Artistic creativity from my point of view. Artistic Creativity and Mental Health

The aching spirit heals the hymn
E. Baratynsky

Art therapy, if understood as the purposeful use of some of the psychological and medical effects of artistic creation and perception, seems to be a very recent phenomenon from a historical point of view.

But we can hardly be mistaken in saying that it is, not in name, but in essence, the same age as art itself. And that means a person. After all, what we now call art is the original sign and indisputable evidence of human existence in the world. No matter how far back knowledge extends, we see that the being, confidently and without reservations called man, has always created some or other spatial or temporal forms that contain and express something greater than themselves. And because of this, they retain in the person himself an unconscious, and sometimes conscious sense of belonging to another, greater, imperishable, to some deep, invisible dimension of the world and himself. Looking ahead, I will say: such an experience is vital and healing in the most generalized, undifferentiated sense of the word.

Indirect confirmation of the fact that art therapy is rooted in immemorial antiquity can be the practices of the so-called traditional, or "primitive" societies, psychologically and physically influencing people with rhythmic-intonation, motor-plastic, color-symbolic aspects of rituals.

Arts in more modern sense words that emerged from the primary ritual-magical syncret also showed therapeutic potential from ancient times. In particular, the legends about Pythagoras and the Pythagoreans testify that the purposeful application of one or another musical mode changed the internal state, intentions and actions of people. Plato clearly saw the educational and therapeutic possibilities of the arts. True, he also saw that, under certain conditions, their effect can become destructive - but what healing agent cannot be said the same? However enigmatic the full meaning of the Aristotelian catharsis remains, there is no doubt that it signifies some kind of renewal and purification of the soul under the influence of the stage action, and so on and so forth.

Let us return to modern art therapy, which is becoming more and more visible, even a fashionable component of psychological practice. It branches, gives rise to new directions: music therapy, animation, bibliotherapy, choreo-, puppet-, color-, fairy-tale therapy, therapeutic modeling, therapeutic theater ... sleep, pressure, speech, sensorimotor sphere, communicative abilities, problems of correction, rehabilitation, support for people with disabilities… The actions of an art therapist are “targeted”, sometimes even prescription. So, lists of musical works are created, listening to which is shown in a particular case; pieces are specially composed, the conflicts of which should help the performers resolve similar traumatic situations in their home or studio life.

I note that such an approach to art, although justified by a good purpose and efficiency, is of a utilitarian-applied nature: the therapist uses separate, essentially peripheral features of the arts and specific works, correlating them with the same specific circumstances of the client's life. The universal essence of art, the artistic transformation of being, what, according to M. Prishvin, encourages the writer to “seriously translate his life into words”, remains in the background. Below I will consider the possibility of a different approach, which I almost “let slip” at the very beginning of the article.

A wonderful teacher-animator and art therapist Y. Krasny called one of his books “Art is always therapy” (3). The book is about seriously ill children and extremely specific methods of working with them in an animation studio, but the title speaks eloquently about the fact that immersion in the sphere of artistic development of the world is healing and beneficial in itself. And not only for a person recognized as sick.

This is confirmed by science and pedagogical practice. Thus, domestic and foreign studies in the field of musical psychology reveal the beneficial effects of music in personal and intellectual terms ((4); (5)), talk about its holistic positive impact on the child, starting from the prenatal period (6). Intensified visual arts not only intensify the overall mental development of adolescents, but also correct distortions in the value sphere (7), increase mental activity and overall school performance (8). It is well known that in those educational institutions where at least some kind of artistic creativity is given worthy attention, the emotional tone of children rises, they begin to have a better attitude towards teaching and the school itself, suffer less from the notorious overloads and school neuroses, get sick less often and study better.

So it's time to talk not only about art therapy for those who already need it, but also about universal "art prevention" - and prevention, as you know, is better than treatment in all respects. In anticipation of the time when something similar will become possible in the domestic general education, we will try to figure out how the experience of artistic creation, communication with art can have a healing effect on the human personality.

You have to start from afar. But first, let's make some important reservations.

The first of these is necessary to forestall one all too obvious objection. Many phenomena of modern art, especially of our days (I'm talking about the art of a serious professional level), to put it mildly, are not carriers and "generators" of mental health; concerning internal state and the fate of some talented people of art, you would not wish this on your children and students. What are the grounds for asserting that mental health is so closely related to artistic creativity? I will say right away: the shadow sides modern culture, including artistic culture, are quite real, but their discussion must be conducted, starting, literally and figuratively, "from Adam". We cannot undertake anything similar within the framework of this work, and therefore, bearing in mind this side of the matter, we will speak of unconditionally positive aspects human artistic creativity, which undoubtedly prevail on the scale of the history of culture. In addition, the above objection applies exclusively to professional artistic environment certain historical period. We are now talking about art in general education, and here its positive role is beyond doubt and is confirmed by the above examples. As for the very differences between “general human” and professional artistic experience, this topic also requires a special in-depth discussion. For the time being, we will confine ourselves to a brief hint: in today's secularized and extremely specialized culture, these two spheres differ almost in the same way as physical education classes that are beneficial for everyone - and sports highest achievements fraught with psychological and physical injury.

And the second caveat. The considerations set forth below do not claim to be conclusive in the traditional, "strictly scientific" sense of the word. Like everything else in the “other-scientific”, humanitarian sphere of knowledge, they strive not for the “accuracy of knowledge”, but for the “depth of penetration” (9), and they are turned to a holistic, not fully verbalized experience of the reader as a partner in a dialogue.

So, first of all: what are the most common, underlying and non-situational causes of our psychological distress and potential mental illness? Figuratively speaking, one of them lies in the "horizontal", the other - in the "vertical" dimension of being, while the person himself, with his conscious and unconscious difficulties and contradictions, is constantly at the point of their intersection.

Trouble "horizontally" is rooted in the fact that our conscious "I", standing out at the beginning of life from the primary undivided wholeness, necessarily opposes itself to the surrounding world as a kind of "not me" and, in the conditions of modern rationalized culture, "hardens" in this natural, but one-sided opposition; “encloses” its territory, as if enclosing itself in a transparent, but impenetrable psychological shell of alienation from the world, as if initially external and alien to it. It excommunicates itself from participation in the universal being.

Both intellectually and emotionally, a person forms an image of a beginningless and endless world, living according to its own, purely objective natural and social laws and indifferent to its fleeting existence. The world of impersonal, cause-and-effect relationships that determine a person, to which it is possible only temporarily to adapt. In this regard, theorists reflect on the “ultimate atomization of the consciousness of a modern individual” or (for example, psychologist S.L. Rubinshtein) say that in such a world there is no place for a person as such; the image of the “desert of the world” is born in poets, which (let us remember for later!) Creativity helps to pass through.

Of course, not every person, and even more so a child, will indulge in such reflection. But when a person’s unconscious memory of his own integrity and universal nature, of the original ontological unity with the world, his need to make sure that “I am not alone in the desert of the world” (O. Mandelstam) do not receive a response and confirmation, this creates a permanent common basis for psychological distress irreducible to specific everyday problems and situations.

The remarkable ethnographer W. Turner described an archaic, but effective form of overcoming, or rather, preventing this disease, as a cyclic regulated change of two modes of existence of a traditional society, which he defined as “structure” and “communitas” (i.e. community, involvement (10) For most of his life, each member of a strictly hierarchical and structured society lives in his own age, gender, "professional" cell and acts in strict accordance with the system of social expectations. certain periods this structure on short time is abolished, and everyone is ritually immersed in the direct experience of unity, embracing other people, nature, and the world as a whole. Having touched the single fundamental principle of being, people can return to everyday functioning in their dismembered social structure without a threat to mental health.

Obviously, in other historical and cultural conditions, the phenomenon of communitas in this form is not reproducible, but it has many analogues: from the culture of carnival to the traditions of choral singing, from ancient mysteries to participation in religious sacraments (though, in this case, the “vertical » measurement of the problem under discussion, which will be discussed below). But now it is important to emphasize something else: a person, without realizing it, seeks involvement in something “greater than himself”. And the absence of such experience - positive, socially approved - turns into absurd, sometimes destructive and pathological breakthroughs of the blocked need of the "atomized individual" to break out of the "flags" of his separateness and join a certain "we". (Think of the impact on listeners of certain trends in modern music, the behavior of football fans, and many of the much darker manifestations of crowd psychology, and on the other hand, depression and suicide due to psychological loneliness.)

What therapeutic or, better to say, preventive value can the experience of artistic creation have in this matter?

The fact is that the basis of its very possibility is not individual sensory or any other abilities associated with the implementation of activities in one or another form of art, but a special holistic attitude of a person to the world and to himself in the world, which is highly developed among artists. , but is potentially characteristic of every person and is especially successfully updated in childhood. The psychological content of this aesthetic relationship has been repeatedly described by representatives of different types of art, different eras and peoples. And its main feature is precisely that in the aesthetic experience the invisible barrier disappears, isolating the self-closed “I” from the rest of the world, and a person directly and consciously experiences his ontological unity with the object of the aesthetic relationship and even with the world as a whole. Then, in a special way, the unique sensual appearance of things is revealed to him: their “external form” turns out to be a transparent bearer of the soul, a direct expression of the inner life, related and understandable to man. That is why he feels himself, at least for a short time, involved in the existence of the whole world and its eternity.

“I strove,” says W. Goethe in his autobiographical work, to look with love at what is happening outside and to expose myself to the influence of all beings, each in his own way, starting with a human being and further down the line, to the extent that in which they were comprehensible to me. Hence arose a wonderful kinship with individual natural phenomena, an inner consonance with it, participation in the choir of an all-encompassing whole ”(11, p. 456)

“And only because we are related to the whole world,” says our great writer and thinker M.M. Prishvin, we restore the common connection with the power of kindred attention and discover our personal in people of a different way of life, even in animals, even plants, even in things ”(12, p. 7). Artists who lived in different times and often knowing nothing about each other, testify that only on the basis of such an experience can a true work of art be born.

So the aesthetic experience, which - we emphasize! - in appropriate pedagogical conditions can be acquired by every child, helps to heal the ontological crack and restore the unity of a person with the world "horizontally". In any case, to give a person an experience of the possibility, the reality of this unity. And such an experience, even if it is rare, not fully reflected, not retained in consciousness, will certainly remain on the unconscious, or rather, on the superconscious level, and will constantly support a person in his arbitrarily complex relationship with the outside world.

Note: we needed to mention the superconsciousness, and this means that we have come to the point beyond which our thoughts move to the “vertical” plane of the issue under discussion.

The ultimate expression of the aesthetic experience that has been discussed so far can be recognized as the well-known line of F.I. Tyutcheva: "Everything is in me, and I am in everything! .." It is easy to understand that these words express not only a certain special attitude towards the world, but rather, with the world, "horizontally" spread around us. Here one can guess a different level of self-consciousness and self-awareness of a person, the presence of a different, larger “I”, commensurate with “everything”, capable of accommodating “everything”, and thanks to this, the reason for our internal trouble, lying in the “vertical” dimension of being, is clearly drawn.

in religious and philosophical literature, in the works of many psychologists, in the spiritual and practical experience of people of different times and peoples, as well as in the experience of self-observation of numerous creatively gifted people, we find evidence that, along with the empirical "I" of our everyday self-consciousness, there really is another, "higher "I" , which carries in itself the fullness of possibilities, which we partially actualize in the space-time of earthly life and in the conditions of a limited socio-cultural environment. Not being able to discuss this topic in detail within the framework of this article, I will only note that without such an assumption it is impossible to speak seriously about creativity, such phenomena as self-education, self-improvement, etc. become inexplicable.

This supreme "instance" of individual human existence is called differently: the higher "I" - in contrast to the everyday, "true" - in contrast to the illusory and changeable, "eternal" - in contrast to the mortal, transient, "free" - in difference from the one determined by a combination of biosocial or any other “objective” factors, “spiritual” “I” (13), “creative “I” (14), etc.

Coming into contact with this “I” of the superconsciousness on the paths of spiritual self-improvement, or in the process of creativity in one area or another, or receiving it as if “for free” in the stream Everyday life, a person feels himself with a previously unknown distinctness, intensity, certainty and completeness. Of course, such peaks, like the experiences of unity with the world that we spoke about earlier, cannot become ours. permanent state, but the absence or deep oblivion of such an experience - this, figuratively speaking, “vertical gap” - becomes the cause of a person’s deep internal disorder, which cannot be eliminated by any changes in his external life or by private recommendations of a psychologist consultant that do not affect the essence of the matter .

