Creative Originality Research Articles

Concepts of creativity in design based learning in STEM education

Creativity is deemed as an integral part of twentyfirst century skills and is emphasized in science education curricula in Turkey as well as in other countries. Therefore, the purposes of this research were to examine the concepts of creativity demonstrated in the developing possible solutions step of the DBL and to determine the students’ perceptions of this step. Data were collected from 13 female and 11 male middle school students participated in three different design based learning activities. Analyses of the data derived from students’ writings and drawings, semi-structured interviews, and researchers’ field notes were carried out using two separate methods. Descriptive analysis was used to quantitatively analyze students’ writings and examine the fluency, flexibility, originality, and elaboration concepts of creativity while content analysis was used to qualitatively analyze the semi-structured interviews and researchers’ field notes to corroborate the results of the descriptive analysis. Findings indicated that students demonstrated the highest frequency in fluency concept of creativity while the lowest frequency in originality. Also, the results of the content analysis revealed that the creativity of the students’ ideas were influenced by several reasons including the exposure to other students’ ideas, the degree of the familiarity with the design based learning process, and the fact that students had to make a working prototype of their ideas. Educators and future researchers might benefit from the findings of this study while using DBL to develop creativity as well as the suggested creativity assessment technique to determine students’ strengths and weaknesses in this process.

SELF-ESTEEM AND TYPES OF CREATIVITY IN ADOLESCENTS: RELATIONSHIP AND PREDICTORS

We present the results of an empirical study of the relationship between self-assessment of creative abilities, originality of creativity (verbal and social) and values. The relevance of the research is related to the demand for creativity as an important competence in the labor market. The ambiguity of the relationship between different types of creativity and self-assessment of creativity, as well as the discrepancy between the results of diagnostics of creative potential using various methods, actualizes the problem of realizing creative potential. The aim of the work was to study the relationship between different types of creativity, self-assessment of creativity and values, as well as to identify the ratio of creativity indicators diagnosed using the Real Word Divergent Task (RWDT) method and tasks for verbal creativity. The study involved adolescents aged 15–16 years (N = 50; 26 — men) — students of one of Moscow school. The following methods were used: “Selfassessment of creative abilities” (E. Tunik), tasks on verbal creativity and creativity in social interaction of positive and negative connotations of RWDT, Portrait value questionnaire of Sh. Schwartz. According to the results, originality is higher in tasks for verbal creativity compared to situations in social interaction; originality in situations of lies and prosocial situations in social interaction significantly correlate; there is no correlation between self-esteem of imagination and creativity indicators measured using the RWDT method and tasks for verbal creativity; self-esteem of creative abilities has a positive relationship with the highest value of “Openness to change”; the predictor of self-esteem of imagination is the value of “Independence of thought”. The results confirmed the hypotheses about specificity of creativity, about the absence of a link between creativity measured as self-report and objective methods; about the presence of a direct link between the highest values of “Openness to change” and the components of creativity measured by selfreport, and did not confirm assumption about the absence of a direct link between originality in prosocial situations and situations with negative connotations. Conclusions are made that 1) creativity is specific in various areas, 2) creativity in situations of lies and prosocial situations in social interaction is a single construct; 3) self-esteem of imagination is not associated with divergent thinking, measured using the RWDT method and tasks for verbal creativity; 4) high selfesteem of imagination is mediated by the motivational goal of thinking creatively, having original ideas, learning new things and phenomena.

