First stage development is characterized by a persistently manifested interest, a clearly expressed motivational orientation of the individual towards a certain type of creative activity. This stage can be conventionally called the stage selective motivational and creative orientation individuals for a certain type of activity. At this stage of development, the individual seems to intuitively feel in which area of ​​creative activity he can express himself best. For example, boy preschool age or a junior schoolchild, without any external stimulus, almost all the time free from other activities is engaged in modeling or drawing.

Second stage development is characterized by increased intellectual sensitivity of the individual to discern contradictions and problems in certain area creative activity. It can be called the stage intellectual and creative activity of the individual to a certain type of activity. This stage is most typical for students of middle school and high school age who study in subject clubs, while showing increased intellectual and creative activity.

Third stage development is characterized increased professional and creative activity personality in a certain type of activity. For this The stage is characterized by intensive creative mastery of professional techniques, methods, and means of the corresponding type of activity. This is especially clearly visible for an artist, musician, or athlete as a stage of active creative mastery of the practice of professional activity.

Fourth stage development can be characterized as a stage the first significant creative achievements of the individual. If we take the inventor, then these are the first major independent inventions; for the writer, this is the first book that has received recognition and success.

Fifth stage development is characterized by high, sustainable creative productivity of the individual. This stage is characterized by the formation individual creative style activity and skill. For example, miner A. Stakhanov, weaver V. Golubeva, Donetsk teacher V. Shatalov are undoubtedly masters of their craft, having an individually creative style of professional activity.

Sixth stage development of a creative personality can be characterized as stage of blossoming talent. When they say “talent”, “talented personality”, they mean that this person not only has sustainable creative achievements, which is also characteristic of the fifth stage of development of a creative personality, but the personality far exceeds the achievements of his contemporaries in a certain field of creative activity. For example, M. A. Sholokhov, V. V. Mayakovsky, D. D. Shostakovich, Yu. A. Gagarin and others.

Seventh stage the development of a creative personality is characterized as genius. Genius is characteristic of the highest level of development creativity a personality whose contribution to solving certain problems is centuries ahead of his contemporaries. To brilliant personalities with with good reason we can include K. Marx, F. Engels, V. I. Lenin, A. Einstein, N. I. Lobachevsky, K. E. Tsiolkovsky and others. Genius characterizes the pinnacle of development of an individual’s creative abilities. As P.K. Engelmeyer wrote: “In genius, nature speaks its the last word. The evolution of nature begins with chemical elements and ends in the soul of a genius.”

Having highlighted the stages of development of a creative personality, I would like to draw attention to the fact that these stages of development of a creative personality occur unevenly. Outstanding scientific discoveries were made by different scientists at different times: Einstein - at 25 years old, Newton - at 27 years old, Lobachevsky - at 33 years old, Schredinrer; - i - 9: 38; years. ;,-y@»r.astro^y;d datedval 25-40 are considered the most productive, - But it is known! as at the age of eighty L.N. Tolstoy, I.P. Pavlov, Goethe, Michelangelo continued their creative work no less fruitfully than at 30 and 40 years old.

We know examples when already in children's or teenage years the creative personality declared his successes. A twelve-year-old boy, Louis Braille, invented the alphabet for the blind, but his idea was not widely used during his lifetime. The talent of the artist Nadya Rusheva manifested itself and blossomed during her pioneer years, but only after her death was it truly noticed and appreciated. Mozart at the age of 4 composed several concertos. Pascal did not yet know geometry in its full extent, but already at the age of 8-10 he rediscovered the initial theorems of Euclid. At the age of 14, Landau became a student in two faculties at once: physics, technology and chemistry, and at the age of 18 he was accepted into graduate school.

At the same time, history knows many examples of how teachers did not notice the potential creative capabilities of their students. Thus, school teachers considered Albert Einstein incapable of mathematics, Edison was known at school as a mediocre student. A.P. Chekhov did not receive more than a C for his essays at school. F.I. Chaliapin was not accepted into the choir, while M. Gorky was accepted without difficulty.

All this leads us to think that a practicing teacher must see and know not only individual personality traits, but also the personality of his student as a whole. And, most importantly, the potential opportunities for developing an individual’s creative abilities should not escape the attention of the practicing teacher.

The results of many studies of the biographies of scientists, composers, writers, and artists indicate that the peak of human creative activity occurs in the period from 30 to 42-45 years.

Interesting in this regard is the book of the Russian writer M. Zoshchenko “Youth Returned”, where the problems of life are raised creative person. The author divides all creators into two categories: first - they lived a short, emotionally rich life and died in the prime of life (before 45 years); the second is “long-livers.”

M. Zoshchenko leads big list representatives of the first category who died at a prime age:

Mozart (36), Schubert (31), Chopin (39), Mendelssohn (37), Bizet (37), Raphael (37), Van Gogh (37), Pushkin (37), Gogol (42), Belinsky (37) , Byron (37), Rimbaud (37), Lermontov (26), Mayakovsky (42), Yesenin (30), Jack London (40), Blok (40), Maupassant (430, Chekhov (43), Mussorgsky (42) etc.

However, according to M. Zoshchenko, those creative individuals whose creative activity is combined with a high level of intelligence, reflection and self-regulation live long and productively, but they organize their lives themselves. The recipe for a creative long life is in its precision, order and organization.

Following M. Zoshchenko, we present a list of creative centenarians with the number of years lived indicated in brackets:

Kant (81), Tolstoy (82), Galileo (79), Hobbes (92), Pythagoras (76), Seneca (70), Goethe (82), Newton (84), Faraday (77), Darwin (73), Spencer (85), Plato (81), Saint-Simon (80), etc.

As you can see, the list is dominated by philosophers, theoretical scientists and creators of experimental scientific schools, as well as intellectual writers with a philosophical mindset. This means that high intelligence and the ability to self-regulate prolong life. While the dominance of creativity over intelligence can lead to a creative decline and a shortening of life. It follows that the nature of the interaction between the conscious and unconscious determines the typology of creative individuals and the characteristics of their life path.

2.2.Levels of teaching excellence

Pedagogical creativity - always searching and finding something new. The following levels of creativity are possible:

· pedagogical creativity in a broad sense , "discovery", i.e. discovery by the teacher of variable, non-standard ways of solving pedagogical problems (these methods of solution are already known and described, but the teacher discovers them subjectively for himself). Here the teacher makes a transition from algorithmic stereotypical techniques to subjectively new ones. Examples of this level of creativity: choosing the optimal solution from a range of possible ones, using an old technique in new, changed conditions during improvisation in a lesson, explaining the reasons for a student’s failures in himself, etc.

· pedagogical creativity in a narrower sense, "opening up to others", innovation. This is the creation of new original, either individual findings or holistic approaches that change the usual view of a phenomenon, restructuring social experience.

It is necessary to distinguish between innovative technologies - new ways of solving pedagogical problems, as well as innovative ideas - new values ​​and mentalities. Innovation is a special type out-of-the-box thinking, which includes, first of all, a new idea, ways of detecting problems of problematic reality, followed by their original solution and returning it to pedagogical practice. In this regard, innovation means the teacher’s enrichment of socially developed experience and his personal contribution to it. Innovation is always both individuality and an author's concept; it is a contribution to science and experience. This level of creativity is not closed to every teacher, although the path to it is difficult and usually requires a person’s entire life.

Closely related to pedagogical creativity pedagogical thinking. New pedagogical thinking is a humanistic focus on the development of another person, readiness for innovation, and mastery of the means of transforming pedagogical reality.

Psychotechnics is the teacher’s mastery of his mental states, for example, the ability to induce performance, relieve tension, techniques for studying oneself, etc. The main thing in a teacher’s work is to identify and develop students’ abilities, anticipate development, and design personality.

Professionalism is the highest level of pedagogical competence. This is mastery of the meaning of the profession, professional positions, its humanistic orientation, plus possession of high standards of work (mastery), plus the search for something new (innovation).

Therefore, pedagogical competence is the possession of professional positions, and then the reinforcement of these positions with means, “techniques”. Increasing professionalism is the stages from mastering a profession and adapting to it through mastering its high examples (mastery) to searching for something new (creativity, innovation).

Based on the stated individual characteristics and manifestations of professionalism, levels of teacher professionalism can be distinguished.

A new level of pre-professionalism is “trainee”. Entry into professional behavior, the first practical mastery of professional pedagogical activity, professional pedagogical communication. This level requires the teacher to be open and sensitive to the help of colleagues, is associated with the emergence of individual professional self-assessments in comparison of oneself with colleagues, and is accompanied by laying the foundations of a professional worldview.

First level: teacher by vocation, convinced teacher.

No professional can pass this level, because it means understanding and accepting the essence of the teaching profession, awareness of the deeply noble purpose of this work, aimed at stimulating the mental development of another person, enriching his spiritual world. This level is accompanied by the presence of a stable professional pedagogical orientation (the desire to become, be and remain a teacher). It is desirable that this level of mastery of the motives and meanings of the teaching profession should be ahead of the level of mastery of techniques in the work of a teacher.

Second level: “from erudite to master.”

The level of erudite means awareness, wide familiarization with the data of pedagogy, psychology, with the achievements of advanced experience, theoretical development of previously achieved experience in the profession. It requires from the teacher theoretical pedagogical thinking, interest in studying another person, sensitivity to everything new and interesting in science and practice, comprehension and comparison of what has been learned, first choices and preferences for oneself.

The master level means the transition to the practical implementation in one’s experience of what has been learned in the course of theoretical study and comprehension.

