Plan
Introduction
Chapter 1. The problem of creativity in the history of philosophy and psychology
§1.1. The problem of creativity in the history of philosophy
§1.2. The problem of creativity in foreign psychology of the 19th-20th centuries
Chapter 2 scientific creativity in Russian philosophy and psychology of the twentieth century
§2.1.Potebnitskaya concept of artistic creativity
§2.2. Reflexological theory of creativity
Conclusion
Introduction
The problem of creativity has long been of interest to philosophers; and attitudes towards him have always been ambiguous. Traditionally, there are 2 approaches to understanding creativity:
Logical - considers creativity from a scientific - psychological point of view, as a way of expressing personal qualities, and not as a transformation of the universe.
Philosophical - it can be divided into philosophical and methodological and its manifestation in the field of creative thinking. This method considers human thinking as high form reflection of the surrounding world by a person, and creativity in this case is understood as the formation of micro, through the reflection and transformation of the surrounding world.
In this paper, I want to build research on the consideration and comparison of these methods, as they are complementary.
The topic of my work is “The Role of Creativity in the History of Philosophy”, from my point of view, this topic is relevant due to the fact that philosophy itself is scientific creative, focused on the constant search for something new and more perfect. The relationship between philosophical and creative thinking is obvious. In addition, at the moment, a rather biased opinion has developed in society towards creativity, perhaps due to the fact that modern education is one-sided and highly specialized. I believe that such an attitude and creativity in the future can lead to the spiritual degradation of society and therefore it is necessary to pay great attention creative development of the individual.
The purpose of my work is to consider the problems inherent in the understanding of creativity, from the point of view of philosophical and psychological approaches; to determine the philosophical essence of creativity, to explore the influence of creativity on personality.
To achieve my goals, in the first part of my work I explore the problem of the creative process in the framework of the development of philosophy and psychology, and in the second I explore the development and change in attitudes towards creativity in world and Russian philosophy.
According to its structure, my work consists of an introduction, two chapters, divided in pairs into paragraphs, a conclusion and a list of references.
Chapter 1. The problem of creativity in the history of foreign philosophy and psychology.
§1.1 The problem of creativity in the history of philosophy
Philosophical consideration of creativity involves answers to the questions:
a) how creativity is possible at all, as the generation of something new;
b) what is the ontological meaning of the act of creation?
In different historical epochs, philosophy answered these questions in different ways.
1. Antiquity.
The specificity of ancient philosophy, as well as the ancient worldview in general, lies in the fact that creativity is associated in it with the sphere of finite, transient and changeable being (existence), and not with being eternal, infinite and equal to itself.
Creativity comes in two forms:
a) as divine - the act of birth (creation) of the cosmos and
b) as human (art, craft).
Most of the ancient thinkers are characterized by the belief in the eternal existence of the cosmos. Greek philosophers of various directions argued:
Heraclitus with his doctrine of true being as eternity
changes.
Eleatics, who recognized only eternally unchanging being;
Democritus, who taught about the eternal existence of atoms;
Aristotle, who proved the infinity of time and thereby, in fact, denied the divine act of creation.
Creativity as the creation of something new and unique is not involved in the sphere of the divine. Even Plato, who teaches about the creation of the cosmos, understands creativity in a very peculiar way:
1. The demiurge creates the world "... in accordance with what is known by the mind and thinking and what is not subject to change."
This pattern of creation is not something external to the creator, but is something that awaits his inner contemplation. Therefore, this contemplation itself is the highest, and the ability to create is subordinate to it and is only a manifestation of that fullness of perfection, which is contained in divine contemplation.
This understanding of divine creativity is also characteristic of Neoplatonism.
Similarly, in the sphere of the human, ancient philosophy does not assign a dominant value to creativity. True knowledge, that is, the contemplation of eternal and unchanging being, is put forward by her in the first place. Any activity, including creative activity, in its ontological significance is lower than contemplation, creation is lower than cognition, because a person creates the finite, transient, and contemplates the infinite, the eternal.
This general formulation of the question has also found its expression in the understanding of artistic creativity. Early Greek thinkers did not distinguish art from the general complex of creative activity (crafts, cultivation of plants, etc.).
However, unlike other types of creative activity, the artist's work is carried out under the influence of divine influx. This idea found a vivid expression in Plato in his doctrine of eros. Divine creativity, the fruit of which is the universe, is a moment of divine contemplation.
Similarly, human creativity is only a moment in reaching the highest "intelligent" contemplation accessible to man. The desire for this higher state, a kind of obsession, is "Eros", which appears both as an erotic obsession of the body, the desire for birth, and as an erotic obsession of the soul, the desire for artistic creativity, and, finally, as an obsession of the spirit - a passionate craving for pure contemplation of beauty. .
2. Christianity.
A different understanding of creativity arises in the Christian philosophy of the Middle Ages, in which two trends intersect:
1) theistic, coming from the Hebrew religion, and
2) pantheistic - from ancient philosophy.
The first is connected with the understanding of God as a person who creates the world not in accordance with some eternal pattern, but completely freely. Creativity is the evocation of being from non-being by means of a volitional act of a divine personality.
Augustine, in contrast to the Neoplatonists, also emphasizes the importance of the moment of will in the human personality, the functions of which differ from the functions of the mind:
The will is characterized by motives for decision, choice, consent or disagreement, which do not depend on reasonable discretion (which, apparently, is connected with the body - B.S.). If the mind deals with what is (the eternal being of ancient philosophy), then the will rather deals with what is not (the nothingness of Eastern religions), but which is first brought to life by an act of will.
The second trend, which almost gravitates towards most of representatives of medieval scholasticism, including its largest representative - Thomas Aquinas, in the matter of creativity comes closer to the ancient tradition. The God of Thomas is goodness in its completeness, it is the eternal mind contemplating itself, it is "... the most perfect nature, rather than the will that makes itself perfect" (Windelband V. History of Philosophy. St. Petersburg, 1898, p. 373) . Therefore Thomas' understanding of divine creativity is close to Plato's understanding of it.
(One gets the impression that this understanding is transitional to pantheistic, because it comes from "self-improving nature, the product of which is the human will - B.S.)
However, regardless of the predominance of one or another tendency among Christian philosophers, they evaluate human creativity in a completely different way than it was estimated by ancient philosophy. It appears in Christianity primarily as the "creativity of history." It is no coincidence that the philosophy of history first appears on Christian soil ("On the City of God" by Augustine): history, according to the medieval notion, is the sphere in which finite human beings take part in the implementation of God's plan in the world. Since, further, it is not so much the mind as the will and volitional act of faith that primarily connect a person with God, a personal act, a personal, individual decision becomes important as a form of participation in the creation of the world by God. This turns out to be a prerequisite for understanding creativity as the creation of something unprecedented, unique and inimitable. At the same time, the sphere of creativity turns out to be predominantly the area of historical deeds, deeds of moral and religious.
Artistic and scientific creativity, on the contrary, act as something secondary. In his work, man is, as it were, constantly turned to God and limited by him; and therefore the Middle Ages never knew that pathos of creativity, which pervaded the Renaissance, modern times and modernity.
3. Revival.
This kind of "limitation" of human creativity is removed in the Renaissance, when a person is gradually freed from God and begins to consider himself as a creator.
The Renaissance understands creativity primarily as artistic creativity, as art in the broadest sense of the word, which in its deepest essence is regarded as creative contemplation. Hence the cult of genius characteristic of the Renaissance as the bearer of creativity par excellence. It was during the Renaissance that interest arose in the very act of creativity, and at the same time in the personality of the artist, that reflection on the creative process arose, which was unfamiliar to either antiquity or the Middle Ages, but was so characteristic of modern times.
This interest in the process of creativity as a subjective process in the soul of the artist gives rise in the Renaissance to an interest in culture as a product of the creativity of previous eras. If for the medieval worldview history is the result of the joint creation of God and man, and therefore the meaning of history is something transcendent, then, starting from the end of the 15th-16th centuries. the tendency to consider history as a product of human creativity and to look for its meaning and the laws of its development in itself is becoming more and more clear. as a history maker.
4. Reformation.
In contrast to the Renaissance, the Reformation understands creativity not as an aesthetic (creative) content, but as an action. Lutheranism, and to an even greater extent Calvinism, with their harsh, rigorous ethics, placed emphasis on subject-practical, including economic activity. The success of an individual in practical undertakings on earth is evidence of his being chosen by God. Ingenuity and sharpness in the introduction of affairs were sanctified by religion and thus took over the entire burden of moral and religious deeds.
The understanding of creativity in modern times bears traces of both tendencies. The pantheistic tradition in modern philosophy, starting with Bruno, and even more so with Spinoza, reproduces the ancient attitude towards creativity as something less essential compared to knowledge, which, in the final analysis, is the contemplation of the eternal god-nature. On the contrary, the philosophy that was formed under the influence of Protestantism (primarily English empiricism) tends to interpret creativity as a successful - but largely random - combination of already existing elements: in this respect, the theory of knowledge of Bacon is characteristic, and even more so of Hobbes, Locke and Hume. Creativity, in essence, is something akin to invention.
