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1.
Historical attitudes to literary creativity often focus on it as a genetic or innate characteristic. Ericsson's notion of ‘deliberate practice’ and Simon & Chase's ‘ten‐year rule’, however, have shown the importance of sustained practice to achieve high‐level performance. The iceberg illusion of elite performance leaves observers marvelling at the end product without an appreciation of the hours of work beneath the surface. This case study considers how attitudes to student creative writing may be altered by emphasising creative process. Students engaged in creative writing which literalised the iceberg metaphor, placing greater focused on the ‘submerged’ planning, drafting and revision alongside the ‘visible’ end product. Utilising the extended mind hypothesis, student responses demonstrate the importance of planning to order and develop their ideas. The benefits of encouraging an approach to creativity that negates innatist explanations in favour of a growth mindset or deliberate practice approach are evidenced.  相似文献   

2.
In this essay, the authors present analyses of data emerging from a study of a classroom of pre‐service English language arts teachers' readings of a young adult novel that challenged normative sexuality stereotypes. They argue that when literary fictions are included within teacher education ‘methods’ courses, the possibility that literature might support generative learning is eroded by the normative structures of teacher education, particularly those pedagogical beliefs and practices that separate discourses of experience from discourses of knowledge. The authors offer a brief overview of studies of human consciousness, with particular attention to how literary experiences can contribute to its development. They suggest that the identities that co‐emerge with conscious awareness are structured by normalizing discourses instantiated within teacher education methods courses. The essay concludes with a discussion of how the conscious awareness of beginning English teachers might be more expansively developed within pre‐service teacher education.  相似文献   

3.
This paper is based on a long-term ethnography of an adult creative writing class situated in a major urban art gallery in the United Kingdom. It takes the claims of one group of older adults—that creative writing made them ‘feel younger’—as the starting point for exploring this connection further. It places these claims broadly within theories of learning in later life that advocate creative expression and reminiscence as important practices for educators of older adults. However, the main analysis employs anthropological theories of creativity and ageing in order to question the cultural assumptions about creativity and the period of older age informing theory and practice. The paper argues that the value of creative writing for the individuals studied lies both in the fact that it is a relational (rather than individual) process and a means of being in the present. These findings contradict traditional conceptions about creativity as future-oriented and older people as retrospective; they also raise questions about narratives of empowerment, individual agency and the importance of ‘reminiscence’ in some of the literature on older adult learning.  相似文献   

4.
This paper seeks to draw attention to the extent to which liberatory pedagogical intentions can function as part of a technology of surveillance unless, as socially critical educators, we actively work against our own tendency to totalising educational discourse. It notes a number of folkloric traditions in pre‐service teacher education that derive from discursive practices which position students either as inevitably acting out a well‐documented scenario or as ‘victims’ of the dominant technocratic model of teacher education. This paper suggests a way forward for teacher educators through the application of post‐positivist theorising to what has come to be understood as ‘proven’ by past and current educational research. This process is exemplified in the discussion by the application of post‐structuralist deconstructive techniques to avant garde educational text in order to bring forward for scrutiny the binary oppositions in our own ‘transformative’ educational discourse. The implications of ‘advocacy’ research are discussed and a plea made for pedagogy that intervenes in socially critical practices by making problematic our own ‘versions’ of student teacher needs.  相似文献   

5.
The concept of the ‘creative’ in creative writing has a vexed history. This article explores the myths surrounding creativity and how they have influenced the way teachers have approached playwriting pedagogy. It reports on research into the teaching and learning experiences of students and teachers in secondary schools, focusing on the participants’ understanding of creativity and the impact this had on the pedagogical process. The research found that a counterproductive idealist view of creativity persists in classrooms: the teachers and students were operating on a conception of creativity and creative practice that reflected a belief in a mystical and unknowable creative process. This article explores the experiences of creativity through systems theory and argues that this approach can inform teaching and learning for creative processes and products. The article concludes that the teaching and learning practices were unnecessarily tentative and that knowledge of creativity theory would improve the students’ development of both playwriting proficiency as well as creativity-relevant skills. It suggests that demystifying the creative process should result in greater student proficiency and improved teaching and learning experiences for teachers and students.  相似文献   

6.
This article describes how a political assemblage currently at work in higher education is re-articulating academic subjectivities. This assemblage draws together entrepreneurial and humanist concepts of creativity into an intellectual resource that can change national economies. Academics are urged to use their creativity to counteract the narrowing funding base of the university. The article first introduces a history of the concept of creativity and explains how governmental agendas for creative industry and creativity in education emerged. Second, it describes a practice-based research project that grapples with the difficulties of knowledge transfer between the ‘creative’ and ‘social science’ academic disciplines. This raises questions about creative knowledge and reveals some ethical tensions in the performance of academic research. The research project is then positioned as a ‘counter-conduct’, used to short-circuit the procedures implemented for the conduct of creative research in the creative, entrepreneurial university.  相似文献   

