INTRODUCTION

Creativity refers to the activity of creating new and original products of public importance.

The essence of creativity is the prediction of the result, which correctly set the experiment, in the creation of a working hypothesis by the effort of thought, close to reality, in what Sklodowska called the feeling of nature.

The relevance of the topic is due to the fact that many researchers reduce the problem of human abilities to a problem creative personality: there are no special creative abilities, but there is a person with a certain motivation and traits. Indeed, if intellectual giftedness does not directly affect a person's creative success, if in the course of the development of creativity the formation of a certain motivation and personality traits precedes creative manifestations, then we can conclude that there is a special type of personality - “Creative person”.

Creativity is going beyond the given (Pasternak's "over the barriers"). This is only a negative definition of creativity, but the first thing that catches your eye is the similarity of the behavior of a creative person and a person with mental disorders... The behavior of both deviates from the stereotypical, generally accepted.

People do a lot of things every day: small and large, simple and complex. And every task is a task, sometimes more, sometimes less difficult.

When solving problems, an act of creativity occurs, it is new way or something new is being created. This is where special qualities of the mind are required, such as observation, the ability to compare and analyze, to find connections and dependencies - all that together make up creative abilities.

The acceleration of scientific and technological progress will depend on the quantity and quality, creatively developed minds, on their ability to ensure the rapid development of science, technology and production, on what is now called an increase in the intellectual potential of the people.

The purpose of this term paper- consider aspects of the development of creative abilities.

Based on the goal, the following tasks can be set:

Describe creativity as a mental process;

Consider the essence of a creative person and her life path;

Study the development of creativity;

Consider the basic concepts of creativity.

1. ESSENCE AND SIGNIFICANCE OF DEVELOPMENT OF CREATIVE ABILITIES

1.1 Creativity as a mental process

Most philosophers and psychologists distinguish between two main types of behavior: adaptive (associated with the resources available to a person) and creative, defined as "creative destruction". In the creative process, a person creates a new reality that can be comprehended and used by other people.

The attitude to creativity in different eras has changed dramatically. V Ancient rome in the book, only the material and work of the bookbinder was valued, and the author was deprived of rights - neither plagiarism nor forgery was persecuted. In the Middle Ages and much later, the creator was equated with a craftsman, and if he dared to show creative independence, then it was not encouraged in any way. The creator had to earn his living in a different way: Moliere was a court upholsterer, and the great Lomonosov was appreciated for his utilitarian products - court odes and the creation of festive fireworks.

And only in the XIX century. artists, writers, scientists and other representatives of creative professions have the opportunity to live off the sale of their creative product. As A. Pushkin wrote, "inspiration is not for sale, but a manuscript can be sold." At the same time, the manuscript was appreciated only as a matrix for replication, for the production of a mass product.

In the XX century. The real value of any creative product was also determined not by its contribution to the treasury of world culture, but by the extent to which it could serve as material for replication (in reproductions, television films, radio broadcasts, etc.). Therefore, there are differences in income that are unpleasant for intellectuals, on the one hand, among the representatives of the performing arts (ballet, musical performance, etc.), as well as the dealers of mass culture and, on the other hand, creators.

Society, however, at all times divided two spheres of human activity: otium and oficium (negotium), respectively, leisure activities and socially regulated activities. Moreover, the social significance of these areas has changed over time. In Ancient Athens, bios theoretikos - theoretical life - was considered more "prestigious" and acceptable for a free citizen than bios praktikos - practical life.

Interest in creativity, the personality of the creator in the XX century. is connected, perhaps, with the global crisis, the manifestation of the total alienation of man from the world, the feeling that by purposeful activity people do not solve the problem of a person's place in the world, but further postpone its solution.

The main thing in creativity is not external activity, but internal - the act of creating an "ideal", an image of the world, where the problem of alienation of man and the environment is resolved. External activity is only an explication of the products of an internal act. Features of the flow of the creative process as a mental (spiritual) act and will be the subject of further presentation and analysis.

Highlighting the signs of a creative act, almost all researchers emphasized its unconsciousness, spontaneity, the impossibility of its control by will and reason, as well as a change in the state of consciousness.

The most common are "divine" and "demonic" versions of the attribution of the cause of creativity. Moreover, artists and writers adopted these versions depending on their worldview. If Byron believed that a "demon" was inhabiting a person, then Michelangelo believed that God was guiding his hand: "A good picture approaches God and merges with him."

The consequence of this is the tendency, observed by many authors, to renounce authorship. Since it was not me who wrote, but God, the devil, the spirit, the “inner voice,” the creator is aware of himself as an instrument of outside power.

It is noteworthy that the version of the impersonal source of the creative act passes through spaces, eras and cultures. And in our time it is revived in the thoughts of the great Joseph Brodsky: “The poet, I repeat, is the means of existence of language. The person who writes the poem, however, writes it not because he counts on posthumous fame, although he often hopes that the poem will outlive him, even if not for long. The person who writes a poem writes it because the language prompts him or simply dictates the next line.

Starting a poem, the poet, as a rule, does not know how it will end, and sometimes he is very surprised at what happened, because often it turns out better than he expected, often the thought goes further than he expected. This is the moment when the future of language interferes with the present ... The person who writes a poem writes it primarily because versification is a colossal accelerator of consciousness, thinking, and outlook on the world. Having experienced this acceleration once, a person is no longer able to refuse to repeat this experience, he falls into dependence on this process, as he falls into dependence on drugs and alcohol. A person who is similarly dependent on language, I believe, is called a poet. "

In this state, there is no feeling of personal initiative and no personal merit is felt when creating a creative product, an alien spirit seems to be infiltrated into a person, or thoughts, images, feelings from the outside are instilled in him. This experience leads to an unexpected effect: the creator begins to treat his creations with indifference, or, moreover, with disgust. The so-called post-creative saturation arises. The author is alienated from his work. When performing expedient activities, including labor, there is an opposite effect, namely, the "effect of nested activity". The more a person has spent efforts to achieve a goal, production of a product, the more emotional significance this product acquires for him.

Since the activity of the unconscious in the creative process is associated with a special state of consciousness, the creative act is sometimes performed in a dream, in a state of intoxication and under anesthesia. In order to reproduce this state by external means, many resorted to artificial stimulation. When R. Rolland wrote Cola Brunion, he drank wine; Schiller kept his feet in the cold water; Byron took laudanum; Rousseau stood bareheaded in the sun; Milton and Pushkin loved to write while lying on a sofa or couch. The coffee lovers were Balzac, Bach, Schiller; addicts - Edgar Poe, John Lennon and Jim Morrison.

Spontaneity, suddenness, independence of the creative act from external causes is its second main feature. The need for creativity arises even when it is undesirable. At the same time, the author's activity eliminates any possibility of logical thought and the ability to perceive the environment. Many authors mistake their images for reality. The creative act is accompanied by excitement and nervous tension. Reason is left with only processing, giving a finished socially acceptable form to the products of creativity, discarding unnecessary and detailing.

So, the spontaneity of the creative act, the passivity of the will and the altered state of consciousness at the moment of inspiration, the activity of the unconscious, speak of a special relationship between consciousness and the unconscious. Consciousness (conscious subject) is passive and only perceives the creative product. The unconscious (unconscious creative subject) actively generates a creative product and presents it to consciousness.

In Russian psychology, the most holistic concept of creativity as a mental process was proposed by Ya. A. Ponomarev (1988). He developed a structural-level model of the central link of the psychological mechanism of creativity. Studying mental development children and solving problems by adults, Ponomarev came to the conclusion that the results of the experiments give the right to schematically depict the central link of psychological intelligence in the form of two spheres penetrating one into the other. The outer boundaries of these spheres can be represented as abstract limits (asymptotes) of thinking. From below, such a limit will be intuitive thinking (beyond it extends the sphere of strictly intuitive thinking of animals). Above - logical (beyond it extends the sphere of strictly logical thinking of computers).

Rice. 1.1. The scheme of the central link of the psychological mechanism of the creative act according to Ya.A. Ponomarev

The basis for success in solving creative problems is the ability to act "in the mind", determined by a high level of development of the internal plan of action. This ability is perhaps the structural equivalent of general ability or general intelligence.

Two personal qualities are associated with creativity, namely, the intensity of search motivation and sensitivity to secondary formations that arise during the thought process.

Ponomarev considers the creative act as included in the context of intellectual activity according to the following scheme: at the initial stage of posing a problem, consciousness is active, then, at the stage of solving, it is actively unconscious, and consciousness is again engaged in the selection and verification of the correctness of the solution (at the third stage). Naturally, if thinking is initially logical, that is, expedient, then a creative product can appear only as a by-product. But this version of the process is only one of the possible.

In general, there are at least three main approaches to the problem of creativity in psychology. They can be formulated as follows:

1. As such, there is no creative ability. Intellectual giftedness acts as a necessary, but insufficient condition for the creative activity of a person. The main role in the determination of creative behavior is played by motivation, values, personality traits (A. Tannenbaum, A. Olokh, D. B. Bogoyavlenskaya, A. Maslow, etc.). Among the main features of a creative personality, these researchers include cognitive giftedness, sensitivity to problems, independence in uncertain and difficult situations.

The concept of D. B. Bogoyavlenskaya (1971, 1983), which introduces the concept of "creative activity of a personality," stands apart, believing that this activity is a certain mental structure inherent in the creative type of personality. Creativity, from the point of view of Epiphany, is a situationally unstimulated activity, manifested in the desire to go beyond a given problem. The creative personality type is inherent in all innovators, regardless of the type of activity: test pilots, artists, musicians, inventors.

2. Creativity (creativity) is an independent factor, independent of intelligence (J. Guildford, K. Taylor, G. Gruber, Ya. A. Ponomarev). In a milder version of this theory, there is little correlation between intelligence and creativity. The most developed concept is the "theory of intellectual threshold" by E.P. Torrance: if IQ is below 115-120, intelligence and creativity form a single factor, with IQ above 120, creativity becomes an independent value, that is, there are no creative individuals with low intelligence, but there are intellectuals with low creativity.

3. A high level of intelligence development presupposes a high level of creativity and vice versa. There is no creative process as a specific form of mental activity. This point of view was and is shared by almost all specialists in the field of intelligence.

There would be special literature on this issue. We believe that the measures proposed above will contribute to more effective development of creativity in preschool age. CONCLUSION Universal creative abilities are individual characteristics, qualities of a person that determine the success of his performance of creative activities of various kinds. ...

Many interrelated tasks focused on cognition, creation, transformation in a new quality of objects, situations, phenomena and aimed at developing creative abilities junior schoolchildren v educational process... The system of creative tasks includes target, content, activity and resultant components. Traditional writing assignments in Russian lessons ...

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Ministry of Education

Republic of Bashkortostan

municipal institution

Department of Education Administration

municipal district

Khaibulli district

Republic of Bashkortostan

Development of creative abilities of students

From the experience of a primary school teacher

Islamgalieva Raushaniya Gelimkhanovna.

with. Tselinnoye - 2009

Development of the creative abilities of children.

Introduction

The urgency of the problem. The problem of developing abilities is not new for psychological and pedagogical research, but it is still relevant. It is no secret that school and parents are concerned about the development of students' abilities. The main task of elementary school is to ensure the development of the child's personality. Sources full development two types of activity act as a child: firstly, any child develops as he assimilates the past experience of mankind through familiarization with modern culture. The basis of this process is educational activity, which is aimed at mastering the knowledge and skills necessary for life in society by the child. , the child in the process of development independently realizes his capabilities, thanks to creative activity. Unlike educational activity, creative activity is not aimed at mastering already known knowledge. It contributes to the manifestation of the child's initiative, self-realization, the embodiment of his own ideas, which are aimed at creating a new one. Carrying out these types of activities, children solve different problems and with different goals. in educational activities, educational and training tasks are solved in order to master some skill, master this or that rule. In creative activity, search and creative tasks are solved in order to develop the child's abilities. Therefore, if in the process of educational activity a general ability to learn is formed, then within the framework of creative activity, a general ability is formed to seek and find new solutions, unusual ways to achieve the required result, new approaches to considering the proposed situation. Target research: to determine and test in practice the pedagogical conditions conducive to the development of the creative abilities of the younger student. Object of study: development of children's abilities school age.Subject of study: the process of developing the creative abilities of a primary school student. Research hypothesis: the process of developing the creative abilities of a younger student will be more effective if: - conditions are created that contribute to the development of creative abilities, both in educational and extracurricular activities of the student; - developmental work with children is based on a diagnostic basis; Based on the goal, hypothesis and taking into account specifics of the subject of research, the following tasks: 1. To study and analyze scientific and methodological literature and practical experience on the problem. 2. To provide diagnostics of the development of creative abilities. 3. To determine the forms and content of work on the development of creative abilities of primary schoolchildren both in classroom and in extracurricular activities. research methods: theoretical analysis of scientific methodological literature, scientific research, the study of pedagogical experience, diagnostic methods.