5. German classical philosophy.
The completed concept of creativity in the 18th century is created by Kant, who specifically analyzes creative activity under the name of the productive ability of the imagination. Kant inherits the Protestant idea of creativity as an object-transforming activity that changes the face of the world, creates, as it were, a new, previously non-existent, "humanized" world, and philosophically comprehends this idea. Kant analyzes the structure of the creative process as one of the most important aspects of the structure of consciousness. The creative ability of the imagination, according to Kant, turns out to be a connecting link between the diversity of sensory impressions and the unity of the concepts of the mind, due to the fact that it has both the visibility of impressions and the synthesizing, unifying power of the concept. "Transcendental" imagination is thus, as it were, the identity of contemplation and activity, the common root of both. Creativity therefore lies at the very foundation of cognition - such is Kant's conclusion, the opposite of Plato's. Since there is a moment of arbitrariness in creative imagination, it is a correlate of invention, since there is already a moment of necessity (contemplation) in it, it turns out to be indirectly connected with the ideas of reason and, consequently, with the moral world order, and through it with the moral world.
The Kantian doctrine of the imagination was continued by Schelling. According to Schelling, the creative ability of the imagination is the unity of conscious and unconscious activities, because whoever is most gifted with this ability - a genius - creates, as it were, in a state of inspiration, unconsciously, just as nature creates, with the difference that this objective, that is, the unconscious character of the process nevertheless takes place in the subjectivity of man and, therefore, is mediated by his freedom. According to Schelling and the Romantics, creativity, and above all the creativity of the artist and philosopher, is the highest form of human life. Here man comes into contact with the Absolute, with God. Together with the cult of artistic creativity, the interest in the history of culture as a product of past creativity among the Romantics is growing.
This understanding of creativity largely led to a new interpretation of history, different from both its ancient and medieval understanding. At the same time, history turned out to be a sphere for the realization of human creativity, regardless of any transcendental meaning. This conception of history was most profoundly developed in Hegel's philosophy.
6. Philosophy of Marxism.
The understanding of creativity in German classical philosophy as an activity that gives birth to the world had a significant impact on the Marxist concept of creativity. Materialistically interpreting the concept of activity, eliminating from it those moral and religious prerequisites that Kant and Fichte had, Marx considers it as an object-practical activity, as "production" in the broad sense of the word, transforming the natural world in accordance with the goals and needs of man. and humanity. Marx was close to the pathos of the Renaissance, which put man and humanity in the place of God, and therefore creativity for him acts as the activity of a person who creates himself in the course of history. History appears, first of all, as the improvement of the subject-practical methods of human activity, which determine themselves and different kinds creativity.
(We cannot agree with Marxism that the main thing in creativity is the object-practical transformation of the natural world, and at the same time of oneself. After all, here, indeed, the "essential" - "instinct of humanity" in the individual is overlooked. According to Marx, it turns out that the level of humanity is determined by the level of development of the production of material goods.We believe that this "instinct of humanity" was realized by man and humanity somewhere in primitive society, for it is not for nothing that the same Marxism claims that the main ways of managing the ancient human morality was the community. Therefore, the task of the survival of man and mankind is to consciously strengthen the moral foundation of human existence and protect it from the infatuations of the body and from the absolutization of the subject-practical determinants of B.S.)
7. Foreign philosophy of the late XIX - early XX century.
In the philosophy of the late 19th and 20th centuries, creativity is considered, first of all, in its opposition to mechanical and technical activity. At the same time, if the philosophy of life opposes the creative bionatural principle to technical rationalism, then existentialism emphasizes the spiritual and personal essence of creativity. In the philosophy of life, the most developed concept of creativity is given by Bergson ("Creative Evolution", 1907, Russian translation, 1909). Creativity, as the continuous birth of the new, is, according to Bergson, the essence of life; creativity is something objectively taking place (in nature - in the form of processes of birth, growth, maturation; in consciousness - in the form of the emergence of new patterns and experiences) as opposed to the subjective technical activity of design. The activity of the intellect, according to Bergson, is not capable of creating something new, but only combines the old.
Klages, even more sharply than Bergson, contrasts the natural-spiritual principle as creative with the spiritual-intellectual as technical. In the philosophy of life, creativity is considered not only by analogy with natural biological processes, but also as the creativity of culture and history (Dilthey, Ortega y Gaset). Emphasizing in line with the traditions of German romanticism the personal-unique nature of the creative process, Dilthey in many ways turned out to be an intermediary in understanding creativity between the philosophy of life and existentialism.
In existentialism, the bearer of creativity is a person, understood as an existence, that is, as some irrational principle of freedom, a breakthrough of natural necessity and reasonable expediency, through which "nothing comes into the world."
In the religious version of existentialism, through existence, a person comes into contact with some transcendent being; in irreligious existentialism - with nothing. It is existence as an exit beyond the limits of the natural and social, in general "this-worldly" world - as an ecstatic impulse that brings into the world something new, which is usually called creativity. The most important areas of creativity in which the creativity of history appears are:
religious,
philosophical,
Artistic and
Moral.
Creative ecstasy, according to Berdyaev ("The Meaning of Creativity", 1916), early Heidegger, is the most adequate form of existence or existence.
Common to the philosophy of life and existentialism in the interpretation of creativity is the opposition to its intellectual and technical aspects, the recognition of its intuitive or ecstatic nature, the acceptance of organic mental processes or ecstatic spiritual acts as carriers of the creative principle, where individuality or personality manifests itself as something integral, indivisible and unique. .
Creativity is understood differently in such philosophical directions as pragmatism, instrumentalism, operationalism, and variants of neopositivism close to them. As a sphere creative activity here science appears in the form in which it is realized in modern production. Creativity is considered, first of all, as invention, the purpose of which is to solve the problem posed by a certain situation (see J. Dewey "How We Think" - 1910). Continuing the line of English empiricism in the interpretation of creativity, considering it as a successful combination of ideas leading to the solution of a problem, instrumentalism thereby reveals those aspects of scientific thinking that have become a prerequisite for the technical application of the results of science. Creativity acts as an intellectually expressed form of social activity.
Another version of the intellectualistic understanding of creativity is represented partly by neorealism, partly by phenomenology (Alexander, Whitehead, E. Husserl, N. Hartmann). The majority of thinkers of this type, in their understanding of creativity, are oriented towards science, but not so much towards natural science (Dewey, Bridgman) as towards mathematics (Husserl, Whitehead), so that their field of vision is not so much science in its practical applications, but the so-called "pure science". The basis of scientific knowledge is not activity, as in instrumentalism, but rather intellectual contemplation, so that this direction is closest to the Platonic-antique interpretation of creativity: the cult of the genius gives way to the cult of the sage.
Thus, if for Bergson creativity appears as a selfless deepening into the subject, as self-dissolution in contemplation, for Heidegger - as an ecstatic going beyond one's own limits, the highest tension of a human being, then for Dewey creativity is the ingenuity of the mind, confronted with the strict necessity of solving a certain problem and way out of a dangerous situation.
§ 1.2The problem of creativity in foreign psychology of the 19th-20th centuries
1. The problem of creative thinking in associative psychology.
Associative psychology was almost unable to explain the regularities not only of creative thinking, but even of the process of conscious thinking, since it did not take into account the important circumstance that this process is regulated at every step by the appropriately reflected content of the problem for the solution of which it proceeds.
The process of interaction of the content of the problem reflected in the mind and the process of thinking until the moment of its solution is becoming more and more complicated.
Typically, such difficulties occur when the solution to a complex problem is achieved in a sudden, that is, intuitive way.
In simpler cases, by the middle of the process of solving the problem, this relationship becomes more complicated, but then it begins to simplify when the subject consciously trusts the solution (or participation in the solution) to the subconscious and unconscious levels of the psyche.
Intuition (from lat. intueri - closely, carefully look) - knowledge that arises without awareness of the ways and conditions of its acquisition, due to which the subject has it as a result of "direct discretion".
Intuition is interpreted both as a specific ability to "holistically grasp" the conditions of a problem situation (sensory and intellectual intuition), and as a mechanism for creative activity.
Representatives of associative psychology could not perceive the dialectical relationship between the reflected content of the problem being solved and the process of thinking, which in essence is feedback. However, it should be noted that the laws of associations established by associationists is the greatest achievement of psychological science X! X century. The problem is just how these laws are interpreted.
Let us dwell briefly on the main provisions of associative psychology.
The defining reason for its inability to solve the problems of thinking correctly is the absolutization of the rational side of thinking, or intellectualism.
The basic law of the association of ideas in its psychological formulation says that "every idea causes behind itself either such an idea that is similar to it in content, or one with which it often arose at the same time, the principle of external association is simultaneity. The principle of the internal is similarity."
When explaining complex mental processes, this representative of associative psychology notes four factors that determine the course of ideas in a person:
1) Associative affinity - all types of associations and the laws of their functioning;
2) the distinctness of the various images of memory that come into conflict (in associations by similarity);
3) sensual tone of representations;
4) a constellation (combination) of representations, which can be extremely variable.
Ziegen, erroneously absolutizing the associative function of the brain, states: "Our thinking obeys the law of strict necessity," because the previous state of the cerebral cortex determines its subsequent state.
