Abstract: The problem of creativity in the history of philosophy. The problem of aggressiveness and adaptation of a gifted child in a microsociety has not yet been the subject of multilateral research in domestic psychological science, although the need for in-depth study

Send your good work in the knowledge base is simple. Use the form below

Students, graduate students, young scientists who use the knowledge base in their studies and work will be very grateful to you.

Posted on http://www.allbest.ru/

Ministry of Education and Science of the Russian Federation

Russian State Social University

Kursk Institute social education(branch) RGSU

Department: Philosophy and Sociology

TEST

On the topic: The problem of creativity

Completed by a student of the course

Belikova Elena Yurievna

Checked by senior teacher Alekhina

Kursk 2008

Introduction

Chapter 2. Child personality development as a subject of psychological research

Chapter 4. Social and psychological problems of personality development of intellectually gifted children

Conclusion

Bibliography

Introduction

The problem of adaptation and aggressiveness of gifted children is relevant and little studied. We are born aggressive. Already the first cry of a child is aggressive. The baby's first grasp is aggressive, like that of a small monkey hanging on its mother's neck. The first communication is aggressive: the child, by crying, communicates that he is hungry, that he is in pain, etc. Also, the development of a child’s personality is directly related to the process of adaptation. This process is inseparable from the concept of life itself: life without adaptation is unthinkable and equally adaptation does not exist outside life cycle body. In recent years, the problem of maladaptation and aggressiveness of gifted children has caused an urgent need among parents and teachers for information on how to help a gifted child who is isolated, how to overcome the fear of social contacts, how to cope with antisocial behavior, how to teach gifted children to manage themselves, change yourself, confront circumstances, how to make sure that a gifted child can live a full life, achieve success, fully realize his intellectual potential, and most importantly, feel the joy of life. Knowing the developmental characteristics of a gifted child, parents, educators and teachers can help him adapt painlessly to society. Fear of social contacts leads to isolation of the child. In recent years, there has been an increase in the number of isolated children among gifted children. The reasons may be different: the target orientation of society and the long hours that children spend at the computer, surfing the Internet and very often personal example parents. Our thesis analyzes the different views of domestic and foreign psychologists on the problem of personality development of gifted children. Separate age periods of personality development are traced modern child. Mental characteristics associated with the special structure of personality and the specific development of an intellectually gifted child are studied. The socio-psychological problems that arise in a gifted child as a result of a discrepancy between the characteristics of his development and the requirements, rules, and standards that society provides for him are also explored. Based on the data obtained, we have developed a number of recommendations for teachers and parents on psychological support for gifted children, on finding a balance between the social demands of society and the special needs, capabilities and interests of a gifted child.

Research problem:

The problem of aggressiveness and adaptation of a gifted child in a microsociety has not yet been the subject of multilateral research in domestic psychological science, although the need in-depth study this problem is beyond doubt.

Purpose of the study:

To identify the specific features of the personality development of an intellectually gifted child and, based on these features, to reveal the essence of the problems of maladjustment and aggressiveness.

