Lecture
Это окончание невероятной информации про творчество.
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2004); Strategies of creativity and genius (G. S Altshuller, I. M. Vertkin, 1994; R. Dilts, 1994); Creative reflection, metacognitive regulation and awareness of mental strategies (JH Flavell, 1976, I. Semenov, S. Yu. Stepanov, 1983; AL Costa, 1987; R. Sternberg, 1988; VG Bogin, 1993; A Demetriou , S. Kazi, 2006).
Creativity as the creation of new meanings. Introduction of new meaning by interpretation (F. Nietzsche, 1988); Meaning as a tradition of meaning and value (Max Weber, 1904); Sense formation and constitution by the consciousness of new meanings (E. Husserl, 1913); Synchronicity is a creative principle that organizes unrelated events on the basis of their common meaning (C. Jung, 1920); Listening to Being and seeing true entities (M. Heidegger, 1927); Giving meaning and understanding perception (LS Vygotsky, 1931, 1934); Selection of the first draft of a source of polyvalent meanings (J.P.Sartre, 1943) The generation of meanings by “existential-a priori structures” (L. Binswanger, 1958; R. May, 1969); Search and finding new meanings (V. Frankl, 1959); Potentiation of the text, multiplication of its semantic possibilities (J. Bataille, 1949); The spontaneous generation of meanings by the text, "the systematic release of meaning" (R. Barth, 1964); Deconstruction as the destruction of stereotypes, inclusion in the new context, the process of decomposition of structures, generation and dissipation of meanings (J. Darrid, 1967); Creative chaos and “rhizomes” as conditions for sense-generation (J. Deleuze, 1969); Generation of new meanings through a complex analogy (W. Gordon, 1961); Creative artistic perception as the disclosure of the meanings and meanings inherent in objects (R. Arnheim, 1969); Investment of objects with new values ( J. Guilford , 1970); Meaningful interpretation of clumps of sensory perceptions (C. Castaneda, 1971); Sense making as “An endless renewal of meanings in all new contexts” (M. Bakhtin, 1975); Spontaneous unpacking of the senses inherent in the world (V.V. Nalimov 1978); Spontaneous, spontaneous generation of subconceptual meanings (Y. Dzhendlin, 1981); The generation of meanings as the linguization of the world (R. von Eckartsberg, 1981); Intertextuality and symbolic imagination as sources of the formation and updating of meanings (U. Eco, 1983); Content reframing and context reframing (R. Bendler, J. Grinder, 1983); Creation of semantic horizons and contexts, activation of unopened meanings (KA Svasyan, 1987); Meaning generation (B.S. Bratus, 1994; D. Leontiev, 1999; S.V. Dmitriev, 2001), Meaning (F. E. Vasilyuk, 1984); Creative understanding of how to extract, transmit and generate new meanings (V.P. Zinchenko, 1997); Semanticism (A.A. Osanov, 2002); Potentiation as a method and process of multiplying meanings (M. Epstein, 2001);
Creating new meanings through metaphor: (M. Black, 1962; M. Hester, 1967; CM Turbayne, 1970; J. Lotman, 1973; N. Goodman, 1976; D. Davidson, 1978; G. Lakoff, M. Johnson, 1980; R.Tourangeu, R. Sternberg, 1982; E. Winner, 1988; G. Lakoff, M. Tuner, 1989; ND Arutyunova, 1990; RW Gibbs, 1994; D. Ambrose, 1996; C.Tilly , 1999; C. Schank, V. John-Steiner, 2001; G. Fauconnier, M. Tuner, 2002; RN St. Clair, 2002; A. Deignan, 2003 K. Weick, 2005; T. Grisham, 2006; DFNJensen , 2006; J. Gaddefors, 2007; G. Leder, 2007; B. Indurkhya, 2007; T. Veale, Y. Hao, 2008; E.Senino. 2008; RBVan Engen, 2008; Z. Kovecses, 2009; MJLandau, BR Meier, LA Keefer, 2010; J. Ox, J. Van Der Elst, 2011; L. Cameron, 2011).
Meaning-making (MA Boden, 1990; O. Sacks, 1995; V. John-Steiner, 1997; RS Prawat, 1999; S. Moran, V. John-Steiner, 2003; J. Hawkins , 2004; B. Best, A. Blake, J. Varney, 2005; M.Narey; M. Evans, MJ Atkins, 2007; D. Hofstadter, 2007; JE Maisel, 2008; J. Haldane, 2008, BJ McNely, 2009).