Associationists deny psychophysical unity, arguing that only physiological processes can occur under the threshold of consciousness, which are in no way connected with mental ones. Significant shortcomings of associateists should also be indicated:
Lack of general correct installation:
Determination of the thought process; that is, "The problem of determination, which is characteristic of the psychology of thinking, is replaced by another problem: how the connections between the already given elements determine the reproduction of these elements" (Rubinshtein S.L. On thinking and ways of its research. M., 1958, p.16).
Roles in this process of the problem situation;
Roles of analysis and synthesis;
The associative principle of explaining mental phenomena (including thinking), if it is not absolutized, can play a big role in understanding the patterns of thinking, especially the "subconscious", when the subject no longer has direct dialectical interaction with the content of the problem situation.
So, for example, the associateist A. Ben expressed valuable (for understanding creativity) thoughts:
a) For creative thinking, a radical change in the point of view on the subject under study is necessary (the struggle against established associations);
b) that the well-known fact of the successful creative work of young scientists who do not yet have encyclopedic knowledge in this area can be rationally explained.
However, the initial principles of traditional empirical associative psychology did not give her the opportunity to study complex mental phenomena, in particular intuition. She recognized only "conscious thinking" (induction, deduction, the ability to compare, relations), subject to associative laws. So, the contribution of associative psychology to the study of creative thinking is insignificant.
2. The problem of creativity in Gestalt psychology.
Each psychological direction, one way or another, answers the question: how a person through thinking comprehends something new (a phenomenon, its essence, as well as thoughts that reflect them).
Historically and even logically, Gestalt psychology occupies the first place among the psychological doctrines of thinking. It was she who initiated the systematic study of the mechanisms of creative or productive thinking. The main installations of Gestalt psychology:
1) the principle of integrity and direction of thinking;
2) distinction between hastalts:
physical,
physiological,
Intellectual - as a way to solve a psychophysical problem.
This school arose as an antithesis to the psychological atomism (elementarism) of the associationists. Initially, the very indication of the fact of integrity was important: if the problem is solved, then the gestalt turned out to be good (holistic); if not solved, then the gestalt is bad. Since the actual solution always includes both successful and unsuccessful moves, it was natural to assume a change of hastalts or wholes. Integrity itself can be interpreted as functional, that is, as a certain structure, characterized through a function. This is how the understanding of thinking as an activity of sequential restructuring was formed, continuing up to finding the gestalt (structure) necessary for the situation, which was called "insight" or "enlightenment".
Empirical "atomistic" psychology absolutizes the associative principle.
Gestalt - the principle of consistency, integrity (which is especially important for studying the problem of creative thinking, since the process of creativity is the process of synthesizing a holistic picture of a certain part of the material or spiritual world.
Modern psychologists see the truth in the synthesis of both. Gestaltists convincingly believe that in learning it is much more important not to accumulate correct rules and proven knowledge, but to develop the ability to "grasp", understand the meaning, essence of phenomena. Therefore, in order to think, it is not enough to fulfill the usual three conditions:
a) Get the right solution to the problem;
b) reach a solution with the help of logically correct operations;
c) the result is universally correct.
Here the reality of thinking is not yet felt, because:
a) Each logical step is taken blindly, without a sense of the direction of the whole process;
b) when a decision is received, there is no "insight" of thought (insider), which means a lack of understanding (Wertheimer, Dunker, etc.).
In the process of creative thinking, all structural transformations of ideas and thoughts are carried out as an adequate reflection of the structure of the problem situation, determined by it.
Gestaltism recognizes the role of the former cognitive experience of the subject, but refracted through the actual problem situation, her gestalt.
He rightly emphasizes the need for a preliminary conscious deep analysis of the problem (or "re-centering of the problem situation" by Wertheimer).
The process of thinking and its result, from the standpoint of Gestaltism, are essentially determined by the properties of the cognizing subject.
Requirements for the mental warehouse of the creator:
Not to be limited, blinded by habits;
Do not simply and subserviently repeat what you have been taught;
Do not act mechanically;
Do not take a partial position;
Do not act with attention focused on a limited part of the problem structure;
Do not act with partial operations, but freely, with a mind open to new ideas, operate with the situation, trying to find its internal relationships.
The most significant shortcomings of the Gestaltist understanding of the process of thinking are:
a) In the system of interaction between the "problem situation" and the subject (even in the second scheme), the subject is predominantly passive, contemplative).
b) He ignores the natural hierarchy of connections that exist in a problem situation, i.e. essential and non-essential connections between the elements of the problem are equalized.
Gestaltists note the following stages of the creative process:
1) The desire to have a real understanding leads to the posing of questions, and the investigation begins.
2) Some part of the "mental field" becomes critical and focused, but it does not become isolated. A deeper structural point of view on the situation is developed, including changes in the functional meaning, groupings of elements. Guided by what the structure requires of the critical part, the individual arrives at a rational foresight that requires direct and indirect verification.
3) Various, successive stages of solving the problem, firstly, reduce the "incompleteness of its analysis"; secondly, - the result is achieved at each stage through the "enlightenment" of thought (insight).
4) Discovery (insight) can take place only as a result of a scientist possessing certain abilities of perceiving facts, conscious discretion and posing problems, a sufficiently powerful subconscious thinking that complements the analysis and "incubates" the solution.
5) If the development of science does not allow the scientist to consciously study a certain set of facts sufficient to detect at least a partial regularity in the phenomena under study, then no "objective structural integrity" of the phenomena can lead to complete self-discovery.
6) From the moment when the subconscious picture of the phenomenon was formed, it necessarily directs the process of thinking already because it exists as an active mental experience of the subject or "intellectual intuition".
7) A purely logical approach to solving scientific problems is hopeless.
8) In order for a scientist to retain a "sense of direction" of mental activity, he must continuously work on scientific problems (in this case, apparently, close problems are preferable) in order to acquire those logical and objective elements that are necessary and sufficient for preparing a discovery. The presence of mental tension associated with the incompleteness of knowledge of a certain phenomenon leads to the formation of a kind of desire for mental balance.
Creative personalities constantly yearn for the harmony of their spiritual forces, therefore, for them there is no limit to the processes of cognition.
Thus, the Gestalt approach to the study of the creative process in science, despite serious shortcomings of a methodological nature, in a certain sense touches the very essence of the problem and is of great importance for the development of this area of psychology.
Modern foreign and Russian psychology of creativity continues to develop a positive legacy of associative and gestalt psychology, trying to find answers to cardinal questions:
What are the intimate psychological mechanisms of the creative act;
The dialectic of external and internal conditions that stimulate and inhibit the creative process;
What are creative abilities and how to develop them, whether they are hereditary or acquired; and if both factors play a role, then what is their relative importance;
What is the role of chance in creativity;
What are the psychological relationships in small groups of scientists and how they affect the process of creativity.
Chapter 2. Development of the problem of scientific creativity in Russian philosophy and psychology of the twentieth century.
§ 2.1. Potebnist concept of artistic creation:
The pioneers of the emerging psychology of creativity in Russia were not psychologists, but theorists of literature, literature and art.
The philosophical and linguistic works of A.A. Potebni. Potebnya considered the semantic principle to be the main approach to the consideration of grammatical categories and studied the grammatical form mainly as meaning.
In terms of developing the beginnings of the psychology of artistic creativity, the most famous potebniks are: D.N. Ovsyaniko-Kulikovskiy, B.A. Lezin and others.
Artistic creativity was interpreted by them in accordance with the principle of "economy of thought".
The unconscious, in their opinion, is a means of thought that saves and accumulates forces.
Attention, as a moment of consciousness, spends the most mental energy. Grammatical thought, carried out in the native language unconsciously, without wasting energy, allows you to spend this energy on the semantic aspect of thought and gives rise to a logical thought - the word turns into a concept.
In other words, language spends much less energy than it saves; and this saved energy goes to artistic and scientific creativity.
The principle of potebnik Ovsyaniko-Kulikovsky: Give, perhaps, more with the least waste of thought.
Lezin-potebnist names important, in his opinion, qualities of an individual that allow him to become a creative subject. The first sign of the genius of a writer, artist is an extraordinary ability of attention and perception.
Goethe: Genius is only attention. It is stronger than his talent.
Genius is a great worker, only economically distributing forces.
Newton: Genius is stubborn patience. Talent sees things in their essence, is able to grasp the characteristic details, has a great susceptibility, impressionability.
Expressed ability of fantasy, fiction;
Exceptional, involuntary observation;
Evasion away from the template, originality, subjectivity;
Extensiveness, knowledge, observations;
The gift of intuition, foreboding, foresight.
According to Lezin, one can judge the qualities of a creator's personality only through self-observation.
He distinguishes the following stages of the creative process:
1. Labor. (Lezin does not share the point of view of Goethe and Belinsky, who downplay the role of labor in relation to intuition).
2. Unconscious work, which, in his opinion, amounts to selection. This stage is unknowable.
3. Inspiration. It is nothing else than "shifting" from the unconscious into the sphere of consciousness of an already prepared conclusion.
In 1910 a book by P.K. Engelmeyer was published. The "Theory of Creativity", in which its author deals with the problems of the nature of creativity, its manifestations, looks for essential features of the concept of "human creativity", considers the staging of the creative process, classifies human talents, explores the relationship of "eurylogy" to biology and sociology. He opposes creativity to the routine as new to the old and names its specific features:
Artificiality;
expediency;
Surprise;
Value.
