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1.
Davide Piffer 《Thinking Skills and Creativity》2012,7(3):258-264
The goal of this investigation is to demonstrate that much of the confusion regarding the measurement of creativity is caused by the insufficient clarity of its definition and to provide suggestions for an improved assessment and new possible tools of investigation (e.g. interviews).It is shown that three dimensions of creativity (novelty, appropriateness and impact) constitute a framework within which creativity can be defined and measured.Further clarity to the definition of creativity is added by distinguishing between person's and product's creativity and providing definitions for each.Based on this new definition, it is argued that Divergent Thinking, Remote Associates or some personality scales can be considered neither the only components of the creative process/cognition/potential nor “creativity tests”. The use of the terms “creativity test” and “measure of creative process” in the literature are criticized and it is indicated when they should be used.It is also shown that claims to have found a general factor of creativity are based on methodological and conceptual errors.Finally it is concluded that a person's creativity can only be assessed indirectly (for example with self report questionnaires or official external recognition) but it cannot be measured directly. 相似文献
2.
David S. Bolden Tony V. Harries Douglas P. Newton 《Educational Studies in Mathematics》2010,73(2):143-157
Teachers in the UK and elsewhere are now expected to foster creativity in young children (NACCCE, 1999; Ofsted, 2003; DfES, 2003; DfES/DCMS, 2006). Creativity, however, is more often associated with the arts than with mathematics. The aim of the study was to explore
and document pre-service (in the UK, pre-service teachers are referred to as ‘trainee’ teachers) primary teachers’ conceptions
of creativity in mathematics teaching in the UK. A questionnaire probed their conceptions early in their course, and these
were supplemented with data from semi-structured interviews. Analysis of the responses indicated that pre-service teachers’
conceptions were narrow, predominantly associated with the use of resources and technology and bound up with the idea of ‘teaching
creatively’ rather than ‘teaching for creativity’. Conceptions became less narrow as pre-service teachers were preparing to
enter schools as newly qualified, but they still had difficulty in identifying ways of encouraging and assessing creativity
in the classroom. This difficulty suggests that conceptions of creativity need to be addressed and developed directly during
pre-service education if teachers are to meet the expectations of government as set out in the above documents. 相似文献
3.
David W. Putwain Rebecca Kearsley Wendy Symes 《Learning and individual differences》2012,22(3):370-374
Previous work has suggested that creativity self-beliefs show only small relations with academic achievement and may only be related to intrinsic, not extrinsic motivation. We set out to re-examine these relationships accounting for the multifaceted and process embedded nature of creativity self-beliefs and the full domain range of extrinsic motivation. One hundred and twenty-two secondary school pupils completed self-report measures of creativity self-beliefs and motivation and were administered as test of fluid intelligence. Creativity self-beliefs were positively related to teacher assessed literacy attainment, intrinsic and extrinsic motivation, and also inversely related to amotivation. Creativity self-beliefs accounted for a significant additional proportion of variance in both literacy achievement and in motivational measures, beyond that already accounted for by fluid intelligence. These findings suggest that it is important to attend to the multifaceted nature of creative self-beliefs and the full domain range of extrinsic motivation. 相似文献
4.
Widely thought to be something worth encouraging in young learners, creativity has popularly been associated more with music and art than with other areas of the curriculum. There have been many studies of creativity but few that focus explicitly on what counts as creative thinking in specific subject areas. The aim of the research reported here was to determine pre-service teachers’ conceptions of creativity within the curriculum for English. The study involved analyses of primary school trainee teachers’ responses to questionnaires and follow-up focus group discussion to identify their conceptions. A group of 48 trainees in the final year of an undergraduate degree in primary education leading to qualified teacher status in England completed the questionnaire. Of these, eight volunteered to participate in a follow-up focus group discussion to further explore ideas. Responses were analysed quantitatively and qualitatively. Conceptions of creativity in English were found to be limited, focused mainly on naïve views of story writing and dramatic activity. Responses indicated that they were often unable to distinguish clearly between the concept of creativity, an example of its occurrence in the classroom, and what feature of that example made it creative. Consequently, their limited constructions of creativity were confused. It is important that teachers in schools as well as those responsible for training teachers in universities are advised that trainees’ conceptions of creativity in English may be inadequate in several respects and that they may not recognise opportunities for creativity. Pre-service training programmes could well benefit from structured courses on the forms and applications of creativity. 相似文献
5.