Sense creation (HH Clark, RJ Gerrig, 1983; M Daneman, I. Green, 1986; RS Anderson, 1990; EM Zelinski, JCHyde, 1996; M. Sanborn, 2001).
Creating meaning (Sense making), as giving meaning to experiences and situations (K. Weick1979; J. Bruner, 1991, MS Cohen, JT Freeman, S. Wolf, 1996; N. Shedroff, 2000; B. Dervin, 2003; K Weick, K. M Sutcliffe, D. Obstfeld, 2005; DJ Snowden, 2005, G. Klein, B. Moon, RF Hoffman, 2006; D. Russell, P. Pirolli, 2009; J. Watson, 2009. Jon Kolko, 2010).
2. Creativity as a productive activity.
Activity, activity of a person, permanent fulfillment of pure, devoid of affections and desire for fruits, actions (“Bhagavadgita”, 2nd century BC – 2nd century AD); Inventiveness (inventio) (Lorenzo Vala, Leonardo da Vinci , 15th century); Creative initiative (I. Kant, 1781); The creative power of man, which is realized in unceasing activity, the primacy of the practice of contemplation (G. Fichte, 1794); Trial and error method (T. Torondike, 1911); The manipulation of material and ideal objects (J. Watson, 1928); Creativity as a productive, transformative activity (S.L. Rubinshtein, 1946), Manipulation with external symbols or objects in order to create an unusual or unusual product (L. Fliegler, 1959); Creating new works that are evaluated as reliable, useful and satisfying group (M. Stein, 1953); The process by which something new is produced - an idea, an object, a form (L. Harmon, 1955); The behavioral model of creativity (BF Skinner, 1976); Subject-practical, transformative activities aimed at the expedient change and transformation of the world (E.G. Yudin, 1978); Creativity as the creation of a creative product (D. McKinnon, 1978); A series of thoughts, acts and functions that give rise to a product with attributes of novelty and positive value (A. Rotenberg, 1979); Productive activity aimed at a creative result (H. Gruber, 1981); Focus on the task, on the goal (D. Simonton, 1984; H. Gruber, 1986), Activity, the result of which is the creation of new material and spiritual values, a new, socially significant product (AP Sheptulin, 1983; T. Shumilin, 1989); The ability of a person to produce new ideas, insights, inventions or artistic objects that have value (P. Vernon, 1986), "Production of new socially significant products and products" (M. Mumford and S. Gustafson, 1988); Creativity as an innovation, the embodiment of creative ideas in practice (AH Van de Den, 1986; R. Kanter, 1988; M. Mumford, S. Gustafson, 1988, T. Amabile, 2000, MA West, 2002); Connecting creative styles and creative products (GJ Puccio, DJ Treffinger, RJ Talbot, 1995).
Creative product as a model of creativity (D. McKinnon, 1978; C. O'Quin, 1990; SG Iskaksen, KB Dorval, DJ Treffinger, 1994); Creativity, as the production of a product, the characteristics of which are: 1. Novelty (DN Morgan, 1953, CR Hausman, 1987;); rarity (R. Milgram, 1976), novelty as a) originality, authenticity, originality, dissimilarity (G. Kaufmann, 1993, 2004); b) continuum: correction-qualitative transformation (M. Kirton, 1989; G. Kaufmann, 1993; L. Novelli, 1993); Subjective (Psychological) Novelty and Public (Historical) Novelty (MA Boden, 1994; G. Eisenck, 1994); unpredictability, surprise, unpredictability (F. Barron, 1995); effective novelty (AJ Cropley, 1999; MD Mumford, 2003); Creative solution: new and useful, rejecting old ideas, the result of strong motivation and perseverance, the result of clarifying the problem (A.Newell, I.Shaw, H.Simon, 1962); new, valuable and elegant (T.Amamile, 1987).
2. Novelty and compliance (appropriateness - compliance, relevance, expediency) a combination of novelty and usefulness (usefulness), (K. Gilhooley, 1982, F. Barron, 1995), novelty and value (M. Rhodes, 1987); novelty and “conformity” (appropriateness - the recognition of experts) (T. Amamile, 1983; L. Novelli, 1993); originality, unexpectedness and compliance with the requirements of the problem (R. Sternberg and T. Lyubart, 1996); novelty, conformity, value (L. Briskman, 1980; S. Hausman, 1987); “Suitability, efficiency, high degree of accomplishment of the goal” (C.Pearlman, 1983), novelty and social significance (M.Mumford, S.Gustafson, 1988), originality and adaptability (compliance, usefulness, relevance) (F. Barron, 1995 ); novelty and adaptability (T. Lyubart, 2001); local utility for the group and global for humanity (J.Rensulli, 1990); novelty – tradition in the context of efficiency (I. Magiari-Beck, 1993); novelty and intelligibility (intelligibility) C. Hausman (1985).