7.
Creativity: what might this mean for art and art educators in the creative economies of globalisation? The task of this discussion is to look at the state of creativity and its role in education, in particular art education, and to seek some understanding of the register of creativity, how it is shaped, and how legitimated in the globalised world dominated by input‐output, means‐end, economically driven thinking, expectations and demands. With the help of Heidegger some crucial questions are raised, such as: How can art maintain its creative ontological and epistemological potential in the creative economies of globalisation? Is it possible for art and the creative arts to act as a process of ‘revealing’ and ‘becoming’ and ‘throwing light’ on the world while working within the market economies of innovation and entrepreneurship where creativity has become a generalised discourse? What matters in this discussion is to find a way to argue for the sustainability of art education as a creative mode of enquiry through which self and the world may be better understood, identity might be realised as difference and being‐in‐time might be possible.  相似文献   

8.
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   

9.
This paper addresses the subject of textual creativity by drawing on work done in classical literary theory and criticism, specifically new criticism, structuralism and early poststructuralism. The question of how readers and writers engage creatively with the text is closely related to educational concerns, though they are often thought of as separate disciplines. Modern literary theory in many ways collapses this distinction in its concern for how literariness is achieved and, specifically, how ‘literary quality’ is accomplished in the textual and the social dimension. Taking literary and aesthetic creativity as a point of departure in the reading of five central authors in classical literary criticism, the paper identifies the processes of narrative imagination and emotional identification as central to the role that the textual dimension plays in the creative process of the author/reader—particularly in the way it provides a space for experimentation and self‐reflexion through ‘storying’.  相似文献   

10.
Creativity in education is currently dominated by discourses pertaining to both a neo-liberalisation of arts education and a more widespread attention to the economic potential of diverse creativities. This study applies new thinking regarding creative educational advancement that is adaptive and critically reflexive to the tasks of reconciling the need for safe, ethical and empathetic learning environments and the production of adaptive and innovative twenty-first century workforces. This study of Australian secondary schools analyses perceptions, understandings and actions, and impediments to creativity in classrooms. This study asserts significant implications for the need to foster effective environmental and ecological approaches to engaging in creative practices in Australian secondary schools. It establishes a creativity index through which school leaders and teachers can routinely measure, develop and adjust their school environment’s, students’ and teachers’ creative skills and capacities, pedagogic practices and assessment of creativity across the ‘education lifespan’.  相似文献   

11.
While the time-honoured one-to-one supervisory model of higher research degree training has its advantages, recent research suggests that the model also has significant drawbacks, including its hierarchical nature. Nevertheless, this pedagogical model remains the default for higher research pedagogy. Using the discipline of music as a case study, where growing interest in practice-based research has lately demanded considerable fluidity in supervisory practices, this research explores the benefits and challenges of one-to-one models of supervision. Drawing on semi-structured interviews, dialogue forums, survey data, the extant literature and observations of practices at selected higher music education institutions in Australia, the UK, Belgium and the Netherlands, it recommends and suggests ways to implement more ‘horizontal’ approaches to research pedagogy. The findings of this research may improve teaching and learning experiences and outcomes in higher research degrees in music and the creative arts, and stimulate a reflection of supervisory approaches more generally across the sector.  相似文献   

12.
Cathy Burnett 《Literacy》2009,43(2):75-82
In contributing to debates about how student‐teachers might draw from personal experience in addressing digital literacy in the classroom, this paper explores the stories that one primary student‐teacher told of her digital practices during a larger study of the role of digital literacy in student‐teachers' lives. The paper investigates the ‘recognition work’ this student‐teacher did as she aligned herself with different discourses and notes how themes of ‘control’ and ‘professionalism’ seemed to pattern her stories of informal and formal practices both within and beyond her professional education. The paper calls for further research into how student‐teachers perceive the relevance of their personal experience to their professional role and argues for encouraging pre‐service and practising teachers to tell stories of their digital practices and reflect upon the discourses which frame them.  相似文献   

13.
How creativity in education is applied by teachers to secondary school contexts is dependent on how the term ‘creativity’ is grounded, politicised, and practised. This paper reports on an international study of secondary schools in Australia, USA, Canada, and Singapore investigating how creativity is understood, negotiated, valued and manifested in secondary schools, focusing on teacher and student understandings, actions, benefits and impediments to creative and critical thinking. Participant reflections revealed inter-, trans- and cross-disciplinary learning shaped by teacher collaboration, dialogue and classroom organization that fosters critical and creative thinking. Implications are made for the ways practicing teachers develop and foster creativity via pedagogical approaches that enhance connectivity and interdisciplinarity of teaching practices between domains of learning. An education-based Creativity Index through which administrators and teachers can gauge, assess and implement creative skills, capacities, pedagogic practices and assessment of creativity within secondary schools is posited. Implications for STEM/STEAM education and centralizing creative capacities in teaching, learning, and educational change are offered.  相似文献   