6.
Vlad Petre Gl?veanu 《Thinking Skills and Creativity》2011,6(2):122-131
This article addresses the question of whether children are or are not creative by exploring the assumptions underlying each possible answer. It is argued that our position regarding children's creativity steams from larger systems of representation concerning children on the one hand, and creativity on the other. Arguments for and against the idea that children can be creative are then considered from four different perspectives: the product, process, person and press factor. On the whole, children's creativity is accounted for in terms of a particular ‘reading’ of children as active and interactive beings and of creativity as a social and cultural phenomenon. In contrast, children's lack of creative expression is linked with a passive and receptive image of the child and with theorising creativity through the lenses of the genius and of great creations. In the end, the benefits of acknowledging children's creativity are considered for child and developmental psychology, for creativity research and for educational practices. 相似文献
7.
Keang‐Ieng Peggy Vong 《Early Years: An International Journal of Research and Development》2008,28(2):149-158
The promotion of creativity in young children has been included in the agenda of the educational authorities in mainland China since 2001. Since then, attempts to implement this policy have appeared in different forms. The educational bureaux take measures by publishing documents and guidelines on the subject. While some kindergartens endeavour to restructure their programmes in order to accommodate the development of creativity, most practitioners are not yet ready to embrace this idea. Based on an ethnographic study, this article argues that there are gaps amongst the government's, practitioners' and parents' views of creativity and means to foster such ability in young children. It also highlights the fact that the observed phenomenon might be explained in terms of the social hierarchy that has been thriving in Chinese culture for centuries. Finally, it suggests that a reciprocal relationship amongst the three parties is yet to be built in order to form a strong support for the development of children's creativity in this southern Chinese city. 相似文献
8.
Yvonne Robinson Anna Paraskevopoulou Sumi Hollingworth 《British Educational Research Journal》2019,45(6):1203-1219
Creativity has become the new watchword in UK academic and policy circles. Within this context, policy discussions about the arts and their impact emphasise economic benefits over educational value, drawing clear distinctions between quantifiable or ‘hard’ measures of impact and those described as ‘soft’, less tangible and lacking a strong evidence base. Departing from the binary logics often underpinning notions of arts impacts, this article is novel in exploring the entwined relationship between impacts seen as ‘hard’ and ‘soft’. We draw on research examining the links between arts education and young people's future trajectories and use the concept of ‘active citizenship’ to show how informal, softer skills fostered through creative learning are an important part of citizenship-making for some young people. Participants’ accounts show how improvements in soft skills can give young people opportunities for agency, which shape progression pathways leading to measurable change. This finding is directly relevant in the context of evaluations of arts impacts in the UK and abroad, and should encourage further examination of the impact of creative learning on transfer of skills as well as policy developments in this area. 相似文献
9.
10.
Anna Craft Teresa Cremin Pamela Burnard Tatjana Dragovic Kerry Chappell 《Education 3-13》2013,41(5):538-556
The authors have, for some years, studied the concept of ‘possibility thinking’ (PT), or ‘what if’ and ‘as if’ thinking in children aged 3–11, which generates novelty – and the pedagogical strategies which foster it. They have argued, on the basis of previous qualitative studies, that ‘PT’ is at the core of creativity in education. Having begun as a conceptual study for 7 years, this team has undertaken empirical studies of PT in classrooms. This paper discusses findings from the third phase of empirical work focusing on 9- to 11-year olds. The particular research question addressed here is ‘What characterises possibility thinking as manifest in the learning engagement of children aged 9–11?’. In a small-scale qualitative study, involving co-participation with teachers, the paper features episode analysis of naturalistic video data featuring children aged 9–11 in two schools. It focuses on PT evidenced by children engaged in a range of classroom activities, some established as individual activities and others as group work. The study reveals some features of PT in both sites (question-posing [Q-P], question-responding [Q-R], self-determination, intentional action, development, being imaginative, play/playfulness, immersion and innovation) to differing degrees of strength. Risk-taking was absent in both and a new feature, collaboration, evident in both. Differences were documented in how Q-P and Q-R manifest, compared with earlier studies with younger children. This study seeks to make an evidence-based contribution to the characterisation of PT as driving creativity in the classroom, with implications for research and practice. 相似文献
11.