Chapter 1. Development of creative abilities of a primary school student as a pedagogical problem.

1.1. The essence of the concept is ability. This problem was dealt with by such leading figures of Russian psychology as B.G. Ananiev, A.N. Leontiev, S. L. Rubinstein, B. M. Teplov, N.S. Leites and others. The conceptual apparatus, content and basic provisions of the theory of abilities are developed mainly in the works of these scientists. So, abilities are understood as individual psychological and motor characteristics of an individual, which are related to the success of performing any activity, but are not reduced to knowledge, skills and abilities that have already been developed in the child. At the same time, success in any activity can be ensured not by a separate ability, but only by that peculiar combination of them that characterizes the personality. Domestic psychologists A. N. Leont'ev and B. M. Teplov studied abilities from different points of view. The focus of attention of B.M. Teplova were individually - psychological prerequisites for unequal successful development of certain functions and skills; A.N. Leont'ev was mainly interested in how from natural prerequisites based on structures human activity qualitatively mental functions and processes arise (in the spirit of the concept of higher mental functions, according to L.S. the other, however, the emphasis varied, as did the use of the concepts. B.M. Teplov in the context of differential psychophysiology connected the concept of abilities primarily with biologically determined differences, A.N. Leont'ev, in the context of a systemic understanding of psychological functions and their development, attributed this word to complex, cultivated, “become” human functions. Explanatory dictionary Russian language ”S.I. Ozhegova, his concept of "ability" is considered as follows: ability - natural endowment, talent. A person with great abilities. Mental ability for artistic activity. Able - having the ability to do something, gifted. Who can do anything; possesses some property and is able to work. This person is capable of anything / will stop at nothing. In the "Pedagogical Encyclopedic Dictionary" ability is interpreted as individual psychological personality traits, which are the conditions for the successful performance of a certain activity. They include both individual knowledge of skills and abilities, and readiness to learn in a new way and methods of activity. In the process of learning, the first of these manifestations of abilities are more easily detected, in creative activity the second are of decisive importance. According to the social significance of the abilities manifested by a person, expressed in the results of his work, capable, talented and brilliant people are distinguished. as a set of all kinds of mental processes and states. This is the broadest and oldest definition in psychology. 2. Abilities represent a high level of development of general and special knowledge, abilities and skills that ensure the successful performance of a person in various types of activities. This definition appeared in the psychology of the 18th-19th centuries and is still used today. 3. Abilities are something that is not limited to knowledge, skills and abilities, but ensures their rapid acquisition, consolidation and effective use in practice. the most common. A significant contribution to the theory of abilities was made by the Russian scientist B.M. Teplov .. He proposed the third of the listed definitions of the concept of ability .. The concept of "ability", in his opinion, contains three ideas:

Individual psychological characteristics that distinguish one person from another;

not all, in general, individual characteristics, but only which are related to the success of the performance of any activity or many activities;

The concept is not limited to those knowledge, skills or abilities that have already been developed by a given person.

An ability that does not develop, which in practice a person ceases to use, does not manifest itself over time. Only due to certain conditions associated with systematic engagement in such complex types of human activities as music, technical and artistic creativity, creative abilities develop. We support them in our country. and develop further. Our successful activity does not depend on any one, but on a combination different abilities, moreover, this is a combination that gives the same result. In the absence of the necessary inclinations for the development of some abilities, their deficit can be compensated for by the stronger development of others. Along with the individual characteristics of mental processes (sensations and perception, memory, thinking, imagination), abilities are also more complex individual psychological characteristics. They include emotional - volitional moments, elements of attitude to activity and some features of mental processes, but are not reduced to any particular mental manifestations (mathematical orientation of the mind or an aesthetic position in the field of literary creativity). A person is not born capable of one or another activity, his abilities are formed, formed, developed in a properly organized appropriate activity, during his life, under the influence of education and upbringing. Abilities - lifetime, not innate education. In activities aimed at satisfying needs, the abilities of people were historically created and developed. During historical development of human society, new needs have arisen, people have created new areas of activity, thereby stimulating the development of new abilities. It is necessary to emphasize the close and inextricable connection of abilities with knowledge, skills, and abilities. On the one hand, abilities depend on knowledge, skills, skills, on the other hand, abilities develop in the process of acquiring knowledge, skills and abilities. Knowledge, skills and abilities also depend on abilities - abilities allow faster, easier, stronger and deeper mastery of relevant knowledge, skills and abilities. In activities aimed at satisfying needs, the abilities of people were historically created and developed. In the course of the historical development of human society, new needs arose, people created new areas of activity, thereby stimulating the development of new abilities. General mental abilities include, for example, such qualities of the mind as mental activity, criticality, consistency, quickness of mental orientation, a high level of analytic - synthetic activity, focused attention A high level of development of abilities is called talent. Talent is the most favorable combination of abilities that make it possible to perform a certain activity especially successfully, creatively, on the one hand, a propensity for this activity, a peculiar need for it - on the other, great diligence and perseverance - from the third. Talent can manifest itself in any human activity, not just in the field of science or art. Therefore, a talented physician, a teacher, a pilot, an innovator in agricultural production, and a skilled worker can be talented. Therefore, it can be argued that the cognitive abilities required by a modern school can be rightfully considered generic to all mankind. These abilities are the same, signs of belonging to the human race, as well as the human sense organs, the activity of his muscles, etc. If among schoolchildren there are few or no success at all, this must be explained by the fact that some teaching methods do not activate generic abilities, do not form them, just as there are children who cannot show the strength of their muscles, their physical dexterity due to lack of preparation to their application. No one, as a rule, should be left behind in learning. If there are such in school, it is only because they turned out to be unprepared for learning: some because of the lack of their previous knowledge, others because of the inability to use their generic abilities in learning activities. There is great formula K.E. Tsiolkovsky, opening the veil over the secret of the birth of the creative mind: “At first I discovered the truths known to many, then I began to discover the truths known to some, and finally began to open the truths, unknown to anyone else.” Apparently, this is the path of becoming a creative sides of intelligence, the path of development of inventive and research talent. It is our responsibility to help the child to embark on this path. Thus, abilities can be neither innate nor genetic - they are a product of development. The innate factors underlying abilities are inclinations, which are defined as the anatomical and physiological features of the brain, nervous and muscular systems, analyzers or sensory organs (B.M. Teplov,

1.3. Development of the child's abilities at primary school age.

As a result of experimental research, among the personality's abilities, a special kind of ability was identified - to generate unusual ideas, deviate in thinking from traditional schemes, and quickly resolve problem situations. This ability was called creativity (creativity). Under the creative (creative) abilities of students are understood “... the complex capabilities of the student in the performance of activities and actions aimed at creativity.” Creativity encompasses a certain set of mental and personal qualities that determine the ability to be creative. One of the components of creativity is the ability of the individual. It is necessary to distinguish a creative product from a creative process. The product of creative thinking can be assessed by its originality and its significance, the creative process by sensitivity to a problem, ability to synthesize, ability to recreate missing details (not to follow the beaten path), by fluency of thought, etc. These attributes of creativity are common to both science and art. Problems of creativity have been widely developed in Russian psychology. Currently, researchers are looking for an integral indicator that characterizes a creative personality. This indicator can be defined as a certain combination of factors or be considered as a continuous unity of the procedural and personal components of creative thinking (A.V. Brushlinsky). Psychologists such as B.M. Teplov, S.L. Rubinshtein, B.G. Ananiev, N.S. Leites, V.A. Krutetsky, A.G. Kovalev, K.K. Platonov, A.M. Matyushkin, V.D. Shadrikov, Yu.D. Babaeva, V.N. Druzhinin, I.I. Ilyasov, V.I. Panov, I.V. Kalish, M.A. Kholodnaya, N.B. Shumakova, V.S. Yurkevich and others. Adhering to the position of scientists who define creative abilities as an independent factor, the development of which is the result of teaching the creative activity of younger schoolchildren, let us single out the components of creative (creative) abilities of junior schoolchildren: * creative thinking, * creative imagination, * application of methods of organizing creative activity. For the development of creative thinking and creative imagination of primary school students, it is necessary to offer the following tasks:

classify objects, situations, phenomena on various grounds;

establish causal relationships;

see interconnections and identify new connections between systems;

consider the system in development;

make forward-looking assumptions;

highlight the opposite signs of the object;

identify and form contradictions;

to separate the conflicting properties of objects in space and in time;

Present spatial objects.

Creative tasks are differentiated by such parameters as

the complexity of mental operations required to solve them;

Forms of presentation of contradictions (explicit, hidden).

In this regard, there are three levels of complexity of the content of the system of creative tasks. Tasks of III (initial) level of difficulty presented to students of the first and second grade. The object at this level is a specific object, phenomenon or human resource. Creative tasks of this level contain a problematic question or problem situation, involve the use of a method of enumerating options or heuristic methods of creativity and are designed to develop creative intuition and spatial productive imagination. Quests of the II level of difficulty are one step lower and are aimed at developing the foundations of systems thinking, productive imagination, mainly algorithmic methods of creativity. Under the object in the tasks of this level is the concept of "system", as well as the resources of systems. They are presented in the form of a vague problematic situation or contain contradictions in an explicit form. The purpose of tasks of this type is to develop the foundations of students' systems thinking. Tasks of the I (highest, high, advanced) level of difficulty... These are open problems from various fields of knowledge, containing hidden contradictions. In the role of an object, biosystems, polysystems, resources of any systems are considered. Assignments of this type are offered to students in the third and fourth years of study. They are aimed at developing the foundations of dialectical thinking, guided imagination, the conscious application of algorithmic and heuristic methods of creativity. The methods of creativity chosen by students when completing tasks characterize the corresponding levels of development of creative thinking, creative imagination. Thus, the transition to a new level of development of the creative abilities of primary schoolchildren occurs in the process of accumulating creative activity by each student. age period, modern requirements for the organization of learning as a creative process, which the student together with the teacher in a certain sense build themselves; orientation at this age on the subject of activity and methods of its transformation presuppose the possibility of accumulating creative experience not only in the process of cognition, but also in such activities as the creation and transformation of specific objects, situations, phenomena, the creative application of the knowledge gained in the process of learning. the pedagogical literature on this issue provides definitions of creative types of activity. Knowledge is “... the educational activity of a student, understanding as a process of creative activity that forms their knowledge.” the pleasure that the child will receive in the process of the activity itself and the activity aimed at achieving an objectively significant and socially assessed result. This distinction between play and work, including educational work, is an important feature of school age. The importance of imagination in primary school age is the highest and necessary human ability. At the same time, it is this ability that needs special care in terms of development. And it develops especially intensively at the age of 5 to 15 years. And if this period of imagination is not specially developed, then a rapid decrease in the activity of this function occurs. Along with a decrease in a person's ability to fantasize, the personality is impoverished, the possibilities of creative thinking are reduced, interest in art, science, etc. dies out. Younger schoolchildren carry out most of their active activities. with the help of imagination. Their games are the fruit of exuberant work of imagination, they are enthusiastically engaged in creative activities. The psychological basis of the latter is also the creative imagination. When, in the process of learning, children are faced with the need to understand abstract material and they need analogies, support with a general lack of life experience, imagination also comes to the aid of the child. Thus, the significance of the function of imagination in mental development is great. However, fantasy, like any form of mental reflection, should have a positive direction of development. It should contribute to better self-disclosure and self-improvement of the person in terms of knowledge of the surrounding world, and not develop into passive daydreaming, a substitute real life dreams. To complete this task, it is necessary to help the child use his imagination in the direction of progressive self-development, to activate the cognitive activity of schoolchildren, in particular the development of theoretical, abstract thinking, attention, speech and creativity in general. Children of primary school age are very fond of doing artistic creativity. It allows the child to reveal his personality in the most complete free form. All artistic activity is based on active imagination, creative thinking. These functions provide the child with a new, unusual view of the world, they contribute to the development of thinking, memory, and enrich his individual life experience! According to L.S. Vygotsky, imagination provides the following activity of the child: - the construction of an image, the final result of his activity, - the creation of a program of behavior in a situation of uncertainty, the creation of images replacing the activity, - the creation of images of the described objects. The formation of many interests is very important for the development of the child. It should be noted that a schoolchild is generally characterized by a cognitive attitude towards the world. This curious orientation has objective expediency. Interest in everything expands the child's life experience, acquaints him with different types of activities, activates his various abilities. Children, unlike adults, are able to express themselves in artistic activity. They are happy to perform on stage, participate in concerts, competitions, exhibitions and quizzes. The developed ability of imagination, typical of children of primary school age, gradually loses its activity as the age increases Summing up the results of the paragraph, we come to the following conclusion: A child of primary school age, in the conditions of upbringing and education, begins to occupy a new place in the system of social relations available to him. This is primarily due to his admission to school, which imposes on the child certain social responsibilities that require a conscious and responsible attitude towards her, and with his new position in the family, where he also receives new responsibilities. At primary school age, a child for the first time, both at school and in the family, becomes a member of a real work collective, which is the main condition for the formation of his personality. The consequence of this new position of the child in the family and at school is a change in the nature of the child's activity. Life in a team organized by the school and the teacher leads to the development of complex social feelings in the child and to the practical mastery of the most important forms and rules of social behavior. The transition to the systematic assimilation of knowledge at school is a fundamental fact that forms the personality of a younger student and gradually rebuilds his cognitive processes. The school always has a goal: to create conditions for the formation of a personality capable of creativity and service of modern production. Therefore, an elementary school working for the future should be focused on the development of the creative abilities of the individual.