The second level of professionalism requires from a specialist pedagogical goal setting, observation, intuition and improvisation, mastery of pedagogical technology, building individual techniques into a system, into pedagogical technologies. The main thing is the teacher’s selection from his acquired arsenal of methods, forms, means, those that are adequate to the tasks of the mental development of students.

Third level: “master – diagnostician”.

Further professional growth means the teacher’s ability to diagnose changes and the dynamics of students’ mental development during the use of new tools and technologies. Hence, a step is needed to build individual training, development, and educational programs for individual students (groups of students). The level of a master diagnostician requires the teacher to possess pedagogical diagnostic thinking, attention to individual variants of mental development, pedagogical instinct, foresight (what changes in mental development the individual programs proposed by the teacher will lead to), and pedagogical optimism.

Fourth level: “humanist”.

Teaching excellence is closely related to providing favorable psychological climate, which is possible if there is a culture of pedagogical communication. It requires the use of a wide range of communicative tasks, flexible mastery of styles, means, and roles in communication. From the teacher, this level of professionalism requires a humanistic orientation towards the development of students’ personalities, pedagogical sympathy, tact, and professional sensitivity.

Fifth level: “subject of pedagogical work, self-diagnostician.”

The movement towards professionalism is inevitably accompanied by the teacher’s consciousness turning towards himself, and self-assessment, self-design, forecasting and determining the “scenario” of his future professional life, strengthening the authorship of his professional biography. This level of professionalism requires mature professional self-determination, self-awareness, and pedagogical reflection.

Sixth level: “creator”, “innovator”.

At this level, the first layer of creativity of the teacher is first realized, namely pedagogical creativity as mastery in non-standard ways solving pedagogical problems in constantly changing pedagogical situations. This requires the teacher to have flexible pedagogical thinking, pedagogical intuition, improvisation, and the ability to act in conditions of uncertainty.

From a teacher, this level of professionalism requires creative pedagogical abilities, sensitivity to new demands of society, new pedagogical thinking, readiness to move away from cliches and stereotypes, an innovative position in revising the mentality and value orientations in the profession, motivational readiness for innovation, to transform the experience of the profession, the ability to evaluate the novelty of the idea and approach, implementing them, finding individual original techniques or complete author’s systems of training and education.

The seventh level is “researcher”.

The skill and creativity of a teacher are impossible without the ability to evaluate the results obtained - these are the first steps towards research. The teacher’s research approach is the teacher’s desire not only to introduce something new into his work, but also to study the results, including long-term ones, of these innovations. The teacher as a researcher advances even further if he rises to the realization of the importance of varying the tasks, means, technology used and studying the differences in the results obtained. This level of professionalism requires the teacher to master a research culture, a holistic vision of his work, and long-term pedagogical goal setting.

Eighth level: “conscious individuality.”

Each teacher as a subject, a person, is truly unique, unique. But the higher the level of his professionalism, the more consciously and purposefully he works to understand his individual style, to strengthen the positive features of his individual style and smooth out the negative ones. The teacher as an individual receives new opportunities to influence spiritual world students. This level of established individual professional worldview, credo, system of individual assessments, non-standard views on the world makes the teacher an interesting partner in communication and cooperation for students.

Ninth level: “participant and subject of pedagogical cooperation.”

The skill, creativity, and individuality of a teacher are best embodied in collaboration with colleagues, which is possible by understanding common goals, correlating methods of professional activity, and creating a community of like-minded people. This requires the teacher to have flexible role positions, tolerance, readiness to make efforts for the sake of mutual compatibility, and focus of the participants in pedagogical cooperation on the main tasks - qualitative positive changes in the mental development of students.

Tenth level: “professional”, “expert”.

Here the teacher combines the positive achievements of all previous levels of professionalism - understanding the purpose of the profession, skill, creativity, research approach, self-development, cooperation with colleagues, readiness for innovation. The level presupposes both the ability to influence mental development and the personality of students, using variable and new technologies, exploring the results of these techniques, updating the education system, and the ability to design and adjust their personal professional self-movement. This level of professionalism is based on the professionally important psychological qualities mentioned above - pedagogical thinking, intuition, reflection, creativity.

The named levels of teacher professionalism can also be considered as stages of professionalism.

In the psychological and pedagogical literature one can find other approaches to identifying the levels of teacher professionalism. So, N.V. To assess the level of productivity and professionalism of a teacher, Kuzmina introduced a scale according to which, based on effectiveness, each teacher can be assigned to one of the following levels of activity:

I - (minimum)- reproductive; the teacher knows how to tell others what he knows; unproductive.

II - (low)- adaptive; the teacher knows how to adapt his message to the characteristics of the audience; unproductive.

III - (medium)- local modeling; the teacher has strategies for teaching students knowledge, skills and abilities in individual sections of the course (i.e. he is able to formulate a pedagogical goal, be aware of the desired result and select a system and sequence for including students in educational and cognitive activities); medium productive.

IV - (high)- systemically modulating students' knowledge; the teacher knows strategies for forming the required system of knowledge, skills, abilities of students in the subject as a whole; productive.

V - (highest)- systematically modeling the activities and behavior of students; the teacher has strategies for transforming his subject into a means of shaping the student’s personality, his needs for self-education, self-education, self-development; highly productive. Otherwise, this level is also called system-modeling creativity.

Another example of the gradation of teacher professionalism by level: teacher-informant (lowest category); teacher-technologist (second, qualitatively higher than the previous one); teacher-artist (first category); inspirational teacher (highest category).

Teacher-informant treats the student as an object. His goal is knowledge and its transfer; he is of little interest in the interests and needs of students. Such a teacher has limited ways of presenting material; Lectures, surveys, and question-and-answer system of work predominate. The teacher himself reigns in the classroom. This is a form of impersonal pedagogy.

Teacher-technologist differs from the previous one mainly in the way of presenting educational material. He uses borrowed technologies that give a certain result, but the result itself is not related to the spiritual development of the child, but only to formal knowledge. The pedagogy of cooperation is interpreted by such a teacher as a set of techniques used to transfer knowledge and skills, as a way of manipulating the child’s thought process. The main method of such teachers is rationality, focus on the “correct” answer, disconnection from the reflexive, emotional sphere, and operating with concepts and terms.

Teacher-artist distinguished by the ability to feel the audience, to involve viewers in the overall action, empathy, and co-creation. Interpersonal communication, built on trust, openness, and cooperation, acts as the ideology and methodology of his spiritual pedagogy. Impression, joy and creativity reign in the lessons of such teachers. The main methodological technique is improvisation - a certain attunement of the teacher’s soul to the spiritual vibrations of each student.

The teacher-artist carefully adds strokes to the picture of the world that is emerging in the child’s mind, without violating its originality. Co-creation, co-participation, co-experience are the core characteristics of his activities.

Inspiring teacher- the highest level of pedagogical skill. Its main goal is spiritual formation personality. This pedagogical position presupposes treating the child as an intrinsic value, as a small Universe. The inspirer gives his pupil breath, life, love, kindness, run-up, wings for future flight. Selflessness as a stable state of mind, as a way of life without regard for reward. The mastermind's attitude is towards discovery, secrecy, and trust. The teacher's personality is revealed to children. The difference between an artist teacher and an inspirational teacher is in the shades, in the depth of focus on the child. This is the transformation of yourself, your spirit and the release of mental energy. Both an artist and an artist can be trained within the walls of a university; in fact, it is replicated. And inspiration is internal work on improving oneself. If the teacher-artist is the initial stage of a creative approach, then the teacher-inspirer is the highest level of humanity, the endless ascension of the spirit.

Levels of professionalism develop unevenly among different teachers and among one specialist throughout his professional life.

There are various ways for a teacher to transition from one level of professionalism to another, ways to ascend to the heights of professionalism. The field of acmeological pedagogical technologies analyzes them.

We think, we explore, we create.

Creative development of students as a factor in the successful socialization of students' personality.

“The sage reminded the teacher that he must make the child winged. “How can I make it winged if I myself walk on the earth?” - the teacher was amazed. But after some time, the sage saw a boy flying across the sky, and the winged teacher could barely keep up with him. They went down to the sage, and the teacher began to praise the boy’s wings, lovingly stroking them with his hands. “But I like your wings better!” - said the sage to the teacher.”

Sh. Amonashvili.

Modern society has a need in creative, an independent, active personality, with pronounced individual qualities, capable of solving the problems of society by realizing their personal needs. This social order increases attention to the problem of development creativeactivity students, which contributes to the development of a person’s individuality, self-expression, self-realization and successful socialization.

In accordance with the social needs that have been determined today: society needs a Creator Man, an intellectual personality, a gifted person, the object of close attention is the developing personality with his inner world, interests, needs, creative capabilities.

The basis of my work with students to develop creative abilities is Socrates: “Every child has the sun, just let it shine,” which is presented in the form of the author’s pedagogical credo:

“How to teach a child to love the world?

How to show that life is winged?

Try to teach children to create -

And the boys will get wings!”

If creation does not become a value orientation in adolescence, then there is a possibility that it will not be formed in the future. Consequently, if we do not support the development of personal creative potential at this age, we doom the individual to great difficulties.

Therefore, a large role is given to the creative development of the individual.

To begin with, it was important to define what creativity and a creative personality are: Creation by nature it is based on the desire to do something that has not been done before by anyone or to do it in a new, better way. In other words, creativity in a person is always a striving forward, for the better, for progress, for perfection; creativity is a purposeful human activity that creates new values ​​that have social significance. Novelty may be objective o significantor subjectively significant. The latter has great personal significance.

How does a creative personality manifest itself?

