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1.
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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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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创造性培养中聚合思维的意义和价值 总被引：2，自引：0，他引：2
秦弋 《伊犁师范学院学报》2006,(4):113-116
创造性培养是学生全面素质教育的中心,创造性包括发散思维和聚合思维。心理科学研究证实,聚合思维在创造力中起着重要作用。因此,在创造性培养中,重视发散思维的同时也要注意强化聚合思维。 相似文献
4.
Developing Design through a Creative Problem‐Solving Process: A Group Community Art Project 
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下载免费PDF全文 Chia‐Ying Hsieh 《The International Journal of Art & Design Education》2018,37(3):541-553
For the past few years, creativity has gradually become an important element in the national cultivation of talent in Taiwan. Although traditionally art education is closely linked with creativity, the academic research on general art education is very insufficient. Therefore, the goal of this research is to investigate how creativity could be cultivated in curriculum planning for general art education at technology universities as well as what students’ learning process was when they participated in a course's creative activity. The research applied the theory and steps of creative problem‐solving (CPS) on a general art course to design a group practical activity combining with the local community. This involved converting the steps of creative problem‐solving into different stages of group design activities with the goal of constructing a design process equivalent to the process of problem‐solving. The main research results revealed that students could experience the problem‐solving process through group design activities and develop their divergent and convergent thinking at the same time. Moreover, the cooperative learning model is the most appropriate teaching strategy for students from non‐art‐related departments when cultivating their creativity. 相似文献
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Kurt A. Heller 《High Ability Studies》1995,6(1):7-26
In addition to exceptional cognitive abilities and domain‐specific aptitudes, creativity potentials are frequently used to explain high achievement in science and technology. In the Guilford tradition, research focuses increasingly on convergent versus divergent thinking, that is, a suspected dichotomy between intelligence and creativity. Despite important insights about the relationship of ability and creativity, a number of important questions remain unanswered. These relate not only to conceptualization and measurement problems regarding the hypothetical construct “creativity”, but also to its diagnosis and nurturance in childhood and adolescence. It would appear that, in view of current research paradigms, the roles of ability and creativity need to be redefined in order to predict and explain excellent achievements more reliably. Advances are mostly expected from synthetic approaches. Consequently new theoretical models and empirical research results will be presented. Finally, some consequences for the explanation of high ability as well as excellent performances in school, university, and at work will be discussed 相似文献
6.
Although creativity and expertise are related, they are nonetheless very different things. Expertise does not usually require creativity, but creativity generally does require a certain level of expertise. There are similarities in the relationships of both expertise and creativity to domains, however. Research has shown that just as expertise in one domain does not predict expertise in other, unrelated domains, creativity in one domain does not predict creativity in other, unrelated domains. People may be expert, and people may be creative, in many domains, or they may be expert, or creative, in few domains or none at all, and one cannot simply transfer expertise, or creativity, from one domain to another, unrelated domain. The domain specificity of creativity matters crucially for creativity training, creativity assessment, creativity research, and creativity theory. The domain specificity of creativity also means that interdisciplinary thinking, interdisciplinary collaboration, and interdisciplinary creativity are even more important than one would assume if creativity were domain general. 相似文献
7.
国外创造性问题解决模型研究 总被引：1，自引：0，他引：1
创造性问题解决(CPS)模型是一种有效培养学生的创造力的学习与教学模式。CPS强调在问题解决过程中的发散思维和聚合思维的结合与交替应用,也就是强调问题解决者在选择或执行解决问题方法前需尽可能地想出多样化方法,再从中进行选择或实施。国外创造性问题解决模式的起源、内涵与特点、模型的发展,对于我国当前中小学课程设计和培养学生的创造力具有一定的借鉴意义。 相似文献
8.
Shu-Chiu Liu 《International Journal of Science Education》2013,35(10):1551-1567
While a number of studies have investigated people's perceptions or conceptions of creativity, there is a lack of studies looking into science teachers' views. The study aimed to explore the meanings of scientific creativity in the classroom context as perceived by a selective group of upper primary (Grades 3–6; student ages 8–12) science teachers (n?=?16) in Taiwan. Using a self-report, open-ended questionnaire and follow-up interviews, the participants responded to questions as to (1) what quality, behaviours and abilities characterise a creative learner in their science classrooms, (2) what a science classroom should be like if it is to facilitate scientific creativity, and (3) whether and what particular elements of the inquiry approach are incorporated in such a classroom. The analyses revealed that the teachers captured the central features of creativity and proposed diverse ideas about how to foster creativity in school science, but seemed to overlook some aspects, such as convergent thinking, problem-finding, and linking the arts and science. These missing features are regarded as important for scientific creativity in contemporary research. The findings were discussed along with their implications for teacher education and future research. 相似文献
9.
