Human abilities. Ability development levels: diagnosis, development. Development of creativity is the most important task of primary education Development of creativity authors

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Introduction

1.1. Ability concept, creativity

1.2. Ability types

Conclusion

Literature

Introduction

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

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

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

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

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

This goal is concretized by the following tasks:

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

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

3. Identify ways of developing creative abilities.

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

creativity school

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

1.1 The concept of ability, creativity

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

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

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

The concept of "ability" includes three main features:

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

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

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

Thus, the following definition can be derived.

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

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

Psychologists identify several characteristics of people who are creative.

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

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

1.2 Types of abilities

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

1.3 Development of creativity

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Among the numerous facts that confirm the most important role of family-parent relations, there are the following:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Conclusion

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

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

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

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

Literature

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

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

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

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

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

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

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

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

10. Rubinstein S.L. Fundamentals of General Psychology - St. Petersburg: Publishing House "Peter", 2000 - 712 p .: ill. - (Series "Masters of Psychology").

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The essence and content of literary and creative abilities. Pedagogical conditions for the formation of creative abilities in the learning process, their justification. Features and procedure for the formation of methods for the development of creative abilities in students.

term paper, added 12/22/2010

The use of didactic games as a means of developing the creative abilities of students in mathematics lessons. The development of the cognitive abilities of junior schoolchildren. Drawing up a teacher's work program for the formation of creative abilities in children.

thesis, added 06/27/2015

Pop music as a sphere of manifestation of musical and creative abilities. Psychological and pedagogical foundations for the development of musical and creative abilities. Organization and management of the process of developing the creative abilities of the members of the pop group.

term paper, added 10/11/2013

The problem of creativity and creativity in modern pedagogy and psychology. Creativity and creativity concepts. Components of creativity. The problem of the optimal timing of the beginning of the development of creative abilities.

For the most accurate understanding of the topic of our research, it is necessary to give the concept of "creativity". Creativity is defined as human activity that creates new material and spiritual values that have novelty and social significance, that is, as a result of creativity, something new is created that has not yet existed. The concept of "creativity" can also be given a broader definition. The Soviet philosopher A. Mateiko believes that the essence of the creative process lies in the reorganization of existing experience and the formation of new combinations on its basis. Creativity is the process of creating something subjectively new, based on the ability to generate original ideas and use non-standard ways of acting. In fact, creativity is "the ability to create any fundamentally new opportunity" (GS Batishchev).

Many people combine the concept of "creativity" and "creative activity", comparing them to each other. These two concepts are considered to be integral components of all creativity. The concept of creative activity is usually understood as an activity associated with the creation of something qualitatively new.

There are various types of creativity: scientific, technical, artistic, etc. They all have their own specific features, commonality and differences.

Scientific creativity is "an activity aimed at the production of new knowledge, which receives social approbation and is included in the system of science", "a set of higher cognitive processes that expand the boundaries of scientific knowledge." Creativity in science requires, first of all, the acquisition of fundamentally new socially significant knowledge, this has always been the most important social function of science.

This is the basis of technical progress. Technical creativity as a kind of practical activity is a specific social phenomenon. Its specificity is determined by the nature of the technical problem, the solution of which requires a real tool, invention or its design. In contrast to scientific research, technical creativity is directly related to the practice of operating existing technical structures in the process of creating and introducing new structures into production. In technical creativity, practical and spiritual aspects of activity are closely intertwined. Practical action is expressed in changing the material of nature during the actual design of a technical object. Spiritual activity acts as an ideal construction of an object.

Technical creativity involves obtaining new results in the field of technology in the form of technical ideas, drawings, embodied in real technical objects.

Unlike scientific and technical creativity, artistic creativity does not have a direct focus on novelty, it is not identified with the production of something new, although originality is usually present among the criteria for artistic creativity and assessments of artistic talent. At the same time, art has never denied the strength and power of scientific methods and used them to the extent that they helped to solve the main task of art - the creation of aesthetic values. But at the same time in art there is always an understanding of superiority over science in the ability to use the power of artistic fiction, intuition and fantasy.

Next, you need to define what "abilities" are in general. According to BM Teplov, "abilities are certain individual psychological characteristics that distinguish one person from another, which are not reduced to the existing stock of skills and knowledge that a person already has, but determine the ease and speed of their acquisition." Key to the development of abilities is the concept of "efficiency" - a subtle adaptation of personality traits to the requirements of activity.

Thus, in its most general form, the definition of creativity is as follows. Creative abilities are the individual characteristics of a person's quality that determine the success of his performance of various creative activities.

Since the element of creativity can be present in any kind of human activity, it is fair to talk not only about artistic creativity, but also about technical creativity, about mathematical creativity, etc.

In most cases, a creative person is a person who thinks in an original way, the result of these thinking will be non-standard solutions.

But thinking can be both reproductive and creative. Reproductive thinking is a type of thinking in which our memory helps us to reproduce existing images and concepts. And creative thinking is the kind of thinking that generates some new, previously unknown material.

This means that creative activity cannot be based on only one type of thinking - reproductive; creative thinking must be present, which is one of the most important components of human creativity.

Let us turn to the works of L. S. Vygotsky, with the aim of the most complete understanding of creativity as a product of human activity:

"In addition to reproducing activity, it is easy to notice another kind of this activity in human behavior, namely, combining or creative activity."

By reproducing activity, Vygotsky understood the ability of our brain to preserve and reproduce the experience we already have. And the organic basis of such reproductive activity (or memory) is the plasticity of our nervous substance.

"Any such human activity, the result of which is not the reproduction of the impressions or actions that were in his experience, but the creation of new images or actions, and will belong to this second kind of creative or combining behavior."

Thus, L. S. Vygotsky tells us that creativity cannot simply be the reproduction of our experience, and creativity, in his understanding, is the creation of something completely new, something that we did not know yet.

"This creative activity, based on the combining ability of our brain, is what psychology calls imagination or fantasy."

This means that creativity and imagination are inextricably linked in their essence.

The creative imagination, like any other activity, of a child differs from that of an adult, because a child in his growing up goes through different periods of childhood. In each period of childhood development, the creative imagination works in a special way, characteristic of the particular stage of development on which the child stands. Because imagination depends on experience, and the child accumulates experience gradually. But in turn, there is an opinion that the imagination of a child is richer than that of an adult. But this statement does not find its confirmation when scientifically examined. A child's experience is poorer than that of an adult, interests are simpler, more elementary, poorer, so the child's imagination is not richer, but poorer than that of an adult. In the process of a child's development, imagination also develops, reaching its maturity only in an adult.

O. M. Dyachenko refers to the main criteria for the manifestation of creative imagination in preschoolers:

1. The originality of the performance of creative tasks by children.
2. The use of such a restructuring of images, in which the images of some objects are used as details for constructing others.

The ability to be creative is creativity. In this case, creativity is understood broadly, from the standpoint of a personal approach, which allows us to interpret creativity as a developing phenomenon. Research by psychologists and educators allows us to connect creativity with the development of personality and intelligence, with the development of imagination, which has a special form, the look of a preschool child, which means that the creativity of a preschooler has a special form.

Thus, it became clear to us that creative activity, in addition to being connected with imagination, is also dependent on creativity.

J. Guilford identified four main parameters of creativity:

1) originality - the ability to produce distant associations, unusual responses;
2) semantic flexibility - the ability to highlight the function of an object and suggest its new use;
3) figurative adaptive flexibility - the ability to change the form of a stimulus in such a way as to see in it new features and opportunities for use;
4) semantic spontaneous flexibility - the ability to produce a variety of ideas in an ad hoc situation. General intelligence is not included in the structure of creativity.

Later J. Guilford mentions six dimensions of creativity:

1) the ability to detect and pose problems;
2) the ability to generate a large number of ideas;
3) flexibility - the ability to produce different ideas;
4) originality - the ability to respond to stimuli outside the box;
5) the ability to improve the object by adding details;
6) the ability to solve problems, that is, the ability to analyze and synthesize.

Let's note the main directions of development of creative abilities in children:

1. Development of imagination.
2. Development of the qualities of thinking that shape creativity.

Of the three types of creativity presented to us earlier, children's creativity is reflected only in artistic. Children of preschool age do not yet know how to count, write, they cannot solve complex problems at all, therefore we cannot talk about scientific creativity at preschool age. Technical creativity is also not characteristic of preschool children, the level of their development simply does not allow them to do this. Yes, and we understand that we cannot implement the inventions of children, because for this it is necessary that they are safe for the life of all people, which a preschooler cannot take into account when inventing new technical means.

In modern literature, the analysis of the creativity of preschoolers is carried out mainly in three directions (N.N. Poddyakov). The first direction involves the study of the mechanisms of the child's creative processing of the newly acquired experience, as well as the quantitative and qualitative features of the transforming, combining activity of children in this process. A special place is occupied by the definition of the role of fantasy in the development of creativity of preschoolers. The second direction is the study of the structure of search activity, the formation and change of its main forms, the conditions for the complication and development of this activity, etc. One of the important forms of search activity is children's experimentation. The third direction focuses on the study of the problems of interaction and the relationship of the creative process with the emotional development of preschoolers. Emotions form the basis for the formation of a child's needs both in the process of creativity itself and in its final product. The emotional richness of children's creativity, ultimately, contributes to the formation of the heuristic structure of the personality.

Psychologists also argue that the development of creativity qualitatively changes a person's personality.

