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创造性思维是多种思维的综合表现,是直觉思维与分散思维、发散思维与聚合思维、抽象思维与形象思维的结合,又离不开创造性的想象。创造性思维是有创造性的前提条件。创造性思维的培养,可以从以下几个方面着手。 相似文献
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论大学生创造性思维的培养 总被引：3，自引：0，他引：3
创造性思维是多种思维的综合表现。它既是直觉思维与分析思维、发散思维与聚合思维、抽象思维与形象思维的结合，又离不开创造性想像。高等院校要重视大学生创造思维的培养，既培养其发散性思维品质，又培养创造想像力。同时要为大学生创设有利于创造性能力培养的环境，探索训练创造性思维的方法，把素质教育落到实处。 相似文献
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丁红梅 《中国教育研究与创新》2005,2(9):56-57
创造性思维是后天培养与训练的结果，在语文教学中教师可以从思维的发散与聚合、顺向与逆向、独创与批判等几个方面对学生进行创造性思维能力的训练培养。 相似文献
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创造性思维是一种具有主动性、独创性的思维方式。这种思维能突破习惯思维的束缚 ,富有创新的特点。创造思维具有三大特点 :一是独立性。在思维中有不同寻常的独特见解 ,独树一帜 ,其核心是“异”。二是灵活性。思维能随机应变 ,灵活旷达 ,举一反三 ,触类旁通 ,其核心是“活”。三是流畅性。思维表现流畅、开阔 ,思维向不同方向扩散 ,其核心是“多”。那么 ,在教学中如何行之有效的培养学生创造性思维呢 ?1 培养发散思维与聚合思维辩证统一的方法发散思维是一种沿着不同的方向思考 ,追求多样性的开放式思维 ;聚合思维是通过所提供的各种信… 相似文献
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创造性思维是一种以发散思维为核心、聚合思维为支持性因素的、发散思维与聚合思维有机结合的操作方式。培养创造性思维主要是培养发散思维和聚合思维。 相似文献
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人的创造力主要依靠发散思维,它不依赖于常规,寻求变异,是创造性思维的主要成分。创造性思维是发散思维与聚合思维的有机结合。在传统的化学教学中往往只重视聚合思维能力的训练,而忽略了发散思维能力的培养。因此在化学教学中注重培养学生的发散思维能力,对于培养新时期所需要的创造性人才是至关重要的。 相似文献
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郭湖海 《湖南师范大学教育科学学报》1997,(3)
创造性思维要求发散思维与聚合思维高水平地有机结合。要在中学历史教学中激发学生这两种思维的积极性，首先应充分开掘教师的创新能力，其次应从培养学生抽象、概括及判断、推理能力入手，激发其聚合思维，从培养学生流畅性、变通性、独特性入手激发其发散思维，并促使二者有机结合。 相似文献
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创造性思维是人类四种基本思维形式之一。它的表现形式有发散思维、联想思维、创造想象、逻辑思维等。写作活动中的创造性思维以观察力为基础,有赖于想象的参与,是逻辑思维与非逻辑思维巧妙的结合,是发散思维与聚合思维的统一。在写作中创造性思维对写作语言语法中的句式选择、词汇用法等方面产生了积极的影响。同时,为了更好地提高写作水平,还应在写作中培养创造性思维,使两者相互促进。 相似文献
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创造性思维是聚合思维与发散思维充分发展、有机结合的产物。其中，发散性思维是一种无规则、无定向的思维，又叫扩散思维、立体思维、辐射思维。它的显著特征是思维不依常规，不受固有模式束缚，多方向、多角度去分析和解决问题。因此，发散思维往往被视为创造性思维的核心，是测查创造性思维能力的主要标志之一。而在传统的应试教育中普遍偏重培养聚合思维，即重视知识的注入过程，而忽视知识的创新过程，甚至，聚合思维的发展是以抑制发散思维为代价的。在这种倾向下，学生被知识的规律性和解题的经验性所束缚，逐步丧失了独立思考和想象… 相似文献
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逻辑思维本身就具有创新的成分和作用,是创造性思维中不可或缺的组成部分;创新过程中逻辑思维与非逻辑思维相互作用,相得益彰;从中西文化传统思维方式的差异比较,可以看出逻辑思维的重要。逻辑思维素质是素质教育的重要组成部分之一,培养逻辑思维能力是培养创新性人才的基础和前提。 相似文献
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Fabio Zagonari 《Higher Education Quarterly》2019,73(3):374-391
This paper presents a mathematical model of the dynamic interrelationships between education, creativity and happiness based on both theoretical insights and evidence from recent empirical neurological studies. In this context, the results are conditional on an individual’s learning effort and risk‐aversion. Specifically, I focus on two main determinants of creativity (divergent and convergent thinking) and compare two main educational policies (scholarships versus unstructured training) with regard to their impacts on the happiness gained from creativity in the general and healthy population. A test is provided by matching the model’s predictions with the results of recent neuroscience research. Numerical simulations suggested that improving convergent thinking is more important than improving divergent thinking for creativity to generate happiness throughout an individual’s life, provided that both divergent and convergent thinking have been achieved to a sufficiently large degree, and that unstructured training (i.e., extra‐curricular activities) in divergent thinking (e.g., in accounting schools) is necessary to reach wealthier students who have more difficulty learning. In contrast, scholarships or unstructured training in convergent thinking (e.g., in art schools) are necessary to reach students who learn easily but who are less wealthy. 相似文献
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现代英语教学与创造性思维力培养 总被引：2，自引：0，他引：2
潘飞南 《江西教育学院学报》2000,(5)
创造教育的主要目标是培养学生的创造能力,而创造能力的高低又取决于创造性思维力水平的高低,所以说,创新教育亦是思维导向的教育。本文从论述创造与创造性思维的关系、思维与语言的关系、语言与创造的关系以及语言教学与思维力培养的关系出发,着重论述了现代英语教学是如何来培养学生的创造性思维力的。 相似文献
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胡满场 《河南师范大学学报(哲学社会科学版)》2004,31(5):88-90
在创新思维研究中，人们往往抬高发散思维的作用，贬低辐合思维的意义，甚至将创新思维与发散思维划上等号。本文认为，创新思维不等同于发散思维。人类思维在创造的整个历程中，呈现出明显的辐合与发散的交替，创新思维是发散思维与辐合思维的辩证统一。 相似文献
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Many teachers are interested in fostering creativity, and there are good reasons for doing so. However, the question of how to do it is made difficult by the paradoxes of creativity: mutually contradictory findings that are, nonetheless, simultaneously true (e.g. convergent thinking hampers creativity but is also necessary for it). These paradoxes can be resolved by dividing the process of creativity into seven phases that depend upon different cognitive processes (e.g. divergent versus convergent thinking) and personal properties (e.g. openness versus compulsiveness), are facilitated by different environmental conditions (e.g. tolerance of errors versus demands for accuracy) and lead to different kinds of product (e.g. something radically new versus novelty that nonetheless fits into the conventional framework). Mapping the four Ps of creativity (person, process, product and press) onto the phases provides a system for analysing both teaching methods and learning activities of individual students. 相似文献