14.
This paper is a theoretical and analytical account of a digital video‐editing project with student teachers. The work was part of a wider study known as ‘Creative Teachers for Creative Learners’, and investigated how creativity could be integrated within existing structures and courses of initial teacher education. The paper draws on notions of multimodality to explain how resources such as gesture, image, speech, narrative and music were used by student teachers to create meaning within video productions. Participants noted that the digital video project allowed them to think about how to use these resources in formal schooling contexts and how this could contribute to further work on introducing creativity and agency into their teaching practices.  相似文献   

15.
Assessing creativity is commonly believed to be difficult but there is evidence that an intuitive, holistic assessment is easy and reliable. Given that children can engage in creative activity and teachers are expected to foster it, some assessment of it could aid planning and optimise support. Assessing creativity intuitively and holistically could be a useful, quick way of assessing to inform teaching. A teacher of young children, however, is essentially an outsider in the child’s world and often also in the world of science. Judging a child’s creativity in this way from a child’s point of view may not always be easy or reliable. Here, pre‐service elementary teachers in the UK assessed explanations of simple science events. Their holistic assessments of creativity did not agree to any great extent. Agreement improved when they assessed some of the attributes of creativity but was still less than expected. Nevertheless, these novices’ assessments as a whole showed there was some ability to discriminate usefully between explanations, albeit with considerable variation from teacher to teacher. Some implications for teacher training are described.  相似文献   

16.
This paper advocates the development of high‐level research capability in some students in their undergraduate Bachelor of Education course. The rationale for this viewpoint is presented in relation to three questions: ‘What is educational research?’ ‘Why should universities develop high‐level research capability in some pre‐service teacher education graduates?’ and ‘What type of curriculum can support the development of high‐level research capability in some pre‐service teacher education graduates?’ The first two questions are addressed broadly. The latter question is addressed with reference to an existing Research Pathway within a Bachelor of Education course. The paper concludes with the identification of a priority issue for subsequent iterations of the Pathway and a reflection on the shift in my role as a teacher in this Pathway from ‘teacher researcher’ to ‘scholarly teacher’.  相似文献   

17.
Drawing on Vygotsky’s notion, developed by Bruner, of learners growing into ‘the intellectual life of those around them’, this paper reports on a small-scale questionnaire survey of teachers’ thinking about poetry writing and their instructional practices of teaching it. Thirty-three teachers, with a range of teaching experience and service, took part in the study. This paper presents, analyses and evaluates the central metaphor of ‘freedom’ used by teachers. This presents poetry writing instruction in four contrasting ways: as freedom to explore personal creativity; as a site of integrated thinking; as a rejection of ‘formulaic writing’; and as freedom from curricular ‘directives’. The paper argues that these metaphors indicate considerable personal investment by teachers of poetry and that they consider the teaching of poetry writing to have impact as much on themselves as on pupils.  相似文献   

18.
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   

19.
《Literacy》2017,51(3):162-168
This paper focuses on a Community of Writers creative writing project where 25 primary school pupils from lower socio‐economic backgrounds took part in creative writing workshops over a 2‐week period at a higher education institution. Using practitioner enquiry and discourse analysis, this paper views identity as participation in ‘figured worlds’ and highlights the relationship between the children's creative writing outputs and their shifting identities (Holland et al., 1998 ). A case is made that children's authentic creative writing can be nurtured by a community that promotes intertextuality and ‘hybridity’ (Bakhtin, 1981 ) as well as balancing pedagogical ‘structure’ and ‘freedom’ (Davies et al., 2012 ) in order to provide textual space for writers to enact different identities. At a time when the global figuring power of performativity (Ball, 2003 ) actively restricts the ways in which teachers and children interact, this paper also presents an informed argument for the value of school–university research partnerships.  相似文献   

20.
For the past few years, creativity has gradually become an important element in the national cultivation of talent in Taiwan. Although traditionally art education is closely linked with creativity, the academic research on general art education is very insufficient. Therefore, the goal of this research is to investigate how creativity could be cultivated in curriculum planning for general art education at technology universities as well as what students’ learning process was when they participated in a course's creative activity. The research applied the theory and steps of creative problem‐solving (CPS) on a general art course to design a group practical activity combining with the local community. This involved converting the steps of creative problem‐solving into different stages of group design activities with the goal of constructing a design process equivalent to the process of problem‐solving. The main research results revealed that students could experience the problem‐solving process through group design activities and develop their divergent and convergent thinking at the same time. Moreover, the cooperative learning model is the most appropriate teaching strategy for students from non‐art‐related departments when cultivating their creativity.  相似文献   

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