Foundations Of Creativity Research Articles

Implementasi Metode Drill dalam Hafalan Surat Pendek Juz 30 Pada Anak Usia Dini

The training method, often referred to by various names such as readiness training method, habituation method, coaching method, and drill, is a technique commonly used by teachers, both inside and outside the classroom. In Tahfidz learning, there is a difference compared to other subjects because the main focus is on the memorization aspect. Memorizing verses of the Qur'an requires precision and caution because errors in memorization can have fatal consequences. Early childhood is considered the golden age for learning as it is the best developmental period for children. This period is crucial for laying the foundations of intelligence, personality, and creativity in individuals. Cognitively, children at this age have high absorption potential. Therefore, it is the right time to start the process of memorizing short verses. In this study, the approach used is qualitative method with field research aiming to obtain descriptive or narrative data about background, social groups, individuals, and community institutions. The research findings indicate that Tahfidz learning (memorization of short verses from Juz 30) is conducted with enthusiasm, activity, creativity, and cheerfulness, and the children are able to follow the learning process well.

Library in the Space of Social Transformations: Preservation of Cultural Heritage and Challenges of Digitalization

The purpose of the article is to reveal, in the genre of a personal interview, the opinion of the Director General of the Russian State Library, V.V. Duda, about the challenges that cultural heritage institutions face today, without which it is impossible to form the identity of the peoples of Russia. The peculiarity of the current moment lies not only in the need to perform its traditional function of collecting, preserving and making available the books and documents stored in the library, but also in modernization, taking into account the possibilities of digitalization, acceleration of traditional processes, diversity of services and increasing the level of comfort in serving users.The use of the interview method has certain advantages in the context of social transformation, as it is essentially a method of qualitative analysis of the situation. Targeted questions focus on specific areas of the library’s activities in the development of artificial intelligence, digital bibliography, the importance of constant contact and discourse between humanities scholars and IT staff. What kind of specialists should work in a library today, what should be the system of library staff training, how and what can help libraries in new territories, how to be creative but remain on the foundation of traditional values and creativity — these and other questions were echoed in V.V. Duda’s answers.It is important to emphasize the need to unite the efforts of the library community within the framework of the Russian Library Association, to increase its organizational role and project activity in solving the state task of developing the country’s intellectual capital.

Library in the Space of Social Transformations: Preservation of Cultural Heritage and Challenges of Digitalization

The purpose of the article is to reveal, in the genre of a personal interview, the opinion of the Director General of the Russian State Library, V.V. Duda, about the challenges that cultural heritage institutions face today, without which it is impossible to form the identity of the peoples of Russia. The peculiarity of the current moment lies not only in the need to perform its traditional function of collecting, preserving and making available the books and documents stored in the library, but also in modernization, taking into account the possibilities of digitalization, acceleration of traditional processes, diversity of services and increasing the level of comfort in serving users.The use of the interview method has certain advantages in the context of social transformation, as it is essentially a method of qualitative analysis of the situation. Targeted questions focus on specific areas of the library’s activities in the development of artificial intelligence, digital bibliography, the importance of constant contact and discourse between humanities scholars and IT staff. What kind of specialists should work in a library today, what should be the system of library staff training, how and what can help libraries in new territories, how to be creative but remain on the foundation of traditional values and creativity — these and other questions were echoed in V.V. Duda’s answers.It is important to emphasize the need to unite the efforts of the library community within the framework of the Russian Library Association, to increase its organizational role and project activity in solving the state task of developing the country’s intellectual capital.

Building the Foundation for Creativity and Collaboration: Knowledge Sharing Learning Models

The integration of creativity, critical thinking, collaboration, and communication skills into 21st-century learning represents a pivotal goal in education, particularly within the realms of engineering. Despite this ambition, the actualization of creativity and collaborative capabilities among engineering students remains a significant challenge, primarily due to prevalent individualistic attitudes and apprehensions towards error in idea sharing. This study introduces and evaluates a Knowledge Sharing (KS) learning model aimed at overcoming these barriers, thereby facilitating enhanced creativity and collaboration. Employing the Akker learning stages, this model was implemented in an engineering education setting, yielding encouraging outcomes: students demonstrated increased motivation for interdisciplinary learning, acquired novel knowledge beyond their traditional curricula, and developed practical designs and tools responsive to community needs. The methodology section details the iterative process of model development, encompassing identification, design and preparation, implementation, replication, and dissemination phases, followed by a thorough validation process. Results indicate a positive impact on students' creative competencies and collaborative skills, underscoring the model's efficacy in fostering essential 21st-century skills.

