Creativity in Education

2015 ◽  
pp. 264-284 ◽  
Author(s):  
Beth Ferholt ◽  
Monica Nilsson ◽  
Anders Jansson ◽  
Karin Alnervik
Keyword(s):  
Data Collection ◽  
Research Team ◽  
Creative Work ◽  
Historical Understanding ◽  
Exploratory Learning ◽  
Creative Activity ◽  
Formative Intervention

The goal of this chapter is to respond to the scarcity of literature on creativity that is relevant both to CHAT and in the field of education. The authors explore Vygotsky's writings on creativity, imagination, art, and play in relation to three Swedish preschool projects that practice a pedagogy of exploratory learning. Also included are discussions of imagination versus realistic thinking, syncretism in children's creative work, and play as a creative activity. Because this study was a formative intervention, the pedagogy of exploratory learning became significant in the analysis. The bulk of the chapter consists of thick descriptions of the projects and discussion of aspects of creativity as they appear in the projects. The data was collected by teachers and a research team that consisted of the authors of this chapter. Data collection in the three projects took place before the intervention took place, during the initial phases of the intervention, and after the intervention had become an annual theme for the preschools. The research was initially guided solely by a cultural historical understanding of creativity, while the analysis brought CHAT into dialogue with postmodern writings that are related to exploratory learning.

Creativity in Education

Gamification ◽  
2015 ◽  
pp. 139-158
Author(s):  
Beth Ferholt ◽  
Monica Nilsson ◽  
Anders Jansson ◽  
Karin Alnervik
Keyword(s):  
Data Collection ◽  
Research Team ◽  
Creative Work ◽  
Historical Understanding ◽  
Exploratory Learning ◽  
Creative Activity ◽  
Formative Intervention

The goal of this chapter is to respond to the scarcity of literature on creativity that is relevant both to CHAT and in the field of education. The authors explore Vygotsky's writings on creativity, imagination, art, and play in relation to three Swedish preschool projects that practice a pedagogy of exploratory learning. Also included are discussions of imagination versus realistic thinking, syncretism in children's creative work, and play as a creative activity. Because this study was a formative intervention, the pedagogy of exploratory learning became significant in the analysis. The bulk of the chapter consists of thick descriptions of the projects and discussion of aspects of creativity as they appear in the projects. The data was collected by teachers and a research team that consisted of the authors of this chapter. Data collection in the three projects took place before the intervention took place, during the initial phases of the intervention, and after the intervention had become an annual theme for the preschools. The research was initially guided solely by a cultural historical understanding of creativity, while the analysis brought CHAT into dialogue with postmodern writings that are related to exploratory learning.

«The Forties, Fateful…» in David Samoylov’s Poetry: a Lingvo-stylistic Analysis of Three Poems about War (To the 100th Anniversary of the Birth)

2020 ◽  
Vol 81 (3) ◽  
pp. 63-69
Author(s):  
E. A. Frolova
Keyword(s):  
Comparative Analysis ◽  
20Th Century ◽  
100Th Anniversary ◽  
Stylistic Analysis ◽  
Creative Work ◽  
Creative Activity ◽  
War Poetry ◽  
Artistic Manner ◽  
Different Levels ◽  
Linguistic Means

The article presents an analysis of three poems about war («The Tale of Our Lady and Russian Soldiers» («Slovo o Bogoroditse i Russkih Soldatah»), «The Attack» («Ataka»), «The Forties» («Sorokovye»)) written by D. Samoylov in different periods of his creative activity. On the basis of the existing research of the creative work of the famous poet of the 20th century, a multilevel characteristic of his war lyrics is given. The aim of the article is to characterize the specific features of the poetic language of such an original author by means of a lingvo-stylistic analysis of D. Samoilov’s poems, to reveal the richness and diversity of his artistic manner. The following research methods were used: analytical reading, comparative analysis, ontological method, a multilevel analysis of poetry. The author accentuates reminiscences in D. Samoilov’s war poetry, the contrast and contrast means, repetition as an artistic device, paronomasia in the stylistic mixture of linguistic means belonging to different levels. A multidimensional poet’s approach to the theme of the war is the conclusion of the article.

