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1.
ABSTRACT

Universities are facing challenges not seen before. Academic development is expected to address many of these challenges, creating conditions supportive of teaching and learning. However, increasing managerialism, measurement, and risk-aversion make this difficult as the emphasis shifts from supporting individuals towards delivering institutional strategy. This can lead to a lack of creativity, a stifling of innovation, and a fear of failure. This paper uses the creative industries as a ‘parallel’ sector of practice. It outlines the challenges, similarities, and differences between the sectors, before explaining what lessons higher education can learn from the creative industries.  相似文献   

2.
ABSTRACT

The dominant results-driven/performance-oriented culture and the pressures of performativity in education have meant that the promotion of creativity has been narrow in scope and the translation into practice less apparent than the rhetoric would suggest. Creativity can survive even in times of standardisation, but it is more likely to be confined to interstitial zones. Interstitial zones are in-between social spaces outside the formal teaching zones in which creativity may give voice to those students whose voice is not always heard in the formal teaching context.

Often, creativity is equated exclusively to substantial creative outputs and, as a result, teachers who are not sensitised to creativity in a broader sense may underestimate their own creative ability and the positive impact this might have on the relationship with their students. A shift in teacher education that results in a more meaningful appreciation of both the nature of creativity and its benefits is therefore required. A developmental approach which starts with teacher cultivation of creative sensibility is essential to achieve greater infusion of creativity. The paper posits that teachers who resist rigid social structures and engage in critical pedagogy are also more likely to be receptive to creativity and its the pastoral potential in education.  相似文献   

3.
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4.

Creativity tests measure specific cognitive processes such as thinking divergently, making associations, constructing and combining broad categories, or working on many ideas simultaneously. They also measure noncognitive aspects of creativity such as motivation (e.g., impulse expression, desire for novelty, risk‐taking), and facilitatory personal properties like flexibility, tolerance for independence, or positive attitudes to differentness. Raters can score the various kinds of test with substantial levels of agreement, while scores are internally stable to an acceptable degree. The tests also correlate to a reasonable degree with various criteria of creativity such as teacher ratings, and are useful predictors of adult behavior. Thus, they are useful in both research and education. However, they are best thought of as measures of creative potential because creative achievement depends on additional factors not measured by creativity tests, such as technical skill, knowledge of a field, mental health, or even opportunity. However, the multidimensional creativity concept they define indicates that assessments should be based on several tests, rather than relying on a single score.  相似文献   

5.
ABSTRACT

This paper examines the notion of creativity as a core concept in English teachers’ knowledge and valuing of their subject. It draws on research from a broader investigation into teachers as writers and discusses one of the key findings of the study: that creativity is not only crucial to how teachers approach their pedagogy and subject content, but that contexts in which creativity is minimised in English teachers’ lives results in struggle or even a departure from the profession. The paper concludes with a call for teachers and bureaucrats to affirm creative knowledge as foundational to English teachers and their profession, and the ability of teacher narratives to offer a powerful contribution to debates in English teaching.  相似文献   

6.
Abstract

Kant held that the moral vocation of the human species was to strive toward moral perfection. But in Religion within the Boundaries of Mere Reason, he at least entertained as part of the human condition a rationalist version of the Christian doctrine of original sin: that human beings have a universal, innate and inextirpable propensity to evil. Are these two Kantian doctrines inconsistent, or at least in tension with each other? If they are, the tension is a creative one. This chapter will explain the Kantian doctrine of the radical human propensity to evil and relate it to Kant's theory of the acquisition of virtue and the struggle toward moral perfection. We will see that this struggle for Kant must be social, not merely individual, and that it involves both the development of moral character and the cultivation of empirical inclinations that harmonize with morality.  相似文献   

7.
ABSTRACT

The article demonstrates a successful approach to providing Youth and Community Work students in higher education (HE) with a learning experience that embraces the transformative agenda of their chosen profession. It adds to our understanding of the opportunities and limitations in crafting a learning environment and embedding a discursive pedagogy that draws on the creativity of both the lecturer and students. Exploring different iterations of reflective sessions, it highlights how creative approaches can help students overcome barriers to their engagement with a particularly complex concept, namely, the transformational capacity of ‘professional love’ within Youth and Community Work practice. The evaluation of these sessions generates broadly positive results, suggesting that creative methods are appropriate for addressing complex issues in the HE classroom. However, it also details how this approach proved profoundly upsetting for some participants, suggesting it should not be seen as a one-size-fits-all solution to overcoming barriers in teaching and learning.  相似文献   

8.
Background: Creativity is often cited as one of the capacities that needs to be actively encouraged in all aspects of schooling. However, what creativity is and how it may be promoted through formal teaching and learning approaches remain contested. There are also differences between educators in terms of how they understand, discuss and conceptualise this complex concept.