Наукова творчість професора Сергія Копилова: віхи, напрями досліджень, надбання (До 60-річчя від дня народження)

The article aims to clarify the formation of Professor Serhii Kopylov's personality as a talented scientist, his multifaceted scientific work, and its significance in Ukrainian historiography in the study of the problems of historiography, source studies, biography, philocarty, and local history. The methodological basis of the study consists of the principles of objectivity, historicism, systematicity, and comprehensiveness, as well as the ideas of the schools of Annals, New Social History, and the genius of A.D. Toynbee. The research methods used include the following: comparative-historical analysis, logical analysis, prospective analysis, chronological analysis, narrative analysis, scientific source criticism, periodization, and actualization. The scientific novelty lies in the attempt, made for the first time in historiography, to analyze the main areas of the scientist's research and, on this basis, to reconstruct a comprehensive picture of his scientific work and to determine its scientific value. Conclusions. The analysis of Serhii Kopylov's work has given grounds to distinguish the following four stages: Stage 1 (1963-1985) - the genesis of the personality traits of an intellectual from childhood to the end of his studies at the Faculty of History of Taras Shevchenko National University of Kyiv and his first steps in the field of historical research. His thesis became his first notable success in student research: it won first place in competitions of student research papers in the fields of history and later humanities, for which he was awarded a gold medal in 1986 by the Presidium of the Academy of Sciences of the Ukrainian SSR; the formation of professional skills characterized the 2nd period (1985-1997). This period was characterized by the formation of professional competencies of a historian-scientist (completion of postgraduate studies, defense of the PhD thesis at the end of 1988) and refocusing scientific interests from the study of Bulgarian studies to the problems of Ukrainian Slavic studies. The 3rd period (1998-2006) was marked by an intensive process of developing the talent of a researcher-analyst and improving his professional qualities, thus transforming into a well-known Ukrainian scholar of Slavic studies, as evidenced by the publication of dozens of articles, the monograph "Problems of the History of Slavic Peoples in the Historical Thought of Ukraine" (2005), and the defense of his doctoral dissertation "Ukrainian Historical Slavic Studies of Modern Times: Origins and Stages of Development" (2006); the 4th period (2007-2023) was marked by the flourishing of scientific creativity, which was based on the study of biography, history, source and local history, and philology. Serhii Kopylov's scientific achievements include more than 330 publications, including five monographs and eleven manuals and textbooks. His study made it possible, firstly, to recreate the integrity of the picture of the jubilee's scientific work, which is an organic combination of various objects of research; secondly, to identify its main directions, in which the author was able to achieve the most significant results: Ukrainian historical Slavic studies of modern times, biography, historiography, source studies, local history, and philocarty; thirdly, to reveal the decisive role in the development of methodological foundations of scientific creativity of the irrevocable break with the postulates of Soviet/Russian methodology that took place in the second half of the 90s XX century - the first half of the zero years of the XXI century.

Школа методологии художественных исследований: практика и теория

The conversation between two female curators, co-founders of the Bishkek School of Contemporary Art (BiSCA), raises questions related to methodological approaches in artistic research. They reflect on the connection of their interests and education (political science and sociology) with the emergence and agenda of the School of Artistic Research Methodology, on the need for an ideological position in projects, on the advantage of artistic research over academic research, as well as on the opportunities that methodological system thinking offers for forming new perspectives on seemingly understandable phenomena, elements of systems, or systems themselves. The conversation traces the concepts and conclusions on the structure and forms of interaction within the School of Artistic Research Methodology as a fluid platform for the exchange of experiences in the field of artistic practices and research methodologies. It is built on self-organization and solidarity without any hierarchy of knowledge or teachers, where everyone being an equal participant in the process of information exchange. The text emphasizes that methodology is one of the foundations of creativity, with School of Artistic Research Methodology focusing on the exploration of research processes and reflection on contemporary art practices in Bishkek and Kyrgyzstan. This reflection derives local art theory from practices, comparing and systematizing different approaches in order to gradually form knowledge on ourselves, cultural and political processes taking place in Kyrgyzstan, while expanding the horizons of methodological imagination and the possibility of reassembling social relations.