Chapter 2. Pedagogical conditions for the development of creative abilities of primary school students.

Study of the development of creativity.

Scientists' studies convincingly prove that many gaps in the development of the child's creative abilities are based on the low level of development of the culture of the individual. Based on the understanding of culture as: a) a system of specific human activities; b) a set of spiritual values; c) the process of self-realization of the creative essence of a person We have identified the following components of the research object (creativity), which can be the basis for identifying diagnostic parameters, as well as guidelines that determine the goals and objectives of the content and effectiveness of educational activities:

Literacy

Competence

Value-semantic component

Reflection

Cultural creation

Literacy is the basics of culture, in particular, knowledge about creative abilities, from which its development begins, taking into account age, individual characteristics. Literacy means mastering knowledge that can manifest itself in outlook, erudition, awareness, both in terms of scientific knowledge and the point of view of everyday experience, derived from traditions, customs, direct communication of a person with other people. Literacy involves mastering the system of signs and their meanings. (18, p. 75.) In the definition of competence, we adhere to the definition given in the work of M.A. Cold: “Competence is a special type of organization of subject-specific knowledge that allows you to make effective decisions in the relevant field of activity.” The main difference between literacy and competence is that a literate person knows, understands (for example, how to behave in a given situation ), and a competent one can really and effectively use knowledge in solving certain problems. The tasks of developing competence are not just to know more and better about the costume, but to include this knowledge in life practice .. Creative abilities are a combination of personally significant and personally valuable aspirations, ideals, beliefs, views, positions, attitudes, beliefs, human activities , relationships with others. Value, in contrast to the norm, presupposes a choice, which is why, precisely in situations of choice, the characteristics related to the value-semantic component of a person's culture are most clearly defined. Reflection is tracking the goals, process and results of one's own appropriation culture, awareness of those internal changes that occur, as well as oneself as a changing personality, subject of activity and relationships. Cultural creativity means that a person already in childhood is not only a creation of culture, but also its creator. Creativity is inherent in the development already in preschool age. These components do not exist in isolation from each other.

Development of the child's creative abilities in educational activities.

Adhering to the position of scientists who believe that the most adequate form of development of creative (creative) abilities is teaching the creative activity of younger students. For such training, at the first stage of our experimental work, we chose a lesson. The lesson remains the main form of teaching and upbringing of a primary school student. It is within the framework of the educational activities of a younger student that the tasks of developing his imagination and thinking, fantasy, ability to analyze and synthesize (isolating the structure of an object, identifying relationships, understanding the principles of organization, creating a new one) are primarily solved. schoolchildren imply solving the problems of developing the child's creative abilities in educational activities. primary grades should be aimed not only at developing reading skills, but also at:

developing the creative and recreational imagination of students,

enrichment of the child's moral, aesthetic and cognitive experience.

At the same time, the choice of forms, methods, means for solving the designated tasks for primary school teachers traditionally cause difficulties.

Any activity, including creative, can be represented in the form of performing certain tasks. IE Unt defines creative tasks as “… tasks that require students to be creative, in which the student must find a way to solve it, apply knowledge in new conditions, create something subjective (sometimes objectively) new” The effectiveness of the development of creative abilities in many respects depends on the material on the basis of which the task was compiled Based on the analysis of psychological-pedagogical and scientific-methodical literature (G.S. Altshuller, V.A. Bukhvalov, A.A. Gin, M.A. Danilov, A.M. Matyushkin and others), we identified the following requirements for creative assignments:

compliance of the conditions with the chosen methods of creativity;

the possibility of different ways of solving;

taking into account the current level of the solution;

Taking into account the age interests of students.

Taking into account these requirements, we have built a system of creative tasks, which is understood as an ordered set of interrelated tasks focused on objects, situations, phenomena and aimed at developing the creative abilities of younger students in the educational process. target, content, activity and effective components. We have replaced the traditional essay writing assignments in Russian lessons with collaboration in the cool handwritten magazine "Fireflies". In order to get to the pages of the magazine with their creative work, students must not only spell out the work correctly, but also be creative in its design. All this stimulates junior schoolchildren to independent, without pressure from adults, the desire to write poetry, fairy tales. Natural history and environmental culture lessons have no less opportunity for the development of students' creative abilities. One of the most important tasks is the education of a humane, creative personality, the formation respectful attitude to the riches of nature and society. We strove to consider the available cognitive material in an inseparable, organic unity with the development of the child's creative abilities, to form a holistic idea of ​​the world and the place of man in it. During the lessons of labor education, a lot of work is done to develop creative thinking and imagination in children of primary school age. for the system of creative assignments, we took into account two factors:

The fact that the creative activity of junior schoolchildren is carried out mainly on problems already solved by society,

Creative possibilities of the content of elementary school subjects.

The content is presented by thematic groups of tasks aimed at cognition, creation, transformation, use of objects, situations, phenomena in a new quality. (Appendix 2) Each of the selected groups is one of the components of students' creative activity, has its own purpose, content, suggests the use of certain methods , performs certain functions. Thus, each group of tasks is a prerequisite for the student's accumulation of subjective creative experience. Group 1 - “Cognition”. The goal is the accumulation of creative experience of cognition of reality. The acquired skills:

to study objects, situations, phenomena based on the selected features - color, shape, size, material, purpose, time, location, part-whole;

considered in the contradictions that determine their development;

Simulate phenomena, taking into account their characteristics, systemic connections, quantitative and qualitative characteristics, patterns of development.

Group 2 - "Creation". The goal is the accumulation of creative experience by students in creating objects of situations, phenomena. The ability to create original creative products is acquired, which implies: * obtaining high-quality new ideas the subject of creative activity; * orientation to the ideal final result of the development of the system; * rediscovery of already existing objects and phenomena using dialectical logic. Group 3 - "Transformation". The goal is to acquire creative experience in transforming objects, situations, phenomena.

simulate fantastic (real) changes in the appearance of systems (shape, color, material, arrangement of parts, etc.);

simulate changes internal structure systems;

Consider when changing the properties of the system, resources, the dialectical nature of objects, situations, phenomena.

Group 4 - “Use in a new capacity”. The goal is the accumulation of students' experience of a creative approach to the use of already existing objects, situations, phenomena.

to consider objects of the situation, phenomena from different points of view;

find fantastic applications for real-life systems;

Carry out the transfer of functions to various fields of application;

get a positive effect by using negative qualities systems, universalization, obtaining systemic effects.

Acquaintance with literature begins with the first lessons of teaching literacy, in which I use various poetic material about sounds and letters.

Here are two columns diagonally,

And between them is a belt.

Do you know this letter? A?

In front of you is the letter A. (S. Marshak)

Look at the gate:

Why is it not the letter I?

Between two straight boards

One lay diagonally.

Or, when I get to know any letter, I ask the children "What does this letter look like?"

With the help of counting rhymes, phrases and tongue twisters, students become familiar with the concept of "rhyme".

Sha - sha - sha - Ta - ta - ta -

Mom washes the baby. Our house is clean.

According to the strength of the students, I offer tasks for the selection of rhymes.

In our house, on the window, the Mouse cries and roars:

Sitting gray ________. Ask the bees to give _____.

With great pleasure, the children complete the task in which the poem must be continued, for example:

Spring, spring on the street

Spring days! (Rather come, warm days to us)

(We will hang birdhouses from the planks by the river.)

Such exercises will help to identify children inclined to intellectual creativity, capable of versification.

A properly organized reading process includes the work and creativity of the reader: while reading, he actively reacts to the actions of the characters, evaluates them, correlates, compares them with his actions and actions, recreates them in his imagination, participating in co-creation.

Working according to the book by V.Yu. Sviridov, it can be seen from the first page of the textbook that all texts and tasks develop creative abilities.

For example: lesson literary reading, work on the poem "Mystery", the verse is given to students not to the end.

I'll tell you a secret, don't tell anyone!

If you wake up early

If you get up before dawn,

If you quietly drink tea,

If you walk out the door

If you go left

And then a little to the left,

You will go around a big well,

You will go around a dried-up pond ...

and I ask: "What is it, finally?"

Children pronounce their guesses: a scarlet flower is growing (Guldaria),

A bear is sitting (Kolya), a ship with sails on the river (Ilyas), an apple tree is growing, on it are large red apples (Larisa)

Children read the enigmatic end of the poem.

There, at the old water pump,

Under the fence, two dogs

Reading the poem "Bird cherry" by S. Yesenin and "Willow" by Druskin, I direct the children to read the sti-e expressing a gentle, light, pensive and sad mood.

Next assignment: talk about your favorite subject as if it were alive.

What a flower feels in a vase, what a cozy armchair thinks about.

Reading activity involves the correct organization of perception, memorization and reproduction of the read text. And from this, how the process of working with the text is carried out: purposefully, creatively or formally, whether it awakens emotions and an active attitude to what is being read, depends on what the reader will become.

By touching the creativity of poets and writers, in reading lessons, children learn to love and understand what they read. And the love of reading is the beginning of the development of one's literary abilities.

Literary, verbal creativity is characteristic of a younger student. Its meaning is important for the child himself, and not for literature, it is necessary for the development of the powers of the little author. Children's literary creativity can be stimulated and directed from the outside. The best incentive is such an organization of students' lives, which creates the needs and opportunities for children's creativity.

Great opportunities, the development of creative abilities in primary-level children, in mathematics lessons.

From the very beginning of the lesson, I take non-standard tasks for verbal counting, then I give the children entertaining tasks.

For example, such tasks:

1. Riddle. A multi-colored rocker hung over the river. What is it7

Code table.

I give such games: make shapes from sticks according to the drawing, and then add sticks so that the figures are obtained, the children compose their tasks for this work.

When solving problems, I ask the children to change the question of the problem, or do I ask, what else can I ask about the condition of this problem?

I give the children thematic tasks, for example: come up with a comparison task about fruits, about the age of your family members, etc.

Many opportunities in math lessons to develop children's creativity.

Lessons visual arts, labor training are themselves lessons of creativity. In the classroom, children become architects, carpenters, the class turns into a workshop for Santa Claus, a garment factory for Barbies, a sculptor's workshop, etc. Children in these lessons create their "masterpieces".

Drawing and labor lessons are creativity lessons in themselves. Children come up with their own drawings, create their own creativity: after explaining and showing the window frames, children come up with their own. In the lesson, they become artists, sculptors, woodcarvers, builders, designers, etc. I try to make sure that the children do not copy the object of the work being performed, but come up with their own. Examples.

Lessons physical culture.

Leading from lesson to lesson, the primary school teacher begins work, which will not appear immediately, but will manifest itself in the future: in high school and in life. This is the first stage, when only the foundations for the development of their creative abilities are laid in the child. This task will be posed in all other lessons, from lesson to lesson, from year to year we will see the growth of the abilities of our students.

Lesson number 12 \ 3 Type. ZUN

Theme: Repetition of knowledge about the square.