3. Aesthetics, emotionality: harmony, beauty and usefulness (A.Puankare, 1908), "effective surprise" - "effective surprise", "recognition shock" - "shock recognition" (J. Bruner, 1962, 1968); aesthetic value (M.Chikszentmikhii, J.Gettsels, 1971); mystery (L.Briskman, 1980); high quality (R. Sternberg, 1985, 1988), a). unique, original, new, b). good: adaptive, useful, aesthetically pleasing, conforming to standards (SW Russ, 1993); originality, adaptability, aesthetics (M. Ranco, 1994); unpredictability, surprise, unpredictability, ability to cause surprise (F. Barron, 1995).
4. A set of criteria for creativity: unusual, appropriate, transformative and condensed (JS Dacey, GFMadaus, 1969); Popularity, productivity, degree of reconstruction of the understanding of the Universe, breadth of influence, degree of novelty, social value (YA Ponomarev, 1976); synergistic interaction of many factors (S.Pearlman, 1983; M.Chixzentmimiyi, 1990); Novelty, conventionality, aesthetics, extension to integrity (T. Amabile, 1982, 1983), novelty (originality, surprisingness), degree of problem resolution, refinement and synthesis (elegance, craftsmanship) Creative Analysis Product Matrix (CRAM) (S. Besemer , D.Treffinger, 1981); Semantic Scale of the Creative Product (СРSS) novelty (originality, transforming the vision of reality, the germ of the new), utility, perfection (elegance, complexity, simplicity, clarity, skill (S.Bemermer, K.O'Oquin, 1987); Creative Product Model : but). novelty, statistical rarity; b). adaptability, problem solving, situation suitability, goal achievement; c) originality, completion, improvement, development into a whole, (D. Harrington, 1990); the structure of the product creativity criteria: novelty, relevance (conformity) and elegance (M. Mardok, S. Yasaksen, S. Vosburg, D. Lugo, 1993), a triad of creativity criteria: product features, reaction of the recipient, features of the thinking process (E. Netzka 1994); novelty (surprising, originality), decidability (consistency, utility, value, clarity), style (organic, elegance, skill) (SP Besemer, 2006).
3. Creativity as the detection and solution of problems.
Creative thinking as an internal task solving activity ( O. Külpe , 1895; N. Ah, 1905; K. Marbe, 1922; O. Zeltz, 1924); Creativity as a process of transforming a problematic situation into a resolved one (J. Dewey, 1910); Creativity as a solution to problems and problems (V. Köhler, 1925; K. Dunker, 1945; M. Wertheimer, 1945); Behavioral problem solving mechanisms (NRF Maier, 1940; I. Maltzman, 1955); Sensitivity to problems ( J. Guilford , 1950); Creative Problem Solving Process (CPS), Osborn-Parnes Model: 1. Studying a challenge (finding goals, finding facts, finding solutions). 2. Generation of ideas (finding ideas). 3. Preparation for action (finding solutions (evaluating ideas), finding recognition (introducing ideas) (A. Osborn, 1953, SJ Parnes, 1967); Theory of problem solving and creative thinking (A Newell, JC, Shaw, HA Simon (1958) , 1962); Sensitivity to problems, identification of imperfections, problems, and finding ways to eliminate them, proposing and testing hypotheses (E. Torrance, 1962, 1967); Method for solving creative problems (S. J Parnes, A. Meadow, 1959, 1960; A. Meadow, SJ Parnes, HW Reese , 1959, SJ Parnes, 1963); Intelligent addressing structure (Structure of Intellect problem solving) J. Guilford, 1967). The process of solving problems (J. Kozielecki, 1969); Tvorches in as a process of solving problems, problems and resolving contradictions (G.S. Altshuller, 1964, 1979; B.V. Kedrov, 