The modern Russian practice of lending by banks to individuals requires improvement. The development of credit relations between the population and banks is not only an economic issue, but also a political and social one. In addition to the necessary economic and political stability, the development of socially oriented credit policy by commercial banks in relations with the population, it also requires modernization of forms and methods of lending, improving loans, using experience foreign countries with a market economy.

Lending to individuals is a rather risky operation, and an increase in the share of such loans in the portfolio increases the bank's credit risk. One of the main measures to prevent possible losses is a correct assessment of the borrower's ability to meet their obligations. Equally important is the problem of the correct organization of the loan assessment procedure ...

• -developed infrastructure (customers should be able to make non-cash payments in a large number of shops, restaurants, pay for communication services with a card);
• - a variety of access channels for obtaining the necessary information and services, providing customers with the possibility of remote round-the-clock information service (making service convenient for customers, providing new types of services, banks must strive to fulfill the main condition under which retail lending can be profitable - scale);
• - sufficient equipment with technical means (for example, in Russia, with a population of almost 150 million people, only 9.5 thousand ATMs are installed, and in Canada, where 33 million people live, 30 thousand ATMs are operating);
• - a unified approach to the management of all financial flows of the bank, the integration of the retail business into the general policy of the bank in order to obtain the greatest efficiency of the services provided;
• - reducing costs and risks, improving the efficiency and quality of service to the population, reducing operating costs, as well as the timing of consideration of applications and issuance of a loan.

Also, one of the most important problems in recent years is the competition between banks and trade organizations. The latter provide loans to almost everyone who applies for them. To do this, you need to submit to the store only a passport and a certificate of income from the place of work for the last 6 months. Sometimes even a certificate is not required, but only the number of the certificate of insurance pension provision or TIN is required. That is, the number of documents is sharply limited in comparison with the required bank, and the buyer does not need to spend time collecting all kinds of certificates and documents, insuring credit facilities and their own life and health. Besides, important issue is the amount of interest at which a trade organization issues loans. It is in different stores from 0 to 29 percent per year, depending on the bank with which the store works. So O.V.K. charges 29 percent per year. But, as a rule, the interest rate is 10 percent per year. In addition, a deferral of payment for the payment of debt and interest is provided for 1-2 months. Sometimes the store includes the interest charged in the price of the goods in advance, and then the sale of goods on credit looks like an installment payment for the goods, which also interests the buyer. Another positive point for the client is the lack of collateral for loans provided by trade organizations, while banks require surety or collateral 2-4 times higher than the amount of the loan and accrued interest.

If a customer takes a loan in a store to buy a TV worth 12 thousand rubles. for 6 months, then the interest on the loan will be 600 rubles. Having paid an initial contribution from the amount of 12600 rubles. in the amount of 10%, the monthly payment for the remaining 5 months will be 2280 rubles. per month. Moreover, it takes 15 minutes to get a loan in a trade organization.

If a person contacts the bank, they must pay at least 30% of the item's value, which is 3600 rubles. Interest on the remaining amount of 8400 rubles. will amount to 798 rubles for 6 months. In addition, you need to collect a lot of documents, bring guarantors and wait up to a week to get permission for a loan, or you may not get it. In addition, the bank may require a collateral in the amount of several tens of thousands of rubles. It is hard to imagine that in a home environment an ordinary buyer can cost 20, 30 or even more than a thousand rubles, and what can be provided as a pledge.

Also, the loan agreement may set a fee for servicing a loan account - up to 3%, and a minimum of 250 rubles, which makes the loan even more expensive. Thus, the bank loses to trade organizations, both in the amount of interest and in the speed of granting loans. Therefore, the bank needs to simplify the process of granting loans. lending individual commercial

When studying the documents that must be submitted to the bank, it turned out that some documents duplicate each other. The bank is provided with a passport, from which a photocopy of the bank employee is taken. But in addition to the identity card of the borrower, guarantor, pledger, a certificate of registration at the place of residence must be submitted. That is, despite the fact that there is a registration mark in the passport, a certificate of the same is also needed. The bank must require a certificate from the place of residence, if it does not coincide with the place of registration.

When used as collateral for the repayment of a loan, a pledge of property, the borrower must submit, when pledging real estate:

• - documents confirming the ownership of an apartment, a room: a certificate of ownership of a dwelling, a transfer agreement, a sale and purchase agreement, an exchange agreement, a donation agreement;
• - certificate of the value of the object from the MUPTI or another body that maintains technical records of real estate objects;
• - a copy of the financial and personal account;
• - an extract from the house book;

The house register indicates registration at the place of residence, the area of ​​the building, its number, i.e. here the data on registration at the place of residence, real estate area and other data that the bank has already received from the above documents will be repeated.

In the case of a loan on the security of an apartment or room being purchased or under construction under an investment agreement, the loan agreement must provide for the borrower's obligation to submit to the bank the necessary documents for concluding a mortgage agreement, including an insurance policy: for real estate and for itself.

A mortgage loan sometimes, due to the complexity of the package of documents provided, can take up to 4 weeks. One of the disadvantages is also the conclusion and provision of a marriage contract. It is necessary to reduce the specified terms for submitting documents for concluding a mortgage agreement at least 2 times.

The creditworthiness of the client in the world banking practice appears as one of the main objects of assessment in determining the feasibility and forms of credit relations. The ability to repay a debt is associated with the moral qualities of the client, his art and occupation, the degree of capital investment in real estate, the ability to earn funds to pay off the loan and other obligations.

The list of elements of the borrower's creditworthiness and indicators characterizing them can be broader or shortened depending on the objectives of the analysis, types of loans, loan terms, the state of the bank's credit relations with the borrower. The optimal or acceptable values ​​of such indicators should be differentiated depending on the activities of the borrower, the specific conditions of the transaction, etc.

Today, there are several basic methods for assessing the creditworthiness of clients. The systems differ from each other in the number of indicators that are used as components of the overall assessment of the borrower, as well as in different approaches to the characteristics and priority of each of them. One of the ways to assess the creditworthiness of individuals is scoring.

The characteristics of the customers are assessed in points, the points are summed up, the rating obtained is compared with the threshold value. The critical value of the rating should be determined on the basis of statistical data and is periodically reviewed to balance two types of risk (issuance of a loan to an insolvent client and a refusal to issue a creditworthy one). In addition to the "cut-off limit", other intervals of scores can be developed, for example, a range of values ​​is established for which additional analysis is required, or the maximum possible loan size, the conditions for its collateral and the interest rate are determined for each interval with acceptable score values.

The most important factors taken into account in this model are: age, marital status, number of dependents, residential real estate, income, bank accounts, length of employment in general and at a given job, length of residence in a given area, recommendations of other financial institutions.

In addition, a distinctive feature of the scoring method is that it should not be applied according to a template, but developed independently by each bank based on the characteristics inherent in it and the clientele, taking into account the traditions of the country, changing socio-economic conditions affecting people's behavior. Before widely introducing scoring, each bank analyzes the effectiveness of the current model and, if necessary, modifies the set of characteristics of the borrower and the scale of their numerical ratings.

The author of the methodology, David Durant, noted that the formula he derived can help assess the reliability of an ordinary borrower, but in extraordinary cases, one cannot rely on its forecast. He identified a group of factors that make it possible to determine the degree of credit risk when obtaining a consumer loan.

The following parameters and characteristics of the client can also act as credit scoring coefficients: the client's participation in financing the transaction (the larger the share of funds contributed by the client himself, the better his rating), the purpose of the loan, marital status (preference is given to a family with less than three children), health status, education, career development, net annual income, average bank account balance, loan term (long-term loans are more risky and, therefore, lower the assessment, loan term depends on the purpose of obtaining it). It should also be borne in mind that frequent relocations and job changes give rise to doubts about the stability and stability of the borrower's position.

The experience of foreign banks shows that an applicant for a consumer loan receives increased points for the accurate repayment of previously used loans, stability of income (and, above all, wages), the duration of work in one place and the period of residence at a given address, and the presence of his own home. When assessing the sphere of employment, preference is given to the civil service. The critical value of the rating should be constantly reviewed by the bank in accordance with the results of its work, so that the changed conditions do not lead to the fact that the "cut-off limit" is too high and the bank will suffer losses, but not in the form of missing money, but in the form of lost money. the benefits of not providing credit to reliable borrowers whose scoring does not accurately reflect their real creditworthiness.

There is another credit scoring system for assessing the creditworthiness of individual borrowers, the advantage of which is that it allows you to take into account many factors at the same time. On the other hand, the valuation method is more adapted to respond quickly to changes in the economic environment in the present or in the future. An experienced professional should be able to quickly take into account changes in the surrounding world when predicting the future creditworthiness of a borrower. The method of credit scoring in such cases, as a rule, is less effective; its disadvantage is manifested in the fact that it is based on statistical data of past periods, which have lost their relevance and truthfulness due to the changes that have occurred.

By creating conditions for an express analysis, the scoring method allows, in the presence of a potential borrower, who has contacted the bank and filled out a special questionnaire, to give an answer about the possibility of issuing a loan within a few minutes, taking into account information promptly received from the credit bureau. Recognizing the undoubted advantages of the scoring method, foreign banks are investing great efforts in its development, sparing no expense or time.

In practice, a rational combination of the valuation method and credit scoring is used. Apparently unreliable and apparently reliable borrowers are identified using credit scoring. Those individuals whose score falls between these two criterion values ​​are subjected to additional analysis using more information and evaluative methods of analysis.

The scoring system for assessing the creditworthiness of individuals is beginning to develop in Russian banks. Being high-tech, this method finds application in banks that implement large consumer lending programs using plastic cards. Currently, about 20 banks offer credit cards. However, scoring is mainly used to strengthen partnerships of credit and trade organizations in the form when a bank employee, being directly in the store, accepts from those wishing to buy goods on credit filled questionnaires containing the necessary information about customers (personal data; data of an identity document; registration address at the place of residence; address of actual residence; social status; marital status; number of children and dependents; size of personal and family income; type of real estate; information about education and place of work, etc.).

As for the possibility of deep adaptation of the credit scoring system to Russian conditions, this will require the creation of a number of socio-economic prerequisites: an increase in the standard of living, an expansion of the "middle class" stratum (at least 25-30% of all economically active members of society), the development of a mortgage system. lending, etc. As the experience of other countries shows, only a stable, progressive development of business, based on the equality of all forms of ownership, can ultimately create active preconditions for the development of lending in Russia.

The expansion of credit scoring control (especially for the issuance of credit cards) could be greatly facilitated by increasing the resilience to transparency of personal income, accelerating the creation of a credit reference bureau, training in skills and exchange of experience in the automated analysis of loan applications.

At the center of economic work related to scoring, it is advisable to place a systematic test of the effectiveness of the current scoring model to adjust the rating scale, which should be done as bad loans are identified, economic conditions and the lifestyle of families change. The result of the next check of the effectiveness of the selection of borrowers may be a decision to shift the emphasis from one estimated indicator to another, which at this time is more significant for determining the creditworthiness. And vice versa - some estimated indicators should be lowered in points or excluded from the current model altogether. It may also be necessary to update the internal grading of points for one or a number of indicators characterizing the quality of loan applications. Another important direction in the analysis should be noted: a bank can experiment with a critical sum of scores to reduce or increase consumer lending, depending on the ratio of “bad” and “good” loans. If the dynamics of this ratio improves, a bank wishing to expand its client base and receive additional income may deliberately increase its credit risk by lowering the critical amount of "pass" points for credit applications.

Improvement of the scoring system for the selection of borrowers with a balanced use of foreign experience should improve the quality of services provided by banks to the population, and help build up consumer lending, stimulating demand for goods and expanding their production.

The most important condition for the development of bank consumer credit in Russia is the intensification of state policy in the field of regulating the monetary income of the population, which, in particular, implies a transition throughout our country to such a progressive form of remuneration for hired personnel as the minimum wage per hour of working time. The need for this is motivated by the following: average level total cash income of the main strata Russian society remains low. V early XXI v. the real monetary incomes of many Russians were much lower than the corresponding incomes of residents of the countries - members of the European Community (EU), the United States, and even many third world countries. In modern Russia, the estimated nominal hourly wage rate is only US $ 0.4, while in the United States this figure ranges from US $ 7 to 11 per hour. According to UN experts, the minimum wage below $ 3 per hour is unacceptable, since it leads to the destruction of the labor potential of the national economy. Taking into account the above circumstances, it would be necessary to include in the Labor Code of the Russian Federation changes providing for an increase in the minimum amount of labor for employees.

A certain part of the deducted salary is still paid in our country to many hired workers secretly in cash rubles or US dollars, i.e. "In envelopes" by "black cash", or by the so-called gray schemes, which does not allow Russian banks to see the real money income of individuals as potential borrowers. A significant part of the Russian population lives below the poverty line. According to the calculations of specialists from the Institute of Social and Economic Problems of Population of the Russian Academy of Sciences, the share of poor people in Russia is about 35%. According to independent experts, the simplest calculations show that the total number of poor Russians is about 100 million people, or more than 70%, and not 34%, according to official Russian statistics. “Just rich” Russians now account for about 5% in the country. The middle class in modern Russia is still very thin and is just being formed. Of course, certain adjustments should be made here for the monetary incomes of Russians from the “shadow” economy, which are not fully taken into account by official Russian statistics.

Further improvement of the organization of lending to individuals requires the solution of a number of problems. Consumer loans are currently issued not only by banks, but also by enterprises and organizations that do not have credit functions. In addition, lending to consumer needs of the population by many organizations hinders the solution of many issues. It is difficult to study the prospects for the further development of consumer loans, to agree on the terms of their use. The issuance and repayment of loans are linked to the indicators of the balance of monetary incomes and expenditures of the population.

In this regard, it seems advisable to significantly expand the list of types of loans provided to clients for education, for organizing their own business, as well as provide various services, including informing clients about programs to stimulate investment and entrepreneurship.

Amendments to the legislation must be adopted soon, which will facilitate the work with real estate and mortgages.

Domestic banks should intensify their lending activities in relation to the population, expanding the range of loans provided to them for various purposes. First of all, it is necessary to create conditions for the development of consumer loans and credits that stimulate individual labor and private entrepreneurial activities of the population.

Currently, many citizens need long-term loans for the purchase of agricultural machinery, vehicles, equipment, materials for housing construction. Here, the market economy offers widespread use of mortgage loans - long-term loans provided by banks on the security (mortgage) of real estate, primarily land.

In recent decades, such a progressive form of banking services for corporate and private clients as Internet banking has become increasingly widespread, which is usually understood as the provision of relevant services by banks to legal entities and individuals via the Internet using a special software and hardware complex.

Modern Internet banking provides an opportunity for clients to quickly and without any participation of bank personnel receive a loan in the form of a deferred payment for purchased goods and services through the use of credit cards in retail non-cash settlements. Many American Internet banks are already issuing consumer loans for the purchase of cars and mortgage loans against mortgages of residential buildings to private clientele, and are providing loans to homeowners against the security of their real estate.

In Russia, the market for Internet banking services is at the initial stage of development. A small share of Russian banks offer their clients various forms of remote services via the Internet.

OJSC "Avangard" in the process of improving lending to individuals it is necessary to:

• - raising awareness of new types of loans;
• - compliance by banks with an individual approach to lending and taking into account the interests of each borrower;
• - conducting marketing research of banks in order to identify the needs of the population for new types of loans;
• - study foreign experience in lending to bank clients and constantly analyze Russian practice in this area.

During a period of recession in customer activity, you need to carry out various promotions to attract customers. For example, to reduce the interest for servicing a loan account, to develop effective promotional measures, since not all types of loans are in demand in the same way.

It is necessary to focus on the training of employees of credit departments of inspectors, taking into account the fact that the bank serves different clients, to find approaches to a potential borrower as quickly as possible, as well as to draw correct conclusions about the client's solvency, thereby reducing the risk of loan defaults and not scaring off the borrower with your questions.

The dynamics of the volume of loans in the context of currencies, together with the trends in the decrease in the interest rate on loans in the national currency, explains the preferences of borrowers to obtain loans in the national currency.

According to the purposes of use, the most popular are loans for the construction and purchase of apartments (93.4% of the volume of loans for real estate financing in 2005). There is also a tendency of growth in demand for the construction and purchase of individual residential buildings (5% in 2005) and this direction of mortgage lending will develop with the growth of the nation's well-being.

As a security for the fulfillment of obligations, the largest share remains with the surety (81% in 2005), while there is a growth trend in the acceptance of property pledges as security for the fulfillment of obligations (real estate objects built using credit funds) - in 2005 the branch accepted a pledge property as collateral 851.5 million rubles. credit liabilities.

Analysis of the dynamics of changes in interest rates for the use of loans shows that for the period from 2003 to 2005, there is a tendency to reduce interest rates, especially in the national currency - from 15.1% in 2003 to 11.1% per annum in 2005. A decrease in interest rates on loans in national currency contributes to an increase in their attractiveness for borrowers and an increase in public confidence in the Belarusian ruble in general.

When analyzing the quality of the loan portfolio, special attention is paid to the share of overdue debt in the total volume of loan investments and the collection of interest income on loan operations.

At the moment, the well-organized work of the credit department, legal service and security department ensures debt repayment in the branch 100. Arrears are short-term in nature, and it should be noted that with an increase in lending, there will be an increase in low-quality (overdue loans). If the loan is not repaid before the beginning of the month following the month of repayment, during which a conciliatory repayment procedure is carried out (phone calls, meetings, including with the borrower's guarantors), the legal service will carry out a compulsory collection procedure in an orderly manner by withholding amounts from the borrower's income and his guarantors.

3 WAYS TO IMPROVE LENDING TO INDIVIDUALS

Specialists of the National Bank, the Ministry of Finance, banks and leading scientists of our republic have developed and approved by the President of the Republic of Belarus the Concept for the Development of the Banking System of the Republic of Belarus for 2001-2010. According to this Concept, one of the tasks of the banking system is to expand the composition and quality of banking services and bring them closer to the level of developed European banks. In this regard, in practical work Banks are increasingly using various forms of service to the population, new technologies for lending to the population are being introduced, in particular, the organization of lending using the principle of one window and overdraft lending are currently most developed.

