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1.
Davide Piffer 《Thinking Skills and Creativity》2012,7(3):258-264
The goal of this investigation is to demonstrate that much of the confusion regarding the measurement of creativity is caused by the insufficient clarity of its definition and to provide suggestions for an improved assessment and new possible tools of investigation (e.g. interviews).It is shown that three dimensions of creativity (novelty, appropriateness and impact) constitute a framework within which creativity can be defined and measured.Further clarity to the definition of creativity is added by distinguishing between person's and product's creativity and providing definitions for each.Based on this new definition, it is argued that Divergent Thinking, Remote Associates or some personality scales can be considered neither the only components of the creative process/cognition/potential nor “creativity tests”. The use of the terms “creativity test” and “measure of creative process” in the literature are criticized and it is indicated when they should be used.It is also shown that claims to have found a general factor of creativity are based on methodological and conceptual errors.Finally it is concluded that a person's creativity can only be assessed indirectly (for example with self report questionnaires or official external recognition) but it cannot be measured directly. 相似文献
2.
Irena Yashin‐Shaw 《High Ability Studies》1994,5(1):24-38
While creativity of the order which produces paradigm shifts in a knowledge domain is usually the result of the efforts of creative experts, any novel outcome of the work of a problem solver can be referred to as “creative”, be it process or product Any individual, regardless of level of expertise, is capable of creativity if he or she employs the entire cognitive system differentially and synergistically. Consequently, the aim of instruction aimed at enhancing creativity should be to provide opportunities for learners to use all three knowledge orders for creative problem solving. The paper provides various ways in which this may be done. 相似文献
3.
Giselle B. Esquivel 《Educational Psychology Review》1995,7(2):215-218
Each paper in this section explores aspects of the classroom environment that promote creativity. While the commonalities might appear to end there, there emerges at least one unifying theme. The lesson to be learned is that motivation plays a central role in the creative process. It all boils down to a question of control. Students must be allowed to gain a certain degree of autonomy. Recommendations are offered to teachers wishing to shape a classroom situation conducive to creativity. In addition, suggestions are made as to how my colleagues and I might learn from one another. No single investigative or theoretical orientation can carry the day. Attention must be paid to all aspects of the classroom environment if researchers and educators are to make substantial strides in fostering students' creativity. 相似文献
4.
Creative Thinking in the Early Years of Education 总被引：1，自引：0，他引：1
This paper proposes a framework for exploring creative thinking in the early years of school. It explores creative thinking as characterised in two significant curriculum landmarks applicable to young children: Plowden from the 1960s and the Early Learning Goals from 2000. It proposes 'little c creativity' as a way of conceptu alising creativity, arguing that it represents the start of a 'third wave' of understanding the meaning and potential of creativity in the early years of education. Drawing on empirical observations from a number of nursery and early years classrooms in England, it raises some pedagogical and systemic issues around fostering 'little c creativity' in the early years of education. 相似文献
5.
Mary K. Smith 《Early Childhood Education Journal》1996,24(2):77-82
Most early childhood teachers would tell you that creativity is important; and that creativity should be considered an integral part of every early childhood classroom. Yet, too often, it is slighted in some areas or limited to being a part of art education. How can creativity can be nurtured and developed in all cognitive and social aspects of an early childhood classroom? The key to this fostering of creativity is for each teacher to examine his or her own filters that can help to foster, or hinder, as the case may be, creativity in that classroom setting. By examining adult attitudes, classroom atmosphere, and children's activities and materials, and adjusting, where necessary, to incorporate certain positive elements for creativity, early childhood educators are more likely to establish a trusting, flexible, and safe environment that allows and stimulates the creative process in an atmosphere of respect. 相似文献
6.
