachers in secondary schools, focusing on the participants’ understanding of creativity and the impact this had on the pedagogical process. The research found that a counterproductive idealist view of creativity persists in classrooms: the teachers and students were operating on a conception of creativity and creative practice that reflected a belief in a mystical and unknowable creative process. This article explores the experiences of creativity through systems theory and argues that this approach can inform teaching and learning for creative processes and products. The article concludes that the teaching and learning practices were unnecessarily tentative and that knowledge of creativity theory would improve the students’ development of both playwriting proficiency as well as creativity-relevant skills. It suggests that demystifying the creative process should result in greater student proficiency and improved teaching and learning experiences for teachers and students. 相似文献
2.
A questionnaire is developed to gauge the disposition of students towards either an incremental (malleable) or entity (fixed) view of intelligence. The relationships between this self-belief and views on group work/learning and creativity are also evaluated using the questionnaire. Attention is also given to any relationship which may exist between an intelligence self-belief and the general student receptivity to courses which address issues on personal and social awareness, i.e. tuition in psychology principles. The results of the study indicate that there is considerable variation in the self-beliefs of intelligence of the sample group considered, and that an incremental view of intelligence is more likely to lead to favourable views of the benefits of group (team) work and some psychological understanding, as well as a more optimistic view of, and nurture orientation towards, the creative potential in a science and engineering context. Thus, in terms of the transferable skills training of engineering students, the findings suggest that opportunities to re-address any fixed (limiting) self-beliefs may improve the efficacy of any subsequent skills training programme. 相似文献
3.
创新教育是体育教育改革中必须确立的一种先进的教育观念，培养学生的创新精神和实践能力，又是素质教育的重点，作为高等教育中一个重要组成部分的高校体育，必须顺应时代的要求，更新教育指导思想和改革传统的教学方法，注重学生的个性发展，开展创新教育。 相似文献
4.
何仕 《福建工程学院学报》2007,5(5):446-449
简析大学生创新素质的内涵,根据应用型人才的特点,认为:应用型本科院校学生创新素质的培养要更新教育观念,强化创新意识;深化教学改革,训练创新思维;营造创新氛围,激发创新精神;创新培养模式,磨砺创新个性;强化创新实践,培养创新能力. 相似文献
5.
K. Gavin 《European Journal of Engineering Education》2011,36(6):547-558
6.
Fine art education provides students with opportunities to acquire knowledge and skills to respond creatively to their experience of society and culture. Fostering creative ways of knowing, thinking and doing requires studio learning conditions that promote the exploration of embodied perceptions, material sensibilities and conceptual ideas that are provisional, socially constructed and ever changing. Traditionally, art schools provided these conditions unchallenged because they were autonomous. Since the 1980s, however, art schools have been integrated into the academy, and face increasing pressure to meet the institutional demands of being in a university. Some argue this changed status means the academy, with its research and pedagogic traditions, is actually straitjacketing creativity. Furthermore, contemporary art practice has changed as artists are increasingly experimenting with interdisciplinary modes of working. This article discusses a two‐year major change initiative, undertaken within an urban Australian art school, designed to respond to this complex set of changed circumstances. It considers ways to address institutional compliance and viability demands while maintaining deeply held values about how to foster creativity in undergraduate students. The outcome is a new organising structure and renewed curriculum for the largest programme offering in the school: the fine art undergraduate degree. Educational renewal is conceptualised as a creative process and the approach to change is thus adapted from creative research methodologies. By treating pedagogy and curriculum design as a creative process, this change initiative, rather than straitjacketing creativity, has re‐envisioned an epistemological framework for undergraduate fine art that will sustain creativity education into the future. 相似文献
7.
Cheung On Tam 《The International Journal of Art & Design Education》2023,42(1):16-32
Although there has been increasing international emphasis on creativity in education, many creativity training programmes have focused on enhancing students' creative thinking skills with few studies on how these skills can be integrated into the teaching of subject disciplines. As a member of a Community of Practice project that ran from spring 2021 to summer 2022 at my university, I worked with ten university teachers from multiple disciplines to develop and implement instructional strategies to foster students' creative thinking skills. The paper documented the development, implementation and evaluation of creative thinking skills teaching strategies for a higher education course in visual arts. Both the development of the teaching strategies and the measurement of the impact on student learning have undergone vigorous research procedures and made reference to the existing literature. The effectiveness of the activities was assessed using multiple methods including the Torrance Test of Creative Thinking, a self-report inventory, and a focus group interview. The results indicated the new learning activities enhanced students' creative thinking skills. They also showed that creativity can be developed through teaching while revealing that playfulness, freedom and structure, group interactions, and problem-solving activities are beneficial for the development of creative thinking skills. Readers may better understand the different ways in which creative thinking skills instruction materials can be developed and incorporated into teaching of visual arts by making reference to the strategies suggested and the process of development in the paper. 相似文献
8.