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Cognition and creativity 总被引：4，自引：0，他引：4
Cognitive research on creativity is both traditional and innovative. It is traditional in the sense that many of the well-recognized processes, structures, and stores from mainstream cognitive psychology have been used to understand creative thinking. It is innovative because there is a need to understand processes which are not recognized unless one is specifically interested in creativity. Some of these are inherently subjective, a fact which is often disregarded by those hoping for a traditionally scientific analysis. Still, much of the interest in the cognitive sciences concerns how new constructs come into being; and anyone interested in that is in fact thinking about creativity. That is creativity. This article reviews several traditional cognitive topics, including knowledge, memory, classification, judgment, and categorization, and describes how each can influence creative thinking. It also presents an original model of creative thinking with problem finding, ideation, and judgmental processes as primary components, and knowledge and motivation as secondary (contributing but not controlling) components. Several issues are covered, including the relegation of motivation, the distinction between declarative and procedural knowledge, and the potential for knowledge to both facilitate and inhibit creative ideation. 相似文献
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This research aims to understand university students’ thinking styles and the relationship with their views of creativity. The Thinking Styles Inventory‐Revised II was used to measure 13 thinking styles as defined in Sternberg’s theory of mental self‐government and the Conceptions of Creativity Scales was used to inquire students’ views about the conditions for evaluating creativity from six aspects: intelligence, knowledge, style of thinking, personality, motivation and learning environment. Significant relationships were identified between thinking styles and conceptions of creativity. This research contributes to the understanding about the relationship between conceptions of creativity and thinking styles, and brings insights for educators about educational innovations, as one of the key objectives of educational innovations is to develop creativity of the younger generation. 相似文献
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This article presents a way of approaching introductory design education that expands student creativity through building on research related to the impact of cognitive development and metacognitive thinking. The strategy presented emphasises the importance of encouraging divergent thinking and understanding how students perceive knowledge. The goal is to create a learning environment that acknowledges where students are in their thinking and provides a structure that promotes both cognitive and creative growth. 相似文献
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Petra J. Luteijn Inge S. M. van der Wurff Piet van Tuijl Amika S. Singh Hans H. C. M. Savelberg Renate H. M. de Groot 《Mind, Brain, and Education》2023,17(3):209-218
Creativity is important for school performance. As several brain mechanisms involved in creativity are stimulated by low-intensity physical activity, standing might influence creativity. Few studies on the relationship between standing and creativity have been executed, and none among vocational education and training (VET) students. Therefore, the aim of this study was to investigate whether standing influences creativity in VET students. In a randomized crossover study, 192 VET students were randomly allocated to standing or sitting (i.e., control) for 30 min. After 15 min, they performed two creativity tests: Guilford's Alternative Uses Test (divergent thinking) and Remote Associates Test (convergent thinking). Subsequently, conditions were switched, and the procedure was repeated. Multilevel analyses showed no significant effect of standing on divergent or convergent thinking test performance. Our results show that 30 min of standing does not affect creativity in VET students. 相似文献
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计算机技术与数学创造性思维培养 总被引：8，自引：6，他引：8
利用计算机技术创设数学教学情境,培养学生的数学创造性思维是实现数学教育现代化的一条有效途径,利用计算机技术可以帮助学生积累数学知识,优化认知结构;激发创造性思维诱因,加强形象思维,发散思维和直觉思维的培养,使学生能辩证地运用各种思维方式进行数学创造性思维。 相似文献