大学生创新能力培养之我见 总被引：145，自引：0，他引：145
大学生创新能力的培养主要有两个障碍:思维标准化和知识无活力化。为此,大学生应在思维、人格、智慧三方面均有发展。在思维层面,应摆脱思维标准化与知识非活力化的束缚,大力开发个人的想象力和直觉思维;在人格层面,应敢于并善于质疑、批判和超越教师和书本知识;在智慧层面,应培养务实求真、灵活多变的精神。成功的创新实践要求人们坚持信念却不走极端,保持自信但不狂妄自大,并处理好创新与守旧、变化与稳定、理念与实效的矛盾关系。 相似文献
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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.
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
13.
Kuay-Keng Yang Ling Lee Zuway-R Hong 《International Journal of Science Education》2016,38(13):2133-2151
The purpose of this study was to explore the effectiveness of the creative inquiry-based science teaching on students’ creative science thinking and science inquiry performance. A quasi-experimental design consisting one experimental group (N?=?20) and one comparison group (N?= 24) with pretest and post-test was conducted. The framework of the intervention focused on potential strategies such as promoting divergent and convergent thinking and providing an open, inquiry-based learning environment that are recommended by the literature. Results revealed that the experimental group students outperformed their counterparts in the comparison group on the performances of science inquiry and convergent thinking. Additional qualitative data analyses from classroom observations and case teacher interviews identified supportive teaching strategies (e.g. facilitating associative thinking, sharing impressive ideas, encouraging evidence-based conclusions, and reviewing and commenting on group presentations) for developing students’ creative science thinking. 相似文献
14.
《Early childhood research quarterly》2002,17(1):3-27
Conceptual bases of intervention and policy are often subject to paradoxical dilemmas, such as the need for a coherent program model versus recognition of the diversity of a target population. This article aims to identify underlying paradoxical bases for expansion and replication of early childhood care and education programs, and to suggest potential resolutions of these paradoxes. Clarification of such paradoxes may provide guidance for the many decision points which arise in processes of identifying, expanding, and replicating early childhood programs based on evidence of quality or success. First, a brief history of early childhood care and education in the U.S. from the viewpoint of expansion and replication is presented. A five-fold typology of expansion and replication processes is proposed: staged replication, franchised replication, multi-site demonstrations, mandated replication, and government-supported private sector expansion. Second, paradoxes associated with the process of replication are considered, such as: (1) the “can it work” versus “does it work” paradox; (2) the fidelity versus local cultural relevance paradox; (3) the replication versus addition paradox; (4) the replication versus program improvement paradox; and (5) the representativeness versus feasibility paradox. In a concluding section, recommendations for funders, policy makers, and evaluators are made regarding next steps in expansion and replication of early childhood care and education programs. 相似文献
15.
李海岩 《天津职业院校联合学报》2011,13(7):111-113
思维是人脑的反映控制机能,是人脑的产物,我们在学习、工作中不同的思维方式产生着不同的思维结果。在传统素描的教学方式下,学生们很难适应描绘想象的物象及其它的设计课题。如何有效的激发学生的创造性思维并使之达到体现构想、表达创意,并最终实现通过素描、认识自然、发现设计的目的,已经成为现代设计素描教学中的重要课题。 相似文献
16.
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
17.
Joan Freedman 《Educational Media International》2013,50(2):78-83
Abstract A theory of creative thinking is presented as it related to the implementation of computer‐based instructional design. Methods used in a graduate‐level course at Johns Hopkins University for teaching creativity are described. An emphasis on process over product allows instructors to focus on problem‐solving strategies at all levels of development. Finally, the effects of the computer on the creative process are discussed and suggestions are made for avoiding the trap of technological obsolescence. 相似文献
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Yuqin Yang Yanwen Long Daner Sun Jan Van Aalst Sanyin Cheng 《British journal of educational technology : journal of the Council for Educational Technology》2020,51(5):1826-1842
This study explored how educational robotics (ER) was implemented in classrooms to foster creativity among elementary school students and identified challenges associated with its implementation. Twenty-six teachers at different elementary schools were interviewed. In-depth teacher interviews and grounded theory were used to collect and analyze the interviews. We found that the intended creative learning outcome for students was mastery of the developmental process of creativity. The teachers generally reported using a four-phase instructional framework consisting of eight sub-phases and targeted teaching strategies to support students’ learning outcomes. Challenges included insufficient appropriate learning materials, a lack of expansive learning activities and tasks and limited opportunities to engage students in the process of design thinking and developing metacognitive abilities. The findings have practical implications for teachers and researchers who are interested in developing pedagogical practices (PP) incorporating ER to support students’ creativity. The study also has theoretical value, offering insights into teachers’ PP in implementing ER. 相似文献
20.
This mixed methods study examined teachers' perceptions of creativity using Social Cognitive Theory factors (e.g., personal, behavioral, and environmental). When describing hindrances to creativity, teachers often discussed macro-environmental factors, yet when explaining or defining creativity, teachers often used personal and behavioral characteristics. Teachers did not seem to hold limited views on who can be creative or that creativity always results in products; however, some teachers' conceptions were too vague to guide the explicit facilitating of creativity. Compared to in-service teachers, pre-service teachers expressed more optimism in their future environmental support and lower self-efficacy for developing creative thinking. 相似文献