1969; 0.K. Tikhomirov, 1969; D. B. Bogoyavlenskaya, 1971; A.F. Esaulov , 1972; A.M. Matyushkin, 1972; Y.A. Ponomarev, 1976; A.V. Brushlinsky, 1979; G.Ya. Bush, 1974; V.A. Molyako, 1983; V.A. Yakovlev, 1989 ); Problem of finding problems, intellectual vision of missing elements (problem finding) (M. Czikszentmihalyi, JW Getzels, 1965, 1970, 1976, JA Glover, 1979, R. Weisberg, J. Alba, 1981; MT Moor, 1983; SJ Parnes, SGIsaksen, 1985; R. Ochse, 1990; MT Moore, MC, Murdock, 1991; M. Runco, I. Chund, 1992; T. Amabile, 1996; D. Perkins, 1997); Five stages, including “Finding problems” and “Finding recognition” (SJ, Parnes, RB, Noller, AM Biondi, 1977); Solution of creative problems and tasks (D. Perkins, 1981), Identity of thinking processes, problem solving and creativity (C. Taylor, 1959, 1963; E. Bono, 1970; E. Torrance, 1976, 1995; J. Guilford (1977, 1979), DW MacKinnon, 1978; H. Simon, 1985; G. Kaufmann, 1988), JF Voss (1989) MT Moore, MC Murdock, 1991; M. Runco, 1994); Problem solving and cognitive processes (DM Johnson, 1972; PKArlin, 1974; GS Welsch, 1975; JH Flavell, 1976; JG Greeno, 1980; J. Davidson, R. Sternberg, 1982; H. Gardner, 1985; RE Mayer, 1983 ); Intuition in creative problem solving (H. H Anderson, 1959; K. Raaheim, 1976, 1984; M. Polanyi, 1981); Cognitive styles in problem solving (S G. Isaksen, GJ Puccio, 1988; SG Isaksen, KB Dorval, G. Kaufmann, 1991); Methods and techniques for creative problem solving (JL Adams, 1974; R. Ackoff, 1978; AB VanGundy, 1988); Creative problem solving in learning (J. Dewey, 1910; JH Flavell, 1976; DT Tuma, F. Reif, 1980; OK Duell, 1986; LB Resnick, LE Klopfer; SR Yussen, 1985, S. Isaksen, DJ Treffinger, 1991; WJ Stepien, SA Gallagher, D. Workman, 1993; GD Shack, 1993; WJ Stepien, S.A Gallagher, D. Workman, 1993; BLGramond, 2009; Problem-based learning (AM Matyushkin, 1968; I. J. Lerner, 1974; M. I. Makhmutov, 1977; A. V. Brushlinsky, 1983, V. T. Kudryavtsev, 1991); Development of Abilities for Creative Problem Solving (M. S Basadur, G. B Graen, SG Green , 1982).
Universal cross-cutting nature of problem solving (H. Gardner, 1985; Matlin, 1989; Wakefield, 1992; M. Runco, G. Dow, 1999); Problem solving and creative thinking (RE Mayer, 1983; RW Weisberg, 1988); Problem Construction Process (MD Mumford, R. Reiter-Palmon, MR Redmond, 1994); Model of Creative Problem Solving (TRoP) as an interaction between a goal and test structures created, options for achieving it Edward Netzka (1994, 2003).
CPS Creative Problem Solving Model (Buffulo Group):
Creative Problem Solving (CPS) (DJ Treffinger, SG Isaksen, RL Firestien, 1982); CPS concept: a reasonable dynamic balance between divergent and convergent thinking (SGIsaksen, DJ Treffinger, 1985); Ecological approach to CPS (SG, Isaksen, GJ, Puccio, DJTreffinger, 1993); Understanding the problem, generating ideas and planning actions (SG, Isaksen, KB Dorval, D J. Treffinger, 1994); Modification of CPS, in the direction of simplification in the development and use (J.Vehar, R. Firestien, B. Miller, 1999; Model of the three conceptual stages of the ATP: Clarification, transformation, implementation (GJ Puccio, MC Murdock, M. Mance, 2007).
Knowledge integration and problem solving (S. Hélie, R. Sun, 2002); The problem solving evaluation process (Hiroaki Suzuki, 2004); Problem finding process (WP Hu, Q. Han 2006; LM Surhone, 2010); Problem Solving Using the Model of Productive Thinking (T. Hurson, 2007); Problem-solving styles (JC Houtz, EC Selby (2009); Creative problem-solving, insight and incubation (S. Hélie, R. Sun, 2010).