Chapter 1. Personality development as a subject of psychological research

intellectual gifted child psychological

The term “personality” has come a long way and has undergone significant changes. It entered the Russian language with a negative connotation, with a meaning diametrically opposed to the modern one: “a personal insult, blasphemy falling right in the face, an insult to a person, an allusion to a person” (22, p. 259). But in parallel, another meaning of the term developed, close to the modern one. The problem of personality development has been repeatedly touched upon by the classics of Russian psychology. Such outstanding scientists as L.S. turned to her. Vygotsky, L.I. Bozovic, S.L. Rubinstein, B.G. Ananyev and others. So, L.S. Vygotsky believed that the problem of personality development is the highest problem of all psychological science. He identified 4 basic laws according to which the child develops. This is cyclicality, unevenness, “metamorphosis” and a combination of the processes of evolution and involution. Some of these laws apply not only to mental development, but also to the development of the child’s personality as a whole (Vygotsky L.S., 2000).S.L. Rubinstein connects the development of personality with the development of needs, abilities, motivational sphere, consciousness, self-awareness, human activity, etc. He shares the concepts of formation (where education and environmental influence play a large role) and personality development (where the moment of spontaneity is emphasized). Personal development is mediated by its deeds, practical and theoretical activities. “The line leading from what a man was at one stage of his history to what he became at the next, runs through what he did. In human activity, in his affairs, practical and theoretical, the mental, spiritual development of a person is not only manifested, but also accomplished. This is the key to understanding personality development" (36, p. 255). In the dictionary of socio-psychological concepts, personality development means the process of consistent development of properties, qualities and characteristics inherent in a person as an individual and a member of society and manifested in his activities, communication and interaction with other people (14, p. 87) Each stage of personality development is mediated by the leading type of activity, characteristic of a given age period and closely related to the mental development of the individual. Personality is a complex formation that is acquired by a person in a sociocultural environment in the process of interaction with other people during joint activities and communication. The degree of formation of various personal formations and their development largely determines the life path of an individual. At the same time, personal development is determined by a complex of various factors: biological, social, cognitive and others. Development is characterized by quantitative and qualitative changes generated by external and internal conditions. So the famous psychologist B.G. Ananyev writes: “Human development is determined by the interaction of many factors: heredity, environment (social, biogenic, abiogenic), education (or rather, many types of directed influence of society on the formation of personality), a person’s own practical activity. These factors do not act separately, but together on the complex structure of development" (1, pp. 44-45). Personality is the subject of many psychological studies. The ways of its formation have been studied by many authors in Russian psychology (B.G. Ananyev, A.A. Bodalev, L.I. Bozhovich, L.S. Vygotsky, Ya.L. Kolominsky, A.V. Zakharova, I.S. Kon, A. N. Leontyev, N. L. Menchinskaya, V. S. Merlin, A. V. Petrovsky, D. I. Feldshtein, G. A. Tsukerman, V. E. Chudnovsky, D. B. Elkonin and etc.). Often a common thread in various works of psychologists is the idea that personal characteristics have a significant impact on the development of other psychological phenomena. Researchers of higher abilities note that giftedness can significantly affect the development of personality. The author of the concept of creative talent A.M. Matyushkin writes in particular that one can consider “giftedness as a general prerequisite for creativity in any profession, in science and art, as a prerequisite for the formation and development of a creative personality, capable not only of creating something new and discovering new laws, but also of self-expression, self-disclosure in works of literature and art; a personality that is not only decisive, but poses problems for man and humanity" (23, p. 158). The creators of conceptual models of giftedness include personal factors in its structure (A.M. Matyushkin, J. Renzulli, J. Feldhuysen, K. Heller). Personality develops in connection with internal contradictions that arise in its life. They are determined by its relationship to the environment, its successes and failures, and imbalances between the individual and society. But external contradictions that even acquire a conflicting nature (for example, conflicts between a child and parents) do not themselves yet become the engine of development. Only by integrating, causing opposing tendencies in the individual that enter into struggle with each other, do they become a source of his activity aimed at resolving internal contradictions by developing new ways of behavior. Contradictions are resolved through activities leading to the formation of new properties and qualities of the individual. The dialectical nature of development finds its expression in the formation of both individual aspects of the personality and its mental life as a whole. A growing personality strives for a new position, new types of socially significant activities (at school, outside of school, in a work community, etc.) and in the realization of these aspirations finds new sources of its development. Personal development is characterized by the struggle of many opposing tendencies. Contradictions are resolved by developing more advanced ways of regulating the interaction of a developing individual with the environment: characterized by dynamic stereotypy and flexible stability. Such methods are generalized knowledge, the ability to solve various problems that arise in the life of an individual, systems of generalized and reversible operations used in various situations. Their development characterizes the progressive movement of the individual from lower to higher levels of his intellectual development. Generalizations also develop in the development of the motivational sphere of the individual, providing a stable logic of his behavior in changing situations. life situations. driving forces developments themselves develop during this process, acquiring at each stage new content and new forms of their manifestation. At the initial stages of development, the contradictions between various trends that arise in the life of an individual are not realized by him; they do not yet exist for him. At later stages, they become the subject of consciousness and self-awareness of the individual, experienced by him in the form of dissatisfaction, dissatisfaction with himself, and the desire to overcome contradictions. The new arises in the old through the activity of the subject. Training and education contribute not only to the successful overcoming of internal contradictions that arise in a person’s life, but also to their emergence. Education sets new goals and objectives for the individual, which are recognized and accepted by her and become the goals and objectives of her own activity. Discrepancies arise between them and the individual’s level of mastery of the means to achieve them, prompting him to self-movement. By creating optimal measures of these discrepancies, training and education successfully form new actions and the motives necessary for them, help the individual find forms of manifestation of his desire for independence and self-affirmation that meet the requirements of society and his own ideals. Thus, true management of personality development requires knowledge of this complex dialectic, which is necessary in order to help resolve internal contradictions in the right direction. If we summarize the definitions of the concept of “personality” that exist within various psychological theories and schools (C. Jung, G. Allport, E. Kretschmer, K. Levin, J. Nutten, J. Guilford, G. Eysenck, A. Maslow, etc. .), then we can say that personality is traditionally understood as “... the synthesis of all the characteristics of an individual into a unique structure, which is determined and changed as a result of adaptation to a constantly changing environment” and “... is largely shaped by the reactions of others to the behavior of a given individual.” So, we can say that a person’s personality is social in nature, relatively stable and arising during life. psychological education, which is a system of motivational-need relationships that mediate the interaction of subject and object.