L.A. Paramonova identifies the following features of the preschooler's creativity. Children make many discoveries and create an interesting, sometimes original product in the form of a drawing, design, poem, etc. The novelty of discoveries and products is subjective, this is the first important feature of children's creativity. At the same time, the process of creating a product for a preschooler is almost of paramount importance. The child's activities are distinguished by great emotional involvement, the desire to seek and try out different solutions many times, getting special pleasure from this, sometimes much more than from achieving the final result. And this is the second feature of children's creativity. For an adult, the beginning of solving a problem (realizing it, searching for approaches) is the most difficult and painful, sometimes leading to despair. The child, in contrast to the adult, does not experience such difficulties (unless, of course, he is dominated by the strict requirements of adults). He easily and practically begins an indicative, sometimes not entirely meaningful activity, which, gradually becoming more purposeful, carries the child with a search and often leads to positive results. And even in the musical creativity of a child, there is a simultaneity of composition and performance. And this is the third feature of children's creativity, undoubtedly associated with the first two and especially with the second.

N.A.Vetlugina for each period of childhood identifies its characteristics of creative activity and creativity:

For children from two to three years old, simpler actions are characteristic. For example, they love to listen to poetry, songs. They also tend to draw, sculpt, dance, read poetry and sing, but in art classes. And in independent activity, according to Vetlugina, children draw at their own will, and dance and sing with the teacher. Also, at the holidays that are held in kindergarten, children are simply present and happy, but they themselves have not yet participated.

Children from three to four years old are characterized by a manifestation of interest in creativity, the ability to concentrate, an understanding of what is being discussed in poetry and songs. They can work both independently and in a team of peers. Sometimes they even begin to draw, dance, sing on their own, without the teacher's proposal, but they still do not always actively show initiative for creative activity. They can already take part in festive parties and entertainment.

Children from four to five years old are characterized by the correct perception of all works of art, they feel the need for independent artistic creation: drawing, modeling, singing, dancing, reading poetry. Creative abilities are manifested in the following way: they sing small songs purely, read poetry expressively, successfully depict objects and phenomena in drawings, convey the content of a picture, song, game, drawing to sculpting, but still with the help of a teacher. On their own initiative, they examine pictures, paint them, draw. Questions are actively answered during festive entertainment, if necessary, they are willing to participate in festive performances and entertainment.

Children from five to six years old are characterized by a manifestation of interest in practicing various types of art, trying to learn certain skills, to accurately fulfill the tasks of the teacher. Correctly represent the content of the lesson (we learn to draw, sculpt, etc.). They show musical and poetic ear, show a sense of rhythm, feel and distinguish between musical, poetic and prosaic forms. They show a desire to independently perform a certain role in dramatization and musical plot play. They evaluate the quality of the work of their comrades, they receive evaluations from their comrades. They themselves choose a song, a verse, a book, take the initiative in organizing an amateur concert, repeat at home the most memorable, most interesting songs, dances, and poems from the festive repertoire.

Children from six to seven years old are characterized by an emotional perception of a work of art. Children willingly engage in all types of artistic activities, giving preference to one of them. They demonstrate the ability to submit their remarks in a dramatization game in time, while engaging in visual activities, they bring the idea to the end. They know what it takes for a song to be well sung, a drawing well drawn, etc. Exactly repeat the movements shown in the rhythm lessons. Feel and distinguish the form of a piece of music, poetic. Show imagination when retelling. They use figurative expressions from fairy tales, songs, poems. The desire to correctly assess their own performance. They know various types of shows (cinema, theater, circus), express a desire to listen to their favorite works, can pick up, on their own initiative, a familiar melody on a metallophone. Show creative initiative and organizational skills.

The term paper deals with artistic and creative abilities. The "artistic coloring" of the abilities manifested in creative activity is given to its "artistic character". "Artistry" is one of the most important concepts in the aesthetics of art history, reflecting the specific feature of art as a form of reflection and cognition of reality. It is customary to refer to artistic types of activity as pictorial activity with all the variety of its types - directly pictorial (drawing), decorative (adornment - decoration and design) and design (construction from various materials - natural, waste, paper, etc.) In kindergarten, preschoolers they master almost all types of visual activity (drawing, modeling, application) and design.

The main activity of preschool children in which they can show their creativity is play. In it, they can think over plots, roles, lines of development of the game, thereby including their imagination and creativity. But in addition to playing, children are engaged in creativity such as drawing, modeling, singing, dancing. Mastering these types of creativity indicates to us that the child develops both creative activity and imagination.

It is especially important when children can think over a role-playing game (senior preschool age) and begin to play it, themselves inventing everything that will happen to them. This will be one of the main indicators of the normal development of children.

During classes on visual activity, children learn to reflect the reality around them, to correctly convey the shape, color of objects. During these activities, the child not only learns to reproduce the objects he has seen, but he also learns to think. It is not always possible to draw from life, having a sample in front of them, then children begin to remember objects that they have already seen and are trying to repeat them in drawings, sculptures, applications. Again, when children draw, they put into the drawing some kind of experience, emotions associated with what they want to portray. They are trying to come up with some kind of plot, to determine the meaning of what is drawn, thereby giving the activity a creative character.

Often, children try to reproduce in their works something that cannot exist at all, using creative thinking, imagination and, to some extent, creativity. They try to combine parts of individual characters, animals, make trees speak, etc. This is where the creativity of children is manifested.

In music lessons, creativity also takes place. Often, dance teachers turn on music and give children the opportunity to move freely to the accompaniment of music. How many different and interesting things children do in these types of activities. Often dance performances are made from the same movements that the choreographer saw during the children's free dance.

The creative thinking of children is very different from that of an adult. Differences find their place not only in less knowledge and experience, but also in the absence of many stereotypes that are shackled by people. Therefore, it is worth taking a closer look at the products of children's creativity, there sometimes you can find something really new and unusual.

Thus, we can say that creativity is one of the most important and interesting topics for study. Creativity and creative activity are integral parts of human life, creativity can manifest itself in everything: in rest, in work, in conversation, etc. The creativity of children cannot be expressed in absolutely everything, but it also takes place. At first, children are taught creativity, taught the types of creative activity, and then, as the child develops, his mental processes, creativity and creative activity begin to manifest themselves by themselves, not only in special classes. And the creativity of children, at times, has no boundaries. The main types of children's creativity can be considered: choreography, visual, musical creativity, play, composition of fairy tales and poems, fantasy. And the development of all of them is possible only under the condition of the normal development of the main directions of creative abilities, such as imagination and thinking. But thinking is not reproductive, but creative. Only with the normal development of these areas can we talk about creative abilities. And the inclination to one of the types of creative activity indicates the preference and predisposition of the child. And on the basis of the characteristics of creative activity proposed by N.A.Vetlugina, the following criteria for the development of creative abilities characteristic of each age can be distinguished:

1. interest in creativity and creative activity;
2. active participation in organized creative activities;
3. independent creative activity;
4. and for older children, there is also a manifestation of creative initiative.

The presence of all these criteria in each age period suggests that the development of creative abilities corresponds to normal development. The absence of one of these criteria tells us that it is worth taking a closer look at the development of this child, perhaps the child needs the help of an adult in the development of certain prerequisites for creative activity.

INTRODUCTION

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

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

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

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

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

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

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

The purpose of this course work is to consider aspects of the development of creative abilities.

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

Describe creativity as a mental process;

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

Study the development of creativity;

Consider the basic concepts of creativity.

1. ESSENCE AND SIGNIFICANCE OF DEVELOPMENT OF CREATIVE ABILITIES

1.1 Creativity as a mental process

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

A set of interrelated tasks focused on cognition, creation, transformation in a new quality of objects, situations, phenomena and aimed at developing the creative abilities of younger students in the educational process. The system of creative tasks includes target, meaningful, activity-based and productive components. Traditional writing assignments in Russian lessons ...

Development of creative abilities in preschool children.

INTRODUCTION

Creativity is not a new subject of research. The problem of human abilities aroused great interest of people inall the time. However, in the past, society did not have a special need to master the creativity of people. Talents appeared as if by themselves, spontaneously created masterpieces of literature and art: they made scientific discoveries, invented, thereby satisfying the needs of the developing human culture. In our time, the situation has changed radically. Life in the era of scientific and technological progress is becoming more and more diverse and complex. And it requires from a person not routine, habitual actions, but mobility, flexibility of thinking, quick orientation and adaptation to new conditions, a creative approach to solving large and small problems. Considering the fact that the share of mental labor is almostof all professions is constantly growing, and an increasing part of the performing activity is shifted to machines, it becomes obvious that a person's creative abilities should be recognized as the most essential part of his intellect and the task of their development is one of the most important tasks in the education of a modern person. After all, all the cultural values accumulated by mankind are the result of the creative activity of people. And the extent to which human society advances in the future will be determined by the creative potential of the younger generation.

The object of the study of this work is the pedagogical process, namely the process of developing creative abilities in preschool age. The purpose of this study is to study the problem of developing the creative abilities of preschoolers, namely those aspects of it, knowledge of which is necessary for practical activities in this direction for kindergarten teachers and parents. In the course of work, you can set yourself the following tasks:

Identification of the main components of creativity based on the analysis of the literature.
Determination of conditions favorable for the development of creative abilities of children.
Determination of the main directions and pedagogical tasks for the development of creative abilities in preschool age.
Determination of the effectiveness of traditional methods of preschool education in relation to the development of creative abilities of children.
Revealing the effectiveness of forms, methods and clamps for the development of creative abilities based on the analysis and generalization of advanced pedagogical experience.

In this work, I have applied the following methods of scientific and pedagogical research.

Study, analysis and generalization of literary sources on this topic.
Diagnostics of the creative abilities of children.
Study and generalization of pedagogical experience in the development of children's creative abilities.