Stages of creativity and creative problem solving (Model of the creative process): 1. Saturation (preparation), 2. Incubation 3. Illumination (Inspiration) ( G. Helmholtz, 1891,1896); 1. Random combinations. 2. Choice (A. Poincare, 1908); 1. Preparation. 2. Incubation. 3. Illumination. 4. Check. (G. Wallace, 1926); Triact of creativity: 1. The emergence of ideas. 2. The logical design of the idea. 3. Implementation (PK Engelmeyer, 1910; M.A. Bloch, 1920); 1. Invention. 2. Study (K. Popper, 1934; G. Reichenbach, 1938); 1. Detection of need. 2. Analysis. 3. Review information. 4. The formulation of all objective decisions. 5. Critical analysis of decisions. 6. The birth of a new idea. 7. Experimentation, selection and improvement (J. Rossman, 1931); Two stages of creativity: inspiration and development (E. Kris, 1952); 1. Orientation. 2. Preparation. 3. Analysis. 4. Idea. 5. Incubation. 6. Synthesis. 7. Evaluation (A. Osborne, 1953); 1. Finding the facts. 2. Finding ideas. 3. Finding solutions (A. Osborn, 1963); Generation of hypotheses and their testing (A.T. Shumilin, 1969); 1. Logical analysis. 2. Intuitive solution. 3. Verbalization of the intuitive solution. 4 Formalization of the verbalized solution (J. Ponomarev, 1976); MG Taylor Models: 1. Establishment (understanding). 2. Vision. 3. Intention. 4. Insight. 5. Development. 6. Construction. 7. Use (M. Taylor, Richard Goring, 1979); 1. Taking the situation as a challenge. 2. Analysis. 3. Definition. 4. Idea. 5. Choice. 6. Application 7. Evaluation (D. Koberg, J. Bagnall, 1981); 1. Random changes 2. Natural selection (D. Campbell, 1960; DK Simonton, 1988): 1. Finding targets. 2. Finding Facts. 3. Finding problems 4. Finding ideas. 5. Finding solutions. 6. Finding recognition (SJ Parnes, 1967; SG, Isaksen, DJTreffinger, 1985); 1. Design. 2. Maturation (pregnancy). 3. Childbirth 4. "Raising a child" (F. Barron, 1988): 1. Creating a plan 2. Vision. 3. Погружение в реальность. 4. Принятие мер. 5. Настройка, обучение, оценка, коррекция. 6. Создание импульса. 7. Завершение 8. Жизнь с произведением (R. Fritz, 1991); Управляемый цикл творчества: Синтетическая модель творческого процесса: 1. Подготовка (наблюдение, анализ) 2. Воображение (генерация, собирание) 3. Разработка (усиление, развитие) 4. Действие (внедрение, жизнь с творением) (PE Plsek, 1996): 1. Подготовка. 2. Инкубация. 3. Инсайт. 4. Оценка. 5. Разработка (М. Czikszentmihalyi, 1996); 1. Прояснение. 2. Трансформация. 3. Осуществление. (GJ Puccio, MC Murdock, M. Mance, 2007).
Решение проблем как целостный процесс, перекрытие и наложение этапов (М. Вертгеймер, 1945; Ж. Адамар, 1945; JE Eidhoven, WE Vinacke,1952; WE; Chiselin,1963; T. Amabile, 1966; JW Getzels, M. Czikszentmihalyi, 1976; Т. Любарт, 2003).
4. Creativity as self-actualization and realization of specific properties and personality traits. Creativity as a spontaneous, spontaneous, action, as a manifestation of the internal natural force of Te ( Lao Tzu , 6th century BC); Arbitrary and spontaneous actions, which are carried out on internal motives and "on their own will" (Aristotle, 4th century BC); Creativity as spontaneity, naturalness, suchness and sincerity (Guo Xiang, 3rd century BC); The desire of the individual to a spontaneous, spontaneous, determined by internal activity, development (J.-J. Rousseau, 1762); Thinking and imagination as manifestations of amateur activity (I. Kant, 1781); Creativity as self-determination, self-development and self-assertion (G. Fichte, 1801); Pathology and abnormalities as sources of creativity (C. Lambroso, 1863); Hereditary creativity (F. Galton, 1869); Creativity as a stream of consciousness and a manifestation of free will ( W. James , 1890); Self-movement, purposefulness, self-development, creative activity of the whole person ( V. Shtern, 1906, 1918); The principle of creative initiative: the creation of oneself in the process of creativity (S. Rubinstein, 1922), the spontaneous realization of the essential-I (E. Fromm, 1941); Overcompensation, the desire for development, success, excellence and excellence (A. Adler, 1956); Creativity as self-realization, self-determination and self-realization of the individual (K. Rogers, 1954, 1965); Creativity as self-actualization and transcendental self-actualization (A. Maslow, 1954, 1968.1971); Creativity, as spontaneous behavior and the flow of "totality", as an expression of individual identity and uniqueness (H. Anderson, 1965); The manifestation of a strong Ego (F. Barron, 1969, 1990; HG Goug, 1979; L. Briskman, 1980; DM Harrington, 1981, GF Feist, 1999); Creativity as self-development and self-empowerment of the individual (R. May, 1975; VF Ovchinnikov, 1984; N. Rogers, 1990; F. Barron, 1990); Creativity as a “life-creating” (L.V.Sohan and others.1982,1985.1988).
