Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 9

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  creative imagination
help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
EN
This study describes the issue of maladaptive daydreaming. This phenomenon is becoming a contemporary educational problem because it limits the development potential of children and adolescents as well as their interpersonal relations. The field of possible understanding of maladaptive daydreamingin relation to terms related in meaning was outlined, as well as the current attempts at its scientific conceptualization. In my analysis, I go beyond the dualistic understanding of the children’s real and imaginary world, referring to the cultural-historical theory of the development of creative imagination as a higher mental function as an internalized system of social relations. From this perspective, the phenomenon of daydreaming in children and adolescents, in relation to reality, is not treated in a dichotomous way, but as a social development situation.
EN
This paper describes and analyses the results of experimental courses designed to improve the role played by cognitive processes in the development of the literary and creative talents of young school children. It was proven that these talents can be developed through improvements in some of the structural components of these talents, in particular creative imagination, figurative thinking and logical memory. The individual influences of these components, as well as the interrelationships that exist between them, were studied. It was established that task-oriented and simultaneous activation of the processes of creative imagination, figurative thinking and logical memory in young school children during their studies greatly contributes to the development of their literary and creative talents.
EN
Currently, there has been a big change in the form of spending free time because a large part of the average person's life is occupied by the Internet. Every day we browse pages, watch programs, movies and series. Activities involving children have also changed. Today, full playgrounds or libraries are a rare picture. The youngest generations absorb visual content much more often - various types of animated cartoons, which they often watch several hours a day. Sometimes cartoons are also used by parents as a form of bribery or as a kind of seizing the child's attention for some time. The purpose of this article is to find the answer to the question of how the form of content (text, movie), inspiring the creation of artistic products, affects the creative imagination of a child. At the beginning we present the scientific position in this matter, and then the results of our own research. As a tool in the research, the Kate Franck Drawing Completion Test was used, which measures the imagination of the examined person, and then the method of product analysis was used, , referring to the category of creative imagination. Two groups of children from the second grade of primary school took part in the study and were asked to create drawings after learning the presented content. For one group a fairy tale was presented in the text form, but for the second group: in the form of the animated cartoon. Students from the group listening to the story read from the book, on the created drawings added a lot of original ideas, variously presented the reality of the fairy tale heard, in contrast to the second group, in which the drawings of all students were very similar to each other. The results of the study indicate that cartoons in a form of the movie much less stimulate children to use their creative imagination, than fairy tales in a text form, which allows them to activate their creative potential.
EN
In aspects of social rehabilitation there is a lack of empirical research concerning the measurement of the level of creative imagination in people who are socially maladjusted. In order to verify the theoretical assumptions, which indicate that maladjusted youth has lower potential of creative imagination than socially adapted adolescents, it was decided to determine the significance of differences in the level of creative imagination among socially adapted and socially maladjusted boys aged 13-16 years. The study is based on the theory of creativity developed by J.P. Guilford. This theory refer to divergent thinking. In the study, the method of diagnostic survey and psychometric technique have been used. As research tools the following tests have been used: Test of Creative Imagination (TCI) and Torrance's Circles Test. During the statistical analysis were used Student's t-test. The analysis of the collected statistical material allowed to say that socially maladjusted boys aged 13-16 years showed a lower level of creative imagination than their peers who are socially adapted. The results of this study indicate the need to take educational activities in order to stimulate creative disposition (divergent thinking, creating compensatory function, emotional maturity) among socially maladjusted youth.
PL
W aspektach pedagogiki resocjalizacyjnej brak jest badań empirycznych dotyczących pomiaru poziomu wyobraźni twórczej u osób nieprzystosowanych. W celu sprawdzenia założeń teoretycznych, które sygnalizują, że potencjał wyobraźni twórczej u młodzieży nieprzystosowanej jest niższy niż ich rówieśników, którzy są przystosowani społecznie, postanowiono określić istotność różnic w poziomie wyobraźni twórczej pomiędzy młodzieżą męską w wieku 13-16 lat nieprzystosowaną społecznie a niemanifestującą takich symptomów. Przeprowadzone badania bazują na teorii twórczości J.P. Guilforda, opartej na myśleniu dywergencyjnym. W badaniach posłużono się metodą sondażu diagnostycznego, techniką psychometryczną, jako narzędzie wykorzystano Test Wyobraźni Twórczej (TWT) i Test Kółek (TK). W analizie statystycznej zastosowano test t-Studenta. Zebrany materiał statystyczny pozwolił stwierdzić, że nieprzystosowana społecznie młodzież męska w wieku 13-16 lat wykazała się mniejszym poziomem wyobraźni twórczej niż ich rówieśnicy nieposiadający takich symptomów. Wyniki niniejszych badań wskazują na konieczność podjęcia działań wychowawczych w celu pobudzania dyspozycji twórczych (myślenia dywergencyjnego, kreowania funkcji kompensacyjnej, dojrzałości emocjonalnej) wśród młodzieży nieprzystosowanej społecznie.
PL
The author seeks an answer to the following question: can we relate the work of Franciszek Karpiński to the philosophical achievements of Gottfried Wilhelm Leibniz? The article proposes to treat Karpiński’s work as a philosophical inquiry and notices in it a clearly defined metaphysical and axiological principle, which can be treated as an independently constructed version of Leibniz’s principle of sufficient reason. The notes in the diary confirm the assumption that painful life experiences did not stop the poet’s efforts to build a vision of the world that we have reasons to call the “philosophy of optimism”.
