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This paper reports a study on children's classroom-based collaborative creative writing. Based on socio-cultural theory, the central aim of the research was to contribute to current understanding of young children's creativity, and describe ways in which peer collaboration can resource, stimulate and enhance classroom-based creative writing. The study drew on longitudinal observations of ongoing classroom activities in year 3 and year 4 classrooms, working with 24 children (12 pairs) aged 7–9 in England. The pairs’ collaborative creative writing sessions were observed and recorded using video and audio equipment in the literacy classroom and in the ICT suite with 2–4 recordings per pair. A functional model was developed to analyse cognitive processes associated with creative text composition (engagement and reflection) via the in-depth study of collaborative discourse. Based on the analysis of paired talk, the study has identified discourse patterns and collaborative strategies which facilitate sharedness and thus support joint creative writing activities. A key finding was the centrality of emotions in the observed creative writing sessions. This paper discusses the role of emotion-driven thinking in phases of shared engagement. The study has implications for creativity research and pedagogy, revealing the special features of shared creative thinking. It also contributes to the current methodological debate about how best to analyse collaborative discourse, highlighting the need to explore the generalisability and domain specificity of existing characterisations of productive groupwork. 相似文献
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Patricia Kay Alpaugh Iris A. Parham Kenneth D. Cole J. E. Birren 《Educational gerontology》2013,39(2):101-116
The purpose of this study was to explore the creative process and creative products across the adult life span. The subjects were 61 women, ages 20 to 83 years, who were comparable in intelligence, education, and interest in writing. They completed a creative writing project and took three standardized creativity tests and two intelligence subtests. Both quantitative and qualitative differences were found favoring young adults. Predictive but not construct validity was demonstrated for the creativity tests with this population of young and old adults. Both methodological constraints and the ecological validity of these measures of creativity are discussed. 相似文献
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With increasing concerns in the UK about the positive mental well-being and flourishing of children, this research, using drama and creative writing with primary school teachers, children and a theatre company, looks at the links between creative processes and children's well-being. This pedagogy applies a capability approach and we use this lens to examine children's critical reflections on the project. Interview data highlight the link between agency, social imagination and subjective well-being. The study offers some concrete examples of the ways in which creative processes can move beyond an outcome-based understanding of the curriculum by offering a legitimate space for children to explore their values and develop competencies which are crucial for well-being in the 21st century. 相似文献
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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
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传统的框架写作重模仿、背模板,影响了学生的写作创新能力。通过对框架写作的弊端进行分析,探讨加强写作创新能力培养的方法:合理借助范文激发学生的创作激情;倡导独立与合作,培养学生的自主学习能力;教师改进作文评改方法;加强学生写作心理能力的培养,调动学生写作创造积极性。 相似文献
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Drawing on socio-cultural theory, this paper focuses on children's classroom-based collaborative creative writing. The central aim of the reported research was to contribute to our understanding of young children's creativity, and describe ways in which peer collaboration can resource, stimulate and enhance classroom-based creative writing activities. The study drew on longitudinal observations of ongoing activities in Year 3 and Year 4 classrooms (children aged 7-9) in England. Selected pairs’ collaborative creative writing activities were observed and recorded using video and audio equipment in the literacy classroom and in the ICT suite (13 pairs, about 2-4 occasions each).The research built on the contextualised, qualitative analysis of the social and cognitive processes connected to shared creative text composition. Using an analytic tool developed specifically for creative writing tasks, we linked collaborative and discursive features to cognitive processes associated with writing (‘engagement’ and ‘reflection’). The research has identified discourse patterns and collaborative strategies which facilitate ‘sharedness’ and thus support joint creative writing activities.The paper discusses two significant aspects of the observed paired creative writing discourse. It reports the significance of emotions throughout the shared creative writing episodes, including joint reviewing. Also, it shows children's reliance on collaborative floor (Coates, 1996), with discourse building on interruptions and overlaps. We argue that such use of collaborative floor was indicative of joint focus and intense sharing, thus facilitating mutual inspiration in the content generation phases of the children's writing activities. These findings have implications for both educational research and practice, contributing to our understanding of how peer interaction can be used to resource school-based creative activities. 相似文献