ʺПоетикаʺ Аристотеля: фундаментально-онтологічний зріз

Aristotle’s concept of recognition is considered in horizon of analysis by the Plato’s idea of remembering as a research object. It is assumed that the analysis of idea of remembering allows understanding those every day’s changes which take place with a man in process of recognition. Connection of these ideas is also assumed by Heidegger’s concept of existential ʺcareʺ. By hermeneutic interpretation of Heidegger’s existential ʺcareʺ and its historical-philosophical reconstruction in Sophocles’ tragedy Oedipus the King, it carried out fundamental-ontological explication of structural contents of Ancient tragedy: mimesis, joy, the law of trinity of time, space and action, plot in its components such as peripeteia, recognition, suffering and wonder, fear, compassion, catharsis belong to issue of care. It was shown that mimesis as a manifestation of care can be in two modes. There are true as reproduction and untrue as similarity. It’s suggested, that satisfaction touches upon forward not only the internal state of man, but existential condition as a testimony of the completeness of the disclosure of the tragic condition in every day’s life. We prove that a law of trinity of time, space and action has event character of care as its foundation in unity of sacral and profane, transition of human being to uncovering of truth of own existence. To my mind the phenomenon of care as person event is revealed at peripatetic event as a variant of limit situation clarified true existence of human being. We consider Aristotelian concept of recognition can be analyzed in the context of Plato’s idea of anamnesis. Thus, the last changes in person life can understand during act of recognition. We determined that suffering as a part of a tragic plot uncovers the issue of care as wonder, fear, compassion, and catharsis. We have revealed the aspects of understanding of the phenomenon of care such as πeριποίησις and πραγματeία. We justified that poetry in general and tragic poetry in particular can be considered as one of the forms of articulation of limit question about human being. It was shown that wonder belongs to the phenomenon of care as creative origin of human being: it’s impossible to grasp no one event in the world and themselves without wonder. As for me compassion is event action opened conscience, guilt, understanding, and repentance etc. We offered understanding of catharsis as gaining is opened new horizons of seeing of the world and themselves in it. As result, fear is uncovered as existential condition turns on lumen of truth for human being.

The Retrospective of Scientific Comprehension of Decorative and Applied Arts

The aim of this paper is to consider the theory of the genesis of decorative and applied arts.Research methodology. The historical method is used to create a holistic picture of the scientific comprehension of decorative and applied arts. The culturological approach is used to understand the current state of art culture.Results. The issue of the genesis of arts has worried researchers since antiquity. Entire scientific schools and theories were created. The first was the theory of inheritance, according to which a person in his work repeated what he saw in nature. There was also a theory of the divine origin of arts. In the 19th century, after the work of Ch. Darwin and the development of archeology, new theories arose on the social structure of society and the origin of creativity. So the game theory, the theory of the mystical origin of creativity, arose.In the late nineteenth and mid-twentieth centuries, the scientific study of arts developed within the boundaries of art history. There arose iconographic and iconological methods of studying artistic creation. For a long time, these two methods solved the tasks well and completely satisfied the researchers.In the late twentieth century the new society is being formed. Thanks to the Internet, the borders disappear and a person becomes freer and more independent. It changes the attitude to creativity and decorative and applied arts. They can no longer be studied by old methods. One of the most potential approaches to the scientific study of creativity is the culturological approach. It allows applying the achievements of various humanities: sociology, psychology, philosophy, etc. to the study of the object.Novelty. For a long time, decorative and applied arts were studied empirically. However, the new conditions of the 21st century have created something new from familiar things. There are new connotations and decorative art takes on new forms and meanings. To study a new phenomenon, new techniques are needed and a culturological approach can become one.The practical significance. The material of the article may be developed in subsequent studies. A fundamentally new methodology for the scientific study of decorative and applied arts can be developed.

Fashion-making and co-creation in the transglobal landscape: Sino-Italian fashion as method

AbstractThe ‘making’ of fashion cannot merely refer to garment production and manufacturing. It is the prerequisite for a nation to actively participate on the global stage. To establish a ‘recognisable’ fashion image, a country must go far beyond the competition of a specialised garment and textile industry. Being recognised as the ‘author countries’ for fashion creation is part of a process in which the (re)negotiation of national hierarchies and roles are constantly at play. For a country or a city, expressing an instantly recognisable aesthetic has become an important corollary of the communication of political and economic strength. More than in the past centuries, fashion has been tasked with not only reflecting and representing social or individual needs, but also constructingex novoterritories in which old stereotypes and imaginary are creatively set free. This is because, unlike most production and commercial activities, fashion expresses an elaborate culture whose composition of symbols, ideologies and lifestyles (Crane 2004) can be drawn on. On the other hand, the accelerated production relocation in past decades has irrevocably changed the geography of fashion, as well as the rhetoric of the origin of national creativity. In particular, it leads one to wonder what happens when two or more players are engaged in the making of fashion. Specifically, what happens when Italy and China collaborate in transglobal fashion-making? How does one account for the national creativity that has sprung from the Sino-Italian co-creation? Drawing on accounts of Italian fashion and Chinese fashion, this article discusses the intricacy of Sino-Italian collaboration and the implications of such a fashion co-creation; it then reflects on transglobal fashion-making and proposes a framework for its examination.