Speaking about the prospects for the development of bank lending to the population in Belarus, we can single out the following areas, along which quantitative and qualitative changes will take place in the near future.

1) The state will retain a significant influence on the process of granting loans to the population for financing housing construction and on the size of the established interest rates for the use of loans.

2) The expansion of banks in the consumer lending market will continue. Changes are also expected in the institutional structure of the market for bank lending to the population and its legal framework. In particular, the issues of starting the work of credit bureaus are relevant, which will create a wide database of borrowers, as well as the adoption of a legislative act on mortgages, which removes the problem of the institution of registration from real estate pledged to the bank. The latter can give an incentive for banks to create mechanisms for mortgage lending.

3) It is possible to carry out securitization of individuals' debts to banks. Loans for the purchase of cars and other durable goods may become the object of securitization.

4) To speed up the process of issuing consumer loans, banks will turn to the introduction of scoring technology. However, this technology will not be widely used in the near future due to the insufficient database of banks on loans to the population.

5) Lending using plastic cards (overdraft, credit and debit cards). The active development of mass retail lending programs based on payment cards is today one of the key factors that can ensure the entry of Belarusian banks into new profitable areas of activity. In addition to attracting new customers and increasing profits, issuers of credit card products get the opportunity to diversify their business, as well as effectively expand into new markets.

6) Of significant interest to banks is lending in retail outlets, which will gradually replace credit cards, as has already happened in the West. For banks specializing in express consumer loans, in the future it is advisable to switch to other types of lending, for example, by sending bank payment cards to their borrowers.

The use of innovative organizational technologies based on a project-based approach to expanding the range of services, regulating the actions of bank employees during their banking operations, as well as developing and adhering to lending standards will contribute to an increase in the efficiency of management decisions in the field of bank lending for the construction and purchase of housing. Despite the importance of standardization of banking services, defined by the Concept for the Development of the Banking System of the Republic of Belarus for 2001-2010, Belarusian banks practically do not formalize the procedure for housing lending and there are no specifications for loan products.

Standardization of banking credit services in terms of its technological and economic parameters will increase the volume of services provided while improving the quality of customer service, reduce banking risks, reduce operating costs and introduce modern quality management systems that are close to world standards, ensure transparency and openness of provided credit services, increase responsibility and discipline of the personnel, which will help to strengthen the confidence of citizens in the activities of the bank; attract additional customers by increasing the bank's image.

Within the framework of fulfilling the requirements of the National Bank of the Republic of Belarus on the level of interest rates (for newly issued loans in Belarusian rubles at the level of the average monthly refinancing rate with an excess of no more than 3 percentage points), banks face a particularly difficult problem of ensuring the profitability of credit operations, taking into account the mandatory creation of reserves for assets exposed to credit risk.

Ministry of Education and Science of the Republic of Buryatia

State educational institution of secondary vocational education

Buryat Republican Pedagogical College

Department of Pedagogy and Psychology

Specialty - 050709 Teaching in primary grades

GRADUATE QUALIFICATION WORK

Development of the creative abilities of younger children school age

Completed by: Sayutinskaya E.E.,

student of 143 group of FNO

Supervisor:

Ph.D. Bairova G.B.

Ulan-Ude - 2010

INTRODUCTION

CHAPTER 1. THEORETICAL BASIS OF DEVELOPMENT OF CREATIVE ABILITIES OF CHILDREN OF YOUNG SCHOOL AGE

1.1. The essence and characteristics of creative abilities

1.2.Features of the development of creative abilities in children of primary school age

Conclusions for chapter 1

CHAPTER 2. PEDAGOGICAL CONDITIONS FOR THE DEVELOPMENT OF CREATIVE ABILITIES OF YOUNGER SCHOOL CHILDREN

1 Types of creative activity

2 Development of creative abilities of children of primary school age in extracurricular activities

3 Researching the creativity of primary school children

CONCLUSION

BIBLIOGRAPHY

ANNEXES

INTRODUCTION

State of the art society is characterized by increased attention to the inner world and the unique capabilities of each individual.

One of the directions of the national educational initiative "Our New School" is "the development of a support system for talented children." To implement this direction, in the coming years, an extensive system of search, support and support for talented children will be built, it is required to develop a system additional education for the creative development of personality.

Federal state educational standard initial general education is designed to ensure the formation of a general culture, spiritual, moral, social, personal and intellectual development of students, creating a basis for self-realization learning activities, ensuring social success, the development of the creative abilities of the student's personality.

The main goal of a modern school as a social institution is the versatile development of children, including creative development, of their cognitive interests, educational and cognitive competence, self-education skills, and the ability to self-actualize a person.

The child is by nature an explorer. An insatiable thirst for new impressions, curiosity, a constant desire to observe and experiment, to independently seek new information about the world are traditionally considered as characteristics of children's behavior. The child's creative, search activity is a natural state. He is tuned in to know the world, he wants to know it. The mental, moral and physical formation of the child is initially the basis for the development of the child's creative potential, and serves as the basis for self-knowledge and self-development.

The most effective areas for the development of children's creative abilities are lessons, extracurricular activities, the system of additional education, art, artistic activities.

Today, in pedagogical practice, despite the available numerous studies, a contradiction has developed between the purposeful development of creative abilities in young children and the unsystematic organizational and methodological support of this process against the background of a huge number of new various methods and technologies.

To develop abilities means to equip the child with a method of activity, to give him the key, the principle of performing the work, to create conditions for the identification and flowering of his giftedness. The most effective way of developing individual abilities lies through the introduction of students to productive creative activity from the 1st grade.

At the same time, the theoretical and analysis of practical activities showed that, within the framework of educational institutions, conceptual ideas for the development of the child's creative abilities, the structure of this process, the criteria for its success, its content, technology and pedagogical conditions of effectiveness have insufficient scientific justification and scientific and methodological support. which allowed us to identify the following contradictions between:

the developing system of education of children and insufficient development of the structural and content-technological components of the educational environment of primary school age for the development of creative abilities

the growing need of society for the development of the creative abilities of the individual and the insufficient possibility of its optimal satisfaction only in the conditions of an educational institution;

numerous types and types of educational institutions and insufficiently developed pedagogical conditions that ensure the successful development of the creative abilities of a growing person.

The revealed contradictions confirm the urgency of the problem and the need for its research.

The importance and relevance of the problem under study served as the basis for determining the topic of our research: "Development of creative abilities of children of primary school age."

Methodological basis of the research:

1.Psychological and pedagogical works on the development of personality by P.P. Blonsky, L.S. Vygotsky, A.S. Makarenko, S.L. Rubinstein, S.T. Shatsky and others.

2.Research of the problem of development of creative abilities and creative activity of children A.G. Asmolova, O. M. Dyachenko, Z.A. Galaguzova, A.M. Matyushkin, A.V. Petrovsky.

.Methods for diagnosing the creative potential of an individual T.V. Bogdanova, A.N. Luk, V.P. Parkhomenko.

Purpose of the study:to reveal the psychological and pedagogical conditions for the development of children's creative abilities.

Research objectives:

1. To study the state of the problem in pedagogical science and practice.

2. Reveal the essence, main components and features of the development of children's creative abilities based on the analysis of scientific, methodological, psychological and pedagogical literature;

3. Carry out diagnostics of the level of formation of creative abilities junior schoolchildren.

The object of our researchis the process of developing the creative abilities of junior schoolchildren outside school hours.

The subject of researchare the pedagogical conditions for the development of the creative abilities of younger students.

Research hypothesis:The process of developing the creative abilities of children of primary school age will be more effective if they:

- conditions have been created in the school that promote the development of their creative abilities;

- a program of work with gifted and talented children was developed and implemented;

- parents are interested in providing assistance in organizing extracurricular activities with schoolchildren;

- selected methods and guidelines for school teachers to develop the creative abilities of primary school children.

Experimental research base:students of grades 2 and 3 of the Beloozerskaya secondary comprehensive school Dzhida district. The experiment involved pupils of grade 2 in the amount of 8 people (experimental group), grade 3 - 11 people (control group).

Research methods:

theoretical analysis of psychological and pedagogical literature;

questioning;

conversation with school teachers;

observation;

Research novelty:

The pedagogical conditions for the development of creative abilities of younger schoolchildren in extracurricular activities are revealed;

The practical relevance of the studyare the developed program and guidelines for school teachers that can be used in professional activities.

Graduation qualifying work consists of two chapters, bibliography and appendices.

CHAPTER 1. THEORETICAL BASIS OF DEVELOPMENT OF CREATIVE ABILITIES OF CHILDREN OF YOUNG SCHOOL AGE

1.1 The essence and characteristics of creative abilities

The question of what is creative ability and what is its role in the life of students is of interest to many psychologists and teachers of our time.

Abilities are individual psychological characteristics of a person that meet the requirements of a given activity and are a condition for its successful implementation.

Creativity refers to the activity of creating new and original products of public importance.

Abilities are divided into educational and creative, in terms of quality, breadth, originality of their combination (structure) and degree of development.

In psychology, first of all, the works of S.L. Rubinstein and B.M. Teplova made an attempt to classify the concepts of "ability", "giftedness" and "talent" on a single basis - the success of the activity.

Capabilitiesare considered as individual psychological characteristics that distinguish one person from another, on which the possibility of the success of the activity depends, and giftedness- as a qualitatively unique combination of abilities (individual psychological characteristics), on which the possibility of success in activity also depends.

Significant difficulties in defining the concepts of ability and giftedness are associated with the generally accepted, everyday understanding of these terms. If we turn to explanatory dictionaries, we will see that very often the terms "capable", "gifted", "talented" are used as synonyms or reflect the degree of expression of abilities. But it is even more important to emphasize that the concept of "talented" emphasizes the natural data of a person.

So, in V. Dahl's explanatory dictionary, “capable” is defined as “fit for anything or inclined, dexterous, tame, fit, convenient”. Able is here actually understood as skillful.

Thus, the concept of "capable" is defined in terms of the ratio with success in activity. People do a lot of things every day: small and large, simple and complex. And every task is a task that is more or less difficult.

When solving problems, an act of creativity occurs, a new path is found, or something new is created. This is where special qualities of the mind are required, such as observation, the ability to compare, analyze and find connections and dependencies - all that together make up creative abilities.

The task of education is to identify and develop them in activities that are accessible and interesting to children.

In defining the concept of "talent" its innate character is emphasized. Talent is defined as a gift for something, and a gift as an ability. In other words, talent is an innate ability that ensures high success in activities.

The dictionary of foreign words also emphasizes that talent (Greek talanton) is an outstanding innate quality, special natural abilities.

Giftedness is seen as a state of talent, as a degree of expression of talent.

From what has been said, we can conclude that abilities, on the one hand, giftedness and talent, on the other, stand out, as it were, for different reasons. Speaking about ability, they emphasize the ability of a person to do something, speaking about talent (giftedness), emphasize the innate nature of this quality (ability) of a person. At the same time, both abilities and giftedness are manifested in the success of the activity.

Sometimes abilities are considered innate, "given from nature." However, scientific analysis shows that only inclinations can be innate, and abilities are the result of the development of inclinations.

The makings are innate anatomical and physiological characteristics of the body. These include, first of all, the structural features of the brain, sensory organs and movement, the properties of the nervous system, which the body is endowed with from birth. The inclinations represent only opportunities, and the prerequisites for the development of abilities, but they do not yet guarantee, do not predetermine the appearance and development of certain abilities.

Arising on the basis of inclinations, abilities develop in the process and under the influence of activities that require certain abilities from a person. Outside of activity, no abilities can develop.

Not a single person, no matter what inclinations he possesses, can become a talented mathematician, musician or artist without engaging in a lot and persistently in the corresponding activity. To this it must be added that the makings are ambiguous. On the basis of the same inclinations, unequal abilities can develop, depending on the nature and requirements of the activity that a person is engaged in, as well as on living conditions and especially upbringing. The inclinations develop, acquire new qualities. Therefore, strictly speaking, the anatomical and physiological basis of a person's abilities is not just inclinations, but the development of inclinations, that is, not just the natural features of his body (unconditioned reflexes), but also what he acquired during the life of the system of conditioned reflexes.

The quality of abilities is determined by the activity, the condition for the successful implementation of which they are. They usually say about a person not just what he is capable of, but what he is capable of, that is, they indicate the quality of his abilities.

In terms of quality, the faculties are divided into mathematical, technical, artistic, literary, musical, organizational, sports, etc.

General and special abilities differ in latitude.

Special abilities are the conditions necessary for the successful performance of any one specific activity. These include, for example, ear for music, musical memory and sense of rhythm in a musician, "estimation of proportions" in an artist, pedagogical tact in a teacher, etc.

General abilities are required to perform various activities. For example, such an ability as observation is needed by an artist, a writer, a doctor, and a teacher; organizational skills, the ability to distribute attention, criticality and depth of mind, good visual memory, creative imagination should be inherent in people of many professions. Therefore, these abilities are usually called general.

The most common and at the same time the most basic human ability is the analytical-synthetic ability. Thanks to this ability, a person distinguishes between individual objects or phenomena in their complex complex, highlights the main, characteristic, typical, captures the very essence of the phenomenon, unites the selected moments in a new complex and creates something new, original. So, for example, a writer, observing different people in different situations, distinguishes their typical properties, captures the features of the future character in their character, actions and work, and, generalizing these features, creates a typical image. By highlighting, comparing different methods of teaching lessons and the results that are obtained depending on various conditions, the teacher develops the most effective teaching methods and masters pedagogical skills.

Thus, potentially from the inclinations of a person, as many working abilities can be created as there are communication channels between environment and a man with his inner peace... However, in reality, the number of abilities depends on the organization of teaching and human activities.

According to V.V. Klimenko: “The essence of talent is in the ability to act, it should not be sought out either in the special merits of the brain, or in the structure of the body, or in any other abilities. Talent is a person who can solve well-known problems in an original way. "

Imagination is an intuitive ability to see the essence of parameters, their natural logic. It combines images of something that does not yet exist from the materials of memory and feelings, creates an image of the unknown as known, that is, creates its objective content and meaning. Surprise is of great importance in enhancing the work of the imagination. Surprise, in turn, is caused by:

• the novelty of the perceived "something";
• awareness of it as something unknown, interesting;

an impulse that sets in advance the quality of imagination and thinking, attracts attention, captures the feelings and the whole person as a whole.

Imagination, together with intuition, is able not only to create an image of a future object or thing, but also to find its natural measure, the state of perfect harmony, the logic of its structure. It gives rise to the ability to discover, helps to find new ways of developing technology and technology, ways to solve problems and problems that arise before a person.

The initial forms of imagination first appear at the end of early childhood in connection with the emergence of a role-playing game and the development of the sign-symbolic function of consciousness. The child learns to replace real objects and situations with imaginary ones, to build new images from existing ideas. The further development of imagination goes in several directions.

Along the line of expanding the range of substituted objects and improving the substitution operation itself, merging with the development of logical thinking;

Along the line of improving the operations of the recreational imagination, the child gradually begins to create increasingly complex images and their systems on the basis of existing descriptions, texts, fairy tales. The content of these images develops and becomes enriched. A personal attitude is introduced into the images, they are characterized by brightness, saturation, emotionality;

Creative imagination develops when a child not only understands some techniques of expressiveness, but also independently applies them.

Thus, the most effective way of developing individual abilities lies through the introduction of schoolchildren into productive creative activity from the 1st grade.

1.2 Features of the development of creative abilities in young children

As already noted, creativity is formed and developed in activity. Therefore, for the development of abilities, it is necessary to include a child from an early age in activities accessible to his age. Already at preschool age, children learn to draw, do modeling, learn to sing correctly and recognize melodies, feel their rhythm. A little later, they begin to design, try to compose stories, simple poems. With admission to school, the possibilities of including a child in one or another activity are significantly expanded.

Creative abilities are formed and developed in the activity in which they find their application. An inactive child, indifferent to any kind of work, usually does not show any ability. However, not every activity that involves a child automatically forms and develops creative abilities for it.

In order for an activity to have a positive effect on the development of abilities, it must satisfy certain conditions:

First, the activity should evoke strong and stable positive emotions and pleasure in younger students. They should feel a sense of joyful satisfaction from the activity, then they will have a desire on their own initiative, without being forced to engage in it. A keen interest in the desire to do the job as best as possible is a necessary condition for the activity to have a positive effect on the development of creative abilities.

Secondly, the activities of children should be creative, for example, dramatic abilities should be constantly developed in play, role-playing actions

Thirdly, it is important to organize the activities of children so that they pursue goals that slightly exceed their capabilities, the level of performance they have already achieved. Children with already determined abilities are especially in need of increasingly complex and varied creative tasks.

The development of the creative abilities of primary schoolchildren is facilitated by various forms of extracurricular and extracurricular, in particular circle work: mathematical, technical, biological, literary, musical, artistic, dramatic circles, in which younger students should also be involved.

Among the abilities of the individual, the ability of a special kind was highlighted - to generate unusual ideas, deviate in thinking from traditional schemes, and quickly resolve problem situations. This ability has been called creativity (creativity).

Under the creative (creative) abilities of students understand "... the complex capabilities of the student in the performance of activities and actions aimed at creation."

Creativity embraces a certain set of mental and personal qualities that determine the ability to be creative. One of the components of creativity is the ability of the individual.

Problems of creativity have been widely studied in Russian psychology. Currently, researchers are looking for an integral indicator that characterizes a creative personality. This indicator can be defined as some combination of factors or be considered as a continuous unity of procedural and personal components. creative thinking(A.V. Brushlinsky).