ü Sensitive to problems: recognizes problems as such, questions the familiar, explores new possibilities

ü Thinks flexibly. Oriented in various fields, broad outlook.

ü Original, combines various finds.

ü Work brings her pleasure.

ü Hardy, persistent, energetic, does not stop there.

ü Confident in my assessments. Filters promising ideas and recognizes successful solutions.

WITH with the aim of revealing creative abilities I use students technology of creative development (creativity) , taking as a basis a system of developmental education with a focus on developing the creative qualities of the individual (the idea of ​​social creativity of I.P. Ivanov, technology for the development of critical thinking). I use this technology in the educational process. I believe that every child is talented, you just need to notice and develop his inclinations and abilities in time.

Purpose of technology application : education of a socially active creative personality capable of increasing public culture and making a contribution to the construction of a legal democratic society.

Tasks:

Ø formation creative potential personality through the use of various types of activities within the framework of the “Creative Workshop” program.,

Ø support and development of student creativity in its various manifestations.

Expected result.

• development of individual characteristics of each child;
• increasing the communicative competence of students;
• development of self-respect and formation of adequate self-esteem;
• formation of the need for creative self-realization of the individual;

· formation of respect for the personality of other people.

The development of creativity is carried out through

1. game forms works, KTD,
2. pedagogical tests,
3. interactive expeditions,
4. creative presentations,
5. design and research activities,
6. creativity technician.

I always try to take a creative approach to organizing project activities, actively using integrated projects, and applying information technologies. I believe that the product of students’ activities will be performed at a high level only when itinteresting to both children and teachers. Students develop multimedia films, conduct public presentations of projects using ICT, and participate in the remote Festival of student research and creative work “Portfolio” (published on the website http://portfolio.1september.ru/work.php?id=556957).

Projects completed with my support were noted at the All-Russian level: The collection of essays “Life as a feat” was published on the website of the Internet Pedagogical Council and on the website of the Blagovest newspaper.

IN 2008-2009 on final round of the Olympicsmy students. worked on the All-Russian project “Moscow Parish” (issue of a newspaper about Temple of the Martyr Tatiana at the University: articles, notes). The magazine is published on the website: http://pravolimp.ru/pages/21

Over the past three years, my students have prepared more than 170 creative works. Of them 67 were presented for participation in creative competitions at the All-Russian level.

Modern forms of education allow students to make small discoveries and develop creative and intellectual abilities. Effective forms of organization joint activities teachers and students, contributing to the development of their creative activity, are scientific and practical conferences, participation in scientific events.

Students take part in scientific conferences, become winners, and their works are published in newspapers, magazines, and collections of scientific conferences.

Allows you to develop creative abilities technologies (techniques) of creativity:

Method of semantic vision.

Sinkwine.

Sinkwine(from fr. cinquains, English cinquain listen)) is a five-line poetic form that arose in the United States at the beginning of the 20th century under the influence of Japanese poetry. Later it began to be used (in Lately, since 1997, and in Russia) for didactic purposes, as an effective method of developing figurative speech, which allows you to quickly get results. Synquains are useful as a tool for synthesizing complex information, as a snapshot for assessing students’ conceptual and vocabulary knowledge. Besides. Sinkwine - This is one of the methods for activating students’ cognitive activity in the classroom, a means of creative self-expression, and allows every child to feel like a creator.

Sinkwine is written in accordance with certain rules. Each line specifies a set of words that must be reflected in the poem.
Line 1 – heading, which contains the keyword, concept, theme of the syncwine, expressed in the form of a noun.
Line 2 – two adjectives.
Line 3 – three verbs.
Line 4 is a phrase that carries a certain meaning.
Line 5 – summary, conclusion, one word, noun, usually a synonym for line 1.

Symbolic Vision Method

Mental maps

*Mind mapping (mindmapping, mental maps) is an effective technique for visualizing thinking. It is used in the process of developing new ideas and fixing them, analysis and organization of information.

In the center of the map (sheet of Whatman paper) is written key concept(FAIRY TALE), students write down the thoughts and feelings that arise in them during the lesson.

Brainstorming method

Brainstorming method designed to solve problems, or rather, generate solutions and select the most suitable ones.

The brainstorming method (brainstorming, brainstorming, English brainstorming) is an operational method of solving a problem based on stimulating creative activity, in which participants in the discussion are asked to express as many possible solutions as possible, including the most fantastic ones. Then, from the total number of ideas expressed, the most successful ones are selected that can be used in practice.

Rules:

ü Criticism is prohibited.

ü Come up with as many ideas as possible

ü Pick up and develop the ideas of others.

Six thinking hats

“Six Thinking Hats” is one of the most popular thinking methods developed by Edward de Bono. The six hats method allows you to structure and make mental work, both personal and collective, much more effective.

White hat: information The white hat is used to direct attention to information. In this mode of thinking, we are only interested in facts. We ask questions about what we already know, what other information we need, and how we can get it.

Red hat: feelings and intuition. Red hat mode gives students the opportunity to express their feelings and intuitions about the issue at hand.

Black hat: criticism. The black hat allows you to give free rein to critical assessments, fears and caution. It protects us from reckless and ill-considered actions, indicates possible risks and

underwater rocks.

Yellow hat: logical positive. The yellow hat requires us to shift our attention to looking for the merits, advantages and positive aspects of the idea under consideration.

Green hat: creativity. Under the green hat, we come up with new ideas, modify existing ones, look for alternatives, explore possibilities, in general, we give creativity the green light.

Blue hat: process management. The blue hat differs from other hats in that it is not designed to work with the content of the task, but to manage the work process itself.

Rules for using hats

1. When we put on our thinking hat, we assume the role that the hat indicates.

2. By taking off a specific color hat, we move away from this type of thinking.

3. When changing one hat to another, there is an instant switch in thinking. This method allows you to encourage a change in the train of thought without offending the person. We do not attack the thoughts expressed, but ask for change.

To indicate your opinion, you can simply name the hat and thereby show what type of thinking is intended to be used. For example, simply saying that you are putting on a black hat allows you to discuss an idea

Disney Thinking Chairs.

The strategy of the three thinking chairs method is that you need to consistently start from different positions.

Dreamer's chair

What should a person who has become a dreamer do? He must come up with the most fantastic things, play with a variety of possibilities, and best of all, some non-possibilities, something from the realm of what is unrealistic today.

Realist chair.

At this point a person must turn on his common sense. But it is imperative to develop, understand, the dreamer’s ideas and thereby try to find new rational solutions. To do this, it is advisable to choose a short and expedient path. The person sitting on the realist's chair must be pragmatic.

Critic's chair .

It is the duty of a person who has become a critic to subject all previously expressed ideas to merciless criticism. Asking yourself all sorts of questions. Is there anything to these ideas at all? Can they be used taking into account today?

Development creative potential, formation creative personalities students possible only if creative the teacher's own approach to the learning process. It's about about joint search and co-creation. In joint activities, the creativity and capabilities of the participants (partners) are realized most fully: complementing each other, they reach a qualitatively new level of development. As a result of systematic and purposeful work, students develop a readiness for creative work, develop imagination and thinking, and develop a positive motivational orientation to search for something new, non-standard, and original.

PEDAGOGICAL CONDITIONS FOR THE FORMATION OF A CREATIVE PERSONALITY

T.B. Luzhankova,

Saratov, GAPOU SO "SOPC"

Email: [email protected]

“A child who has experienced the joy of creativity, even to the smallest extent, becomes different from a child who imitates the acts of others.”

B. Asafiev.

The ability to create is perhaps the most important human ability, without which a person cannot be what our modern society needs him to be, and this ability must be developed from early childhood.

In all developed countries Scientific and practical research in this direction is underway around the world. Biologists believe that among the 15 billion brain cells, only 3-5% are actively working. Psychologists also recognize that the human brain carries within itself a huge, so far untapped, redundancy of natural capabilities and that genius is not a deviation, not an anomaly of the human mind, but the highest completeness of its manifestation, the exposure of natural capabilities. Nature has generously endowed every healthy child with opportunities to develop. And every healthy baby can rise to the greatest heights of creative activity.

Creativity gives birth to a living fantasy and a vivid imagination in a child. Creativity, by its nature, is based on the desire to do something that has never been done before, or at least to do something that existed before you, in a new way, in your own way, better. This is the kind of creativity that art cultivates in a person, and in this function it cannot be replaced by anything. In its amazing ability to evoke creative imagination in a person, it takes first place among all the diverse elements that make up complex system human upbringing.

You can often hear the following words from parents and even from teachers: “Well, why does he spend valuable time writing poetry - he doesn’t have any poetic gift! Why does he draw - he still won’t make an artist! Why is he trying to compose some kind of music? It’s nonsense!”

What a huge pedagogical misconception in all these words! In a child, it is imperative to support any of his aspirations for creativity, no matter how naive and imperfect the results of these aspirations may be. Today he writes awkward melodies, unable to accompany them with the simplest accompaniment, composes poems in which clumsy rhymes correspond to clumsy rhythms and meter, draws pictures depicting some fantastic creatures.

Behind all these naiveties, awkwardness and clumsiness lie the sincere and therefore truest creative aspirations of the child, the most genuine manifestations of his fragile feelings and unformed thoughts.

He may not become an artist, a musician, or a poet, but perhaps he will become an excellent mathematician, doctor, teacher or worker, and then his childhood creative hobbies will make themselves felt in the most beneficial way.

A conversation about nurturing creativity in a person leads us to a very important and relevant problem in our conditions: the difference between a specialist - a craftsman and a specialist - a creator.