R. M. Garrett 《International Journal of Science Education》2013,35(2):125-137
In this paper the author explores the concept of problem‐solving as generally employed in the science education literature and suggests that a useful distinction can be drawn between puzzles, for which solutions are known or assumed to exist, and problems, for which no solution may be possible. The ability to recognize a problem, it is suggested, is possibly more important than its solution and this is dependent upon the experience, knowledge and interests of the individual. Successful encountering of problems and puzzles and the relationship of this activity to originality and creativity is also discussed. It is proposed that both puzzle and problem‐solving activities are important to provide in school science but that too little attention is paid to real problem‐solving with the result that the specific skills required are not practised. 相似文献
12.
Geir Kaufmann 《Scandinavian Journal of Educational Research》2013,57(3):235-251
It is argued that the concept of creativity is too loosely defined, and too much driven from a bottom-up operationalist view. It is also argued that current popular definitions of creativity, by focusing on novelty and appropriateness, do not distinguish the concept of creativity in a satisfactory way from standard definitions of the concept of intelligence, which also focus on novelty and appropriateness as key defining features. A solution to this conceptual dilemma is offered by way of making a clear-cut distinction between novelty on the stimulus and novelty on the response side. This distinction is used as a platform for the development of a new taxonomy of different kinds of creativity and intelligent behaviour. A major feature of this new model is the distinction made between proactive and reactive creativity. Finally, the conceptual model is used as a basis for pointing out some shortcomings of existing tests of creativity and, with a practical-educational perspective in mind, some specific suggestions on the anatomy of a new kind of creativity assessment are made. 相似文献
13.
School is an excellent place to foster young learners’ creative thinking skills. However, the emphasis on creativity varies among schools. In two studies the putative influence of school education on the development of students’ creativity was examined by means of a retrospective approach. We investigated whether two influential factors within school education (1) school type (i.e., traditional vs. alternative vs. religious) and (2) perceived teaching style (i.e., independence, judgment, flexibility, integration) associate with students’ creativity at university entrance level. The difference was examined at the primary and secondary school level, respectively. Study 1a found that students who attended alternative schools at the secondary school level performed better on divergent thinking tasks as compared to students who attended traditional or religious schools. Relationship between students’ creative performance and the perceived teaching styles were inconclusive. Finally, teaching styles in alternative schools during secondary education were perceived as high in independence and flexibility. Study 1b replicated the finding that university students who attended alternative schools during secondary education have an advantage in divergent thinking. Taken together, our results highlight the positive influence of alternative school education on students’ creative performance at the university entrance level. 相似文献
14.
The study aimed to uncover the conceptions of creativity among early childhood teachers in Hong Kong. The sample comprised 563 early childhood teachers. Factor analysis supported the multidimensional hypothesis of teachers’ conceptions of creativity. Five dimensions were found: novelty, product, problem solving, cognitive processes and personal attributes. Early childhood teachers in Hong Kong ascribed high importance to these dimensions as defining characteristics of creativity, with a person’s cognitive processes and personal attributes being ascribed relatively more important while product as relatively less importance. In particular, imagination, multiple perspectives and curiosity were perceived as very important concepts of creativity. Teachers with different teaching backgrounds shared very similar conceptions of creativity. Significant results were found with regard to product only. The findings have implications for early childhood teacher education programmes and professional development in Hong Kong. 相似文献
15.
‘Smart state’ for a knowledge economy: reconstituting creativity through student subjectivity 总被引：1，自引：1，他引：0
Rejecting notions of creativity as self‐realisation through free expression, this article argues that such discourses currently driving education policy comprise intellectual technologies for the production of student subjectivities required by neoliberal contexts. Using a governmentality framework, it locates the conditions of possibility for the creative subject within dominant policy articulations of the global knowledge economy and emerging rationalities of risk and uncertainty. The analysis focuses on an industry school partnership formed by a state education system in Queensland, Australia, and several multinational corporations. It examines how the partnership has emerged as a novel neoliberal space for the constitution of new education figures such as the enterprising teacher and the entrepreneurial student‐worker. These subjectivities are functional to the devolved governing strategy of social investment, which seeks to achieve a broad reconstitution of relationships between students, schools and industry in Queensland. 相似文献
16.