ТВОРЧЕСКАЯ РЕЦЕПЦИЯ БИБЛЕЙСКИХ МИФОВ В РУСКОЯЗЫЧНОЙ ПРОЗЕ Б. ЧИПЧИКОВА

The purpose of this article is to look at the theosophical issues that are significant in modern reali-ties considering examples of adaptation and qualitative reconstruction of religious plots, biblical mythologies, fragments from the scriptures in the works of the Russian-speaking author B. Chip-chikov. This project seeks to identify antecedent religious inserts, quotations, and reminiscences in the works of the Balkarian prose writer. The research focuses on the semantics of biblical allu-sions, intertextual discourse, forms of figurative reflection on the world through mythotheo-logems. In the course of the analysis, the hidden meanings of the literary text, the ideological con-tent of stories and short stories in the aspect of the sacred meanings inherent in them are revealed, the philosophical and symbolic images are deciphered from the point of view of their semiotic status, the subtext rolled up in them is read. The primary goal of the research is to determine the specifics of the writer’s individual perspective, as well as to define the ideological and creative foundations of his works. We attempted to describe the author’s anthropology’s humanistic es-sence, which consists in the proclamation of notions such as personal self-improvement, the value of human existence, the necessity of spiritual vision, intuitive feeling, rethinking the divine de-sign, and many other related themes. The author’s intentionality and receptive aesthetics enable us to model a conditional picture of the world, artistically embodied in all of its contextual expres-sions.

THE USE OF SENSORY TEXTILE BOOKS TO ENCOURAGE CREATIVITY AMONG PRESCHOOL CHILDREN: A CASE STUDY

Sensory textile books are usually made of fabric materials that allow pre-school and young children to interact and play by touching and feeling them, that encourage creativity to their neurodevelopment. This research aims to summarise the findings of how sensory textile books encourage healthy development and growth of the body and mind which can stimulate creativity, imagination, and motor skills among preschool children. The study compared whether the use of sensory textile books encouraged creativity between the preschool children in the General Kindergarten and Montessori Kindergarten. The researchers used a qualitative method where semi-structured and open-ended interviews were conducted with the experts. The expert teachers were selected based on their educational qualifications. The first two experts have Diplomas in Montessori English, and the third expert as \ Master's in Teaching and Learning. Interviews were conducted with the three experts to ascertain which method of learning impacted more the preschool children. The result showed that the children who grew up with hands-on Montessori learning method tend to be much more creative later in their lives. The Montessori Kindergarten method used natural interests and activities that manipulated the muscle to perform tasks, much unlike the formal teaching among preschool children in General Kindergarten. The Montessori system encouraged hands-on learning experiences which is the foundation of creativity and imagination. The present review revealed that sensory textile books played an essential role in the healthy development of preschool children, especially in the first five years of their lives. Therefore, the implementation of Montessori system, use of sensory books made of textile materials can be helpful and can be introduced in the Malaysian kindergarten system. Future researchers can consider integrating Montessori learning in the syllabus of preschool children to encourage creativity, imagination, and motor development from a young age. Activities in the sensory books can be designed to train motor skills with simple mechanics for pre-school children. This research will allow other research designers to develop better sensory books to promote creativity and imagination for pre- school children.

Malevolent Creativity as Parochial Altruism? Examining the Intergroup Bases of New and Harmful Ideas

ABSTRACT Emerging theory and evidence suggest that intergroup relations may stimulate malevolent creativity, but the intergroup foundations of malevolent creativity remain unexplored. Drawing from theories of intergroup conflict, we argue that malevolent creativity can be understood through the lens of parochial altruism, one’s willingness to partake in personally risky activity to harm outgroups (i.e. parochialism) in favor of an ingroup (i.e. altruism). Accordingly, malevolent creativity can be viewed as the willful generation and consideration of novel ideas for oneself to enact harm on an outgroup on behalf of an ingroup. Many instances of parochial altruism such as war or terrorism begin from strong sentiments of ingroup love and become more likely when paired with reasons to aggress against an outgroup. Extending this logic to malevolent creativity, we contend that ingroup affinity predicts malevolent creativity and that this relation grows stronger when people hold hostile attitudes toward the outgroup––or, in the absence of hostility, are directly provoked by outgroup members. We test our propositions in a sample of 307 undergraduate students and find partial support for our predictions.

Subjective time perception in musical imagery: An fMRI study on musicians.