The creativity of man is a continuation of the creativity of nature. Creativity is life, and life is creativity. The creativity of an individual is determined by the level of development of society.
Where there is conjecture, there is creativity.
He indicates a number of stages in the creative process:
1) The first stage of creativity: - intuition and desire, the origin of the idea, hypotheses. It is teleological, that is, actually psychological, intuitive. Here intuition works on past experience. It takes a genius here.
We share Engelmeyer's idea that already the first stage of creativity requires from the subject the ability to unconscious thinking in order to see the problem on the basis of past experience where
others did not see her.
2) The second stage: - knowledge and reasoning, development of a scheme or plan, which gives a complete and feasible plan, a scheme where everything necessary and sufficient is present. It is logical, proving.
The mechanism of this act consists in experiments both in thoughts and in deeds. The discovery is worked out as a logical representation; its implementation no longer requires creative work.
This is where talent is needed.
3) The third act - skill, constructive performance also does not require creativity.
Here you need diligence.
The work of the subject here is reduced to selection; it is carried out according to the law of least resistance, the least expenditure of forces.
We cannot agree that already at the second stage there is a "complete and feasible plan, where everything necessary and sufficient is present." As will become known later, such a solution plan is revealed mainly by a "retrospective analysis" of the problem that has already been solved.
In addition, Engelmeyer unjustifiably, contrary to the actual logic of the creative process, reduces two functionally, and in time, separated varieties of intuition into one:
Intuition working on past experience and discovering a problem and
Intuition, over the material of the preliminary conscious "incomplete analysis". - This is again an act of unconscious mental activity, which translates a ready-made solution to the problem from the unconscious into consciousness.
In general, many of Engelmeyer's provisions have not lost their scientific significance even today.
Of the first works in the post-October period, Bloch's book by M.A. "Creativity in science and technology". He shares many of Engelmeyer's ideas (in particular, about the nature of creativity) and suggests the following stages of the creative process:
The emergence of an idea;
Proof;
Realization.
Psychological, in his opinion, only the first act; he is unknowable. The main thing here is the introspection of a genius.
The main feature of a genius is a powerful fantasy.
The second circumstance of creativity is the role of chance.
Observation;
Comprehensive consideration of the fact.
The need for the missing. Genius is not determined biologically and is not created by education and training; geniuses are born.
Genius is attracted not so much by the result as by the process itself. The optimal age for creativity is 25 years.
Here he is contradictory: rejecting Joly's biodetermination, Bloch at the same time asserts that genius is inherent in everyone, but to a different degree. Then this degree is still determined by genetics, therefore, biological.
In 1923-1924 he published his works ("Psychology of Creativity" and "Genius and Creativity") O.S. Gruzenberg. He distinguishes three theories of creativity:
1) Philosophical type:
Gnoseological is the knowledge of the world in the process of intuition (Plato, Schopenhauer, Maine de Biran, Bergson, Lossky).
Metaphysical - the disclosure of the metaphysical essence in religious and ethical intuition (Xenophanes, Socrates, Plotinus, Augustine, Aquinas, Schelling, Vl. Solovyov).
2) Psychological type.
One of its varieties: - rapprochement with natural science, associated with the consideration of creative imagination, intuitive thinking, creative ecstasy and inspiration, objectification of images, creativity of primitive peoples, crowds, children, creativity of inventors (euryology), unconscious creativity (in a dream, etc.). .).
Another variety is an offshoot of psychopathology (Lombroso, Perti, Nordau, Barin, Toulouse, Pere, Mobius, Bekhterev, Kovalevsky, Chizh): genius and insanity; the influence of heredity, alcoholism, gender, the role of superstitions, the peculiarities of lunatics and mediums.
3) Intuitive type with aesthetic and historical-literary varieties.
a) Aesthetic - revealing the metaphysical essence of the world in the process of artistic intuition (Plato, Schiller, Schelling, Schopenhauer, Nietzsche, Bergson). The important questions for them are:
The origin of artistic images;
Origin and structure of works of art;
The perception of the listener, viewer.
b) The second variety is historical and literary (Dilthey, Potebnya, Veselovsky, Ovsyaniko-Kulikovsky):
Folk poetry, myths and fairy tales, rhythm in poetry, literary improvisations, psychology of the reader and viewer.
The subject of the psychology of creativity, according to Gruzenberg:
Composition, origin and connection of peculiar mental phenomena of the inner world of the creator of intellectual values. The study of the creative nature of genius. The work of an artist is not a product of arbitrariness, but the natural activity of his spirit.
§ 2.2. Reflexological theory of creativity.
a) V.M. Bekhterev;
b) F.Yu. Levinson-Lessing;
c) The initial interpretation of the problem of intuition by Soviet psychologists.
d) the concept of giftedness B.M. Teplova;
e) the concept of the creative process of A.N. Leontiev and Sumbaeva I.S.;
The science of creativity is the science of the laws of man's creative nature and his imagination.
It is impossible to reproduce the creative process in experience, to evoke inspiration arbitrarily. Based on biology and reflexology.
The reproductive method - reproduction by the reader, listener, viewer of the creative process of the individual is itself co-creation. Genuine creativity is intuitive, and rational creativity is low-grade. You can't teach to create; but one must know the conditions conducive to it; and therefore this phenomenon should be studied by the psychology of creativity.
A small work of Bekhterev V.M. is of known scientific interest. "Creativity from the point of view of reflexology" (as an appendix to Gruzenberg's book "Genius and Creativity").
For Bekhterev, creativity is a reaction to a stimulus, the resolution of this reaction, the removal of tension generated by this stimulus.
Actions of the stimulus:
The stimulus excites the concentration reflex;
This generates a mimic-somatic reflex;
Raises the energy level associated with the action of vascular motors and endocrine hormones that stimulate brain activity.
Concentration, accompanied by a mimic-somatic reflex, forms a dominant in brain activity, which attracts excitations from all other areas of the brain. Around the dominant, by reproducing past experience, all the reserve material is concentrated, one way or another related to the stimulus-problem.
At the same time, all other processes of brain activity that are not directly related to the stimulus-problem are inhibited. The material is selected, analyzed, synthesized. For any kind of creativity, according to Bekhterev, one or another degree of giftedness and appropriate upbringing are necessary, creating skills for work. This upbringing develops an inclination towards the manifestation of natural talents, due to which in the end there is an almost irresistible desire for creativity. The direct definition of its tasks is the environment in the form of a given nature, material culture and social environment (the latter in particular).
The main theses of V.M. Bekhterev was divided by physiologists from the "school of I.P. Pavlov - Savich V.V. (his work: "Creativity from the point of view of a physiologist" 1921-1923), V.Ya. Kurbatov, A.E. Fersman and others. Creativity , in their opinion, is the formation of new conditioned reflexes with the help of previously formed connections (Blokh, Kurbatov, Fersman, etc.).
Article by F.Yu. Levinson-Lessing "The role of fantasy in scientific creativity" is devoted to the logical and methodological research of science. Fantasy is interpreted as intuition, as the unconscious work of the conscious intellect. According to the author, creative work consists of three elements:
1) Accumulation of facts through observations and experiments; it is preparing the ground for creativity;
2) the emergence of an idea in fantasy;
3) verification and development of the idea.
Another student I.P. Pavlova, V.L. Omelyansky in the article "The role of chance in scientific discovery" comes to the conclusion that the whole content is far from being exhausted by chance alone. scientific discovery: a necessary condition for it is a creative act, that is, the systematic work of the mind and imagination.
The overwhelming majority of Soviet psychologists, up to the beginning of the 1950s, resolutely rejected the very phenomenon of the "unconscious", expressed in terms of "illumination", "intuition", "insight". So, for example, P.M. Jacobson, in his book "The Process of the Inventor's Creative Work", 1934, emphasizes that it is impossible to evoke inspiration directly, but there are certain indirect methods by which an experienced scientist and inventor can organize his activity in the right direction, master his complex mental operations in order to achieve set goals.
Vyacheslav Polonsky - ("Consciousness and Creativity", L., (1934), pursuing the goal of debunking the legend of the unconsciousness of creativity, however, did not consider it possible to completely abandon the recognition of the reality that was usually associated with the term "intuition". He defines intuition not as the unconscious, but as an unconsciously emerging element of consciousness.Polonsky writes that the unity of sensory perception and rational experience is the essence of creativity.
Similar views were developed in those years by S.L. Rubinstein ("Fundamentals general psychology", 1940). He believed that the suddenness of the greatest discoveries cannot be denied; but their source is not "intuition", not a kind of "illumination" that arises without any difficulty. This phenomenon is only a kind of critical point that is sharply conspicuous, separating the solved problem from the unsolved one. The transition through this point is abrupt. The sudden, "intuitive" nature of creative activity most often appears where the hypothetical solution is more obvious than the paths and methods leading to it (for example: "I have had my results for a long time, but I just don’t know how I will come to them," Gauss once said). This is a kind of anticipation, or anticipation of the result of mental work that still needs to be done. But where there is a developed method of thinking, the mental activity of a scientist usually seems systematic, and anticipation itself is usually the product of a long preliminary conscious work. "The creative activity of a scientist is creative work," concludes Rubinshtein.