苏霍姆林斯基的创造教育思想 总被引：6，自引：0，他引：6
苏霍姆林斯基认为，学校进行创造教育的主要任务是培养多方面的天赋和才能，培养学生的创造品质。创造教育的基本内容有：创造意识教育、创造毅力教育、创造力培养、教会学生学习和世界观教育。上思维课、进行创造性劳动的、提供丰富多彩的精神生活以及发现和培养创造性教师，这是实施创造教育的主要途径和方法。 相似文献
9.
This paper explores the impact of an art-based learning experience on former Education students' professional practice. Feedback from trainee teachers indicated that the true value of the creative process was only realised after they had graduated – what I have come to term ‘deferred creativity’. The findings suggest that focusing on the development of their own creative characteristics, skills and attitudes helped students to become more creative practitioners. By drawing on the reflections of our alumni, we can help future students to develop the key creative competencies and skills required for 21st century life. 相似文献
10.
11.
Eunice M.L. Soriano de Alencar 《High Ability Studies》1991,1(2):222-226
One of the misconceptions about creativity which prevail among teachers is the belief that it is present only in a small proportion of children. This leads to underestimation of the influence of school and society on the creative process. The creativity training program described here was designed with the main purpose of arousing teachers’ awareness of their own creative abilities and introducing basic concepts about creativity and how to nurture it into the school setting. Several studies were conducted to investigate the effects of this program on teachers’ creative thinking abilities and behaviour in the classroom. The results obtained indicated that the program was successful in developing teachers’ creative thinking and in helping them to learn the skills which are related to creative thinking and how to further it in the classroom. 相似文献
12.
ERNESTO VILLALBA 《European Journal of Education》2010,45(2):314-330
There is little doubt as to the importance of creativity for both economic and social progress and of the need for educational systems to enhance and nurture it. However, are educational systems promoting creativity? The general feeling is that it is, in fact, being ‘killed’ in schools. The educational systems were designed for a different type of economy that valued a different set of skills. They were not designed for the so-called knowledge-based society that requires highly creative individuals, ready to be lifelong learners and to apply their knowledge and skills in a variety of settings and forms. This article maintains that a first step for the promotion of creativity, in education in particular and in society in general, is to advance in its understanding and measurement. Within the context of the Open Method of Coordination and in order to develop knowledge-based policies in education and training, it is necessary to assess if educational systems are providing students with adequate tools, including the capacity to be creative. But can creativity be measured? This article presents an overview of the creativity field with special focus on measurement issues. In the last 50 years, the field of creativity has grown. It has become embedded in urban planning, management, economics and psychology amongst other fields. Such a variety of approaches has contributed to the enrichment of the phenomenon of creativity, but also to its vagueness. The article concludes with some implications of creativity measurement for human capital development. 相似文献
13.
Galyna Lutsenko 《European Journal of Engineering Education》2018,43(6):895-910
The analysis of the current state of the Ukrainian system of engineering education indicates the prevalence of traditional teaching–learning approaches in contrast to the modern needs of the labour market. Many universities across the world use the problem/project-based learning (PBL) which is an effective approach for the development of design and management skills of engineering students. The paper describes a detailed structure of a PBL course in project management and practical experience related to its implementation in an engineering degree programme at Bohdan Khmelnytsky National University of Cherkasy. Also, the results of surveys carried out in order to study the students’ generic competences’ development and perception of the PBL process are presented. The results show that students understand the diversity of PBL aspects and the influence of the PBL approach on their professional characteristics such as teamwork, ability of self-directed learning, communication and problem-solving skills. 相似文献
14.