EN
The basis for this essay is the reconstruction of meaning of the spider’s metaphorical image. The spider in the 19th century has become a word-signal evoking the melancholic worldview. The early works of Józef Ignacy Kraszewski are interpreted here as a testimony to his fascination focused on German fantastic literature (including the prose of E.T.A. Hoffman ), in which this motif is also employed. The suggested interpretation of the lesser known works of "An Ancient Tale’"s author is an attempt at reconstructing the creative imagination of Kraszewski, in which the image of a spider in a web, as a symbol of a person drawing from within, are associated with the comfort the writer finds in the creative process while constantly struggling with the sorrow for the past and the feeling of loss.
EN
This paper aims to present an overview of diagnostic tasks measuring creative imagination, appliedby psychologists in experimental studies. A special attention is given to experimental techniques formulated within the framework of major theories of creative process. The article examines theoretical assumptions of these techniques, procedures of the study and factors which influence the validity and reliability of measuring imagery abilities. The conclusions drawn from this examination provide a basis fordefining a possibility of applying experimental techniques of creative imagination measurement in educational studies, especially in the diagnostics of children’s creative potential.
PL
W artykule przedstawiony został przegląd badań diagnostycznych mierzących wyobraźnię wizualną i twórczą, wykorzystywanych przez psychologów. Szczególną uwagę poświęcono technikompomiaru opracowanym w ramach współczesnych teorii procesu twórczego. Przeanalizowano teoretyczne założenia tych technik, procedury badania oraz czynniki wpływające na trafność i rzetelnośćpomiaru zdolności wyobrażeniowych. Wnioski płynące z tej analizy były podstawą określenia możliwości zastosowania eksperymentalnych technik pomiaru wyobraźni twórczej w badaniach pedagogicznych, zwłaszcza w diagnostyce potencjału twórczego dzieci.
EN
The essay titled “The Image of Man in Metafictional Novels by John Banville: Celebrating the Power of the Imagination” analyzes how John Banville reconstructs the image of man in his two novels Kepler and Doctor Copernicus by means of broadly understood metafiction. The Author of the essay discusses the following elements: implied author’s and narrator’s power of creative imagination and Rheticus’s self-consciousness which enables to create fiction and intertextuality of the novel. When analyzing the last aspect of the novels, the Author mentions also Michel Foucault’s term, heterotopia. The results of this analysis are twofold. On the one hand, man has got practically unlimited creative imagination on their part. On the other hand, man seems to be lost in the world of unclear ontological boundaries, which proves a paradoxical image of man.
PL
Artykuł, zatytułowany „Obraz człowieka w powieściach metafikcyjnych Johna Banville’a: pochwała siły wyobraźni” analizuje sposób w jaki John Banville, poprzez elementy charakterystyczne dla szeroko rozumianej metafikcji, stara się zrekonstruować obraz człowieka w powieściach: Kepler i Doctor Copernicus. Autor eseju kolejno omawia: siłę kreatywnej wyobraźni domniemanego autora i narratora oraz samoświadomość jednej z postaci, Rheticusa, w tworzeniu fikcji oraz intertekstualność powieści. Przy okazji analizy ostatniego aspektu utworów, wspomniany zostaje również termin Michela Foucault, heterotopia. Wnioski o człowieku, do jakich prowadzi ta analiza, pokazują, że z jednej strony dysponuje on praktycznie nieograniczoną wyobraźnią twórczą. Z drugiej zaś, człowiek jest zagubiony w świecie niewyraźnych granic ontologicznych, co udowadnia dość paradoksalną wizję człowieka.
|
2018
|
vol. 7
|
issue 2
68-88
EN
The paper presents three experiments where metaphorical thinking, visualization and visual art expression were important elements. A characteristic feature of the first experiment was the use of thinking by means of analogy and metaphorical thinking with verbal and visual expressions. In the second experiment related to creative imagination, visual metaphor was dominant. The third experiment was an intermedia creative workshop, in which multimodal metaphors and playing with a specific plot were significant features. Combining physical, virtual and mental spaces as well as moving participants between mixed extended real and virtual spaces were also key factors. The intermedia creative workshop was organized by students of art education in two stages. In the first stage, they designed the workshop while in the second stage, the workshop was run among early-school-age children.
PL
W artykule przedstawiono trzy eksperymenty, w których ważne było myślenie metaforyczne, wizualizacja i ekspresja plastyczna. Charakterystyczną cechą pierwszego eksperymentu było wykorzystanie myślenia przez analogię i myślenia metaforycznego z ekspresją werbalną i wizualną, w drugim eksperymencie związanym z wyobraźnią twórczą dominowała metafora wizualna. W trzecim, mającym charakter intermedialnych warsztatów twórczych, znaczącymi elementami były metafory multimodalne i zabawa z konkretną fabułą. Ważnym czynnikiem było także łączenie przestrzeni fizycznej, wirtualnej i mentalnej, przemieszczanie się uczestników w mieszanej, rozszerzonej przestrzeni realnej i wirtualnej. Intermedialne warsztaty twórcze realizowane były przez studentów edukacji artystycznej w dwóch etapach. Na pierwszym studenci tworzyli projekty warsztatów, na drugim warsztat realizowano wśród dzieci w wieku wczesnoszkolnym.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.