Psychologists B.M. Teplov, S.L. Rubinstein, B.G. Ananiev, N.S. Leites, V.A. Krutetsky, V.A. Kovalev, K.K. Platonov, A.A. Matyushkin, V.D. Shadrikov, Yu.D. Babaeva, V.N. Druzhinin, I.I. Ilyasov and V.I. Panov, I.V. Kalish, M.A. Cold, N.B. Shumakova, V.S. Yurkevich and others.

Let's single out the components of the creative (creative) abilities of junior schoolchildren:

creative thinking

creative imagination

application of methods of organizing creative activity.

For the development of creative thinking and creative imagination of primary school students, it is necessary to offer the following assignments:

· classify objects, situations, phenomena on various grounds;

· establish causal relationships;

· see interconnections and identify new connections between systems;

· make forward-looking assumptions;

· highlight the opposite signs of the object;

· identify and form contradictions;

· to separate the conflicting properties of objects in space and time;

· represent spatial objects;

Creative tasks are differentiated by such parameters as:

· the complexity of the problem situations contained in them;

· the complexity of mental operations required to solve them;

· form of presentation of contradictions (explicit, hidden).

In this regard, there are three levels of complexity of the content of the system of creative tasks:

Tasks of III (initial) level of difficulty presented to students of the first and second grade. A specific object or phenomenon acts as an object at this level. Creative tasks at this level contain a problematic question or problem situation, involve the use of a method of enumerating options or heuristic methods of creativity and are designed to develop creative intuition and spatial productive imagination.

Quests of the II level of difficulty focus on developing the foundations systems thinking, productive imagination, predominantly algorithmic methods of creativity.

The purpose of tasks of this type is to develop the foundations of students' systems thinking.

In the tasks of this level, a problem situation or tasks containing explicit contradictions appears.

Tasks of the III (highest, high, advanced) level of difficulty. These are open problems from various fields of knowledge, containing hidden contradictions, are offered to students of 3 and 4 years of study and are aimed at developing the foundations of dialectical thinking, guided imagination, and the conscious application of algorithmic and heuristic methods of creativity.

Thus, the transition to a new level of development of the creative abilities of junior schoolchildren occurs in the process of accumulating creative activity by each student.

Domestic psychologists and teachers (L.I. Aidarova, L.S.Vygotsky, L.V. Zankov, V.V.Davydov, Z.I. Kolmykova, V.A. emphasize the importance of educational activity for the formation of creative thinking, cognitive activity, the accumulation of subjective experience of creative search activity of students.

The experience of creative activity, according to researchers, is independent, structural element content of education:

· transfer of previously acquired knowledge to a new situation;

· independent vision of the problem, alternatives to its solution;

· combining previously learned methods into new and others.

The value of imagination in primary school age is the highest and necessary human ability. At the same time, it is this ability that needs special care in terms of development. And it develops especially intensively at the age of 5 to 15 years. And if this period of imagination is not specially developed, then a rapid decrease in the activity of this function occurs. Along with a decrease in a person's ability to fantasize, the personality becomes impoverished, the possibilities of creative thinking decrease, interest in art, science, etc. dies out.

Younger schoolchildren carry out most of their vigorous activity with the help of imagination. Their games are the fruit of exuberant work of imagination, they are enthusiastically engaged in creative activities. The psychological basis of the latter is also the creative imagination. Thus, the significance of the imagination function in mental development is great.

Fantasy, as a form of mental reflection, should have a positive direction of development, contribute to a better knowledge of the world around, self-disclosure and self-improvement of the individual. To accomplish this task, it is necessary to help the child, to use his imagination in the direction of progressive self-development, to activate the cognitive activity of schoolchildren, in particular the development of theoretical, abstract thinking, attention, speech and creativity in general.

According to L.S. Vygotsky, the imagination provides the following activities of the child:

building an image, the end result of his activities,

creating a program of behavior in a situation of uncertainty, creating images that replace activities,

creation of images of the described objects.

The formation of many interests is very important for the development of the child.

It should be noted that the student is generally characterized by a cognitive attitude towards the world. This curious orientation has objective expediency. Interest in everything expands the child's life experience, acquaints him with different types of activities, activates his various abilities.

Children, unlike adults, are able to express themselves in artistic activities. They are happy to perform on stage, participate in concerts, competitions, exhibitions and quizzes.

Conclusions for chapter 1

A child of primary school age, in the conditions of upbringing and education, begins to occupy a new place in the system available to him public relations... This is primarily due to his admission to school, which imposes certain duties on the child, requiring a conscious and responsible attitude towards her, and with his new position in the family, where he also receives new responsibilities.

At primary school age, a child for the first time, both at school and in the family, becomes a member of a real work collective, which is the main condition for the formation of his personality. The consequence of this new position of the child in the family and at school is a change in the nature of the child's activities. Life in a team organized by the school and the teacher leads to the development of complex social feelings in the child and to the practical mastery of the most important forms and rules of social behavior. The transition to the systematic assimilation of knowledge at school is a fundamental fact that forms the personality of a younger student and gradually rebuilds his cognitive processes.

The range of creative tasks solved on initial stage learning, is unusually wide in complexity - from solving a puzzle to the invention of a new model of a machine or other product, but their essence is the same: when they are solved, creativity takes place, a new path is found, or something new is created. This is where special qualities of the mind are required, such as observation, the ability to compare and analyze, combine, find connections and dependencies, patterns, etc. All that is, in the aggregate, makes up creativity.

Creative activity, which is more complex in nature, is accessible only to a person.

There is a great "formula" that lifts the curtain over the secret of the birth of the creative mind: "First, discover the truth known to many, then discover the truths known to some, and finally open the truths unknown to anyone yet." Apparently, this is the path of the formation of the creative side of the intellect, the path of the development of inventive talent. Our responsibility is to help the child embark on this path.

The school always has a goal: to create conditions for the formation of a personality capable of creativity. Therefore, the primary school should be focused on the development of the creative abilities of the individual.

CHAPTER 2. PSYCHOLOGICAL AND PEDAGOGICAL CONDITIONS FOR THE DEVELOPMENT OF CREATIVE ABILITIES OF YOUNGER SCHOOL CHILDREN

.1 Kinds of creative activity of children of primary school age

Creative activity is a specific type of human activity aimed at cognition and creative transformation of the surrounding world, including oneself.

There are various types of creative activities:

1.Decorative and applied activities - Fine art, sewing, knitting, macrame, origami, etc.

2.Artistic and aesthetic activities - music, singing, choreography, theater, etc.

Among the arts and crafts, children love to do most of all the fine arts, in particular drawing. By the nature of what and how the child depicts, one can judge his perception of the surrounding reality, about the features of memory, imagination, thinking.

A large role in the development of children's creative abilities is played by sewing, knitting, macrame, origami classes. Having studied the basics of knitting, children themselves combine patterns, creatively approach the implementation of the product. Having cut out the product for themselves, the children choose the design for the product, according to the principle of colors. In the process of such activities, children develop logical thinking, creative imagination.

Music occupies an important place in the artistic and creative activities of children. Children enjoy listening to musical compositions, repeating musical rows and sounds on various instruments. At the elementary school age, an interest in serious music studies arises, which in the future can develop into a real attraction and contribute to the development of musical talent. Children learn to sing, perform a variety of rhythmic movements to music, in particular dance.

Vocal lessons are also a creative activity. Singing develops an ear for music and vocal abilities. To reveal creative abilities, collectively performed etudes, musical and dance improvisations are used.

Particular attention is paid to the creative activity of the student himself. The content of creative activity is understood as its two forms - external and internal. The external content of education is characterized by educational environment, internal - is the property of the personality itself, is created on the basis of the student's personal experience as a result of his activities.

When selecting content for a creative assignment system, two factors are taken into account:

the creative activity of junior schoolchildren is carried out mainly on the problems that have already been solved.

creative possibilities for the content of elementary school subjects.

The content of creative activity is represented by groups of tasks aimed for cognition, creation, transformation, use in a new quality of objects, situations, phenomena... Each of the selected groups is one of the components of the creative activity of students, has its own purpose, content, offers the use of various methods, performs certain functions.

Thus, each group of tasks is a prerequisite for the student's accumulation of subjective creative experience.

Group 1 - "Cognition"

The goal is the accumulation of creative experience of cognition of reality.

Acquired skills:

Study objects, situations, phenomena based on the selected features: color, shape, size, material, purpose, time, location, part - whole;

Consider in the contradictions that determine their development;

Simulate phenomena, taking into account their characteristics, systemic connections, quantitative and qualitative characteristics, patterns of development.

Group 2 - "Creation"

The goal is the accumulation of creative experience by students, the creation of objects of situations, phenomena.

The ability to create original creative products is acquired, which implies:

obtaining a qualitatively new idea of ​​the subject of creative activity;

targeting ideally final result system development;

rediscovery of already existing objects and phenomena using dialectical logic.

Group 3 - « Transformation "

The goal is to gain creative experience in transforming objects, situations, phenomena.

Acquired skills:

Simulate fantastic (real) changes in the appearance of systems (shape, color, material, arrangement of parts, etc.);

Simulate changes in the internal structure of systems;

Consider when changing the properties of the system, resources, the dialectical nature of objects, situations, phenomena.

Group 4 - "Use in a new capacity"

The goal is the accumulation by students of the experience of a creative approach to the use of already existing objects, situations, phenomena.

Acquired skills:

Consider objects of situations, phenomena, from different points of view;

Find fantastic applications for real-life systems;

Carry out the transfer of functions to various fields of application;

To obtain a positive effect by using the negative qualities of systems, universalization, obtaining systemic effects.

To accumulate creative experience, the student must be aware (reflect) of the process of performing creative tasks.

The organization of students' awareness of their own creative activity presupposes current and final reflection.

Current reflection is realized in the process of students completing tasks in a workbook and involves self-recording the level of achievement of students (emotional mood, acquisition new information and practical experience, the degree of personal advancement, taking into account previous experience).

The final reflection involves the periodic implementation of thematic control works.

Both at the current and at the final stage of reflection, the teacher fixes what methods of solving creative tasks are used by students and makes a conclusion about the progress of students about the level of development of creative thinking and imagination.

By reflexive actions in our work, we understood:

The willingness and ability of students to creatively comprehend to overcome problem situations;

Ability to acquire new meaning and values;

Ability to set and solve non-standard tasks in conditions of collective and individual activity;

Ability to adapt to unusual interpersonal systems of relations;

Humanity (defined by a positive transformation aimed at creation);

Artistic value (assessed by the degree of use expressive means when presenting an idea);

Subjective assessment (given without justification and evidence, at the level like it - not like it). This methodology can be supplemented with an indicator of the level of the method used.

.2 Development of the child's creative abilities in educational and extracurricular activities

Creativity is the product of new ideas, the desire to learn more, think differently about business and do it better.

The complexity of the problem of the development of creative abilities in children is due to a large number of factors that determine both the nature and the manifestation of creative abilities. Basically these factors can be grouped into three most general groups.

The first group includes natural inclinations and individual characteristics that determine the formation of a creative personality.

The second group includes all forms of influence of the social environment on the development and manifestation of creative abilities.

Third group - it is the dependence of development on the nature and structure of activity.

Creativity presupposes that a person has certain abilities. Creative abilities do not develop spontaneously, but require a special organized process of teaching and upbringing, revising the content of curricula, developing a procedural mechanism for implementing this content, creating pedagogical conditions for self-expression in creative activity.

One of the main tasks facing the school is to create optimal conditions for the development of each student in various types of work.

The development of the creative abilities of students is the most important task of the modern school. This process permeates all stages of the child's personality development, awakens initiative and independence of decisions, the habit of free self-expression, self-confidence.

Today, many teachers are already realizing that the true goal of training is not only the mastery of certain knowledge and skills, but also the development of imagination, observation, ingenuity and the education of a creative personality as a whole. As a rule, the lack of creativity often becomes an insurmountable obstacle in high school, where solving non-standard problems is required. The main problems of elementary school are focused more on cognitive processes, although it is in the younger schoolchild that traits for the development of imagination and creative abilities are much more preserved. Creative activity should be the same object of assimilation as knowledge, abilities, skills, therefore, in school, especially primary, you need to teach creativity.

With the development of needs and interests in creativity, teachers use various forms of educational and extracurricular work, striving to teach the child purposefully, purposefully, repeatedly to consolidate the acquired knowledge and skills. Moreover, their lessons are distinguished by a variety of activities, the material studied, and ways of working. This encourages children to be creative.

The development of creativity should be brought into a certain system, where extracurricular activities play no less role than educational ones.

Extracurricular work on the development of the creative abilities of children includes such events as: festivals, contests, holidays, exhibitions of creative works, games. In this case, a large role is played by collective creative deeds necessary for the development of the child's personality.

In the Beloozersk secondary school No. 1, the "Gifted Children" program has been developed and is operating. The identification of gifted children begins in elementary school on the basis of observation, study of psychological characteristics, speech, memory, logical thinking; their participation in olympiads, contests, competitions. There is a good practice of conducting subject Olympiads, the winners of which participate in regional Olympiads, where students of this school show consistently good results. The teaching staff connects given fact with the introduction of the "Gifted Children" program into the practice of the school, with the use of measures for their creative development in the lessons and extracurricular activities of students. Also, to develop the creative abilities of students, various circle classes are organized, where they have more opportunities to show their initiative.

Teachers and parents of elementary school children have developed an Origami circle work program. Origami also stimulates the development of memory, since, in order to make a craft, a child must remember the sequence of its manufacture, techniques and methods of folding, it contributes to concentration of attention, as it forces them to focus on the manufacturing process in order to get the desired result, acquaints children with basic geometric concepts (angle , side, square, triangle, etc.).

The effectiveness of the circle work lies in the ability of the leaders of the circles to maintain students' interest in their own achievements and successes.

Arousing the interest of students in the subject, type of activity, these classes contribute to the development of horizons, creativity, instilling skills of independent work. Here, every student has the opportunity to choose a business to their liking, to identify, pose and solve problems of interest.

In extracurricular activities in the Russian language and literature, children learn to compose stories, fairy tales by analogy with what they read works of art, compose proverbs, sayings, riddles, poems, create illustrations. In grades 2 and 3, students are given a creative assignment to write essays for publication in the classroom magazine Fireflies. In order to get to the pages of the magazine with their creative work, students must not only spell out the work correctly, but also be creative in its design. All this stimulates junior schoolchildren to an independent desire, without pressure from adults, to write poetry and fairy tales.

In extracurricular activities in mathematics - teachers attach great importance to solving creative problems. In the organization of the mental activity of schoolchildren in the process of solving cognitive tasks, the following stages in the advancement of students can be distinguished: to solve the problem by analogy; solve the problem with partial prompting from the teacher; prove the correctness of the decision; solve a non-standard problem; independently compose a creative task; perform diagnostic (test) work.

In extracurricular activities of the surrounding world, natural history, teachers use various forms of work in this direction: excursions to nature, role-playing games, creative assignments, acquaintance with works of art, creation of projects.

In arts and crafts classes, school teachers introduce children to folk arts and crafts. Schoolchildren develop creative skills and abilities to independently make a variety of decorative items. Also, these classes contribute to the development of thinking, creative imagination, artistic abilities of schoolchildren, the upbringing of good aesthetic taste, interest and love for folk art, art of the native land.

Thus, the development of the creative abilities of primary schoolchildren can take place in educational and extracurricular activities and involves the following changes in the educational process:

· involving students in systematic joint creative activity on the basis of personal-activity interaction, the result of which should be the receipt of a creative product;

· systematic use of creative methods that ensure the advancement of students in the development of creative abilities by accumulating experience in creative activity while performing gradually more complicated creative tasks within the framework of an additional curriculum;

· intermediate and final diagnostics of the creative abilities of primary schoolchildren.

2.3 Researching the creativity of primary school children

In order to identify the level of development of creative abilities in younger schoolchildren, we used various diagnostic methods. The base of our research is the Belozersk secondary school of the Dzhida region. The study involved 26 students in grades 2 and 3. Grade 2 (8 people) was control, grade 3 (11 people) - experimental.

Testing was carried out according to the tests of E.P. Torrance to identify the level of creative thinking of students, their flexibility, fluency and originality.

Test "Completion" - for the study of non-verbal creative thinking in younger schoolchildren. Children are given sheets of white paper, in the middle of which 5-6 outlines are drawn with a simple pencil. The guys have to finish the drawing.

In interpreting the results obtained, we paid attention to the fluency, flexibility and originality of the results obtained. Fluency is associated with the total number of responses. The maximum number of points is 3, the minimum is 0 (if the child refuses to draw). Flexibility was assessed by the number of categories used in the content of the drawings (for example, the child draws only people or both people and animals, and various other objects). Refusal of the assignment - 0 points, the maximum number of points - 3 (when using some categories). The originality of different categories was assessed by points:

score - animals, food, transport

points - toys, person

points - heroes of fairy tales, clothes, birds, plants

points - furniture, fish

points - insects, technology

points - toilet items, lamps, musical instruments, bedding.

In addition to fluency, flexibility and originality, the character of the drawing was also assessed as an important indicator of the child's creative abilities. In case of refusal to draw, reproduction of the identical contour next to the main one, attaching the oval to the paper without naming the drawing and painting - 0 points. Completion with minimum amount lines, in which the traditional use of the contour is played up (cucumber, sun, ball, wave) - 1 point. The drawing consists of additional elements connected to the main contour (man, path in the garden, boat) - 2 points. The main outline is a part in other objects or their detail (inclusion) - 3 points. The drawing contains a certain plot, expresses some actions - 4 points. The drawing includes several characters or objects that reveal its theme, which is subordinated to one semantic center associated with the contour - 5 points.

Normally, children should score 6-9 points, having received 1 - 2 points for fluency, flexibility and originality and 3 - 4 points for the nature of the drawing. With a larger number of points (11 and higher), we can talk about high level creative thinking of the child, his giftedness. Children who scored less than 2 - 3 points actually do not have creative thinking, although they may have a high intellectual level.