A true specialist - a creator - differs from an ordinary specialist - a craftsman in that he strives to create something beyond what “according to the instructions” is not supposed to be created. The craftsman is satisfied that he creates only what is supposed to be created - it serves as a brake, because in relation to life one cannot stand still: one can only either move forward or lag behind.

There is no such area, no such profession where it would be impossible to show creativity. From the first grade of school, it is necessary to instill in students the idea that there are no bad professions, just as there are no uncreative professions, that by working in any profession, each of them can open up a new, at least small, world. Therefore, the most important task of education in school is the development of creativity in students, no matter where it manifests itself - in mathematics or music, physics or sports, in social work or in patronage of first-graders.

Many scientists and leading teachers not only solved the mystery of creativity, but also looked for ways to develop, shape and improve students’ abilities.

He was the first to draw attention to the problem of timely identification and development of abilities Jan Amos Comenius: “...it is necessary to reveal a person’s abilities early, since throughout his life he will have to learn, experience and accomplish a lot.”

The great Russian teacher K.D. Ushinsky also paid special attention to the development of students’ creative abilities. He believed that school is a center where children develop their cognitive powers and creativity. “Everything in a child requires development” - these words became central in the theory of developmental education, which was based on Russian folk art: fairy tales, proverbs, nursery rhymes, sayings, riddles.

JI.H. Tolstoy based the work of the Yasnaya Polyana school on the freedom and fruitful creativity of children. Together with the children, he built, composed, combined, infected them with excitement, gave them a theme, that is, he basically directed the entire process of their creativity and showed them the techniques of this creativity. The children were fascinated by the process of writing, and this was the first impetus for creative, animated work.

V.A. Sukhomlinsky, one of the outstanding teachers, considered teaching according to ready-made models and standards wrong. “... No, it shouldn’t be like this... - You cannot deprive a child of the joys of spiritual life... Children should live in a world of beauty, games, fairy tales, music, drawing, fantasy, creativity.”

The following conditions for the development of creative abilities are determined. First condition successful development creative abilities - their early identification. The first impulses to the development of abilities begin with early swimming, gymnastics, walking and crawling, that is, very early, according to modern ideas physical development. Early reading, early numeracy, early exposure to and work with various tools and materials also give impetus to the development of abilities.

Second an important condition is a developing environment; surround the child in advance with such an environment and system of relationships that would stimulate the most diverse of his creative activity.

Third the condition is the improvement of abilities; abilities develop the more successfully, the more often in his activities a person reaches the “ceiling” of his capabilities and gradually raises this “ceiling” higher and higher.

Fourth An important condition: the child must be given greater freedom in choosing activities. Here, the child’s desire, his interest, and emotional upsurge serve as a reliable guarantee that even great mental stress will benefit the baby.

Fifth condition, the child must make a discovery. “At first I discovered truths known to many, then I began to discover truths known to some, and finally I began to discover truths unknown to anyone” (K. Tsiolkovsky).

Thus, the creative principle in a person is always a striving forward, for the better, for progress, for perfection, for the beautiful.

Information sources

1. Chukhman E.K. The role of art in the development of creative abilities. M., ed. "Pedagogy", 1995. P. 77;
2. Gadamer G.G. The relevance of beauty./trans. from German/ - M., “Iskusstvo”, 2001;
3. Vygotsky L.S. Psychology of art. 2nd ed. M., Art, 1986;
4. Vygotsky L.S. Imagination and creativity in childhood. - M. 1999.

1. THE PROBLEM OF FORMATION AND DEVELOPMENT OF CREATIVE ACTIVITY IN MODERN PEDAGOGY.

Interest in the problem of developing creative activity is natural, since the focus on the formation of a student’s creative personality presupposes not the accidental, spontaneous disclosure of the capabilities of a growing person, but a special choice of such content, methods, forms, means, the creation of such conditions of training and education in which creative potential personality will reveal itself as early as possible and will fully develop.

Considering the problem of developing students' creative activity in technology lessons as one of the main tasks of a modern school, we assume the study of theory this issue and the possibility of solving this problem in the lesson of the content and organization of the educational process, which requires understanding the pedagogical conditions for the development of this integral personality quality.

1. 1.1. Pedagogical concept– creative activity.

The development of students’ creative activity is closely related to such concepts as “activity”, “creativity”, “activity”, “cognitive activity”, “independence”. This has become the subject of study by a number of scientists (A.K. Albukhanova-Slavskaya, D.B. Bogoyavlenskaya, M.A. Danilov, B.P. Esipov, P.I. Pidkasisty, I.I. Rodak, T.I. Shamov, G.I. Shchukin, etc.).

The very concept of “activity” (from Latinactivus– active, energetic) is widely distributed in pedagogical theory and practice. It is closely related to the concept of “activity”. These concepts are complex in content and are interpreted ambiguously.

The concept of “activity” expresses activity as a way of existence of living beings, and in this sense it is broader than the concept of activity (A.N. Leontyev, R.S. Nemov, S.L. Rubinstein). Activity is a form of manifestation of human activity. It has its own subject, is motivated and meets the needs of the individual. At the same time, activity is “a functional manifestation of personality in activity that is organized, ordered and structured by the subject himself” (K.A. Albukhanova-Slavskaya). According to G.I. Shchukina: “activity does not express the activity itself, but its level and character” (130, p. 18). In this sense, it acts as a personal formation that characterizes the special state of the student and his attitude to the activity.

Creativity being highest form activity and independent human activity, aimed at transforming reality, creating new socially significant values. According to G.I. Shchukina, a chain of stages is visible in it: “first performing, then actively independent, then creatively independent (130. p. 16). Creative activity is marked by originality, unconventional thinking, feelings, and actions. Creative activity manifests itself in different spheres of human activity: pedagogical scientific, industrial, artistic, etc., where something new is created (G.I. Andreev, L.S. Vygodsky, D. Gilford, A. Luk, V.S. Shubinsky, G.I. Shchukina).

Creative activity manifests itself, firstly, in activity and reflects the procedural interaction of cognitive and motivational factors of the individual in their unity (K.A. Albukhanova-Slavskaya, D.B. Bogoyavlenskaya, A.K. Markova, V.I. Slobodchikov, E .I.Isaev).

Secondly, it characterizes the involvement of the individual in creative activity, and this is the highest level of activity in relation to reproductive or reproducing activity.

At this level, the individual penetrates deeper into the essence of the phenomena of their interrelation, strives to find ways to apply knowledge and skills in new situations for their creative transformation. This presupposes the development of independence, criticality, a tendency to creative doubt and a focus on cognitive motivation and interest in independent creative search (M.A.Danilov, B.P.Esipov, P.I.Pidkasisty, I.I.Rodak, V.S. Shubinsky, G.I. Shchukina). At the same time, it is expected to develop general educational skills, such as forecasting, modeling non-standard situations, the ability to analyze the main and secondary, and formulate justified views (T.K. Aleksandrova, P.I. Pidkasisty, A.V. Usova, V.S. Shubinsky, G.I. Shchukin). This interpretation in scientific literature creative activity predetermines the nature of consideration of this phenomenon in terms of the objectives of our research.

We understand the creative activity of students as the highest level of activity, as an integral personality property that shows the student’s attitude to educational and cognitive creative activity and the degree of his involvement in the creative process. In this capacity, she demonstrates independence, cognitive interest, and the presence of general educational skills aimed at achieving the goals of creative activity.

An important role in the development of a student’s personality and his creative activity is assigned to educational and cognitive activity. “The system of orderliness of this activity acquired at school,” notes G.I. Shchukina, “is the fundamental principle, the foundation for revealing the creative potential of the individual.” (130 p.35).

In pedagogy, three levels of student activity in educational and cognitive activities are identified (P.A. Tryapitsina, G.I. Shchukina, etc.). They reflect the stage-by-stage process of development of creative activity.

Reproductive activity is characterized by the student’s desire to understand and reproduce skills and perform an action according to a model. He does not know how to independently identify a task and has no interest in deepening his knowledge.

With partial search activity, the student is most independent, asking questions “why?” to the teacher and tries to explain the phenomena himself. He identifies, but does not always accept, a learning task and is not persistent enough in solving it.

The level of creative activity is characterized by the manifestation of deep cognitive interest, perseverance, and independence. Students identify and recognize the learning task, understand the need for a detailed and step-by-step solution. They strive to penetrate deeper into the essence of the phenomena being studied and find ways to apply knowledge and skills in non-standard situations.

We choose the level of creative activity, believing that students, participating in creative activities, demonstrate an independent search for information, relying on previously acquired knowledge and skills. Creative activity is of interest. Students strive to expand their horizons and find answers to non-standard problems.

1.2 Formation and development of creative activity in educational institutions.

The idea about the role of intensifying the creative activity of students in assimilation and knowledge of the world has long roots. But only with the development of the theory of complex tasks did it receive scientific justification.

The importance of the problem of complex tasks is specific place in educational science. The disunity and isolation of educational subjects, where the connection between different sections of the material was built formally, required the development of a comprehensive teaching system (from the Latincomplexus- connection, combination).

An integrated approach to the education system was considered both in foreign and domestic pedagogy.

The first to try to overcome the disunity in the study of isolated subjects were the French enlighteners J.-J. Rousseau, J. Jacotot. This is a connection between educational material and children’s life situations and exemplary essays.

In the philosophical views of Ya.A. Kamensky, theoretical prerequisites appeared for combining various sources of knowledge based on the principle of conformity with nature with reference to sources own worldview(sacred scripture, ancient authors and representatives of modern philosophy).