An article by B.M. Teplov "Ability and giftedness". The author of the article sets the following goals for psychology:
1. Find out, at least in the most approximate form, the content of those basic concepts with which the doctrine of giftedness should operate;
2. remove some erroneous points of view regarding these concepts.
Teplov argued that only anatomical and physiological inclinations are innate, but not the abilities that are created in activity, and the driving force behind their development is the struggle of contradictions. (see: Abilities and giftedness. - Problems of individual differences. M., 1961).
Separate abilities as such do not yet determine the success of the performance of an activity, but only their well-known combination. The totality of abilities is giftedness. The concept of giftedness characterizes the subject not from a quantitative, but from a qualitative side, which, of course, also has a quantitative side. Unfortunately, these valuable thoughts of Teplov were classified as unscientific. The 50-60s turned out to be beneficial for Soviet psychology for reviving interest in the mechanisms of creative activity, which was facilitated by the appeal of psychologists to the ideas of I.P. Pavlova.
So, A.N. Leontiev in his report "Experimental Study of Thinking" (1954), firstly, emphasizes the decisive significance of the experiment in the study of creativity, and secondly, offers his own interpretation of the stages of the creative process:
1. Finding an adequate principle (method) of solution;
2. its application associated with verification, the transformation of this principle in accordance with the characteristics of the problem being solved.
The first stage, in his opinion, is the most creative link in mental activity. The main feature of this stage "is that, after initially fruitless attempts to find a solution to the problem, a conjecture suddenly arises, a new idea solutions. At the same time, the randomness of the circumstances in which such a sudden discovery of a new idea, a new principle of solution takes place is very often emphasized "(see: Reports at a conference on psychology (June 3-8, 1953, p. 5).
A significant contribution to the history and theory of the problem of scientific creativity was made by the book of I.S. Sumbaeva (Scientific work. Irkutsk, 1957), in which for the first time (for Soviet psychology) the division of the human psyche into consciousness and subconsciousness is recognized.
He outlines three stages of the creative process, close to the provisions of Engelmeyer and Bloch:
1. Inspiration, activity of the imagination, the emergence of an idea;
2. Logical processing of the idea using the processes of abstraction and generalization;
3. The actual implementation of the creative intent.
Intuition, as involuntary, imagination, fantasy, conjecture, dominates at the first stage, when the vision of the future result does without recourse to language and concepts and is carried out directly, figuratively and visually. Here the conclusion from the premises without inference.
In scientific creativity, in his opinion, it is important:
Focus on a specific topic;
Accumulation and systematization of relevant material;
Summarizing and obtaining conclusions, control over their reliability through this material.
Sumbaev is against the identification of ideas and concepts. The idea is integral and figurative. The content of the idea is not amenable to a sufficiently precise definition. It is closely connected with feeling, has a personal affiliation, and has subjective validity. Therefore, logical work on the idea is necessary.
The concept is a product of dismemberment and generalization, it is devoid of visibility.
Traits of a creative individual:
Love for truth;
Ability to work; - love for work;
Attention;
Observation;
The ability to think;
Criticality of the mind and self-criticism.
The main thing is persistent and organized labor. - 1% inspiration and 99% work.
Conclusion
Creativity, in the global sense of the word, occupies a huge role not only in the history of philosophy, but also in the history of all mankind.
Throughout history, the attitude towards creativity has changed, it has been considered from a purely scientific, psychological, philosophical point of view, but always, the great importance of creativity has been emphasized as a process of creating and transforming the surrounding universe through the work of human consciousness.
In our time, this phenomenon of the human personality is extremely skeptical. Already at the beginning of the twentieth century, many thinkers began to call art “an absolutely useless and meaningless thing”, forgetting that it was with the help of art and creativity that a person could develop intellectually. On currently, many people do not see any value in art and creativity, and such a trend cannot but frighten, because it can soon lead to the intellectual degradation of mankind.
The purpose of my research was to consider the creative process from the scientific, psychological and philosophical sides and to determine the positive and negative aspects of each of these points of view, as well as to explore the problems of artistic creativity in philosophy.
As a result of my research, I concluded that despite the different attitudes towards creativity among different thinkers, they all recognized its value, and therefore the process of creativity can be considered the driving force that determines the development of mankind.
1. Asmus V.F. The problem of intuition in philosophy and mathematics. M., 1965
2. Bunge M. Intuition and science. M., 1967
3. Vygotsky L.S. Psychology of art. - M., 1968
4. Glinsky B.A. etc. Modeling as a method scientific research. M., 1965
5. Kedrov B.M. Dialectical analysis of the great scientific discovery. - "Questions of Philosophy", 1969, number 3.
6 Brief psychological dictionary. M., 1985
7. Mazmanyan M.A., Talyan L.Sh. The role of inspiration and intuition in the process of implementing an artistic concept. - "problems of abilities". M., 1962, ss. 177-194.
8. Ponomarev Ya.A. Psychology of creative thinking. M., 1960
9. Ponomarev Ya.A. "Knowledge, thinking and mental development" M., 1967.
10. Ponomarev Ya.A. Psychology of creativity and pedagogy. M., 1976
11. Rubinshtein S.L. About thinking and ways of its research. M., 1958
12. Scientific creativity. Edited by: S.R. Mikulinsky and M.G. Yaroshevsky. M., 1969
13. Problems of scientific creativity in modern psychology. Edited by M.G. Yaroshevsky. M., 1971
14. Luk A.N. Psychology of creativity. M., 1978
15. Tsigen T. Physiological psychology. St. Petersburg, 1909
16. World Encyclopedia. Philosophy. 20th century Minsk, 2002;
17. Newest philosophical dictionary/ Comp. A.A. Gritsanov. Mn., 1998.
Write an essay based on the text you read.
Formulate one of the problems posed by the author of the text.
Comment on the formulated problem. Include in the comment two illustration examples from the read text that you think are important for understanding the problem in the source text (avoid over-quoting). Explain the meaning of each example and indicate the semantic relationship between them.
The volume of the essay is at least 150 words.
A work written without relying on the text read (not on this text), Not Evaluated. If the essay is a paraphrase or a complete rewrite of the source text without any comments, then such work is evaluated with 0 points.
Write an essay carefully, legible handwriting.
(1) Artistic creativity, from my point of view, is not just a way of self-expression. (2) Sometimes it can become a saving straw, clinging to which a person can go through many difficult trials and survive. (3) And here is one of the striking examples.
(4) An amazing woman, amateur artist Evfrosinya Antonovna Kersnovskaya spent many years in the Stalinist camp, after which she began to sketch her whole life from the very beginning: her childhood in Bessarabia, how she was arrested in Romania, how she was exiled to Siberia. (5) For many years she depicted life, details and commented on her drawings.
(6) Here is what she writes to her mother:
(7) “I drew them for you, thinking about you ... (8) I started drawing there, in Norilsk, immediately after I left the camp. (9) There was still neither a mattress nor a sheet, there was not even a corner. (10) But I already dreamed of drawing something beautiful, reminiscent of the past - the past that
was inextricably linked with you, my dear! (11) And the only thing I could think of was to draw ... "
(12) And now, in pictures, Euphrosyne creates the story of her life, all her misadventures, in order to free herself from those difficult memories that surrounded her after leaving the twelve-year hell. (13) She drew with what she had to: with colored pencils, a pen, sometimes she tinted with watercolors.
(14) And these uncomplicated, but such detailed, truthful drawings amaze with their persuasiveness and inner freedom. (15) As many as twelve general notebooks were composed and drawn by her in the 60s of the last century. (16) In 1991 they came out as a separate book called " rock painting". (17) And to this day, looking at these drawings that were born so long ago, somewhere deep inside I feel how much art helped this amazing artist and just a noble woman to survive.
(18) Here is another story. (19) The artist Boris Sveshnikov was also imprisoned for a long time. (20) His albums were drawn directly there, in captivity, but they were not about the camp, not about the life he lived then - they were fantastic. (21) He depicted some kind of fictional reality and extraordinary cities. (22) With a thin feather, the thinnest, almost transparent silver stroke, he created in his albums a parallel, incredibly mysterious, exciting life. (23) And subsequently these albums became evidence that his inner world, fantasizing, creativity saved his life in this camp. (24) He survived thanks to creativity.
(25) Another extraordinary artist, Mikhail Sokolov, a contemporary of Sveshnikov, being imprisoned for his extravagant appearance, also tried to seek freedom and salvation in his work. (26) He drew with colored pencils, and sometimes with pencil stubs, small pictures three by three centimeters or five by five centimeters and hid under his pillow.
(27) And these small fantastic drawings by Sokolov, in my opinion, are in a sense grander than some huge paintings painted by another artist in a bright and comfortable studio.
(28) As you can see, you can depict reality, or you can depict fantasy. (29) In both cases, what you transfer from your head, from your soul, from your heart, from memory to paper, frees you, sets you free, even if there are prison bars around. (30) Therefore, the role of art is truly great. (31) And it doesn’t matter what and how you do it: creativity knows no boundaries, does not require special tools. (32) It, sincere and truthful, simply lives in a person, looks for a way out and is always ready to selflessly help him.