The work consists of two parts ... The first examines the problem of the components of a person's creative potential, and on the basis of an analysis of various points of view on this problem, an attempt is made to determine the universal creative abilities of a person. In this parts the question of the optimal timing of the beginning of the development of the creative abilities of children is also considered.

The second part is devoted to the problems of effective development of creative abilities. It examines the conditions necessary for the successful development of creative abilities, determines the main directions and pedagogical tasks for the development of the creative potential of preschoolers. The second part also analyzes the results of diagnosing the creative abilities of preschoolers, and proposes a set of measures aimed at optimizing the development of these abilities in preschool institutions.

The problem of creativity and creativity

in modern pedagogy and psychology

1.1 Concepts creativity and creativity

The analysis of the problem of the development of creative abilities will largely be predetermined by the content that we will put into this concept. Very often in the ordinary consciousness, creativity is identified with the ability to various types of artistic activity, with the ability to draw beautifully, write poetry, write music, etc. What is creativity really?

It is obvious that the concept we are considering is closely related to the concept of "creativity", "creative activity". By creative activity we mean such human activity, as a result of which something new is created - be it an object of the external world or the construction of thinking,leading to new knowledge about the world, or a feeling that reflects a new attitude towards reality.

If we carefully consider the behavior of a person, his activities in any area, then we can distinguish two main types of actions. Some human actions can be called reproductive or reproductive. This type of activity is closely related to our memory and its essence lies in the fact that a person reproduces or repeats previously created and developed methods of behavior and actions.

In addition to reproductive activity, human behavior contains creative activity, the result of which is not the reproduction of the impressions or actions that were in his experience, but the creation of new images or actions. This activity is based on creativity.

This work will consider the problem of the development of universal creative abilities, which are necessary for the successful implementation of any type of creative activity, regardless of whether it is scientific, artistic, technical, etc.

1.2 Components of creativity

Creativity is a fusion of many qualities. And the question of the components of human creativity is still open, although at the moment there are several hypotheses regarding this problem. Many psychologists associate the ability for creative activity, first of all, with the peculiarities of thinking. In particular, the famous American psychologist Guilford, who dealt with the problems of human intelligence, found that so-called divergent thinking is characteristic of creative individuals / 6, 436 /.People with this type of thinking, when solving a problem, do not concentrate all their efforts on finding the only correct solution, but begin to look for solutions in all possible directions in order to consider as many options as possible. Such people tend to form new combinations of elements that most people know and use only in a certain way, or to form connections between two elements that at first glance have nothing in common. The divergent way of thinking is at the heart of creative thinking, which is characterized by the following main characteristics:

1. Speed - the ability to express the maximum number of ideas (in this case, it is not their quality that is important, but their quantity).

2. Flexibility - the ability to express a wide variety of ideas.

3. Originality - the ability to generate new non-standard ideas (this can manifest itself in answers, decisions that do not coincide with generally accepted ones).

4. Completeness - the ability to improve your "product" or give it a finished look.

Famous Russian researchers of the problem of creativity A.N. Luke, based on the biographies of prominent scientists, inventors, artists and musicians, distinguishes the following creative abilities / 14.6-36 /

1. The ability to see the problem where others do not see it.

2. The ability to curtail mental operations, replacing several concepts with one and using symbols that are more and more information-capacious.

3. Ability to apply the skills acquired in solving one problem to solving another.

4. The ability to perceive reality as a whole, without splitting it into parts.

5. Ability to easily associate distant concepts.

6. The ability of memory to give out the right information at the right moment.

7. Flexibility of thinking.

8. Ability to choose one of the alternatives for solving a problem before checking it.

9. Ability to incorporate newly perceived information into existing knowledge systems.

10. The ability to see things as they are, to distinguish the observed from what is introduced by the interpretation.

11. Ease of generating ideas.

12. Creative imagination.

13. Ability to refine details, to improve the original concept.

Candidates of psychological sciences V.T. Kudryavtsev and V. Sinelnikov, based on a wide historical and cultural material (history of philosophy, social sciences, art, individual spheres of practice), identified the following universal creative abilities that developed in the process of human history / 12, 54-55 /.

1. Realism of imagination - figurative grasping of some essential, general tendency or pattern of development of an integral object, before a person has a clear concept of it and can inscribe it into a system of strict logical categories.

2. Ability to see the whole before the parts.

3. The over-situational - transformative nature of creative solutions - the ability, when solving a problem, not just to choose from the alternatives imposed from the outside, but to independently create an alternative.

4. Experimentation - the ability to consciously and purposefully create conditions in which objects most vividly reveal their essence hidden in ordinary situations, as well as the ability to trace and analyze the features of the "behavior" of objects in these conditions.

Scientists and teachers involved in the development of programs and methods of creative education based on TRIZ (theory of inventive problem solving) and ARIZ (algorithm for solving inventive problems) believe that one of the components of a person's creative potential is made up of the following abilities / 9 /.

1. Ability to take risks.

2. Divergent thinking.

3. Flexibility in thinking and acting.

4. The speed of thinking.

5. Ability to express original ideas and invent new ones.

6. Rich imagination.

7. Perception of the ambiguity of things and phenomena.

8. High aesthetic values.

9. Developed intuition.

Analyzing the above points of view on the issue of the components of creative abilities, we can conclude that despite the difference in approaches to their definition, researchers unanimously single out creative imagination and the quality of creative thinking as mandatory components of creative abilities.

Based on this, it is possible to determine the main directions in the development of the creative abilities of children:

1. Development of imagination.

2. Development of the qualities of thinking that shape creativity.

1.3 The problem of optimal timing for the start of development

creativity.

Speaking about the formation of abilities, it is necessary to dwell on the question of when, from what age should the creative abilities of children be developed. Psychologists call various terms fromone and a half to five years. There is also a hypothesis that it is necessary to develop creativity from an early age. This hypothesis is confirmed in physiology.

The fact is that a child's brain grows especially quickly and "matures" in the first years of life. This is ripening, i.e. an increase in the number of brain cells and anatomical connections betweenthem depends both on the diversity and intensity of the work of already existing structures, and on how much the environment stimulates the formation of new ones. This period of "ripening" is the time of the highest sensitivity and plasticity to external conditions, the time of the highest and broadest opportunities for development. This is the most favorable period for the beginning of the development of the entire diversity of human abilities. But the child begins to develop only those abilities for the development of which there are stimuli and conditions for the "moment" of this maturation. The more favorable the conditions, the closer they are to optimal, the more successful development begins. If maturation and the beginning of functioning (development) coincide in time, go synchronously, and conditions are favorable, then development proceeds easily - with the highest possible acceleration. Development can reach its greatest height, and the child can become capable, talented and ingenious.

However, the possibilities for the development of abilities, having reached their maximum at the "moment" of maturation, do not remain unchanged. If these opportunities are not used, that is, the corresponding abilities do not develop, do not function, if the child does not engage in the necessary activities, then these opportunities begin to be lost, degraded, and the faster, the weaker the functioning. This fading away of opportunities for development is an irreversible process. Boris Pavlovich Nikitin, who has been dealing with the problem of the development of children's creative abilities for many years, called this phenomenon NUVERS (Irreversible Fading of Opportunities for Effective Development of Abilities). Nikitin believes that NUVERS has a particularly negative effect on the development of creative abilities. The gap in time between the moment of maturation of the structures necessary for the formation of creative abilities and the beginning of the purposeful development of these abilities leads to a serious difficulty in their development, slows down its pace and leads to a decrease in the final level of development of creative abilities. According to Nikitin, it was the irreversibility of the process of degradation of development opportunities that gave rise to the opinion about the innateness of creative abilities, since usually no one suspects that opportunities for the effective development of creative abilities were missed in preschool age. And the small number of people with high creative potential in society is explained by the fact that in childhood, only very few found themselves in conditions conducive to the development of their creative abilities / 17, 286-287 /.

From a psychological point of view, preschool childhood is a favorable period for the development of creative abilities because at this age children are extremely inquisitive, they have a great desire to learn about the world around them. And parents by encouraging curiosity, imparting knowledge to children, involving them in various activities, contribute to the expansion of children's experience. And the accumulation of experience and knowledge is a necessary prerequisite for future creative activity. In addition, the thinking of preschoolers is more free than that of older children. It has not yet been crushed by dogmas and stereotypes, it is more independent. And this quality must be developed in every possible way. Preschool childhood is also a sensitive period for the development of creative imagination. From all of the above, we can conclude that preschool age provides excellent opportunities for the development of creativity. And the creative potential of an adult will largely depend on how these opportunities were used.

2. Development of creativity in preschool age.

2.1 Conditions for the successful development of creative abilities.

One of the most important factors in the creative development of children is the creation of conditions conducive to the formation of their creative abilities. Based on the analysis of the works of several authors, in particular J. Smith / 7, 123 /, B.N. Nikitin / 18, 15, 16 /, and L. Carroll / 9, 38-39 /,I have identified six basic conditions for the successful development of children's creative abilities.

The first step to the successful development of creative abilities is the early physical development of the baby: early swimming, gymnastics, early crawling and walking. Then early reading, counting, early exposure to various tools and materials.

The second important condition for the development of the child's creative abilities is the creation of an environment that is ahead of the development of children. It is necessary, as far as possible in advance, to surround the child with such an environment and such a system of relations that would stimulate his most diverse creative activity and gradually develop in him exactly what at the appropriate moment is capable of developing most effectively. For example, long before learning to read to a one-year-old child, you can buy blocks with letters, hang the alphabet on the wall and call letters to the child during games. This promotes early reading acquisition.