The philosopher will define this gap as "a discrepancy between the essence and existence of man"; a humanist psychologist - as a lack of self-actualization, as a "deprivation of higher needs" (A. Maslow); the psychotherapist can reasonably see in him the reason for the loss of the meaning of life - the root of all diseases (V. Frankl). Anyway we are talking about the fact that not only are we not actually “ourselves”, which, perhaps, is not achievable in its entirety, we live on the far periphery of ourselves, not trying to restore the lost connection with our own true “I”, to approach it . We live not only in an alien world, but essentially alien to ourselves.

And again the same question arises: how can an early (or even not only early) experience of artistic creation help a person in this situation?

Let's go back a little. In an aesthetic experience, a person, sometimes unexpectedly for himself, crosses the usual boundaries of his “ego”, lives a common life with a big world, and this creates favorable ground for a kind of revelation about himself, for a “meeting” with a big I, commensurate with this the world. A man, in the words of the poet Walt Whitman, suddenly discovers with joy that he is bigger and better than he thought, that he does not fit "between shoes and a hat" ...

Such "meetings" are experienced and recorded in the memories of many masters of art. Then they have plans that are clearly beyond their usual capabilities, and, nevertheless, are embodied. In the process of creating or performing a work, a person feels like a “tool” in the hand of “someone” much more powerful and perspicacious, and sometimes perceives the result in a detached way, as something to which he has no direct relationship. Such self-reports are usually characterized by a confidence-inspiring sobriety, lack of affectation. The level of awareness of this experience is different - from experiencing an emotional and energetic upsurge, creative daring, transcending one's own boundaries to conscious, almost at the level of methodology, attracting the "creative self" to cooperation - as, for example, in the practice of the great Russian actor M. Chekhov (15) . I will not try to interpret these psychological phenomena in any way, the very existence of which is beyond doubt. Something else is important for us now: artistic and creative experience (and, probably, any truly creative experience) is, to a certain extent, the experience of “being oneself”. It allows you to overcome, at least for a while, the “vertical gap”: to experience the moment of unity between the everyday and the higher, creative self; at least - to remember and experience the very fact of its existence.

Let me note: speaking of creativity, I do not mean “the creation of something new”, it is only a consequence, an external evidence of the creative process, moreover, the evidence is not always intelligible and indisputable. By creativity, I mean, first of all, the manifestation of the “internal activity of the soul” (16), which is realized as a free (not determined from the outside) generation and embodiment of one’s own plan in a particular area of ​​life and culture.

There is a lot of evidence, from theological to experimental and pedagogical, confirming that a person - every person - is a creator by nature; the need to create in the most general sense of the word, “to live from within outwards” (Metropolitan Anthony of Surozh) most intimately characterizes the very essence of man. And the fulfillment of this need necessary condition mental health, and its blocking, which is so characteristic, in particular, for modern general education- a source of implicit, but serious danger to the human psyche. As the modern researcher V. Bazarny says, a person is either creative or sick.

Returning to the figurative and symbolic coordinates of our presentation, we can say that true creativity is born just at the crosshairs of the horizontal and vertical axes - the restored relationship of a person with himself and with the world. When a person sees the surrounding world related to him through the eyes of a higher, creative self and realizes the possibilities of the creative self in the images, language, materiality of the surrounding world. This harmony is embodied in any truly artistic work (no matter how complex or tragic its specific content) and directly affects the viewer, reader or listener, awakening in him the memory, albeit unclear, of the original unity with the world and the great "inner man". ' in himself.

This is where the question naturally arises. It is obvious that creativity and artistic creation are by no means synonyms, that creative self-realization is possible in all areas of human activity and in all its relationships with the world; why do we so emphasize the importance of art and artistic creativity for the mental health of a person, and a growing person - especially?

It is, first of all, about the age priority of art. It is in this area that almost all children of preschool, primary school, early adolescence can, under favorable pedagogical conditions, acquire an emotionally positive and successful experience of creativity as such, the generation and implementation of their own ideas.

Further. Is there another area of ​​culture in which children of 9, 7, 4 years old can create something that society and the highest professional elite recognize as valuable? Valuable not because a child made it, but valuable as an independent fact of culture? And in art, this is exactly the case: for more than a hundred years, outstanding masters of all types of art have seen children as their junior colleagues, capable of creating aesthetic values, and are not even averse to learning something from them. One more thing. A juvenile (but still not 4 or 7-year-old!) physicist or mathematician does in principle the same thing as an adult scientist, only many years earlier: there is no “child science”. And children's art exists: being artistically valuable, the child's work at the same time bears a pronounced age mark, easily recognizable and inseparable from the artistic value of the work. This speaks, from my point of view, of the deep "natural conformity" of artistic creativity: the child acquires a full-fledged creative experience in the most appropriate age forms for him.

True, there are phenomena that are difficult to explain when a child creates a text or drawing that does not bear any age mark either in an emotionally meaningful sense, or even in terms of the perfection of the embodiment of the idea, and could belong to an adult artist. I am not ready to discuss in detail and explain this amazing phenomenon - I will only remind you that even an adult artist can be “more than himself” in his work. And it’s better to say - it happens “by itself”.

A. Melik-Pashaev

Literature

1. Ideas aesthetic education. Anthology in 2 volumes. T.1, M.: "Art", 1973
2. Aristotle. Poetics. (On the art of poetry.) M .: State publishing house of fiction, 1957
3. Krasny Yu.E. ART is always therapy. M.: Publishing house OOO Interregional Center for Management and Political Consulting, 2006
4. Toropova A.V. Development of the integrity of the personality through the sensual filling of the musical consciousness of the child. / Methodology of pedagogy of music education (E.B. Abdullina's scientific school). - M., MSGU, 2007. S. 167-180.
5. Kirnarskaya D.K. Musical ability. M .: Talents-XX1 century, 2004
6. Lazarev M. New paradigm of education. Art at school, №3, 2011
7. Sitnova E.N. The influence of art and aesthetic education on personality development in adolescence and youth. Abstract Candidate diss., M., 2005
8. Kashekova I. Numbers and only numbers. Art at school, №4, 2007
9. Bakhtin M.M. Aesthetics of verbal creativity. M .: Art, 1979
10. Turner, W. Symbol and ritual. M .: Science, 1983
11. Goethe, V. Poetry and truth. Collected works, vol. 3. Publishing house of fiction, 1976
12. Prishvin M.M. The power of kindred attention. M .: Art at school, M., 1996
13. Florenskaya T.A. Dialogue in practical psychology. M.:, 1991
14. Melik-Pashaev A.A. The world of the artist. Moscow: Progress-tradition, 2000
15. Chekhov M.A. Literary heritage in 2 volumes. M.: Art, 1995
16. Zenkovsky V.V. The problem of mental causality. Kyiv, 1914

Write an essay based on the text you read.

Formulate one of the problems posed by the author of the text.

Comment on the formulated problem. Include in the comment two illustration examples from the read text that you think are important for understanding the problem in the source text (avoid over-quoting). Explain the meaning of each example and indicate the semantic relationship between them.

The volume of the essay is at least 150 words.

A work written without relying on the text read (not on this text) is not evaluated. If the essay is a paraphrase or a complete rewrite original text without any comments, then such work is rated 0 points.

Write an essay carefully, legible handwriting.

(1) Artistic creativity, from my point of view, is not just a way of self-expression. (2) Sometimes it can become a saving straw, clinging to which a person can go through many difficult trials and survive. (3) And here is one of the striking examples.

(4) An amazing woman, amateur artist Evfrosinya Antonovna Kersnovskaya spent many years in the Stalinist camp, after which she began to sketch her whole life from the very beginning: her childhood in Bessarabia, how she was arrested in Romania, how she was exiled to Siberia. (5) For many years she depicted life, details and commented on her drawings.

(6) Here is what she writes to her mother:

(7) “I drew them for you, thinking about you ... (8) I started drawing there, in Norilsk, immediately after I left the camp. (9) There was still neither a mattress nor a sheet, there was not even a corner. (10) But I already dreamed of drawing something beautiful, reminiscent of the past - the past that

was inextricably linked with you, my dear! (11) And the only thing I could think of was to draw ... "

(12) And now, in pictures, Euphrosyne creates the story of her life, all her misadventures, in order to free herself from those difficult memories that surrounded her after leaving the twelve-year hell. (13) She drew with what she had to: with colored pencils, a pen, sometimes she tinted with watercolors.

(14) And these uncomplicated, but so detailed, true drawings amaze with their persuasiveness and inner freedom. (15) As many as twelve general notebooks were composed and drawn by her in the 60s of the last century. (16) In 1991 they came out as a separate book called "Rock Painting". (17) And to this day, looking at these drawings that were born so long ago, somewhere deep inside I feel how much art helped this amazing artist and just a noble woman to survive.

(18) Here is another story. (19) Artist Boris Sveshnikov also for a long time was in captivity. (20) His albums were drawn directly there, in captivity, but they were not about the camp, not about the life he lived then - they were fantastic. (21) He depicted some kind of fictional reality and extraordinary cities. (22) With a thin feather, the thinnest, almost transparent silver stroke, he created in his albums a parallel, incredibly mysterious, exciting life. (23) And subsequently these albums became evidence that his inner world, fantasizing, creativity saved his life in this camp. (24) He survived thanks to creativity.

(25) Another extraordinary artist, Mikhail Sokolov, a contemporary of Sveshnikov, being imprisoned for his extravagant appearance, also tried to seek freedom and salvation in his work. (26) He drew with colored pencils, and sometimes with pencil stubs, small pictures three by three centimeters or five by five centimeters and hid under his pillow.

(27) And these small fantastic drawings by Sokolov, in my opinion, are in a sense grander than some huge paintings painted by another artist in a bright and comfortable studio.

(28) As you can see, you can depict reality, or you can depict fantasy. (29) In both cases, what you transfer from your head, from your soul, from your heart, from memory to paper, frees you, sets you free, even if there are prison bars around. (30) Therefore, the role of art is truly great. (31) And it doesn’t matter what and how you do it: creativity knows no boundaries, does not require special tools. (32) It, sincere and truthful, simply lives in a person, looks for a way out and is always ready to selflessly help him.

(according to L.A. Tishkov*)

*Leonid Alexandrovich Tishkov (born in 1953) is a Russian cartoonist, also works in the field of book graphics.

Explanation.

Approximate range of problems:

1. The problem of the significance of artistic creativity in the life of the artist himself. (What is the benefit of the saving power of artistic creativity? Can artistic creativity help a person survive, save a person?)

2. The problem of understanding such a phenomenon. as a work of art. (What is artistic creativity? Are there limits to creativity? Where is artistic creativity born?)

3. The problem of the real and the fantastic in art. (What should artistic creativity be based on: reality or fantasy?)

1. Artistic creativity is not just a way of self-expression, it can bring great benefits: it spiritually frees a person, even if he is in prison. helps to get rid of bad memories. overcome difficulties, immerses a person in a different reality.

2. Artistic creativity is that. what a person transfers from his head, from his soul, from his heart to paper. Creativity knows no boundaries, does not require special tools. True creativity can be born both in the artist's bright workshop and on a tiny piece of paper.

3. For artistic creation, it does not matter whether a person depicts reality or fantasy. It remains creativity, the great power of which is truly limitless.

ARTISTIC CREATIVITY AS A WAY TO IMPROVE THINKING

General characteristics of the concept of "thinking"

General characteristics of the concept of "artistic creativity"

Psychological mechanisms of artistic creativity, connection between artistic creativity and thinking

1. GENERAL CHARACTERISTICS OF THE CONCEPT "THINKING"

Life constantly poses acute and urgent tasks and problems for a person. The emergence of such problems, difficulties, surprises means that in the reality around us there is still a lot of unknown, incomprehensible, unforeseen, hidden, requiring an ever deeper knowledge of the world, the discovery of more and more new processes, properties and relationships of people and things in it. The universe is infinite, and the process of its cognition is infinite. Thinking is always directed to these boundless depths of the unknown, the new. Each person makes many discoveries in his life (it does not matter that these discoveries are small, only for himself, and not for humanity).

Thinking - this is a socially conditioned, inextricably linked with speech mental process of searching for and discovering something essentially new, a process of indirect and generalized reflection of reality in the course of its analysis and synthesis. Thinking arises on the basis of practical activity from sensory cognition and goes far beyond its limits.

Cognitive activity begins with sensations and perceptions. Any, even the most developed, thinking always retains a connection with sensory cognition, i.e. with sensations, perceptions and ideas. Thought activity receives all its material from only one source - from sensory cognition. Through sensations and perceptions, thinking is directly connected with the external world and is its reflection. The correctness (adequacy) of this reflection is continuously tested in the process of practical transformation of nature and society.

