SEMIOTICS, CREATIVITY AND INTERNATIONAL EDUCATION

Colocvii teatrale, 2019

The following article attempts a discussion concerning the issue of creativity in the context of artistic approaches, by taking into consideration the central concepts: creative personality, creative process, and creative product/ creative performance. Our analysis is based on two questions that concern the extent to which we can speak of flexibility and creativity in contemporary artistic activities. Our conclusion is that creative artistic activities are not disorderly/ unorganised, they are realised according to artistic rules and principles that relate to the forms of expression that can be used in creative artistic approaches. Furthermore, in the context of the cultural hybridization phenomenon, the merging of the traditional with the postmodern allows the manifestation of cultural and artistic diversity, as well as the revaluation, redefinition and update of the traditional forms of expression and of cultural forms in a creative manner, by means of a creative exploitation of their spectacular artistic potential.

The Person and the Challenges. The Journal of Theology, Education, Canon Law and Social Studies Inspired by Pope John Paul II, 2016

One would expect a book with such a title-Education and Creativity-to be about pedagogy within a school context, which it is not1. Or rather, it is much more than that. Although essays such as Stanko Gerjolj's on emotional, moral and religious intelligences deal specifically about the class community, the book is not just about schools. Thankfully, the word education, which appears in the title, is used more broadly. So is the word creativity. Creativity is mostly understood as discovery, or as the innovative re-combination of ideas, but it is also linked to dialogue and communication. Naturally, there is, within the book as a whole, an evident attempt on the part of the editor, to establish the relationship between creativity and education. Throughout the book, the reader learns about creativity within the field of education, about creative teaching, about creative learning, and about creative learning environments. We are also made to reflect upon teaching for creativity, learning for creativity, the relationship between different kinds of intelligences and creativity, as well as upon the more practical possibility of establishing a policy of creativity in education, and of introducing the education

EpSBS, 2019

The article discusses modern creative education in the context of socio-cultural and technological changes. The sociocultural challenge is presented by peculiarities of the VUCA-world which requires abilities to adapt to a rapidly changing external environment. After getting academic degrees, specialists find themselves in a shock situation not being able to adapt to the real world. It is necessary to train a creative specialist, the Homo universalis. The purpose of the article is to develop ontological foundations of basic competencies that should be implemented into the curriculum to train a creative specialist. The article analyzes ontological foundations of basic competencies which should be implemented in educational programs. The article determines boundaries and features of the creative space between the ideal and the person in which the creative specialist creates. The energy value of the ideal and context when creating works of art and design products is analyzed. The artic...

2007

The subject of this thesis is to consider how Creativity and the Creative Process might be defined. The aims are to discover if a satisfactory definition of the creative process already exists, or if it could be hoped for, especially within the realm of creative writing. The research examined the specific writings of a number of practitioners within the remit of this work and keeping in mind its emphasis on creative writing; while attempting to elucidate their particular views and the articulation of these views. The findings are interesting, even remarkable at times, basically definitions are varied and multiple. But particularly there is a strong bond between the sciences and the arts when writers come to express a view on creativity. The close examination, of this particular transverse section, (it is important to keep that awareness: this research is one particular cut or take and nothing more) shows that expressions of creativity are mainly descriptive rather than explanatory; ...