Goals:

Educational aspect - secondary comprehension of already known knowledge

about the square. Application of knowledge gained as a result of dating

with the logical game "Tangram". Consolidation of oral computing

Within 100, finding the perimeter of the square.

2. Developing aspect - activation of cognitive activity through

solving logical problems, developing imagination, attention.

Formation of self-control skills.

The educational aspect is the creation of an atmosphere of goodwill between

students, between teacher and students, stimulating active creative work, fostering love for their native land.

Equipment -

diagram, details of the rocket, sticks, envelope with parts of "Tangram",

stars, a candle, leaflets for all students ..

DURING THE CLASSES.

1. ORGANIZATION OF CLASS.

The long-awaited call is given

The lesson begins.

Goal setting.

- Today in the lesson we will construct from paper and sticks, remember the properties of a square, and in the course of the lesson, together we will construct a rocket from geometric shapes for our further travels.

Work on the topic.

To begin with, please open the notebooks - write down the number, Classwork... (The teacher monitors the seating of the children, the position of the notebooks)

Let's start the lesson with a small excursion to the "geometric forest" (there is a poster on the board) - Guys, we are in an unusual forest. In order not to get lost in it, it is necessary to name the geometric shapes that "hid" in this forest. Name the geometric shapes you see here. (Children name the figures) - Well done, guys, and now we have to do a warm-up and solve examples that "grew" on Christmas trees. (Verbal counting) For each correct answer, the student receives an asterisk.

High mountains rose in the distance. What geometrical figure represents mountains for us?

How many links are there in a broken line?

Find the length of the polyline.

I think, guys, we got out of the forest with dignity, and now it's time to start designing the rocket.

And before this work, we need to rest.

F and z m and n u t k and.

My square cap,

My square cap ...

(The word raketa is written on the board, we put an emphasis, we underline an unstressed vowel, we explain the meaning of the word) -And what is a rocket? - So, we put the first element of the rocket - a triangle. What kind of triangle is it? What is the brightest figure here, I would even say the most elegant? (This is a square) Today I want to show and prove to you that a square is an unusual figure, it is even “magic” in its own way. What do we know about a square? Conclusion: all sides of a square are equal and all corners are straight. You have completed the task. We expose the second element of the rocket - a square. 4. Practical work ... -Place a square of four squares with sticks. Study the diagram first. Show the circuit.

Task for transforming this shape: remove two sticks so that you get two unequal squares. (Children work on tables, the teacher helps as needed) - I continue to prove that a square is an unusual figure. Take a look at this picture. How many squares do you see? Count all the squares carefully. Guys, do you agree that the square is a pretty "tricky" figure? Well done. You have completed this task. We stand the rocket further. Add a third detail - a rectangle. What properties of a rectangle do we know? 5.Working (drawing) Let's try to draw a square. You have pieces of paper with three dots. It is necessary to draw a square What to do? Put the fourth point, mark it with a letter of the Latin alphabet. Draw this shape. Measure the sides of the square and find the perimeter. 6. Minute - solving a logical riddle. Listen to the "geometric" riddle: if one corner of a square is cut off, how many corners are left? (The student who answered correctly goes to the blackboard and conducts the task.) Guys, you have completed a large task - you drew a square, found its perimeter and solved the "geometric" riddle. It's time to continue to design the rocket, we stand the tail of the rocket. What shapes will we take? (Two squares) 7. Acquaintance with the geometric game "Tangram" This is an ancient Chinese game. In general, it is a square, divided into 7 parts. (Show diagram) From these parts you should construct a picture of a candle. (Show diagram)

(Checking according to the scheme). Whoever did not succeed, do not be upset, look carefully again and complete the candle. So, we have constructed an interesting object - a candle. What do you think a candle is for people? You are: a candle emits light, warmth, creates coziness. It is pleasant to rest by candlelight. I suggest you relax by the candlelight. 8. VALEOLOGICAL PAUSE. "The warmth of the palm." So we just need to add wings to the rocket. What shapes are we using? - What can you say about these triangles?

9... And so.

What magic figure did we talk about today in the lesson? - What feature does this figure have? -What game did we meet in the lesson? Guys, we have completed all the tasks, this is evidenced by the designed rocket. Where should the rocket fly? Now count how many stars have each of you collected? (Students are assessed by the number of stars) -And now, from the stars we form the starry sky, where the rocket will fly.In each star there is a grain of your labor that will help you fly into space and invent new rockets, love and protect your native land, increase its wealth and do other important things. And for this, learn math, fantasize, dream, create! \

Homework.

Make your own figures from the parts of "Tangram". Development of creativity Topic: "Development of the creative abilities of primary schoolchildren based on the study of geometric material" The current state of society is characterized by increased attention to the inner world and the unique capabilities of an individual. V concepts modernization of Russian education for the period up to 2010 it is said: “A developing society needs modernly educated, moral, enterprising people who can independently make responsible decisions in a situation of choice, predicting their possible consequences, are capable of cooperation, are distinguished by mobility, dynamism, constructiveness, have developed a sense of responsibility for the fate of the country ”. Federal component of the state standard primary general education is aimed at implementing a qualitatively new personality-oriented developmental model of a mass school and is designed to ensure the fulfillment of the main goals, among which are the development of the student's personality, his creative abilities, interest in learning, the desire and ability to learn is formed. The main goal of the school, as a social institution in modern conditions is the diversified development of children, their cognitive interests, creative abilities, general educational skills, self-education skills, capable of personality self-realization. At the heart of the EMC "Planet of Knowledge" is the general concept of a personality-oriented learning system aimed at achieving the optimal level for each student overall development and the formation of knowledge, skills and abilities on this basis. This program contains great opportunities for the development of the creative abilities of primary schoolchildren. The most effective area for the development of children's creative abilities is art, artistic activity. This is facilitated by the lessons of literary creativity and the Russian language, music, fine arts. But, such a subject as mathematics and mathematics and design also has many opportunities for the development of the creative potential of students, although some consider mathematics to be a "dry" science. It seems that mathematics and creativity are two incompatible things. In the course of mathematics for this program, three main lines can be distinguished:

algebraic arithmetic geometric

High school math teachers count geometry complex science. In proving certain theorems, seventh-graders should rely on the concepts that have been defined. These concepts must be taught before taking a systematic course in geometry, namely in elementary school. After analyzing the program of II Arginskaya, we came to the conclusion that the geometric material takes up a fairly large volume. This fact has many advantages, but there is also a significant disadvantage - it is a lack of time to practice practical skills in drawing, plotting, measuring. We solve these problems just at the M&C lessons - where we deepened, expanded and systematized the geometric material of the lessons. Geometric material has a lot in common with the artistic perception of the world, since a large place in geometry belongs to figurative thinking. This can be used because the thinking of younger schoolchildren is visual-figurative and visual-effective. All this makes it possible integrating math lessons with labor education lessons... Labor lessons provide a real opportunity for the formation of practical skills in drawing, constructing, measuring, etc. Play is a field of creativity. It is in the game that flexibility and originality of thinking is manifested. People come to our classes fairy-tale heroes: Dunno, Pencil, Pinocchio, Tochka, Samodelkin, Compasses, as well as a mischievous mischief - Elastic band, etc. Children help them to complete any tasks, travel with them around the country of Geometry. You can offer such tasks to children in M&C lessons.:

Continue the line. Draw the drawings so that they are the same, etc.

For the development of imagination:

Draw what you want. Create a geometric description of your design. Put on your magic glasses, through which we see everything around us only in the form of triangles (squares, etc.), draw what you have done. Draw it so that you get some kind of object. Game "Let's dream up". Different figures or several figures are given.

Solution of partial search problems at different levels. Here we offer children tasks, the solution of which they find on their own without the participation of the teacher or with his little help, discover new knowledge and ways to obtain it. These are tasks for identifying patterns:

Divide the figures into groups. Find the "extra" drawing. Draw a pink line longer than a green line, a green line longer than a blue line, and a brown line equal to a pink line. Find the pattern and draw all the following polygons. By what principle were these figures combined, etc.

For the development of the creative abilities of students, such partial search tasks, which contain several options for solutions, are of great importance. Solving creative problems. Such tasks require more or complete independence and are designed for search activities, an extraordinary, unconventional approach and creative application of knowledge. An example of such tasks can be a variety of games for drawing silhouette figures according to their design: "Mongolian game", "Tangram" (from a square), "Vietnamese game" (from a circle), "Columbus egg", "Amazing triangle". Solving creative, non-standard tasks, children experience the joy of being involved in creative thinking. One of the important methodological principles of studying geometric material is its connection with other subjects, including labor training, where it is effective. Jan Amos Comenius said: "Everything that is in mutual connection should be taught in the same connection." Integration- a tool that provides a holistic knowledge of the world and a person's ability to think systematically when solving practical problems. Back in the 19th century, the German educator F. Frebel founded an integrated course in teaching mathematics with the help of origami, on the basis of which you can improve and strengthen geometric knowledge and skills, as well as develop the creative abilities of students. Drawing the attention of children to those geometric shapes that are obtained in the process of folding, students work out the basic geometric concepts. Sometimes we associate origam figures in stories, fairy tales that children come up with, showing their imagination. Of course, origami contributes to the development of the creative abilities of younger students, while taking into account the age characteristics of children.
Children perceive better not ready-made geometric shapes and bodies, but created with their own hands: they cut and paste, model, cut out sweeps and glue, form shapes on movable models, fold paper, etc. The knowledge gained is now used by children in practice, in this case, in a labor training lesson, applications from geometric shapes. In the lessons, children learn to see geometric images in the environment, highlight their properties, design, transform and combine figures, depict them in a drawing, perform measurements, if necessary, draw something by eye. We build the process:

active concrete visual practical

But we pursue not only narrowly practical goals, but also develop the horizons of children, their creative abilities, we study the rules of communication. The ability to cooperate in creative activity is being developed. Conclusion In the process of research, we analyzed in detail the essential characteristics of abilities, their theoretical aspects, pedagogical guidance of the process of developing creative abilities in a school environment. Creativity as a formative concept seems to us especially important and relevant today. The problem of pedagogical leadership in the development of creative abilities was considered by us from different angles: we used the program of the author G.V. Terekhova "Lessons of creativity", which can be used as a course in optional classes. This problem was reflected in the educational and leisure activities of the school. We made an attempt to build a certain system for fulfilling creative tasks at each lesson in the process of teaching younger students. By a system of creative tasks, we mean an ordered set of interrelated tasks focused on cognition, creation, transformation in a new quality objects, situations and phenomena of educational reality .. One of their pedagogical conditions for the effectiveness of the system of creative tasks is the personal - activity interaction of students and the teacher in the process of their implementation. Its essence is in the continuity of direct and reverse impact, the organic combination of changes in subjects affecting each other, the awareness of interaction as co-creation. During the experimental work, we came to the conclusion that one of the pedagogical conditions for the effectiveness of the system of creative tasks is the personal - activity interaction of students and teachers in the process of their implementation. Its essence is in the inseparability of direct and reverse impact, an organic combination of changes affecting each other, the awareness of interaction as co-creation. Under the personal - activity interaction of a teacher and students in the process of organizing creative activity, we mean a combination of organizational forms of teaching, a binary approach to the choice of methods and creative style of activity With this approach, the organizational function of the teacher is enhanced, it involves the choice of optimal methods, forms, techniques, and the student's function is to acquire the skills of organizing independent creative activity, choosing the way to perform a creative task, the nature of interpersonal relationships in the creative process. All these measures will allow children to actively to be included as subjects in all types of creative activity. The accumulation of experience of independent creative activity by each student presupposes active use at various stages of the fulfillment of your specific tasks of collective, individual and group forms of work. The individual form allows you to activate personal experience the student, develops the ability to independently highlight a specific problem for the solution. The group form develops the ability to coordinate their point of view with the opinion of comrades, the ability to listen and analyze the search directions proposed by the group members. The collective form expands the students' ability to analyze the current situation in broader interaction with peers, parents, teachers, provides an opportunity for the child to find out different points of view on solving a creative problem. Thus, the effectiveness of the work carried out is largely determined by the nature of the relationship between students. and between students and teachers. In this regard, we can draw some conclusions and recommendations.

the presence of an interest formed in children in performing creative tasks;

the implementation of creative tasks as the most important component of not only lesson, but also extracurricular activities of a student;

Combining a common thematic and problematic core of educational and out-of-school forms of work, in which children learn to reflect on the problems of creativity and translate these reflections into practical activities;

- creative work should unfold in the interaction of children with each other and adults, live by them depending on specific conditions in interesting game and event situations; - stimulate the parents of students to create home conditions for the development of the child's creative abilities, include parents in the creative work of the school.