The third, extremely important, condition for the effective development of creative abilities arises from the very nature of the creative process, which requires maximum effort. The fact is that the ability to develop is the more successful, the more often in his activity a person gets "to the ceiling" of his capabilities and gradually raises this ceiling higher and higher. This condition of maximum exertion of forces is most easily achieved when the child is already crawling, but does not yet know how to speak. The process of cognizing the world at this time is very intensive, but the baby cannot take advantage of the experience of adults, since nothing can be explained to such a small child. Therefore, during this period, the baby is forced more than ever to engage in creativity, to solve many completely new problems for him on his own and without prior training (if, of course, adults allow him to do this, they solve them for him). The child's ball rolled far under the sofa. Parents should not rush to get him this toy from under the sofa, if the child can solve this problem on his own.

The fourth condition for the successful development of creative abilities is to provide the child with great freedom in choosing activities, in the alternation of cases, in the duration of one activity, in the choice of methods, etc. Then the child's desire, interest, emotional upsurge will serve as a reliable guarantee that even more tension of the mind will not lead to overwork, and will benefit the child.

But giving a child such freedom does not exclude, but, on the contrary, presupposes unobtrusive, intelligent, benevolent help from adults - this is the fifth condition for the successful development of creative abilities. The most important thing here is not to turn freedom into permissiveness, but help into a hint. Unfortunately, a hint is a common way of "helping" children among parents, but it only harms the business. You cannot do something for a child if he can do it himself. You cannot think for him when he himself can think of it.

It has long been known that creativity requires a comfortable psychological environment and free time, therefore the sixth condition for the successful development of creative abilities is a warm and friendly atmosphere in the family and the children's team. Adults must create a safe psychological base for the child's return from creative pursuits and their own discoveries. It is important to constantly stimulate the child to be creative, to show sympathy for his failures, to patiently treat even strange ideas unusual in real life. It is necessary to exclude comments and condemnation from everyday life.

But the creation of favorable conditions is not enough for raising a child with a high creative potential, although some Western psychologists still believe that creativity is inherent in the child and that it is only necessary not to interfere with his free expression. But practice shows that such non-interference is not enough: not all children can open the way to creativity, and maintain creative activity for a long time. It turns out (and pedagogical practice proves this), if you choose the appropriate teaching methods, then even preschoolers, without losing the originality of creativity, create works of a higher level than their untrained self-expressing peers. It is no coincidence that children's circles and studios, music schools and art schools are so popular now. Of course, there is still a lot of debate about what and how to teach children, but the fact that it is necessary to teach is beyond doubt.

The upbringing of the creative abilities of children will be effective only if it is a purposeful process, in the course of which a number of particular pedagogical problems are solved, aimed at achieving the final goal. And in this work, on the basis of studying the literature on this topic, I tried to determine the main directions and pedagogical tasks for the development of such important components of creative abilities as creative thinking and imagination in preschool age.

2.2 Development of the qualities of creative thinking.

The main pedagogical task for the development of creative thinking in preschool age is the formation of associativity, dialectic and systematic thinking. Since the development of these very qualities makes thinking flexible, original and productive.

Associativity is the ability to see connections and similarities in objects and phenomena that at first glance are not comparable.

Thanks to the development of associativity, thinking becomes flexible and original.

In addition, a large number of associative links allows you to quickly retrieve the necessary information from memory. Associativity is very easily acquired by preschoolers in role-playing games. There are also special games that contribute to the development of this quality.

Often, discoveries are born when the seemingly incompatible is connected. For example, for a long time it seemed impossible to fly in aircraft that are heavier than air. Dialectic thinking allows us to formulate contradictions and find a way to resolve it.

Dialecticism is the ability to see contradictions in any systems that hinder their development, the ability to eliminate these contradictions, to solve problems.

Dialectic is a necessary quality of talented thinking. Psychologists conducted a number of studies and found that the mechanism of dialectical thinking functions in folk and scientific creativity. In particular, an analysis of Vygodsky's works showed that the outstanding Russian psychologist constantly used this mechanism in his research.

Pedagogical tasks for the formation of dialectic thinking in preschool age are:

1. Development of the ability to identify contradictions in any subject and phenomenon;

2. Developing the ability to clearly formulate the identified contradictions;

3. Formation of the ability to resolve contradictions;

And one more quality that forms creative thinking is consistency.

Consistency is the ability to see an object or phenomenon as an integral system, to perceive any object, any problem comprehensively, in all the variety of connections; the ability to see the unity of interconnections in the phenomena and laws of development.

Systems thinking allows you to see a huge number of properties of objects, to capture interconnections at the level of parts of the system and interconnections with other systems. Systems thinking learns patterns in the development of a system from the past to the present and applies this in relation to the future.

Systematic thinking develops by correct analysis of systems and special exercises. Pedagogical tasks for the development of systematic thinking in preschool age:

1. Formation of the ability to consider any object or phenomenon as a system developing in time;

2. Development of the ability to determine the functions of objects, taking into account the fact that any object is multifunctional.

2.3 Development of creative imagination.

The second direction of the formation of creative abilities of preschoolers is the development of imagination.

Imagination is the ability to construct in the mind from the elements of life experience (impressions, ideas, knowledge, experiences) through their new combinations to correlations something new that goes beyond the previously perceived.

Imagination is the basis of all creative activity. It helps a person to get rid of the inertia of thinking, it transforms the representation of memory, thereby ensuring, in the final analysis, the creation of what is known to be new. In this sense, everything that surrounds us and that is made by human hands, the whole world of culture, in contrast to the natural world - all this is a product of creative imagination.

Preschool childhood is a sensitive period for the development of imagination. At first glance, the need to develop the imagination of preschoolers may seem reasonable. After allit is widely believed that the child's imagination is richer, more original than the adult's. Such an idea of the vivid imagination originally inherent in preschoolers existed in the past among psychologists.

However, already in the 1930s, the outstanding Russian psychologist L. S. Vygotsky proved that a child's imagination develops gradually, as he gains a certain experience. S. Vygotsky argued that all images of the imagination, no matter how bizarre they are, are based on those ideas and impressions that we get in real life. He wrote: "The first form of connection between imagination and reality is that every creation of imagination is always built from elements taken from activity and contained in the previous experience of man.". /5, 8/

It follows from this that the creative activity of the imagination is directly dependent on the richness and diversity of the previous experience of a person. The pedagogical conclusion that can be drawn from all of the above is the need to expand the child's experience if we want to create a sufficiently solid foundation for his creative activity. The more the child has seen, heard and experienced, the more he knows and learns, the more elements of reality he has in his experience, themore significant and more productive, other things being equal, will be the activity of his imagination. It is with the accumulation of experience that all imagination begins. But how to pass this experience on to the child in advance? It often happens that parents talk with a child, tell him something, and then complain that, as they say, it flew into one ear and flew out of the other. This happens if the baby has no interest in what is being told about, there is no interest in knowledge at all, that is, when there are no cognitive interests.

In general, the cognitive interests of a preschooler begin to manifest themselves very early on. This manifests itself first in the form of children's questions, with which the baby besieges parents from 3-4 years old. However, whether such children's curiosity will become a stable cognitive interest or will it disappear forever depends on the adults around the child, primarily on his parents. Adults should in every possible way encourage the curiosity of children, fostering love and the need for knowledge.

In preschool age, the development of the child's cognitive interests should go in two main directions:

Gradually enrichment of the child's experience, saturation of this experience with new knowledge about various areas of reality. This causes the preschooler's cognitive activity. The more the sides of the surrounding reality open before children, the wider are the opportunities for the emergence and consolidation of stable cognitive interests in them.
The gradual expansion and deepening of cognitive interests within the same sphere of reality.

In order to successfully develop the cognitive interests of the child, parents must know what their baby is interested in, and only then influence the formation of his interests. It should be noted that for the emergence of stable interests, it is not enoughjust to acquaint the child with a new area of reality. He should develop a positive emotional attitude towards new things. This is facilitated by the inclusion of a preschooler in joint activities with adults. An adult can ask a child to help him do something or, say, listen to his favorite record with him. The feeling of belonging to the world of adults that arises in the baby in such situations creates a positive coloring of his activity and contributes to the emergence of his interest in this activity. But in these situations, the child's own creative activity should also be awakened, only then can the desired result be achieved in the development of his cognitive interests and in the assimilation of new knowledge. You need to ask the child questions that encourage active reflection.

The accumulation of knowledge and experience is only a prerequisite for the development of creative imagination. Any knowledge can be a useless burden if a person does not know how to handle it, to select what is needed, which leads to a creative solution to the problem. And for thisyou need the practice of such decisions, the ability to use the accumulated information in your activities.

Productive creative imagination is characterized not only by such features as originality and richness of the images produced. One of the most important properties of such imagination is the ability to direct ideas in the right direction, to subordinate them to certain goals. The inability to manage ideas, to subordinate them to your goal, leads to the fact that the best plans and intentions perish, not finding embodiment. Therefore, the most important line in the development of the preschooler's imagination is the development of the direction of the imagination.

In a younger preschooler, imagination follows the subject and that's it., what he creates is fragmentary, unfinished. Adults should help the child learn not only to fragmentarily fantasize, but to realize their ideas, to create, albeit small, but complete works. To this end, parents can organize a role-playing game and, in the course of this game, influence the child's performance of the entire chain of play actions. You can also arrange a collective composition of a fairy tale: each of the players speaks several sentences, and the adult participating in the game can direct the development of the plot, help the children complete their plans. It is good to have a special folder or album where the most successful drawings, fairy tales composed by a child would be placed. This form of fixing the products of creativity will help the child direct his imagination to create complete and original works.