2009

2008

2023

Proceedings of the 14th European Conference on Creativity in Innovation - ECCI 2022 (9-10 November 2022) - https://books.aijr.org/index.php/press/catalog/book/154. In our analysis, we would like to expose some ideas on creativity, promotion of creativity and destruction of creativity. Our general intent is to show that creativity is not reserved for geniuses but, on the contrary, belongs to all individuals. Moreover, we aim to describe how creativity can be promoted in individuals in different ages of their life. Finally, we wish to expose that creativity is a disposition which always needs to be cultivated with all possible care: for creativity can be easily damaged or even destroyed because of a false education of the individuals or due to negatively organised work environments. For our investigation, we shall take elements from different sources: we shall analyse ideas expressed in the works of Teresa Amabile, we shall consider the criticism of traditional pedagogy exposed in the meditation of Paulo Freire, we shall propose some examples of the black – namely the poisonous – pedagogy contained in the work of Katharina Rutschky, we shall present Alice Miller’s criticism of determined models of education, and we shall the inquiry into the concept of innovation exposed in the research of Tina Seelig. The works of Teresa Amabile will show that creativity is a faculty which belongs to all individuals, not only to the most endowed ones. Amabile shows in her book different examples of the ways in which creativity and motivation are improved both in schools and in companies; she analyses how, on the contrary, creativity and motivation are damaged and destroyed in schools and in companies. With the help of Amabile’s inquiries, we shall show the importance of making progress in the work both in schools and in the work environments: people and their progress ought always to be supported in order that the disposition to creativity can function. People always need positive consideration in schools and in work environments. Rutschky’s analysis of the poisonous pedagogy will show us how certain methods of education lead to the destruction of any creativity whatsoever and of the whole personality of the individual. Alice Miller’s works will give further examples regarding the destruction of autonomy through traditional methods of education. Thanks to Paulo Freire’s meditation we shall see how creativity depends on the models of society: in particular, concepts like the bank account of education and internalisation can teach us how the individuals in the schools are transformed into a completely passive audience, thus losing any capacity whatsoever of proposing innovation in the work and in the society. The structure of society and the aims of society determine the models of schools operating in society. The works of Tina Seelig will finally give us the possibility of seeing the different components needed for the development of creativity: for instance, imagination, knowledge, resources, and culture will prove to be essential components of creativity. Bibliography Amabile, T., Growing Up Creative: Nurturing a Lifetime of Creativity, Crown Amabile, T.M. & Stubbs, M.L., 1989. Amabile, T., Creativity In Context: Update To The Social Psychology Of Creativity, Westview Press, Boulder, CO 1996. Amabile, T.M. & Kramer, S.J., The Progress Principle: Using Small Wins to Ignite Joy, Engagement, and Creativity at Work, Harvard Business Review Press, Boston 2011. Freire, P., Pedagogia do Oprimido, Paz e Terra, Rio de Janeiro 1974. Freire, P., Pedagogy of the Oppressed (Myra Bergman Ramos, Trad.). (Original work published in 1970), The Continuum Publishing Company, New York 1992. Miller, A., Am Anfang war Erziehung. Suhrkamp Taschenbuch, Frankfurt am Main 1980. Miller, A., Du sollst nicht merken. Variationen über das Paradies-Thema. 1. Auflage. Suhrkamp, Frankfurt am Main 1981. Rutschky K. (ed.), Schwarze Pädagogik. Quellen zur Naturgeschichte der bürgerlichen Erziehung, Ullstein, Berlin 1977; Neuausgabe ebd. 1997. Seelig, T., inGenius: A Crash Course on Creativity. HarperCollins, 2012.

International Journal of Criminology and Sociology, 2020

The main aim of the study is to analyze the phenomenon of creativity, which has traditionally been the subject of philosophical investigation. Moreover, the phenomenon of philosophy itself as a creative process often remained in the shadow of general problems. By tacit agreement the creative nature of philosophy was recognized as obvious, and therefore, as a subject of philosophizing, it was often simply left out of the picture. However, again and again, the thesis about the “death of philosophy” makes the question of its creative nature more than relevant. If the creative potential of philosophy has been exhausted, perhaps it is really dying as a special form of thought in culture. If creativity in philosophy is possible, then its cultural prospects become more optimistic, or cultural elimination of philosophy is associated not only (or not so much) with its creative capacity. Creativity became the object of theorization in the Renaissance and Modernity, when man was initially thought of as its subject. Therefore, the very understanding of creativity bears the mark of Modern thinking. However, the "post-" situation forces us to return to the analysis of the problem and consider it in terms of the impossibility of the new. The problem can and should also be considered on the material of Russian philosophical thought, whose status has always been ambiguous, primarily for Russian philosophy itself. Today, the position of Russian philosophy is becoming even more problematic due to the problematization of philosophy as a particular discourse that claims to be universal, on the one hand, and the specifics of Russian theoretical thought labeled as "responsive", its empathicity – on the other.

2023

This contribution wants to underline that pedagogy feeds on art not only to know how to do, but to learn how taking care of the person, providing not only an awareness of unity between image and concept, between sensation and thought, but also a knowledge which binds it to the universe in harmony with nature (Read, 1980). In particular, the analysis wants to focus on the importance of creative action through art, to develop a divergent thought that is an integral part of the educational process. Educating creativity means teaching to express oneself, to communicate, to respect diversity, to encourage thought to go beyond habits, to seek new solutions, to formulate new questions, to overturn consolidated processes, to look at the world from multiple points of view.