J. Locke put forward the idea of ​​filling the content of one subject with elements and facts of another, which should serve as a means of mastering the foundations of science, shaping the child’s mind and behavior. He recommends studying geography “hand in hand” with chronology, history, mathematics and other subjects. These statements of his received further development in the complex training systems of I.F. Herbart, T. Ziller, V. Rein, P.R. Atutov, V.D. Simonenko and others.

In foreign pedagogical science, the content curriculum was proposed on the basis of interdisciplinary connections (I.F. Herbert, T. Ziller, V. Rein, F. Junge). This allows the teacher to use the students' experience to organize their mental activity. This thought directs us to understand the meaning of the developmental potential of complex tasks. This is especially connected with modern ideas about the goals of education as the need to transfer not only the experience of knowledge, but also the development of the student’s personality.

In foreign pedagogy of the 20th century, the idea of ​​a comprehensive education system was substantiated by J. Dewey, criticizing the fragmentation of curricula and the isolation of academic subjects from the life and personality of the student. He connects learning with the child’s real life experience, carried out in playful, cognitive and practical activities (P.K. Crosser). His idea is consonant with modern ideas about the combination of interrelated activities and their role in the development of the student’s personality (M.S. Kagan, A. P.Petrovsky, G.I.Shchukina).

Developed the theory and practice of a comprehensive training system by O. Dekroli. His system, put into practice at school, became widely known internationally and influenced the activities of teachers in Europe and the USA.

In pragmatic pedagogy, learning was based on projects (the Anglo-American version of complexes, which formed the basis of “activity programs” -activityprograms), as well as on the basis of life situations to which the student adapts as a result of processing complexes (“adaptation complexes”).

The project method to a certain extent ensures the achievement of the goal of combining subject knowledge.

At the same time, some researchers note a violation of the logic of constructing educational subjects, the historicism of knowledge, and a sharp decline in the level of theoretical training of the student. Foreign pedagogy and schools have a contradictory attitude towards the comprehensive study of educational material. Negative due to insufficient provision for the formation of a scientific worldview and synthesis of knowledge. It is positive because the project method contributes to the development of learning motivation and mechanisms of cognitive activity (thinking, imagination, activity, interests, motives, cooperation).

In Russia, the introduction of a comprehensive education system is associated with the name of K.D. Ushinsky. His comprehensive assignment is presented as expository reading.

Readers, encyclopedias, and manuals for children were created using the principle of integration.

At the beginning of the twentieth century, a complex task was associated with labor training and was built on the principles of continuity of its content and complication of students’ activities. Particular efforts during this period were aimed at introducing the “labor method of teaching” into all academic subjects. As a result, students independently performed various practical work and tasks: modeled, painted, worked in the field, on machines, etc.

In the 30s, the study of academic subjects was carried out in a single basic method, having a research orientation (Dalton plan, project method, etc.), which was an example of familiarization with the experience of Western European pragmatic pedagogy.

The positive meaning of introducing comprehensive programs into school practice lies in the need to find new opportunities to intensify the educational activities of students through connecting learning with life, through combining knowledge from different subjects around nature, work, and society. The idea of ​​connecting learning with life led to a violation of the logic of constructing the educational process and reduced theoretical training. The principle of scientific and systematic teaching was violated. The introduction into practice of the principle of connecting school with life on the basis of comprehensive programs did not contribute to the implementation of one of the important functions of the school - development. The complex task boiled down to “dictating” to students the knowledge necessary for life. The activating essence of complex tasks, which consists in the transition of an external task into an internal task that is personally significant for the student, was not fully appreciated at that time.

The use of a subject system for a long time established two interrelated trends - integration and coordination of interdisciplinary connections (T.K. Aleksandrova, N.V. Maksimova, etc.).

Research into the problem of interdisciplinary connections has shown that they have a connecting function (T.K. Aleksandrova, V.N. Maksimova). The establishment of interdisciplinary connections leads to a qualitative restructuring, both in content and in the system of methods and organizational forms. As a result of the formation of knowledge on an interdisciplinary basis, its ideological significance increases and the cognitive capabilities of students grow. Solving cognitive problems of interdisciplinary content allows the student to be involved in activities to establish and assimilate connections between the structural elements of educational material various items, note T.K. Aleksandrova, V.N. Maksimova.

Interdisciplinary skills are understood as the student’s ability to create new knowledge based on the synthesis of knowledge and skills from different academic subjects when solving cognitive problems of interdisciplinary content (T.K. Aleksandrova). G.F. Fedorets considers interdisciplinary connections in the process of studying the educational topic. Revealing the idea of ​​interdisciplinary connections as a way of cognitive activity of students,

(T.K. Aleksandrova, V.I. Maksimova, G.F. Fedorets) highlight an important component of this activity - an interdisciplinary cognitive task (topic), which in its essence is complex. However, the possibility of implementing creative functions and an interdisciplinary (complex) cognitive task as a special problem is beyond the scope of our research. This is due to the fact that the information stage, designed to ensure awareness of the essence of creative activity, contributes to the development of such an aspect of its self-regulation as introspection and self-esteem.

Research by scientists confirms that the development of creative activity has a purposeful effect on the motivational sphere of the individual, stimulating interest in creative activity (V.V. Davydov, D.B. Elkonin, A.K. Markova, G.I. Shchukina, N.I. Derekleva) .

In the context of our research, questions are legitimate about the relationship between students’ interest in learning and their activity, about the nature of the influence of motives on the characteristics of the manifestation of cognitive activity, about the need to develop interest in creativity, including motivation in the creative process.

Research by a number of scientists shows that cognitive interest and independence as a component of educational activity do not appear immediately. He proceeds successively through the stages of his development from curiosity to internal motivation - the motive for educational activity (curiosity) and, finally, to his own cognitive interest, which contributes to the development of his independent learning and reinforces his active creative activity.

B.G. Ananyeva, A.K. Markova, G.I. Shchukina and others confirm that cognitive interest develops in educational activities. The educational activity of students can be represented as a synthesis of reproductive activity, which characterizes the initial level of activity, independence, interest in creative activity, which offers the highest level of development of these personal formations.

Research by B.P. Esipova, A.K. Markova, L.A. Regush significantly complements the idea that the presence of general educational skills not only realizes the problem of unity and continuity between reproductive and creative, these skills are an essential component of creative activity and contribute to the development cognitive interest.

G.I. Shchukina assigns a special role to works of a creative nature. In the process of their implementation, cognitive interest becomes decisive for the development of abilities and inclinations.

In relation to our research, it is legitimate to assume that creative work that gradually becomes more complex is also decisive in the development of students’ creative activity. A.P. Tryapitsina pays attention to teaching students the skills of search activity as an element of creativity, as a mechanism of orientation by A.V. Kiryakov, as a characteristic of the highest level of cognitive interest (interest - motive), which presupposes the creative activity of G.I. Shchukin. We share the point of view of scientists about the diverse function of search activity and that this activity can serve as a mechanism of creative activity.

The pedagogical condition for the development of interest as a component of creative activity can be purposefully organized activity that involves the student’s independent search.

The nature of the relationship in the “teacher-student”, “student-teacher” system, which contributes to the development of the student’s creative activity, presupposes an intersubjective exchange of activities, active interaction in the creative process; relationships of mutual trust, joint search, which involves increasing the level of student independence; the ability to independently choose the method of educational work, which contributes to the development of the student’s subjective position.

Another important pedagogical condition for enhancing the creative activity of students was the work of the teacher in teaching students using the project method. This work is based on the development of process design projects. At the present stage, the project-based teaching method is an integral part of the organization of independent creative work students. The inclusion of the project method in the educational process makes it possible to diversify the forms of conducting classes, expand the creative potential of the teacher, and develop the motivational sphere of students (L.V. Bayborodova, I.V. Kuritsina, A.V. Leontiev, L.V. Serebrennikov, V.V. Soldatov, V.D. Simonenko, I.F. Razdymalik, Yu.L. Khotuntsev, A.V. Tsvetkov, V.N. Chernyakova, O.A. Nessonova, etc.).

Students acquire the ability to work with information, materials, and tools as they complete the reproductive and project stages of learning. The system of projects is built on the principle of increasing complexity and achieving students’ awareness of their own abilities in design and technological activities.

We take into account the basic requirements for the selection of project objects such as:

Students' interest in the problem;

Practical feasibility of the project.

Information and methodological support for project-based learning should include educational, reference and popular science literature, visual aids, samples of design, engineering and technological documentation, student plans and reports, and an exhibition of the best products. An important role is given to rational planning and design of the educational complex.

Solving the problems of choosing project topics by individual students can be done through a “project bank” consisting of actually completed tasks grouped by areas of interest and preparedness of students. It is accompanied by an appendix of sample projects with appropriate support and design.

And, of course, the main role in the process of a student’s creative development belongs to the teacher. The educational and educational effect of the lesson depends on his ability to create an atmosphere of creative cooperation and enter into a discussion with students using evidence of his justifications. In these lessons, students develop to the greatest extent such qualities as emotional and creative activity, artistic perception, outlook, independence, special skills.

The creative activity of students is most fully activated when the teacher comprehensively solves the problems of technological learning using various methods, including the implementation of creative projects. The purpose of the projects is to involve students in the process of transformative activities from the development of an idea to its implementation.

The effectiveness of this method is due to the fact that it allows students to choose an activity based on their interests and, through an activity that matches their abilities, develops knowledge, skills and abilities. By completing projects, students master methods of innovative creative activity, learn to independently find and analyze information, obtain and apply knowledge in various fields, acquire practical work skills and experience in solving real problems that orient them toward professional self-determination.