Ta sensual picture of the world, which our sensations and perceptions provide every day, is necessary, but not sufficient for its deep, comprehensive knowledge. In this sensual picture of reality directly observed by us, the most complex interactions of various objects, events, phenomena, etc., their causes and consequences, mutual transitions into each other are almost not dissected. It is simply impossible to unravel this tangle of dependencies and connections, which appears in our perception in all its colorfulness and immediacy, with the help of sensory knowledge alone. In perception, only a general, summary result of a person's interaction with a cognizable object is given. But in order to live and act, one must first of all know what external objects are in themselves, i.e. objectively, regardless of how they appear to a person, and in general, regardless of whether they are known or not.

Since, within the framework of sensory cognition alone, it is impossible to completely dissect such a general, total, direct effect of the interaction of the subject with the object being known, a transition from sensations and perceptions to thinking is necessary. In the course of thinking, further, deeper knowledge of the external world is carried out. As a result, it is possible to dismember, unravel the most complex interdependencies between objects, events, and phenomena.

In the process of thinking, using the data of sensations, perceptions and ideas, a person at the same time goes beyond the limits of sensory knowledge, i.e. begins to cognize such phenomena of the external world, their properties and relations, which are not directly given at all in perceptions and therefore are not directly observable at all.

Practical-effective, visual-figurative and theoretical-abstract - interconnected types of thinking . In the process of historical development, the human intellect was initially formed in the course of practical activity.

Genetically, the earliest kind of thinking is practically - actionable thinking; actions with objects are of decisive importance in it.

On the basis of practical-effective manipulative thinking, there is visually- creative thinking . It is characterized by operating visually in the mind. The highest level of thinking is abstract, abstract thinking. But here, too, thinking retains its connection with practice.

The thinking of individuals is also divided into predominantly figurative(artistic) and abstract(theoretical). But in the process of life, one and the same person comes to the fore first one, then another type of thinking.

The structural unit of practical (operational) thinking is action; artistic - image; scientific - concept.

Depending on the depth of generalization, there are empirical And theoretical thinking. Empirical thinking gives primary generalizations based on experience. These generalizations are made at a low level of abstraction. Empirical consciousness is the lowest, elementary level of knowledge. Theoretical thinking reveals a universal relationship, explores the object of knowledge in the system of its necessary connections. Its result is the construction of theoretical models, the creation of theories, the generalization of experience, the disclosure of the patterns of development of various phenomena, the knowledge of which ensures the transformative activity of man. Theoretical thinking is inextricably linked with practice, but in its final results it has relative independence.

So, the information received by a person from the surrounding world allows a person to represent not only external, but also inside object, to represent objects in the absence of them, to foresee their change in time, to rush with thought into boundless distances and the microcosm. All this is possible through the process of thinking. In psychology, thinking is understood as the process of an individual's cognitive activity, characterized by a generalized and indirect reflection of reality. Starting from sensations and perceptions, thinking, going beyond the limits of sensory experience, expands the boundaries of our knowledge by virtue of its nature, which allows us to indirectly (i.e., by inference) reveal what is not directly (i.e., by perception) not given. So, looking at the thermometer hanging from the outside of the window, we find out that it is quite cold outside. Seeing the strongly swaying treetops, we understand that the wind is outside.

Sensation and perception reflect separate aspects of phenomena, moments of reality in more or less random combinations. Thinking correlates the data of sensations and perceptions, compares, compares, distinguishes and reveals relationships. Through the disclosure of these relations between directly, sensually given properties of things and phenomena, thinking reveals new, not directly given abstract properties: revealing interconnections and comprehending reality in these interconnections. Thus, thinking more deeply cognizes the essence of the surrounding world, reflects being in its connections and relationships.

2. GENERAL CHARACTERISTICS OF THE CONCEPT

"ARTISTIC CREATIVITY"

Creativity is an attribute of human activity. It predetermined the emergence of man and human society, and underlies the further progress of material and spiritual production.

According to Leontiev A.A., creativity is not limited to the activity of creating new material and spiritual values, as his dictionary "Psychology" defines (in fairness, we note that this definition goes back to the definition of creativity by L.S. Vygotsky as "creating a new one" ). Such an understanding is correct only from the point of view of a “procedural” approach to creativity, which should rather be called “productive”. It is no coincidence that the same dictionary entry speaks of a product of creativity as “distinguished by novelty, originality, and uniqueness.” This "newness", however, can in no way be taken as the basis for a psychological understanding of creativity. Even if we talk about artistic creativity, such an understanding leaves aside a huge layer of so-called performance creativity - to define it creative nature through the originality of the final product seems to us a stretch.

Under common name creativity combines its different types: technical, artistic, pedagogical, ethical, etc. All these types are psychologically unequal, for example, technical and artistic creativity are correlated differently with theoretical thinking. But something unites them: it is the ability of a person to "act in uncertain situations."

The condition for such an ability is self-realization (self-determination) of the individual. According to Ukhtomsky A.A., from an activity point of view, such an ability is multilayered - in particular, it can manifest itself at the level of holistic personality(artistic creativity), and operational components of productive or cognitive (educational) activity (so-called creative tasks), at the level of the structure of the orientation activity and the restructuring of the orientation basis of activity, and ultimately the image of the world (scientific creativity), etc. But in all cases we are dealing with an independent "construction" of a system of relations between individual and the objective and social world, of which this person is an integral part. The novelty here is not in an objectively new final product, but in the independent creation of a system of relationships with the world or in the transformation of the world (not necessarily “material”, rather social, the world of activity and relations: the world in its entirety should be presented not as an object at all, but as process) through their own activities.

Creativity is the highest form of activity and independent activity of a person and society. It contains an element of the new, involves original and productive activity, the ability to solve problem situations, productive imagination, combined with a critical attitude towards the achieved result. The scope of creativity covers actions from non-standard solution of a simple problem to the full realization of the unique potentials of an individual in a certain area.

Creation - This is a historically evolutionary form of human activity, expressed in various types of activities and leading to the development of personality. Through creativity are realized historical development and the link between generations. It continuously expands the possibilities of a person, creating conditions for conquering new heights.

Precondition creative activity there is a process of cognition, accumulation of knowledge about the subject that is to be changed.

Creative activity - this is amateur activity, covering the change in reality and self-realization of the individual in the process of creating material and spiritual values, new more progressive forms of management, education, etc. and pushing the limits of human capabilities.

Creativity is based on the principle of activity, and more specifically, labor activity. The process of practical transformation of the surrounding world by a person, in principle, determines the formation of the person himself.

Creativity is an attribute of the activity of only the human race. The generic essence of a person, his most important attributive property, is objective activity, the essence of which is creativity. However, this attribute is not inherent in a person from birth. Creativity is not a gift of nature, but a property acquired through labor activity. It is transformative activity, inclusion in it that is a necessary condition for the development of the ability to be creative. The transforming activity of a person brings up in him the subject of creativity, instills in him the appropriate knowledge, skills, educates the will, makes him comprehensively developed, allows you to create qualitatively new levels of material and spiritual culture, i.e. create.

There are two interpretations artistic creativity :

epistemological - from ancient ideas about the soul as about wax, in which objects are imprinted, to the Leninist theory of reflection;

ontological - from ancient ideas about creativity as the soul's recollection of its eternal essence, from medieval and romantic ideas that God speaks through the mouth of a poet, that the artist is the medium of the Creator, to Berdyaev's concept, which attached fundamental existential significance to creativity.

Neither the ontological nor the epistemological component of creativity can be neglected. V. Solovyov saw in their relationship a condition of the creative process. This theoretical tradition should be based on. It is from these positions that the artistic image and its features should be considered.
Artistic image concrete and has the features of representation, but of a special kind: a representation enriched with mental activity. Representations are a transitional step between perception and concept, a generalization of the broadest layers of social practice. Representation contains both the meaning and the meaning of the phenomenon being mastered. In order for artistic performances to become the property of the audience, they must be objectified. The artistic image is the objectification of the system of artistic representations.

The conceptual beginning is also present in artistic thinking - sometimes in a hidden, and sometimes in an explicit form. The conceptual content of a work of art is made up of representations and ideas objectified in the image. Artistic thinking figuratively. It combines generality and concreteness with a personal form. Art recreates life in its entirety and thereby expands and deepens the real life experience of a person.

There is a hierarchy of value ranks that characterizes the degree of a person's predisposition to artistic creativity: ability - giftedness - talent - genius.

According to I.V. Goethe, the genius of an artist is determined by the power of perception of the world and the impact on humanity. The American psychologist D. Gilford notes the manifestation of six abilities of the artist in the process of creativity: fluency of thinking, analogies and contrasts, expressiveness, the ability to switch from one class of objects to another, adaptive flexibility or originality, the ability to give the art form the necessary outlines. Artistic talent presupposes keen attention to life, the ability to choose objects of attention, fix these impressions in memory, extract them from memory and include them in a rich system of associations and connections dictated by creative imagination.

Artistic activity in this or that form of art, in this or that period of life, many people are engaged in with greater or lesser success. However, only artistic ability ensures the creation of artistic values ​​of public interest. A person who is artistically gifted creates works that have sustainable significance for a given society for a significant period of its development. Talent generates artistic values ​​that have enduring national and sometimes even universal significance. A brilliant artist creates the highest human values ​​that are significant for all time.

3. PSYCHOLOGICAL MECHANISMS OF ARTISTIC

CREATIVITY, ARTISTIC CONNECTION

CREATIVITY AND THINKING

Along with the scientific knowledge of the world of ideas, the field of knowledge of human characters was actively developing, which ultimately led to the penetration into the world of human individuality. This was an area of ​​artistic and aesthetic creativity, which gave priority not so much to strict logic as to intuition, and therefore turned to the artistic modeling of a person more freely than logically based knowledge. The comprehension by aesthetics of artistic images created by the means of literature and art became the path that ultimately contributed to the formation of psychological science, which is so necessary for understanding culture in its phenomenological state and historical development.
Artistic activity plays an important role in the process of scientific self-knowledge. Due to the fact that it combines the world of reason and feelings, fertilized by the projective activity of the imagination, artistic creativity has the ability to take on the functions scientific knowledge. This happens, as a rule, in periods when sociocultural experience is faced with the need to present the object of scientific study, but does not yet have the information necessary for a sufficiently complete scientific generalization.

Artistic activity, syncretic in nature, combines in the projective activity of the imagination the elements rational cognition and value orientation.

Artistic creativity begins with a heightened attention to the phenomena of the world and involves "rare impressions", the ability to keep them in memory and comprehend.

Memory is an important psychological factor in artistic creativity. With the artist, it is not mirrored, selective and creative.

The creative process is inconceivable without imagination, which allows the combination-creative reproduction of a chain of ideas and impressions stored in memory.

The imagination has many varieties: phantasmagoric - by E. Hoffmann, philosophical and lyrical - by F.I. Tyutchev, romantically sublime - by M. Vrubel, painfully hypertrophied - by S. Dali, full of mystery - by I. Bergman, real -strict - F. Fellini, etc.

Imagination is understood as a mental cognitive process of creating new images by processing the materials of perception and representation obtained in past experience. Imagination is unique to man. It allows you to present the result of labor, drawing, design and any other activity before it begins.

Depending on the degree of activity, passive and active imagination are distinguished, when the products of the first are not brought to life. Given the independence and originality of the images, they speak of a creative and recreating imagination. Depending on the presence of a consciously set goal to create an image, intentional and unintentional imagination are distinguished.

Imagination arises in situations of uncertainty, when a person finds it difficult to find an explanation for any fact of reality in his experience. This situation brings together imagination and thinking. As Vygotsky L.S. emphasized, "these two processes develop in an interconnected manner." Thinking provides selectivity in the transformation of the impression, and the imagination complements, concretizes the processes of mental problem solving, allows you to overcome stereotypes. And the solution of intellectual problems becomes a creative process.

In addition to the fact that the imagination significantly expands the boundaries of knowledge, it allows a person to "participate" in events that are not encountered in everyday life. This "participation" enriches his intellectual, emotional, moral experience, allows him to more deeply cognize the surrounding, natural, objective and social reality. And the richer the experience of a person, the more material that his imagination has at his disposal.

Consciousness and subconsciousness, reason and intuition participate in artistic creativity. In this case, subconscious processes play a special role here.

The American psychologist F.Berron examined with the help of tests a group of fifty-six writers - his compatriots and came to the conclusion that the writers' emotionality and intuition are highly developed and prevail over rationality. Of the 56 subjects, 50 turned out to be "intuitive personalities" (89%), while in the control group, which included people who were professionally far from artistic creativity, there were more than three times fewer individuals with developed intuition (25%). The high role of the subconscious in artistic creativity already led the ancient Greek philosophers (especially Plato) to interpret this phenomenon as an ecstatic, divinely inspired, Bacchic state.