In order to determine the level of development of the creative abilities of children in preschool age, on August 10 and August 15, 2008, I carried out diagnostics for preschoolers of the MDOU "Solnyshko" s. Tashtyp. For the research I used the express methods of the candidates of psychological sciences V. Kudryavtsev and V. Sinelnikov (see Appendix 1). With the help of these techniques, I have compiled an operational stating micro-section of the creative development of each child for all its reasons. The criterion for highlighting the grounds is the universal creative abilities singled out by the authors: the realism of imagination, the ability to see the whole before the parts, the over-situationally transformative nature of creative solutions, children's experimentation. Each of the techniques allows you to record significant manifestations of these abilities and the real levels of their formation in a child.

After diagnostics, I got the following results (see Appendix 2). The development of imagination realism in 61.5% of children is at a low level, and in 38.5% of children - an average. The development of such an ability as the oversituational-transformative nature of creative decisions in 54% of children is at a low level, in 8% at an average level, and 38% of children at a high level. The ability to see the whole before the parts is developed at an average level in 30% of children and at a high level in 70% of children. Analyzing the results obtained, the following conclusions and proposals can be drawn.

The children of this group have poorly developed creative imaginations. It should be said right away that this group is engaged in the developmental program "Childhood", but special work on the development of imagination with children is not carried out. However, psychologists and educators who analyze preschool education programs have long been saying that they actually do not contain special measures aimed at the consistent and systematic development of children's imagination. Under these conditions, it develops mainly spontaneously and as a result often does not even reach the average level of its development. This was confirmed by my diagnostics. From all of the above, it follows that in the existing conditions in kindergartens it is necessary to carry out special work aimed atdevelopment of the creative imagination of children, especially since preschool age is a sensitive period for the development of this process. In what forms can this work be carried out

Of course, the best option is to introduce a special training program for the development of children's imagination. Recently, a large number of methodological developments of such classes have appeared. In particular, in our country, the Public Laboratory of Invention Methods has developed a special course "Development of Creative Imagination" (RTV). It is based on TRIZ, ARIZ and G.S. Altshuller. This course has already been tested in various creative studios, schools and preschools, where it has proven to be effective. RTV develops not only the creative imagination, but also the creative thinking of children. In addition, it is possible to propose a methodology for the development of children's imagination by O.M. Dyachenko and N.E. Veraksy, as well as special game trainings of the imagination, developed by the psychologist E.V. Stuttering.

If it is not possible to introduce additional classes, then the educator can be offered on the basis of the program according to which he works, without drastic changes in the form of classes, to use TRIZ elements to develop the creative potential of children. Also, in special classes in music, drawing, design, speech development, children should be given creative tasks.

You can develop creative imagination not only in special classes. Play, which is the main activity of preschoolers, is of great importance for the development of children's imagination. It is in play that the child takes the first steps of creative activity. Adults should not only observe children's play, but control its development, enrich it, and include creative elements in the game. At an early stage, children's games are objective in nature, that is, this is an action with various objects. At this stage, it is very important to teach the child to play around the same object in different ways. For example, a cube can be a table, a chair, a piece of meat, etc. Adults should show children the possibility of different ways of using the same objects. At the age of 4-5, a role-playing game begins to take shape, which provides the broadest opportunities for the development of imagination and creativity. Adults need to know how and what their children play, how varied are the plots of the games they play. And if children from day to day play the same "daughters - mothers" or the war, the teacher must help them learn to diversify the plots of the games. You can play with them, offering to play out different plots and take on different roles. The child must first show his creative initiative in play, plan and direct the play.

In addition, to develop imagination and creativity, there are special games that you can play with children in their free time. Interesting educational games were developed by B.N. Nikitin / 18, 25 /, O. M. Dyachenko and N.E. Veraksoy / 7, 135 /.

The richest source for the development of a child's fantasy is a fairy tale. There are many techniques for working with a fairy tale that educators can use to develop the imagination of children. Among them: "perverting" a fairy tale, inventing a fairy tale on the contrary, inventing a continuation of a fairy tale, changing the end of a fairy tale. You can compose fairy tales with your children. Speaking about the development of children's imagination with the help of a fairy tale, one cannot but recall the wonderful book by G. Rodari "The Grammar of Fantasy".

The results of diagnostics also show that in many children it is necessary to develop such a creative ability as the over-situational-transformative nature of creative decisions. For the development of this ability, it is necessary for children to pose various problem situations, solving which, they must not only choose the optimal one from the proposed alternatives, but, on the basis of transforming the initial means, create their own alternative. Adults should encourage children to be creative in solving any problem in every possible way. The development of this ability is closely related to the formation of dialectic thinking. Therefore, games and exercises for the formation of dialectical thinking can be used to develop the ability to be analyzed. Some exercises for the development of dialectic thinking are given in Appendix 4.

The results of diagnostics of the creative potential of children revealed a good development of the ability to see the whole before the parts. And this result is natural, since one of the features of the child's perception of the world is its integrity, the child always sees the whole before the parts. However, very soon children lose this ability, because the traditional method of preschool education comes into conflict with this objective law of cognition. Since, when studying any object or phenomenon, the educator is instructed to first draw the attention of children to its individual external signs and only then to reveal its integral image. However, the forcing of the analytical tendency in the cognitive development of preschoolers can lead to a significant decrease in their creative abilities. There is evidence that fears and other negative experiences in affective children are directly related to their inability to see the whole before the parts, i.e. to capture in individual events the meaning given by the context of the whole situation. Hence the need for the development of systematic thinking in preschoolers. This quality is developed by correct analysis of systems and special games, some of which are given in Appendix 5.

Speaking about the problem of children's creative abilities, I would like to emphasize that their effective development is possible only with joint efforts both on the part of preschool educators and on the part of the family. Unfortunately, the lack of proper support from parents is often noted, especially when it comes to the pedagogy of creativity. Therefore, it is advisable to hold special conversations and lectures for parents, which would tell about why it is so important to develop creative abilities from childhood, what conditions must be created in the family for their successful development, what techniques and games can be used to develop creative abilities in the family, and parents would be encouraged to read special literature on this issue.

I believe that the measures suggested above will contribute to more effective development of creativity in preschool age.

CONCLUSION

Universal creative abilities are individual characteristics, qualities of a person that determine the success of his performance of creative activities of various kinds. Human creative abilities are based on the processes of thinking and imagination. Therefore, the main directions for the development of creative abilities in preschool age are:

The development of a productive creative imagination, which is characterized by such qualities as the richness of the images produced and the direction.
Development of the qualities of thinking that shape creativity; such qualities are associativity, dialectic and systematic thinking.

Preschool age has the richest opportunities for the development of creative abilities. Unfortunately, these opportunities are irreversibly lost over time, so it is necessary to use them as effectively as possible in preschool childhood.

The successful development of creative abilities is possible only when certain conditions are created that are conducive to their formation. These conditions are:

1. Early physical and intellectual development of children.

2. Creation of an environment that is ahead of the child's development.

3. The child's independent solution of tasks requiring maximum effort when the child reaches the "ceiling" of his capabilities.

4. Providing the child with freedom in choosing an activity, alternating cases, duration of one activity, etc.

5. Smart, friendly help (not a tip) from adults.

6. Comfortable psychological environment, encouragement by adults of the child's desire for creativity.

But creating favorable conditions is not enough for raising a child with highly developed creative abilities. Purposeful work is needed to develop the creative potential of children. Unfortunately, the traditionally existing system of preschool education in our country contains almost no measures aimed at the consistent systematic development of the creative abilities of children. Therefore, they (abilities) develop mostly spontaneously and, as a result, do not reach a high level of development. Thisconfirmed the results of diagnostics of the creative abilities of five-year-old preschoolers d / s "Solnyshko". The lowest results were given by diagnostics of creative imagination. Although preschool age is a sensitive period for the development of this component of creativity. To correct the current situation, from my point of view, the following measures can be proposed, aimed at the effective development of the creative abilities of preschoolers:

Introduction to the preschool education program of special classes aimed at developing the creative imagination and thinking of children.
In special classes on drawing, music, speech development, give children creative tasks.
Management by adults of children's subject and plot-role play with the aim of developing children's imagination in it.
The use of special games that develop the creativity of children.
Working with parents.

Annex 1

Methods for diagnosing universal creative abilities for children

1. Method "Sun in the room"

Base. Realization of imagination.

Target. Revealing the child's ability to transform "unreal" into "real" in the context of a given situation by eliminating the discrepancy.

Material. A picture depicting a room in which there is a man and the sun; pencil.

Instructions for conducting.

A psychologist, showing a child a picture: "I give you this picture. Look carefully and tell me what is painted on it." After listing the details of the image (table, chair, man, lamp, sun, etc.), the psychologist gives the following task: “That's right. "You got it wrong? Try to fix the picture so that it is correct."

The child does not need to use a pencil, he can simply explain what needs to be done to "correct" the picture.

Data processing.

During the examination, the psychologist evaluates the child's attempts to correct the drawing. Data processing is carried out according to a five-point system:

No answer, rejection of the assignment ("I don't know how to fix it", "You don't need to fix the picture") - 1 point.
"Formal elimination of the discrepancy (erase, paint over the sun) -2 points.
Substantive elimination of the discrepancy:

a) simple answer (Draw in another place - "The sun is on the street") -3 points.

b) a difficult answer (remake the picture - "Make a lamp out of the sun") - 4 points.

Constructive answer (to separate the inappropriate element from others, keeping it in the context of the given situation ("Make a picture", "Draw a window", "Put the sun in a frame", etc.) -5 points.