Intelligence as a Psychological Mechanism for Ecotheory of Creativity

Evolution causes biological and cultural diversity through adaptation to environmental conditions. This idea forms the cornerstone of recent research on the ecological origins of innovation and creativity, advanced prominently by Van de Vliert and Murray (2018) as the ecotheory of creativity. Van de Vliert and Murray propose that heat demands and cold demands impose different selection pressures on human creativity, which are further moderated by wealth resources. This commentary tests the hypothesis that population-level variation in intelligence serves as one of the mechanisms that links atmospheric cold demands to population-level variation in creativity. The results of a mediation analysis show that 70.7% of the cross-nationally significant effect of cold demands on national creative culture (r = .55, p < .001, n = 155 nations) is mediated by intelligence. This finding responds to Van de Vliert and Murray’s research call for a more detailed understanding of the psychobehavioral mechanisms underpinning human adaptation to harsh environments. Overall, the results complement existing research which indicates that intelligence and cultural innovations may form two interlinked constituents of a suite of human adaptations or adaptive responses to cold climate.

The development of creativity in Chilean kindergarten and school children / Desarrollo de la creatividad en párvulos y escolares chilenos

The purpose of this study is to explore the development of creativity in Chilean kindergarten and school children. For this, we evaluated non-verbal divergent and convergent thinking skills in a sample of 320 Chilean kindergarten, second-, fourth- and sixth-grade school children. We found that kindergarten and second-grade children showed a lower performance in creative fluency and originality than fourth-grade and sixth-grade children. In addition, we found that kindergarten and second-grade children had a low performance in creative elaboration, which worsened in the fourth and sixth grades. We did not find differences between the different educational levels in convergent thinking skills. Our results contradict previous international studies that report a stable development of creativity throughout the first few years of schooling, with a transitory slump in the fourth or sixth grade, revealing an early slump of creative skills in Chilean children, which rebound after the fourth grade. We discuss the potential relationship between the academization and rigidization of Chilean early childhood education and the early slump in creativity.

Book Reviews

Key Points What the Eyes Don't See: A Story of Crisis, Resistance, and Hope in an American City‐ Reviewed by Glenn Suter Midnight in Chernobyl: The Untold Story of the World's Greatest Nuclear Disaster ‐ Reviewed by Glenn Suter The Origins of Creativity ‐ Reviewed by Charlotte Moreno Rising: Dispatches from the New American Shore‐ Reviewed by Glenn Suter

ПОЭТИКА СОВРЕМЕННОЙ ТАТАРСКОЙ ЛИРИКИ В ПЕРЕВОДАХ НА РУССКИЙ ЯЗЫК

The article deals with conveying the creative originality of the Tatar poets of the late ХХ - the early XXI century - Suleiman and Lenar Shaekh - in translation into Russian. The author attempts to reveal the variability of the translation of the poetics of the original using specific poems as an example and showing how different poets-translators implement various translation methods. It is proved that the peculiarities of the Tatar poetic works are reflected largely by bilingual translators, who work without an interlinear translation. In their translations, there are adequate ways to convey the poetics of original works, they find creative solutions that are innovative for the Tatar lyric poetry.