Current theoretical approaches regarding the development of creativity support the view that gathering diversified experience over years is an ideal medium for creative thinking. This study examined the role of practice conditions in the development of creative behavior in team ball sports. Twelve trainers selected the most creative and the least creative players from their teams. These athletes (n=72) provided information about the quantity and type of sport‐specific and other related practice activities undertaken throughout their careers. Results indicated significant differences between the groups for time spent in unstructured play activities and a marginally significant difference for total time spent in training for their main sport. In both cases, more creative players accumulated more time than their less creative counterparts. 相似文献
17.
This study attempts to uncover the beliefs regarding various aspects of creativity among trainee‐teachers in Hong Kong and Singapore. Trainee‐teachers from Hong Kong (N = 188) and Singapore (N = 127) completed a questionnaire on beliefs about creativity. The 30‐item questionnaire covering 15 aspects of beliefs regarding creativity was presented to the respondents as a set of six‐point Likert scales. Through factor analysis, creativity was found to have five dimensions: (1) physiology, (2) generality, (3) culture, (4) individuality and (5) youth. Hong Kong respondents were found to hold more rigid views of creativity than their Singaporean counterparts. In particular, Hong Kong respondents believed more strongly that creativity is dependent on birth order, effort, health, logical thinking and youth and that there is a critical period beyond which creativity may not develop. 相似文献
18.
Atara Shriki 《Educational Studies in Mathematics》2010,73(2):159-179
This paper describes the experience of a group of 17 prospective mathematics teachers who were engaged in a series of activities
aimed at developing their awareness of creativity in mathematics. This experience was initiated on the basis of ideas proposed
by the participants regarding ways creativity of school students might be developed. Over a period of 6 weeks, they were engaged
in inventing geometrical concepts and in the examination of their properties. The prospective teachers’ reflections upon the
process they underwent indicate that they developed awareness of various aspects of creativity while deepening their mathematical
and didactical knowledge. 相似文献
19.
Many North American theorists conceptualize expertise as preceding creativity. The rationale is, that in order to be truly creative, one must master a field so remarkable contributions can be made. Therefore, in order to be truly creative one must be an expert in a structured and codified domain. This inquiry attempted to examine the relationship between expert thinking skills and creativity in an ill-defined domain, embedded in the community of practice of group facilitation whose goal was to support learning. Using an instrumental case study approach to explore a unique system embedded in a naturalistic context, the case was comprised of a team of four female novice group facilitators, functioning as teaching assistants for learning task groups of university students. Various sources were drawn upon in order to map this group as a coherent knowing system. Debriefing sessions and interviews were transcribed and coded using a category string method in order to retain a holistic sensibility to the analysis. The codes revealed that the system displayed characteristics of shared expertise and social creativity. The overall pattern of creative response closely followed those of expertise. The codes for expertise generally preceded those instances of creativity, suggesting that creativity does need to rely on expert thinking skills. However, this inquiry suggests expanding the notion of expertise, in that it need not be situated in a single person, but can emerge from a system of shared expertise. 相似文献
20.
As creativity is likely to become a crucial aspect of living in the future, it is important for educators to teach students to think creatively when solving constantly evolving and increasingly complex problems. Supported by the idea that creativity can be taught and learnt, elements of creativity are now embedded in secondary school education. Among all school subjects, design and technology (D&T) is one of the best examples for fostering and cultivating students?? creativity, as the subject offers creative activities that enable students to realize their ideas in the context of the real world. This paper analyzes the creative elements in the D&T curriculum in Hong Kong as seen in the exemplar projects on the Education Bureau website. Some problems and difficulties encountered in fostering creativity in the context of Hong Kong are identified, based on the current teaching environment. The paper also draws attention to East Asian beliefs and implicit theories, which greatly influence teachers?? underlying assumptions about learning and teaching, and at the same time notes that these beliefs may be detrimental to the development of creativity among students. The paper then identifies the problems and inadequacies in fostering creativity in design at the secondary school level and expects to raise awareness of the importance of creativity in D&T. 相似文献