(according to L.A. Tishkov*)
*Leonid Alexandrovich Tishkov (born in 1953) is a Russian cartoonist, also works in the field of book graphics.
Explanation.
An example range of issues:
1. The problem of the significance of artistic creativity in the life of the artist himself. (What is the benefit of the saving power of artistic creativity? Can artistic creativity help a person survive, save a person?)
2. The problem of understanding such a phenomenon. as a work of art. (What is artistic creativity? Are there limits to creativity? Where is artistic creativity born?)
3. The problem of the real and the fantastic in art. (What should artistic creativity be based on: reality or fantasy?)
1. Artistic creativity is not just a way of self-expression, it can bring great benefits: it spiritually frees a person, even if he is in prison. helps to get rid of bad memories. overcome difficulties, immerses a person in a different reality.
2. Artistic creativity is that. what a person transfers from his head, from his soul, from his heart to paper. Creativity knows no boundaries, does not require special tools. True creativity can be born both in the artist's bright workshop and on a tiny piece of paper.
3. For artistic creation, it does not matter whether a person depicts reality or fantasy. It remains creative. great power which is truly limitless.
ARTISTIC CREATIVITY - the process of creating new aesthetic values of artistic creativity is an element of all types of social and industrial human activity, but in its full quality it finds expression in the creation and performance of works of art. The ideological and aesthetic orientation of creativity is determined by the social class position of the artist, his worldview and aesthetic ideal.
Creativity in art is innovation both in the content and in the form of works of art. The ability to think productively is certainly a mandatory sign of talent. But innovation is not an end in itself. Creativity is necessary for the product of aesthetic activity to have both novelty and social significance; so that its creation and method of use meet the interests of the advanced classes and contribute to socio-cultural progress. In contrast to formalist aesthetics, who view creativity primarily as the construction of new forms and structures, Marxist aesthetics proceed from the fact that heuristic work in art is characterized by the creation of new social values within such structures.
Artistic creativity is inseparable from the development cultural heritage, from which the artist spontaneously or consciously selects traditions that have a progressive meaning and correspond to his individuality. Creativity, on the one hand, involves the adoption and development of certain traditions, on the other hand, the rejection of some of them, their overcoming. The creative process is a dialectical unity of creation and negation. The main thing in this unity is creation. The preaching of destruction in itself, which is characteristic of many theorists of decadence and modernism, turns into pseudo-innovation that bleeds the creative potential of the artist. In order to move forward in art without repeating anyone, one must know well the achievements of one's predecessors.
In terms of socio-epistemological creativity is a figurative reflection of the objective world, its new vision and understanding by the artist. It also acts as an actualization of the artist's personality, his life experience. Self-expression, subjective in nature, does not oppose the objective, but is a form of its reflection in a work of art. In this case, this self-expression turns out to be at the same time an expression of universally valid, popular and class ideas.
Freedom of imagination, fantasy and intuition, breadth of outlook, the desire for a comprehensive knowledge of being are necessary components of creativity. At the same time, the artist also needs self-restraint in the choice and interpretation of life material, concentration and selectivity of attention, strict discipline of the mind and heart. A holistic artistic image, in which the creative process results, is born only when the artist is able to see and deeply comprehend through life situations and facts. own biography regular and typical. In this capacity, artistic creativity acts as creativity according to the "laws of beauty" (K. Marx).
Formation creative personality- one of the important tasks of pedagogical theory and practice in present stage. Its solution should begin already in preschool childhood. Most effective remedy for this - the visual activity of children in a preschool institution.
In the process of drawing, modeling, application, the child experiences a variety of feelings: rejoices beautiful image, which he created himself, is upset if something does not work out. But the most important thing: by creating an image, the child acquires various knowledge; his ideas about the environment are clarified and deepened; in the process of work, he begins to comprehend the qualities of objects, memorize their characteristic features and details, master fine skills and abilities, learns to use them consciously. Even Aristotle noted: drawing contributes to diversified development child. Prominent teachers of the past - Ya. A. Komensky, I. G. Pestalozzi, F. Froebel - and many domestic researchers wrote about this. Their work testifies: occupations in drawing and other types of artistic activity create the basis for full-fledged meaningful communication of children among themselves and with adults; perform therapeutic function, distracting children from sad, sad events, relieve nervous tension, fears, cause a joyful, high spirits, provide a positive emotional condition. Therefore, it is so important to widely include a variety of artistic and creative activities in the pedagogical process. Here, every child can express himself most fully without any pressure from an adult.
The management of visual activity requires the educator to know what creativity is in general, and especially children's, knowledge of its specifics, the ability to subtly, tactfully, supporting the initiative and independence of the child, contribute to the acquisition of the necessary skills and abilities and the development of creative potential. The well-known researcher A. Lilov expressed his understanding of creativity as follows: "... creativity has its own general, qualitatively new features and characteristics that define it, some of which have already been quite convincingly disclosed by theory. These general regular moments are as follows:
Creativity is a social phenomenon
- its deep social entity lies in the fact that it creates socially necessary and socially useful values, satisfies social needs, and especially in the fact that it is the highest concentration of the transforming role of a conscious social subject (class, people, society) in its interaction with objective reality.
Another researcher, V. G. Zlotnikov, points out: artistic creativity characterizes the continuous unity of cognition and imagination, practical activity and mental processes, it is a specific spiritual and practical activity, which results in a special material product - a work of art.
What is the visual art of a child before school age? Domestic teachers and psychologists consider creativity as the creation by a person of objectively and subjectively new things. It is the subjective novelty that is the result of the creative activity of children of preschool and primary school age. By drawing, cutting and pasting, a preschool child creates a subjectively new thing for himself. The product of his creativity has no universal novelty and value. But its subjective value is significant.
The visual activity of children, as a prototype of adult activity, contains the socio-historical experience of generations. It is known that this experience has been implemented and materialized in the tools and products of activity, as well as in the methods of activity developed by socio-historical practice. A child cannot learn this experience without the help of an adult. It is the adult who is the bearer of this experience and its transmitter. By assimilating this experience, the child develops. At the same time, the visual activity itself, as a typically childish one, including drawing, modeling, and appliqué, contributes to the versatile development of the child.
How do well-known domestic scientists define children's creativity? How is its significance determined for the formation of a child's personality?
Teacher V.N. Shatskaya believes: in the conditions of general aesthetic education children's artistic creativity is rather considered as a method of the most perfect mastery of a certain type of art and the formation of an aesthetically developed personality, than as the creation of objective artistic values.
Researcher of children's creativity E.A. Flerina evaluates it as a conscious reflection of the child surrounding reality in drawing, modeling, construction, reflection, which is built on the work of the imagination, displaying one's observations, as well as impressions received through the word, picture and other forms of art. The child does not passively copy the environment, but reworks it in connection with the accumulated experience, attitude towards the depicted.
A. A. Volkova states: “The upbringing of creativity is a versatile and complex effect on a child. The mind (knowledge, thinking, imagination), character (courage, perseverance), feeling (love for beauty, passion for image, thought) take part in the creative activity of adults. We must educate the same aspects of the personality in the child in order to more successfully develop creativity in him. To enrich the mind of the child with various ideas, some knowledge means to give abundant food for creativity. To teach to look closely, to be observant means to make ideas clear, more complete. This will help children to more vividly reproduce what they see in their work. "
I. Ya. Lerner defines the features of a child’s creative activity as follows:
independent transfer of previously acquired knowledge to a new situation;
vision of a new function of an object (object);
vision of the problem in a standard situation;
vision of the structure of the object;
ability to alternative solutions;
combining previously known methods of activity with new ones.
I. Ya. Lerner argues: creativity can be taught, but this teaching is special, it is not the same as knowledge and skills are usually taught.
In the correctness of this idea, we were convinced in our own practice. However, we note: independent transfer of previously acquired knowledge to a new situation (the first feature according to Lerner) in children can manifest itself if they learn to perceive objects, objects of reality, learn to distinguish their forms, including in this process the movement of both hands along the contour of the object. (In other words, as we circle an object, examining it, we draw - with pencils, a brush, felt-tip pens.) Only then will children be able to use this method on their own, only then will they gradually acquire the freedom to depict any objects, even those that do not have a clearly fixed shape, for example, clouds, puddles, floating ice floes, unmelted snow.
The second feature according to Lerner - the vision of a new function of an object (object) - manifests itself when the child begins to use substitute objects, for example, turns cut narrow and wide strips into parts of objects or objects; plays with spoons, imagining that he is playing in an orchestra. This ability to isolate in the process of perception the form, the parts that we form in children, leads them to a vision of the structure of the object, mastering the ways of its transmission in drawing, modeling, and appliqué. That is why we recommend in creative classes to include in the work plan the topic "To teach how to create images of animals, the shape and structure of which are mastered."
Introducing children to works of art ( art, literature, music), we thereby introduce them into the world of standards of beauty, i.e. we put into practice those goals and objectives that are mentioned above - to understanding the expressiveness of means and figurative solutions, the variety of color and compositional construction. Knowing, for example, the secrets Dymkovo painting, the child undoubtedly uses them, creating images of fabulous animals, birds; comprehends the qualities of the depicted, remembered characteristic features.