During the implementation of projects, a certain part of the curriculum is implemented. The topic of project assignments should be broad enough to cover, perhaps, a larger range of sections of technological education and take into account the interests of students.

The results of projects can be objects, technology systems, developments to improve any areas of activity, as well as personal achievements of students. The combination of these pedagogical conditions provides successful activities teachers to develop the creative activity of students, which contributes to the improvement of the educational process as a whole.

1.3. Pedagogical conditions for the formation and development of creative activity.

According to the definition given in the philosophical encyclopedic dictionary, “a condition is something on which something else (conditioned) depends, an essential component of a complex of objects, from the presence of which the implementation of a given phenomenon necessarily follows.” In pedagogy, the concepts of “pedagogical conditions” and “didactic conditions” were defined. They are interconnected and complement each other. Modern didactics interprets conditions as a set of factors, components of the educational process that ensure the success of learning.

The concept of “pedagogical conditions” is defined as a set of objective possibilities for the content of education, methods, organizational forms and material possibilities for its implementation, ensuring the success of achieving the task (V.A. Andreev). In the theory of education, conditions are considered as the environment in which pedagogical processes take place.

Pedagogical conditions include those conditions that are deliberately created in the educational process and should ensure the most effective formation and course of the educational process. From the point of view of creative activity, the development of creativity is a process that represents the unity of the subjective and objective, internal and external, essence and phenomenon, possible and should.

We highlight the following pedagogical conditions.

Organization of creative activities of students.

Inclusion of game forms of educational activities with artistic and communicative content into the educational process.

The use of forms, methods, techniques and means that stimulate activity, independence, and cognitive interest of students.

The essence of pedagogical conditions for the development of creative activity is expressed by G.I. Shchukina in the pedagogical theory of activity:

The development of activity in the pedagogical process also marks the progressive development of the individual. On the basis of activity and its various types, the consistent formation of personal formations takes place.

A change in the nature of the activity also significantly affects the change in the student’s position: from performing to active - to the position of a subject.

The change in the student’s position is due to the development of intersubjective relations between the teacher and students. This development is characterized by the fact that the student’s position in the educational and cognitive process becomes more active and the importance of his self-regulation, which is determined by such personal formations as activity, independence, and cognitive interest, increases.

It is from the fundamental conditions for the development of a student’s creative activity: organization of creative activity. Speaking about the conditions for the development of creative activity, let's consider this problem from different angles. And in our opinion, “creative activity is the embodiment of the highest expediency and highest manifestation mastery, perfection of a person in activity, i.e. skill" (V.V. Gorshkova).

The works of G.I. Shchukina on the theory of activity in pedagogy make it possible to identify the possibilities of creative activity for the formation of personality in the pedagogical process. Considering the main purpose of the pedagogical process is to organize the activity of the student teaching, it would be logical to give an analysis of the organization of creative activity through its construction (structure).

The pedagogical structure of the activity was developed by G.I. Shchukina. Components of activity: goal, motives, content, objective actions, skill, result. Therefore, we analyze creative activity based on two theoretical positions. Creative activity as a general phenomenon is characterized by the essential properties of activity: purposefulness, transformative nature, objectivity, awareness.

The problem of the complex impact of current types of activities on the development of a student’s personality has been studied by many scientists with the aim of forming such significant personal formations as activity, independence, interest in learning (I.P. Volkova, M.S. Kagan, A.V. Petrovsky, G.I. .Shchukin). In the interconnection of activities, the influence of the subject characteristics of each of them is manifested, their complementarity occurs due to the characteristics of each other. “In this ensemble of activities, each student can find a way out for their individual needs, demonstrate their capabilities, and develop their creative powers.” (130, p.41). This allows us to consider educational and cognitive activity in conjunction with other types of activity as the basis for the development of students’ creative activity.

The idea of ​​the need to update educational and cognitive activities such as communicative (communication), artistic and game is determined, according to many studies, by their functional purpose (A.V. Mudrik, A.P. Tryapitsina, G.I. Shchukina).

The expediency of widely including communication in a student’s educational activities is determined by the very essence of learning. We understand it as a purposeful, motivated, pedagogically organized process, during which the acquisition of new knowledge and skills, the development of creative forces, abilities and the motivational sphere of students occur. The process of transferring and assimilating knowledge depends on the atmosphere of cooperation and mutual understanding of the participants in the educational process. Cognition (L.S. Vygotsky) occurs in collaboration, in communication between the student and the teacher, where one can see the zone of his proximal development, and only then does this new education enter the fund of the student’s actual development.

An important role in the process of forming a student’s personality, his self-esteem and self-awareness is played by B.G. Ananyev, A.V. Brushlinsky, A.V. Mudrik and G.I. Shchukina (4; 5; p. 124). Thus, the combination of relevant types of activities (educational and cognitive in combination with artistic and communicative) provides unlimited opportunities for use in the process of organizing students’ activities various shapes, techniques and means that stimulate activity, independence, and cognitive interest of the student, which is an important pedagogical condition for the development of his creative activity.

Let us consider the issue of the relationship between independence and cognitive interest in the context of the search for pedagogical conditions for the development of students’ creative activity. The study of the issue of the relationship between activity and independence is associated with the promotion of the task of educating an active personality as opposed to the theory of the process of knowledge acquisition. First of all, this is due to the organization of independent work of students in the conditions of ASO (adaptive learning system).

In the conditions of ASO, training is not only the communication of a new topic, but also training in methods of independent work, self-control, mutual control, research methods, the ability to obtain knowledge, generalize, draw conclusions, and capture the main thing in a condensed form. To organize such work, it is important to increase the time of independent work in the lesson. Working in pairs, groups, and performing multi-level tasks helps create favorable conditions for enhancing the creative activity of students. Thus, increasing the time of independent activity of students is one of the conditions for intensifying the creative activity of students. A study of this issue is offered to us (A.S. Granitskaya).

In accordance with the logic of the activity approach, the condition for the development of student independence is his inclusion in independent activity, aimed at a person’s readiness to create and transform the world. It is in this understanding that the meaning of independence is present in a number of pedagogical studies (M.F. Kagan, L.P. Aristov, L.S. Granitskaya, B.P. Esipov, M.A. Danilov, P.I. Pidkasisty, etc. ). Independence lies in the subject’s ability to act without outside help (p.31).

Independence is formed in the process of performing a special type of educational tasks - independent work, acquiring the character of problem-search activity. Assignments should reflect the logic of the gradual development of independence and assume a gradual complication of the student’s activity from activity under the guidance of a teacher to independent search (L.P. Aristova, M.A. Danilov, P.I. Pidkasisty, A.S. Granitskaya). Thus, the pedagogical condition for the development of creative activity, in our opinion, is the systematic inclusion of the student in gradually increasingly complex independent activities, which, in the process of the student completing a special type of educational tasks, acquires an actively creative character.

The stage-by-stage development of independence as a component of creative activity correlates with the stages of development of the student’s educational and cognitive activity - from reproductive to actually creative, transformative. I.I.Rondak notes that reproductive and creative activity as opposite types of cognitive activity of students complement each other. The knowledge, skills and abilities acquired by the student in the process of mastering program material feed his creative activity, and creative activity contributes to a more thoughtful, conscious and deep assimilation of the material. The relationship between knowledge and skills in the educational process becomes important. S.E. Matushkin emphasizes this in his research.

Reproductive and creative in the educational and cognitive activity of a student should be in relation to unity and continuity and be ensured, in our opinion, both at the level of its content and at the level of forms and means of organizing the educational process. As T.K. Akhayan notes, the principle of unity and continuity in a variety of ways “...activates the personality, actualizes the knowledge acquired in educational work, and encourages a new search (7, p. 33).

It follows that the implementation of the principle of unity and continuity is an important pedagogical condition for the development of creative activity. In our study, this means that the principle of unity and continuity of reproductive and creative should be consistently implemented when designing educational tasks and reflect the stage-by-stage process of development of the student’s creative activity.

Researchers T.K. Aleksandrova, B.P. Esipov, A.K. Makarova, A.M. Matushkin, A.V. Usova, A.A. Bobrov see the basis for combining reproductive and creative activity in general educational skills that carry generalized and interdisciplinary nature (p.112). In the context of the development of a student’s creative activity, researchers identify generalized cognitive skills that underlie this development.

These skills include:

The ability to highlight the main and secondary, which is the result of such logical operations as analysis, synthesis and generalization;

The ability to see a new function of a familiar object;

Ability to simulate non-standard situations associated with the development of divergent thinking;

Ability to predict performance results.

The nature of the development of these generalized cognitive skills in the process of educational and cognitive activity can be an indicator of the level of development of creative activity (L.L. Gurova, V.P. Slutsky).

Generalized cognitive skills, according to research (A.K. Markova, A.V. Usova, A.A. Borov) are interdisciplinary. In the context of the development of creative activity, significant importance is attached to organizational and communication skills. Such as: the ability to plan upcoming activities, the ability to exercise self-control and self-evaluation of one’s work, the ability to formulate one’s opinion, the ability to justify one’s views. An effective remedy T.K. Aleksandrova considers the formation of general educational skills to be a complex educational task, since it requires the use of a certain set of knowledge and skills from a number of academic subjects, contributes to solving the problems of not only education, but also the development and upbringing of students.

The stages of skills formation, highlighted by T.K. Alexandrova, - due to the commonality of their goals, can be combined into two stages: informational and practically effective. These stages, reflecting the procedural nature of personality development in the process of solving educational and cognitive problems, were highlighted by T.K. Akhanyan. For us, this stage is important in terms of pedagogical management of the development of students’ creative activity through a complex educational task.