《Teaching and Teacher Education》2004,20(6):589-605
Teaching is a profession in which teachers are accustomed to being in the spotlight. In this paper we meet “Tina”1—a newly employed teacher at a Norwegian public junior high school—who is engaged on an hourly basis to teach Arts and Crafts, including a seventh-grade class which has been called “challenging” by other members of the staff. Enthusiastic, committed, and focused educators who can serve as role models for their students are much in demand at this school. Her own challenge is to find a good balance between the many cultural roles she has to perform in an inclusive education—one that works toward a goal of servicing an integrated student body—as manager, administrator of materials, initiator, facilitator, reflection partner, and mentor. In this paper we describe how she shapes a learning environment characterized by clear and unambiguous signals about what is acceptable behavior, while at the same time insisting on creativity and originality in art work. The guiding question is: How does the teacher achieve the double task of keeping order and maintaining creativity?The study is based on ethnographic field work conducted over several months in the Arts and Crafts class of “Berge” school. We describe how the children try to sabotage the tasks, and analyze critical episodes using sociocultural theory. With its emphasis on cultural and creative activities, the Arts and Crafts subject provides a special opportunity for what sociocultural theory calls using mediating artefacts or elements (mediated action2). What makes the subject particularly interesting is that it is not only a matter of using linguistic mediation, but rather also mediation based on external factors, such as the use of specific objects or model learning. 相似文献
7.
Erica McWilliam 《Asia Pacific Journal of Education》2009,29(3):281-293
This paper serves three purposes. First, it makes a case for seeing creativity as a key learning outcome in our times, and thus the core business of education. It then goes on to examine the nexus of creativity and pedagogy, showing the conceptual work done to demonstrate creativity as a learnable set of dispositions and capabilities. Finally and most importantly, the paper argues the value of a pedagogical approach the author calls “Meddling-in-the-Middle”, in augmenting and enhancing the repertoires of “Sage-on-the-Stage” and “Guide-on-the-Side” in order to build students' creative capacity. Examples are given of what these meta-approaches might look like in relation to the teaching of Shakespeare. The author concludes by arguing the important connection between Meddling pedagogy and creative capacity building. 相似文献
8.
建设创新型国家与创新人才的培养 总被引：4，自引：0，他引：4
创新型国家要由创新人才来创造,因此创新型国家的基础是创新人才。培养和造就创新人才也一直是发达国家尤其是创新型发达国家科技界关注的一个焦点问题。要培养创新人才,一个重要前提便是对创新人才的心理特点、发展规律、培养途径有深入的认识与了解。心理学研究对这些问题进行了探索,揭示了创新人才的心理特征及影响因素,认为实施创新教育、培养未成年人的创新能力是多出科学创新人才的基础,是突破建设创新型国家“瓶颈制约”的一条关键举措。 相似文献
9.
10.
As creativity is likely to become a crucial aspect of living in the future, it is important for educators to teach students to think creatively when solving constantly evolving and increasingly complex problems. Supported by the idea that creativity can be taught and learnt, elements of creativity are now embedded in secondary school education. Among all school subjects, design and technology (D&T) is one of the best examples for fostering and cultivating students?? creativity, as the subject offers creative activities that enable students to realize their ideas in the context of the real world. This paper analyzes the creative elements in the D&T curriculum in Hong Kong as seen in the exemplar projects on the Education Bureau website. Some problems and difficulties encountered in fostering creativity in the context of Hong Kong are identified, based on the current teaching environment. The paper also draws attention to East Asian beliefs and implicit theories, which greatly influence teachers?? underlying assumptions about learning and teaching, and at the same time notes that these beliefs may be detrimental to the development of creativity among students. The paper then identifies the problems and inadequacies in fostering creativity in design at the secondary school level and expects to raise awareness of the importance of creativity in D&T. 相似文献
11.
Becoming creative practitioners: elementary teachers tackle artful approaches to writing instruction
Jamie Simpson Steele 《Teaching Education》2016,27(1):72-87
The “creativity gap” is a distressing discrepancy between the ostensible value educators place on creativity and its absence in schools. How do teachers take on the attributes and skills of a creative practitioner? What struggles do they face in doing so? This case study examines the practices of six early elementary teachers who embarked on a professional development experience through which they learned arts-based strategies for prewriting activities. They purposefully practiced cultivating an environment in which student imagination would feed the generation of ideas and details in prewriting exercises. Findings indicate some teachers embraced this departure from the norm, recognizing how loosening their reigns emboldened “voice and choice” in student writing. Others experienced difficulty taking risks and developing spontaneity for accepting and responding to student ideas. Finally, teachers grappled with converging creative practice with everyday practices in the classroom. 相似文献
12.