The cognitive preparation of an operation without overt motor execution is referred to as imagery (of any kind). Over the last two decades of progress in brain timing studies, the timing of imagery has received little focus. This study compared the time perception of ten professional violinists' actual and imagery performances to see if such an analysis could offer a different model of timing in musicians' imagery skills. When comparing the timing profiles of the musicians between the two situations (actual and imagery), we found a significant correlation in overestimation of time in the imagery. In our fMRI analysis, we found high activation in the left cerebellum. This finding seems consistent with dedicated models of timing such as the cerebellar timing hypothesis, which assigns a "specialized clock" for tasks. In addition, the present findings might provide empirical data concerning imagery, creativity, and time. Maintaining imagery over time is one of the foundations of creativity, and understanding the underlying temporal neuronal mechanism might help us to apprehend the machinery of creativity per se.

Ontological, epistemological and anthropological dimensions of creativity in the context of classical European philosophy

The object of this research is creativity as a cultural and philosophical phenomenon. The subject of the research is the ontological, epistemological and anthropological aspects of creativity, revealed in the conceptual space of classical European philosophy. The aim of this research is to identify ways to understand creativity as a cultural and philosophical phenomenon through the prism of the views of the largest representatives of European philosophical thought. When considering the essential foundations of creativity, special attention is paid to the ontological, epistemological and anthropological nature of creativity, which is emphasized in the conceptual constructions of Plato, Aristotle, Augustine Blessed, Thomas Aquinas, F. Bacon, R. Descartes, J. Locke, I. Kant and F.W.J. Schelling. The theoretical basis of this research is the original works of representatives of classical European philosophy, as well as modern research in the field of philosophy of creativity. The methodological foundation of the research is the comparative analysis and the method of contextual vision of creativity. The main result of the conducted research is the articulation of the understanding of the phenomenon of creativity in the context of the classical period of the development of European philosophical thought from the standpoint of ontological, gnoseological and anthropological approaches. Based on the identified aspects of the desired cultural phenomenon, a historically determined concept of creativity is presented. The scientific novelty of the research also lies in the discovery and accentuation of both explicit and implicit aspirations of the classics of European philosophy to the essential understanding of the genuine and false intentions of the creative subject.

OIKONYM WITH FORMANT -YN-TCI – AN IMPORTANT SOURCE FOR THE RECOVERY OF FAVORABLE ANTHROPONYMS (IN NAMES OF THE KHMELNYCHCHYNA’S SETTLEMENTS)

Introduction. The article analyzes six oikonyms of the modern Khmelnychchynawith the formant -yn-tsi (Verborodyntsi, Voludryntsi, Molomolyntsi, Mushkutyntsi, Putryntsi, Syrvatyntsi). The motivation of their creative foundations (group names of residents) and derived from anthroponyms (not preserved in Ukrainian names) were interesting for analysis. An etymological interpretation of the corresponding personal names is offered: *Velboroda, *Volodra, *Molomola ‹ *Malomola, *Mozgota, *Putra(ya) ‹ *Potra(ya), *Servata.
 Purpose. This paper intends to describe the primary (historical) forms of oikonyms Verborodyntsi, Voludryntsi, Molomolyntsi, Mushkutyntsi, Putryntsi, Syrvatyntsi. The study is an attempt to carry out their word-formation analysis and present the etymological analysis of the anthroponyms created for the corresponding oikonymos, and find out the motivation of their appellative semantics.
 Object of study. The author described the Khmelnychchyna’s oikonyms with the formant -yn-tsi:Verborodyntsi, Voludryntsi, Molomolyntsi, Mushkutyntsi, Putryntsi, Syrvatyntsi. The subject of the analysis is the word-forming characteristics these oikonyms, etymological (derivative and semantic) analysis of the creative anthroponyms *Velboroda, *Volodra, *Molomola ‹ *Malomola, *Mozgota, *Putra(ya) ‹ *Potra(ya), *Servata.
 Research methods. In the analysis of oikonyms, the author used a descriptive method, with which he characterizes the word-forming structure of names Verborodyntsi, Voludryntsi, Molomolyntsi, Mushkutyntsi, Putryntsi, Syrvatyntsi. The article also uses the technique of etymological analysis – etymons of creative anthroponyms are established*Velboroda, *Volodra, *Molomola ‹ *Malomola, *Mozgota, *Putra(ya) ‹ *Potra(ya), *Servata.
 Research results. The article defines possessives with the suffix -уn, basic for group names of residents, creative for oikonyms Verborodyntsi, Voludryntsi, Molomolyntsi, Mushkutyntsi, Putryntsi, Syrvatyntsi. He restored the anthroponyms created for them *Velboroda, *Volodra, *Molomola ‹ *Malomola, *Mozgota, *Putra(ya) ‹ *Potra(ya), *Servata. The etymological forms for the specified personal names were established. The motivation behind the semantics of their foundations was clarified.
 Conclusions. The author explained the original (phonetic) forms Velborodyntsi, Volodryntsi, Mozhotуntsi, Servatуntsi based on the analysis of the historical forms of the oikonyms Verborodyntsi, Voludryntsi, Mushkutyntsi, Putryntsi, Syrvatyntsi. The name Putryntsi did not undergo structural changes during its functioning. The creative anthroponyms *Velboroda, *Volodra, *Molomola ‹ *Malomola, *Mozgota, *Putra(ya) ‹ *Potra(ya), *Servata were mostly formed on local Ukrainian soil as nicknames (*Velboroda, *Volodra, *Molomola ‹ * Malomola, *Mozgota, *Putra(ya) ‹ Potra(ya)) and only the name *Servata was formed as a folk variant before the Christian Servatius. The study established the anthroponym’s etymons on the basis of etymological analysis. It is shown that these anthroponyms have a predominantly Slavic basis, with the exception of the genetically Latin name Servatius.