Bibliography

Azarova L.N. How to develop the creative individuality of junior schoolchildren // Primary school. - 1998-№4.-p.80-81.2. Bermus A.G. Humanitarian development methodology educational programs// Pedagogical technologies. -2004 - No. 2.-p.84-85.3. Vygotsky L.S. Imagination and creativity in childhood. M.-1981 - p. 55-56.4. P.Ya. Galperin. Stage-by-stage formation as a method of psychological research // Actual problems of developmental psychology - М 19875. Davydov VV Problems of developmental education - М - 19866. Davydov. Psychological development in younger school age // Age and educational psychology - M 19737. Zak AZ Methods of developing abilities in children M 19948. Ilyichev LF Fedoseev NN. Philosophical encyclopedic Dictionary... M.-1983 - p. 649.9. Krutetskiy V.N. Psychology.-M .: Education, 1986 - p. 203.10. Kruglova L. What makes a person happy? // Public education. - 1996-№8.-p.26-28.11. Ksenzova G.Yu. Success gives rise to success. Ledneva S.A. Identification of children's giftedness by teachers. // Scientific and practical journal. - 2002 - No. 1.- p. 36-42.

Document

Skill, craftsmanship, art live within the limits of a different kind of artistic creation. Admiring the palette of artistic creativity of the masters of our region, I would like to note that all types of man-made activities allow us to judge

Development of creativity (2)

Document

In the Concept of General Secondary Education, the fundamental principle of updating the content of education is the personal orientation of the content of education, which implies the development of students' creative abilities, individualization of their education

Development of creative abilities of primary schoolchildren through problem teaching methods

Lesson

The primary school is obliged to launch the mechanism of self-knowledge, self-expression, self-realization in educational activities, teaching the child to live in harmony with himself, nature and society.

Sections: Primary School

In the draft of the Federal Component of the State Educational Standard of General Education, one of the goals associated with the modernization of the content of general education is the humanistic orientation of education, which manifests itself in an orientation towards a “personality-oriented” model of interaction, the development of a child's personality, his creative potential. The process of profound changes taking place in modern education puts forward as a priority the problem of creativity, the development of creative thinking, contributing to the formation of the creative potential of a person who is distinguished by uniqueness and originality. Unfortunately, diagnostic data from parents and teachers show that 80% of parents and 65% of teachers equate creativity with the mental ability of children. This fact speaks of the incompetence, first of all, of teachers in the issue under consideration and the need to familiarize themselves with the term creative abilities. What is meant by creativity? To understand more accurately, it is necessary to consider this issue from the point of view of psychology, philosophy, pedagogy. Different authors define them in their own way.

B.M. Teplov under creativity understood certain individual psychological characteristics that distinguish one person from another, which are not reduced to the existing stock of skills and knowledge that a person already has, but determine the ease and speed of their acquisition.

Shadrikov V.D. Creative skills were defined as a property of functional systems that implement individual mental functions, which have an individual measure of expression, manifested in the success and qualitative originality of the development of activity.

Bolshakova L.A. Creative skills defines as a complex personal quality that reflects a person's ability to be creative in various spheres of life, and also allows you to provide support in creative self-realization to other people. This is a high degree of enthusiasm, intellectual activity, cognitive amateur performance of the individual.

Motkov O.I. under creativity I understood the ability to be surprised and learn, the ability to find solutions in non-standard situations, this is a focus on discovering new things and the ability to deeply understand their experience.

The pedagogical definition of creative abilities, which is given in the pedagogical encyclopedia, defines them as the ability to create an original product, a product, in the process of working on which the acquired knowledge, skills, and abilities are independently applied, are manifested at least in a minimal deviation from the sample, individuality, art.

WITH philosophical Creative perspectives include the ability to creatively imagine, observe, and think outside the box.

Having analyzed various definitions, it can be generalized that creative abilities are understood as the individual psychological characteristics of a child, which do not depend on mental abilities and are manifested in children's fantasy, imagination, a special vision of the world, and their point of view on the surrounding reality.

The movement of scientific thought in relation to the concept under study is very interesting. Many psychologists, philosophers, and teachers have dealt with the issue of creative abilities. Suffice it to name such authors as L. N. Kogan, L. S. Vygodsky, N. A. Berdyaev, D. S. Likhachev, A. S. Kargin, V. A. Razumny, Motkov O.I. other. At first, creativity was identified with intuition, then direct identification was with intelligence. From identification with the intellect, it moved on to opposition. It was proved that creativity has its own localization - this is a "special point" of individual properties that do not depend on intelligence, since most of the subjects with high intelligence had low creativity.

To determine the creative abilities of Bogoyavlenskaya D.B. highlights the following parameters:

• fluency of thought (number of ideas),
• flexibility of thought (the ability to switch from one idea to another),
• originality (the ability to generate ideas),
• curiosity,
• fantastic.

Bogdanova T.G. in his book: “Diagnostics cognitive sphere child ”identifies the totality of many abilities:

• The ability to take risks;
• Divergent thinking;
• Flexibility in thinking and acting;
• Quick thinking;
• Ability to express original ideas, invent something new;
• Rich imagination;
• Perception of ambiguous things;
• High aesthetic values;
• Developed intuition.

The model by which methods for measuring creativity are built should not be tests, but acts of creativity themselves, as is usually the case outside of test situations. "Test items limit the identification of a person's potential to requiring a definite answer."

Creative skills opposed obsolete views as the maximum expression of mental and special abilities. High test scores do not mean high creativity. Children's creativity is a natural behavior of a child against the background of the absence of stereotypes, where the reference point is the norm, and the further from it, the higher the creativity indicators. J. Renzulli suggests focusing on the rating of past and present achievements. It is important to maintain in the child confidence in his giftedness, since this should lead to a greater extent to strengthening the motive for achievement, and therefore to ensure higher achievements regardless of the actual level of giftedness itself.

The works of L.S.Vygodsky are especially important. He recognizes for all people, and not just for the elite, a penchant for creativity, manifested in different ways, mainly depending on cultural and social factors.

Having identified the point of view of researchers on the problem of creativity, the question arises: what age is the most favorable for the development of creativity? For an answer to this question, you can turn to the research of psychologists who have conducted many years of experiments. It turns out that the opinions of such psychologists as E. Fromm, I.P. Volkov, R. Burns, I.O. Motkov and others coincide. They found that the properties of the human psyche, the basis of the intellect and the entire spiritual sphere arise and are formed mainly in preschool and primary school age, although the results of development are revealed later. Lack of creativity, as a rule, becomes an insurmountable obstacle in high school when it is required to solve non-standard problems, interpret materials from primary sources, etc.

B. Nikitin among five conditions puts forward in the first place earlier start... On this basis, primary school age is the most favorable stage in the development of a child's creative abilities, his self-realization and the growth of his personal dignity.

This means that the primary school teacher is faced with the task of developing the child, his creative abilities, educating a creative personality as a whole.

Developing creativity is essential primary education, because this process permeates all stages of the child's personality development, awakens initiative and independence of decisions, the habit of free self-expression, self-confidence.

Research carried out by L.A. Bolshakova deputy. directors for scientific and methodological work of gymnasium No. 7 in Svobodny, Amur region, and described in the journal "Head teacher of elementary school" for 2002, show that the development of creative abilities at primary school age, proceeds most effectively under certain conditions:

Conditions for the effective development of the creative abilities of primary schoolchildren.

• Choice situations are created, the learning process includes tasks that are performed taking into account the imagination;
• Co-creation is organized in the children's collective with the whole manifestation and development of the creative abilities of each;
• Technologies for the development of creative thinking are used;
• Systematic tracking of diagnostic results is carried out.

Every child has different kinds of gifts. Of course, not all children have the ability to compose, imagine, invent. Nevertheless, the talents of each person can be developed. Incentives are needed to develop them.

What are the ways to stimulate creativity?

Ways to stimulate creativity.

• providing a supportive atmosphere;
• benevolence on the part of the teacher, his refusal to criticize the child;
• enrichment of the environment around the child with a wide variety of objects and stimuli that are new to him in order to develop his curiosity;
• encouraging the expression of original ideas;
• providing opportunities for practice;
• using a personal example of a creative approach to solving problems;
• enabling children to actively ask questions.

The importance of developing the creativity of a primary school student, his ability to show initiative, invention, independence in solving any educational problem is now obvious for everyone. By correlating the process of creativity and learning, obviously, it is necessary to talk about creating such conditions that would facilitate the emergence and development of all the trainees' qualities and inclinations, which are usually identified as characteristic features of a creative person. The effectiveness of the school is determined by the extent to which the educational process ensures the development of the creative abilities of students, prepares them for life in society.

Thus, we can conclude that every child has creative abilities. These are individual - psychological characteristics that distinguish one person from another. The creative potential of our society depends on how much they are developed, since the formation of a creative personality today acquires not only theoretical meaning, but also practical meaning. Knowledge of teachers, what is meant by the creative abilities of students, will expand the boundaries of their manifestation in children.

Literature:

1. Bogdanova T.G., Kornilova T.V. Diagnostics of the cognitive sphere of a child.- Moscow: Rospedagenstvo, 1994.
2. Epiphany D.B. Psychology of creative abilities: Textbook. A handbook for students of higher education. Textbook. Institutions. -M.: Ed. Center "Academy", 2002.
3. Bolshakova L.A. Development of creativity of a younger student. Zh-l “Head teacher of elementary school” .№2.2001.
4. V.P. Kozvonina Development of the creative abilities of students. Beginning school 2000.№7.
5. Motkov O. I. Psychology of personality self-knowledge. Practical guide.-M .: "Triangle", 1993.

The ability to be creative, to create something new has always been highly valued in society. And it is not surprising, since people possessing this gift are a kind of generators of the development of human civilization. But creativity also has subjective value. The person endowed with them creates for himself the most comfortable conditions for existence, transforms the world, adapting it to his needs and interests.

It would seem that everything is simple: you need to actively develop these abilities in yourself. However, for hundreds of years humanity has been struggling with the question of what is the secret of creativity, what makes a person a creator.

Before we talk about creativity, let's first understand what abilities are in general.

• There are general abilities required in different areas, for example.
• And there are special ones associated with only one specific occupation. For example, an ear for music is needed by a musician, singer and composer, and a high sensitivity to color discrimination is needed by an artist-painter.

The basis of abilities is innate, natural inclinations, but abilities are manifested and developed in activity. To learn how to draw well, you need to master painting, drawing, composition, etc., in order to achieve success in sports, you need to do this sport. Otherwise, in no way, the inclinations themselves will not become abilities, and even less will they turn into.

But how is creativity connected with all this, after all, this is not a special type of activity, but rather its level, and a creative gift can manifest itself in any area of ​​life?

The structure of creativity

The totality of creative abilities and their active manifestation in the life of an individual is called creativity. She has complex structure, which includes both general and special abilities.

General level of creativity

Like any other abilities, creative ones are associated with psychophysiological inclinations, that is, the peculiarities of the human nervous system: the activity of the right hemisphere of the brain, the high speed of nervous processes, the stability and strength of the processes of excitation and inhibition.

But they are not limited only to innate qualities and are not a special gift that we received from nature or sent from above. Creativity is based on development and active, persistent human activity.

The main area in which creativity is manifested is the intellectual sphere. A creative person is characterized by a special one that differs from the standard one, including the logical one. Various researchers call this thinking unconventional or lateral (E. de Bono), divergent (J. Guilford), radiant (T. Buzan), critical (D. Halpern), or simply creative.

J. Guilford is a well-known psychologist, researcher of creativity, one of the first to describe a kind of mental activity inherent in creatives. He called it divergent thinking, that is, directed in different directions, and it differs from convergent (unidirectional), which includes both deduction and induction. The main feature of divergent thinking is that it is focused not on finding one single correct solution, but on identifying a variety of ways to solve a problem. The same feature was noted by E. de Bono, T. Buzan, and Ya. A. Ponomarev.

Creative thinking - what is it like?

They studied it throughout the 20th century, and a whole spectrum of features of the mental activity of people who are characterized by this type of thinking was revealed.