Chapter 2. Child personality development as a subject of psychological research

So, if a fourteen-year-old teenager is most interested in self-esteem and acceptance by others, then for a fifteen-year-old the main place is occupied by the issues of developing abilities, developing skills, and intellectual development. In this regard, the dynamics of the attitude towards one’s future are also indicative. The study of the characteristics of the present “I” and the desired “I” shows that if at the age of 14 (the first half of the year) both the present and the desired “I” relate to the activity of mastering the norms of relationships, then already at the age of 15 (first half of the year), both the desired and the present “I” are clearly reoriented towards objective and practical activities. From 15 to 17 years, the development of abstract and logical thinking, reflections of one's own life path, desire for self-realization, which exacerbates the need of youth to take a position of some kind social group, certain civic positions, causing the emergence of a new turning point of the social movement - “I and society”. All the considered boundaries record those level changes in social maturity, in the process of socialization - individualization, which ensure the development of the position of a growing person as a subject of subject-subject relations. object and subject-subject, the formation of his “I” not only in society, but also the most active position of “I and society”. It is this position of the “I” in relation to society that provides maximum opportunities for social maturation, defining new levels of personal development, since here not only affirmation in the “world of things” occurs, but a genuine affirmation of the social essence in the “world of people.” The multi-level state of social maturity, fixed by the main nodes of personality development, is reflected in three stages of ontogenesis.

I. Up to 3 years, when accessible to the child level, his socialization (and conditional individualization) occurs in the form of mastering the presence of others.

II. From the age of 3, when a child, having realized his “I,” shows the first moments of self-affirmation, self-determination (“I myself”), enters into relationships “I and others,” masters the norms of human relationships, fixes and tries (from the age of 6) to orientate assessment of society.

