一个简短的笔记上ChildrenA¢€™年代的创造力

介绍

在教育、创造性的重要性被公认为21世纪一个重要的能力。支持这一前提,本文的主要目的是提供一个理论集成的事件框架支持先进的动态系统理论的原理,描述并解释孩子的创造性。这个模型被用来阐明不同意见的角色教育发展孩子的创造性。我们的第二个目标是经验集成。在三维分类法的概念,我们有一种倾向,进行科学审查最近的文学(2006 - 2017年,184年的研究)在小学学生的创造性。我们的结果表明,创造性是最常见的测量作为一个静态的,综合构造。[1]与我们的理论模型,我们建议的方法未来的分析阐述moment-tomoment交互那种漫长的艺术发展的想法,除了作为连接的机制完全不同的创造力水平。想象的能力,使新的、独特的解决方案高级的问题可能是一个独特的人类的属性,人类的整体风格。今天,我们倾向于董事会副学位逐步发达国家要求人联合国机构将开发精致艺术逐步解决先进社区和学院面临的问题。形成关联程度的理解孩子的学术创新是关键,父母,和学术机构联合国机构愿意为其发展生产最好的条件。[2]的一个关键问题是,“什么是创新?” Is creativity a personal characteristic or ability, just like the approach during which several students read intelligence?Is it a characteristic of a product, like an artless drawing or a chic answer to a mathematical problem? Or is creativeness a method of generating, attempting out and evaluating novel ideas? the solution to the current question naturally has consequences for the way creativeness is measured in research project.[3] however maybe it conjointly works the opposite approach around: The “mainstream” of creativeness analysis with its specific operationalization’s of the idea conjointly influences the discourse regarding creativeness and, consequently, makes an attempt to engraft creativeness in instructional policy and apply. Since analysis on children’s creativeness is kind of widespread, the sector wants integration and focus to progress more. the primary aim, therefore, is to integrate the most theoretical approaches to process and understanding creativeness into one advanced dynamic systems model of creativeness. The advanced systems model given during this article connects the various levels on that creativeness will be outlined by 2 mechanisms: emergence and constraint. the various levels vary from moment-to-moment artistic processes to creativeness on the private level and artistic development over the life, each on the individual and also the social dimension of creativeness. Theory of creative thinking shifts the eye from creative thinking as a private ability, to creative thinking as a characteristic of a product or response. She emphasizes that the question of “What is creativity” can't be answered objectively; that's, outside of social and cultural norms. A product or response is inventive once consultants within the field agree that it's inventive. This theory is that the basis of the accordant assessment technique of mensuration creative thinking on the amount of finished product or inventive responses. During this sense, her theory of creative thinking is powerfully associated with the systems model of creative thinking by Csikszentmihalyi,[4] that is mentioned in additional detail below. The complicated dynamic system’s model we tend to gift here integrates the most theoretical approaches to ability. in keeping with this model, completely different the various levels on that ability are often outlined area unit viewed as different levels of organization that area unit connected through 2 main processes: emergence and constraint. Also, the individual and social sides of ability area unit reticulated. In Figure one, we tend to see the ideaof the model: interactions between the coed, the student’s direct social surroundings (such because the teacher), and also the task.[5] These period interactions (“real time” as a result of they occur from moment to moment) area unit the idea for artistic processes.

引用

1. 诺拉米,门德斯。W, b .创造力的阴暗面:生物弱点和消极情绪导致更大的艺术创造力。人格与社会心理学公报》。34岁,1677 - 1686。
2. 阿玛比尔·t·m .创造力的社会心理学:一个成分的概念化。个性过程和个体差异,45岁,357 - 376。
3. 安德森g . L,斯科特,j .向一个区间的理解过程的因果关系和社会环境。定性调查,18岁,674 - 685。
4. 阿玛比尔·t·m .创造力在上下文。博尔德有限公司:北京大学出版社,1996年。
5. Dehue t . De depressie-epidemie抑郁的流行。荷兰阿姆斯特丹:奥林巴斯。2009。