scholarly journals Mask-Making and Drawing as Method: Arts-Based Approaches to Data Collection With War-Affected Children

2019 ◽  
Vol 18 ◽  
pp. 160940691983247
Author(s):  
Amber Green ◽  
Myriam Denov
Keyword(s):  
Data Collection ◽  
Research Team ◽  
Data Gathering ◽  
Research Process ◽  
Future Research ◽  
Northern Uganda ◽  
Visual Methods ◽  
Conflict Zones ◽  
Mask Making ◽  
In Captivity

Globally, the numbers of children living in conflict zones and displaced by war have risen dramatically over the past two decades, and with this, scholarly attention to the impacts of war on children. More recently, researchers have examined how war-affected children are being studied, revealing important shortcomings. These limitations relate to the lack of child participation in research, the need for researchers to engage children in the research process as “active agents” rather than “passive objects” under study, as well as the need for researchers to pay closer attention to ethical dilemmas associated with researching war-affected children. To address these realities, innovative research methods that can be adapted across diverse sociocultural contexts are warranted. In light of these shortcomings, our research team integrated two arts-based methods: mask-making and drawing, alongside traditional qualitative data collection methods with a particularly marginalized population of young people: children born in captivity within the Lord’s Resistance Army in northern Uganda. In this article, we provide information on the context of northern Uganda. We describe how the use of mask-making and drawing was used as data gathering tools and the ways in which these arts-based methods had important benefits for the research participants, researchers, and impacted on the validity of the research as a whole. We propose that the use of these participatory visual methods enriched the themes elicited through more traditional methods. The article describes how these arts-based mediums fostered community building among children typically excluded from their communities and were successful as a tool to build trust between participants and the research team when exploring sensitive topics. The article concludes with implications for future research with war-affected children.

The Challenges of Obtaining Credible Data for Transportation Security Modeling

2015 ◽  
pp. 598-611
Author(s):  
Matt Campo ◽  
Michael Greenberg ◽  
Henry Mayer ◽  
Karen Lowrie
Keyword(s):  
Data Collection ◽  
Research Team ◽  
Transportation Safety ◽  
Modeling Tools ◽  
Transportation Security ◽  
Rutgers University ◽  
Data Gaps ◽  
Security Modeling ◽  
Processing Errors ◽  
And Training

The National Transportation Security Center of Excellence (NTSCOE) was established in August 2007 to develop new approaches to defend, protect, and increase the resilience of the nation's multi-modal transportation infrastructure, and to create education and training programs for transportation security. The Center for Transportation Safety, Security, and Risk (CTSSR) at Rutgers University, an NTSCOE institution, developed models that address multi-modal resilience of freight and transit transportation networks. Data collection processes for each project presented significant hurdles for the research team in developing credible and accurate modeling tools. For any given data need, the potential exists for data gaps, collection, and processing errors, publication and use restrictions, and the need to obtain the most timely information. These challenges must be foreseen by researchers and practitioners in order to better accommodate potential restrictions on both data collection and dissemination while still providing users with a tool that improves decision making.

Cultural Differences in Creative Professional Domains

2018 ◽  
Author(s):  
Vlad Petre Glăveanu ◽  
Todd Lubart
Keyword(s):  
Dynamic System ◽  
Cultural Differences ◽  
Human Action ◽  
Professional Activity ◽  
Creative Work ◽  
Contextual Influences ◽  
Creative Activity ◽  
Creative Processes ◽  
Professional Groups ◽  
Norms And Values

This chapter offers a new conceptualization of culture, focusing on domains of professional activity. Culture is understood as a dynamic system integrating material, symbolic, and social elements and describing the context of human action. From this perspective, culture exists not only between nations but also within nations, at the level of different groups and communities. Professional groups are cultural units, which bring together people who share a number of norms and values, work within a given set of material constraints, and co-construct a common identity. Artists, scientists, and designers represent distinctive professional groups associated with recognized forms of creative activity. Research is presented concerning (a) the factors involved in creative expression in art, science, and design, and (b) the creative processes specific for different stages of creative work within each of these domains. The findings are interpreted in terms of cultural and contextual influences.