Gillian Rejskind 《Roeper Review》2013,35(3):153-157
Creativity is an asset to any teacher, but it is crucial for teachers of gifted and talented students. Inventive and productive creativity are necessary to efficiently and effectively develop or modify programs and curricula. Expressive creativity is present in instructional interactions with students, and creative problem solving skills are needed to enhance students’ creativity. Implications for supporting and enhancing teachers’ creativity are considered. 相似文献
15.
高等教育的任务是不仅要培养高理论研究和设计的人，更要培养具有一定的理论知识而且动手能力又很强的人才。现在的高校毕业生只是掌握具体的知识和技能，这已不能适应时代发展的需要，更主要还是要具有运用这些知识和技能的能力。我们的高校在培养学生的过程中，要把对学生创造能力的培养提到日程上来，重视培养大学生的创新能力，实践能力和创业精神，普遍提高大学生的人素质和科学素质。 相似文献
16.
Celeste Rossetto 《Assessment & Evaluation in Higher Education》2019,44(2):216-232
University accounting education typically develops the technical skills that students require to enter into the world of commerce. However, in the context of the rapidly changing socioeconomic environment, and a proliferation of corporate and financial collapses, there have been calls for educators to provide a more contextual appreciation of accounting practice. The changing nature of work has also generated calls for the development of generic skills in students, such as creativity and critical thinking. We outline our efforts to offer third-year university students the opportunity to use creativity in response to their major assessment task. This task required students to explore the ethical dimension of a recent corporate collapse and present their understanding in a modality of their choice. Our analysis of the creative experience of students suggests that such a creative approach to assessment opens up possibilities for a transformative educational experience. While this article focuses on accountancy students, this type of assessment has potential application for other disciplines. 相似文献
17.
Anabela C. Alves Rui M. Sousa Sandra Fernandes Elisabete Cardoso Maria Alice Carvalho Jorge Figueiredo 《European Journal of Engineering Education》2016,41(2):123-141
Project-Based Learning (PBL) has been implemented in the first year of the Industrial Engineering and Management programme at the University of Minho, Portugal, since 2004/2005. The purpose of this paper is to analyse and discuss teachers' experiences in PBL in this programme and to explore its implications for student learning and for teaching practices in higher education. For data collection, the research method used was written narratives to these teachers, at the end of the PBL semester. Findings suggest that teachers express a positive view of PBL as a learning approach. They identify student motivation and engagement, along with a better understanding of the application of concepts in real-life situations, as important outcomes of the project for students. Besides this, teachers also highlight the importance of the development of transversal skills by students throughout the project. Recommendations for future work and implications for practice will also be discussed. 相似文献
18.
James C. Kaufman Ronald A. Beghetto John Baer Zorana Ivcevic 《Learning and individual differences》2010,20(4):380-387
Creative polymathy at the very highest levels is rare, but this is largely the result of a long period of training usually necessary to become proficient in any field. We explain why creative polymathy is not ruled out by arguments for the domain specificity of creativity and argue that consideration of multiple levels of creativity (Big-C, Pro-c, little-c, and mini-c) leads to the conclusion that creative polymathy may actually be fairly common. We introduce a hierarchical model of creativity (the APT Model) to help understand some constraints on and possibilities for creative polymathy, suggest different ways creative polymathy may be expressed, and offer guidelines for recognizing and nurturing creative polymathy in students. 相似文献
19.
Denise Whitelock Author Vitae Dorothy Faulkner Author VitaeAuthor Vitae 《Thinking Skills and Creativity》2008,3(2):143-153
In this paper we argue that the processes of collaborative creativity are just as important within the sociocultural context of PhD supervisory practice, as they are in other organizational and educational settings. In order to test this claim a series of interviews with supervisors and students were undertaken to uncover the pedagogic processes used to encourage and support creativity within supervision sessions. The findings from this small-scale study suggest that whilst the more formal instruction and monitoring processes that lead to the acquisition of transferrable research skills are both usefully and necessary aspects of doctoral training, the more open-ended and creative developments required at this level of study should be given equal weight. There needs to be space, time and encouragement for the types of interactions identified here (e.g. informal reflection, relationship building with peers and supervisor, playful exploration and risk taking) as well as mandatory skills development. 相似文献
20.
采用自行设计的“学思维”活动课程,对39名初中生进行为期两年的思维能力训练,探讨该课程对学生创造力的影响。结果表明,实验组学生的创造性思维能力、科学创造力和语文创造力有明显的提高。 相似文献