Research results:

No.F.I. Pupil Result 1. Igor S. 32. Katya Ch. 33. Irina P. 54. Zhenya T. 45. Elizaveta D. 36. Yumzhana S. 37. Tumen G. 48. Ilya H. 5

Originality coefficient = sum of types / number of children = 30/8 = 3.7

class (control group)

No.F.I. Pupil Result 1. Sasha V. 32. Masha E. 33. Alyosha P. 44. Zhargal R. 55. Julia V. 56. Natasha K. 37. Rodion P. 58. Serezha J. 39. Dmitry V. 510 Volodya Yu. 411. Rimma H.4

Originality coefficient = sum of types / number of children = 44/11 = 4.0

The next test "What can be at the same time?" was aimed at exploring verbal creative thinking. A set of questions that are asked to the child in turn. What can be at the same time:

Alive and lifeless

Black and white

Small and large

Soft and hard

Light and heavy

Hot and cold

Sour and sweet

The children were asked in turn the following questions: What can be both white and black at the same time? Sweet and sour? etc. If the child did not understand the question and gave two answers, he was reminded that we are talking about one object, which can be at the same time, for example, white and black, and not about two objects, one of which is white, in the other - black. In case of repeated errors or refusal to respond, testing was terminated.

When interpreting the results, the number of points was calculated according to the following parameters: fluency and originality.

Research results:

No.F.I. student Result 1. Igor Sh. * 2. Katya Ch.43. Irina P. 44. Zhenya T. * 5. Elizabeth D. 46. Yumzhana S. 37. Tumen G. 48. Ilya H. 4

class (control group)

No.F.I. Student Result 1. Sasha V. 42. Masha E. 33. Alyosha P. 34. Zhargal R. 45. Julia V. 46. Natasha K. 37. Rodion P. 58. Serezha Y. 49. Dmitry V. 310 Volodya Yu. 311. Rimma H.3

The next task is to write an essay. Children love to compose. They love for what you can show, independence, you can write your innermost. The composition contributes to the development of accuracy in the choice of words, phrases, and the clear design of one's own thoughts. For this, the students were offered pictures with fairy-tale characters. (see Attachment).

Children, using these characters, had to compose a fairy tale.

Analysis of the results:

points - if all 6 characters are used in the essay

score -5 characters

points - 4 characters

points - 3 or less character.

class (experimental group)

No.F.I. Student Result 1. Igor Sh.22 Katya Ch.23 Irina P. 34 Zhenya T. 25 Elizaveta D. 26 Yumzhana P. 27 Tumen G. 28 Ilya H. 3

Grade 3 (control group)

No.F.I. Pupil Result 1. Sasha V. 42. Masha E. 23. Alyosha P. 24. Zhargal R. 45. Julia V. 26. Natasha K. 27. Rodion P. 38. Serezha J. 29. Dmitry V. 310 Volodya Yu. 311. Rimma H.3

Based on the results of three tests to identify students' creative thinking, we obtained the following results:

class (experimental group)

No.F.I. student 1 task 2 task 3 task Final result 1. Igor S. 3 * 252 Katya P. 34293 Irina P. 543124 Zhenya T. 4 * 265 Elizaveta D. 34296 Yumzhana S. 3287 Tumen G. 442108 Ilya H. 54312

class (control group)

No.F.I. student 1 task 2 task 3 task Final result 1. Sasha V. 344112. Masha E. 332883. Alyosha P. 43294. Zhargal R. 544135. Julia V. 542116. Natasha K. 33287. Rodion P. 553138. Serezha J. 34299. Dmitry V. 5331110 . Volodya Yu. 4331011. Rimma N. 43310

Having determined the level of creative thinking of students, their flexibility, fluency and originality, we divided the children 2 class for 4 groups:

the highest level of thinking (12 points) - 1 person

high level of thinking (10 - 11 points) - 3 people

average level of thinking (7 - 9 points) - 2 people

low level of thinking (6 and below points) - 2 people.

Table 1

Results of a study of creative thinking in grade 2 students (experimental)

The highest level of thinking The highest level of thinking Average level of thinking Low level of thinking 2 pers. (25.0%) 1 person (12.5%) 3 people. (37.5%) 2 people. (25.0%)

Histogram 1. The final data of the study of creative thinking of the experimental 2nd grade

table 2

The results of the study of creative thinking in grade 3 students (control)

The highest level of thinking The highest level of thinking Average level of thinking Low level of thinking 3 pers. (27.3%) 2 people. (18.2%) 4 people (36.4%) 4 people. (36.4%)

Histogram 2. The final data of the study of creative thinking of the control grade 3

At the formative stage of the experiment, we developed and tested the "Lessons of Creativity" program, which consists of 8 lessons and is designed for 4 weeks. In order to develop creative abilities, children are involved in various forms and types of activities. Classes are structured in such a way that there is a frequent change of activities, while observing the principle from complex to simpler. During each task, there are dynamic pauses.

At this stage, the following methods were carried out (in the Appendix):

"The sun in the room";

"How to save a bunny";

"Come up with and tell what happened for each of the characters."

This experiment involved students in grades 2 and 3.

The purpose of the "Sun in the room" methodology is to identify the child's abilities from the "unreal" to the "real" in the context of a given situation by eliminating the discrepancy.

Children were given a picture depicting a room in which there is a man and the sun. Children need to correct the picture so that it is correct. The study assesses the child's attempts to correct the drawing. Data processing is carried out according to a five-point system:

No answer, rejection of the assignment (“I don’t know how to fix it”; “You don’t need to fix the picture”) - 1 point.

Formal elimination of the discrepancy (erase, paint over the sun) - 2 points.

A constructive answer to separate the inappropriate element from others, keeping it in the context of a given situation ("make a picture", "draw a window", "put the sun in a frame") - 5 points.

Research results:

Grade 2 (experimental group)

No.F.I. Student Result 1. Igor Sh. 32. Katya Ch. 33. Irina P. 34. Zhenya T. 35. Elizabeth D. 16. Yumzhana S. 37. Tumen G. 28. Ilya H. 1 Grade 3 (control group)

No.F.I. pupil Result 1. Sasha V. 32. Masha E. 33. Alyosha P. 14. Zhargal R. 35. Julia V. 36. Natasha K. 47. Rodion P. 28. Serezha Ya. 39. Dmitry V. 310. Volodya Yu. 111. Rimma N. 4

The next task was "How to save a bunny."

The purpose of the methodology "How to save a bunny" is to assess the abilities and turn a task of choice into a task for transformation under the conditions of transferring the properties of a familiar object to a new situation. A bunny figurine, a saucer, a bucket, a stick, a deflated ball and a sheet of paper are placed on the table in front of the child. I tell the children that such a story once happened to a bunny. The bunny decided to swim on a boat on the sea and sailed far, far from the coast. And then a storm began, huge waves appeared, and the bunny began to sink. Only you and I can help the bunny. We have several for this (a saucer, a bucket, a wooden stick, a deflated balloon and a sheet of paper). What would you choose to save the bunny.

In the course of the study, the character of the child and their rationale are fixed. The data are assessed using a three-point system.

point - The child chooses a saucer and a bucket, as well as a stick with which you can pick up the bunny from the bottom, without going beyond a simple choice; the child tries to use finished objects, to mechanically transfer their properties to a new situation.

points - A solution with an element of simple symbolism, when the child suggests using a stick as a log on which the hare can swim to the shore. In this case, the child again does not go beyond the choice situation.

3 points - To save the bunny, it is suggested to use a deflated balloon or a sheet of paper. For this purpose, you need to inflate a balloon ("a bunny on a balloon can fly away") or make a boat out of a sheet. For children at this level, there is an orientation towards the transformation of objective material. The initial task of choice is independently transformed by them into a task of transformation, which indicates the child's over-situational approach to it.

Research results:

Grade 2 (experimental group)

No.F.I. Student Result1 Igor Sh. 32 Katya Ch. 13 Irina P.14 Zhenya T.15 Elizaveta D.16 Yumzhana S.17 Tumen G. 18 Ilya Kh.1

class (control group)

No.F.I. pupil Result 1. Sasha V. 12. Masha E. 23. Alyosha P. 14. Zhargal R. 15. Julia V. 16. Natasha K. 27. Rodion P. 38. Serezha Ya. 39. Dmitry V. 110. Volodya Yu. 111. Rimma N. 1

The last task "Think and tell what happened for each of the heroes."

For each picture, you need to come up with a story that matches the expressions on the faces of the characters. The task is evaluated on a three-point system.

points - if the story fits the picture;

points - if the story does not fit the picture;

1 point - if you haven't come up with anything.

Research results:

Grade 2 (experimental group)

No.F.I. Pupil Result 1 Igor Sh. 32 Katya Ch. 33 Irina P.14 Zhenya T 35 Elizaveta D 36 Yumzhana P.37 Tumen G 18 Ilya Kh.3

class (control group)

No.F.I. Student Result 1. Sasha V. 32. Masha E. 33. Alyosha P. 34. Zhargal R. 35. Julia V. 36. Natasha K. 37. Rodion P. 38. Serezha Ya. 39. Dmitry V. 310. Volodya Yu. 311. Rimma N. 3

Based on the results of three tests for identifying the creative imagination of students, we obtained the following results.

Grade 2 (experimental group)

No.F.I. student 1 task 2 task 3 task Final result 1. Igor Sh.33392 Katya Ch. 31373 Irina P.31154 Zhenya T. 31375 Elizaveta D.11356 Yumzhana S.31377 Tumen G. 21148 Ilya Kh.1135

class (control group)

No.F.I. student 1 task 2 task 3 task Final result 1. Sasha V. 31372. Masha E. 32383. Alyosha P. 11354. Zhargal R. 31375. Julia V. 31376. Natasha K. 42397. Rodion P. 2388. Serezha J. 3399. Dmitry V. 313710 . Volodya Yu. 113511. Rimma N.4138

Having determined the level of students' creative thinking, their flexibility, fluency and originality, we divided the children of the 2nd grade into 4 groups:

the highest level of thinking (7-9 points) - 4 people

high level of thinking (5-6 points) - 3 people

average level of thinking (4 points) - 1 person

low level of thinking (3 and below points) - no.

table 2

The highest level of thinking The highest level of thinking Average level of thinking Low level of thinking 4 pers. (50.0%) 3 people (37.5%) 1 pers. (12.5%) -

Histogram 2. The final data of the study of creative thinking of the experimental grade 2

Histogram 3. Comparative data of the research of creative thinking of the ascertaining and forming stages

Thus, in order for the rich creative potential children could become actualized, it is necessary to create certain conditions, first of all, to introduce the child into real creative activity. After all, it is in it, according to psychologists, that abilities are born and developed from prerequisites.

mental moral creative child

CONCLUSION

Creative thinking is the creation of new images based on accumulated knowledge.

The development of creative abilities is a complex and important matter, the successful implementation of which is facilitated by close cooperation between the school and the family. And the teacher himself must be tolerant of the manifestations of the creativity of children, whether they are not even at the right time, or simply who seem silly to us. You need to be able to see them in time, encourage them and give them the opportunity to manifest themselves again.

The diagnostics made it possible to identify shortcomings and outline ways to improve the development of the creative potential of children.

At the final stage of the study, a control stage was carried out, the purpose of which was to clarify the effectiveness of the experimental study. The methods that we followed after the developed program showed that the level of students' creative thinking has risen.

Despite the statistical insignificance of various shifts in the creative activity of the imagination of primary schoolchildren in the experimental and control groups, there is an undoubted tendency for this activity to increase in the experimental group. That, in general, allows us to say that the program we have carried out intensifies the growth of the creative activity of the imagination in younger schoolchildren.

In the course of the research, we analyzed the essential characteristics of abilities, their theoretical aspects, pedagogical guidance of the process of developing creative abilities in a school environment. The development of children's creative abilities seems to us especially important and relevant today.

The problem of pedagogical leadership in the development of creative abilities was considered by us from different angles: we used the program of the author G.V. Terekhova "Lessons of Creativity", which can be used as elective course and an optional lesson.

The problem is our reflection in the educational and leisure activities of the school.

We made an attempt to build a certain system of performing creative tasks at each lesson in the process of teaching younger students. By a system of creative tasks, we mean an ordered set of interrelated tasks focused on cognition, consciousness, transformation in a new qualityobjects, situations and phenomena of educational reality.

One of the pedagogical conditions for the effectiveness of the system of creative tasks is the personal-activity interaction of students and a teacher in the process of their implementation. Its essence lies in the inseparability of direct and reverse impact, organic combination, changes in subjects affecting each other, awareness of interaction as co-creation.

In the course of the experimental work, we came to the conclusion that one of the pedagogical conditions for the effectiveness of the system of creative tasks is the personal-activity interaction of students and the teacher in the process of their implementation. Its essence lies in the inseparability of direct and reverse impact, an organic combination of changes, subjects affecting each other, awareness of interaction as co-creation.

The personal - activity interaction of a teacher and students in the process of organizing creative activity is understood as a combination of organizational forms of teaching, a binary approach to the choice of methods and a creative style of activity.

With this approach, the organizational function of the teacher is enhanced, it presupposes the choice of optimal methods, forms, techniques, and the student's function is to acquire the skills of organizing independent creative activity, choosing the way to perform a creative task, character interpersonal relationships relationships in the creative process.

All these measures allow children to actively participate as subjects in all types of creative activity.

The accumulation of experience of independent creative activity by each student assumes the active use of collective, individual and group forms of work at various stages of performing creative tasks.

Individual form allows you to activate personal experience student, develops the ability to independently identify a specific problem for solving.

The group form develops the ability to coordinate one's point of view with the opinion of comrades, the ability to listen and analyze the search directions proposed by the group members.

The collective form expands the ability of students to analyze the current situation in the broadest possible interaction with peers, parents, teachers, provides an opportunity for the child to find out different points of view on solving a creative problem.

Thus, the effectiveness of the work carried out is largely determined by the nature of the relationship, both between students and between students and the teacher.

In this regard, you can do some conclusions and recommendations:

The results of our observations, questioning of students and their parents indicate that the child's creative abilities develop in all types of activity that are significant for him, if the following conditions are met:

· the presence of an interest formed in children in performing creative tasks;

· the implementation of creative tasks as the most important component in only the lesson, but also extracurricular activities of the student;

· uniting by a common thematic and problematic core of educational and out-of-school forms of work, in which children learn to reflect on the problems of creativity and to translate these reflections into practical activities;

· creative work should unfold in the interaction of children with each other and adults, they should be lived through depending on specific conditions in interesting game and event situations;

· to stimulate parents of students to create home conditions for the development of the child's creative abilities, to include parents in the creative activities of the school.

Bibliography

1.Azarova L.N. How to develop the creative individuality of junior schoolchildren // Primary school. - 2008-№4.-p.80-81.

2.Belozerskikh G.M. Development of the creative potential of the individual. / / Early. school. - 2004 - No. 1 - p. 22-24.

3.Berezina V.G., Vikentiev I.L., Modestov S.Yu. Childhood of a creative person. - SPb .: Bukovsky publishing house, 2005., 60s.

4.Bermus A.G. Humanitarian development methodology educational programs// Pedagogical technologies. -2004 - No. 2.-p.84-85.

5.Wenger N.Yu. The path to the development of creativity. -2001., No. 11., P. 32-38.

6.Vygotsky L.N. Imagination and creativity at school age. - SPb .: Soyuz, 1997.92s.

7.Vygotsky L.S. Imagination and creativity in childhood. M.-1981 - p. 55-56.

8.Galperin P.Ya. Phased formation as a method of psychological research // Actual problems developmental psychology - M. 1987.

.Davydov V.V. Problems of Developmental Education - M - 1986.

.Davydov. Psychological development in primary school age // Age and educational psychology - M., 1993

11.Endovitskaya T. About the development of creative abilities. - 1997., no. 12. with. 73-75.

12.E.V. Zaika A set of games for the development of imagination. - Questions of psychology. - 2003, No. 2. with. 54-58.

13.Order. Methods for the development of abilities in children M., 1998

14.Ilyichev L.F. Fedoseev N.N. Philosophical Encyclopedic Dictionary. M.-2003 - p. 649.

15.Kravtsov G.G. Play as the basis of children's creativity. // Art in school. - 2002 - No. 3. - p. 3-7.

16.Kruglova L. What makes a person happy? // Public education. - 2006 - No. 8.-p.26-28.

17.Krutetskiy V.A. Psychology: Textbook. for students ped. uch-uch-2 ed., rev. and add. - M .: Education, 1986 .-- 336s.

18.Krutetskiy V.N. Psychology. - M .: Education, 1986 - p. 203.

19.Krylov E. School of creative personality. -1999 No. 7.8. with. 11-20.

20.Kryasheva N.L. "Development of the emotional world of children." Yaroslavl, 2006.

21.Ksenzova G.Yu. Success breeds success. // Open School. -2004 -No. 4.- p.52

22.Levin V.A. Education of creativity. - Tomsk: Peleng, 2003.56 p.

23.S.A. Ledneva Identification of children's giftedness by teachers. // Scientific and practical journal. - 2007 - No. 1.- p. 36-42.

24.Luk A.N. Psychology of creativity. - Science, 1998.125 p.

25.Merlin Z.S. Psychology of personality. - M.-1996 - p. 36.

26.Mironov N.P. Ability and giftedness in primary school age. // Primary school. - 2004 - No. 6. - p. 33-42.

.R.S. Nemov Psychology. - M. - 2000 - p. 679.

28.Nikitin B. Developing games. - M.: Znanie, 1994.

29.Nikitin P.P. A step of creativity or an educational game. - M. - Education - 1989

30.Ozhegov S.I. Explanatory dictionary Russian language. - M. - 2007 - p. 757.

31.Pascal. Methodical manual for primary school teachers and kindergarten teachers on the course "Development of creativity".

32.L. Prokhorova. We develop the creative activity of schoolchildren. - 2006 No. 5. with. 21-27.

33.Strakhova N.M. New approaches to organization educational process.// Head teacher of elementary school. - 2007 - No. 3. - p. 107.