Thus, the main connection between reproductive and creative activity is general educational skills, and a specially organized educational process aimed at their gradual formation acts as a general pedagogical condition for the development of the student’s creative activity.

In terms of the tasks of studying pedagogical conditions and developing creative activity, identifying the informational and practical stages of organizing students’ activities is extremely important. This is due to the fact that the information stage, designed to ensure awareness of the essence of creative activity, contributes to the development of such an aspect of its self-regulation as introspection and self-esteem. Research by scientists confirms that the development of creative activity has a purposeful effect on the motivational sphere of the individual and stimulates interest in creative activity (V.V. Davydov, D.B. Elkonin, A.K. Markova, G.I. Shchukina).

In the context of our research, questions about the relationship between students’ interest in learning and their activity, about the nature of the influence of motives on the specific manifestation of cognitive activity, about the need to develop interest in creativity, and motivation for inclusion in the creative process are legitimate. Research by a number of scientists shows that cognitive interest and independence as a component of educational activity do not appear immediately. He goes through successive stages of his development from curiosity to internal motivation - the motive for educational activity (curiosity) and, finally, to his own cognitive interest, which contributes to the development of his independent learning and reinforces his active creative activity. B.G. Ananyev, A.K. Makarova, G.I. Shchukina and others confirm that cognitive interest develops in educational activities. The educational activity of students can be represented as a synthesis of reproductive activity, which characterizes the initial level of activity, independence, interest in creative activity, which presupposes the highest stage of development of these personal formations.

An essential pedagogical condition for the development of a student’s creative activity is the inclusion of entertaining material in the educational process as a means of attracting interest in the subject, which contributes to the transition of cognitive interest from the stage of situational interest to the stage of a more stable cognitive attitude, the desire to delve into the essence of the cognizable.

Research by B.P. Esipova, A.K. Markova, L.A. Rkgush significantly complements the idea that the presence of general educational skills not only realizes the problem of unity and continuity between reproductive and creative, these skills are an essential component of creative activity and contribute to the development cognitive interest. G.I. Shchukina assigns a special role to works of a creative nature. In the process of their implementation, cognitive interest becomes decisive for the development of abilities and inclinations.

In relation to our research, it is legitimate to assume that creative work that gradually becomes more complex is also decisive in the development of students’ creative activity. Teaching students the skills of search activity as an element of creativity is given attention by A.P. Tryapitsin, as a mechanism of orientation - by A.V. Kiryakov, as a characteristic of the highest level of cognitive interest (interest-motive), which presupposes creative activity - G. I. Shchukina.

We share the point of view of scientists about the diverse function of search activity and that this activity can serve as a mechanism of creative activity. The pedagogical condition for the development of interest as a component of creative activity can be purposefully organized activity that involves the student’s independent search.

The nature of the relationship in the “teacher-student”, “student-teacher” system, which contributes to the development of the student’s creative activity, presupposes an intersubjective exchange of activities, active interaction in the creative process; relationships of mutual trust, joint search, which involves increasing the level of student independence; the ability to independently choose the method of educational work, which contributes to the development of the student’s subjective position

Another important pedagogical condition for enhancing the creative activity of students was the work of the teacher in teaching students using the project method. This work is based on the development of process design projects. At the present stage, the project-based teaching method is an integral element in organizing students’ independent creative work.

The inclusion of the project method in the educational process makes it possible to diversify the forms of conducting classes, expand the creative potential of the teacher, and develop the motivational sphere of students (L.V. Bayborodova, I.V. Kuritsina, A.V. Leontiev, L.V. Serebrennikov, V.V. Soldatov, V.D. Simonenko, I.F. Razdymalin, Yu.L. Khotuntsev, A.V. Tsvetkov, V.N. Chernyakova, L.N. Morozova, K.N.

Students acquire the ability to work with information, materials, and tools as they complete the reproductive and project stages of learning. The system of projects is built on the principle of increasing complexity and achieving students’ awareness of their own abilities in design and technological activities.

We take into account the basic requirements for the selection of project activities such as:

Preparedness of students for this type of activity;

Students' interest in the problem;

Practical orientation and significance of the project;

Creative problem statement;

Practical feasibility of the project.

We fulfill these requirements for the selection of objects while ensuring the conditions for educational activities:

The ability to use acquired knowledge, skills and abilities;

Correspondence of the educational task to the individual capabilities of students;

Availability of appropriate material and technical means;

Compliance of educational activities with environmental and economic requirements;

Ensuring safe working conditions;

Use of educational resources of school and society.

Information and methodological support for project-based learning should include educational and popular science literature, visual aids, samples of design, engineering and technological documentation, student plans and reports, and an exhibition of the best products. An important role is given to rational planning and design of the educational complex.

The solution to the problem of choosing project topics by individual students can be carried out through a “project bank” consisting of actually completed tasks grouped by areas of interest and preparedness of students. It is accompanied by an appendix of sample projects with appropriate support and design.

The objective process of rapprochement, creative interaction of science, technical art, cognitive and artistic-aesthetic activity creates the prerequisites for a deep comprehension within the educational space of opportunities for the formation of a creative attitude to activity, the development of a creative culture among students.

And, of course, the main role in the process of a student’s creative development belongs to the teacher. The educational and educational effect of the lesson depends on his ability to create an atmosphere of creative cooperation and enter into a discussion with students using evidence of his justifications. In these lessons, students develop to the greatest extent such qualities as emotional and creative activity, artistic perception, outlook, independence, special skills.

The creative activity of students is most fully activated when the teacher comprehensively solves the problems of technological learning, using various methods, including the implementation of creative projects.

The purpose of the projects is to involve students in the process of transformative activities from the development of an idea to its implementation. The effectiveness of this method is due to the fact that it allows students to choose activities based on their interests and, through an activity that matches their abilities, develops knowledge, skills, and abilities.

By completing projects, students master methods of innovative creative activity, learn to independently find and analyze information, obtain and apply knowledge in various fields, acquire practical work skills and experience in solving real problems that orient them toward professional self-determination. During the implementation of projects, a certain part of the curriculum is implemented.

The topic of project assignments should be broad enough to cover, perhaps, a larger range of sections of technological education and take into account the interests of students.

The results of projects can be objects, technology systems, developments to improve any areas

Development of a child’s creative personality

Introduction

Creativity and creative personality

Problems of development of a child’s creative personality

Conclusion

Bibliography

Introduction

Creativity is a creative human activity, no matter in what area this activity is carried out. This is not the lot of a few; elements of creativity are present not only in the activities of an artist, writer, director, scientist, but also in the everyday work of an engineer, teacher, programmer, parent, coach, manager, psychologist, designer, and so on. The great Soviet psychologist L.S. Vygotsky said that “in the reality around us, creativity is necessary condition existence, and everything that goes beyond the limits of routine and that contains at least a little something new owes its origin to the creative process of man.”

IN modern conditions, when culture is flourishing, a creative personality is more and more in demand by society in all areas from art and science to the advertising industry and show business. The constantly accelerating pace of life requires a person to have qualities that allow him to approach any innovations creatively and productively, mainly to master new knowledge and huge flows of information for the benefit of himself and society. In order to stay on top in a situation of constant change, in order to adequately respond to them, modern man must constantly use his creative potential.

Modern research problems of creativity, including the formation and development of creative inclinations, took shape by the early 50s of the last century, and in the second half of the twentieth century they already received a serious impetus due to the rapid development of various branches of technology, communications, aviation and astronautics, computer science, nuclear energy , popular culture. Nurturing a creative personality has become one of the main tasks of a modern school.

A creative personality is, of course, formed in childhood, and the earlier the inclinations are identified and their development begins, the better. It is impossible to overestimate the role of teachers, schools, and parents in the formation of a creative personality. There are two schools of thought among creativity researchers. Representatives of one believe that it is impossible to teach creativity, representatives of the other argue that creativity can be learned. Be that as it may, one thing is clear: creative inclinations of one level or another, talents are the potential of an individual that needs to be revealed, or more precisely, the conditions for their development must be created.

Currently, most students do not reach their full potential. As a result, as adults they often experience difficulties in self-realization and remain on the lower steps of the social ladder, with which non-creative, routine professions, professions of heavy physical, monotonous, “conveyor” labor have recently been increasingly correlated. Therefore, the creation of pedagogical conditions for identifying the creative qualities of an individual is one of the priority tasks of pedagogical practice and the entire educational process. It is possible to raise a creative person, but the question arises: how? There is no universal answer to this question. The formation of a creative personality is a creative process.

1. Creativity and creative personality

Creativity is a process human activity, the result of which is qualitatively new unique material and spiritual values ​​or solutions. The result of creativity cannot be directly derived from the initial conditions. No one except the author, and even then not always, can get exactly the same result if the same initial situation is created for him. Since, in the creative process, the author puts into the material possibilities that are not reducible to labor operations or logical conclusion, and in the final result expresses many aspects (puts his soul) of his unique personality. It is this circumstance that gives creative products additional value in comparison with mass-produced products.

Creativity is an activity that generates something qualitatively new, something that has never existed before, the creation of something new and valuable, not only for the creator, but also for other people.

The concept of a creative personality is inextricably linked with the concept of creativity. Obviously, with the goal of educating a creative personality, teachers and parents must have an idea of ​​what a “creative personality” is and know about its characteristics and patterns.

First of all, speaking about the creative characteristics of a person, the following are distinguished: creative initiative, criticality, openness to experience, a sense of new things, the ability to see and pose problems, originality, energy, independence, efficiency, internal maturity, high self-esteem.

