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EN
This text is devoted to a discussion of current achievements in the psychology of creativity, as well as to the further development of the field. It is concerned with a criticism of former and current theses in the field of the psychology of creativity discussed by Glăveanu (2014). The arguments presented indicate that, despite Glăveanu’s (2014) proposition, the psychology of creativity is not in crisis. It is pointed out that the difference in views between supporters of the social psychology approach to creativity and psychology researchers oriented towards the study of creative potential on how to conduct creativity research, stems from a concentration on different levels of creativity, and not necessarily from an ineffective theory of creativity. As a consequence of these different perceptions of creativity at its particular levels, determining the prime standard of creative potential is not sufficient to understand the social conditioning of creative activity and the social assessment of creativity, and vice versa.
EN
Developing creativity is regarded as a crucial task for teachers and entire education systems. It is one of the goals of educational activities defined in the curricula of many countries, including Poland. Therefore, the aim of the study discussed in this article was to analyze the goals of creativity education as formulated by high school teachers. The study involved 219 mathematics and Polish language teachers from 32 high schools, who were asked to identify what they considered the five most important educational goals for preparing high school students for independent creative activity in adult life. An expert assessment of these goals revealed that only about one-third (31.08%) related to broadly defined education for creativity. Despite having the opportunity to list up to five creativity-related educational goals, teachers on average mentioned only one (M = 1.20; SD = 1.19). One-third of the surveyed teachers did not list any goals that experts deemed as contributing to creativity education (36.99%), a quarter listed only one such goal (26.48%), a fifth listed two (21.46%), one in ten listed three (10.05%), and only one in twenty listed four such goals (5.02%).
PL
Rozwijanie kreatywności traktowane jest jako jedno z ważnych zadań stojących przed nauczycielami oraz całymi systemami edukacji. Stanowi jeden z celów działań edukacyjnych formułowanych w ramach programów kształcenia wielu państw, w tym również Polski. Dlatego celem badania omówionego w niniejszym artykule badania była analiza celów kształcenia do twórczości jakie formułują nauczyciele liceów. W badaniu wzięło udział 219 nauczycieli matematyki oraz języka polskiego z 32 liceów ogólnokształcących, których poproszono o wskazanie pięciu najważniejszych – ich zdaniem – celów kształcenia, które są istotne z punktu widzenia przygotowania uczniów szkoły średniej do samodzielnej aktywności twórczej w życiu dorosłym. Ocena celów kształcenia wskazanych przez nauczycieli dokonana przez ekspertów wykazała, że zaledwie co trzeci z nich (31,08%) dotyczył szeroko rozumianego kształcenia do twórczości. Mimo iż badani nauczyciele mieli możliwość wskazania aż pięciu celów kształcenia do twórczości, to przeciętnie formułowali zaledwie jeden (M = 1,20; SD = 1,19). Co trzeci z badanych nauczycieli nie sformułował ani jednego celu kształcenia, który zostałby uznany przez ekspertów za sprzyjający kształceniu do twórczości (36,99%), co czwarty wskazał tylko jeden taki cel (26,48%), co piąty dwa (21,46%), co dziesiąty trzy (10,05%), a co dwudziesty – cztery takie cele (5,02%).
EN
The presented study is devoted to the examination of the threshold hypothesis (TH), which assumes a curvilinear relation between creative abilities and intelligence. The article focuses on methodological problems, particularly on analytical strategies relevant to confirming or refuting the TH. The TH was tested on more than 100 middle-school students. Intelligence was measured by Raven’s Progressive Matrices (RPM) test, and creative abilities by eight divergent production tests measuring fluency and originality of thinking. Different criteria of acceptance / rejection of the TH were applied and discussed. The TH was confirmed when the relation between creative abilities and intelligence under the threshold was greater than zero, while above the threshold it was not different from zero (the so-called A strategy). However, the TH was refuted when differences in the strength of the correlation below and above the assumed threshold of intelligence were compared (B and C strategies).
EN
The aim of this study is the analysis of creativity changes across life, particularly the widely discussed crisis periods in the development of creative abilities. A large and diversified sample of Poles (N = 4898 aged from 4 to 21 years), at each educational stage of the Polish education system, from pre-schoolers, through primary school students, middle-school students, secondary-school students and finally university students completed the Test for Creative Thinking – Drawing Production. The observed changes showed a nonlinear pattern in the development of creativity with diverse declines and increases in creative abilities. These trends are different for each of the assessment criteria of the TCT-DP and at least three different trajectories were identified. The adolescent slump was confirmed for three of the 14 assessment criteria as well as the total TCT-DP score. What was not noted however was: a slump caused by entry into formal schooling, (age 6 vs 7), 4th grade slump, (age 9 vs 10) and 6th grade slump (age 11 vs 12). We discuss possible reasons for and consequences of the findings.
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