34.Subbotina L.Yu. Development of imagination in children. - Yaroslavl. -2006-p. 138.

.Talyzina N.F. Formation of cognitive activity of junior schoolchildren. - M. 1988 - p. 171-174.

.Tyunikov Y. Scenario approach in pedagogical interaction. // Pedagogical technique. -2009 - No. 2.- p.87-88.

37.Freeman J. "How to develop a child's talent from birth." 3VL, 1996.

38.Khutorskiy A.V. Development of creative abilities. - M .: Vlados, -2004 - p. 22.

39.Shadrikov V.D. Development of abilities. // Primary school. - 2004 - No. 5. with. 6-12.

40.Shmakov A.E. Games are jokes, games are minutes. - M .; New school -2003 - c. 112.

41.Elkonin D.B. Selected psychological works -M., 1989

42.Elkonin D.B. The psychology of teaching a younger student. - M. - 1989, p. 98.

Annex 1

There is a great formula for the "grandfather" of cosmonautics K.E. Tsiolkovsky, opening the veil over the mystery of the birth of the creative mind: "At first I discovered the truths known to many, then I began to discover the truths known to some, and, finally, I began to reveal truths that were not known to anyone yet."

Apparently, this is the path of the formation of creative abilities, the path of the development of inventive and research talent.

Our responsibility is to help the child embark on this path.

Methods are techniques and means by which the development of creative abilities is carried out.

One of the basic principles of teaching is the principle from simple to complex. This principle is the gradual development of creativity.

In the process of organizing training for the development of creative abilities, great importance is attached to general didactic principles:

scientific

systematic

sequences

accessibility

visibility

activity

strength

individual approach

All creativity development classes are conducted in-game. This requires a new type of games: creative, developmental games, which, with all their diversity, are united under a common name for a reason, they all come from a common idea and have characteristic creative abilities.

Each game is a set of challenges.

Tasks are given to the child in different forms, and thus acquaints him with different ways transmission of information.

The tasks are arranged approximately in order of increasing difficulty.

The tasks have a very wide range of difficulties. Therefore, games can generate interest for many years.

A gradual increase in the difficulty of tasks - contributes to the development of creative abilities.

For the effectiveness of the development of creative abilities in children, it is necessary to comply with the following conditions:

the development of abilities must begin from a very early age;

step tasks create conditions that are ahead of the development of abilities;

creative games should be varied in their content, because create an atmosphere of free and joyful creativity.

Exercise 1

Try to glue as many figures of people and animals as possible from paper cones, cylinders and other elements. Examples of this task are shown in Fig. 2.

Assignment 2

We'll stock up on old illustrated magazines and bright scraps of fabric. Together with your child, cut out various shapes from the illustrations and pieces of fabric in the magazines. Now we will glue the resulting figures on a sheet of cardboard and get a collage.

Examples are shown in Fig. 3. All this is creative work, but the main task sounds like this: "Find as many analogies with real objects as possible." The collage can be rotated as desired.

Rice. 3. Examples of collages from different materials

Assignment 3

Psychologist D. Guilford proposed a very interesting and therefore very popular problem: to find as many different, original applications of a well-known subject as possible. You can use brick, chalk, newspaper and much more as such an item.

This task usually takes five to six minutes to complete. During the analysis of the results, all answers are taken into account, except for those that do not correspond to the task, are repeated or may be considered ridiculous. This task can be offered to both the older preschooler and the adult.

In this case, the productivity and originality of thinking is assessed. The more ideas, the more unusual among them, the more points the participant gets.

Another task: choose adjectives and nouns that contain the concepts of light and darkness (heat and cold, spring and winter, morning and evening, etc.). Here are some examples of answers.

Light- bright, affectionate, lively;

Sun - ...

lamp - ...

bonfire - ...

candle - ...

Darkness- indoor, night;

evening - ...

cave - ...

Assignment 4

Find as many common signs for dissimilar objects as possible. Well - parquet;

log - box;

cloud - door;

doll - snow.

Assignment 5

Divergent tasks include tasks to find the causes of events. Here are some situations, it is required to determine the reasons for their occurrence: 1. In the morning Dima woke up earlier than usual.

The sun has not yet gone beyond the horizon, but it has already become dark.

The dog sitting at the feet of the owner growled menacingly at the little kitten.

Assignment 6

Another version of the above task: think up and tell what happened for each of the heroes.

The child should understand the emotional state of each of the boys and tell what happened to them.

Assignment 7

Think about what might happen if ...

"... it will rain without stopping"

"... people will learn to fly like birds"

"... the dogs will start talking in a human voice"

"... all will come to life fairy-tale heroes"

"... orange juice will pour out of the tap."

It's good if the child was able to come up with an interesting answer to each of the proposed phrases.

Assignment 8

Assignment for the development of creative thinking in children: inventing stories, stories or fairy tales using a given set of words, for example:

Traffic light, boy, sled.

Assignment 9

Look at the pictures and come up with a fairy tale in which all these characters would participate.

Assignment 10

The next type of tasks is "Mystery Clouds". The child needs to determine what the clouds depicted in the drawings (ink spots) look like. It's good if he can see at least one character in every cloud.

Assignment 11

Another variation of this assignment is to try to draw something interesting using these shapes.

Assignment 12

Another exercise: draw and color the sorceresses so that one becomes good and the other evil.

Creative tasks can be developed on any material. A good task of this type can also be the creation of various shapes from the parts of a building constructor.

APPENDIX 2

Draw Faces Technique

Job type: Symbolic elaboration of details.

· Developing the ability to create meaningful objects by adding and developing details.

· Development of symbolic fluency and flexibility.

Exercise

Cut out drawings and photographs of people with different moods from old magazines. Show these pictures to the class by posting them on the board. Ask what they are, these faces: happy or sad, etc. Show a face with a cheerful expression. Ask the children how and what to change in the picture to turn that face into a sad one. Emphasize that the eyes and eyebrows can convey a person's mood as well as the contours of the mouth.

Write the words "funny", "angry" and "sad" on a piece of paper (or chalkboard). Call one of the students and ask him to stand in front of the class, pick up the sheet with the words "cheerful" and depict a cheerful mood. Call in other students and ask them to portray different moods.

Have the children look at activity A. Ask them to draw faces that correspond to the captions below them. Where there are no signatures, have the children come up with their own names and then draw faces that correspond to those names.

Before completing assignment B, ask students to write or tell how the person feels in each drawing, what his mood is. Ask them to complete the drawing by adding eyebrows, eyes, mouth and other details and make captions.

If you need further clarification, you can hide part of your face under a scarf and ask the children to guess your mood from the visible part of your face (for example, hide your mouth and show the cheerful mood with your eyes). After the children have expressed their guesses, remove the scarf and allow the children to check if they guessed correctly. Emphasize that your eyebrows, eyes and mouth are helping to create a particular facial expression.

Additional task

You can play a game with the students, where one of them will depict this or that mood, and the rest will try to guess what he is depicting.

Ask the children to draw some faces similar to the ones they drew for tasks A and B and write words suitable for these faces, bringing them to life, as if they were saying or thinking something.

APPENDIX 3

The method "Sun in the room"

Base. Realization of imagination

Target. Revealing the child's ability to transform "unreal" into "real" in the context of a given situation by eliminating the discrepancy.

Material. A picture depicting a room in which there is a man and the sun; pencil.

Instructions for conducting.

A psychologist showing a child a picture: "I give you this picture.

Look carefully and tell me what is painted on it. "After listing the details of the image (table, chair, little man, lamp, sun, etc.), the psychologist gives the following task:" Correct. However, as you can see, here the sun is drawn in the room. Tell me, please, is it possible or the artist has confused something here? Try to fix the picture so that it is correct. "

The child does not need to use a pencil, he can simply explain what needs to be done to "correct" the picture.

Data processing.

During the examination, the psychologist evaluates the child's attempts to correct the drawing. Data processing is carried out according to a five-point system: 1. No answer, rejection of the assignment ("I don't know how to fix it", "You don't need to fix the picture") - 1 point.

... "Formal elimination of the discrepancy (erase, paint over the sun) -2 points.

Constructive answer (to separate the inappropriate element from others, keeping it in the context of the given situation "Make a picture," Draw a window "," Put the sun in a frame ", etc.) - 5 points.

APPENDIX 4

Folding Picture Technique

Reason: Ability to see the whole.

Material: 4-fold folding duck cardboard picture (size 10 * 15 cm)

Instructions for conducting.

The psychologist, showing the child a picture: "Now I will give you this picture. Look, please, carefully and tell me what is painted on it?" Having heard the answer, the psychologist puts the picture together and asks: "What will become of the duck if we put the picture like this?" After the child's answer, the picture straightens out, folds up again, and the child is asked the same question again. A total of five folding options are used - "corner", "bridge", "house", "pipe", "accordion".

Data processing

During the examination of the child, the psychologist fixes the general meaning of the answers when completing the task. Data processing is carried out on a three-point system. Each task corresponds to one position when folding the pattern.

The maximum score for each task is 3 points. In total - 15 points.

The following response levels are distinguished:

1.No answer, rejection of the assignment ("I don't know", "Nothing will happen", "This does not happen") - 1 point.

2.A descriptive answer, listing the details of the drawing that are in or out of the field of view, i.e. loss of the context of the image ("The duck has no head", "The duck is broken", "The duck is divided into parts", etc.) - 2 points.

.Combining answers: preserving the integrity of the image when bending the drawing, including the drawn character in a new situation ("The duck dived", "The duck swam behind the boat"), the construction of new compositions ("As if a pipe was made and a duck was drawn on it"), etc. etc. - 3 points.

.Some children give answers in which the preservation of the integral context of the image is "tied" not to any situation, but to the specific form that the picture takes when folding ("The duck has become a house", "It has become like a bridge", etc.) ... Such answers are of the combining type and are also scored at 3 points.

APPENDIX 5

Methodology "How to save a bunny"

Base. The over-situational and transformative nature of creative solutions.

Purpose: Evaluation of the ability and transformation of a task of choice into a task of transformation in the conditions of transferring the properties of a familiar object to a new situation.

Material: Bunny figurine, saucer, bucket, wooden stick. deflated balloon, sheet of paper.

Instructions for conducting

A bunny figurine, a saucer, a bucket, a stick, a deflated ball and a sheet of paper are placed on the table in front of the child. A psychologist, picking up a bunny: "Get to know this bunny. Once such a story happened to him. The bunny decided to swim on a boat on the sea and sailed far, far from the coast. And then a storm began, huge waves appeared, and the bunny began to sink. Help The bunny can only be you and me. We have several objects for this (the psychologist draws the child's attention to the objects laid out on the table). What would you choose to save the bunny? "

Data processing

During the survey, the nature of the child's answers and their justification are recorded. The data are assessed using a three-point system.

First level. The child chooses a saucer or bucket, as well as a stick with which you can lift the bunny from the bottom, without going beyond a simple choice; the child tries to use finished objects, to mechanically transfer their properties to a new situation. Score - 1 point.

Second level. A solution with an element of simple symbolism, when the child suggests using a stick as a log on which the bunny can swim to the shore. In this case, the child again does not go beyond the choice situation. Score - 2 points.

Third level. To save the bunny, it is suggested to use a deflated balloon or sheet of paper. For this purpose, you need to inflate a balloon ("A bunny on a balloon can fly away") or make a boat out of a sheet. For children at this level, there is an orientation towards the transformation of objective material. The initial task of choice is independently transformed by them into a task of transformation, which indicates the child's over-situational approach to it. Score - 3 points.

APPENDIX 6

"Board" technique

Base. Children's experimentation

Purpose: Assessment of the ability to experiment with transforming objects.

Material. Wooden plank, which is a hinged connection of four smaller square links (the size of each link is 15 * 15 cm)

Instructions for conducting:

The unfolded board lies on the table in front of the child.

Psychologist: "Now let's play with such a board. This is not a simple board, but a magic one: it can be bent and laid out, then it looks like something. Try to do it."

As soon as the child has folded the board for the first time, the psychologist stops him and asks: "What did you do? What does this board look like now?"

Having heard the child's answer, the psychologist again turns to him: "How else can you fold it? What did it look like? Try again." And so on until the child stops himself.

Data processing.

When processing the data, the number of non-repetitive responses of the child to the naming of the shape of the resulting object as a result of folding the board ("garage", "boat", etc.) is assessed, one point for each name.

The maximum number of points is initially unlimited.

Systematic thinking.

APPENDIX 7

Creativity Lessons program

This program consists of 8 lessons and is designed for 4 weeks. Their duration did not exceed one school lesson. Each child was provided with the opportunity to prove himself, to be open and not to be afraid of mistakes.

Creative activity develops the feelings of children, contributes to a more optimal and intensive development of higher mental functions, such as memory, thinking, perception, attention.

Creativity makes a child's life richer, fuller, more joyful. Children are able to engage in creativity, regardless of personal complexes.

Each child has his own, only inherent in him, which can be recognized early enough.

Purpose of the program: development of creative abilities of primary school age.

Objectives of the program:improve the level of creativity of primary school children.

Basic working methods:individual, group, collective.

Classes are structured in such a way that there is a frequent change of activities, while observing the principle from complex to simpler. During each task, there are dynamic pauses.

Reflection at the end of the lesson includes a discussion with the children of what they learned in the lesson and what they liked the most. Each student analyzes his attitude to classes, whether he succeeded in creative work.

In order to develop creative abilities, children are involved in various forms and types of activities.

The development program for younger schoolchildren makes it possible to favorably influence the formation of the personality of a growing person through the system of classes, to trace the dynamics of changes in personality development, to obtain grounds for predicting the further course of the child's mental development.

Methods and methods of working with children correspond to the age and individual psychological characteristics of younger students.

Thematic planning for grade 2

Date Topic name Number of hours 1 week "Unbelievable situation" 12 week "What? Where? How? "13 week" Improvement of the toy "14 week" Ball "1Total4

Thematic planning for grade 3

Date Topic name Number of hours 1 week "Unusual sound" 12 week "Balls" 13 week "Blot" 14 week "Methods of action" 1Total4

Exercise "Incredible Situation"

Exercise Description

Children are encouraged to ponder an imaginary situation that is unlikely or highly unlikely to occur. Their task is to imagine that such a situation has happened, and to offer as many consequences for humanity as possible, to which it can lead. The exercise is performed in subgroups of 3-5 people, the work time is given at the rate of 5-6 minutes per situation. Here are some examples of incredible situations for this exercise.

All people will suddenly grow tails.

Endings in all words of the Russian language will disappear.

Cables will begin to hang from the clouds all the way to the Earth.

Sports will disappear from people's lives immediately and completely.

All metals will turn to gold.

There are various ways you can do this exercise. For example, several subgroups may be asked to discuss the same situation. Then the presentation of the results is organized as follows: each of the subgroups in turn receives a word in order to voice one idea, you cannot repeat it. If the subgroup runs out of original ideas, it is out of the game; the team that stays in the game the longest wins. If the subgroups for discussion are different situations, then such a competition is not held, instead, representatives of each of the subgroups voiced 3-5 ideas that seemed the most original.

Training the ability to generate unusual ideas in relation to situations that go beyond the ordinary.

Discussion

Which of the proposed ideas did you remember most vividly, which seem to be the most creative? What exactly are these ideas interesting for? In what real life situations is the ability to reflect on “incredible situations” useful? Can you give examples from your life experience when a seemingly improbable situation becomes real?

Exercise “What? Where? How?"

Exercise Description

Children sitting in a circle are shown some unusual object, the purpose of which is not entirely clear (you can even use not the object itself, but its photograph). Each of the children, in order, must quickly answer three questions:

)What is it?

2)Where did it come from?

)How can this be used?

At the same time, it is not allowed to repeat itself, each child must come up with new answers to each of these questions.

The psychological meaning of the exercise.

A light "intellectual warm-up" that activates the fluency of thinking of children, stimulating them to put forward unusual ideas and associations.

Discussion

What answers to the questions did the children remember, seem to be the most interesting and original?

Exercise "Improving a Toy"

Description of the exercise.

The children are shown a soft toy and the task is given: to offer as many fundamentally feasible ways to improve it as possible - what can be done to make it more interesting for children to play with it? The exercise is performed in subgroups of 4-5 people, working time 8-10 minutes. Then representatives of each of the subgroups present their ideas in turn.

The psychological meaning of the exercise

Training the ability to generate ideas in a teamwork environment

Discussion

What, from the children's point of view, contributed to the emergence of new ideas during this exercise, and what hindered? What ideas seem to be the most creative? How can the expressed ideas be classified, what semantic categories do they relate to? What life situations can this exercise be likened to?

Exercise "Ball"

Exercise Description

The game looks like this: children stand in a circle and throw a ball to each other. The one who throws it, says a word or asks a question, and the one to whom the ball is addressed answers it in accordance with the given leading rules. After that, the ball is thrown to another participant, etc., until it is in everyone's hands. Specific variations of the game may look different, for example, like this:

the thrower names any object, and the catcher should quickly name three possible uses for the object;

the thrower names a color, and the catcher names three objects of that color.

The psychological meaning of the exercise

Training the fluency of thinking, practicing the ability to respond quickly to unexpected questions. The exercise serves as a good warm-up, it can be repeated in different ways in several sessions.

Discussion

Exercise "Unusual Sound"

Exercise Description

The presenter or children who have expressed a desire to take on such a function make any unusual sounds without showing others how they are doing it. Sounds can be produced, for example, by rubbing various objects against each other. The task of other children is to put forward as many ideas as possible about in what real life situations such sounds can arise, and also to suggest in what way they are published in this moment.

The psychological meaning of the exercise

Advancement of ideas on various options for the interpretation of ambiguous, low-structured material.

Discussion

A short exchange of impressions is enough

Tags: Development of creative abilities of children of primary school age Diploma Psychology

Relevance. The question of the essence of beauty always worries people. Times change and with them the concepts of beauty change,
but the joyful sensation of her presence remains and becomes a measure of spiritual development.