III. From the age of 10, when a teenager strives to establish his “I” in the system of social relations. This stage of socialization is distinguished not only by the most pronounced individualization, but also by self-determination, self-government of a growing person, who has not only become a subject, but is also aware of himself as one. The named large levels of social movement form the basic grounds for the transformation mental processes into the system-forming properties of the personality, for the new development of existing quantitative and qualitative indicators, a certain complication of goals and motives that have their own development possibilities, i.e., to achieve a higher level of such a special system education as personality, in which the process of socialization - individualization is fixed as a unity of opposites. Therefore, identifying the levels of social movement that are in relation to each other in organic integrity allows us to most fully reveal the essence of personality development, the stages of increasing its organization. The largest stages of social development of an individual in the period from birth to adulthood are two blocks, which can be designated as phases of personality formation. In the first phase (from 0 to 10 years) - the phase of childhood itself - the formation of personality occurs at the level of still undeveloped self-awareness. In the second phase (from 10 to 17 years) - the phase of adolescence - there is an active formation of the self-awareness of a growing person, acting in the social position of a socially responsible subject. At the same time, we are talking about a special understanding of responsibility not just for oneself, but responsibility for oneself in a common cause, responsibility for this common cause and for other people, not in terms of “self-actualization”..., but in the sense of actualizing oneself in others, “ going beyond oneself” (36, pp. 240-242), when the “I” does not dissolve at all in the system of relationships between people in society, but, on the contrary, acquires and manifests the forces of its action in it. The identified phases cover certain cycles of personality development, recording the result of this form of social development - the formation of the child’s position in the system of society and the implementation of this position. Studying the level-by-level development of a growing person as an individual has productive significance, requiring in-depth research along many lines. Thus, it is important to understand the essence of such a phenomenon as, relatively speaking, the “stretching” of periods of ontogenesis in time: the first period lasts 1 year, the second - 2 years, the third - 3 years, the fourth - 4, the fifth - 5 years ... It seems promising to consider personal development through the child’s motives, which indicate the degree of development of his social maturity - from the motive characterizing the desire to declare oneself, about one’s presence, to the motive to benefit other people. At the same time, the study of the holistic process of personality formation involves the disclosure of its features and mechanisms within individual periods, at the level of microprocesses, when functional activity (3, p. 103) not only leads to an increase in the quality of functioning of various components, but the quantitative accumulation of qualitatively new elements forms a potential reserve, preparing the transition to a new stage of development. Consideration of the process of social development of the individual in different periods of ontogenesis shows that within each period it passes through three naturally alternating stages. The first stage is characterized by the emergence of trends in the development of a certain aspect of activity, when previously accumulated semantic loads highlight new possibilities for the child’s functioning, creating an appropriate field for his expanded activity. The second stage is characterized by maximum implementation, cumulation of development of the leading type of activity. The third is the saturation of the leading type of activity when it is impossible to further realize its potential, which leads to the actualization of the other side of the activity... So, progressive social development proceeds from the child’s awareness of his social capabilities, through the formation of personal new formations, to the manifestation, strengthening, qualitative change social position as a result of one’s own creative activity. This position is most clearly manifested during the child’s transition from one stage of ontogenesis to another. Moreover, as the data obtained during the experimental work show, at all age transitions the starting point is a new level of social development of the child. In practice, this acts as an important pattern that does not correspond to the position of J. Piaget, who argued that the development of intellectual maturity is the start for social maturity. (27, pp. 246-249) These facts show that it is precisely the achievement of a certain level of social maturity at a specific stage of each period of ontogenesis that advances the intellectual development of the child, precedes it, and is reflected in the desire to take a new social position. This desire is characteristic of all age transitions and represents, in fact, one of the mechanisms of these transitions. The specificity of different transitional periods lies not in the desire of children in themselves to find a place in society, a certain social position, but in the qualitative features of the system of relations that develops at a particular age between the child and society, “for the social situation of development is nothing else, except for the system of relations between the child of this age and social reality" (6, p. 67) In addition, as Bozhovich L.I. noted, with each subsequent age stage the child’s social circle expands; this means that the addressee of this communication and the representation of society in it are expanding, and the content and means of communication are also changing. So, in adolescence society as a whole becomes such an addressee; the teenager begins to communicate with society (more broadly, with the world of human culture) “directly”, mastering the position “I and society”. In essence, this means that at this level the teenager solves not just the problem of occupying a certain “place” in society, but and the problem of relationships in society, defining oneself in society and through society, i.e., the problem of personal self-determination, taking an active position regarding sociocultural values ​​and thereby determining the meaning of one’s existence is solved. Isolating really existing special level states of a child’s social maturity in the process of ontogenesis and establishing their content in the position of “I” in relation to society contains high potential opportunities for optimizing the educational process, allowing the latter to be built adequately to the psychological patterns of the formation of the child’s social activity... Thus , the social development of the individual is a complex, multifactorial conditioned process that is carried out in the unfolding activity of the child, the contradictory mutual intersection of the two sides of which creates unique nodes of social movement. It is in the disclosure of patterns and mechanisms of development within the stages, periods, stages, phases that lie the possibility of identifying the nature of the process of unfolding socialization - individualization, the factors that determine it, which allows us to in-depth consider social development over the entire vast distance - from birth to social maturity of a person as personality.

Chapter 3. Psychological features of personality development of intellectually gifted children

It is impossible not to recognize the actual features that distinguish gifted children from ordinary ones. “There are two competing stereotypes about the physical characteristics of gifted children. The first is a skinny, small, pale "bookworm" with glasses. The other tells us that gifted children are taller, stronger, healthier and more beautiful than their ordinary peers. Although the second image is preferable to the first, both of them are quite far from the truth. The physical characteristics of gifted children are as varied as the children themselves" (45, pp. 54-57) Some psychologists still note that gifted children have external distinctive features, expressed in the fact that the work of thought spiritualizes their faces. Many psychologists (20), (51) note that gifted children have a very high energy level. Gifted children's motor coordination and hand control often lag behind their cognitive abilities. There are differences in the cognitive domain of gifted children. Their perception of the world around them, according to psychologists, is multifaceted. Gifted children are characterized by holistic thinking (holistic), unbiased, not limited by stereotypes; it requires freedom, openness, and the ability to deal with uncertain and ambiguous phenomena of the surrounding world. According to psychologists, the main thing that unites all gifted children and largely distinguishes them from ordinary children is the so-called mental activity associated with cognitive need.