Justice and Revolution in K. Marx’s Social Philosophy

The article deals with the relationship between the terms "justice" and "revolution" by K. Marx. According to some researchers, there is no the idea of justice in K. Marx's writings. The article proves that in the origins of creativity, as well as in Marx's early biography, there is an indication of his connection with the issue of justice. Marx writes about justice only in "Poverty of Philosophy" and "Capital". All the main quotations from the Karl Marx's writings, where the term "justice" is mentioned, are given and analyzed. As a result of the analysis, it is concluded that if justice is understood as an idea related to the distribution of social benefits, as a justification of a sociocultural order, then it becomes obvious that a discourse on justice is present in Marx's works.Although Karl Marx spoke negatively about the very idea of justice, in his philosophy revolution is nothing but a transition from the capitalist order to the communist one, that is, a necessary means of real justice. K. Marx's communism implicitly represents an "ideal" expression of justice. It is based on the Marxist concept of the true nature of man and his needs, that is, a definite picture of what should be - what isman and what, therefore, society must be if it wants to correspond to this true nature of man. At the same time, the most important modern socio-political term "inclusion" does not make much sense in a Marxist perspective. Class conflict involves class antagonism and cannot be considered in the category of inclusion. Thus, revolution as a way to achieve true justice represents, in terms of Ranciere, genuinely political action.

The Origins of Creativity: The Case of the Arts in the United States Since 1850

This research illuminates the historical development of creative activity in the United States. Census data is used to identify creative occupations (i.e., artists, musicians, authors, actors) and data on prominent creatives, as listed in a comprehensive biographical compendium. The analysis first sheds light on the socio-economic background of creative people and how it has changed since 1850. The results indicate that the proportion of female creatives is relatively high, time constraints can be a hindrance for taking up a creative occupation, racial inequality is present and tends to change only slowly, and education plays a significant role for taking up a creative occupation. Second, the study systematically documents and quantifies the geography of creative clusters in the United States and explains how these have evolved over time and across creative domains. Third, it investigates the importance of outstanding talent in a discipline for the local growth of an artistic cluster.

PROBLEMS OF DETERMINING THE BALANCE OF RIGHTS BETWEEN THE AUTHOR AND THE SOCIETYABOUT THE USE OF INTELLECTUAL PROPERTY IN THE HISTORY OF LEGAL STUDIES

The article is dedicated to the problem of defining the boundaries of fair use of the composition. By the end of the 18th century compositions became unique and original. Authorship wasn't evaluated from the standpoint of traditionalism. It was connected with genius of the author, originality of creativity. Philosophers, for example I. Kant, J. G. Fichte, G. W. F. Hegel, started considering the concepts of author, ideas, and forms of the composition. The article explains what the idea and form is, comparison of these concepts, and why forms of the composition should be protected by law while the idea can be spread easily. Also the article explains the factors and legal grounds of non-classical concept's appearance due to the increasing complexity of public relations.

The Origins of Creativity: The Case of the Arts in the United States since 1850

This research illuminates the historical development of creative activity in the United States. Census data is used to identify creative occupations (i.e., artists, musicians, authors, actors) and data on prominent creatives, as listed in a comprehensive biographical compendium. The analysis first sheds light on the socio-economic background of creative people and how it has changed since 1850. The results indicate that the proportion of female creatives is relatively high, time constraints can be a hindrance for taking up a creative occupation, racial inequality is present and tends to change only slowly, and education plays a significant role for taking up a creative occupation. Second, the study systematically documents and quantifies the geography of creative clusters in the United States and explains how these have evolved over time and across creative domains. Third, it investigates the importance of outstanding talent in a discipline for the local growth of an artistic cluster.

Japan

"There was a long era of writing stories that I wanted to read for myself. The origin of my creativity is the desire to write about a wonderous world that children can walk into from their everyday life. I want to write about the strange and mysterious world that I have loved since I was a child."

Chorus vector of the Tenth International Easter Assembly “Spirituality Unites Ukraine -2018”: achievements and perspectives

Chorus vector of the Tenth International Easter Assembly “Spirituality Unites Ukraine -2018”: achievements and perspectives

Analysis of the Student’s Creative Thinking Skill in Science Learning in Primary Schools of Rappocini Makassar City

The ability of students in solving problems in science learning is influenced by the thinking skills that determine how people solve problems, make decisions, and understand something. This study aimed to describe the creative thinking skills of students in science learning. The study was conducted in SDN Gunung Sari 1, SDN Gunung Sari 2, SD Inpres BTN IKIP I , and SD Inpres BTN IKIP II Makassar BTN 2017/2018 school year. The study was conducted on 12 students from four schools. The data collection technique using observation, testing and interview. The study was conducted in three stages, starting with the observation during the learning takes place, then give the creative thinking skills test item and continue to do the interview. The results showed that most of the students have a high creative thinking skills. It can be concluded students with the attitude of creative thinking skills high skill fluency, flexibility, Originality, and elaboration and students with the process of creative thinking skills high skill imaginative, feel challenged, dare to take risks, and appreciate nature.