• Flexibility of thinking, that is, not only the ability to quickly switch from one problem to another, but also the ability to refuse an ineffective solution, to look for new ways and approaches.
• Focus shift is the ability of a person to look at an object, situation or problem from an unexpected perspective, from a different angle. This makes it possible to consider some new properties, features, details, imperceptible with a "direct" look.
• Reliance on the image. Unlike standard logical and algorithmic thinking, creative is imaginative in nature. A new original idea, concept, project is born as a vivid volumetric image, only at the stage of development is overgrown with words, formulas and diagrams. It is not for nothing that the center of creativity is located in the right hemisphere of the brain, which is responsible for working with images.
• Associativity. The ability to quickly establish connections-associations between the task and the information stored in memory is an important feature of the mental activity of creative people. The creative brain resembles a powerful computer, all systems of which constantly exchange impulses that carry information.

Although creative thinking is often opposed to logical thinking, they are not mutually exclusive, but complementary. It is impossible to do without logical thinking at the stage of checking the found solution, implementing the idea, finalizing the project, etc. If rational logical thinking is undeveloped, then the idea, even the most ingenious, most often remains at the level of the idea.

Creativity and intelligence

Speaking about a person's abilities for mental activity, they most often mean. If the connection between intelligence and the development of logical thinking is the most direct, then this cannot be said about creative potential.

According to the standard test that determines the intelligence quotient (IQ), people with less than 100 points (below the average) do not differ in creativity, but high intelligence does not guarantee creativity. The most creatively gifted people range from 110 to 130 points. Among individuals with IQs above 130, creatives are found, but not often. Excessive rationalism of intellectuals interferes with the manifestation of creativity. Therefore, along with the intelligence coefficient, the creativity coefficient (Cr) was also introduced, and, accordingly, tests were developed to determine it.

Special abilities in creativity

The presence of general abilities in creative activity ensures the novelty and originality of its product, but without special abilities it is impossible to achieve mastery. It is not enough to come up with an original plot of the book, you still need to be able to literally present it, build a composition, create realistic images of heroes. The artist must embody the image born in the imagination in the material, which is impossible without mastering the technique and skills of visual activity, and the development of a scientific and technical invention presupposes possession of the basics of the exact sciences, knowledge in the field of mechanics, physics, chemistry, etc.

Creativity has not only a spiritual, mental, but also a practical side. Therefore, creativity also includes applied, special abilities that develop first at the reproductive (reproductive) level. A person under the guidance of a teacher or independently masters specific methods, methods of activity that were developed before him. For example, he teaches musical notation, masters playing a musical instrument or the technique of visual activity, studies mathematics, the rules of algorithmic thinking, etc. create your own original product.

Special abilities are needed for creativity to become a master, and its activity (and any) - art. The absence or underdevelopment of special abilities often leads to the fact that creativity is not satisfied, and the creative potential, even quite high, remains unfulfilled.

How to determine if you have creativity

All people have a predisposition to creativity, however, the creative potential, as well as the level of creativity, is different for everyone. Moreover, placed in certain harsh conditions (for example, performing a task), a person can use creative methods, but then not apply them either in professional or in everyday life and not feel any need for creativity. Such a person can hardly be called a creative person.

In order to determine the presence and degree of development of creative abilities, there are many test methods developed by psychologists. However, in order to adequately assess the result obtained by these methods, one must have knowledge in the field of psychology. But there are a number of criteria by which everyone can assess the level of their creativity and decide how much they need to develop their creative abilities.

Levels of intellectual and creative activity

Creativity presupposes a high level of intellectual and creative activity, that is, not only the ability for mental activity, but also the need for it, independent use of creative thinking techniques without pressure from the outside.

There are 3 levels of such activity:

• Incentive and productive. A person at this level conscientiously solves the tasks assigned to him, tries to achieve good results... But he does this under the influence of external stimuli (an order, a task from above, the need to earn money, etc.). He has no cognitive interest, passion for work and internal stimuli. In his activities, he uses ready-made solutions and methods. This level does not exclude some random original solutions and findings, but having used the method he found once, a person subsequently does not go beyond it.
• Heuristic level. It assumes the ability of a person to make discoveries empirically, empirically, often reduced to the method of trial and error. In his activities, the individual relies on a reliable, proven method, but tries to refine it, improve it. This improved method is regarded by him as a personal achievement and cause for pride. Any found interesting, original idea, someone else's idea becomes an impetus, a stimulus for mental activity. Very interesting and useful inventions can be the result of such activity. After all, man invented the plane by watching birds.
• The creative level involves not only active intellectual activity and solving problems at theoretical level... Its main difference is the ability and need to identify and formulate problems. People at this level are able to notice details, see internal contradictions and pose questions. Moreover, they like to do this, having a kind of "research itch" when an interesting new problem that has arisen forces them to postpone activities already begun.

Despite the fact that the highest is the creative level, the most productive and valuable for society is the heuristic one. Moreover, the most effective is the work of a team in which there are people of all three types: creativity generates ideas, poses problems, the heuristic modifies them, adapts them to reality, and the practitioner brings them to life.

Creative giftedness parameters

J. Guilford, who created the theory of divergent thinking, identified several indicators of the level of creative giftedness and productivity.

• The ability to pose problems.
• Productivity of thinking, which is expressed in the birth of a large number of ideas.
• Semantic flexibility of thinking - rapid switching of mental activity from one problem to another and the inclusion of knowledge from different areas in the thinking process.
• Originality of thinking is the ability to find non-standard solutions, to give birth to original images and ideas, to see the unusual in the ordinary.
• The ability to change the purpose of an object, improve it by adding details.

Another important indicator was later added to the characteristics identified by J. Guilford: ease and speed of thinking. The speed of finding a solution is no less, and sometimes even more important, than its originality.

How to develop creativity

It is better to develop creativity from childhood, when the need for creativity is very strong. Remember with what delight the kids perceive everything new, how they rejoice at new toys, activities, walks in unfamiliar places. Children are open to the world and, like a sponge, absorb knowledge. Their psyche is very flexible and plastic, they do not yet have stereotypes, standards on the basis of which the thinking of adults is built. And the main tools of children's mental activity are images. That is, there are all the prerequisites and opportunities for the effective development of creative abilities. This process is especially successful if adults encourage the manifestation of creativity of children and organize joint activities and games themselves.

As for adults, even in this case it is possible to increase the level of creativity, make professional activities more creative, or find an opportunity to realize their need for creativity in some kind of art, hobby or hobby.

The main thing for an adult is precisely the presence of a need, since often people complain that God has deprived them of talent, but they do nothing to find an area in which their personality could be realized. But if you realized the need to develop your potential, then there is such an opportunity.

Any abilities develop in activity and involve mastering skills, that is, training. Considering that creativity is primarily a set of qualities and properties of thinking, it is the thinking abilities that need to be trained.

Especially for the development of creativity, thinking, whole trainings have been developed, and exercises from them can be performed independently, especially since they often resemble an exciting game.

Exercise "Chain of associations"

Associative thinking plays an important role in creativity, but it is most often involuntary, spontaneous, so you need to learn how to manage it. Here is one exercise for developing mindful association skills.

1. Take a piece of paper and a pen.
2. Pick a word. The choice should be arbitrary, you can just open the dictionary on the first page that comes across.
3. As soon as you read the word, immediately "catch" the first association in your head and write it down.
4. Next, write down the next association in a column, but already on the written word, and so on.

Make sure that the associations are consistent, for each new word, and not for the previous or the very first. When there are 15-20 of them in the column, stop and carefully read what you got. Pay attention to what sphere, sphere of reality these associations belong to. Is this one area or several? For example, the word "hat" can be associated with: head - hair - hairstyle - comb - beauty, etc. In this case, all associations are in the same semantic field, you could not get out of the narrow circle, jump over stereotypical thinking.

And here is another example: hat - head - mayor - thought - thinking - interest - reading - lessons, etc. associative connection, but thinking is constantly changing its direction, entering new spheres and areas. Undoubtedly, the second case indicates a more creative approach.

While doing this exercise, achieve such transitions, but do not think about the birth of associations for too long, because the process should be involuntary. The game with associations can be played in a company, competing over who will have more associations and more original transitions over a certain period of time.

Exercise "Universal Subject"

This exercise helps to develop a whole range of qualities: originality of thought, semantic flexibility, creative thinking and imagination.

1. Imagine a simple object like a pencil, a lid from a saucepan, a spoon, a box of matches, etc.
2. After choosing an item, think about how it can be used other than its direct purpose. Try to find as many uses as possible and try to keep them original.

For example, a saucepan lid can be used as a shield, as a percussion instrument, as a basis for a beautiful panel, as a tray, as a window leaf in its absence, as a hat, as an umbrella, as a carnival mask if you twist holes for the eyes in it ... Can you continue?

Just like the first exercise, this can be done in a group, giving it the form of a competition. If the group is large enough, for example, a class, then it is possible to propose to name the new functions of the subject in turn. The player who cannot come up with a new one is eliminated. And ultimately the most creative will remain.

These are just examples of exercises for. Try to come up with such games yourself, and it will also be good training.

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Introduction

1.1. Ability concept, creativity

1.2. Ability types

Conclusion

Literature

Introduction

One of the most difficult and interesting problems in psychology is the problem of individual differences. It is difficult to name at least one property, quality, trait of a person that would not be included in the circle of this problem. Mental properties and qualities of people are formed in life, in the process of education, upbringing, activity. The central point in the individual characteristics of a person is his abilities, it is the abilities that determine the formation of the personality and determine the degree of brightness of its individuality. At the present time, the time of rapid social changes, in a developing society, the personal and social significance of the ability to think creatively is sharply increasing. That is why, at the present stage, the problem of developing the creative abilities of students is urgent. An important task of a modern school is to create such learning conditions that would provide, to the greatest extent, psychological comfort for students and the possibility of their intensive development in accordance with individual needs and abilities. You can't just be “capable” or “capable of anything,” regardless of any particular occupation. Any ability is necessarily an ability for something, for any activity. Abilities both manifest and develop only in activity, and determine greater or lesser success in performing this activity.

A creative person, as a rule, is more successful in everything - from simple communication to professional activity. Creativity helps a person find original solutions to complex problems. That is why it is necessary to stimulate the motivation of students to be creative, to create conditions for the development of their creative abilities. Therefore, the topic of the work is relevant.

The object of research in this work is the educational process in technology lessons in high school.

Subject of research: the development of creative abilities in adolescents in technology lessons.

Purpose of the work: to give a psychological and pedagogical substantiation of the creative abilities of adolescents.

This goal is concretized by the following tasks:

1. To study the psychological and pedagogical literature on the research topic;

2. Reveal the peculiarities of the development of creative abilities;

3. Identify ways of developing creative abilities.

Research methods: theoretical: analysis, synthesis; practical research methods.

creativity school

1. Theoretical substantiation of the concept of "ability", "creativity"

1.1 The concept of ability, creativity

Abilities are stable individual psychological characteristics that distinguish people from each other and explain the differences in their success in different types of activities. A capable person is one who is good at doing any business, and copes with it in such a way that he achieves high results and is highly appreciated by the people around him. That understanding of human abilities, which is characteristic of modern psychology, did not appear immediately. In different historical epochs and periods of development of psychology as a science, different things were understood as abilities. At the beginning of the development of psychological knowledge (from ancient times to the 17th century), all possible psychological qualities inherent in a person were called "abilities of the soul". This was the broadest and most vague understanding of abilities, which did not highlight the specificity of abilities as special properties of a person. When there was a clear differentiation of psychological phenomena into groups (XVIII) and it was proved that not all "abilities of the soul" are innate, that their development depends on education and upbringing, only psychological properties that a person acquires in the process of life began to be called abilities.

Abilities are the internal conditions for human development, which are formed in the process of his interaction with the outside world.

“Human abilities that distinguish a person from other living beings constitute his nature, but human nature itself is a product of history,” wrote S.L. Rubinstein. Human nature is formed and changed in the process of historical development as a result of human labor activity ”.

The concept of "ability" includes three main features:

First, the ability is understood as individual psychological characteristics that distinguish one person from another.

Secondly, abilities are not generally called individual characteristics, but only those that are related to the success of an activity or many activities. There is a huge variety of activities and relationships, each of which requires certain abilities for its implementation at a sufficiently high level.

Thirdly, by abilities they mean such individual characteristics that are not limited to the available skills, abilities or knowledge of a person, but which can explain the ease and speed of acquiring these knowledge and skills.

Thus, the following definition can be derived.