Creative activity as the implementation of specific properties and personality traits.
The manifestation of creative intelligence (LL Terstoun, 1952); Creativity as a property of intelligence: a three-dimensional model of intelligence ( J. Guilford, 1956, 1959, 1975); The intellectual threshold hypothesis (JW Getzels, PW Jackson, 1962, EP Torrance, 1962, 1974, J. Guilford, 1973; JS Renzulli, 1986); The Theory of Multiple Intelligence (G. Gardner, 1983), Structure of Creative Giftedness (AM Matyushkin, 1989); Triarchic (three-component) theory of intelligence (R. Sternberg, 1995); Emotional Intelligence and Creativity (JD, Mayer, P. Salovey, 1997); Five kinds of connections between intelligence and creativity (LA O'Hara, RJ Sternberg, 2000); The structure of creative intelligence: intuition, imagination, innovation, inspiration (AJ Rowe, 2004).
The relationship of emotions and creativity. Holistic emotional self-realization of individuality (T. Ribot, 1906; J. Rossman, 1931; A. Lowen, 1970); The facilitating influence of emotions on thought processes and creative activity (RSLazarus, 1991; A. Abele, 1992, 2001; TP Palfay, P. Salovey, 1993; GL Clore, N. Schwarz, M. Conway, 1994; MPShaw, M. Runco, 1994; HEHruber, 1995; STMurphy, 2001; JD Mayer, 2001). The effect of emotions on ease of association (AM Isen, 1987); on fantasy activity (M. Eckblad, LJ Chapman, 1986; D. Schuldberg, 1990); flexibility and breadth of thinking (AM Isen, MS Johnson, E. Mertz, GF Robinson, 1985, T. Amabile, 1985, 2005; AM Isen, KA Daubman, GP Nowicki, 1987; BL Fredrickson, 1998, 2001; TM Amabile, SG Barsade, JS Mueller, 2005). Emotional creativity as the experience and expression of original, authentic emotions (JR Averill, C. Thomas-Knowles, 1991); Communication of play, emotion and creativity (SWRuss, 1993, 2009); Emotional Resonance Model (T. Lubert, I. Getz, 1997). The stimulating effect on creativity of negative emotions and moods (AM Walker, R. Koestner, A. Hum, 1995; M. Runco, 1999; Z. Ivcevic, MA Brackett, JD Mayer, 2007); The relationship between emotions and creativity on the model of an inverted U-shaped curve (K. James, M. Brodersen, J. Eisenberg, 2004). Emotions in artistic creation (GJ Feist, SZ Dudek, R. Richards, KA McCarthy, 1999); Influence of positive emotions and moods on creativity (M. Csikszentmihalyi, 1975, 1996; NH Fridja, 1986; G. Kaufmann, S. Vosburg, 1997; G. Kaufman, 2003; ER Hirt, EE Devers, SM McCrea, 2008).
The interdependence of creativity, self-determination and intrinsic motivation. (E. Deci, 1971, 1975; M. Ross, 1975; M. Chiksentmihahii, 1975, 1996; T. Amabile, 1976, 1983; 1998, J. Condry, 1977; E. L Deci, RM Ryan, 1985, 1987 ; BJ Zimmerman, 1985; R. Eisenberger, S.Armeli, J. Pretz, 1998; TM Amabile, KG Hill, BA Hennessey, EM Tighe, 1994; KM Sheldon, 1995; MA Collins, RS Nickerson, 1999; RJ Sternberg; TI Lubart, 1999; BAHennessey, 1999; GJ Feist, 1999; R. Eisenberger, L. Rhoades, J. Cameron, 1999; GB Moneta, FHY Wong, 2001; R. Eisenberger, L. Shanock, 2003; M. Mumford, 2003. Theory of self-determination (E. Deci, RM Ryan, 2000, 2008; M. Vansteenkiste, W. Lens, E. Deci, 2006; KM Sheldon, T. Kasser, 2008; H. Weisberg, 2010; BA Hennessey, T. Amabile, 2010; Intrinsic motivation, increasing originality, but not utility (AM, Grant, JW Berry, 2011).