In contrast to a scientifically based picture of the world, which prefers to rely on proven knowledge, the picture of the world created by artistic creativity allows not only the existence of an area of ​​the unknown, but also tries to model its possible image. In artistic creation, what is possible acquires the status of an existing one, stimulating the conscious isolation of its signs or features in real life. Thus, aesthetic activity structures the projective activity of the imagination, directing it into the channel of rational cognition. Thus, cognitive activity, on the one hand, is included in the mass consciousness of everyday life, and on the other hand, it receives a powerful impetus to the development of its specialized areas. Artistic creativity - the area of ​​domination of the thought experiment - takes on the role of the leader of the cognitive process in cases where science is still powerless to give an accurate picture of the phenomenon or calculate possible options for its development. The connection of historical knowledge with the field of artistic creativity and the process of its comprehension did not become an invention of modern times. It was inherited and traditional. Over time, only the concretization and redistribution of the functions of the scientific and artistic in the interest of society in the culture of the past and present took place.

Scientific knowledge divides space and time for the convenience of their study. Artistic creativity creates a chronotope - the unity of space-time, where time becomes, according to MM Bakhtin, the fourth dimension of space. Artistic images make the discoveries of science psychologically acceptable to everyday consciousness. Moreover, they give rise to the need to further expand the horizons of a person who does not even have the necessary highly specialized knowledge. The laws of image creation are becoming a sphere of specialized knowledge, attracting the special attention of researchers. Aesthetic systems fix the way of understanding the world that has developed at the level of professional culture, they postulate a picture of the world in the form in which it is available to both the thinker and the practitioner. Aesthetic systems help create a field for experimentation that cannot be done in the laboratory. They also provide an opportunity to test the viability of the created material and ideal constructs, defining the role of artistic development of reality in the knowledge of the world through the study and creation of cultural creations.

Thus, we can conclude that creativity in general, and artistic creativity in particular, is a means of improving thinking. What cannot be comprehended by scientific methods can be represented through artistic images. What cannot be immediately verified by a social experiment is modeled in the collision of a work of art.

That is why it is necessary to develop creativity in a child from a very early age, because it is it that gives rise to a vivid fantasy, a vivid imagination, develops and improves thinking. Creativity, by its very nature, is based on the desire to do something that no one has done before you, or even though what existed before you, to do in a new way, in your own way, better. In other words, the creative principle in a person is always a striving forward, for the better, for progress, for perfection and, of course, for the beautiful in the highest and broad sense this concept.

Druzhinin V.N. notes that creative people often surprisingly combine the maturity of thinking, deep knowledge, various abilities, skills and peculiar "childish" features in their views on the surrounding reality, in behavior and actions.

Often from parents and even from teachers-educators one can hear such words: “Well, why does he spend precious time writing poetry - he doesn’t have any poetic gift! Why does he draw - after all, an artist will not work out of him anyway! And why is he trying to compose some kind of music - after all, this is not music, but some kind of nonsense turns out! .. ”This is a very dangerous delusion. In a child, it is necessary to support any of his desire for creativity, no matter how naive and imperfect the results of these aspirations may be. Today he writes incoherent melodies, unable to accompany them with even the simplest accompaniment; composes poems in which clumsy rhymes correspond to the clumsy rhythms and meter; draws pictures depicting some fantastic creatures without arms and with one leg ... But behind all these naivety, clumsiness and clumsiness lie the sincere and therefore the truest creative aspirations of the child, the most genuine manifestations of his fragile feelings and thoughts that have not yet formed.

He may not become an artist, or a musician, or a poet (although it is very difficult to foresee this at an early age), but he may become an excellent mathematician, doctor, teacher or worker, and then they will make themselves felt in the most beneficial way. his childhood creative hobbies, a good trace of which will remain his creative imagination, his desire to create something new, his own, better, moving forward the cause to which he decided to devote his life.

LIST OF USED LITERATURE:

Asmolov A.G. Cultural-historical psychology and construction of worlds. - M.-Voronezh, 1996

Bakhtin M.M. To the philosophy of action. - M., 1986

Borev Yu. Psychology of artistic creativity. - M., 1999

Borev Y. Aesthetics. - M., 1988

Vygotsky L.S. Imagination and creativity in childhood. - M., 1991

Druzhinin V.N. Psychology of general abilities - St. Petersburg, 1999

Leontiev A.A. Teach a person fantasy ... - M., 1998

Nemov R.S. Psychology. - M., 1995

Psychology with a human face: a humanistic perspective in post-Soviet psychology / Ed. D.A. Leontieva, V.G. Schur. - M., 1997

Psychology. Dictionary. 2nd ed. - M., 1990

Ukhtomsky A.A. Honored Interlocutor. - Rybinsk, 1997

Formation creative personality- one of the important tasks of pedagogical theory and practice at the present stage. Its solution should begin already in preschool childhood. The most effective means for this is the visual activity of children in a preschool institution.

In the process of drawing, modeling, application, the child experiences a variety of feelings: he rejoices at the beautiful image that he created himself, upset if something does not work out. But the most important thing: by creating an image, the child acquires various knowledge; his ideas about the environment are clarified and deepened; in the process of work, he begins to comprehend the qualities of objects, memorize them characteristics and details, to master fine skills and abilities, learns to use them consciously. Even Aristotle noted: drawing contributes to the versatile development of the child. Prominent teachers of the past - Ya. A. Komensky, I. G. Pestalozzi, F. Froebel - and many domestic researchers wrote about this. Their work testifies: occupations in drawing and other types of artistic activity create the basis for full-fledged meaningful communication of children among themselves and with adults; perform a therapeutic function, distracting children from sad, sad events, relieve nervous tension, fears, cause a joyful, high spirits, provide a positive emotional condition. Therefore, it is so important to widely include a variety of artistic and creative activities in the pedagogical process. Here, every child can express himself most fully without any pressure from an adult.

The management of visual activity requires the educator to know what creativity is in general, and especially children's, knowledge of its specifics, the ability to subtly, tactfully, supporting the initiative and independence of the child, to promote the acquisition of the necessary skills and abilities and development creativity. Your understanding of creativity famous explorer A. Lilov expressed it this way: "... creativity has its own general, qualitatively new features and characteristics that define it, some of which have already been quite convincingly disclosed by theory. These general regular moments are as follows:
Creativity is a social phenomenon
- its deep social essence lies in the fact that it creates socially necessary and socially useful values, satisfies social needs, and especially in the fact that it is the highest concentration of the transforming role of a conscious social subject (class, people, society) in its interaction with the objective reality."

Another researcher, V. G. Zlotnikov, points out: artistic creativity characterizes the continuous unity of cognition and imagination, practical activity and mental processes, it is a specific spiritual and practical activity, which results in a special material product - a work of art.

What is the visual art of a preschool child? Domestic teachers and psychologists consider creativity as the creation by a person of objectively and subjectively new things. It is the subjective novelty that is the result of the creative activity of children of preschool and primary school age. By drawing, cutting and pasting, a preschool child creates a subjectively new thing for himself. The product of his creativity has no universal novelty and value. But its subjective value is significant.

The visual activity of children, as a prototype of adult activity, contains the socio-historical experience of generations. It is known that this experience has been implemented and materialized in the tools and products of activity, as well as in the methods of activity developed by socio-historical practice. A child cannot learn this experience without the help of an adult. It is the adult who is the bearer of this experience and its transmitter. By assimilating this experience, the child develops. At the same time, the visual activity itself, as a typically childish one, including drawing, modeling, and appliqué, contributes to the versatile development of the child.

How do well-known domestic scientists define children's creativity? How is its significance determined for the formation of a child's personality?

Teacher V.N. Shatskaya believes that in the conditions of general aesthetic education, children's artistic creativity is rather considered as a method of the most perfect mastery of a certain kind art and the formation of an aesthetically developed personality than as the creation of objective artistic values.

Researcher of children's creativity E.A. Flerina evaluates it as a conscious reflection of the child surrounding reality in drawing, modeling, construction, reflection, which is built on the work of the imagination, displaying one's observations, as well as impressions received through the word, picture and other forms of art. The child does not passively copy the environment, but reworks it in connection with the accumulated experience, attitude towards the depicted.

A. A. Volkova states: “The upbringing of creativity is a versatile and complex effect on a child. The mind (knowledge, thinking, imagination), character (courage, perseverance), feeling (love for beauty, passion for image, thought) take part in the creative activity of adults. We must educate the same aspects of the personality in the child in order to more successfully develop creativity in him. To enrich the mind of the child with various ideas, some knowledge means to give abundant food for creativity. To teach to look closely, to be observant means to make ideas clear, more complete. This will help children to more vividly reproduce what they see in their work. "

I. Ya. Lerner defines the features of a child’s creative activity as follows:
independent transfer of previously acquired knowledge to a new situation;
vision of a new function of an object (object);
vision of the problem in a standard situation;
vision of the structure of the object;
ability to alternative solutions;
combining previously known methods of activity with new ones.

I. Ya. Lerner argues: creativity can be taught, but this teaching is special, it is not the same as knowledge and skills are usually taught.

In the correctness of this idea, we were convinced in our own practice. However, we note: independent transfer of previously acquired knowledge to a new situation (the first feature according to Lerner) in children can manifest itself if they learn to perceive objects, objects of reality, learn to distinguish their forms, including in this process the movement of both hands along the contour of the object. (In other words, as we circle an object, examining it, we draw - with pencils, a brush, felt-tip pens.) Only then will children be able to use this method on their own, only then will they gradually acquire the freedom to depict any objects, even those that do not have a clearly fixed shape, for example, clouds, puddles, floating ice floes, unmelted snow.

The second feature according to Lerner - the vision of a new function of an object (object) - manifests itself when the child begins to use substitute objects, for example, turns cut narrow and wide strips into parts of objects or objects; plays with spoons, imagining that he is playing in an orchestra. This ability to isolate in the process of perception the form, the parts that we form in children, leads them to a vision of the structure of the object, mastering the ways of its transmission in drawing, modeling, and appliqué. That's why we recommend creative pursuits include in the work plan the topic "To teach how to create images of animals, the shape and structure of which are learned."

Introducing children to works of art (fine arts, literature, music), we thereby introduce them to the world of standards of beauty, i.e. we put into practice those goals and objectives that are mentioned above - to an understanding of the expressiveness of means and figurative solution, variety of color and compositional construction. Knowing, for example, the secrets of Dymkovo painting, the child undoubtedly uses them, creating images of fabulous animals, birds; comprehends the qualities of the depicted, remembered characteristic features.

What characterizes creativity? B. M. Teplov writes in this regard: "The main condition that must be ensured in children's creativity is sincerity. Without it, all other virtues lose their meaning."

This condition, naturally, is satisfied by the creativity "which arises in the child independently, based on an internal need, without any deliberate pedagogical stimulation." But systematic pedagogical work, according to the scientist, cannot be based only on independently emerging creativity, which is not observed in many children, although these same children, with their organized involvement in artistic activity, sometimes show outstanding creative abilities.

This is how pedagogical problem- the search for such incentives for creativity that would give birth to a genuine child active desire"compose". Such an incentive was found by Leo Tolstoy. Starting to teach peasant children, the great Russian writer already understood how significant the task of "developing children's creativity" was; as one of the possible solutions, he offered children joint compositions (see the article "Who should learn to write from whom?"). So, what is the essence of involving children in artistic creativity, according to Leo Tolstoy? Show not only the product, but also the very process of creativity, writing, drawing, etc. in order to see with your own eyes how "it is done." Then, as E. I. Ignatiev, a domestic researcher in the psychology of children's creativity, writes, the child "from a simple enumeration of individual details in a drawing passes to an accurate transfer of the features of the depicted object. At the same time, the role of the word in visual activity changes, the word increasingly acquires the meaning of a regulator that directs the image process that controls the techniques and methods of the image".