The anthropology of creativity in the context of S.N. Bulgakov’s sophiology

2019 ◽  
pp. 140-153
Author(s):  
O.V. Shchekaleva
Keyword(s):  
Creative Process ◽  
Human Life ◽  
Creative Work ◽  
Creative Activity ◽  
Ontological Status ◽  
Artistic Creativity ◽  
Artistic Creation ◽  
True Meaning ◽  
The Impact

This paper deals with Bulgakov’s doctrine on the human being and creative work. The reason why it is possible to interpret and understand Bulgakov’s conception of creativity in the light of anthropology is justified in the paper. It is indicated that many researchers of Bulgakov's philosophy did not make an explicit connection between anthropology and creativity and did not raise the question why man is capable of creativity. Anthropology and the concept of creativity are reconstructed using Bulgakov's texts. The role of Sofia in the creative process and her role in human life as a whole are determined. The change of the ontological status of man as a result of the original sin is analyzed. The specificity of Bulgakov's understanding of the creative act and its influence on man is revealed. The impact of creativity on a person is analyzed in the paper. It is proposed to consider artistic creation separately from self-creation, as it is fundamentally different from artistic creativity. It is emphasized that according to Bulgakov, self-creation can lead a person to salvation and even to Holiness. It is argued that self-creation as the implementation of one's own idea-norm is the true meaning of human life. Attention is drawn to the tragedy of creativity, which every person-creator experiences. In conclusion, it is pointed out that in the future the concept of Bulgakov's creativity can be ap-plied to the evaluation of works of art. The article concludes that, according to Bulgakov's philosophy, the main characteristics of a person that make him capable of creativity are his freedom, genius and talent. This way the importance of creative activity, both for an individual and for the whole world, is proved and the eschatological role of creativity is indicated.

scholarly journals Model of a Creative Man in Modern Economy: Experience of Creation

2020 ◽  
Vol 12 (4) ◽  
pp. 7-20
Author(s):  
O. I. Lozina ◽  
V. N. Rogozhnikova ◽  
L. A. Tutov
Keyword(s):  
New Technologies ◽  
Institutional Factors ◽  
Creative Work ◽  
Opportunistic Behavior ◽  
Creative Activity ◽  
Modern Economy ◽  
Interdisciplinary Approaches ◽  
The World ◽  
Economic Reality ◽  
Special Protection

This article is an experience of creating a model of a creative man in the economy. Economics is a creative activity, because the essence of Economics is the constant creation of new things: new technologies, products, services, institutions, and the economic reality itself. Creativity is also one of the most important characteristics of the age of uncertainty – creative work is opposed to mechanical work that robots can perform, and needs special protection in the world of algorithms and opportunistic behavior; creativity is impossible without freedom, which depends on a variety of individual and institutional factors; creativity is expressed in the creation of new technologies that radically change the world and people. Thus, creativity is a factor of unpredictability, novelty in human behavior, so for a modern economy focused on the analysis of this behavior, the problem of creativity is particularly acute.The purpose of the work is to create a model of a creative person in the economy. The paper uses comparative analysis, systematic and interdisciplinary approaches, and a historical approach.

PHILIPPE DE VITRY, BISHOP OF MEAUX

2019 ◽  
Vol 38 ◽  
pp. 215-268
Author(s):  
Andrew Wathey
Keyword(s):  
Fourteenth Century ◽  
Family Relationships ◽  
Literary Work ◽  
National Government ◽  
Creative Work ◽  
Political Society ◽  
Creative Activity ◽  
Archival Material ◽  
Geopolitical Context