2. Technique "Folding picture"

Basis. Ability to see the whole before the parts.

M ate r and l. Folding cardboard picture of a duck with four folds (size 10 * 15 cm)

Instructions for conducting.

The teacher, showing the child a picture: "Now I will give you this picture. Please look carefully and tell me what is painted on it?" After listening to the answer, the pedagogue folds the picture and asks: "What will become of the duck if we put the picture like this?" After the child's answer, the picture straightens out, folds up again, and the child is asked the same question again. A total of five folding options are used - "corner", "bridge", "house", "pipe", "accordion".

Data processing.

During the examination of the child, the pedagogue records the general meaning of the answers when completing the task. Data processing is carried out on a three-point system. Each task corresponds to one position when folding the pattern. The maximum score for each task is 3 points. In total - 15 points. The following response levels are distinguished:

No response, rejection of the assignment ("I don't know", "Nothing will happen", "This does not happen") - 1 point.
A descriptive answer, listing the details of the drawing that are in or out of the field of view, i.e. loss of the context of the image ("The duck has no head", "The duck is broken", "The duck is divided into parts", etc.) - 2 points.
Combining answers: preserving the integrity of the image when bending the drawing, including the drawn character in a new situation ("The duck dived", "The duck swam behind the boat"), the construction of new compositions ("As if a pipe was made and a duck was drawn on it"), etc. etc. - 3 points.

Some children give answers in which the preservation of the integral context of the image is "tied" not to any situation, but to the specific form that the picture takes when folding ("The duck has become a house", "It has become like a bridge", etc.) ... Such answers are of the combining type and are also scored at 3 points.

3. Methodology "How to save a bunny"

Base. The over-situational and transformative nature of creative solutions.

Target. Ability assessment andtransformation of a task of choice into a task of transformation under the conditions of transferring the properties of a familiar object to a new situation.

M a t e r and a l. Bunny figurine, saucer, bucket, wooden stick. deflated balloon, sheet of paper.

Instructions for conducting.

A bunny figurine, a saucer, a bucket, a stick, a deflated ball and a sheet of paper are placed on the table in front of the child. The teacher, picking up the bunny: "Get acquainted with this bunny. Once such a story happened to him. The bunny decided to swim on a boat on the sea and sailed far, far from the coast. And then a storm began, huge waves appeared, and the bunny began to sink. Help we can onlywe are with you. We have several objects for this (the teacher draws the child's attention to the objects laid out on the table). What would you choose to save the bunny? "

Data processing.

During the survey, the nature of the child's answers and their justification are recorded. The data are assessed using a three-point system.

First level. The child chooses a saucer or bucket, as well as a stick with which you can lift the bunny from the bottom, without going beyond a simple choice; the child tries to use finished objects, to mechanically transfer their properties to a new situation. Score - 1 point.

Second level. A solution with an element of simple symbolism, when the child suggests using a stick as a log on which the bunny can swim to the shore. In this case, the child again does not go beyond the choice situation. Score - 2 points.

Third level. To save the bunny, it is suggested to use a deflated balloon or sheet of paper. For this purpose, you need to inflate the balloon ("A bunny on a ball can fly away") or make a boat out of a sheet. Children who are at this level have an orientation towards transforming the available objective material. The initial task of choice is independently transformed by them into a task of transformation, which indicates the child's over-situational approach to it. Score - 3 points.

4. "Board" technique

Base. Children's experimentation.

Target. Evaluation of the ability to experiment with transforming objects.

Material. Wooden plank, which is a hinged connection of four smaller square links (the size of each link is 15 * 15 cm)

Instructions for conducting.

The unfolded board lies on the table in front of the child. Teacher:"Now let's play with this board. This is not a simple board, but a magic one: it can be bent and laid out, then it looks like something. Try it."

As soon as the child has folded the board for the first time, the psychologist stops him and asks: "What did you do? What does this board look like now?"

Having heard the child's answer, the psychologist again turns to him: "How else can you fold it? What did it look like? Try again." And so on until the child stops himself.

Data processing.

When processing the data, the number of non-repeating responses of the child is assessed (naming the shape of the resulting object as a result of folding the board ("garage", "boat", etc.), one point for each name. The maximum number of points is not initially limited.

Appendix 2.

Diagnostic results of universal creativity

Preschoolers (in points)

d \ s "Solnyshko" (Tashtyp village)

group "Pochemuchki"

Surnames of children	The realism of the imagination Min 1 point Max 5 points	Min 5 points Max 15 points	Min 1 point Max 3 points	Experimentation










			Low level	Average level	High level
The realism of the imagination	61,5%	38,5%
The ability to see the whole before the parts
The over-situational and transformative nature of creative solutions

Appendix 3.

Games for the development of associativity thinking

Game "What's What Looks Like"

3-4 people (guessers) go out the door, and the rest of the game participants agree on which object will be compared. The guessers come in and the presenter begins: "What I thought looks like ..." and gives the floor to the one who first found the comparison and raised his hand: For example, a bow can be associated with a flower, a butterfly, a helicopter propeller, with the number "8 "which lies on its side. The guesser chooses new guessers and proposes the next subject for the association.

"Surreal game"(multi-hand drawing)

The first participant in the game makes the first sketch, depicts some element of his idea. The second player, by all means starting from the first sketch, makes an element of his image, etc. to the finished drawing.

"Magic blots"

Before the game, several blots are made: a little ink or ink is poured into the middle of the sheet and the sheet is folded in half. Then the sheet is unfolded and now you can play. Participants take turns talking. What object images do they see in the blot or its separate parts. The winner is the one who names the most items.

Game "Word associations"

Take any word, for example, loaf. It is associated with:

with bakery products.
with consonant words: baron, bacon.
with rhyming words: pendant, salon.

Create as many associations as possible according to the proposed scheme.

Thinking associativity can be developed on the go. Walking with children, you can think together what clouds, puddles on the asphalt, pebbles on the shore are like.

Appendix 4.

Games for the development of dialectical thinking.

Good - Bad game

Option 1 ... For the game, an object is chosen that is indifferent to the child, i.e. does not cause him persistent associations, is not associated for him with specific people and does not generate emotions. The child is invited to analyze this object (subject) and name its qualities from the point of view of the child, positive and negative. It is necessary to name at least once what is bad in the proposed object and what is good, what you like and dislike, what is convenient and not convenient. For example: pencil.

Like that red. Don't like that thin.

It's good that it's long; it's bad that he is sharply sharpened - you can inject yourself.

It is convenient to hold in hand, but inconvenient to carry in a pocket - it breaks.

A specific property of an object can also be examined. For example, it's good that the pencil is long - it can serve as a pointer, but it's bad that it doesn't fit into the pencil case.

Option 2. For the game, an object is proposed that has a specific social significance for the child or causes persistent positive or negative emotions in him, which leads to an unambiguous subjective assessment (candy is good, medicine is bad). The discussion proceeds in the same way as in option 1.

Option 3. After children learn to identify the contradictory properties of simple objects and phenomena, you can proceed to the consideration of "positive" and "negative" qualities, depending on the specific conditions in which these objects and phenomena are placed. For example: loud music.

Well, if in the morning. You wake up quickly and feel vigorous. But it’s bad if at night it prevents you from falling asleep.

One should not be afraid to touch upon in this game such categories that were previously perceived by children exclusively unambiguously ("fight", "friendship", "mother"). Children's understanding of the contradictory properties contained in any objects or phenomena, the ability to identify and explain the conditions under which certain properties are manifested, only contributes to fostering a sense of justice, the ability in a critical situation to find the correct solution to the problem that has arisen, the ability to logically evaluate their actions and choose from many different properties of the object, those that correspond to the chosen goal and real conditions.

Option 4. When the identification of contradictory properties ceases to cause difficulties for children, one should switch to a dynamic version of the game, in which the opposite property is called for each revealed property, while the object of the game is constantly changing, a kind of "chain" is obtained. For instance:

Eating chocolate is good - delicious, but it can hurt your stomach;

The stomach hurts - it's good, you don't have to go to kindergarten;

Sitting at home is bad, boring;

You can invite guests - etc.

One of the possible variants of the game "Good - bad" may be its modification, reflecting the dialectical law of the transition of quantitative measurements into qualitative ones. For example, sweets: if you eat one candy, it’s tasty and pleasant, but if you eat a lot, your teeth will hurt, you will have to treat them.

It is desirable that the game "Good - bad" become a part of the child's daily life. It is not necessary to set aside time for its implementation. You can play it out on a walk, during lunch, before going to bed.

The next stage in the formation of dialectic thinking will be the development in children of the ability to clearly formulate a contradiction. First, let the child select the opposite words for the given words. For example, thin - (?) Fat, lazy - (?) Hardworking, sharp - (?) Dumb. Then you can take any pair of words, for example, sharp - dull, and ask the children to find an object in which these properties are present at the same time. In the case of "sharp - dull", it is a knife, a needle, all cutting and sawing tools. At the last stage of development of dialectical thinking, children learn to resolve contradictions using TRIZ methods of resolving contradictions (there are more than forty of them).

Appendix 5.

Systematic thinking

Game "Teremok"

Children are given pictures of various objects: accordions, spoons, pots, etc. Someone is sitting in the "house" (for example, a child with a picture of a guitar). The next child asks forteremok, but can get there only if he says how the object in his picture is similar to that of the owner. If a child with an accordion asks, then both have a musical instrument in the picture, and the spoon, for example, also has a hole in the middle.