The manifestation of specific personality traits. (C.M. Cox, 1926; A. Roe, 1952, 1958; RB Cattell, JE Drevdahl, 1955; CW Taylor, 1958; DW MacKinnon, 1962; F. Barron, 1963, A. Maslow, 1970; R. B Cattell, 1971; G. Domino, 1970, 1979; P. Kline, C. Cooper, 1986; HJ Eysenck, 1993: GJ Feist, 1998; JA Plucker, JS Renzulli, 1999; L. Sundarajan, 2004; BS Folley, 2006 ; M. Batey, A. Furnham, 2006; CG Boeree, 2006; G. Burch, 2006; RJ Stenberg, 2006; M. Ranko, 2007; BW Roberts, D. Mroczek, 2008; GJ Feist, J. Feist, 2009 ; Z. Ivcevic, 2009). Creative personality traits: Openness to new experience: RR McCrae, 1987, 1994; GJ Feist, 1987; flexibility: HG Gough, 1961, 1979; GJ Feist, F. Barron, 1996; the pursuit of novelty: JP Houston, S. A Mednick; ambition, striving for achievement: BS Bloom, 1956; RS, Mansfield, T. V Busse, 1984; SZ Dudek, 1991; Tolerance for uncertainty: PE Vernon, 1970, A. Furnham, 1994; independence: A. Roe, 1952; F. Barron, 1968; MB Parloff, 1968; R. Helson, 1971; non-conformism: WB Hall, D. W MacKinnon, 1969; dominance, self-confidence: RH Van Zelst, WA Kerr, JA Chambers, 1964; KE Kelly, 2005; risk appetite: R. Sternberg, T. Lyubart, 1995; perseverance and endurance: J. Rossman, 1931, R. Sternberg, 1999; KH Kim, 2004; JA Glover, 1989; RW Weisberg, 1993; MI Stein, SJ Heinze, 1990; pathological features, psychoticism (KO Götz, K. Götz, 1979; GJ Feist, 1989; R., Richards, D. K Kinney; G. Eisenck, 1993, 1994; E. Woody, G. Claridge; G.Burch, DR Hemsley, Ch. Pavelis, Ph. Corr, 2006; RA Chavez-Eakle, M. Lara, A. Cruz-Fuentes, 2006). The manifestation of the paradoxical and dialectic personality structure (AM Biondi, SJ Parnes; M. McMullan, 1976; M. Chiksentmihaii, 1996). Creativity and personality traits of the Big Five (GJ Feist, 1998; U. Wolfradt, JE Pretz, 2001; EN Cholas, NR Perri, M. Brodersen, 2005; M. Batey, A. Furnham, 2006; Z. Ivcevic, MA Brackett, JD Mayer, 2007; PJ Silvia, 2008; A. Furnham, V. Bachtiar, 2008; M. Batey, 2009).
5. Creative dialogue, love and empathy.
Productive dialogue and maieutics - a method of promoting the birth of new knowledge (Socrates, 5th century BC); Eros, love and attraction to the truly Beautiful (Plato, 5-4 centuries BC; Plotinus, 3 century AD); Love as the fundamental principle of Being (Mon Tzu, 5th century BC); Awakening of creativity with the help of koans and parables questions (Eisai, 12-13 centuries); Humanity (jing) as a creative principle: the direct connection between humanity in people, the creative interaction between people and the process of generation in nature (Kaibara Ecken, 1708); Creativity as a developing communication, love and passion (L. Feuerbach, 1843); Agapic, caring and creative love, as the principle of development and evolution (Charles Pearce, 1893); Mutual aid as a factor of evolution (P. A. Kropotkin, 1902); The theory of social action and the sociogenic theory of creativity (M. Weber, 1904); Universal energy of life: libido ( Z. Freud, 1905), orgon energy (V. Reich, 1927); "Consubstantiality", the identity of substantial figures within the creative power (N. O. Lossky, 1917); Dialogue as a free, fruitful, generative activity (M. Buber, 1923), Truly real, omnipotent creative force of love (SL Frank, 1924); The manifestation of the dialectical Eros, “ars amandi, the art of love” (B. P. Vysheslavtsev, 1931), The identity of love and creativity (N. A. Berdyaev, 1931); Communication and "being with others" as the initial phenomenon of human existence (K. Jaspers, 1935); Creativity as love is a productive and creative force (E. Fromm, 1956); The result of the relationship of the subject with the environment and other people (V. Lowenfeld, 1957); Creativity as a love adventure with the world (Ph. Greenacre, 1957); The result of openness to the world, meetings and active relationships with him (G. Schachel, 1959); The relationship between the individual and the materials, people, circumstances (K. Rogers, 1962); The manifestation of the dialogical consciousness (M. Bakhtin, 