Teaching creativity with computers 总被引：1，自引：0，他引：1
Douglas H. Clements 《Educational Psychology Review》1995,7(2):141-161
Some criticize computer use because computers — by their nature mechanistic and algorithmic — support only uncreative thinking and production. However, adults increasingly view computers as valuable tools of creative production. Educational research indicates that there is no single “effect” of the computer on creativity; technology can support either uncreative drill or creative production. Research also provides strong evidence that certain computer environments, such as Logo, word processing, and design tools, hold the potential for the computer's facilitation of creativity. There is equally strong evidence that the curriculum in which computer programs are embedded and the teacher who chooses, uses, and infuses these programs, are essential elements in realizing the full potential of technology. 相似文献
13.
Richard E. West 《TechTrends》2014,58(5):53-61
In this paper I will explain what I see as some of the core attributes of Communities of Innovation, or communities fostering collaborative creativity, and what we have learned from the research literature about each attribute. There is a critical need to design learning environments that foster creative thinking in students, particularly in the area of collaborative creativity. Many of the current problems and challenges graduates will face in society and industry are too large to be faced alone. However, the research and pedagogical understanding of how to develop skills in collaborative creativity is still underdeveloped. In seeking to understand what collaborative creativity would look like in education, I reviewed the literature on organizational and social creativity, along with social learning theory, to develop a framework of characteristics common to most environments that foster collaborative creativity in students (West, 2009). This framework describing Communities of Innovation explains some of the similar characteristics at the individual, group, and organizational levels of innovative communities. 相似文献
14.
Arthur Cropley 《Roeper Review》2013,35(3):125-130
Early thinking in the modern era often regarded creativity as a somewhat asocial means of individual expression, self‐realization, and self‐fulfillment. However, it also is a socially influenced phenomenon that serves society. A social approach offers the opportunity of distinguishing between large and small amounts of novelty, as well as between “orthodox” and “radical” novelty. Disciplines, teachers, and students differ from one another on these dimensions. This explains some differences among teachers in the way they see creativity and creative students. The social approach also emphasizes the importance of groups, role models and mentors, and classroom climate, all of which teachers can influence. A social analysis suggests guidelines for instruction and assessment that differ from those derived from cognitive or personal approaches. 相似文献
15.
Uri Zoller 《Journal of Science Education and Technology》2011,20(5):444-453
Striving for sustainability requires a paradigm shift in conceptualization, thinking, research and education, particularly concerning the science-technology-environment-society (STES) interfaces. Consequently, ‘STES literacy’ requires the development of students’ question asking, critical, evaluative system thinking, decision making and problem solving capabilities, in this context, via innovative implementable higher-order cognitive skills (HOCS)-promoting teaching, assessment and learning strategies. The corresponding paradigms shift in science and technology education, such as from algorithmic teaching to HOCS-promoting learning is unavoidable, since it reflects the social pressure, worldwide, towards more accountable socially- and environmentally-responsible sustainable development. Since most of the STES- and, recently STEM (science-technology-engineering-mathematics)-related research in science education has been focused on secondary and tertiary education, it is vital to demonstrate the relevance of this multifaceted research to the science and technology teaching in primary schools. Our longitudinal STES education-related research and curriculum development point to the very little contribution, if any, of the traditional science teaching to “know”, to the development of students’ HOCS capabilities. On the other hand, there appears to be a ‘general agreement’, that the contemporary dominant lower-order cognitive skills (LOCS) teaching and assessment strategies applied in science and technology education are, in fact, restraining the natural curiosity and creativity of primary school (and younger?) pupils/children. Since creative thinking as well as evaluative system thinking, decision making, problem solving and … transfer constitute an integral part of the HOCS conceptual framework, the appropriateness of “HOCS promoting” teaching, and the relevance of science and technology, to elementary education in the STES context, is apparent. Therefore, our overriding guiding purpose was to provide any evidence-based research to the vital LOCS-to-HOCS paradigm shift in STES education. The findings of, and conclusions derived from our longitudinal research on HOCS development within STES-oriented and traditional education, suggest that both—science and technology education (STE) and STES education—are relevant to primary school education. Based on this, what it should take to insure success in this context, is thoroughly discussed. 相似文献
16.