Abilities are those individual psychological characteristics of a person that meet the requirements of a given activity and are a condition for its successful implementation.

In other words, abilities are understood as the properties, or qualities, of a person that make him fit for the successful performance of a certain activity.

Psychologists identify several characteristics of people who are creative.

First of all, it is a high level of independence of judgment. A creative person does not know conformist reactions, he considers problems that others do not have the courage to ask about, and seeks solutions. This is probably why creators prefer new and complex things to the familiar and simple. Their perception of the world is constantly being updated. And if an ordinary person perceives in the information surrounding him only what corresponds to his interests, fits into the structure of already existing knowledge and ideas, then a creative person rather pays attention to what goes beyond this framework. The ability to see something that does not fit previously learned is more than just observation. In this case, we can say that a person sees not so much with the eye as with the brain. The creative person is curious and constantly strives to combine data from various branches of knowledge. The French psychologist Sourie wrote: "To create, you have to think about." By analogy with lateral vision, the doctor de Bono called lateral thinking the ability to see the path to solving a problem using "extraneous" information, information from other branches of knowledge. Thanks to this, he can combine perceived stimuli and link new information with his previous baggage, without which the perceived information does not turn into knowledge, does not become part of the intellect. This gives the imagination extra power. Creative people love to have fun, and their heads are full of all kinds of wonderful designs. Hence the ease of generating ideas inherent in creative people. And it doesn't have to be that every idea is correct. Probably, the dominant integrity of perception lies at the heart of the desire to integrate knowledge, i.e. the ability to perceive reality as a whole, without splitting it. In order to realize creative ideas, it is often necessary to break away from the logical consideration of facts in order to try to fit them into broader contexts. Without this, it is impossible to look at the problem with a fresh eye, to see the new in the long familiar.

Creativity - the ability to find solutions to non-standard problems, to create original products of activity, to reconstruct a situation in order to obtain a result, the ability to think productively, to form new images of the imagination.

1.2 Types of abilities

Ability - a set of innate anatomical, physiological and acquired regulatory properties that determine the mental capabilities of a person in various activities.

Each activity makes a set of requirements for the physical, psychophysiological and mental capabilities of a person. Abilities is a measure of the correspondence of personality traits to the requirements of a specific activity. (Annex 1).

General and special abilities differ. General abilities are required for all activities. They are subdivided into elementary - the ability to psychically reflect reality, the elementary level of development of perception, memory, thinking, imagination, will and complex - the ability to learn, observation, the general level of intellectual development, etc. Without an appropriate level of development of elementary and complex abilities, a person cannot to be included in any of the types of human activity.

A sufficiently high level of development of general abilities - the characteristics of thinking, attention, memory, perception, speech, mental activity, curiosity, creative imagination, etc. - allows you to achieve significant results in various areas of human activity with intense, motivated work. There are almost no people who have evenly expressed all of the above abilities. For example, Ch. Darwin noted; "I am superior to average people in the ability to notice things that easily slip away from attention and subject them to close observation."

Special abilities are the abilities for certain activities that help a person achieve high results in it. The main difference between people is not so much in the degree of giftedness and the quantitative characteristics of abilities, but in their quality - what exactly he is capable of, what these abilities are. The quality of abilities determines the originality and uniqueness of the giftedness of each person.

Elementary general abilities are properties inherent in all individuals (deep eye, the ability to make judgments, imagination, emotional memory). These abilities are considered innate.

Elementary private abilities are called abilities that make up individual personality traits based on an individual original generalization of the corresponding mental processes that are elementary, but not all inherent (kindness, courage, quick wit, emotional-motor stability).

Complex general ones are socially conditioned abilities that arise on the basis of elementary ones (the ability to work, communicate, speak, learn and educate). They are not common to all people equally.

Complex private abilities are abilities for specific special activities, professional, including pedagogical; ability to science (mathematical, musical, visual, etc.). The structure of abilities is highly dynamic and some of its components are largely offset by others. The formation of abilities proceeds from simple to complex, occurs in the form of a spiral movement: realizing the possibilities that represent the abilities of a given level, they open up new opportunities for the development of abilities of a higher level.

Since abilities affect the qualitative indicators of the formation of skills, skills, they are directly related to the mastery of mastery when performing a particular activity.

Both general and special abilities are inextricably linked with each other.

The development of the special abilities of each person is nothing more than an expression of the individual path of his development.

Special abilities are classified in accordance with various areas of human activity: literary abilities, mathematical, constructive-technical, musical, artistic, linguistic, scenic, pedagogical, sports, theoretical and practical abilities, spiritual abilities, etc. All of them are a product of the prevailing the history of mankind, the division of labor, the emergence of new areas of culture and the allocation of new types of activity as independent occupations. All types of special abilities are the result of the development of the material and spiritual culture of mankind and the development of man himself as a thinking and active being.

The abilities of each person are quite wide and varied. As already noted, they both manifest and develop in activity. Any human activity is a complex phenomenon. Its success cannot be ensured by only one ability, each special ability includes a number of components, which in their combination, unity, form the structure of this ability. Success in engaging in any activity is ensured by a special combination of various components that make up the structure of abilities. Influencing each other, these components give the ability individuality and originality. That is why each person is capable, talented in his own way in the activities in which other people work. For example, one musician may be talented at playing the violin, another at the piano, and the third in conducting, showing his individual creative style in these special areas of music as well.

The development of special abilities is a complex and lengthy process. Different special abilities have different timing of their detection. Earlier than others, talents are manifested in the field of arts, and above all in music. It was found that at the age of up to 5 years, the development of musical abilities occurs most favorably, since it is at this time that the child's ear for music and musical memory are formed.

Technical ability is usually revealed later than the ability in the arts. This is due to the fact that technical activity, technical inventions require a very high development of higher mental functions, primarily thinking, which is formed at a later age - adolescence. Elementary technical abilities can be manifested in children as early as 9-11 years old.

In the field of scientific creativity, abilities are revealed much later than in other fields of activity, as a rule, after 20 years. At the same time, mathematical abilities are revealed earlier than others.

It must be remembered that any creative ability by itself does not translate into creative achievements. In order to get the result, you need knowledge and experience, work and patience, will and desire, you need a powerful motivational basis for creativity.

1.3 Development of creativity

In developmental psychology, three approaches struggle and complement each other: 1) genetic, which assigns the main role in the determination of the mental properties of heredity; 2) environmental, whose representatives consider external conditions to be the decisive factor in the development of mental abilities; 3) genotype-environmental interaction, the proponents of which distinguish different types of adaptation of the individual to the environment, depending on hereditary traits.

Numerous historical examples: the families of Bernoulli mathematicians, Bach composers, Russian writers and thinkers - at first glance, convincingly testify to the predominant influence of heredity on the formation of a creative personality.

Critics of the genetic approach object to a straightforward interpretation of these examples. Two more alternative explanations are possible: firstly, the creative environment created by the older family members, their example, affects the development of the creative abilities of children and grandchildren (environmental approach). Secondly, the presence of the same abilities in children and parents is supported by a spontaneously emerging creative environment adequate to the genotype (the hypothesis of genotype-environmental interaction).

Nichols' review summarizing 211 twin studies summarized the diagnosis of divergent thinking in 10 studies. The average value of correlations between MZ twins is 0.61, and between DZ twins - 0.50. Consequently, the contribution of heredity to the determination of individual differences in the level of development of divergent thinking is very small. Russian psychologists E.L. Grigorenko and B.I. The main conclusion reached by the authors is that individual differences in creativity and indicators of the hypothesis testing process are determined by environmental factors. A high level of creativity was found in children with a wide social circle and a democratic style of relationship with their mother.

Thus, psychological research do not confirm the hypothesis about the heritability of individual differences in creativity (more precisely, the level of development of divergent thinking).

An attempt to implement a different approach to identifying the hereditary determinants of creativity was undertaken in the works of researchers belonging to the Russian school of differential psychophysiology. Representatives of this trend argue that general abilities are based on the properties of the nervous system (inclinations), which also determine the characteristics of temperament.

A hypothetical property of the human nervous system that could determine creativity in the course of individual development is “plasticity”. Plasticity is usually determined by indicators of variability of EEG parameters and evoked potentials. The classical conditioned reflex method of plasticity diagnostics was the conversion of a skill from positive to negative or vice versa.

The pole opposite to plasticity is rigidity, which manifests itself in small variability of indicators of electrophysiological activity of the central nervous system, difficulty in switching, inadequacy of transferring old ways of action to new conditions, stereotyped thinking, etc.

One of the attempts to reveal the heritability of plasticity was undertaken in the dissertation research by S. D. Biryukov. It was possible to reveal the heritability of "field dependence - field independence" (the success of the test of built-in shapes) and individual differences in the execution of the test "Forward and backward writing." The environmental component of the total phenotypic variance according to these measurements was close to zero. In addition, the method of factor analysis revealed two independent factors characterizing plasticity: "adaptive" and "afferent". The first is associated with the general regulation of behavior (characteristics of attention and motor skills), and the second - with the parameters of perception.

According to Biryukov's data, the ontogeny of plasticity is completed by the end of puberty, while there are no sex differences either by the factor of "adaptive" plasticity, or by the factor of "afferent" plasticity.

The phenotypic variability of these indicators is very high, but the question of the relationship between plasticity and creativity remains open. Since psychological studies have not yet revealed the heritability of individual differences in creativity, let us pay attention to environmental factors that can have a positive or negative impact on the development of creative abilities. Until now, researchers have assigned a decisive role to the microenvironment in which a child is formed, and, first of all, to the influence family relations... The majority of researchers reveal the following parameters in the analysis of family relations: 1) harmony - inharmony of relations between parents, as well as between parents and children; 2) creative - non-creative personality of the parent as a role model and subject of identification; 3) community of intellectual interests of family members or its absence; 4) the expectations of the parents in relation to the child: the expectation of achievement or independence.

If the regulation of behavior is cultivated in the family, the same requirements are imposed on all children, there are harmonious relations between family members, then this leads to a low level of creativity of children.

It seems that a wider range of acceptable behavioral manifestations (including emotional ones), a lower unambiguity of requirements do not contribute to early education rigid social stereotypes and favor the development of creativity. Thus, the creative person looks like psychologically unstable. The requirement to achieve success through obedience does not contribute to the development of independence and, as a result, creativity.

K. Berry conducted a comparative study of the peculiarities of the family education of the laureates Nobel Prize on science and literature. Almost all of the laureates came from families of intellectuals or businessmen, there were practically no people from the lower strata of society. Most of them were born in large cities (capitals or metropolitan areas). Among the Nobel laureates born in the United States, only one came from the midwestern states, but 60 from New York. Most often, Nobel prizes were received by people from Jewish families, less often from Protestant families, and even less often from Catholic families.

The parents of Nobel Prize-winning scientists are most often also engaged in science or worked in the field of education. People from families of scientists and teachers rarely received Nobel Prizes for literature or the struggle for peace.

The situation in the families of the scholarly laureates was more stable than in the families of the literary laureates. Most scientists emphasized in interviews that they had happy childhood and started early scientific career, proceeding without significant disruptions. True, it cannot be said whether a calm family environment contributes to the development of talent or the formation of personal qualities that are conducive to a career. Suffice it to recall the impoverished and bleak childhood of Kepler and Faraday. It is known that little Newton was abandoned by his mother and he was brought up by his grandmother.

Tragic events in the lives of families of Nobel Prize laureates in literature are typical. Thirty percent of laureate writers lost one of their parents in childhood or their families went bankrupt.

Experts in the field of post-traumatic stress experienced by some people after exposure to a situation that goes beyond ordinary life (natural or technical disaster, clinical death, participation in hostilities, etc.), argue that the latter develop an uncontrollable urge to speak out, talk about their unusual experiences, accompanied by a sense of incomprehensibility. Perhaps the trauma associated with the loss of loved ones in childhood is that unhealed wound that forces the writer through his personal drama to reveal in the word the drama of human existence.

D. Simonton, and then a number of other researchers put forward the hypothesis that an environment favorable for the development of creativity should reinforce the creative behavior of children, provide examples of creative behavior for imitation. From his point of view, socially and politically unstable environment is most favorable for the development of creativity.

Among the numerous facts that confirm crucial role family-parental relations, there are such:

1. As a rule, the eldest or only son in the family has great chances to show creativity.

2. Less likely to be creative in children who identify with their parents (father). On the contrary, if the child identifies himself with the “ideal hero”, then he has more chances of becoming creative. This fact is explained by the fact that the majority of children have parents who are “average”, non-creative people, identification with them leads to the formation of non-creative behavior in children.