1964); Co-creation of the author and the reader, interactivity as the recipient's influence on an artistic object (R. Barth, 1971); The dialogical nature of thinking, creativity and culture (V. S. Bibler, 1975, 1990); Collective creativity and the effect of facilitation (A. Osborne, 1952, E. Necka, 1985); The meeting of man and his world (R. May, 1975); Creativity as an ability to ask questions (CJ Kasperson, 1978; JA Glover, 1979; NL Artley, R. Van Horn, DD Friedrich, JL Carroll, 1980); Creativity as a function of transactional relations between the individual and the environment ("Contricipation") (M. Stein, 1974); Social context of creativity: the theory of the conventionality of a creative product (T. Amabile, 1982, 1996); The infinitely changing alternation of “perception and response” (R. Weisberg, 1986); Interaction with experts, professional sphere and culture (M. Csikszentmihalyi, 1988; H. Gardner, 1993); Creativity as a process of influence (D. Simonton, 1988); The process of co-creation in scientific discovery, resonance and co-creation of meanings (DE Rumerhart, 1990, 1996); Knowledge-creating communities: communication focused on creating theories, solutions, discoveries (C. Bereiter, M. Scardamalia, 1993); Creativity as a dialogue and mutual participation (D. Bohm, 1992, 1996); Co-creation, reciprocity, meeting and cooperation (F. Barron, 1995); Dialogue as a means of spiritual transformation of a person ”(TA Florenskaya, 1995); Creativity as empathy (E.Ya. Bassin, 1999, 2000); Stimulating effect on the work of “Group Support Systems” Group Support Systems (GSS) (EL Santanen, RO Briggs, GJ de Vreede, 2000, 2006); Transformative statements that change the relations between the participants of the dialogue (M. Epstein, 2004); Dialogue as a form and means of scientific creativity (A. Maydanov, 2008).
Creativity as a dialogue with the polyspheric environment: Influence on the creativity of family conditions: (DM Harrington, JHBlock, 1987, MDMumford, SB Gustafson, 1988, J. Lautrey, TI Lubart, 1998); school environment (RJ Sternberg, TI Lubart, 1991, SZ Dudek, M. Strobel, MA Runco, 1993; professional environment: WM Williams, LT Yang, 1999, I, Getz, AG Robinson, 2003; technological environment: T. Proctor, 1999, M. Edwards, 2000, T. Lubert, 2003; socio-cultural environment: AM Ludwig, 1992; M. Chikszentmihaji, 1988, 1996; DK Simonton, 1997, RJ Sternberg, JC Kaufman, JE Pretz, 2002, R. Florida, 2002; E. Rudowicz, 2003; K. Coessens, 2006; M. Stern, S. Siefert, 2002; T. Paris, 2007; organizational culture: The Fit Model update of the creative potential of employees in organizational culture congruent their values, interests (BW Schneider, 1975, 2001); WM Cohen, DA Levinthal; CA O'Reilly, 1991; F. Damanpour, 1991; DA Levinthal, JG March, 1993; T. Amabi le, 1996, 2000; MA Glynn, 1996; SG Scott, RA Bruce, 1994; SL Brown, KM Eisenhardt, 1998; AH Van de Ven, ED Polley, R. Garud, S. Venkataraman, 1999; KE Weick, 2000; AEM Van Vianen, 2000; MA West, 2002; E. Miron, M. Erez, E. Naveh, 2004); Theory of creative leadership: the ability to make changes (GJ Puccio, MC Murdock, M. Mance, 2007); Optimal networking that stimulates creativity (JE Perry-Smith, 2006; M. Baer, 2010).
UNIFORM (INTEGRATIVE, SYSTEM, MULTIFACTOR, SYNTHETIC, GENERAL) THEORY OF CREATIVITY
The construction of a universal theory of creativity is based on the following methodological assumptions:
1. Consideration of creativity as an integrated, integrative, multifactor and polyspheric phenomenon, identifying its individual components and ways of their interaction.
2. The definition of a single, universal, basic base, causing and permeating all forms of manifestation of creativity.
3. Identification and construction of a system of uniform, invariant and universal mechanisms of creativity.
Часть 1 Theories of creativity
Часть 2 - Theories of creativity
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Psychology of creativity and genius
Terms: Psychology of creativity and genius