In the process of drawing, modeling, the child experiences a variety of feelings; as we have already noted, he rejoices at a beautiful image, gets upset if something does not work out, tries to achieve a satisfying result or, conversely, gets lost, gives up, refuses to study (in this case, a sensitive, attentive attitude of the teacher is needed, his help). Working on the image, he acquires knowledge, clarifies and deepens his ideas about the environment. The child not only acquires visual skills and abilities that are new to him, expanding his creative possibilities, but also learns to use them consciously. A very significant factor in terms of mental development. After all, each child, creating an image of an object, conveys the plot, includes his feelings, understanding of how it should look. This is the essence of children's fine art, which manifests itself not only when the child independently comes up with the theme of his drawing, modeling, application, but also when he creates an image on the instructions of the teacher, determining the composition, color solution and other expressive means, making interesting additions, etc.
Analysis of the provisions on children's creativity of famous domestic scientists - G. V. Latunskaya, V. S. Kuzin, P. P. Pidkasistoy, I. Ya. Lerner, N. P. Sakulina, B. M. Teplov, E. A. Flerina - and our many years of research allow us to formulate it working definition. Under the artistic creativity of preschool children, we mean the creation of a subjectively new (significant for the child, first of all) product (drawing, modeling, story, dance, song, game); creation (invention) to the known previously unused details that characterize in a new way created image(in a drawing, story, etc.), different versions of the image, situations, movements, their beginning, end, new actions, characteristics of heroes, etc .; the use of previously learned ways of depicting or means of expression in a new situation (for depicting objects of a familiar shape - on the basis of mastering facial expressions, gestures, voice variations, etc.); showing initiative in everything.

By creativity, we will understand the very process of creating images of a fairy tale, a story, dramatization games in drawing, etc., the search for ways, ways to solve a problem, visual, playful, musical, in the process of activity.

From our understanding of artistic creativity, it is obvious that in order to develop creativity, children need certain knowledge, skills and abilities, methods of activity that they themselves, without the help of adults, cannot master. In other words: we are talking about purposeful learning, the development of rich artistic experience.

For baby ( junior groups) creativity in creating an image can manifest itself in a change in the size of objects. Let me explain this idea: lesson in progress, children mold apples, and if someone, having completed the task, decides to independently mold an apple smaller, or larger, or a different color (yellow, green), for him it is already creative solution. The manifestation of creativity in younger preschoolers is also some kind of addition to modeling, drawing, say, a stick - a petiole.

As skills are mastered (already in older groups), the creative solution becomes more complicated. Fantastic images appear in drawings, modeling, applications, fairy-tale heroes, palaces, magical nature, outer space with flying ships and even astronauts working in orbit. And in this situation positive attitude teacher to the initiative and creativity of the child is an important incentive for the development of his creativity. The teacher notes and encourages the creative discoveries of children, opens an exhibition of children's creativity in the group, in the hall, lobby, draws up the institution with the work of pupils.

In the creative activity of the child, three main stages should be distinguished, each of which, in turn, can be detailed and requires specific methods and techniques of guidance from the teacher.

The first is the emergence, development, awareness and design of the idea. The theme of the upcoming image can be determined by the child himself or proposed by the teacher (its specific decision is determined only by the child himself). The younger the child, the more situational and unstable is his intention. Our research shows that initially three-year-old children can realize their plans only in 30-40 percent of cases. The rest basically change the idea and, as a rule, name what they want to draw, then create something completely different. Sometimes the idea changes several times. Only by the end of the year, and even then, provided that classes are conducted systematically (in 70-80 percent of cases), the idea and implementation of the children begin to coincide. What is the reason? On the one hand, in the situational nature of the child's thinking: at first he wanted to draw one object, suddenly another one comes into his field of vision, which seems to him more interesting. On the other hand, when naming the object of the image, the child, having still very little experience in activity, does not always correlate what was conceived with his pictorial capabilities. Therefore, taking a pencil or brush in hand and realizing his inability, he abandons the original plan. The older the children, the richer their experience in visual activity, the more stable their concept becomes.

The second stage is the process of creating an image. The topic of the task not only does not deprive the child of the opportunity to show creativity, but also directs his imagination, of course, if the teacher does not regulate the decision. Significantly greater opportunities arise when a child creates an image according to his own plan, when the teacher only sets the direction for choosing a theme, the content of the image. Activities at this stage require the child to be able to master the methods of image, expressive means, specific for drawing, sculpting, appliqué.

The third stage - the analysis of the results - is closely related to the two previous ones - this is their logical continuation and completion. Viewing and analysis of what was created by children is carried out at their maximum activity, which allows them to more fully comprehend the result of their own activities. At the end of the lesson, everything created by the children is displayed on a special stand, i.e. each child is given the opportunity to see the work of the whole group, to mark, justifying their choice, those that they liked the most. The tactful, guiding questions of the teacher will allow children to see the creative finds of their comrades, the original and expressive solution of the topic.
A detailed analysis of children's drawings, modeling or appliqué is optional for each lesson. This is determined by the peculiarity and purpose of the created images. But here's what is important: the discussion of the work, their analysis, the teacher conducts each time in a new way. So, if the children made Christmas decorations, then at the end of the lesson all the toys are hung on a furry beauty. If a collective composition was created, then upon completion of the work, the teacher draws attention to the general view of the picture and suggests considering whether it is possible to supplement the panorama, make it richer, and therefore more interesting. If the children decorated the doll's dress, then everything best work"show up in the store" so that the doll or several dolls can "choose" what they like.

Experts distinguish three groups of means, the purpose of which is to increase the level of aesthetic education: art in all forms, the surrounding life, including nature, artistic and creative activity. Thanks to these interconnected means, the child is actively involved in the experience of the creative activity of adults. However, effective leadership is possible if the teacher knows and takes into account the mental processes that underlie children's creativity, and, most importantly, systematically develops them.

What mental processes are we talking about? Of all the means of aesthetic education, all types of artistic activity, we single out general groups that form the basis of creative abilities.

1. Perception of objects and phenomena of reality and their properties, which has individual differences. It is known that in their drawings, modeling, applications, children reflect the impressions received from the world around them. So they have formed varied experiences about this world. Ideas about objects and phenomena are formed on the basis of their perception. Therefore, the most important condition for creativity is to develop children's perception (visual, tactile, kinesthetic), to form a diverse sensory experience.

How should education be carried out so that children have the necessary knowledge and ideas? Psychologists note: syncretism, fusion and lack of distinctness of images of perception are characteristic of children of primary preschool age. To depict an object or phenomenon, the child must represent all its basic properties and convey them in such a way that the image is recognizable. For little artist this is very significant.

The teacher forms knowledge and ideas about the environment purposefully. These are both special observations and examination of the subject in the course of didactic games. The teacher directs the child's perception to certain properties and qualities of objects (phenomena). After all, not all preschoolers come to kindergarten having a rich experience of perceiving the environment - figurative, aesthetically colored, emotionally positive. For the majority, it is limited to fragmentation, one-sidedness, and often simply poverty. To develop aesthetic perception in children, the teacher must himself have the ability of aesthetic vision. Even V. A. Sukhomlinsky emphasized: "You cannot be a teacher without mastering a subtle emotional and aesthetic vision of the world."

Children should not just look at an object, recognize and highlight its properties: shape, structure, color, etc. They should see its artistic merits that are to be depicted. Not everyone is able to independently determine the beauty of an object. The teacher shows them. Otherwise, the concept of "beautiful" will not acquire a specific meaning in the eyes of the pupil, it will remain formal. But in order for him to understand how beautiful this or that object, this or that phenomenon, the teacher himself, we repeat, must feel, see the beauty in life. He develops this quality in himself and children constantly.

How to do it? Day after day, watch with children the phenomena of nature - how the buds swell on trees, bushes, how they gradually bloom, covering the tree with foliage. And how diverse are the gray clouds driven by the wind, how quickly their shape, position, color change! Pay attention to the beauty of the movement of the clouds, the change in their shape. Watch how beautifully the sky and surrounding objects are illuminated by the rays of the setting sun.

Such observations can be carried out with different objects. The ability to contemplate beauty, to enjoy it is very important for the development of children's creativity. It is not for nothing that in Japan, where the culture of aesthetic perception is so high, teachers develop observation skills in children, the ability to listen, peer into the environment - to catch the difference in the noise of rain, to see and hear how heavy drops are loudly knocking on the glass, how joyfully the suddenly flown summer "mushroom" rings " rain.

Objects for observations are found daily. Their goal is to expand children's ideas about the world, its variability and beauty. The Russian language is so rich in epithets, comparisons, metaphors, poetic lines! N. P. Sakulina drew attention to this at one time.

L. S. Vygotsky, speaking about the role of training, emphasized that training leads development. At the same time, he paid attention: “Education can give more in development than what is contained in its immediate results. Applied to one point in the sphere of children's thought, it modifies and rebuilds many other points. It can have distant, but not only immediate consequences.

It is precisely such a long-term result that we can talk about when it comes to the formation of figurative representations in children in the process of teaching visual activity. The statement is not accidental. Proof of this is the work of E. A. Bugrimenko, A. L. Venger, K. N. Polivanova, E. Yu. Sutkova, the theme of which is the preparation of children for school, the diagnosis of mental development and its correction. The authors note: "An insufficient level of development of figurative representations is one of common causes learning difficulties not only at the age of six, but also much later (up to the senior classes). At the same time, the period of their most intensive formation falls on preschool and the beginning of primary school age. Therefore, if a child entering school has problems, then they should be "compensated" as soon as possible with visual and constructive activities - in free time stimulate drawing, sculpting, appliqué, designing.

When characterizing a child's thinking, psychologists usually distinguish stages: visual-effective, visual-figurative, logical. The visual-figurative is based on visual representations and their transformation as a means of solving a mental problem. It is known that the entry into a new stage of thinking does not mean the elimination of its previous stage. It is preserved in the child, helps in the development of thinking of a new stage, forms the basis for the formation of a variety of activities and abilities. Moreover, experts believe that this form of thinking is necessary not only for children's creativity, but also for the creativity of a person of any profession. That is why it is so important to develop imaginative thinking, as well as imagination, positive emotional attitude, mastering the ways of depiction, expressive means of drawing, modeling, appliqué.

Magazine " preschool education" № 2, 2005

Plan

Introduction

Chapter 1. The problem of creativity in the history of philosophy and psychology

§1.1. The problem of creativity in the history of philosophy

§1.2. The problem of creativity in foreign psychology of the 19th-20th centuries

Chapter 2 scientific creativity in Russian philosophy and psychology of the twentieth century

§2.1.Potebnitskaya concept of artistic creativity

§2.2. Reflexological theory of creativity

Conclusion

Introduction

The problem of creativity has long been of interest to philosophers; and attitudes towards him have always been ambiguous. Traditionally, there are 2 approaches to understanding creativity:

Philosophical - it can be divided into philosophical and methodological and its manifestation in the field creative thinking. This method considers human thinking as high form reflection of the surrounding world by a person, and creativity in this case is understood as the formation of micro, through the reflection and transformation of the surrounding world.

1. Logical - considers creativity from a scientific - psychological point of view, as a way of expressing personal qualities, and not as a transformation of the universe.

In this paper, I want to build research on the consideration and comparison of these methods, as they are complementary.

The topic of my work is “The Role of Creativity in the History of Philosophy”, from my point of view, this topic is relevant due to the fact that philosophy itself is scientific creative, focused on the constant search for something new and more perfect. The relationship between philosophical and creative thinking is obvious. In addition, at the moment, a rather biased opinion has developed in society towards creativity, perhaps due to the fact that modern education is one-sided and highly specialized. I believe that such an attitude and creativity in the future can lead to the spiritual degradation of society and therefore it is necessary to pay great attention creative development of the individual.

The purpose of my work is to consider the problems inherent in the understanding of creativity, from the point of view of philosophical and psychological approaches; to determine the philosophical essence of creativity, to explore the influence of creativity on personality.

To achieve my goals, in the first part of my work I explore the problem of the creative process in the framework of the development of philosophy and psychology, and in the second I explore the development and change in attitudes towards creativity in world and Russian philosophy.

According to its structure, my work consists of an introduction, two chapters, divided in pairs into paragraphs, a conclusion and a list of references.

Chapter 1. The problem of creativity in the history of foreign philosophy and psychology.

§1.1 The problem of creativity in the history of philosophy

Philosophical consideration of creativity involves answers to the questions:

a) how creativity is possible at all, as the generation of something new;

b) what is the ontological meaning of the act of creation?

in different historical eras Philosophy answered these questions in different ways.

1. Antiquity.

The specificity of ancient philosophy, as well as the ancient worldview in general, lies in the fact that creativity is associated in it with the sphere of finite, transient and changeable being (existence), and not with being eternal, infinite and equal to itself.

Creativity comes in two forms:

a) as divine - the act of birth (creation) of the cosmos and

b) as human (art, craft).

Most of the ancient thinkers are characterized by the belief in the eternal existence of the cosmos. Greek philosophers of various directions argued:

Heraclitus with his doctrine of true being as eternity

changes.

Eleatics, who recognized only eternally unchanging being;

Democritus, who taught about the eternal existence of atoms;

Aristotle, who proved the infinity of time and thereby, in fact, denied the divine act of creation.