Prometheus by S.I. Taneyev and A.N. Scriabin: Stylistic parallels in the interpretation of the mythosymbolic image

Two chronologically close musical interpretations of the myth of the ancient titan Prometheus are considered as the subject of the study: the symphonic poem by A.N. Scriabin and the chorus by S.I. Taneyev from the cycle "Twelve Choirs for Mixed Voices to the poems of Ya.P. Polonsky". The article discusses the specifics of the interpretation of Prometheus, one of the central symbols of European culture. It is noted that over its long history, the content of the Prometheus myth has been interpreted in a wide range from a rebel who goes to self-sacrifice for humanity, to an inspired artist-creator who revealed the benefits of culture to people; from the holy great martyr and prophet of the true God, to the leader of the revolutionary masses of the people. As a result of the analysis, it is concluded that the central motive in Taneyev's work is the vocation of the artist, who goes to self-sacrifice against the forces of evil and ignorance. In Scriabin, Prometheus is interpreted as the active creative energy of the Universe, entering into a struggle with matter and transforming it. The analysis also reveals a number of stylistic parallels in the legacy of the two composers, such as philosophical conceptuality, monumentality of the idea and its implementation, striving for the transformation of a person through art, rational foundations of creativity, orientation to Western European art samples. As opposite stylistic features, the composers belong to different poles of protectiveness and innovation in art, and different approaches to the use of the literary word are noted. The influence of innovative insights of composers on the development of musical art of the XX century is emphasized.

Species specificity of the art of the age of metamodernism: features of transformational processes

The material of the article focuses on the problems of metamodernism, which today is becoming an active form of artistic practice. As the last stage in the more than one-century history of the modernist art movement, metamodernism tries to initiate a new model of artistic development, and this - in the theoretical aspect - leads to a revision of established aesthetic and art-scientific problems, in particular, the problem of species specificity of art, the origins of which go back to Antiquity. Based on the systematization of historical experience and new ideas developed in the space of modern humanism, in the article we define those outlines of the problem of species specificity of art, which are more or less clearly presented in the artistic productions of metamodernists. It is emphasized that during the last two decades it was they who managed to transform cultural and artistic processes in such genres as literature, painting and cinematography into the plane of new artistic and emotional expressiveness. The first attempts at transformative processes in music, which are known in the context of a "new interpretation" of sound stimuli, are also traced, which will allow later to consider multi-genre musical art as an example of a metamodern experiment. The reconstruction of the species structure of the art of the age of metamodernism actualizes a number of tangential aesthetic and art-scientific problems.This, first of all, concerns the problem of the structural elements of the work of art, which metamodernists try not only to revise, but also in some places to remove from the context of the work: the consequence of this is the "imagelessness" of art, the absolutization of "polystylism", a hypertrophied, even compared to postmodernism, defeat " of mimesis — reflection" for the sake of "simulacrum". The space of such "theoretical foundations" also includes "form", experiments with which can "blur" the boundaries of any kind of art, bringing it to the level of "artistic activity". In the logic of such an approach, it is also about denying the stable foundations of artistic creativity, which leads to an arbitrary or spontaneous creative process, the consequence of which is "permissiveness", which, in particular, is manifested in modern cinema. Deformation of the fundamental principles of the theory of artistic creativity prompts a revision of the phenomenon of "creative personality", and the artist loses his or her historically developed significance, falling into the trap of "template", "conjuncture" or "fashion". The article argues that it is precisely the problem of the specific nature of art that allows us to reproduce the process of fundamental changes that marked the transition from "postmodernism" to "metamodernism". At the same time, attention is focused on updating both the conceptual and categorical apparatus, which "ensures" the study of transformational processes, and on the correlation of the existing system of concepts and categories with those of an innovative nature.