What characterizes creativity? B. M. Teplov writes in this regard: "The main condition that must be ensured in children's creativity is sincerity. Without it, all other virtues lose their meaning."
This condition, of course, is satisfied by the creativity "which arises in the child independently, proceeding from an internal need, without any deliberate pedagogical stimulation." But systematic pedagogical work According to the scientist, it cannot be based solely on self-arising creativity, which is not observed in many children, although these same children, when they are organized in artistic activities, sometimes show extraordinary creative abilities.
Thus, a pedagogical problem arises - the search for such incentives for creativity that would give rise in the child to a genuine, effective desire to "compose." Such an incentive was found by Leo Tolstoy. Starting to teach peasant children, the great Russian writer already understood how significant the task of "developing children's creativity" was; as one of the possible solutions, he offered children joint compositions (see the article "Who should learn to write from whom?"). So, what is the essence of involving children in artistic creativity, according to Leo Tolstoy? Show not only the product, but also the very process of creativity, writing, drawing, etc. in order to see with your own eyes how "it is done." Then, as E. I. Ignatiev, a domestic researcher in the psychology of children's creativity, writes, the child "from a simple enumeration of individual details in a drawing passes to an accurate transfer of the features of the depicted object. At the same time, the role of the word in visual activity, the word is increasingly acquiring the meaning of a regulator that directs the image process, controls the methods and methods of image.
In the process of drawing, modeling, the child experiences a variety of feelings; as we have already noted, he rejoices at a beautiful image, gets upset if something does not work out, tries to achieve a satisfying result or, on the contrary, gets lost, gives up, refuses to study (in this case, a sensitive, attentive attitude of the teacher is needed, his help). Working on the image, he acquires knowledge, clarifies and deepens his ideas about the environment. The child not only masters new visual skills and abilities that expand his creative possibilities but also learns to use them consciously. A very significant factor in terms of mental development. After all, each child, creating an image of an object, conveys the plot, includes his feelings, understanding of how it should look. This is the essence of child fine arts, which manifests itself not only when the child independently comes up with the theme of his drawing, modeling, application, but also when he creates an image on the instructions of the teacher, determining the composition, color solution and other expressive means, making interesting additions, etc.
Analysis of the provisions on children's creativity of famous domestic scientists - G. V. Latunskaya, V. S. Kuzin, P. P. Pidkasistoy, I. Ya. Lerner, N. P. Sakulina, B. M. Teplov, E. A. Flerina - and our many years of research allow us to formulate its working definition. Under the artistic creativity of preschool children, we mean the creation of a subjectively new (significant for the child, first of all) product (drawing, modeling, story, dance, song, game); creation (invention) to the known previously unused details that characterize the created image in a new way (in a drawing, story, etc.), different options images, situations, movements, one's beginning, end, new actions, characters' characteristics, etc.; the use of previously learned ways of depicting or means of expression in a new situation (for depicting objects of a familiar shape - on the basis of mastering facial expressions, gestures, voice variations, etc.); showing initiative in everything.
By creativity, we will understand the very process of creating images of a fairy tale, a story, dramatization games in drawing, etc., the search for ways, ways to solve a problem, visual, playful, musical, in the process of activity.
From our understanding of artistic creativity, it is obvious that in order to develop creativity, children need certain knowledge, skills and abilities, methods of activity that they themselves, without the help of adults, cannot master. Otherwise: we are talking about purposeful learning, the development of rich artistic experience.
For baby ( junior groups) creativity in creating an image can manifest itself in a change in the size of objects. Let me explain this idea: there is a lesson, the children are sculpting apples, and if someone, having completed the task, decides to independently mold an apple smaller, or larger, or a different color (yellow, green), for him this is already a creative decision. The manifestation of creativity younger preschoolers- these are some additions to modeling, drawing, say, a stick - a petiole.
As skills are mastered (already in older groups), the creative solution becomes more complicated. Fantastic images appear in drawings, modeling, applications, fairy-tale heroes, palaces, magical nature, space with flying ships and even astronauts working in orbit. And in this situation, the positive attitude of the teacher to the initiative and creativity of the child is an important incentive for the development of his creativity. The teacher notes and encourages the creative discoveries of children, opens an exhibition of children's creativity in the group, in the hall, lobby, draws up the institution with the work of pupils.
In the creative activity of the child, three main stages should be distinguished, each of which, in turn, can be detailed and requires specific methods and techniques of guidance from the teacher.
The first is the emergence, development, awareness and design of the idea. The theme of the upcoming image can be determined by the child himself or proposed by the teacher (its specific decision is determined only by the child himself). How younger child, the more situational and unstable is its intention. Our research shows that initially three-year-old children can realize their plans only in 30-40 percent of cases. The rest basically change the idea and, as a rule, name what they want to draw, then create something completely different. Sometimes the idea changes several times. Only by the end of the year, and even then, provided that classes are conducted systematically (in 70-80 percent of cases), the idea and implementation of the children begin to coincide. What is the reason? On the one hand, in the situational nature of the child's thinking: at first he wanted to draw one object, suddenly another one comes into his field of vision, which seems to him more interesting. On the other hand, when naming the object of the image, the child, having still very little experience in activity, does not always correlate what was conceived with his pictorial capabilities. Therefore, taking a pencil or brush in hand and realizing his inability, he refuses to original intention. The older the children, the richer their experience in visual activity, the more stable their concept becomes.
The second stage is the process of creating an image. The topic of the task not only does not deprive the child of the opportunity to show creativity, but also directs his imagination, of course, if the teacher does not regulate the decision. Significantly greater opportunities arise when a child creates an image according to his own plan, when the teacher only sets the direction for choosing a theme, the content of the image. Activities at this stage require the child to be able to master the methods of image, expressive means, specific for drawing, sculpting, appliqué.
The third stage - the analysis of the results - is closely related to the two previous ones - this is their logical continuation and completion. Viewing and analysis of what was created by children is carried out at their maximum activity, which allows them to more fully comprehend the result of their own activities. At the end of the lesson, everything created by the children is displayed on a special stand, i.e. each child is given the opportunity to see the work of the whole group, to mark, justifying their choice, those that they liked the most. The tactful, guiding questions of the teacher will allow children to see the creative finds of their comrades, the original and expressive solution of the topic.
A detailed analysis of children's drawings, modeling or appliqué is optional for each lesson. This is determined by the feature and purpose created images. But here's what is important: the discussion of the work, their analysis, the teacher conducts each time in a new way. So, if the children made Christmas decorations, then at the end of the lesson all the toys are hung on a furry beauty. If a collective composition was created, then upon completion of the work, the teacher draws attention to the general view of the picture and suggests considering whether it is possible to supplement the panorama, make it richer, and therefore more interesting. If the children decorated the doll's dress, then everything best work"show up in the store" so that the doll or several dolls can "choose" what they like.
Experts distinguish three groups of means, the purpose of which is to increase the level of aesthetic education: art in all forms, the surrounding life, including nature, artistic and creative activity. Thanks to these interconnected means, the child is actively involved in the experience of the creative activity of adults. However effective leadership possible, provided that the teacher knows and takes into account those mental processes that underlie children's creativity, and, most importantly, systematically develops them.
What mental processes are we talking about? Of all the means of aesthetic education, all types of artistic activity, we single out general groups that form the basis of creativity.
1. Perception of objects and phenomena of reality and their properties, which has individual differences. It is known that in their drawings, modeling, applications, children reflect the impressions received from the world around them. This means that they have a variety of impressions about this world. Ideas about objects and phenomena are formed on the basis of their perception. Therefore, the most important condition for creativity is to develop children's perception (visual, tactile, kinesthetic), to form a diverse sensory experience.
How should education be carried out so that children develop necessary knowledge and performances? Psychologists note: syncretism, fusion and lack of distinctness of images of perception are characteristic of children of primary preschool age. To depict an object or phenomenon, the child must represent all its basic properties and convey them in such a way that the image is recognizable. For little artist this is very significant.
The teacher forms knowledge and ideas about the environment purposefully. These are both special observations and examination of the subject during didactic games. The teacher directs the child's perception to certain properties and qualities of objects (phenomena). After all, not all preschoolers come to kindergarten, having a rich experience of perception of the environment - figurative, aesthetically colored, emotionally positive. For the majority, it is limited to fragmentation, one-sidedness, and often simply poverty. To develop aesthetic perception in children, the teacher must himself have the ability of aesthetic vision. Even V. A. Sukhomlinsky emphasized: "You cannot be a teacher without mastering a subtle emotional and aesthetic vision of the world."
Children should not just look at an object, recognize and highlight its properties: shape, structure, color, etc. They should see its artistic merits that are to be depicted. Not everyone is able to independently determine the beauty of an object. The teacher shows them. Otherwise, the concept of "beautiful" will not acquire a specific meaning in the eyes of the pupil, it will remain formal. But in order for him to understand how beautiful this or that object, this or that phenomenon, the teacher himself, we repeat, must feel, see the beauty in life. He develops this quality in himself and children constantly.
How to do it? Day after day, watch with children the phenomena of nature - how the buds swell on trees, bushes, how they gradually bloom, covering the tree with leaves. And how diverse are the gray clouds driven by the wind, how quickly their shape, position, color change! Pay attention to the beauty of the movement of the clouds, the change in their shape. Watch how beautifully the sky and surrounding objects are illuminated by the rays of the setting sun.