Bharath Sriraman 《Interchange》2017,48(2):117-128
The aim of this article is to provide the reader, or anyone interested in creativity, a glimpse into the findings of existing psychological and psychiatric literature on manic depression, its occurrence in creative individuals, ways in which it manifests and affects their functioning and creative output (positively and negatively), and the lessons one can draw from these individuals attempts to creatively associate and even reconcile opposite positions. The literature from educational philosophy, psychology and psychiatry is used as a lens to examine mythological, biographical and autobiographical accounts of the lives of creative individuals, particularly frames or episodes of their mind. The construct of “happiness” is deconstructed with didactical implications for education. 相似文献
17.
Robyn Gibson 《Teaching in Higher Education》2013,18(5):607-613
Richard Florida's The rise of the creative class (2002) delivered a strong wake-up call to higher education institutions worldwide. By linking creativity to technological innovation and economic prosperity, Florida argued that universities and colleges should nurture creativity in their students. But for many years, the higher education enterprise has been criticised for dampening creativity rather than fostering it. This paper explores the subversive nature of creativity, the value of creative teaching and proposes a number of strategies higher education should consider if they hope to graduate the future leaders of twenty-first century society. 相似文献
18.
Shari Sabeti 《Literacy》2016,50(3):141-148
Creative writing is often thought of as an individual and solitary pursuit. This is partly owing to Romantic (and still popular) notions of creativity as residing in highly gifted individuals, but also to the widely held belief that writing is a lonely rather than a social activity. The research presented in this paper provides a unique insight into the creative process by tracing the way one poem is produced by a member of a creative writing class based on a major urban art gallery. Based on a 5‐year ethnographic study of this class, it employs interview material, field notes, photographs and creative writing as data. Using theories from both the “anthropology of writing” (Barton and Papen, 2010 ; Latour and Woolgar, 1986 ) and the “anthropology of creativity” (Ingold, 2007 ; Hallam and Ingold, 2007 ), I argue that creative writing is a relational and temporal process involving complex and multiple claims for agency. I also go on to show that when the text moves from a private to a public context, these multiple agencies are encompassed and erased under the umbrella of individual authorship. 相似文献
19.
唐婉 《宁波教育学院学报》2010,12(5):35-38
创造力内隐理论(implicit theories of creativity)是指一般公众(专家和外行人)在日常生活和工作背景下所形成的,且以某种形式存在于个体头脑中的关于创造力概念、结构及其发展的看法(也称为"内隐观"或"公众观")。研究教师的创造力内隐理论有助于研究者了解教师对于创造力的观念以及他们对待创造性儿童的态度,从而把握教师实施创造性教学的状况,有针对性地对教师进行培训,改进教师的教学,从而有利于在教育教学中对学生创造力的培养。通过教师对创造力的理解,对创造性学生的态度及人格特征的认识,对创造力的培养等论述,以期有助于我国教师创造力内隐理论的研究。 相似文献
20.
Creativity is the lifeblood of a successful organization, as creative employees drive companies to be innovative and competitive. While studies have examined how leaders foster creativity, researchers have overlooked how communication between workgroup peers and teams cultivate creative output. Interviews were conducted to determine the effects of leader, peer, and team communication on employee creativity within the national video game industry. Results indicate communication exchanges uniquely influence employee creativity, with peer associations being most crucial. Informal mentoring, or “creativity coaches,” were vital lifelines within creatively driven organizations. Additional findings highlight the importance of structure, support, and trust in creatively supportive organizations. 相似文献