БУМАЖНЫЕ САМОДЕЛКИ В СОВЕТСКИХ ДЕТСКИХ ЖУРНАЛАХ И КАЛЕНДАРЯХ (НА МАТЕРИАЛЕ ИЗДАНИЙ «ДЕТСКИЙ КАЛЕНДАРЬ» И «ЗВЕЗДОЧКА»)

The subject of this study is paper handicrafts, which were offered as supplements to Soviet magazines and calendars for children. They are considered in the article as a phenomenon of Soviet mass culture in the context of the development of children’s creativity and play activities. Attention is paid to the constructors in the periodicals of the 1920s-1960s (“Murzilka”, “Det- skiy Kalendar” and “Zvezdochka”); their existence is linked to the ideas of personality building of a Soviet man, his general cultural development and socialization (including initiation to reading). In addition to forming the foundations of artistic and technical creativity and work culture, paper handicrafts solved the problem of a shortage of consumer goods, in particular toys. The annual publication Detskyi Kalendar (“Children’s calendar”) for primary and secondary school age which was edited by methodologist Elizaveta Grozdova in the 1940s-1950s is discussed in detail. It was a part of a Soviet child’s reading circle and could offer its readers a variety of self-made paper models and designs. The publication Detskyi Kalendar (“Children’s calendar”) reflects the characteristic features of the development of artistic construction, namely the transition from creating a toy using an already existing blueprint, by analogy with self-made models of the pre-revolutionary period, to making a blueprint or one’s own model.

A human approach to restructuring the education system: why schools in England need social pedagogy

In this article, we contend that the current schools’ system in England needs to be carefully reconsidered if we are to offer opportunities for success (in its broadest sense) to those whom our current, technocratic education system excludes. With a focus on social pedagogy and human-centred learning systems, we argue that continued modifications to the existing education system are no longer sufficient and that an ideology overhaul is needed before any significant positive progress can be made. To this end, we suggest various ways that schools might work towards developing healthier and more inclusive communities, built on the key social pedagogical foundations of positive relationships, democracy, inclusion, creativity and pedagogical love. We also make recommendations for an education system in which the teacher, as a highly trained professional, can enjoy a professional autonomy commensurate with their level of qualification. Finally, we dispel some of the myths that have prevented radical, community-focused change to date.

ДЕФІНІЮВАННЯ ФЕНОМЕНУ ТВОРЧОСТІ В ПЕДАГОГІЧНІЙ ТЕОРІЇ Й ПРАКТИЦІ

The article is devoted to the construction of a definition of the phenomenon of creativity of future teachers, using the essence of the scope and content of the concepts, generic relations and specific features of the concept of ″creativity of the future teacher″, rules for defining the concept, etc., since the socio-economic situation puts forward new requirements for the process of training future specialists in institutions of higher education. We associate this with the fact that acquiring only subject knowledge in modern society does not make graduates competitive on the labor market. And that is why the New Ukrainian School requires creative, creative teachers of the modern generation. Today, the development of creativity of future specialists in the educational process of pedagogical higher education institutions due to the lack of flexible plans, programs, textbooks, insufficient use of innovative technologies occurs spontaneously, does not encourage students to professional creativity and reorients the components of the current educational system on the basis of modern concepts extremely slowly. It is established that modern psychological and pedagogical science considers this concept in various aspects (general foundations of creativity, mechanisms of creative thinking, creativity as a type of intellectual behavior, ″self-actualization″ in connection with creativity, the special nature of the motivation of creative activity, reflection of creativity and creative productivity at scientific employees, etc. Some methodological inaccuracies and improprieties during the modeling of various processes in educational activity, caused by differences in the interpretation of the concept of creativity in philosophical, scientific, methodical and psychological-pedagogical literature, are outlined. In addition, the publication presents a critical analysis of a significant number of approaches to the formulation of the definitions of the concepts ″creativity″, ″teacher's creativity″, ″creativity of future teachers″, etc. Key words: definition, creativity, pedagogical university, future teachers, gender relations.