Such observations can be made with different objects. The ability to contemplate beauty, to enjoy it is very important for the development of children's creativity. It is not for nothing that in Japan, where the culture of aesthetic perception is so high, teachers develop observation skills in children, the ability to listen, peer into the environment - to catch the difference in the noise of rain, to see and hear how heavy drops are loudly knocking on the glass, how joyfully the suddenly flown summer "mushroom" rings " rain.
Objects for observations are found daily. Their goal is to expand children's ideas about the world, its variability and beauty. The Russian language is so rich in epithets, comparisons, metaphors, poetic lines! N. P. Sakulina drew attention to this at one time.
L. S. Vygotsky, speaking about the role of training, emphasized that training leads development. At the same time, he paid attention: “Education can give more in development than what is contained in its immediate results. Applied to one point in the sphere of children's thought, it modifies and rebuilds many other points. It can have distant, but not only immediate consequences.
It is precisely such a long-term result that we can talk about when it comes to the formation of figurative representations in children in the process of teaching visual activity. The statement is not accidental. Proof of this is the work of E. A. Bugrimenko, A. L. Venger, K. N. Polivanova, E. Yu. Sutkova, the theme of which is the preparation of children for school, the diagnosis of mental development and its correction. The authors note: "An insufficient level of development of figurative representations is one of common causes learning difficulties not only at the age of six, but also much later (up to the senior classes). At the same time, the period of their most intensive formation falls on preschool and the beginning of primary school age. Therefore, if a child entering school has problems, then they should be "compensated" as soon as possible with visual and constructive activities - in free time stimulate drawing, sculpting, appliqué, designing.
When characterizing a child's thinking, psychologists usually distinguish stages: visual-effective, visual-figurative, logical. The visual-figurative is based on visual representations and their transformation as a means of solving a mental problem. It is known that the entry into a new stage of thinking does not mean the elimination of its previous stage. It is preserved in the child, helps in the development of thinking of a new stage, forms the basis for the formation of a variety of activities and abilities. Moreover, experts believe that this form of thinking is necessary not only for children's creativity, but also for the creativity of a person of any profession. That is why it is so important to develop creative thinking, as well as imagination, a positive emotional attitude, mastery of image methods, expressive means of drawing, modeling, appliqué.
Magazine " preschool education" № 2, 2005
Creativity in art is the creation of a reflective real world surrounding a person. It is divided into types in accordance with the methods of material embodiment. Creativity in art is united by one task - service to society.
Classification
The modern system of division of art, as well as related to it, suggests three separate categories.
The first group includes art forms perceived visually. These include:
- Creativity is decorative and applied.
- The art of architecture.
- Creativity in the visual arts.
- The art of sculptural images.
- Painting.
- Art photography as a kind of creativity.
The second group includes types of art of a long-term nature. This:
- Fiction literature as an extensive layer of culture, consisting of numerous creative methods for creating works.
- Music in all its diversity as a reflection of creative processes in art.
Some types can be correlated with each other, as, for example, a musical opera is synthesized with literature when creating a libretto.
The third group consists of spatio-temporal types of creativity, perceived both visually and by ear:
- Theatrical art.
- Art of choreography, musical, ballet.
- Cinematography.
- circus genre.
Creativity in the art of individual forms
A comprehensive artistic picture cannot be created on the basis of one kind of art. Even such academic types as painting or sculpture need additional funds - the paintings must be placed in a beautiful frame, and the sculpture must be properly lit.
Therefore, a fairly wide field arises for the application of various creative processes in art, some may be fundamental, others auxiliary, but in any case, both will be useful. Examples of creativity in art can be cited ad infinitum. There are several gradations here, but they all obey one general formulation: great art requires high standards of creativity, cultural categories the smaller ones are content with a lower creative level.
The situation is different in the field of science. It's absolutely unacceptable low level professionalism. and art are incomparable things. Science does not forgive mistakes, but art is able to turn any relative shortcomings into good.
Talent and Technology
Creativity in the art of small forms, such as small plastic arts in the arts and crafts or stage sketches in the theater, does not require high vocational training. To succeed in this kind of creativity, it is enough to have a certain talent and master the technologies for making art products or have an ability for theatrical productions. In literature to write short story or an essay, it is not necessary to be a writer, it is enough to have good taste and be able to correctly express your thoughts.
One of the areas of culture where a person can successfully apply his creative potential is Artistic value products of folk art crafts can be quite high if the masters of their craft work. In addition to the virtuoso craftsmanship, you must first select the right material, and only an experienced craftsman can handle this task.
Utility
Creativity in the art of an artist of arts and crafts is the creation of artistic household items. As a rule, these products belong to folklore, regardless of whether they are used for their intended purpose or placed as exhibits at an exhibition. Natural materials are used in the manufacture of decorative objects: bone, stone, wood, clay.
Raw material processing methods are also relatively simple - these are handmade using a simple tool, and the techniques used today have come to modern world from the distant past.
local affiliation
Folk arts and crafts, which form the basis of decorative and applied arts in Russia, are distributed by region, each type belongs to a specific area:
- bone carving - Kholmogory, Khotkovo;
- embroidery - Vladimir gold embroidery;
- metal art products - scarlet silver of Veliky Ustyug;
- - Pavlovo-Posad shawls;
- lace weaving - Vologda, Mikhailovskoye;
- Russian ceramics - Gzhel, Skopino, Dymkovo toy, Kargopol;
- picturesque miniatures - Palekh, Mstera, Kholuy;
- wood carving - Bogorodskaya, Abramtsevo-Kudrinskaya;
- painting on wood - Khokhloma, Gorodetskaya, Fedoskino.
Sculpture
The art of creating relief sculptures is rooted in the Middle Ages. Sculpture as fine art embodies the real world in artistic images. The material used to create sculptures is stone, bronze, marble, granite, wood. In especially large-scale projects, concrete, steel reinforcement, and various plasticized fillers are used.
Sculptural sculptures are conditionally divided into two types: relief and volumetric three-dimensional. Both are widely used to create monuments, monuments and memorials. Relief sculptures, in turn, are divided into three subspecies:
- bas-relief - low or medium relief image;
- high relief - high relief;
- counter-relief - mortise image.
Each sculpture can be classified and categorized as easel, decorative, monumental. Easel sculptural images are, as a rule, museum exhibits. They are on the premises. Decorative are placed in in public places, parks, squares, garden plots. always stand in visited public places, in city squares, central streets and in close proximity to government institutions.
Architecture
Utilitarian architecture appeared about four thousand years ago, and signs of artistry began to acquire shortly before the birth of Christ. Architecture has been considered an independent art form since the beginning of the twelfth century, when architects began to build Gothic buildings in European countries.
Creativity in the art of architecture is the creation of buildings that are unique from an artistic point of view. good example creativity in the construction of residential buildings can be considered the projects of the Spanish architect Antonio Gaudi, which are located in Barcelona.
Literature
Spatio-temporal varieties of art are the most sought-after and popular categories accepted in society. Literature is a type of creativity in which the artistic word is a fundamental factor. Russian culture eighteenth-nineteenth centuries knew many brilliant writers and poets.
Creativity in the art of Pushkin Alexander Sergeevich, the great Russian poet, was in the highest degree fruitful for your short life he created a range immortal works in verse and prose. Almost all of them are considered masterpieces of literature. Some are included in the list of brilliant creations of world significance.
Lermontov's work in art also left a noticeable mark. His works are textbook, classical in their essence. The poet also died early, at the age of twenty-six. But he managed to leave behind an invaluable legacy, masterpiece poems and many poems.
The brilliant Russian writer Nikolai Vasilyevich Gogol left his mark on Russian literature of the nineteenth century. The writer lived and worked during the heyday Russian society. Art in Gogol's work is represented by many highly artistic works included in the Golden Fund of Russian Culture.
Choreography and ballet
Dance art originated in Rus' in time immemorial. In the language of dance, people began to communicate first at festive festivities. Then the dances took the form of theatrical performances, professional dancers and ballerinas appeared. At first, the dance floor was a booth stage or a tent circus arena. Then studios began to open, in which both rehearsals and ballet performances took place. In everyday life, the term "choreography" appeared, which means "the art of dance."
Ballet quickly became a popular form of creativity, especially since dances were necessarily accompanied by music, most often classical. The theatrical audience was divided into two camps: lovers of dramatic or opera performances and those who prefer to watch a dance performance on the theater stage accompanied by music.
Cinematography
most popular and massive view art is cinema. Over the past half century it has been supplanted by television, but millions of people still go to cinemas. What explains such a high demand for cinema? First of all, the versatility of this art form. Any literary work can be filmed, and it will become even more interesting in a new reading. Ballet performances, popular science stories - all this can also be shown to the moviegoer.
There is a whole industry of film production, which is based on the film studios of the first size, such as Metro-Goldwyn-Mayer, 20th Century Fox, Paramount Pictures and a few others. All major film production firms are located in Hollywood, a special area of the American city of Los Angeles. Hundreds of smaller film studios are scattered around the world. "Dream Factory" - this is the name of world cinema, and this is a very accurate definition.