Purpose: This paper focuses on the difficulties associated with talking about creativity in education. It considers the ways in which schoolteachers who are involved in the area of arts education understand, describe and discuss the concept of creativity and how it interacts with their classroom practice.

Sample: Twenty-three educators who taught Arts (either as generalist primary classroom teachers or as specialist teachers), and the leadership team from a Kindergarten to Year 9 (pupil ages 5–15) school in the suburbs of a city in the Australian state of Victoria participated in the project.

Design and methods: In this phenomenological study, data were gathered from participants through questionnaires, discussion groups, email prompts and reflective journals. The material was analysed qualitatively.

Findings: By examining the teachers’ dialogic and discursive responses about creativity, it was possible to capture some broad ways in which the participants spoke about creativity. Data were analysed thematically and grouped into categories that represented the connected ‘creative orientations’: thinking orientations, action orientations, emotion orientations and skill/outcome orientations.

Conclusion: There is a need for educators in and across a range of discipline areas to share, map and think about creativity. The approach adopted in this exploratory study offers a way that could be used to focus discussions and help facilitate educators’ talk about creativity.  相似文献   

9.
Abstract

A theory of creative thinking is presented as it related to the implementation of computer‐based instructional design. Methods used in a graduate‐level course at Johns Hopkins University for teaching creativity are described. An emphasis on process over product allows instructors to focus on problem‐solving strategies at all levels of development. Finally, the effects of the computer on the creative process are discussed and suggestions are made for avoiding the trap of technological obsolescence.  相似文献   

10.
Abstract

Much has been written about creativity in education policy and about how the concept is mediated in institutions like schools and universities. Although constructs like ‘creative teachers’ and ‘teachers that foster creativity’ are highly prevalent in the literature, there are few situated and contextualised accounts of what such constructs mean to the protagonist. The extent to which teachers co-opt or align themselves with discourses of creativity can be recast as a question of identity: What beliefs on creativity and associated practices are constitutive of one’s ‘teacher identity?’ This article draws on previous work that translates Foucault’s writings on ethical self-formation into an ‘identity grid’, and foregrounds the experiences of one teaching deputy-principal, to offer an account of how one teacher pursues particular practices congruent with his visions of a creative teacher. To identify rationales for actions undertaken, and to engage with situational factors of this teacher’s work, performativity and its problematic steering influences also informs this analysis. The article highlights the productive capacity of engagement with ethical self-formation, through identifying the potential it offers to access an individual-centric perspective in understanding how central concepts like creativity are negotiated and incorporated into accounts of the ‘teaching self’.  相似文献   

11.
Effective teachers are often creative ones, yet an examination of creative teaching is largely invisible in the North American creativity literature. Even within education there is little about teachers’ own creative practice. Nonetheless, there are benefits to studying creative teachers: in education it can explicate ways of enhancing teachers’ creativity and enriching praxis; and in psychology it can extend our understanding of social and interpersonal creativity, as well as everyday creativity. This paper reviews 12 Canadian case studies of creative teaching conducted by a creative teaching research group. An in-depth elaboration of two themes, creative person and community, is presented.  相似文献   

12.
The Creative University is susceptible to multiple interpretations which are moving in a fluid conceptual space. This conceptual openness can be adequately understood only as a set of discursive formations that reflect underlying societal changes. It is becoming a commonplace to suggest that creativity should no longer be seen as a matter of heroic individuals at work, for creativity is always a networked matter, but that reflection has to be widened to encompass a sense of underlying shifting societal forces, with the economy central stage and hence the emergence of the hybrid idea of the creative economy. Qua institution, the creative university sits uneasily between discourses of economicism and societal flourishing. The creative university, accordingly, has to be seen in this milieu, which is steering the university but which also is affording it new possibilities for creativity. Five levels of creativity are identified that serve as domains in which these forces and affordances coexist. One such level, university reflexive creativity, is singled out as the most significant of the five. The creative university, it follows, unfolds as sets of interactions between individuals, institutional structures and corporate agency. Even as the constraints multiply, so too ever‐wider possibilities for the creative university may be opening.  相似文献   

13.
ABSTRACT

Self-directed learning and creativity are critical workplace competences that are important to foster in formal educational settings. Previous studies have identified a relationship between self-directed learning and creativity, but the specific nature of this relationship is unclear. The purpose of the present theoretical paper is to examine through a literature review the possibility that creative learning outcomes can be supported through a self-directed learning process. The importance of considering self-directed learning in the context of adult learning – as a pragmatic learning process – is outlined. A conclusion is drawn that (1) creative learning outcomes are potentially supported through self-directed learning, and (2) in the process, teachers can provide support to learners in three distinct different ways. A variety of pragmatic educational activities that may enable self-directed learning and creative learning outcomes are discussed, including experiential learning; workplace simulations; and problem-, case-, and (e-) portfolio-based learning. In these activities, teacher support seems advantageous for many learners. The three distinct dimensions of teacher support identified in the present paper are important to consider in further empirical studies on self-directed learning.  相似文献   

14.