ЗВУК – МУЗЫКА – КУЛЬТУРА: ПРОСТРАНСТВЕННО-ВРЕМЕННАЯ РЕФЛЕКСИЯ

The article presents reflections on the metaphysics of music, first of all, by posing the eternal question, which is difficult to answer: "What is music?"; Why is it, along with literature, painting, religious creativity, always at the boundary of acute socio-cultural discussions, becoming a stumbling block in endless disputes about the meaning of being? In this series, the definitions of music are clearly read by thinkers and musicians. The methodology of the “sphere of soundmusic” concept is essentially as universal as the sphere of culture and religion; that is why scientists and theosophists of antiquity and the Middle Ages often used music as a phenomenon to explain the world order and the complex mechanisms of the human soul. Music in all its aspects, therefore, has already been recognized for many centuries as something exceptionally suitable for building models that help to understand areas no less material than itself. The author comes to the conclusion that in people gifted with exceptional creative impulsiveness, inquisitiveness, volitional struggle means one of the important properties of his work. Pulsating feelings and thought of the creator, passion, emotionality, volitional aspirations give rise to a certain style of musical thinking, individual in its manifestations, but based on the main spiritual and creative foundations of the time. Not an individual, but rather a confessional, intimate-personal aspect of the confessional expresses a special symbolic dominant of culture and is especially clearly manifested in music.

Earth Reading Room

Earth Reading Room Se Jong Cho (bio) Click for larger view View full resolution Acrylic on canvas 24 × 24 inches Courtesy of the artist 2019 The image of a bedroom with Earth’s moon [Moon Bedroom, the first painting in the Modularity Space series, of which Earth Reading Room is a part] materialized in full color when I read about India Mahdavi’s global approach to interior design. She said, “I see space being divided by curtains instead of having walls. Because it gives you the modularity.” I was inspired by her use of colors, textures, and shapes to create livingscapes that are both otherworldly and familiar. Painting the human spaces alongside the solar objects felt like creating miniatures, a subject matter to which Gaston Bachelard dedicated an entire chapter in The Poetics of Space, examining how they shape humans as “the imagining being” through fantasy and daydreaming. In it, he stated, “One must go beyond logic in order to experience what is large in what is small.” I wanted to explore this space beyond logic. The lush images of planets, dwarf planets, and moons provided a creative foundation for exploring various elements to create my own dreamscapes. Painting this series brought me back to a fond childhood memory of building Lego houses and spaceships, of making my own rules and improvising, of finding joy in things that are cute, funny, and mind-blowing. —Se Jong Cho Se Jong Cho Born in Seoul, se jong cho makes art to explore the extents of her imagination and broaden the creative domain. She began painting while pursuing her PhD in environmental engineering. Her training as a scientist taught her to become observant and think critically, and she cultivated her brand of creative expression that combines multidisciplinary perspectives. Copyright © 2023 Johns Hopkins University Press ...

Islamic Brand Sahaja in Commercial TV Advertising Messages: Toward the Islamisation of the product

Commercial TV advertising can translate everything from the advertiser's goals through communicative, educative, and entertaining messages. As in the commercial TV advertisement message, Sahaja socialises the Islamic brand, which aims to be able to dialogue with the target market of Indonesian Muslims. This study aimed to determine the visual and narrative form of the Islamic brand of Sahaja's commercial TV advertising message. This study uses a qualitative approach with narrative analysis, how do communicators tell stories. The data collection techniques are observing Sahaja's advertising materials and literature study, analysing each ad frame and duration individually, and selecting and grouping according to the research focus for data presentation. In conclusion, Sahaja's commercial TV commercial carries #NawaituSahaja as its creative foundation. It shows a visual story of a happy family living their life and worship with white domination. Five essential keys visible reflections of Islamic brands narrate the form of a brand that identifies with Islamic characteristics. This research is expected to help provide input or reference for further research and considerations in building an Islamic brand.