In addition, it is important for a person to have such qualities as sublimity, restraint, stability, determination, love of freedom, a sense of success, independence, self-regulation, creative self-expression in order for it to be called creative. In other words, a creative person must have, on the one hand, such qualities as stability, a high level of moral development, independence of judgment, responsibility, willpower, outlook, and on the other hand, flexibility, lability, the ability to create something new, criticality, imagination, emotionality, sense of humor.

American researcher Guilford identifies four main parameters of creativity (creative ability).

1.Originality is the ability to produce unusual answers.

2.Productivity - the ability to generate large number ideas.

.Flexibility - the ability to easily switch and put forward a variety of ideas from different areas of knowledge and experience.

.The ability to improve an object by adding details.

In addition, creativity is characterized by the ability to detect and pose problems, the ability to analyze and synthesize.

At the same time, some authors note that extensive knowledge and erudition sometimes interfere with seeing a phenomenon from a different, creative perspective. In this case, the inability to be creative is due to the fact that consciousness is logical and limited by strictly ordered concepts, which suppresses fantasy and imagination.

To develop a high level of creative abilities (creativity), a level of mental development is required that is slightly above average. Without a certain amount of knowledge, without a good intellectual foundation, high creativity cannot develop. However, after reaching a certain level of intelligence development, its further increase does not in any way affect the development of creative abilities. It is known that people with encyclopedic knowledge rarely have high creative potential. Perhaps this is due to the tendency to organize and accumulate knowledge, ready-made facts. And for spontaneous creativity, sometimes it is important to abstract from what is already known.

Modern pedagogy is based on the thesis that the inclinations of creativity are inherent in any person, in any normal child. The task of teachers is to reveal these abilities and develop them.

. Problems of development of a child’s creative personality

creative creativity imagination child

The development (upbringing) of a child’s creative personality is a process, an organized interaction between an authoritative person (educator, parents, teachers, and adults in general who come into fairly long-term contact with the child) and the child. The ultimate goal of this process is the formation of a creative personality.

From the characteristics of a creative personality follow the ways of forming a creative personality. The main way is to include the child in a variety of creative activities.

In creativity, a creative person always faces the problem of choosing from several possibilities. The most important condition for choice, and therefore the condition for the development of a child’s creative potential, is personal freedom. Having the freedom to choose goals, means and methods of activity, a person gets the opportunity to interact with objects of the external world in a variety of ways, which entails the creation of many images and their combinations. The child should be given the opportunity to choose, taught to make a conscious choice, help, but not impose, teach him, listening, to go from himself. And very important here is the imagination of the child, who needs a free outlet.

Imagination is a mental process expressed in the construction of an image of the means and the final result of the subject’s objective activity, in the creation of images that correspond to the description of the object. The most important task of the imagination is to imagine the result of work before it begins, thereby orienting a person in the process of activity. For cultivating the imagination, artistic, scientific and inventive, technical creativity play an important role, as well as sports, which develops the imagination in the process of presenting the result of martial arts, self-education and socially useful work are also important. All types of creativity are realized in the process of activity.

Also very important for the education of a creative personality is the education of thinking. Thinking is a process of cognitive activity of an individual, characterized by a generalized and mediated reflection of reality.

Achieving a goal involves anticipating it, and finding a way to achieve a goal involves the ability to think. Therefore, for the mechanism of shifting the motive to the goal to operate, you need to imagine the goal, comprehend the ways to achieve it, and have a certain emotional tension. That is, to cultivate the motives of creativity, it is necessary to use teaching tools aimed at cultivating imagination, thinking, and emotions.

In the activity of both thinking and imagination, the emotional sphere of the psyche plays a huge role. Emotions play an important role in motivating creative activity. They represent a mechanism for transforming external stimuli into motives that direct cognition into transforming the surrounding reality. It follows from this that in order to educate a person capable of creating not only the external, but also his own inner world, it is necessary to purposefully cultivate the ability to feel, experience, manage emotions and direct them to the benefit of oneself and others.

The main factor in nurturing a creative personality is the cultivation of motivation. It is better to do what you want to do, what is interesting to do. It is necessary to highlight the motive, i.e., for the sake of which the activity is performed. A teacher who cannot penetrate into the motives of a child’s activity works essentially blindly. Motive is the basis for the formation of necessary personality qualities.

One of the main motivating tools is play. The motives of the game reveal the human need to transform the world. The game develops imagination and thinking, since the participant is in imaginary situations before choosing options for action, and is forced to calculate his own and others’ moves. The experiences that accompany the processes of thinking and imagination in game situations are also significant, i.e. feelings. Therefore, play is an indispensable means of cultivating thinking, imagination, and feelings.

It has been proven that collective creative activity has a significant impact on the development of a child’s creative abilities, strengthening the motive of activity and disciplining.

The main factor in education is example and environment. Therefore, it is difficult to overestimate the role of the child’s environment, the role of significant others. This is, first of all, a teacher (kindergarten teacher, class teacher at school), as the organizer and leader of the pedagogical process. There is no doubt that the teacher’s creative potential and the conditions for organizing his work play a huge role in nurturing a child’s creative personality. Nurturing a creative personality also presupposes the presence of pedagogical creativity. A creative personality can only be raised by a creative teacher. That is, it is necessary to create special conditions that would promote full development creative personality of the child. To do this, it is necessary to use methods and techniques in teaching practice that motivate students to be creative and develop their thinking, imagination, and emotions.

Special role in the formation of the child’s creative personality from the family, as well as from the environment in which the family itself is located. Children and parents are in constant search, the modern family has enormous intellectual potential, and the teacher’s task is to attract and skillfully use it when organizing children’s free time, filling their leisure time with activities that are useful both for health and for the mind. Whatever aspect of a child’s development we take, the family always plays a decisive role. The family is responsible for the physical and emotional development of the child, plays a leading role in the child’s mental development, influences the children’s attitude towards school and largely determines its success. The educational level of the family and the interests of its members affect the intellectual development of a person and what layers of culture he assimilates. The family is of great importance in a person’s mastery of social norms; in the family, fundamental value orientations of a person are formed, which determine his life style, spheres and level of aspirations, life aspirations, plans and methods of achieving them. The family plays a big role in human development due to the fact that its approval, support, indifference or condemnation affect a person’s social aspirations, help or hinder him in finding solutions to difficult situations. life situations, adapt to the changing circumstances of his life, withstand the changing social conditions. Essential Therefore, the emotional situation in the family, the level of its cohesion and the quality of intrafamily ties play a role. Important place Favorable conditions for self-development play a role in nurturing a child’s creative personality.

Thus, it is obvious that the main conditions for educating a creative personality are:

· orientation of the educational process towards the education of a creative personality;

· early identification of creative abilities and their orientation;

· formation of motivation for creative activity;

· moral and creative purposefulness of the educational process;

· the presence of democratic relationships between teacher and child;

· accounting of individual psychological characteristics;

· orientation of the educational process towards students’ self-education (self-knowledge, self-organization, self-realization);

· creating a favorable creative microclimate in the family and school;

· organizing various forms of stimulating the creative activity of students (conducting competitions, organizing research), etc.

It is also obvious that the effective formation of a creative personality is impossible without:

· including the child in a variety of creative activities and “living” them, which is achieved by specially selected types of creative work. This is explained by the fact that a creative personality manifests itself, first of all, in activities aimed at creating material and spiritual values;

· work to improve skills that allow students to quickly learn and master new types of activities that differ personal value;

· organizing creative associations that help educate the necessary personal qualities, promote the formation of moral values, teach communication and cooperation.

Conclusion

Raising a creative personality? pressing requirement modern world. When solving it, it is necessary to start, first of all, from the individuality of the student. This means that the customer should not be the state, not the education system, but the student’s personality itself.

The tasks of education should be posed not in terms of the final result, but as tasks for the development of the child’s motives, taking into account his age, and the means of education should be selected from the point of view of their effective impact on both memory and thinking, imagination, and emotions.

When leaving school, should a child have creative qualities in the first place? universal, which no less characterize a creative personality. Namely.

Moral qualities: honesty, social activity, collectivism, etc., ensuring a person’s attitude towards the world around him, society, people, himself. In other words, successful socialization.

Intellectual qualities: rationality, logic, wit, erudition (taking into account the above), leading to comprehension and systematization of information, on the basis of which a worldview, consciousness and self-awareness, understanding of life goals are formed.

Strong-willed qualities: purposefulness, self-control, autonomy, independence, aimed at mental self-regulation of behavior, at changing activities in connection with changed circumstances, the connection between the internal state and the environment.

Emotional qualities: philanthropy, optimism, contributing to the enrichment of a person’s inner world, openness.

The totality of these qualities, their unity leads to the formation of integrity, whose name is Creative Personality.

Bibliography

1.Andreev V.I. Dialectics of education and self-education of a creative personality / V.I. Andreev. - Kazan: Kazan Publishing House. University, 1988 - 238 p.

2.Baturina G.I., Kuzina T.F. Folk pedagogy in the modern educational process. A manual for teachers. - M.: School press, 2003 - 144 p.

.Vygotsky L.S. Imagination and creativity in childhood. M.: Education, 1991 - 93 p.

.Vygotsky L. S. Educational psychology / Ed. Davydova V.V. - M.: AST, 2008 - 671 p.

.Zhuganov A.V. Creative activity of the individual: content, ways of formation and implementation / A.V. Zhuganov. - 2nd ed., add. - L.: Science, 1991 - 141 p. Submit your application indicating the topic right now to find out about the possibility of receiving a consultation.