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5×5×5 ? Creativity in the Early Years has involved five early years' settings, five artists and five cultural centres working in partnership to support young children (3–6 years) in their exploration, communication and expression of creative ideas. This year‐long research project has been inspired by the approach to education and the creative arts in early years' settings in Reggio Emilia, Northern Italy. The three aims have been evaluated; they were: to demonstrate ways in which creativity and innovation can be fostered in and with young children; to influence early years' educational practice by establishing creativity as an essential foundation of early learning; and to share findings as widely as possible, creating a legacy for the future. This article examines the collaborative processes between artists, educators and cultural centres as they worked with young children using a creative and reflective cycle. The underpinning principles and the role of professional development have been essential to the success of the project. Findings show that careful observations and documentation of children's words will provide insight into their ideas and understandings. As adults it is our role to facilitate and support children's depth of learning. By respecting children and taking time to make observations and connections with the children's thinking, we can refine our own efforts in supporting their learning more effectively. 相似文献
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This article explores the idea that in order to improve the ways we teach children to write creatively it is worth exploring how we, as teachers and writers, do that ourselves. It describes some of the stages of a curriculum development project undertaken in the Portsmouth and Southampton Postgraduate Certificate in Education (PGCE) English teams, begun in 2004. The project was supported by funding from the Esmee Fairbairn Foundation and was designed to foster a range of learning activities for trainee teachers in the area of teaching creative writing to pupils in schools. The project that was developed had multiple aims: subject knowledge development in trainee English teachers; pedagogic exploration amongst all teachers involved looking at how the difficult area of teaching creative writing might be better addressed. This article evaluates the aims of the project and some of the outcomes and argues for recognition of the training year as a vital area for exploring issues in teaching, beyond competence. The article draws on a variety of sources, including participant observation notes made in writing workshops, responses to a questionnaire completed by project participants and excerpts from writing collected across the project produced by teachers and pupils. 相似文献
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《Literacy》2017,51(3):162-168
This paper focuses on a Community of Writers creative writing project where 25 primary school pupils from lower socio‐economic backgrounds took part in creative writing workshops over a 2‐week period at a higher education institution. Using practitioner enquiry and discourse analysis, this paper views identity as participation in ‘figured worlds’ and highlights the relationship between the children's creative writing outputs and their shifting identities (Holland et al., 1998 ). A case is made that children's authentic creative writing can be nurtured by a community that promotes intertextuality and ‘hybridity’ (Bakhtin, 1981 ) as well as balancing pedagogical ‘structure’ and ‘freedom’ (Davies et al., 2012 ) in order to provide textual space for writers to enact different identities. At a time when the global figuring power of performativity (Ball, 2003 ) actively restricts the ways in which teachers and children interact, this paper also presents an informed argument for the value of school–university research partnerships. 相似文献
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Laura Saunders 《Pastoral Care in Education》2019,37(3):208-229
ABSTRACTIn this paper, the author discusses the interrelationship between creativity, children’s experiences of the natural world and pastoral education. Based on a research design developed whilst undertaking a professional doctorate in education (EdD), and grounded in a theoretical framework of children’s rights, the author explores the creative uncertainties of collaboratively researching children’s educational experiences with nature. The paper considers the ways in which the research design supports a pastoral care agenda, whilst encouraging the emergence of ‘creative artefacts’, alongside the extent to which the focus of the research, encounters with the natural world, might be deemed pastorally minded in its own right. The children who have participated in the research then draw the paper to a close, sharing what their involvement in the project has meant to them. Images and excerpts of children’s own creative reflections are offered as illustration of the powerful confluence of the Creative and the Pastoral. 相似文献
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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
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Dan Davies Alan Howe Susan Haywood 《The International Journal of Art & Design Education》2004,23(3):278-289