AbstractPhilippe de Vitry’s tenure of the bishopric of Meaux in the last decade of his life, 1351–61, the crowning event of his court and church career, has often been regarded as a period of retirement from creative activity. A reassessment of this judgement is timely, following new musical discoveries and literary work exposing links between Vitry and his contemporaries. Using new archival material, this article explores the geopolitical context of Vitry’s work in the diocese of Meaux; his engagement with political society, king and court; and his role in events under a national government fractured by the capture of Jean II at Poitiers in 1356. It examines the interplay of Vitry’s career, relationships and output, identifying the composer’s house in Paris, and exploring his family relationships, and his engagement with Pierre Bersuire, among others, in the creative circles of mid-fourteenth-century Paris. It also illuminates a context and opportunities for the continuation of his creative work into the late 1350s, some remnants of which survive in the literary miscellany Paris, BN Lat. 3343.

The Challenges of Obtaining Credible Data for Transportation Security Modeling

2014 ◽  
pp. 1-19
Author(s):  
Matt Campo ◽  
Michael Greenberg ◽  
Henry Mayer ◽  
Karen Lowrie
Keyword(s):  
Data Collection ◽  
Research Team ◽  
Transportation Safety ◽  
Modeling Tools ◽  
Transportation Security ◽  
Rutgers University ◽  
Data Gaps ◽  
Security Modeling ◽  
Processing Errors ◽  
And Training

The National Transportation Security Center of Excellence (NTSCOE) was established in August 2007 to develop new approaches to defend, protect, and increase the resilience of the nation's multi-modal transportation infrastructure, and to create education and training programs for transportation security. The Center for Transportation Safety, Security, and Risk (CTSSR) at Rutgers University, an NTSCOE institution, developed models that address multi-modal resilience of freight and transit transportation networks. Data collection processes for each project presented significant hurdles for the research team in developing credible and accurate modeling tools. For any given data need, the potential exists for data gaps, collection, and processing errors, publication and use restrictions, and the need to obtain the most timely information. These challenges must be foreseen by researchers and practitioners in order to better accommodate potential restrictions on both data collection and dissemination while still providing users with a tool that improves decision making.

From Kharkiv to Istanbul: Creative Work of Mykola Kalmykov – Naci Kalmukoğlu

2021 ◽  
Vol 2021 (02) ◽  
pp. 96-106
Author(s):  
F. Akdenizli ◽  
◽  
V. Chechyk ◽  
Keyword(s):  
Academic Training ◽  
Main Role ◽  
Active Member ◽  
Creative Work ◽  
Creative Activity ◽  
Structural Framework ◽  
Custom Made ◽  
The One ◽  
Basic Features ◽  
High Level

The article is dedicated to the art of Mykola (Nikolay) Kalmykov, whose maturity and creative activity took place in historical and cultural realias of Turkey in the 1920s and 1940s. Years of artistic formation associated with Ukraine in the first decades of the 20th century are an integral part of his creative biography. A high level of academic training, knowledge of historical styles, obtained at Kharkiv Art School, on the one hand, on the other hand, admiration for the artists of the “Seven” group, of which M. Kalmykov was an active member, for applied forms of creativity, orientation towards European modernism as a space of creative freedom determined the artistic universalism of the novice. The modernist nature of Istanbul artworks of M. Kalmykov is undoubtable. At the same time, absorbing the plastic discoveries of French modernism, the artist existed in a special emotional sphere, where there was a place for aesthetic research in the art of past epochs. In this dichotomous fusion of impressionistic worldview and passeism, most of the custom-made things were solved – mise-en-scenes for murals and theatrical scenery, historical canvases and still lifes. Exclusively pictorial ambitions were embo-died in depiction of nude figures, in portraits of relatives and friends, in hundreds of landscape scenarios, the main role in which was assigned to sunlight. Painting as such, attractive in itself, related M. Kalmykov to A. Grishchenko, the author of the plastic concept “color dynamos”. Construction of a pictorial plot on the ratio of color masses, structural framework of which was set by horizontal and vertical axes of free brushstrokes are its basic features. Creative biography and personality of Mykola Kalmykov are widely known to Turkish specialists, collectors and art lovers. Discovery of art of Mykola Kalmykov by their Ukrainian colleagues is still ahead.

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