One of the first to describe this insatiable need was N.S. Leites (19). According to V.S. Yurkevich (51), this need is the “engine” of the development of gifted children. V.S. Yurkevich believes that children become gifted thanks to a positive social environment and an insatiable cognitive need, due to which their abilities develop by leaps and bounds. A very important feature of gifted children is the versatility of their abilities. B.M. Teplov emphasized that “talent is multifaceted,” and believed that we should not talk about the existence of different talents, but about the breadth of talent itself. He wrote: “The ability to act successfully in various areas is explained, first of all, by the presence of some common aspects of talent that are important for different types activities. This is the center of the scientific problem of multilateral talents” (38, pp. 141-145). A.G. Asmolov believes that the profile of a gifted person’s abilities is varied, has many peaks, subject to varying degrees of dynamics. Diversity ensures sustainability. This is typical both for culture and for people’s lives. According to A.G. Asmolov, a one-vertex person is an extremely unstable creature, and in its extreme expression it is a psychological type of fanatic. For of this type personality, the failure of his leading goal is tantamount to the failure of his entire life. A person with the top of his only peak cut off in a critical situation is simply lost, not knowing how and with what to live next. (53, pp. 28-34) Gifted children are distinguished by high spirituality, the desire to protect and preserve beauty and harmony. A gifted child is not always a “brilliant” child. According to K.G. Jung, “a gifted child may even have unfavorable characteristics: scattered, a head full of pranks; he is careless, negligent, inattentive, mischievous, capricious, he may even give the impression of being sleepy” (15, pp. 138-141) K.G. Jung believes that excellent features can have a protective nature, be a defense against external influences, the purpose of which is to calmly and without interference indulge in the internal processes of fantasy. In his opinion, in a gifted child, his mental inclination rotates in a wide range of opposites, because talent extremely rarely characterizes all mental areas more or less equally. Tacks K., as if confirming the idea expressed by Jung, wrote about the gifted: “They are more courageous and at the same time more informed, more conforming, at the same time more non-conforming, more autonomous and more dependent, more serious and more inclined to play , more timid and more fearless, more self-confident and more prone to self-doubt, more receptive and more independent compared to less creative colleagues. They integrate these polar opposites in their thinking and therefore have an inexplicable ability to solve problems that, it would seem, cannot be resolved logically” (54, p. 296) K.G. Jung notes that the personality of a gifted child may be characterized by disharmony, which is expressed in the fact that one or another area of ​​the personality may receive so little attention that one can talk about its loss from general development. “First of all, there are huge differences in maturity. In the sphere of giftedness, under some circumstances, abnormal precocity prevails, while under others, spiritual functions lie below the normal threshold of the same age. Because of this, sometimes it turns out like this external image, which is misleading. Before us is a seemingly underdeveloped and spiritually retarded child, and we in no way expect from him extraordinary abilities” (15, pp. 156-160). According to E. Landau, a gifted child is able to “concentrate and associate several individualities in his own, since he bears it’s like a living society within itself” (15, pp. 121-124) Gifted children have a highly developed sense of justice and it manifests itself very early. They acutely perceive social injustice, set high demands on themselves and others, and respond vividly to truth, justice, harmony and the beauty of nature (7, pp. 49-62) Very early they try to understand the social structure of the society in which they live, feel their communication with him and react to social change. Some psychologists believe that a gifted child, due to his emotional sensitivity during such periods of crisis, can be considered a latent victim of socialization. V.S. Yurkevich (52) believes that a world in which there is no certainty has a destructive effect on the psyche of a gifted child. Gifted “...people can clearly, simply, naturally express themselves in the language of higher being, the language of poets, mystics, prophets, deeply religious people, people living in the world of Platonic ideas, Spinoza and eternity. They, compared to ordinary people, the meaning of parables, allegories, paradoxes is better understood, musical art, non-verbal communications, etc.” (25, p. 232) The peculiarities of self-awareness of the personality of a gifted child are important. Many researchers note low self-esteem in gifted children (10), (31), (3). There are many explanations for this fact. One of them is associated with the specific structure of the ego state of gifted children. Gifted children, assessing their achievements from the position of an adult realistically and quite harshly, consider them not very high, childish. This may explain their unfavorable self-concept, in particular low self-esteem. For gifted people, the problem of self-actualization is very important. When the realization of gifted children is hindered, it causes them an unnecessary waste of energy and difficult emotional experiences.