This article considers how teachers can begin to reconcile their value for creativity with a pedagogy that supports it. First, teachers’ experiences of finding themselves caught in the middle between valuing creativity and helping students conform to the constraints of the classroom are considered. Next, the role that constraints play in creativity is discussed. Finally, a new way of thinking about creative expression, called ideational code‐switching, is proposed. Ideational code‐switching represents the ability to move between intrapersonal creative interpretations and interpersonal creative expression. The article closes with suggestions for how teachers can support students’ ideational code‐switching and thereby encourage creative expression in their classroom.  相似文献   

15.
Abstract

Educational theorists and researchers have often overlooked potential links between successful teaching and a teachers personal qualities. This investigation explored associations among three psychological characteristics and classroom performance ratings of prospective teachers. Fifty‐three students enrolled in a teacher education program participated in the study. The students were assessed on personality style, creative thinking, motivation, and classroom performance competency during student teaching. Correlational statistical analysis found significant relationships among three creativity measures and ratings of preservice teachers’ classroom performance. Further, regression analysis revealed originality, one subscale of creativity, was a significant predictor of effective student teaching. Findings indicate that creative constructs may have potential value in assessing teacher education candidates.  相似文献   

16.

Leadership is often conceptualized as social and cognitive skills. Histrionic or dramatic skill is also recognized by some researchers as fundamental to leadership. Leadership behavior, creative ability, and dramatic skill of 54 students were rated by their teachers. Significant correlations were found between leadership and dramatic skills and between creativity and dramatics skills, but not between leadership and creativity.  相似文献   

17.
创新教育是以开发创新性思维为核心、以培养创新性人才为基本价值取向的教育。在英语教学中实施创新教育，以人为本；在语言学习的过程中培养学生的创新性思维，引导学生进行创新性学习。教师应在英语教学中将凝聚在教学内容和教学过程中的创造性因素发掘出来，展现开来，在教学活动中随时随地去引导学生进行创造性思维，培养其创新个性。  相似文献   

18.
Background: Globalization, technological advancement, environmental problems, etc. challenge organizations not just to consider cost-effectiveness, but also to develop new ideas in order to build competitive advantages. Hence, methods to deliberately enhance creativity and facilitate its processes of development must also play a central role in engineering education. However, so far the engineering education literature provides little attention to the important discussion of how to develop knowledge intensive ideas based on creativity methods and concepts.

Purpose: The purpose of this article is to investigate how to design creative camps from which knowledge intensive ideas can unfold.

Design/method/sample: A framework on integration of creativity and knowledge intensity is first developed, and then tested through the planning, execution and evaluation of a specialized creativity camp with focus on supply chain management. Detailed documentation of the learning processes of the participating 49 engineering and business students is developed through repeated interviews during the process as well as a survey.

Results: The research illustrates the process of development of ideas, and how the participants through interdisciplinary collaboration, cognitive flexibility and joint ownership develop highly innovative and knowledge-intensive ideas, with direct relevance for the four companies whose problems they address.

Conclusions: The article demonstrates how the creativity camp methodology holds the potential of combining advanced academic knowledge and creativity, to produce knowledge intensive ideas, when the design is based on ideas of experiential learning as well as creativity principles. This makes the method a highly relevant learning approach for engineering students in the search for skills to both develop and implement innovative ideas.  相似文献   

19.

This classroom observation study explored how science teachers (N = 22) teach for creativity in grades 5–10 in Oman. We designed an observation form with 4 main categories that targeted the instructional practices related to teaching for creativity: questioning strategy, teacher’s responses to students’ ideas, classroom activities to support creativity, and whole-lesson methods that foster creativity. An open-ended survey was also designed to explore participants’ justifications for their instructional decisions and practices. The findings indicate that the overall level of teaching for creativity was low and that participants’ performance was the highest for teacher’s responses to students’ ideas category and the lowest for classroom activities to support creativity category. We observed that a teacher-centered approach with instructional practices geared toward preparing students for examinations was dominant and that these science teachers were bound to the textbook, following cookbook-style activities. Participants believed that they did not have enough time to cover the content and teach for creativity and that they were not prepared to teach for creativity. Based on these findings, we recommend that programs be developed to prepare science teachers to teach for creativity.

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20.

Creativity is an asset to any teacher, but it is crucial for teachers of gifted and talented students. Inventive and productive creativity are necessary to efficiently and effectively develop or modify programs and curricula. Expressive creativity is present in instructional interactions with students, and creative problem solving skills are needed to enhance students’ creativity. Implications for supporting and enhancing teachers’ creativity are considered.  相似文献   

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