"Collect Figures"

The child is given a set of small figures cut out of thick cardboard: circles, squares, triangles, etc. (about 5-7 figures). 5-6 pictures are made in advance with the image of various objects that can be folded from these figures: a dog, a house, a car. The child is shown a picture, and he adds the object drawn on it from his figures. The objects in the pictures should be drawn so that the child can see which of the figures stands where, that is, the drawing should be dismembered into parts.

"Ridiculous"

A picture is drawn for any subject - a forest, a courtyard, an apartment. There should be 8-10 errors in this picture, that is, something should be drawn in a way that doesn't really happen. For example, a car with one wheel, a hare with horns. Some mistakes should be obvious and others subtle. Children must show what is drawn incorrectly.

Bibliography

1. Berezina V.G., Vikentiev I.L., Modestov S.Yu. Childhood of a creative person. - SPb .: Bukovsky publishing house, 1994. 60 pages.

2. Bogat V., Nyukalov V. To develop creative thinking (TRIZ in kindergarten). - Preschool education. -1994 No. 1. pp. 17-19.

3. Wenger N.Yu. The path to the development of creativity. - Preschool education. -1982 No. 11. pp. 32-38.

4. Veraksa N.Ye. Dialectical thinking and creativity. - Questions of psychology. - 1990 No. 4. p. 5-9.

5. Vygotsky L.N. Imagination and creativity in preschool age. - SPb .: Soyuz, 1997.92 p.

6. Godefroy J. Psychology, ed. in 2 volumes, volume 1. - M. Mir, 1992. p. 435-442.

7. Dyachenko OM, Veraksa N.Ye. What does not happen in the world. - M .: Knowledge, 1994.157 p.

8. Endovitskaya T. About the development of creative abilities. - Preschool education. - 1967 No. 12. pp. 73-75.

9 . Efremov V.I. Creative upbringing and education of children based on TRIZ. - Penza: Unicon-TRIZ.

10. Zaika E.V. A set of games for the development of imagination. - Questions of psychology. - 1993 # 2. pp. 54-58.

11. Krylov E. School of creative personality. - Preschool education. -1992 No. 7.8. pp. 11-20.

12. Kudryavtsev V., Sinelnikov V. Child - preschooler: a new approach to the diagnosis of creative abilities. -1995 No. 9 p. 52-59, No. 10 p. 62-69.

13. Levin V.A. Education of creativity. - Tomsk: Peleng, 1993.56 p.

14. Luk A.N. Psychology of creativity. - Science, 1978.125 pp.

15. Murashkovskaya I.N. When I become a wizard. - Riga: Experiment, 1994.62 pp.

16. Nesterenko A. A. Land of fairy tales. Rostov-on-Don: Rostov University Publishing House. - 1993.32 p.

17. Nikitin B., Nikitina L. We, our children and grandchildren, - M .: Molodaya gvardiya, 1989. pp. 255-299.

18. Nikitin B. Developing games. - M.: Znanie, 1994.

19. Palashna T.N. Development of imagination in Russian folk pedagogy. - Preschool education. -1989 No. 6. pp. 69-72.

20. Pascal. Methodological guide for primary school teachers and kindergarten teachers on the course "Development of creativity".

21. Poluyanov D. Imagination and abilities. - M.: Znanie, 1985.50 p.

22. Prokhorova L. We develop the creative activity of preschoolers. - Preschool education. - 1996 No. 5. pp. 21-27.

23. Shusterman M.N., Shusterman Z.G., Vdovina V.V. The educator's cookbook. - Norilsk, 1994.50 p.

thesis

1.1 Formation and development of creative abilities of primary schoolchildren

This subsection reveals the features of the formation of the development of creative abilities of primary schoolchildren. In this regard, such concepts as "creativity", "abilities", "creativity", "creativity" are revealed, we will single out the levels of creativity, we will determine the conditions for the development of creative abilities of primary schoolchildren.

Note that in the literature there is no unity in approaches to the definition of the essence of creative abilities, their relationship with intelligence. This is how the idea is expressed that, as such, creative abilities do not exist (D.B. Bogoyavlenskaya, A. Maslow, A. Olokh, A. Tanenbaum, etc.).

Another point of view is that creativity is an independent factor independent of intelligence (J. Guildford, G. Grubber, Ya.A. Ponamorev, K. Taylor).

The third point of view: a high level of intelligence development presupposes a high level of creative abilities, and vice versa (G. Aysenck, G. Grubber, R. Stenrnberg, L. Termen). The question of the factors influencing the level of creative activity of children has not been fully studied. There is no clear description of the features of the creative activity of boys and girls, there are disagreements about the issue, about the rate of their creative development. G. Kershenshteiner, for example, believes that the rate of creative development in girls is slower than that of boys, notes the "lag" of girls in comparison with boys.

Despite the fact that researchers note the importance of the creative activity of primary schoolchildren in achieving learning outcomes, sees in it the development of personality, in the scientific literature, specific ways of organizing this activity, methods of developing the creative abilities of a younger student are insufficiently and fully described.

In the psychological, pedagogical and methodological literature, tasks aimed at the creative development of the child are widely represented, however, they are not included in the system, indicators have not been developed with the help of which it is possible to determine which type of creative activity a particular task belongs to, what level of creative activity it is. is oriented. The pedagogical conditions necessary for the development of the creative activity of younger schoolchildren in the classroom have not been identified (Nemov R.S. 2003: 76)

The state standard, the basic educational programs of primary education are focused on the development of the creative abilities of schoolchildren, on the upbringing of a humane, creative, socially active personality.

Today, when in primary education a significant place is given to the creativity of students, it is necessary to concretize the ways of organizing the creative activity of primary school students, to determine the pedagogical conditions for the development of the creative activity of younger students in the classroom.

Next, we will reveal the main conceptual and terminological apparatus of the research and find out what creativity is, as creative abilities are understood in psychological and pedagogical research, how such concepts as creative ability and creativity are related. Let's find out what a "creative person" is

Creativity is an activity that generates something new, previously unprecedented, based on the reorganization of the experience and the formation of new combinations of knowledge and skills. Creativity has different levels. One level of creativity is characterized by the use of already existing knowledge; at another level, a new approach is being created that changes the usual view of objects or areas of knowledge (Rapatsevich 1999: 768)

As N.V. Vishnyakov notes, creativity is a search and discovery of personal life prospects (Pidkasisty 2000: 200). Bernal adds that creativity can be learned no worse than anything else (Pidkasisty 2000: 100).

Abilities are individual psychological characteristics of a person, which are a condition for the successful implementation of a particular productive activity. They are closely related to the general orientation of the individual, with how stable a person's inclinations to a particular activity are. The level and degree of development of abilities express the concepts of talent and genius. (Zinchenko 1999: 368).

Talent is a high level of development of abilities, manifested in creative achievements (synonym - giftedness) (Rapatsevich 2001: 308). As leading psychologists and educators note, talent is not so much a scientific concept as an everyday concept, since there is no theory or methods for diagnosing talent. The level of talent is usually judged by the products of a person's activity. However, the assessment of novelty, perfection and value of a product changes over time.

Since a single typology of abilities has not yet been developed; several criteria are most often used to classify them:

· According to the criterion of the type of mental functional systems, abilities are divided into: sensorimotor, perceptual, attentive, mnemic, imagery;

· By the criterion of the main type of activity: scientific (mathematical, linguistic); creative (musical, literary, artistic).

In addition, a distinction is made between general and special abilities. General abilities are associated with the conditions of the leading forms of human activity, and special - with individual activities. Among the general abilities, most researchers distinguish general intelligence, creativity (general ability to be creative).

So, creativity (from Lat. - creation) is a person's creative abilities, which can be manifested in thinking, feelings, communication, certain types of activity, characterize the essence as a whole, that is, “... the student's complex capabilities in performing activities and actions aimed at creating them new educational products ”(Zinchenko 2002: 468).

We find a slightly different understanding of this term in another source. Creativity is a characteristic of the individual's creative abilities, expressed in the readiness to produce fundamentally new ideas. The product of creative activity is: firstly, new and adequate in relation to its task, and secondly, this task cannot be solved according to a previously known algorithm (Kondakov 2000: 3567).

P. Torrens gives an operational definition of creativity. In his opinion, creativity includes: increasing the sensitivity to problems (Selevko 2002: 35).

In psychological and pedagogical research, 4 types of creativity are distinguished:

· Naive (manifested in preschool and primary school age). At this age, schoolchildren have no stereotypes that need to be overcome;

· Stimulus - productive (activity is determined by the action of an external stimulus);

Heuristic (the activity is of a creative nature, the search for new original or more rational ways of solving problems is carried out);

· Genuine (independently found regularity acts as a new problem: the student is able to think "about") (Silevko 2006: 34).

Adhering to the position of scientists who define creative abilities as an independent factor, the development of which is the result of teaching the creative activity of schoolchildren, let us single out the components of the creative (creative) abilities of primary schoolchildren:

· creative thinking,

Creative imagination,

· Application of methods of organizing creative activity.

To develop students' creative thinking and imagination, it is necessary to develop the following skills:

Classify objects, situations, phenomena for various reasons;

Establish causal relationships;

See interconnections and identify new connections between systems;

Consider the system in development;

Make forward-looking assumptions;

Highlight the opposite signs of the object;

Identify and formulate contradictions;

Separate conflicting properties of objects in space and time;

Present spatial objects;

Use different orientation systems in an imaginary space;

Present an object based on the selected features, which implies:

a) overcoming the psychological inertia of thinking;

b) assessment of the originality of the solution;

c) narrowing the field of finding a solution;

d) fantastic transformation of objects, situations, phenomena;

e) mental transformation of objects in accordance with a given topic.