Technologijų dalyko turinio kaita

Remiantis Lietuvos ir užsienio moksline, pedagogine ir psichologine literatūra, norminiais valstybės dokumentais, straipsnyje nagrinėjama asmenybės ugdymo(si) svarba per technologijų pamokas, atsižvelgiant į lytį. Autorė analizuoja technologijų dalyko turinio kaitos problemas ugdant(is) vaikų socialines ir technologines kompetencijas, kurios turi tiesioginį poveikį asmenybės vertybių internalizavimui ir kūrybiškumo puoselėjimui.

ПРОЕКТНА ДІЯЛЬНІСТЬ ЯК ЗАСІБ ФОРМУВАННЯ ПРОФЕСІЙНОЇ КОМПЕТЕНТНОСТІ МАЙБУТНІХ УЧИТЕЛІВ ОБРАЗОТВОРЧОГО МИСТЕЦТВА

This article presents the contemporary trends of education system updating and reforming, which are associated with changes in the competence approach in the training of specialists and teachers of fine arts. The historical development of the project method and its application in the training of specialists and teachers is revealed. The author structurally describes the stages of the project activities, which correspond to the general components of the project and are described in the scientific pedagogic literature.The author analyzes a variety of examples of project activities application in the training of specialists of different fields and teachers. The actualization of the projects method in the modern training of pedagogical stuff, whose professional activity has creative origin, makes it possible to look at the project activities as at means of forming the professional competence of future teachers of fine arts in the system of higher pedagogical education. It is emphasized that nowadays, the project training is actual and progressive, as it creates conditions for the disclosure of the students’ creative potential, increases their motivation, and helps to obtain the necessary skills and knowledge, develops their intellectual abilities and forms the professional competence as a competitive specialist of the XXI century. The project activities will ensure the acquisition of professional socially relevant knowledge, skills and abilities that meet the current educational request and the paradigm of personalized learning, because this knowledge and skills allow young professionals to study throughout their lives and successfully pursue their professional activities. The project activities create not only the conditions for acquiring and working out certain knowledge and skills, but also a positive atmosphere during the training process itself. That is why, the project method will be effective in shaping the respect and goodwill of future teachers of fine arts in their profession, which is prerequisite for a modern teacher. On the basis of theoretical analysis, the author emphasizes that the project activities are effective in pedagogical practice as a means of forming the professional competence of future teachers of fine arts and require additional scientific research.

Our Faculty for Arts and Science The Origins of Creativity by Edward O. Wilson W. W. Norton/Liveright, New York, 2017

Our Faculty for Arts and Science <i>The Origins of Creativity</i> by Edward O. Wilson W. W. Norton/Liveright, New York, 2017

ЯЗЫКОВАЯ РЕПРЕЗЕНТАЦИЯ РУССКИХ ГЛАГОЛОВ ЗВУЧАНИЯ ТЕМАТИЧЕСКОЙ ГРУППЫ СМЕРТИ И ПАМЯТИ В ПОЭЗИИ РОБЕРТА РОЖДЕСТВЕНСКОГО

The article is devoted to the analysis of the linguistic representation of the Russian verbs of sounding in Robert Rozhdestvensky’s poetry. By the material of his works the author examines the features of the functioning and use of this group of verbs of sounding, determines their place and role in the poet’s works. For the first time the paper makes an attempt to determine the status of the lexical embodiment of the thematic group of death and memory in the poetic texts of Robert Rozhdestvensky. The corpus of procedural units - sound indications with the purpose of identifying the poet’s creative originality is revealed.