Creativity as the creation of something new and unique is not involved in the sphere of the divine. Even Plato, who teaches about the creation of the cosmos, understands creativity in a very peculiar way:

1. The demiurge creates the world "... in accordance with what is known by the mind and thinking and what is not subject to change."

This pattern of creation is not something external to the creator, but is something that awaits his inner contemplation. Therefore, this contemplation itself is the highest, and the ability to create is subordinate to it and is only a manifestation of that fullness of perfection, which is contained in divine contemplation.

This understanding of divine creativity is also characteristic of Neoplatonism.

Similarly, in the sphere of the human, ancient philosophy does not assign a dominant value to creativity. True knowledge, that is, the contemplation of eternal and unchanging being, is put forward by her in the first place. Any activity, including creative activity, in its ontological significance is lower than contemplation, creation is lower than cognition, because a person creates the finite, transient, and contemplates the infinite, the eternal.

This general formulation of the question has also found its expression in the understanding of artistic creativity. The early Greek thinkers did not single out the arts from common complex creative activities (crafts, cultivation of plants, etc.).

However, unlike other types of creative activity, the artist's work is carried out under the influence of divine influx. This idea found a vivid expression in Plato in his doctrine of eros. Divine creativity, the fruit of which is the universe, is a moment of divine contemplation.

Similarly, human creativity is only a moment in reaching the highest "intelligent" contemplation accessible to man. The desire for this higher state, a kind of obsession, is "Eros", which appears both as an erotic obsession of the body, the desire for birth, and as an erotic obsession of the soul, the desire for artistic creativity, and, finally, as an obsession of the spirit - a passionate craving for pure contemplation of beauty. .

2. Christianity.

A different understanding of creativity arises in the Christian philosophy of the Middle Ages, in which two trends intersect:

1) theistic, coming from the Hebrew religion, and

2) pantheistic - from ancient philosophy.

The first is connected with the understanding of God as a person who creates the world not in accordance with some eternal pattern, but completely freely. Creativity is the evocation of being from non-being by means of a volitional act of a divine personality.

Augustine, in contrast to the Neoplatonists, also emphasizes the importance of the moment of will in the human personality, the functions of which differ from the functions of the mind:

The will is characterized by motives for decision, choice, consent or disagreement, which do not depend on reasonable discretion (which, apparently, is connected with the body - B.S.). If the mind deals with what is (the eternal being of ancient philosophy), then the will rather deals with what is not (the nothingness of Eastern religions), but which is first brought to life by an act of will.

The second trend, towards which almost the majority of representatives of medieval scholasticism gravitate, including its largest representative, Thomas Aquinas, comes closer to the ancient tradition in the matter of creativity. The God of Thomas is goodness in its completeness, it is the eternal mind contemplating itself, it is "... the most perfect nature, rather than the will that makes itself perfect" (Windelband V. History of Philosophy. St. Petersburg, 1898, p. 373) . Therefore Thomas' understanding of divine creativity is close to Plato's understanding of it.

(One gets the impression that this understanding is transitional to pantheistic, because it comes from "self-improving nature, the product of which is the human will - B.S.)

However, regardless of the predominance of one or another tendency among Christian philosophers, they evaluate human creativity in a completely different way than it was estimated by ancient philosophy. It appears in Christianity primarily as the "creativity of history." It is no coincidence that the philosophy of history first appears on Christian soil ("On the City of God" by Augustine): history, according to the medieval notion, is the sphere in which finite human beings take part in the implementation of God's plan in the world. Since, further, it is not so much the mind as the will and volitional act of faith that primarily connect a person with God, a personal act, a personal, individual decision becomes important as a form of participation in the creation of the world by God. This turns out to be a prerequisite for understanding creativity as the creation of something unprecedented, unique and inimitable. At the same time, the sphere of creativity turns out to be predominantly the area of ​​historical deeds, deeds of moral and religious.

Artistic and scientific creativity, on the contrary, act as something secondary. In his work, man is, as it were, constantly turned to God and limited by him; and therefore the Middle Ages never knew that pathos of creativity, which pervaded the Renaissance, modern times and modernity.

3. Revival.

This kind of "limitation" of human creativity is removed in the Renaissance, when a person is gradually freed from God and begins to consider himself as a creator.

The Renaissance understands creativity primarily as artistic creativity, as art in the broadest sense of the word, which in its deepest essence is regarded as creative contemplation. Hence the cult of genius characteristic of the Renaissance as the bearer of creativity par excellence. It was during the Renaissance that interest arose in the very act of creativity, and at the same time in the personality of the artist, that reflection on the creative process arose, which was unfamiliar to either antiquity or the Middle Ages, but was so characteristic of modern times.

This interest in the process of creativity as a subjective process in the artist's soul gives rise in the Renaissance to an interest in culture as a product of the creativity of previous eras. If for the medieval worldview history is the result of the joint creation of God and man, and therefore the meaning of history is something transcendent, then, starting from the end of the 15th-16th centuries. the tendency to consider history as a product of human creativity and to look for its meaning and the laws of its development in itself is becoming more and more clear. as a history maker.

4. Reformation.

In contrast to the Renaissance, the Reformation understands creativity not as an aesthetic (creative) content, but as an action. Lutheranism, and to an even greater extent Calvinism, with their harsh, rigorous ethics, placed emphasis on subject-practical, including economic activity. The success of an individual in practical undertakings on earth is evidence of his being chosen by God. Ingenuity and sharpness in the introduction of affairs were sanctified by religion and thus took over the entire burden of moral and religious deeds.

The understanding of creativity in modern times bears traces of both tendencies. The pantheistic tradition in modern philosophy, starting with Bruno, and even more so with Spinoza, reproduces the ancient attitude towards creativity as something less essential compared to knowledge, which, ultimately, is the contemplation of the eternal god-nature. On the contrary, the philosophy that was formed under the influence of Protestantism (primarily English empiricism) tends to interpret creativity as a successful - but largely random - combination of already existing elements: in this respect, the theory of knowledge of Bacon is characteristic, and even more so of Hobbes, Locke and Hume. Creativity, in essence, is something akin to invention.

5. German classical philosophy.

The completed concept of creativity in the 18th century is created by Kant, who specifically analyzes creative activity under the name of the productive ability of the imagination. Kant inherits the Protestant idea of ​​creativity as an object-transforming activity that changes the face of the world, creates, as it were, a new, previously non-existent, "humanized" world, and philosophically comprehends this idea. Kant analyzes the structure of the creative process as one of the most important aspects of the structure of consciousness. The creative ability of the imagination, according to Kant, turns out to be a connecting link between the diversity of sensory impressions and the unity of the concepts of the mind, due to the fact that it has both the visibility of impressions and the synthesizing, unifying power of the concept. "Transcendental" imagination is thus, as it were, the identity of contemplation and activity, the common root of both. Creativity therefore lies at the very foundation of cognition - such is Kant's conclusion, the opposite of Plato's. Since there is a moment of arbitrariness in creative imagination, it is a correlate of invention, since there is already a moment of necessity (contemplation) in it, it turns out to be indirectly connected with the ideas of reason and, consequently, with the moral world order, and through it with the moral world.

The Kantian doctrine of the imagination was continued by Schelling. According to Schelling, the creative ability of the imagination is the unity of conscious and unconscious activities, because whoever is most gifted with this ability - a genius - creates, as it were, in a state of inspiration, unconsciously, just as nature creates, with the difference that this objective, that is, the unconscious character of the process nevertheless takes place in the subjectivity of man and, therefore, is mediated by his freedom. According to Schelling and the Romantics, creativity, and above all the creativity of the artist and philosopher, is the highest form of human life. Here man comes into contact with the Absolute, with God. Together with the cult of artistic creativity, the interest in the history of culture as a product of past creativity among the Romantics is growing.

This understanding of creativity largely led to a new interpretation of history, different from both its ancient and medieval understanding. At the same time, history turned out to be a sphere for the realization of human creativity, regardless of any transcendental meaning. This conception of history was most profoundly developed in Hegel's philosophy.

6. Philosophy of Marxism.

The understanding of creativity in German classical philosophy as an activity that gives birth to the world had a significant impact on the Marxist concept of creativity. Materialistically interpreting the concept of activity, eliminating from it those moral and religious prerequisites that Kant and Fichte had, Marx considers it as an object-practical activity, as "production" in the broad sense of the word, transforming the natural world in accordance with the goals and needs of man. and humanity. Marx was close to the pathos of the Renaissance, which put man and humanity in the place of God, and therefore creativity for him acts as the activity of a person who creates himself in the course of history. History appears, first of all, as the improvement of the subject-practical methods of human activity, which also determine various types of creativity.

(We cannot agree with Marxism that the main thing in creativity is the object-practical transformation of the natural world, and at the same time of oneself. After all, here, indeed, the "essential" - "instinct of humanity" in the individual is overlooked. According to Marx, it turns out that the level of humanity is determined by the level of development of the production of material goods.We believe that this "instinct of humanity" was realized by man and humanity somewhere in primitive society, for it is not for nothing that the same Marxism claims that the main ways of managing the ancient human morality was the community. Therefore, the task of the survival of man and mankind is to consciously strengthen the moral foundation of human existence and protect it from the infatuations of the body and from the absolutization of the subject-practical determinants of B.S.)

7. Foreign philosophy of the late XIX - early XX century.

In the philosophy of the late 19th and 20th centuries, creativity is considered, first of all, in its opposition to mechanical and technical activity. At the same time, if the philosophy of life opposes the creative bionatural principle to technical rationalism, then existentialism emphasizes the spiritual and personal essence of creativity. In the philosophy of life, the most developed concept of creativity is given by Bergson (Creative Evolution, 1907, Russian translation, 1909). Creativity, as the continuous birth of the new, is, according to Bergson, the essence of life; creativity is something objectively taking place (in nature - in the form of processes of birth, growth, maturation; in consciousness - in the form of the emergence of new patterns and experiences) as opposed to the subjective technical activity of design. The activity of the intellect, according to Bergson, is not capable of creating something new, but only combines the old.

Klages, even more sharply than Bergson, contrasts the natural-spiritual principle as creative with the spiritual-intellectual as technical. In the philosophy of life, creativity is considered not only by analogy with natural biological processes, but also as the creativity of culture and history (Dilthey, Ortega y Gaset). Emphasizing in line with the traditions of German romanticism the personal-unique nature of the creative process, Dilthey in many ways turned out to be an intermediary in understanding creativity between the philosophy of life and existentialism.

In existentialism, the bearer of creativity is a person, understood as an existence, that is, as some irrational principle of freedom, a breakthrough of natural necessity and reasonable expediency, through which "nothing comes into the world."

In the religious version of existentialism, through existence, a person comes into contact with some transcendent being; in irreligious existentialism - with nothing. It is existence as an exit beyond the limits of the natural and social, in general "this-worldly" world - as an ecstatic impulse that brings into the world something new, which is usually called creativity. The most important areas of creativity in which the creativity of history appears are:

religious,

philosophical,

Artistic and

Moral.

Creative ecstasy, according to Berdyaev ("The Meaning of Creativity", 1916), early Heidegger, is the most adequate form of existence or existence.

Common to the philosophy of life and existentialism in the interpretation of creativity is the opposition to its intellectual and technical aspects, the recognition of its intuitive or ecstatic nature, the acceptance of organic mental processes or ecstatic spiritual acts as carriers of the creative principle, where individuality or personality manifests itself as something integral, indivisible and unique. .

Creativity is understood differently in such philosophical directions as pragmatism, instrumentalism, operationalism, and variants of neopositivism close to them. The sphere of creative activity here is science in the form in which it is realized in modern production. Creativity is considered, first of all, as invention, the purpose of which is to solve the problem posed by a certain situation (see J. Dewey "How We Think" - 1910). Continuing the line of English empiricism in the interpretation of creativity, considering it as a successful combination of ideas leading to the solution of a problem, instrumentalism thereby reveals those aspects of scientific thinking that have become a prerequisite for the technical application of the results of science. Creativity acts as an intellectually expressed form of social activity.

Another version of the intellectualistic understanding of creativity is represented partly by neorealism, partly by phenomenology (Alexander, Whitehead, E. Husserl, N. Hartmann). Most thinkers of this type, in their understanding of creativity, are oriented towards science, but not so much towards natural science (Dewey, Bridgman) as towards mathematics (Husserl, Whitehead), so that their field of vision is not so much science in its practical applications, but the so-called "pure science". The basis of scientific knowledge is not activity, as in instrumentalism, but rather intellectual contemplation, so that this direction is closest to the Platonic-antique interpretation of creativity: the cult of the genius gives way to the cult of the sage.