Genius is the highest level of development of abilities, both general (intellectual) and special. One can speak of the presence of genius only if a person achieves such results of creative activity that constitute an era in the life of society, in the development of culture. Whether or not he will be able to realize his potential largely depends on the teacher and the educational system in which a child with outstanding abilities is included (Rapatsevich 2001: 759).

And so, creativity is a fusion of many qualities. And the question of the components of human creativity is still open, although at the moment there are several hypotheses regarding this problem. Many psychologists associate the ability for creative activity, first of all, with the peculiarities of thinking. In particular, the well-known American psychologist Guilford, who dealt with the problems of human intelligence, established that so-called divergent thinking is characteristic of creative individuals (J. Godfroy 1992: 436). People with this type of thinking, when solving a problem, do not concentrate all their efforts on finding the only correct solution, but begin to look for solutions in all possible directions in order to consider as many options as possible. Such people tend to form new combinations of elements that most people know and use only in a certain way, or to form connections between two elements that at first glance have nothing in common. The divergent way of thinking is at the heart of creative thinking, which is characterized by the following main features.

1. Speed - the ability to express the maximum number of ideas (in this case, it is not their quality that is important, but their quantity).

2. Flexibility - the ability to express a wide variety of ideas.

3. Originality - the ability to generate new non-standard ideas (this can manifest itself in answers, decisions that do not coincide with generally accepted ones).

4. Completeness - the ability to improve your "product" or give it a finished look.

The well-known Russian researcher of the problem of creativity A. N. Luk, based on the biographies of prominent scientists, inventors, artists, musicians, distinguishes the following creative abilities (A. N. Luk 1978: 125):

· The ability to see the problem where others do not see it;

· The ability to curtail mental operations, replacing several concepts with one and using more and more information-capacious symbols;

· The ability to apply the skills acquired in solving one problem to solving another;

· The ability to perceive reality as a whole, without splitting it into parts;

· Ability to easily associate distant concepts;

· The ability of memory to give out the necessary information at the right moment;

· Flexibility of thinking;

· The ability to choose one of the alternatives for solving the problem before checking it;

· The ability to incorporate newly perceived information into existing knowledge systems;

· The ability to see things as they are, to distinguish the observed from what is introduced by the interpretation;

· Ease of generating ideas;

· Creative imagination;

· The ability to finalize details, to improve the original concept.

1. Realism of imagination - figurative grasping of some essential, general tendency or regularity of development of a common object, before a person has a clear concept of it and can enter it into a system of strict logical categories.

2. Ability to see the whole before the parts.

1. The ability to take risks,

2. Divergent thinking,

3. Flexibility in thinking and acting,

4. The speed of thinking,

5. Ability to express original ideas and invent new ones,

6. Rich imagination,

7. Perception of the ambiguity of things and phenomena,

8. High aesthetic values,

9. Developed intuition.

Based on this, it is possible to determine the main directions in the development of the creative abilities of children:

Development of imagination,

Development of the qualities of thinking that shape creativity.

Domestic psychologists and teachers (L.I. Aidarova, L.S.Vygotsky, L.V. Zankov, V.V. Davydov, Z.I. Kalmykova, V.A. Krutetsky, D.B. Elkonin and others) emphasize the importance of educational activity for the formation of creative thinking, cognitive activity, the accumulation of subjective experience of creative search activity of students.

The experience of creative activity, according to researchers V.V.Davydov, L.V. Zankov, V.V. Kraevsky, I.Ya. Lerner, M.N. Skatkin, D.B. Elkonin, is an independent structural element of the content of education. It assumes: transfer of previously learned knowledge to a new situation, independent vision of the problem, alternatives to its solution, combining previously learned methods into new ones, etc.

So, having studied psychological and pedagogical research, clarifying the conceptual and terminological apparatus, we will try to answer the question of what is meant by a creative personality.

A creative person is a person who has a creative

orientation, creativity and creating through the use of original methods of activity objectively or subjectively newer material spiritual values. Most often, a creative person achieves great success in music, sports, mathematics (Rapatsevich 2001: 767)

1. "early development of creativity"

2. "... in advance to surround the child with such an environment and such a system of relations that would stimulate the most diverse of his creative activities and gradually develop in him exactly what at the appropriate moment is capable of developing most effectively" ...

3. "maximum tension of the child's forces"

4. "It is necessary to give the child greater freedom in the choice of activities, in the alternation of cases, in the duration of one activity, in the choice of methods of work, etc."

5. "providing a child with unobtrusive, intelligent, benevolent help from adults" (Nikitin 1991: 5)

Awareness by the teacher of the creative activity of junior schoolchildren as a learning goal;

The inclusion of creative activity in the content of primary education as its special component;

Combining the freedom of creative activity of junior schoolchildren with its pedagogical organization and guidance from the teacher;

Problem-based learning methods as leading ways of organizing creative activity

Diagnostics of the results of the creative activity of junior schoolchildren;

Correction of the creative activity of younger students (Pidkasisty 2006: 26)

The indicated pedagogical conditions for the development of creative activity of younger schoolchildren in the classroom are necessary and sufficient, since they include the main elements of a holistic educational process: didactic goal-setting, selection of content and teaching methods, diagnostic pedagogical analysis, correction.

The implementation of the pedagogical conditions for the development of the creative activity of junior schoolchildren in the classroom for one academic discipline provides an increase in the level of creative activity of primary school students in the classroom for other academic disciplines.

The levels of creative activity mastered by students become stable new formations of the personality only with a purposeful, systematic and long-term application of the pedagogical conditions for the development of creative activity of younger schoolchildren in the classroom.

In general, the successful development of creative abilities is possible only when certain conditions are created that are conducive to their formation. These conditions are:

1. physical and intellectual development of children;

2. creating an environment that determines the development of a primary school student;

3. independent solution by the child of tasks requiring maximum stress, when the child reaches the "ceiling" of his capabilities;

4. providing the student with freedom in choosing an activity, alternating cases, duration of one activity, etc .;

5. smart friendly help (not a prompt) of adults;

6. Comfortable psychological environment, encouragement by adults of the child's desire for creativity.

For the development of creative abilities, the following measures can be proposed, aimed at the effective development of the creative abilities of schoolchildren:

1. Introduction to the curriculum of school education of special classes aimed at the development of creative abilities;

2. in special classes in drawing, music, modeling, give children tasks of a creative nature;

3. management by adults of children's subject and plot-role, play with the aim of developing the imagination of children in it;

4. the use of special games that develop the creative abilities of children;

5. work with parents.

We consider the conclusions made by V.G. Marantzman to be important for our research. In his opinion, when planning a lesson system, it is important to provide for the following:

a) thematic variety of lessons;

b) alternation of different types of lessons (conversation, composition, seminar, quiz, excursion, workshop, consultation, etc.);

c) alternation of methods for enhancing the independence of students (various kinds of group and individual assignments, the use of different types of art, intersubject connections, technical teaching aids) (Podlasy 2006: 253).

Thus, having studied the basic concepts of the study, having considered various points of view on the essence of the problem of developing the creative abilities of primary schoolchildren, we will move on to studying the features of technology lessons, since we consider their use the most effective means of developing creative abilities in the educational activities of younger students.

Didactic game as a means of developing the creative abilities of primary schoolchildren in the learning process

There is a great formula for the "grandfather" of cosmonautics K.E. Tsiolkovsky, who lifted the curtain over the secret of the birth of the creative mind: “At first I discovered the truths known to many, then I began to discover the truths known to some, and finally ...

The game as the organization of the student's leisure time

Children of primary school age have significant developmental reserves. Their identification and effective use is one of the main tasks of the teacher ...

Methodology of social and pedagogical activities for the development of creative abilities of primary school children

One of the most important factors in the creative development of children is the creation of conditions conducive to socialization in the process of forming their creative abilities. Speaking about creating these conditions, we cannot lose sight of such concepts ...

Methodological foundations for the development of creative abilities in the lessons of the Russian language

With the modern development of science and technology, the increasing volume of information that must be brought to the attention of students, it is not enough to use traditional teaching methods ...

The development of musical and creative abilities of primary school students through the use of musical play dramatization

Development of creative abilities of primary schoolchildren in the process of studying musical activity

Development of creative abilities of primary schoolchildren in the process of amateur artistic activity

Development of creative abilities of primary schoolchildren in technology lessons

Having received the results of the ascertaining experiment, we have compiled topics of technology lessons aimed at developing the creative abilities of younger students. Lesson summaries are presented in Appendix 1 ...

1.1.1 The concepts of "creativity" and "creativity" Analysis of the problem of the development of creative abilities will largely be predetermined by the content that we will put into this concept ...

Development of creative abilities of primary schoolchildren through color science

The study of the development of creative abilities of junior schoolchildren by means of color science took place in Polotsk in the educational institution "Polotsk State Secondary School No. 12" in the 4th grade ...

Systematization and generalization of educational material on physics in secondary educational institutions

The development of science inevitably leads to an increase in the amount of knowledge that must be acquired during the period of study in secondary school. Therefore, there is a search for ways to improve the learning process ...

The creative nature of educational activities

Theoretical foundations for the development of creative abilities of primary school children

The study of creativity is extremely difficult because in psychodiagnostics, reliable ways of measuring creativity have not yet been found ...

The creation of a specific printed product can be broken down into several stages, and in each of them you can develop the creativity of students in their own way. Let us consider these stages and note the paths that the teacher should follow, in our opinion ...

School mathematical printing as a means of developing the creative abilities of schoolchildren

Above, we considered creativity only when creating a printed product, but school mathematical printing gives us a wider field for the development of creative abilities in children ...