Art is a universal means of forming and developing cognitive and creative abilities, figurative spatial thinking of the emotional sphere of the aesthetic consciousness of a person.

Art plays a special role in aesthetic education. Life truthful, realistic art is of great importance in the ideological arming of the people, in the solution of important tasks.

The theoretical substantiation of the creative ability of an individual is presented in the works of T.S. Komarova, T.G. Kazakova, N.A. Vetlugina, T.N. Doronova and others.

In the theory of school education, there are a number of researchers devoted to the development of the creative characteristics of children. Researchers note the possibility of children transmitting images of music and images of dramatization in drawings. Non-traditional drawing techniques allow children to feel free, liberated, see and convey on paper what is much more difficult to do in the usual way. T.S.Komarova proposes to group different types of artistic activity and types of art into peculiar blocks - cycles of meaningful work with children.

Object of study- the creativity of primary school children.

Subject of study- the process of developing the creative abilities of primary schoolchildren in the process of extracurricular activities.

Purpose of the study- to develop effective pedagogical ways - means for the development of the creative abilities of younger students in extracurricular activities.

Hypothesis- we assume that the development of creative abilities in extracurricular activities will be successful if the following pedagogical conditions are implemented:

Combination of traditional reproductive teaching methods with artistic and productive ones;

Conducting pedagogical diagnostics of the development of artistic and creative skills in junior schoolchildren.

In accordance with the subject, purpose and hypothesis, the following were determined tasks research:

Explore the theoretical and methodological foundations for the development of creative abilities of primary school age students;

Determine the level of development of the creative abilities of primary schoolchildren;

To test the methods of developing the creative abilities of primary schoolchildren.

Methodological framework research is the position of psychological and pedagogical science on the essence of the process of creative development of the individual.

Theoretical basis are the works of E.A. Fleerina T.S. Komarova, E.I. Ignatiev, B.I. Teplov, N.V. Pod'yakov, I. Ya. Lerner, N.L. Sakulina, N.A. Vetlugina, T G. Kazakova, A. Lilov, D. S. Rubinstein, P. I. Yakobson, S. P. Kozyreva, E. Ya. Trusova, B. G. Ananyeva, L. A. Venger, T. V. Lavrentieva , U.A. Karamzina, etc.

When solving the set tasks, the following were used research methods:

1. Theoretical analysis of psychological and pedagogical; methodological literature.

2. Studying programs on this topic.

3. Observation.

4. Pedagogical experiment.

5. Conducting control tests.

The practical significance of the study: consists
in the use of research results by primary school teachers
and kindergarten teachers, as well as parents to work with children of primary school age.

Experimental research base is the circles "Businka" and "Web" of the Abaginsky secondary school of the Amginsky ulus.

Study structure: Course work consists of an introduction, two chapters, a conclusion, a list of used literature.

Chapter 1. Theoretical foundations of the development of creative abilities of children of primary school age

The formation of a creative personality is one of the important tasks of pedagogical theory and practice at the present stage. In the process of drawing, modeling, application, the student experiences a variety of feelings: he is happy with a beautiful image created by him, he is upset if something does not work out.

In the work on the image, the child acquires various knowledge, clarifies and deepens his ideas about the environment. By creating images, the child comprehends the qualities of objects, remembers their characteristic features and details, masters visual skills and abilities and learns to use them consciously. It was not for nothing that Aristotle emphasized that drawing lessons contribute to the versatile development of a child. Such outstanding teachers of the past as Ya.A. Comenius, I.G. Pestalozzi, F.Frebel and many domestic teachers. Drawing lessons and other artistic activities create the basis for full-fledged meaningful communication of children with each other and with adults, and it is important to help children to carry out such communication.

The works of domestic and foreign experts indicate that artistic and creative activities perform a therapeutic function, distracting children from sad, sad events, offenses, relieve nervous tension, fears, cause a joyful, high spirits, and provide a positive emotional state of the child. Therefore, it is so important to broadly include in the pedagogical process, in the life of children, a variety of artistic and creative activities. Here every student can express himself most fully without any pressure from an adult.

The famous researcher A. Lilov expressed his understanding of creativity as follows: “... creativity has its general, qualitatively new, defining signs and characteristics, some of which have already been sufficiently convincingly disclosed by theory. These general regular moments of creativity 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, that it is the highest concentration of the transforming role of a conscious social subject (class, people, society) in its interaction with objective reality. "

Domestic teachers and psychologists consider creativity as the creation of a man objectively and subjectively new. It is subjective novelty that is the result of the creative activity of children of primary school age. By drawing, cutting and pasting, a student of primary school age creates a subjectively new, new for himself. The product of his creativity has no general human novelty and value. But its subjective value is significant.

The pictorial activity of children as a prototype of adult activity contains the social and historical experience of generations. It is known that this experience was realized 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 master 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 typical children's one, including drawing, modeling, application, contributes to the versatile development of the child.

The famous Soviet teacher V.N. Shatskaya, speaking about children's creativity and its importance for the formation of a child's personality, emphasized: "We regard children's artistic creativity in the context of general aesthetic education rather as a method of the most perfect mastering of a certain type of art and the formation of an aesthetically developed personality, than as the creation of objective artistic values."

The well-known researcher of children's creativity E.A. Fleerina wrote: “We understand children's art as a child's conscious reflection of the surrounding reality in drawing, modeling, construction, a reflection that is built on the work of the imagination, on the display of his observations, as well as the impressions received by him through words, pictures and other types of art. The child does not passively copy the environment, but processes it in connection with the accumulated experience, the attitude towards the depicted. "

Volkov NN, characterizing the fine art of schoolchildren, wrote: "The upbringing of creativity is a versatile and complex effect on a child. We saw that the mind (knowledge, thinking, imagination), character (courage, perseverance), take part in the creative activity of adults, feeling (love of beauty, fascination with an image, thought). We must educate the same aspects of personality in the child in order to develop creativity in him more successfully. To enrich the child's mind with a variety of ideas, some knowledge means to give abundant food for the creativity of children. to look closely at them, to be observant means to make their ideas clear, more complete. This will help children to more vividly reproduce in their creativity what they have seen. "

Diagnostics and development of creative abilities of adolescents

Introduction 1. Psychology of creativity

1.1 Definition of imagination

1.2 Propensity to be creative

2. Basic concepts of creativity research

2.1 General characteristics of research

2.2 The concept of creativity as a universal cognitive creativity

2.3 Creativity from the standpoint of the originality of the personal characteristics of creatives

2.4 Techniques for diagnosing creativity

3. Problems of the development of creativity as a personal ability to be creative

3.1 Concept of creative competence

3.2 Analysis of the main problems of creativity development

4 Diagnostics and program for the development of creative abilities of adolescents

Bibliographic list

Introduction

Adolescence occupies an important phase in the general process of a person's formation as a personality, when in the process of building a new character, structure and composition of a child's activity, the foundations of conscious behavior are laid, a general direction in the formation of moral ideas and social attitudes emerges.

Occupying a transitional stage between childhood and adolescence, adolescence is an extremely difficult stage in mental development. Speaking about him, it is important to take into account the differences between younger and older adolescents, realizing that there is no "middle adolescent" age, in fact, you have to focus on the typical, characteristic of this entire period. On the one hand, in terms of the level and characteristics of mental development, adolescence is a typical era of childhood, on the other hand, we have a growing person standing on the threshold adult life, in the complicated activity of which the orientation towards new forms of social relations is really outlined.

Relevance Research on the topic is determined by the realities of the time, by the fact that now Russia needs people who are able to make non-standard decisions, who are able to think creatively. Unfortunately, the modern mass school still retains a non-creative approach to the assimilation of knowledge. Monotonous, stereotyped repetition of the same actions kills interest in learning. Children are deprived of the joy of discovery and may gradually lose the ability to be creative.

Object of study: creativity of adolescents.

Subject of study: diagnostics and development of creative abilities of adolescents.

Purpose of the study: To study the methods of diagnosing creative abilities. To identify the basic psychological conditions for the development of creative abilities of adolescents and check them in the course of a comparative study.

Hypothesis: It is assumed that the development of the creative potential of adolescents is determined by a set of external and internal conditions, where by external conditions we mean an enriched creative environment, a variety and unregulated creative activity, psychological support of creative activity. And under the inner conditions - the adolescent's openness to new experience, awareness of the value and positive self-esteem of personality and creativity, optimization of personal characteristics.

In accordance with the purpose and hypothesis of the study, the following were set. tasks:

To carry out a theoretical analysis of the problem of diagnosing the creative potential of adolescents in the psychological literature. Analyze ideas about the conditions for their development.

Analyze approaches to the development of programs for the development of creativity and creative potential, explore and generalize the principles of their construction and the system of psychological conditions implemented in them.

To develop, substantiate and test a program for the development of their creative potential in work with adolescent schoolchildren. Test the effectiveness of the program in a school setting by comparative study of adolescents.

Research methods: Theoretical: analytical study of psychological and pedagogical literature, theoretical modeling of the structure of creative potential and the system of psychological conditions for its development. Empirical: observation, conversation with students, psychological testing, analysis of the products of the activities of adolescents.

Research base. The study was carried out on the basis of the secondary school No. 16 of the city of Magnitogorsk. The study involved 15 grade 5 students.

1. Psychology of creativity

1.1 Definition of imagination

Imagination - a form of mental reflection, consisting in the creation of images on the basis of previously formed ideas. Distinguish involuntary and arbitrary, reproductive and creative imagination.

To study the cognitive role of imagination, it is necessary to find out its features. The difficulty of identifying the specifics of imagination is due to the fact that it is closely intertwined with all types of cognition. This circumstance is the reason for the emergence of a tendency to deny the existence of imagination as a special form of reflection. To solve this problem, it is necessary to reveal the real nature of imagination.

Let us turn to the definitions that are available in the literature. LS Vygodsky notes that “the imagination does not repeat in the same combinations and in the same forms individual impressions that were accumulated before, but builds some new series from the previously accumulated impressions. In other words, the introduction of a new one into the very course of our impressions and the change of these impressions so that as a result of this activity a new, previously non-existent image appears, constitutes, as you know, the very basis of the activity that we call imagination. "

“Imagination,” writes S.L. Rubinstein, “is associated with our ability and need to create new things”. “Imagination is a departure from past experience, its transformation. Imagination is a transformation of the given, carried out in a figurative form ”.

“The main feature of the imagination process,” writes EI Ignatiev, “in a particular practical activity, is the transformation and processing of perception data and other material of past experience, as a result of which a new idea is obtained”.

The same can be read in the "Philosophical Encyclopedia", where imagination is defined as a mental activity, consisting in the creation of ideas and mental situations, which in general have never been directly perceived by a person in reality.

As you can see, the ability of the subject to create new images is considered an essential sign of imagination. But this is not enough, because then it is impossible to distinguish between imagination and thinking. Logical activity, human thinking - specific form the creation of cognitive images through logical inference, generalization, abstraction, analysis, synthesis cannot simply be identified with imagination. The creation of new knowledge and concepts in the field of logical thinking can occur without the participation of imagination.

Many researchers note that imagination is the process of creating new images, which takes place in a visual plan. This tendency classifies imagination as a form of sensory reflection. Another trend is that the imagination creates not only new sensory images, but also produces new thoughts.

Understanding of imagination as a process opposite to thinking, and thinking proceeding according to the laws of logic as non-creative is illegal. One of the features characteristic of imagination is that it is associated not only with thinking, but also with sensory data. There is no imagination without thinking, but it is not reducible to logic, since it (in the imagination) always presupposes the transformation of sensory material.

Thus, let us take into account the fact that imagination is both the creation of new images and the transformation of past experience, and the fact that such a transformation takes place with the organic unity of the sensible and the rational.

1.2 A predisposition to creativity

Creation - the activity of a person or a group of people to create new original socially significant values.

Creative imagination - a kind of imagination aimed at creating new socially significant images that form the basis of creativity.

Considering the process artistic creation, psychology cannot ignore its psychological aspects.

At one time, Kant said about the mysteriousness of the creative process: “... Newton could imagine all his steps, which he had to take from the first principles of geometry to his great and deep discoveries, not only to himself, but to everyone else, and to design them for succession; but no Homer or Wieland can show how ideas full of fantasies and at the same time rich in thoughts appear and unite in his head, because he himself does not know this and, therefore, cannot teach this to anyone else. "

A.S. Pushkin wrote: “Any talent is inexplicable. How does a sculptor in a piece of Carrara marble see the hidden Jupiter and bring him into the light, crushing its shell with a chisel and a hammer? Why does the thought come out of the poet's head already armed with four rhymes, measured by slender monotonous feet? - So no one, except the improviser himself, can understand this speed of impressions, this close connection between his own inspiration and alien external will ... ”

Some theorists believe that artistic genius is a form of mental pathology. So, C. Lambroso wrote: “No matter how cruel and painful the theory that equates genius with neurosis, it is not devoid of serious grounds ...” The same idea is expressed by A. Schopenhauer: “As you know, genius is rarely found in union with prevailing rationality ; on the contrary, genius individuals are often subject to strong affects and unreasonable passions. " However, according to the just judgment of N.V. Gogol "art is the establishment of harmony and order in the soul, and not embarrassment and frustration."

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

According to I.V. Goethe, genius the artist is determined by the strength of the perception of the world and the impact on humanity. American psychologist D. Guilford notes the manifestation in the process of creativity of six abilities artist: fluency of thinking, analogies and oppositions, expressiveness, the ability to switch from one class of objects to another, adaptive flexibility or originality, the ability to give the artistic form the necessary outlines.

Artistic giftedness presupposes a 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 the creative imagination.

Many people are engaged in activities in one form of art or another with more or less success. An artistically gifted person creates works that have sustainable significance for a given society for a significant period of its development. Talent gives rise to artistic values ​​of enduring national and sometimes universal significance. The ingenious master creates the highest universal values ​​that are significant for all times.

There are many scientific approaches to the problem of researching creativity. Summarizing the results of numerous scientific studies, the creative personality type can be characterized following criteria:

o the ability to see and recognize a creative problem (ATTENTION);

o the ability to see as many sides and connections in the problem as possible (DIFFERENTIAL THINKING);

o the ability to abandon a typical point of view and accept another (FLEXIBILITY OF THINKING);

o the desire to abandon a template or group opinion (ORIGINALITY OF THINKING);

o the ability to multiple rearrangement of ideas and connections (VARIABILITY OF THINKING);

o the ability to analyze a creative problem as a system (SPECIFICITY OF THINKING);

o the ability to synthesize a creative problem as a system (ABSTRACT OF THINKING);

o a sense of organizational harmony and ideological integrity (SENSE OF HARMONY);

o inconsistency of assessments and judgments even under pressure (INDEPENDENCE OF THINKING);

o susceptibility to everything new and unusual (OPEN PERCEPTION);

o constructive activity in uncertain situations (TOLERANCE OF THINKING).

2. Basic concepts of creativity research

2.1 General characteristics of research

From a scientific point of view, creativity is viewed as a complex, multifaceted, heterogeneous phenomenon, which is expressed in the variety of theoretical and experimental directions of its study. During the period from the first attempts to study creative abilities to the present time, researchers have created an extensive detailed picture of the phenomenology of creativity. Such intelligent personalities as Sigmund Freud, K. Rogers, J. Guilford, E. Torrance, R. Sternberg, T. Amabile, Ya.A. Ponomarev, D.B. Epiphany, A.M. Matyushkin, S. L. Rubinstein, A. Maslow, B. M. Teplov, V. F. Vishnyakova, R. May, F. Barron, D. Harrington and others (it's a pity, but it's impossible to list them all). Despite these magnificent triads, the concept of creativity at the moment cannot be called clearly defined and well-established in both foreign and domestic studies, so that everyone else has their own chance to clarify this no less mysterious human essence than life itself.

All research on creativity can be divided into two areas:

1. The first of them is research based on the concept of creativity as a universal cognitive creative ability. Representatives of the "cognitive" direction explore the relationship between creativity, intelligence, cognitive ability and real achievement. The most prominent representatives of this trend are: J. Guildford, S. Taylor, E. Torrance, A.Ya. Ponomarev, S. Mednik. In their works, mainly the influence of intellectual and cognitive characteristics on the ability to produce new ideas is presented.

2. Another direction studies creativity from the standpoint of the originality of the personal characteristics of creatives. Many experimental research are devoted to creating a "portrait of a creative personality", identifying its inherent characteristics, identifying personal, motivational and socio-cultural correlates of creativity.

The most prominent representatives of this (second) direction are: F. Barron, A. Maslow, D.B. Epiphany.

2.2 The concept of creativity as a universal cognitive creativity

The creative components of intellectual processes have always attracted the attention of many scientists. However, most studies on creativity did not actually take into account individual differences in these same creativity, although it was recognized that different people endowed with these abilities are not equally. Interest in individual differences in creativity has emerged in connection with the obvious advances in testometric intelligence research, as well as with equally obvious omissions in this area.

By the early 60s of the twentieth century, a large-scale experience of intelligence testing had already been accumulated, which in turn posed new questions for researchers. In particular, it turned out that professional and life success is not directly related to the level of intelligence, calculated using IQ tests. Experience has shown that people with not very high IQs are capable of extraordinary achievements, and many others, whose IQs are significantly higher, often lag behind them. It has been suggested that some other qualities of the mind that are not covered by traditional testing play a decisive role here. Since the comparison of the success of solving problem situations with traditional intelligence tests in most cases showed a lack of connection between them, some psychologists came to the conclusion that the effectiveness of problem solving does not depend on the knowledge and skills measured by intellectual tests, but on the special ability to “use the information given in tasks in different ways and at a fast pace. " This ability was called creativity.

Guildford made an irreplaceable contribution to the study of creativity, he identified 16 intellectual abilities that characterize creativity. Among them - fluency (the number of ideas that arise in a certain unit of time), flexibility (the ability to switch from one idea to another) and originality (the ability to produce ideas that differ from the generally accepted) thinking, as well as curiosity (increased sensitivity to problems that do not cause interest in others), irrelevance (logical independence of reactions from stimuli).