This article reports on findings from a research project designed to explore ways in which creativity can be fostered through interactions between selected children, particular environments, materials, techniques and key adults. The Young Designers on Location (YDoL) project was funded by the National Endowment for Science, Technology and the Arts (NESTA), and brought together selected groups of 11 year‐olds with ‘design‐related professionals’ (DRPs) to work together intensively for a week in two locations (Bath Spa University College and Ironbridge Gorge Museum, Shropshire) then subsequently in participants' schools. The findings from case studies of selected individuals within the Bath location include key messages about the quality of environment and relationships in unlocking children's creativity. The study has exemplified aspects of Harrington's model of a ‘creative ecosystem’ [1]. 相似文献
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Audrey B. Wood 《English in Education》2016,50(2):130-147
This article arises from a four week study of a class of 14‐15 year old students. The study explored students’ perception of themselves as writers and the effects of a variety of teaching and learning strategies on their creative writing responses. The aim of the project was to enhance the students’ creative writing, whilst ascertaining whether there were particular activities or types of writing that would lead to students perceiving more satisfactory outcomes in their writing. It answers the research question: What do I observe, and what do my students say, about the experience of different classroom based creative writing tasks? 相似文献
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While educators in many parts of the world grapple with what creativity means in practice, discussions about creative pedagogy usually include the elements of creative teaching, teaching for creativity and creative learning. This article stems from a research project that occurred at a Preparatory to Year 9 school in Australia where we worked with staff to explore their understandings of creativity and creative learning in the Arts. We found that while students’ creative learning is a fundamental element in a creative pedagogy framework, the notion of creative learning of teachers is largely overlooked in discourses of teachers’ professional learning. Given the important role teachers play in student learning, we argue that teachers need to be informed not only about how to teach creatively and for creativity, but also how to consider possibilities and understand things in new ways, thereby making a case that a teacher’s own creative learning is crucial. 相似文献
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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
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Free De Backer Koen Lombaerts Tom De Mette Tine Buffel Willem Elias 《The International Journal of Art & Design Education》2012,31(1):53-66
Despite a more prominent role of arts education in the school curriculum, artistic creativity does not occur to a great extent in primary school practice. More opportunities for teachers to strengthen their know‐how in the field of artistic creativity can therefore be considered important. Arts education projects focus on pupils' development of creativity by means of introducing artists with their divergent working methods into primary schools. Beside fostering pupils' creative openness and skills, arts education organisations aim to transfer artistic enthusiasm to teachers in each project. Collaboration with artists can encourage teachers' artistic creative work. New working methods, techniques or ways of experimenting are more likely to be adopted in daily teaching practice when the project duration consists of several years. However, most projects are short‐lived and the means for a long‐term project policy are limited. Consequently, results in the area of sustainable outcomes concerning artistic creative work with teachers are limited. To create a long‐term view, the availability of financial resources is an important condition in order to realise a mentality change towards artistic creativity in education. Finally, continuing debate with several participants about making artistic creative work sustainable remains necessary. 相似文献
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Pat Thomson 《Journal of educational administration and history》2011,43(3):249-272
New categories of leadership are continually being invented. Because the ways we think are productive of the ways in which we act, it is important to hold these rhetorical innovations to account. This paper focuses on the latest of these categories – creative leadership. Mobilising a Foucauldian notion of ‘discourse’ I deconstruct the notion of creative leadership as it has recently been represented in five published texts. I suggest that the interpretation on offer has a determinist view of the future, ignores the history of debates about creativity, offers creativity as a generic skill and underestimates what it is that teachers and leaders might need to do in order to work creatively. I show that the notion of creative leadership on offer is strongly connected with that of creative learning, and put the ‘recipe’ offered by one set of texts into conversation with a body of empirical evidence about what is happening in schools that aim to promote creative learning. I argue that what is evident from the dialogue between the texts and the empirical studies is that it is pedagogical leadership that is absent but is actually most required, embedded in leadership/management principles and practices that promote social justice. 相似文献