Thus, if for Bergson creativity appears as a selfless deepening into the subject, as self-dissolution in contemplation, for Heidegger - as an ecstatic going beyond one's own limits, the highest tension of a human being, then for Dewey creativity is the ingenuity of the mind, confronted with the strict necessity of solving a certain problem and way out of a dangerous situation.

§ 1.2 The problem of creativity in foreign psychology of the 19th-20th centuries

1. The problem of creative thinking in associative psychology.

Associative psychology was almost unable to explain the regularities not only of creative thinking, but even of the process of conscious thinking, since it did not take into account the important circumstance that this process is regulated at every step by the appropriately reflected content of the problem for the solution of which it proceeds.

The process of interaction of the content of the problem reflected in the mind and the process of thinking until the moment of its solution is becoming more and more complicated.

Typically, such difficulties occur when the solution to a complex problem is achieved in a sudden, that is, intuitive way.

In simpler cases, by the middle of the process of solving the problem, this relationship becomes more complicated, but then it begins to simplify when the subject consciously trusts the solution (or participation in the solution) to the subconscious and unconscious levels of the psyche.

Intuition (from lat. intueri - closely, carefully look) - knowledge that arises without awareness of the ways and conditions of its acquisition, due to which the subject has it as a result of "direct discretion".

Intuition is interpreted both as a specific ability to "holistically grasp" the conditions of a problem situation (sensory and intellectual intuition), and as a mechanism for creative activity.

Representatives of associative psychology could not perceive the dialectical relationship between the reflected content of the problem being solved and the process of thinking, which in essence is feedback. However, it should be noted that the laws of associations established by associationists is the greatest achievement of psychological science X! X century. The problem is just how these laws are interpreted.

Let us dwell briefly on the main provisions of associative psychology.

The defining reason for its inability to solve the problems of thinking correctly is the absolutization of the rational side of thinking, or intellectualism.

The basic law of the association of ideas in its psychological formulation says that "every idea causes behind itself either such an idea that is similar to it in content, or one with which it often arose at the same time, the principle of external association is simultaneity. The principle of the internal is similarity."

When explaining complex mental processes, this representative of associative psychology notes four factors that determine the course of ideas in a person:

1) Associative affinity - all types of associations and the laws of their functioning;

2) the distinctness of the various recollection images that come into conflict (in associations by similarity);

3) sensual tone of representations;

4) a constellation (combination) of representations, which can be extremely variable.

Ziegen, erroneously absolutizing the associative function of the brain, states: "Our thinking obeys the law of strict necessity," because the previous state of the cerebral cortex determines its subsequent state.

Associationists deny psychophysical unity, arguing that only physiological processes can occur under the threshold of consciousness, which are in no way connected with mental ones. Significant shortcomings of associateists should also be indicated:

Lack of general correct installation:

Determination of the thought process; that is, "The problem of determination, which is characteristic of the psychology of thinking, is replaced by another problem: how the connections between the already given elements determine the reproduction of these elements" (Rubinshtein S.L. On thinking and ways of its research. M., 1958, p.16).

Roles in this process of the problem situation;

Roles of analysis and synthesis;

The associative principle of explaining mental phenomena (including thinking), if it is not absolutized, can play a big role in understanding the patterns of thinking, especially the "subconscious", when the subject no longer has direct dialectical interaction with the content of the problem situation.

So, for example, the associateist A. Ben expressed valuable (for understanding creativity) thoughts:

a) For creative thinking, a radical change in the point of view on the subject being studied is necessary (the struggle against established associations);

b) that the well-known fact of the successful creative work of young scientists who do not yet have encyclopedic knowledge in this area can be rationally explained.

However, the initial principles of traditional empirical associative psychology did not give her the opportunity to study complex mental phenomena, in particular intuition. She recognized only "conscious thinking" (induction, deduction, the ability to compare, relations), subject to associative laws. So, the contribution of associative psychology to the study of creative thinking is insignificant.

2. The problem of creativity in Gestalt psychology.

Each psychological direction, one way or another, answers the question: how a person through thinking comprehends something new (a phenomenon, its essence, as well as thoughts that reflect them).

Historically and even logically, Gestalt psychology occupies the first place among the psychological doctrines of thinking. It was she who initiated the systematic study of the mechanisms of creative or productive thinking. The main installations of Gestalt psychology:

1) the principle of integrity and direction of thinking;

2) distinction between hastalts:

physical,

physiological,

Intellectual - as a way to solve a psychophysical problem.

This school arose as an antithesis to the psychological atomism (elementarism) of the associationists. Initially, the very indication of the fact of integrity was important: if the problem is solved, then the gestalt turned out to be good (holistic); if not solved, then the gestalt is bad. Since the actual solution always includes both successful and unsuccessful moves, it was natural to assume a change of hastalts or wholes. Integrity itself can be interpreted as functional, that is, as a certain structure, characterized through a function. This is how the understanding of thinking as an activity of sequential restructuring was formed, continuing up to finding the gestalt (structure) necessary for the situation, which was called "insight" or "enlightenment".

Empirical "atomistic" psychology absolutizes the associative principle.

Gestalt - the principle of consistency, integrity (which is especially important for studying the problem of creative thinking, since the process of creativity is the process of synthesizing a holistic picture of a certain part of the material or spiritual world.

Modern psychologists see the truth in the synthesis of both. Gestaltists convincingly believe that in learning it is much more important not to accumulate correct rules and proven knowledge, but to develop the ability to "grasp", understand the meaning, essence of phenomena. Therefore, in order to think, it is not enough to fulfill the usual three conditions:

a) Get the right solution to the problem;

b) reach a solution with the help of logically correct operations;

c) the result is universally correct.

Here the reality of thinking is not yet felt, because:

a) Each logical step is taken blindly, without a sense of the direction of the whole process;

b) when a decision is received, there is no "insight" of thought (insider), which means a lack of understanding (Wertheimer, Dunker, etc.).

In the process of creative thinking, all structural transformations of ideas and thoughts are carried out as an adequate reflection of the structure of the problem situation, determined by it.

Gestaltism recognizes the role of the former cognitive experience of the subject, but refracted through the actual problem situation, her gestalt.

He rightly emphasizes the need for a preliminary conscious deep analysis of the problem (or "re-centering of the problem situation" by Wertheimer).

The process of thinking and its result, from the standpoint of Gestaltism, are essentially determined by the properties of the cognizing subject.

Requirements for the mental warehouse of the creator:

Not to be limited, blinded by habits;

Do not simply and subserviently repeat what you have been taught;

Do not act mechanically;

Do not take a partial position;

Do not act with attention focused on a limited part of the problem structure;

Do not act with partial operations, but freely, with a mind open to new ideas, operate with the situation, trying to find its internal relationships.

The most significant shortcomings of the Gestaltist understanding of the process of thinking are:

a) In the system of interaction between the "problem situation" and the subject (even in the second scheme), the subject is predominantly passive, contemplative).

b) He ignores the natural hierarchy of connections that exist in a problem situation, i.e. essential and non-essential connections between the elements of the problem are equalized.

Gestaltists note the following stages of the creative process:

1) The desire to have a real understanding leads to the posing of questions, and the investigation begins.

2) Some part of the "mental field" becomes critical and focused, but it does not become isolated. A deeper structural point of view on the situation is developed, including changes in the functional meaning, groupings of elements. Guided by what the structure requires of the critical part, the individual arrives at a rational foresight that requires direct and indirect verification.

3) Various, successive stages of solving the problem, firstly, reduce the "incompleteness of its analysis"; secondly, - the result is achieved at each stage through the "enlightenment" of thought (insight).

4) Discovery (insight) can take place only as a result of a scientist possessing certain abilities of perceiving facts, conscious discretion and posing problems, a sufficiently powerful subconscious thinking that complements the analysis and "incubates" the solution.

5) If the development of science does not allow the scientist to consciously study a certain set of facts sufficient to detect at least a partial regularity in the phenomena under study, then no "objective structural integrity" of the phenomena can lead to complete self-discovery.

6) From the moment when the subconscious picture of the phenomenon was formed, it necessarily directs the process of thinking already because it exists as an active mental experience of the subject or "intellectual intuition".

7) A purely logical approach to solving scientific problems is hopeless.

8) In order for a scientist to retain a "sense of direction" of mental activity, he must continuously work on scientific problems (in this case, apparently, close problems are preferable) in order to acquire those logical and objective elements that are necessary and sufficient for preparing a discovery. The presence of mental tension associated with the incompleteness of knowledge of a certain phenomenon leads to the formation of a kind of desire for mental balance.

Creative personalities constantly yearn for the harmony of their spiritual forces, therefore, for them there is no limit to the processes of cognition.

Thus, the Gestalt approach to the study of the creative process in science, despite serious shortcomings of a methodological nature, in a certain sense touches the very essence of the problem and is of great importance for the development of this area of ​​psychology.

Modern foreign and Russian psychology of creativity continues to develop a positive legacy of associative and gestalt psychology, trying to find answers to cardinal questions:

What are the intimate psychological mechanisms of the creative act;

The dialectic of external and internal conditions that stimulate and inhibit the creative process;

What are creative abilities and how to develop them, whether they are hereditary or acquired; and if both factors play a role, then what is their relative importance;

What is the role of chance in creativity;

What are the psychological relationships in small groups of scientists and how they affect the process of creativity.

Chapter 2. Development of the problem of scientific creativity in Russian philosophy and psychology of the twentieth century.

§ 2.1. Potebnist concept of artistic creativity:

The pioneers of the emerging psychology of creativity in Russia were not psychologists, but theorists of literature, literature and art.

The philosophical and linguistic works of A.A. Potebni. Potebnya considered the semantic principle to be the main approach to the consideration of grammatical categories and studied the grammatical form mainly as meaning.

In terms of developing the beginnings of the psychology of artistic creativity, the most famous potebniks are: D.N. Ovsyaniko-Kulikovskiy, B.A. Lezin and others.

Artistic creativity was interpreted by them in accordance with the principle of "economy of thought".

The unconscious, in their opinion, is a means of thought that saves and accumulates forces.

Attention, as a moment of consciousness, spends the most mental energy. Grammatical thought, carried out in the native language unconsciously, without wasting energy, allows you to spend this energy on the semantic aspect of thought and gives rise to a logical thought - the word turns into a concept.

In other words, language spends much less energy than it saves; and this saved energy goes to artistic and scientific creativity.

The principle of potebnik Ovsyaniko-Kulikovsky: Give, perhaps, more with the least waste of thought.

Lezin-potebnist names important, in his opinion, qualities of an individual that allow him to become a creative subject. The first sign of the genius of a writer, artist is an extraordinary ability of attention and perception.

Goethe: Genius is only attention. It is stronger than his talent.

Genius is a great worker, only economically distributing forces.

Newton: Genius is stubborn patience. Talent sees things in their essence, is able to grasp the characteristic details, has a great susceptibility, impressionability.

Expressed ability of fantasy, fiction;

Exceptional, involuntary observation;

Evasion away from the template, originality, subjectivity;

Extensiveness, knowledge, observations;

The gift of intuition, foreboding, foresight.

According to Lezin, one can judge the qualities of a creator's personality only through self-observation.

He distinguishes the following stages of the creative process:

1. Labor. (Lezin does not share the point of view of Goethe and Belinsky, who downplay the role of labor in relation to intuition).

2. Unconscious work, which, in his opinion, amounts to selection. This stage is unknowable.

3. Inspiration. It is nothing else than "shifting" from the unconscious into the sphere of consciousness of an already prepared conclusion.

In 1910 a book by P.K. Engelmeyer was published. "Theory of Creativity", in which its author deals with the problems of the nature of creativity, its manifestations, looks for essential features of the concept of "human creativity", considers the stadial nature of the creative process, classifies human talents, explores the relationship of "eurylogy" to biology and sociology. He opposes creativity to the routine as new to the old and names its specific features:

Artificiality;

expediency;

Surprise;

Value.

The creativity of man is a continuation of the creativity of nature. Creativity is life, and life is creativity. The creativity of an individual is determined by the level of development of society.

Where there is conjecture, there is creativity.

He indicates a number of stages in the creative process:

1) The first stage of creativity: - intuition and desire, the origin of the idea, hypotheses. It is teleological, that is, actually psychological, intuitive. Here intuition works on past experience. It takes a genius here.

We share Engelmeyer's idea that already the first stage of creativity requires from the subject the ability to unconscious thinking in order to see the problem on the basis of past experience where

she was not seen by others.

2) The second stage: - knowledge and reasoning, development of a scheme or plan, which gives a complete and feasible plan, a scheme where everything necessary and sufficient is present. It is logical, proving.