In 1967, Guildford combined these factors into the general concept of "divergent thinking", which reflects the cognitive side of creativity: - “Creativity should be understood as the ability to abandon stereotypical ways of thinking. The basis of creativity is divergent thinking ... ”(divergent thinking is a type of thinking going in different directions). Just like Guildford considers creativity Taylor- not as a single factor, but as a set of abilities, each of which can be represented to one degree or another.

Torrance defines creativity as the ability to heightened perception of shortcomings, gaps in knowledge, missing elements, disharmony, awareness of problems, search for solutions, guesswork related to what is missing for a solution, the formation of hypotheses, verification and rechecking of these hypotheses, their modification, as well as the communication of results. Torrance's model of creativity includes three factors: fluency, flexibility, originality. In this approach, the criterion is the characteristics and processes that activate creative productivity, and not the quality of the result.

But back to history. Guilford was the first to propose to explore creativity using ordinary pencil-and-paper tests. One of such tests was his "Test of Unusual Use", as well as "Tests of Creative Thinking" by E. Torrens. For the first time, it became possible to conduct research on ordinary people, comparing them on a standard "creative" scale. However, there was also a negative effect. A number of researchers have criticized quick pencil-and-paper tests as inadequate ways to measure creativity. Some believed that fluency, flexibility, originality did not capture the essence of creativity, and that the exploration of creativity ordinary people cannot help to understand the nature of exceptional examples of creativity.

Initially, Guilford included in the structure of creativity, in addition to divergent thinking, the ability to transform, the accuracy of the solution, and other inherent intellectual parameters. Thus, a positive relationship between intelligence and creativity was postulated. But in the experiments it was revealed that highly intelligent subjects may not show creative behavior when solving tests, but there are no low-intellectual creatives. Later, E.P. Torrens formulated on the basis of factual material a model of the relationship between creativity and intelligence: with an IQ of up to 120 points, intelligence and creativity form a single factor, with an IQ of over 120 points, creativity becomes a factor independent of intelligence.

In our country, research conducted by the staff of the laboratory of abilities of the Institute of Psychology of the Russian Academy of Sciences revealed a paradoxical dependence: highly creative individuals solve problems on reproductive thinking worse (these include almost all intelligence tests) than all other subjects. This, in particular, allows us to understand the nature of many difficulties experienced by creatively gifted children at school. Since, according to the data of this study, creativity is opposite to intelligence as an ability for universal adaptation (creativity is anti-adaptive), then in practice the effect of the inability of creatives to solve simple, stereotyped intellectual tasks arises. Consequently, creativity and general intelligence are abilities that determine the process of solving a mental problem, but play a different role at different stages.

In a different approach to the concept of creativity as a universal cognitive creativity Ponomarev, creativity is investigated as a process in which various phases, levels and types of creative thinking are distinguished:

Phase 1 - conscious work (preparation of an intuitive glimpse of a new idea);

Phase 2 - unconscious work (incubation of the guiding idea);

3 phase - the transition of the unconscious into consciousness (transfer of the idea of ​​a solution to the sphere of consciousness);

Phase 4 - conscious work (development of an idea, its final design and verification).

As a “mental unit” for measuring the creativity of a mental act, a “quantum” of creativity, Ponomarev proposes to consider the difference between the levels that dominate in the formulation and solution of the problem (the problem is always solved at a higher level of the structure of the psychological mechanism than the one on which the means to solve it are acquired) ...

Coppersmith also views creativity as a process. According to this concept, creativity is the process of redesigning elements into new combinations, according to the task at hand, the requirements of the situation and some special requirements. The essence of creativity according to Mednik lies in the ability to overcome stereotypes at the final stage of mental synthesis and in the breadth of the field of associations.

2.3 Creativity from the standpoint of the originality of the personal characteristics of creatives

Many studies of the creativity of the "personal" direction, and among them should be highlighted Barron, study the role of motivation in the creative process, as well as the influence of various factors of the social environment on the development of creativity. Insofar as psychological research have not yet revealed the heritability of individual differences in creativity, factors are called as determinants of creativity external environment that can have both a positive and a negative impact on their development. Barron identifies the main parameters of the social microenvironment that contribute to the formation of creativity:

o low reasonableness of behavior,

o high degree of uncertainty,

o the presence of a sample of creative behavior,

o creation of conditions for imitation of creative behavior,

o subject-information enrichment,

o social reinforcement of creative behavior.

Another direction, the author of which is Maslow, the ability to be creative, considers it as an attitude towards self-realization of the individual. The main role in the determination of creative behavior is played here by motivation, values, personality traits. The creative process is associated with self-actualization, full and free realization of one's abilities and life possibilities. According to Maslow, freedom, spontaneity, self-acceptance and other traits allow a person to fulfill their potential to the fullest extent.

Epiphany defines creativity as a deep personal property, which is expressed in the original formulation of the problem, filled with personal meaning. The study of creativity as a productive and spontaneous phenomenon was carried out using the method called by the author "Creative Field". In these studies, it was found that “the process of cognition is determined by the accepted task only at the first stage. Then, depending on whether the person considers the solution of the problem as a means for the implementation of goals external to cognition, or it is itself an end, the fate of the process is also determined. In the first case, it breaks off as soon as the problem is solved. In the second, the phenomenon of self-movement of activity arises. Epiphany emphasize that creativity is a common personality trait and affects creative productivity regardless of the sphere of manifestation of personal activity.

The absence of a general large theory with a variety of new patterns and factors identified indicates the difficulty of this topic. Although research on creativity has been actively pursued for several decades, the accumulated data does not so much clarify as confuse understanding of this phenomenon. Suffice it to say that forty years ago more than 60 definitions of creativity were given, and by now it is impossible to count them. At the same time, some researchers ironically note: "The process of understanding what creativity is, itself requires creative action."

Unfortunately, until now, scientists have not reached agreement even on whether creativity exists at all, or is it a scientific construct?

However, the same doubts are expressed about the traditional concept of "intelligence". It is not surprising that the relationship between these concepts is even more controversial. According to some American psychologists, most of the data obtained on the relationship between creativity and intelligence make it possible to highlight creativity "as a concept of the same level of abstraction as intelligence, but more vaguely and indefinitely measured."

2.4 Techniques for diagnosing creativity

Almost as fierce as the debate about the nature of creativity is the debate about approaches to diagnosing creativity.

Having identified the general views of several scientific schools on this issue, we can state the basic principles of diagnosing creative abilities:

Creativity refers to divergent thinking, i.e. type of thinking, going in different directions from the problem, starting from its content, while typical for us - convergent thinking - is aimed at finding the only correct solution from a variety of solutions. Numerous tests measuring intelligence (IQ), which measure the speed and accuracy of finding the right solution out of many possible ones, are not suitable for measuring creativity.

In the process of diagnostics, creativity is divided into verbal (verbal creative thinking) and non-verbal (visual creative thinking). This division became justified after identifying the connection between these types of creativity and the corresponding factors of intelligence: figurative and verbal.

People, using mainly convergent thinking in everyday life, get used to using words and images in a certain associative connection with other words, and stereotypes and patterns in each culture (social group) are different and should be determined specifically for each sample of subjects. Hence, the creative thought process, in fact, is the formation of new semantic associations, the distance of which from the stereotype can serve as a measure of the personality's creativity.

The use of various methods for diagnosing creative abilities made it possible to identify general principles for assessing creativity:

a) productivity index as the ratio of the number of answers to the number of tasks;

b) the index of originality as the sum of the indices of originality (i.e. reciprocal values ​​in relation to the frequency of occurrence of the answer in the sample) of individual answers, referred to the total number of answers;

c) the uniqueness index as the ratio of the number of unique (not found in the sample) answers to their total number.

To improve the quality of creativity testing, it is necessary to adhere to such basic parameters of the creative environment as:

no time limit;

minimization of achievement motivation;

lack of competitive motivation and criticism of actions;

the absence of a rigid orientation towards creativity in the test instructions.

Consequently, the conditions of the creative environment create opportunities for the manifestation of creativity, while high test rates significantly identify creative individuals.

At the same time, low test results do not indicate a lack of creativity in the subject, since creative manifestations are spontaneous and not subject to voluntary regulation.

Thus, the methods for diagnosing creative abilities are intended, first of all, for the actual identification of creative individuals in a particular sample at the time of testing.

Currently, to assess the level of creativity in our country, the most widely used tests of creative thinking are Torrance, a battery of creative tests based on the Guilford and Torrance tests and an adapted version of Johnson's creativity questionnaire aimed at assessing and self-assessing the characteristics of a creative person.

Guildford's divergent thinking test is intended mainly for the adult population, Torrance's creative thinking tests are very laborious in conducting and processing data. Therefore, it became necessary to develop creative tests designed for a wide age range of adolescents, which are reliable, valid, with national standards, and also do not require a lot of time and effort in testing and data processing.

Williams' set of creative tests satisfies all of the above requirements. The version adapted by E. Tunic is intended for adolescents from 9 to 17 years old. It consists of 3 parts.

The first part is a test of divergent thinking. This test is figurative in its form. It takes 20-25 minutes. to conduct. Method of conducting - group (the test is aimed at measuring the cognitive component associated with creativity).

The second part is a questionnaire of personal, creative characteristics. The questionnaire consists of 50 statements, the tasks of the questionnaire are closed-type tasks with many answer options. The questionnaire is aimed at self-assessment of personality traits that are closely related to creativity.

The third part is the Williams rating scale for teachers and parents, aimed at finding out an expert opinion on the creative manifestations of a given child. This allows comparative analysis of the results of all three parts of test suites.

3. Problems of the development of creativity as a personal ability to be creative

3.1 Concept of creative competence

According to E. Torrens, creativity includes an increased sensitivity to problems, to a deficit or inconsistency of knowledge, actions to identify these problems, to search for their solutions on the basis of hypotheses, to test and change hypotheses, to formulate the result of a solution.

Creativity is the creative ability of an individual, characterized by a willingness to generate fundamentally new unusual ideas that deviate from traditional or accepted thinking patterns, as well as the ability to solve problems that arise within static systems. Many people with a creative need lack creative competence. Three aspects of such competence can be distinguished:

1. First, to what extent a person is ready for creativity in the multidimensionality and alternativeness of modern culture.

2. Secondly, how much he knows the specific "languages" of different types of creative activity, so to speak, a set of codes that allow him to decipher information from different areas and translate into the "language" of his work (for example, how a painter can use the achievements of modern music, or a scientist-economist discovery in mathematical modeling). In the figurative expression of one psychologist, creators today are like birds sitting on distant branches of the same tree of human culture, they are far from the earth and barely hear and understand each other.

3. The third aspect of creative competence is the degree to which a person has mastered the system of "technical" skills and abilities (for example, the technology of painting, the peculiarity of working with photography), on which the ability to implement conceived and "invented" ideas depends.

Different types of creativity have different requirements for the level of creative competence. The inability to realize the creative potential due to insufficient creative competence gave rise to mass amateur creativity, that is, "creativity at leisure", a hobby. These forms of creativity are available to almost everyone and everyone, people tired of monotonous or highly complex professional activities.

So I got carried away and forgot that you might not know what creative competence is.

"Creative competence"- this is just a condition for the manifestation of creative ability. The same conditions include the presence of general intellectual and special abilities exceeding the average level, as well as the enthusiasm for the task being performed, and, of course, certain life factors, called circumstances, with which individuals who have not realized themselves so like to hide behind.

Creativity in the modern world is increasingly beginning to be considered not as a process or even as an activity, but as a characteristic of a person, a way or style of life, a way of relations with the world. The fate of creativity in individual development is determined by the interaction, the dialogue of the individual with the culture. G. Allport wrote in his first fundamental book "Personality": - "Every artist has his own style, like every composer, pianist, sculptor, dancer, poet, playwright, actor, orator, photographer, acrobat, housewife and Mechanics. Only by one style we can recognize Chopin's sonatas, paintings by Van Gogh and Aunt Sally's pies. Style is always apparent when well-integrated and mature personality behavior is involved. "

In other words, creativity as an expression of one's individuality in limited areas of practice does not necessarily mean painting; it can also be expressed in such everyday and seemingly mundane things as cooking dinner, repairing a car, and even washing floors. Again, for example, many people all their lives consider their mother's pies to be the best in the world, which indicates the manifestation of a creative approach of some mothers to the preparation of these same pies and other dishes, and combined with love not only for children, but also for their own business turns dinner into an unforgettable and unique experience. If you are still in doubt, then think about the new signature salad recipe invented by the restaurant chef, this is the same real creativity ...

Okay, so be it, but where should you start developing this wonderful ability? There are many, many, absolutely different and vice versa, opinions and treatises are absolutely similar. So, I suggest that you solve this at your discretion, and for greater certainty, identify with me the main problems of the development of this very creativity in the next subparagraph.

3.2 Analysis of the main problems of creativity development

Our life is connected with many rules and laws. Some of them (for example, brushing your teeth in the morning, the rules of etiquette, the way from home to work or school, a constant daily routine, and much more) are performed automatically and reflexively. Stereotyped actions, boredom from repetition and similarity of being collide with the ability given to a person to be a “creator”. A person seeks to resolve any contradiction (this is how it was from time immemorial, constant questions and the search for answers). In the automatism of actions and the routine of life, this contradiction is resolved by suppressing the ability to create, that is, suppressing creativity (this is one of the most important problems in the development of creativity).

Therefore, in order to develop creativity, first of all, it is necessary to learn to see things in a new perspective, that is, for example, to look for unusual ways of using ordinary things. At the same time, the ability to creativity flourishes and this gives a strong impetus for the further development of creativity. You don't need to lock yourself up for social stereotypes. And in order for creativity to develop, it is enough to use the game moment: play, invent, fantasize, transfer fictions (of course, positive ones) into reality.

The makings of creativity are inherent in any person, any normal child. You need to be able to open them up and develop them. Creativity ranges from large and flamboyant talent to modest and subtle. But the essence of the creative process is the same for everyone. The only difference is in the specific material of creativity, the scale of achievements and their social significance.

At traditional forms learning, a teenager, acquiring and assimilating some information, becomes able to reproduce the methods of solving problems indicated to him, proving theorems, etc. However, he does not take part in the creative search for solutions to the problem posed and, therefore, does not acquire the experience of such a search. The more the problem to be solved differs from the familiar one, the more difficult it is for the learner to search the process itself if he does not have specific experience. Therefore, it is not uncommon for a high school graduate who has successfully mastered the material school curriculum, does not cope with competitive examination problems at the university (based on the same material), since they require a non-standard approach to their solution.

Creative abilities largely depend and are formed in the activities of the students themselves, teachers should never forget about this. No story about the role of a hypothesis can replace the path to research, even a small, but independently put forward hypothesis in the development of a person's abilities. It is also known that in order to solve a number of problems, one has to discard all traditional ways and consider them from a completely new, unexpected angle of view. However, knowing this does not provide for finding a new angle of view in the process of specific research. Only practical research experience develops this ability... To convey creative experience, it is necessary to construct special situations that require creative solutions and create conditions for it.

The overwhelming majority of adolescents do not create new values ​​for society. They reproduce the values ​​already known to society and only in individual cases, at a certain level of their development and depending on the organizing activities of the elders, can they create new values ​​for society. Therefore, in relation to the learning process, creativity should be defined as a form of human activity aimed at creating values ​​that are qualitatively new for him, i.e. important for the formation of personality as a social subject.

Another problem for the development of creativity is that in itself the solution of problems (both life and various others) for most people is not a priority in their life. Perhaps the most pragmatic explanation for this is that we spend most of our lives relaxing on the couch, in a nightclub, etc., instead of persistently pondering a problem that requires a creative solution.

So creative acts often follow periods of sleep or idleness, most likely simply because these periods take a long time. A creative person can feel a rush of excitement when all the bits and pieces of an idea suddenly fall into place. All relevant ideas are consistent with each other, and insignificant thoughts are ignored. There are many examples of enlightenment in the history of creative breakthroughs: the discovery of the structure of the DNA molecule, the invention of the telephone, the completion of the symphony, the end of the film, unexpected even for the director, and much more. All these are examples of how, at the moment of enlightenment, a creative solution to an old annoying problem comes to the mind.

Precisely because a person does not use even a quarter of his capabilities, one can talk about the existence of such a phenomenon as creative ossification or about people without any abilities, although in reality this cannot be.

The development of creativity has its own characteristics in each age period, and various factors affecting its dynamics, in a particular period, may become of paramount importance. The main problems of the development of creativity as a personal ability for creativity are: the routine of human life, the ossification of social stereotypes, suppression of creative needs; the typicality of a learning system based on stories, rather than on providing students with the opportunity to gain knowledge through their own experience; not the priority of finding solutions to problems, or let's call it not the desire of a person to work according to his capabilities.

Adolescence is considered a "difficult" age, a crisis in the personality development of a teenager. From 12 to 15 years old, the leading activity of a teenager is intimate and personal communication. The teenager begins to take himself and his capabilities more seriously; tries to find its niche in peer society, often ignoring the opinions of parents and teachers. There is nothing stable, final, immovable in the structure of a teenager's personality. Personal instability gives rise to conflicting desires and actions. The desire to find oneself as a person generates the need for alienation from everything that is familiar. Alienation, externally expressed in negativism, is the beginning of the adolescent's search for his own unique essence. It is at this age that the adolescent is focused on finding new productive forms of communication with those whom he loves and respects, and on discovering himself.

Analyzing the data of a survey conducted among adolescents and teachers, it was noted:

School does not provide adolescents with opportunities for positive creative communication with each other;

In interaction with adolescents, teachers are guided by authoritarian, often mixed with liberal, communication styles;

The leading direction of the school, according to the teachers, is the educational side of the educational process;

The experience of interpersonal interaction is gained by adolescents in “street” informal interaction.