3. More often creative children appear in families where the father is much older than the mother.

4. The early death of parents leads to a lack of a pattern of behavior with limiting behavior in childhood. This event is typical for the life of both prominent politicians, eminent scientists, and criminals and the mentally ill.

5. For the development of creativity, increased attention to the child's abilities is favorable, a situation when his talent becomes an organizing element in the family.

So, the family environment, where, on the one hand, there is attention to the child, and on the other hand, where various, inconsistent requirements are presented to him, where there is little external control over behavior, where there are creative family members and non-stereotypical behavior is encouraged, leads to development creativity in the child.

The hypothesis that imitation is the main mechanism for the formation of creativity implies that for the development of a child's creative abilities it is necessary that among the people close to the child there is a creative person with whom the child would identify himself. The identification process depends on family relationships: it is not the parents who can act as a model for the child, but the “ideal hero” who has more creative traits than the parents,

Inharmonious emotional relationships in the family contribute to the emotional distance of the child from, as a rule, uncreative parents, but by themselves they do not stimulate the development of creativity.

For the development of creativity, an unregulated environment with democratic relations and the child's imitation of a creative personality is necessary.

The development of creativity, perhaps, proceeds according to the following mechanism: on the basis of general giftedness, under the influence of the microenvironment and imitation, a system of motives and personal properties (nonconformity, independence, self-actualization motivation) is formed, and general giftedness is transformed into actual creativity (synthesis of giftedness and a certain personality structure).

If we summarize the few studies devoted to the sensitive period of the development of creativity, then it is most likely that this period falls on the age of 3-5 years. By the age of 3, a child has a need to act like an adult, "to be equal to an adult." Children develop a "need for compensation" and develop mechanisms of selfless imitation of an adult's activities. Attempts to imitate the labor actions of an adult begin to be observed from the end of the second to the fourth year of life. Most likely, it is at this time that the child is most sensitive to the development of creative abilities through imitation.

In the study of V.I. Tyutyunnik, it is shown that the needs and ability for creative work develop at least from the age of 5. The main factor determining this development is the content of the child's relationship with the adult, the position taken by the adult in relation to the child.

In the course of socialization, a very specific relationship is established between the creative person and the social environment. Firstly, creatives often experience discrimination at school due to the orientation of teaching towards "average grades", the unification of programs, the prevalence of strict regulation of behavior, and the attitude of teachers. Teachers, as a rule, evaluate creatives as "upstarts", demonstrative, hysterical, stubborn, etc. Creatives' resistance to reproductive work, their great sensitivity to monotony is regarded as laziness, stubbornness, stupidity. Often, talented children are targeted by their teenage peers. Therefore, according to Guilford, by the end of schooling, gifted children fall into depression, masking their abilities, but, on the other hand, these children pass the initial levels of intelligence development faster and quickly reach high levels of development of moral consciousness (according to L. Kohlberg).

The further fate of creatives develops depending on environmental conditions and on general patterns development of a creative personality.

In the course of professional development, a professional example plays a huge role - the personality of a professional, on which creativity is oriented. It is believed that an “average” level of environmental resistance and rewarding talent is optimal for the development of creativity.

However, the environment undoubtedly plays an exceptional role in the formation and manifestation of a creative personality. If we share the point of view that creativity is inherent in every person, and environmental influences, prohibitions, “taboos”, social templates only block its manifestation, we can interpret the “influence” of non-regulation of behavior as the absence of any influence. And on this basis, the development of creativity at a later age acts as a way to release the creative potential from the "clamps" acquired in early childhood. But if we assume that the influence of the environment is positive and for the development of creativity it is absolutely necessary to reinforce the general endowment with a certain environmental influence, then identification and imitation of a creative model, a democratic but emotionally unbalanced style of relations in the family act as formative influences.

Functional cognitive redundancy as the basis of human creativity. The ability to invent new things and translate new ideas into reality is obviously the most important (if not the main) feature that distinguishes humans from higher primates and other highly organized animals.

Few of sociobiologists, ethologists and zoopsychologists doubt the ability of higher apes to think and the simplest forms of pseudo-verbal communication.

Intelligence as the ability to solve actual problems in the mind without behavioral tests is inherent not only in humans, but not a single species has created at least something resembling human culture. Elements of human culture - music, books, norms of behavior, technological tools, buildings, etc. - are inventions that are replicated and disseminated in time and space.

It is important to answer the question: could people physically exist without a cultural environment if culture is a necessary means of human adaptation to the world, and the human individual outside of culture is doomed to death. "Mowgli", it would seem, are proof of this thesis, but they are "victims" only spiritually, and physically - they survive! It can be said differently: culture is not an obligatory "appendage" to humanity, but it arises because an individual person cannot exist without producing new cultural objects, just as he cannot stop eating, drinking or breathing. Does this thesis give rise to the idea that the ability to create is inherent in man? Perhaps. But in my opinion (and this is a hypothesis!) Creativity itself is also a cultural invention. I will try to substantiate this assumption.

For this, a number of theoretical considerations should be cited:

1. Man differs from other animals not only by the “level of intelligence”, but by the functional redundancy of the cognitive resource in relation to the tasks of adaptation. Simply put, the intellectual abilities of a normal person ("average person") as a representative of a species exceed the requirements that the surrounding natural environment places on him.

2. With the development of culture and civilization, cultural requirements increase. Associated with the mastery of culture, the requirements for adaptation to the natural environment are reduced. Man is protected from the dangers of the "surplus" of inventions. Functional redundancy in relation to natural adaptation increases, in relation to cultural and social - it falls.

3. Many models of behavior, hypotheses, images of the future world remain “unclaimed”, since most of them cannot be applied to regulate adaptive behavior. But a person constantly generates hypotheses that are active and require their implementation.

Each of us, like M. Yu. Lermontov, can say that “in my soul I have created a different world and other images of existence”, having specified only that there are many such worlds. Everyone (in the imagination!) Could potentially live many different lives, but realizes only one linear, irreversible life path. Time is linear, no parallel lives are given.

Creativity as a method of social behavior was invented by mankind for the realization of ideas - the fruits of human active imagination. An alternative to creativity is adaptive behavior and mental degradation, or destruction as an externalization of a person's mental activity to destroy his own thoughts, plans, images, etc.

How can a person translate his fantasies ("parallel" models of reality) into reality, if it requires daily adaptation and implementation of one, the only correct variant of behavior?

An opportunity for creativity is provided when a person falls out of the flow of solving problems for adaptation, when he is given "peace and will", when he is not busy with worries about his daily bread, or refuses these worries, when he is left to himself - in a hospital bed, in the solitary confinement cell of Shlisselburg, at night at Boldinskaya's desk in the fall.

One of the arguments in favor of representing creativity as a social invention is the data of psychogenetics and developmental psychology.

Studies of the intra-paired similarity of mono- and dizygotic twins M. Reznikova et al (Resnikoff M., Domino G., Bridges S., Honeyman N., 1973) showed that the genotype determines only 25% of the variance of eleven indicators of creativity.

The development of children's creativity is accompanied by an increase in the frequency of neurosis-like reactions, maladaptive behavior, anxiety, mental imbalance and emotiveness, which directly indicates the close relationship of these mental states with the creative process.

Individuals differ in the level of cognitive functional redundancy (CFR). The lower the redundancy, the more adaptive and satisfied a person should feel. This conclusion is consistent with the results of research in the field of intellectual adaptation, indicating the presence of a "social optimum" in the level of intelligence: the most socially adapted and professionally successful are persons with average (or slightly above average) intelligence. At the same time, there are also data on the high adaptability and life satisfaction of individuals with an intelligence below average and even with moderate oligophrenia.

It was found that persons with high and ultra-high intelligence are the least satisfied with life. This phenomenon is observed both in Western countries and in Russia.

Fewer and fewer individuals meet the requirements of cultural adaptation put forward by modern production (understanding this term in a broad sense as the production of cultural objects). Hence - the spread and consumption of a simplified culture, surrogates such as works of "mass culture", etc., a relative decrease in the number of subjects capable of participating in cultural creativity, to perceive and understand the meaning of inventions, theories, discoveries. Few other than a narrow circle of professionals can reproduce the recently obtained proof of Fermat's theorem; there are few lovers of fine literature who are really capable of understanding the metaphors of T. Eliot or I. Brodsky.

Creativity is more and more specialized, and creators, like birds sitting on distant branches of the same tree of human culture, are far from the earth and barely hear and understand each other. The majority are forced to take their discoveries on faith and use the fruits of their minds in everyday life, not realizing that a capillary fountain pen, a zipper, and a video player were once invented.

So, cognitive functional redundancy as a property of the psyche is possessed to varying degrees by all normal representatives of the human population, without genetic defects leading to a decrease in intelligence. But the level of CFI required for professional creativity in most areas of human culture is such that it leaves most people outside of professional creativity. But humanity has found a way out here in the form of "amateurism", "creativity at leisure", a hobby in those areas that are still accessible to the majority.

This form of creativity is available to almost everyone and everyone: both children with lesions of the musculoskeletal system, and the mentally ill, and people tired of monotonous or highly complex professional activities. The massive nature of "amateur" creativity, its beneficial effect on the mental health of a person testifies in favor of the hypothesis of "functional redundancy as a species-specific trait of a person."

If the hypothesis is correct, then it explains such important characteristics of the behavior of creative people as the tendency to show "oversituational activity" (D. B. Bogoyavlenskaya) or the tendency to over-normative activity (V. A. Petrovsky).

Conclusion

In this research work we examined the psychological and pedagogical aspects of the development of the creative abilities of adolescents in technology lessons. Having analyzed the psychological and pedagogical literature, in Chapter 1 we presented theoretical material on the problem of the development of the creative abilities of adolescents in the technology class. Revealed the essence of the concepts of "ability", "creativity".

Abilities are stable individual psychological characteristics that distinguish people from each other and explain the differences in their success in different types of activity. In other words, abilities are understood as the properties or qualities of a person that make him fit for the successful performance of a certain activity.

A special attitude has developed in psychology regarding creative abilities. We can assume that they are to a certain extent inherent in any person, any normal child, you just need to be able to reveal them and develop. Much depends on what opportunities the environment will provide for the realization of the potential that is inherent in everyone to varying degrees and in one form or another.

As Ferguson rightly pointed out, "creativity is not created, but released." There are many talents, from the large and flamboyant to the modest and subtle. But the essence of the creative process, the algorithm of its course is the same for everyone.

Creativity - the ability to find solutions to non-standard problems, to create original products of activity, to reconstruct a situation in order to obtain a result, the ability to think productively, to form new images of the imagination.

Literature

1. Bim - Bad BM Pedagogical - encyclopedic dictionary. Moscow. - 2002 g.

2. Vishnyakova S. M. Professional education... Dictionary. Key concepts, terms, current vocabulary. - M .: IMTs Setu, 1999 .-- 538 p.

3. Dubrovina I.V. Psychology: a textbook for students. wednesday prof. study. institutions / I.V. Dubrovina, E.E. Danilova, A.M. Parishioners; ed. I.V. Dubrovina. - 6th ed., Erased. - M .: Publishing Center "Academy", 2007. - 464 p.

4. Enikeev M.I. General and social psychology: textbook for universities. Publishing group Norma - Infa. M., 1999.

5. Enikeev M.I. Psychological encyclopedic dictionary. - M .: TK Welby, publishing house Prospect, 2006. p. 435.

6. Morozov A.V. Business psychology. Lecture course; textbook for higher and secondary special educational institutions... SPb .: Publishing house Soyuz, 2000 .-- 576 p.

7. Nemov R.S. Psychology: Dictionary reference book: 2 hours - Moscow: Vlados-Press Publishing House, 2003. - Part 2. - 352 p.

8. Platonov K.K. Ability problems. - M .: Nauka, 1979 .-- p. 91.

9. Petrovsky A. V., Yaroshevsky M. G. Psychology: Textbook for students. higher. ped. study. institutions. - M .: Publishing Center "Academy", 1998. - 512 p.

10. Rubinstein S.L. The basics general psychology- SPb: Publishing house "Peter", 2000 - 712 p .: ill. - (Series "Masters of Psychology").

11. Rubinstein S.L. Ability problems and fundamental questions of psychological theory. Abstracts of reports at the 1st Congress of the Society of Psychologists. Issue 3. - M .: 1959 .-- p. 138.

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