The mechanism of this act consists in experiments both in thoughts and in deeds. The discovery is worked out as a logical representation; its implementation no longer requires creative work.

This is where talent is needed.

3) The third act - skill, constructive performance also does not require creativity.

Here you need diligence.

The work of the subject here is reduced to selection; it is carried out according to the law of least resistance, the least expenditure of forces.

We cannot agree that already at the second stage there is a "complete and feasible plan, where everything necessary and sufficient is present." As will become known later, such a solution plan is revealed mainly by a "retrospective analysis" of the problem that has already been solved.

In addition, Engelmeyer unjustifiably, contrary to the actual logic of the creative process, reduces two functionally, and in time, separated varieties of intuition into one:

Intuition working on past experience and discovering a problem and

Intuition, over the material of the preliminary conscious "incomplete analysis". - This is again an act of unconscious mental activity, which translates a ready-made solution to the problem from the unconscious into consciousness.

On the whole, many provisions of Engelmeyer have not lost their scientific value and today.

Of the first works in the post-October period, Bloch's book by M.A. "Creativity in science and technology". He shares many of Engelmeyer's ideas (in particular, about the nature of creativity) and suggests the following stages of the creative process:

The emergence of an idea;

Proof;

Realization.

Psychological, in his opinion, only the first act; he is unknowable. The main thing here is the introspection of a genius.

The main feature of a genius is a powerful fantasy.

The second circumstance of creativity is the role of chance.

Observation;

Comprehensive consideration of the fact.

The need for the missing. Genius is not determined biologically and is not created by education and training; geniuses are born.

Genius is attracted not so much by the result as by the process itself. The optimal age for creativity is 25 years.

Here he is contradictory: rejecting Joly's biodetermination, Bloch at the same time asserts that genius is inherent in everyone, but to a different degree. Then this degree is still determined by genetics, therefore, biological.

In 1923-1924 he published his works ("Psychology of Creativity" and "Genius and Creativity") O.S. Gruzenberg. He distinguishes three theories of creativity:

1) Philosophical type:

Gnoseological is the knowledge of the world in the process of intuition (Plato, Schopenhauer, Maine de Biran, Bergson, Lossky).

Metaphysical - the disclosure of the metaphysical essence in religious and ethical intuition (Xenophanes, Socrates, Plotinus, Augustine, Aquinas, Schelling, Vl. Solovyov).

2) Psychological type.

One of its varieties: - rapprochement with natural science, associated with the consideration of creative imagination, intuitive thinking, creative ecstasy and inspiration, objectification of images, creativity of primitive peoples, crowds, children, creativity of inventors (euryology), unconscious creativity (in a dream, etc.). .).

Another variety is an offshoot of psychopathology (Lombroso, Perti, Nordau, Barin, Toulouse, Pere, Mobius, Bekhterev, Kovalevsky, Chizh): genius and insanity; the influence of heredity, alcoholism, gender, the role of superstitions, the peculiarities of lunatics and mediums.

3) Intuitive type with aesthetic and historical-literary varieties.

a) Aesthetic - revealing the metaphysical essence of the world in the process of artistic intuition (Plato, Schiller, Schelling, Schopenhauer, Nietzsche, Bergson). The important questions for them are:

The origin of artistic images;

Origin and structure of works of art;

The perception of the listener, viewer.

b) The second variety is historical and literary (Dilthey, Potebnya, Veselovsky, Ovsyaniko-Kulikovsky):

Folk poetry, myths and fairy tales, rhythm in poetry, literary improvisations, psychology of the reader and viewer.

The subject of the psychology of creativity, according to Gruzenberg:

Composition, origin and connection of peculiar mental phenomena of the inner world of the creator of intellectual values. The study of the creative nature of genius. The work of an artist is not a product of arbitrariness, but the natural activity of his spirit.

§ 2.2. Reflexological theory of creativity.

a) V.M. Bekhterev;

b) F.Yu. Levinson-Lessing;

c) The initial interpretation of the problem of intuition by Soviet psychologists.

d) the concept of giftedness B.M. Teplova;

e) the concept of the creative process of A.N. Leontiev and Sumbaeva I.S.;

The science of creativity is the science of the laws of man's creative nature and his imagination.

Can't play creative process in experience, evoke inspiration arbitrarily. Based on biology and reflexology.

The reproductive method - reproduction by the reader, listener, viewer of the creative process of the individual is itself co-creation. Genuine creativity is intuitive, and rational creativity is low-grade. You can't teach to create; but one must know the conditions conducive to it; and therefore this phenomenon should be studied by the psychology of creativity.

A small work of Bekhterev V.M. is of known scientific interest. "Creativity from the point of view of reflexology" (as an appendix to Gruzenberg's book "Genius and Creativity").

For Bekhterev, creativity is a reaction to a stimulus, the resolution of this reaction, the removal of tension generated by this stimulus.

Actions of the stimulus:

The stimulus excites the concentration reflex;

This generates a mimic-somatic reflex;

Raises the energy level associated with the action of vascular motors and endocrine hormones that stimulate brain activity.

Concentration, accompanied by a mimic-somatic reflex, forms a dominant in brain activity, which attracts excitations from all other areas of the brain. Around the dominant, by reproducing past experience, all the reserve material is concentrated, one way or another related to the stimulus-problem.

At the same time, all other processes of brain activity that are not directly related to the stimulus-problem are inhibited. The material is selected, analyzed, synthesized. For any kind of creativity, according to Bekhterev, one or another degree of giftedness and appropriate upbringing are necessary, creating skills for work. This upbringing develops an inclination towards the manifestation of natural talents, due to which in the end there is an almost irresistible desire for creativity. The direct definition of its tasks is the environment in the form of a given nature, material culture and social environment (the latter in particular).

The main theses of V.M. Bekhterev was divided by physiologists from the "school of I.P. Pavlov - Savich V.V. (his work: "Creativity from the point of view of a physiologist" 1921-1923), V.Ya. Kurbatov, A.E. Fersman and others. Creativity , in their opinion, is the formation of new conditioned reflexes with the help of previously formed connections (Blokh, Kurbatov, Fersman, etc.).

Article by F.Yu. Levinson-Lessing "The role of fantasy in scientific creativity" is devoted to the logical and methodological research of science. Fantasy is interpreted as intuition, as the unconscious work of the conscious intellect. According to the author, creative work consists of three elements:

1) Accumulation of facts through observations and experiments; it is preparing the ground for creativity;

2) the emergence of an idea in fantasy;

3) verification and development of the idea.

Another student I.P. Pavlova, V.L. Omelyansky in his article "The Role of Chance in Scientific Discovery" comes to the conclusion that the entire content of scientific discovery is far from being exhausted by chance alone: ​​a creative act, i.e., the systematic work of the mind and imagination, is a necessary condition for it.

The overwhelming majority of Soviet psychologists, up to the beginning of the 1950s, resolutely rejected the very phenomenon of the "unconscious", expressed in terms of "illumination", "intuition", "insight". So, for example, P.M. Jacobson in the book: "The process of the creative work of the inventor", 1934, emphasizes that it is impossible to directly cause inspiration, but there are certain indirect methods by which an experienced scientist and inventor can organize his activity in the right direction, master his complex mental operations to achieve set goals.

Vyacheslav Polonsky - ("Consciousness and Creativity", L., (1934), pursuing the goal of debunking the legend of the unconsciousness of creativity, however, did not consider it possible to completely abandon the recognition of the reality that was usually associated with the term "intuition". He defines intuition not as the unconscious, but as an unconsciously emerging element of consciousness.Polonsky writes that the unity of sensory perception and rational experience is the essence of creativity.

Similar views were developed in those years by S.L. Rubinstein ("Fundamentals general psychology", 1940). He believed that the suddenness of the greatest discoveries cannot be denied; but their source is not "intuition", not a kind of "illumination" that arises without any difficulty. This phenomenon is only a kind of critical point that is sharply conspicuous, separating the solved problem from the unsolved one. The transition through this point is abrupt. The sudden, "intuitive" nature of creative activity most often appears where the hypothetical solution is more obvious than the paths and methods leading to it (for example: "I have had my results for a long time, but I just don’t know how I will come to them," Gauss once said). This is a kind of anticipation, or anticipation of the result of mental work that still needs to be done. But where there is a developed method of thinking, the mental activity of a scientist usually seems systematic, and anticipation itself is usually the product of a long preliminary conscious work. "The creative activity of a scientist is creative work," concludes Rubinshtein.

An article by B.M. Teplov "Ability and giftedness". The author of the article sets the following goals for psychology:

1. Find out, at least in the most approximate form, the content of those basic concepts with which the doctrine of giftedness should operate;

2. to remove some erroneous points of view regarding these concepts.

Teplov argued that only anatomical and physiological inclinations are innate, but not the abilities that are created in activity, and the driving force behind their development is the struggle of contradictions. (see: Abilities and giftedness. - Problems of individual differences. M., 1961).

Separate abilities as such do not yet determine the success of the performance of an activity, but only their well-known combination. The totality of abilities is giftedness. The concept of giftedness characterizes the subject not from a quantitative, but from a qualitative side, which, of course, also has a quantitative side. Unfortunately, these valuable thoughts of Teplov were classified as unscientific. The 50-60s turned out to be beneficial for Soviet psychology for reviving interest in the mechanisms of creative activity, which was facilitated by the appeal of psychologists to the ideas of I.P. Pavlova.

So, A.N. Leontiev in his report "Experimental Study of Thinking" (1954), firstly, emphasizes the decisive significance of the experiment in the study of creativity, and secondly, offers his own interpretation of the stages of the creative process:

1. Finding an adequate principle (method) of solution;

2. its application associated with verification, the transformation of this principle in accordance with the characteristics of the problem being solved.

The first stage, in his opinion, is the most creative link in mental activity. The main feature of this stage "is that, after initially fruitless attempts to find a solution to the problem, a conjecture suddenly arises, a new idea of ​​\u200b\u200bsolution appears. At the same time, the randomness of the circumstances in which such a sudden discovery of a new idea, a new principle of solution takes place" (see .: Reports at a meeting on psychology (June 3-8, 1953, p. 5).

A significant contribution to the history and theory of the problem of scientific creativity was made by the book of I.S. Sumbaeva (Scientific work. Irkutsk, 1957), in which for the first time (for Soviet psychology) the division of the human psyche into consciousness and subconsciousness is recognized.

He outlines three stages of the creative process, close to the provisions of Engelmeyer and Bloch:

1. Inspiration, activity of the imagination, the emergence of an idea;

2. Logical processing of the idea using the processes of abstraction and generalization;

3. The actual implementation of the creative intent.

Intuition, as involuntary, imagination, fantasy, conjecture, dominates at the first stage, when the vision of the future result does without recourse to language and concepts and is carried out directly, figuratively and visually. Here the conclusion from the premises without inference.

In scientific creativity, in his opinion, it is important:

Focusing on a specific topic;

Accumulation and systematization of relevant material;

Summarizing and obtaining conclusions, control over their reliability through this material.

Sumbaev is against the identification of ideas and concepts. The idea is integral and figurative. The content of the idea is not amenable to a sufficiently precise definition. It is closely connected with feeling, has a personal affiliation, and has subjective validity. Therefore, logical work on the idea is necessary.

The concept is a product of dismemberment and generalization, it is devoid of visibility.

Traits of a creative individual:

Love for truth;

Ability to work; - love for work;

Attention;

Observation;

The ability to think;

Criticality of the mind and self-criticism.

The main thing is hard and organized work. - 1% inspiration and 99% work.

Conclusion

Creativity, in the global sense of the word, occupies a huge role not only in the history of philosophy, but also in the history of all mankind.

Throughout history, the attitude towards creativity has changed, it has been considered from a purely scientific, psychological, philosophical point of view, but always, the great importance of creativity has been emphasized as a process of creating and transforming the surrounding universe through the work of human consciousness.

In our time, this phenomenon of the human personality is extremely skeptical. Already at the beginning of the twentieth century, many thinkers began to call art “an absolutely useless and meaningless thing”, forgetting that it was with the help of art and creativity that a person could develop intellectually. At the moment, many people do not see any value in art and creativity, and such a trend cannot but be frightening, because it can soon lead to the intellectual degradation of mankind.

The purpose of my research was to consider the creative process from the scientific, psychological and philosophical sides and to determine the positive and negative aspects of each of these points of view, as well as to explore the problems of artistic creativity in philosophy.

As a result of my research, I concluded that despite the different attitudes towards creativity among different thinkers, they all recognized its value, and therefore the process of creativity can be considered the driving force that determines the development of mankind.

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