The analysis of psychological and pedagogical literature showed that in adolescence, in the development of personality, some features of children of this age are visible, which affect the development of the creative capable.

In adolescence, theoretical reflexive thinking continues to develop. The teenager already knows how to operate with hypotheses when solving creative problems. Faced with a new problem, he tries to find different approaches to its solution. This is precisely what the doctor of psychological sciences, professor I.Yu. Kulagina in her work "Developmental Psychology".

Indicates high possibilities for the development of such creative abilities, which are determined by flexibility of thinking and vigilance in search of problems.

The teenager finds ways to apply abstract rules to solve entire classes of problems. This indicates a high potential for the development of the ability to transfer experience.

The adolescent's mastery in the learning process of such mental operations as classification, analogy, generalization contributes to the effective development of the ability to converge concepts, which is determined by the ease of analysis and remoteness of the analyzed concepts, high quality these indicators are determined by the characteristics of theoretical reflective thinking, which allow adolescents to analyze abstract ideas. This age is characterized by an interest in abstract philosophical, religious, political and other problems.

According to I.Yu. Kulagina, considering the peculiarities of adolescence, in connection with the increase in the intellectual development of the adolescent, the development of imagination is also accelerated. Coming closer to theoretical thinking, imagination gives impetus to the development of creativity in adolescents. The adolescent's imagination, as I.Yu. Kulagina, "of course, is less productive than the imagination of an adult, but it is richer than the imagination of a child." At the same time, Kulagina I.Yu. notes the existence of two lines of development of the imagination in adolescence. The first line is characterized by the desire of adolescents to achieve an objective creative result. It is inherent in not all adolescents, but they all use the possibilities of their creative imagination, getting satisfaction from the very process of fantasizing.

1. The need for creativity arises when it is undesirable or impossible due to external circumstances, i.e. consciousness in this situation provokes the activity of the unconscious. Thus, consciousness in creativity is passive and only perceives a creative product, while the unconscious actively generates a creative product. Hence, the creative act is the fusion of the logical (analysis-synthesis in the process of imagination) and intuitive (insight) levels of thinking.

2. The mental life of a person is a process of changing two forms of internal and external activity: creativity and activity. At the same time, the activity is expedient, arbitrary, rational, consciously regulated, prompted by a certain motivation and functions as a negative feedback: the achievement of a result completes the stage of activity. Creativity, on the other hand, is spontaneous, involuntary, irrational, does not lend itself to regulation by consciousness, it is motivated by the alienation of a person from the world and functions according to the principle of positive feedback: receiving a creative product only spurs the process, making it endless. Hence, activity is the life of consciousness, the mechanism of which is reduced to the interaction of active consciousness with passive unconscious, while creativity is the life of the dominant unconscious in interaction with passive consciousness.

3. For the manifestation of creative abilities, a kind of environment is needed - a creative environment characterized by the following features:

o optimal motivation, which presupposes an average level of achievement motivation (Yorks-Dodson's law: maximum performance is possible only if achievement motivation is maintained at an average level), as well as the absence of competitive motivation and social approval motivation;

o a relaxed atmosphere characterized by the absence of threat and coercion, acceptance and stimulation of any ideas, freedom of action and lack of criticism.

In the process of creating a creative product (creative process), a number of mandatory stages :

1. the emergence of a non-standard problem and the emergence of a contradiction between the need and the impossibility of its solution;

2. the emergence and optimization of motivation to solve the problem;

3. the maturation of the idea in the process of rational selection and accumulation of the amount of knowledge about the problem;

4. logical "dead end", accompanied by the obligatory frustration of the emotional-volitional sphere of the personality;

5. insight (insight) - intuitive insight, as if pushing the desired idea into consciousness;

6. experimental verification of the idea.

Thus, with all the variety of psychological theories of creativity, there are a number of fundamental signs of creative activity, influencing which it is possible, to one degree or another, to increase the productivity of creative thinking and develop the creative abilities of the personality of a schoolchild - adolescent.

Thus: creative abilities are distinguished, as it were, for different reasons, but at the same time they all manifest themselves in the success of the activity. The quality of creative abilities is determined by the activity, the condition for the successful implementation of which they are. Creative abilities of a student-teenager are the result of the development of inclinations... Arising on the basis of inclinations, creative abilities develop in the process and under the influence of activity, which requires certain abilities from the child. Any person who uses original ways to solve any life problems is a type of creative personality. The main feature of a creative person is creativity. Creativity provides productive transformations in the activity of a person, allowing to satisfy the need for research activity. Creativity as one of the types of activity and creativity, as a stable set of features, contributes to the search for something new, original, atypical, and ensures the progress of social development. Creativity distinguishes one person from another. Creativity can be viewed as a form of behavior that is inconsistent with accepted norms, but at the same time does not violate the legal and moral requirements of the group.

4. Diagnostics and program for the development of creative abilities of adolescents

The main methods for the study of creative abilities were: the method of psychometric testing, the method of correlation analysis.

Method of psychometric testing - standardized methods of psychodiagnostics, allowing to obtain comparable quantitative and qualitative indicators of the severity of the studied properties.

The study used the following techniques (a detailed description of the techniques is given in the Appendices)

1. DIAGNOSTICS OF NON-VERBAL CREATIVITY

(E. Torrens method, adapted by A.N. Voronin, 1994)

Conditions of conducting

The test can be performed individually or as a group. To create favorable conditions for testing, the leader needs to minimize the motivation for achievement and orient the tested to the free manifestation of their hidden abilities. At the same time, it is better to avoid open discussion of the subject orientation of the methodology, i.e. there is no need to report that it is creativity (especially creative thinking) that is being tested. The test can be presented as a technique for "originality", an opportunity to express oneself in a figurative style, etc. Testing time is not limited as much as possible, approximately 1 - 2 minutes for each picture. At the same time, it is necessary to cheer the test takers if they hesitate for a long time or hesitate.

The proposed version of the test is a set of pictures with a certain set of elements (lines), using which the subjects need to draw the picture to some meaningful image. In this version of the test, 6 pictures are used that do not duplicate each other in their original elements and give the most reliable results.

The test uses the following indicators of creativity:

Originality (ОR), revealing the degree of dissimilarity of the image created by the subject to the images of other subjects (statistical rarity of the response). It should be remembered that there are no two identical images, respectively, we should talk about the statistical rarity of the type (or class) of drawings. The atlas attached below shows the various types of drawings and their conventional names, proposed by the author of the adaptation of this test, reflecting the general essential characteristic of the image. It should be noted that the conventional names of the figures, as a rule, do not coincide with the names of the figures given by the subjects themselves. Since the test is used to diagnose non-verbal creativity, the names of the pictures suggested by the subjects are excluded from the subsequent analysis and are used only as an aid to understanding the essence of the picture.

Uniqueness (Un), defined as the sum of completed tasks that have no analogues in the sample (atlas of figures).

The interpretation of the test results is carried out by the Excel program in the service of a psychologist.

2. DIAGNOSTICS OF VERBAL CREATIVITY

(method of S. Mednik, adapted by A.N. Voronin, 1994)

The technique is aimed at identifying and assessing the verbal creative potential existing in the subjects, but often hidden or blocked. The technique is carried out both in an individual and in a group version. The time for completing assignments is not limited, but the time spent on each three words is encouraged no more than 2-3 minutes.

Test instructions

You are offered three words for which you need to find another word so that it is combined with each of the three suggested words. For example, for the three words “loud - true - slow”, the answer might be “speak” (speak loudly, speak the truth, speak slowly). You can change words grammatically and use prepositions without changing stimulus words as parts of speech.

Try to keep your answers as original and vivid as possible, try to overcome stereotypes and come up with something new. Try to think of as many answers as possible for each triple word.

Interpretation of test results.

To assess the test results, the following algorithm of actions is proposed. It is necessary to compare the answers of the subjects with the available typical answers and, when finding a similar type, assign this answer to the originality indicated in the list. If there is no such word in the list, then the originality of this answer is considered equal to 1.00.

The originality index is calculated as the arithmetic mean of the originality of all answers. The number of answers may not coincide with the number of "triplets of words", since in some cases the subjects may give several answers, and in others they may not give a single one.

The uniqueness index is equal to the number of all unique (unparalleled in the standard list) answers.

Using the percentile scale built for these indices and the indicator "number of responses" (productivity index), it is possible to determine the place this person relative to the control sample and, accordingly, make a conclusion about the degree of development of his verbal creativity and productivity.

The methods are intended for schoolchildren aged 8 to 17 years.

The research was carried out on the basis of the secondary school №16 in Magnitogorsk; terms of the study - September - December 2009. The sample consisted of 15 students (age 11 - 12).

The study was carried out in a group form, on standardized forms, according to standard instructions, in the daytime, in classrooms. During the study, all subjects were calm, showed moderate interest, listened carefully to instructions, and performed the proposed tasks.

The research was carried out in several stages:

First stage: DIAGNOSTICS OF VERBAL CREATIVITY

Second stage: DIAGNOSTICS OF NON-VERBAL CREATIVITY

· The third stage: Classes under the program "Development of the creative abilities of younger adolescents." (Appendix # 3)

Fourth stage: DIAGNOSTICS OF VERBAL CREATIVITY

(S. Mednik's technique, adapted by A.N. Voronin, 1994); (Appendix # 1)

· The fifth stage: DIAGNOSIS OF CANNERBAL CREATIVITY (E. Torrens technique, adapted by A.N. Voronin, 1994); (Appendix # 2)

Sixth stage: quantitative and qualitative analysis of the data obtained

Based on the results of the work done, I compiled an analysis - a table on the results of a survey of the development of creative thinking of grade 5 students. From the analysis - the table can be seen that, in general, the level of development of creativity for the period September - December 2009 increased.

	September 2009 DIAGNOSTICS OF VERBAL CREATIVITY	September 2009 DIAGNOSTICS OF NON-VERBAL CREATIVITY	December 2009 DIAGNOSTICS OF VERBAL CREATIVITY	December 2009 WILLIAMS CREATIVE MEASUREMENT TEST
		uniqueness index value	originality index value	uniqueness index value	originality index value	uniqueness index value	originality index value	uniqueness index value

Conclusion: the development of divergent thinking in adolescents does not happen by itself. This type of thinking can only be formed with purposeful and systematic development. Therefore, school teachers work closely with a psychologist. Teachers learn about the level of development of divergent thinking in children and use this knowledge in a productive direction in their lessons, as this is one of the main requirements for the holistic development of a child who comes to school.

Conclusion

The topic of this work - the study of the creative manifestations of adolescents - for me, as a future psychologist, turned out to be very interesting and significant.

Encountering a personality with many new, contradictory life situations, the transitional age stimulates and actualizes her creative potential. The most important intellectual component of creativity is the predominance of so-called divergent thinking, which assumes that there can be many equally correct and equal answers to the same question (as opposed to convergent thinking, focusing on an unambiguous and only correct solution that removes the problem as such). This kind of thinking is necessary and important not only for a teenager, but also for a person at any age and in any business.

Bibliographic list

1. Ananiev B.G. Selected psychological works. M., 1980. T 1.

2. Ananiev BG Man as a subject of knowledge. L., 1968.

3. Anokhin P.K. Fundamental questions of the general theory of a functional system // Principles of the systemic organization of functions. Moscow: Nauka, 1973.S. 10-21.

4. Berkinblit M.B., Petrovsky A.V. Fantasy and reality. M .: Politizdat, 1968.

5. Bibler V.S. Thinking as creativity. M., 1975.

6. Bogomolov V. Testing children. Rostov-on-Don "Phoenix", 2003.

7. Burlachuk L.F., Morozov S.M. Dictionary-reference book on psychodiagnostics - SPb .: Peter Kom, 1999. - 528 p.

8. Velichkovsky VM Modern cognitive psychology. M .: Publishing house Mosk. University, 2002, 336 p.

9. Vygotsky L.S. Imagination and creativity in childhood. Psychological sketch: Book. for the teacher. M: Education, 1991.

10. Vygotsky L.S. Collected works: In 6 volumes - T. 3. - M., 1983. (Mastering attention: p. 205-239.)

11. Galin A.L. Personality and creativity. Novosibirsk, 1989. (psychological description of creativity: 64-102.)

12. Galperin P.Ya., Kabylnitskaya S.L. Experimental formation of attention. - M., 1974.

13. Gilbukh Yu. Z. Attention: gifted children. M .: Knowledge., 1991.

14. Granovskaya R. M. Psychological workshop M., 1998.

15. Dyachenko O. M., Kirillova A. I. On some features of the development of imagination // Questions of psychology. 1980. No. 2. S. 104-108.

16. Ermolaev O.K. Maryutina T.M. Meshkova T.A. Student attention. - M., 1987. (Types of attention: 30-37, 69-80.).

17. Zankovsky A.I. Formation of creative abilities: essence, conditions, efficiency // Sat. scientific. tr. Sverdlovsk: SIPI, 1990. P. 28.

18. Zaporozhets A.V. Selected psychological works. In two volumes. M .: Education, 1986.

19. Ievlev BV The problem of abilities in Soviet psychology // Interuniversity. Sat. scientific. tr. L LGPI, 1984.S. 44-48.

20. Karandashev Yu.N. Development of ideas in children. Tutorial. - Minsk, 1987. (psychology of ideas and problems of creativity: 5-13.)

21. Korshunova L.S. Imagination and its role in cognition. - M., 1979.

22. Korshunova L.S., Pruzhinin B.I. Imagination and rationality. Methodological analysis experience cognitive function imagination. - M., 1989. (A psychological approach to imagination. Perspective and boundaries: 18-39. Imagination and play activity: 83-97. Sensory reflection and imagination: 113-122. Imagination and thinking: 122-138 .)

23. Leites N. There are outstanding children // Family and school. 1990. No. 3. P. 33.

24. Leites N. Age endowments // Family and school. 1990. No. 9. P. 31.

25. Leites NS About mental giftedness. M .: Education, 1960.

26. Leites N. The fate of the prodigies // Family and school. 1990. No. 12. P. 27.

27. Leites NS Mental abilities and age. M .: Pedagogika, 1971.

28. Luke A.N. Psychology of creativity. M .: Publishing house "Science", 1978.

29. Luria A.R. Attention and memory. - M., 1975. (Attention: 4-41.).

30. Massen P., Konger J., Kagan J., Houston. Child personality development: Per. from English - M .: Progress, 1987 .-- 272 p.

31. Miloslavova I.A. The role of social adaptation in the conditions of modern scientific and technological revolution // Philosophy and social Psychology: Scientific. report - L., 1979 .-- S. 132-136.

32. Mnatsakanin L.I. Personality and evaluative abilities of high school students. M., Enlightenment 1991.S. 191.

33. Molyako V.A. Problems of the psychology of creativity and the development of an approach to the study of giftedness // Questions of psychology. 1994. No. 5. S. 86-95.

34. Moskalenko O. L. Development of cognitive abilities. L., 1983.

35. Nebylitsyn V. D. Psychophysiological studies of individual differences - Moscow: Nauka, 1976.

36. Nemov R.S. Psychology. A textbook for students of pedagogical educational institutions. M .: Vlados. 1998.

37. OI Nikiforova. Research on the Psychology of Artistic Creativity. - M., 1972. (Figurative thinking. Imagination: 4-50.)

38. Gifted children. Translation from English. / Ed. L. Burmenskaya, M. Slutsky. M., 1991.

39. Psychology. Textbook for economic universities / edited by V.N. Druzhinin. SPb., 2000.

40. Rice F. Psychology of adolescence and youth. St. Petersburg, 2000.

41. Rosina N.L. Research Practice: Study Guide. - Kirov: KF MGEI, 2003, 68 p.

42. Rubinstein S.L. Fundamentals of General Psychology: in 2 volumes - vol. 1 - M., 1989. (imagination: 344-360.)

43. Rubinstein S. L. Principles and ways of development of psychology. M .: Publishing house of the Academy of Sciences of the USSR. 1959.355 s.

44. Rubinstein S.L. Problems of general psychology. M., 1976.

45. Sazontieva NB Cognitive processes and learning abilities. - M., 1990. (Representation and imagination: 80-100.)

46. ​​Dictionary of a practical psychologist. Minsk: Harvest. 1998.S. 373, p. 755.

47. Sobkin V.S. The dynamics of cognitive processes in senior school age. Doct. diss. in the form of scientific. report M., 1997.88 p.

48. Takman B.V. Pedagogical psychology. Moscow: Progress, 2004 .-- 602 p.

49. Tvorogova N.D. General psychology. - M., 1996.465 p.)

50. Teplov M. B. Selected Works... In 2 volumes, (v. 1.) M .: Education, 1971.

51. Teplov BM Problems of individual differences. M .: APN

52. RSFSR, 1961, 535 p.

53. Tunik E.E. Williams' modified creative tests. SPb .: Peter Kom. 2003.

54. Tunik E.E. A sprinkler of Johnson's creativity. SPb .: UPM. 1997.

55. Tunik E.E. Psychodiagnostics of creative thinking. Creative tests. SPb .: UPM, 1997.

56. Tunik E.E. Torrance test Diagnostics of creativity. Saint Petersburg: Imaton, 1998.

57. Ulanova L.N. Dependence of the processes of growth and development of schoolchildren on the level of functional activity of the adrenal cortex and gonads. - In the book: Hormonal regulation of the endocrine functions of the child's body in health and disease. - M., 1979

58. A reader for attention. - M., 1976. (Consciousness and attention (W. Wundt): 3-25. Attention (E.B. Titchener): 26-46. Attention (W. James): 50-65. Psychology of attention (T. Ribot): 66-102 Attention (N.N. Lange): 107-144.On the theory and education of attention (N.F. Dobrynin): 243-259. . Uznadze): 260-270.)

59. Chufarofsky G.A. General foundations of psychology. 4th edition. M .: Vlados, 2000.

60. Efroimson V. P. The mystery of genius. M .: Knowledge, 1991.