Indeed, gifted children experience difficulties in socialization and adaptation, which causes them high neuropsychic stress, neuroticism, and leads to maladjustment. It is no coincidence that gifted children are considered to be at risk. A fairly common view is that gifted children are neurotic or psychotic (7), (15), (54), i.e. An analogy is drawn between the behavior of a creative, gifted person and a person with nervous or mental disorders. The behavior of both deviates from the stereotypical, generally accepted one. This may be explained psychological characteristics gifted children and the objective situation existing in society. A number of researchers have proven that among gifted children there are more often children with a high level of neuropsychic stress, which, on the one hand, energetically provides their broad cognitive processes and capabilities, and on the other hand, underlies imbalance, overactivity and excitability, which contribute to high reactions to stress factors, provoking acute emotional reactions, behavioral disorders, neurotic and somatic disorders. (37, p. 34-35) Thus, greater abilities are associated with greater vulnerability of the personality of a gifted child. Gifted children perceive and respond to everything. Their normal egocentrism leads them to attribute everything that happens to themselves. Difficulties in daily communication that do not affect an ordinary child can hurt a gifted child. Thanks to their breadth of perception and sensitivity, gifted children deeply experience social injustice. American psychologists (54), (42) note that a person whose perceptions are chronically ahead of his age is always under stress. It is difficult for socially adapted adults to adequately perceive the irrepressible desire of a gifted child to correct the injustice of society. The increased emotional sensitivity of gifted children and the desire for social justice are necessary for gifted children to fulfill their purpose in society. It should be noted that the entire modern culture is focused on the average person. In domestic psychology there has developed traditional approach close study and attention to ordinary and mentally retarded children. These children were thoroughly studied, special training programs were developed for them, and psychological personnel were trained. At the same time, helping gifted children was regarded as the cultivation of an intellectual elite and a violation of social justice.

A.G. Maslow notes the complex nature of the relationship between gifted people and culture. In his opinion, they are characterized by a high degree of acceptance of culture and at the same time detachment from it, which is explained by highly expressed personal autonomy, “... comparing these people with other members of our society, overly socialized, robotic, ethnocentric, we are forced to admit , that even if their worldview does not allow us to consider them the creators of a special subculture, then we are still dealing with a special group of “relatively uncultivated” individuals who managed not to succumb to the leveling influence of the culture surrounding them” (42, pp. 133-135 ) Thus, an analysis of the literature showed that a gifted personality is characterized, as a rule, by accelerated mental development. This applies to both the cognitive and psycho-emotional spheres. At the same time, researchers note the problems that arise for gifted people in modern society and complicate the process of self-actualization and personal development.

Chapter 4. Social and psychological problems of personality development of intellectually gifted children

The influence of society on personal development appears to be through family upbringing and schooling. Turning to the analysis of the biographies of great people, Eidemiller E.G. notes the ambiguity of the data received on this issue: “In some cases, the family provided maximum support and opportunity for the development of gifted children; and in other cases, they had to overcome negative consequences childhood spent with an overly protective or dominant mother, with a loser father or a generally dysfunctional family" (50, p. 57). In addition, Eidemiller E.G. emphasizes the importance of the influence of peers and school. Conducted empirical studies indicate the presence of an association of negative stereotypes with academic success among American schoolchildren, provided that excellent study combined with other unpopular traits, such as lack of interest in sports. A positive correlation between the performance of gifted high school students and the attitude of students at school towards educational activities was also determined. N.S. Leites, who has devoted many works to the problem of giftedness (16 - 21), notes that children with early mental growth have their own specific difficulties. Thus, families are often alarmed by the unusual nature of such a child. As a result, a gifted child encounters misunderstanding on the part of the people closest to him - his parents. It often happens differently. The child in the family is surrounded by an atmosphere of praise, and there is an excessive demonstration of his success (20, p. 216). Both of these situations have the same traumatic effect on the child’s psyche. It is also not easy for such a child at school, since priorities are set in such a way that teachers pay more attention and provide assistance to those children who have various problems in intellectual and mental development. Consequently, most often a gifted child at school is left to his own devices. Following N.S. Letesom, B.C. Yurkevich notes in his works (51,52) that it is in school, under the influence of certain stereotypes, the main of which are the attitude towards learning as hard work, duty, duty, as well as the existing system of marks, cognitive need either significantly decreases or is replaced by an ersatz need. It is at school that a child is weaned off asking questions, spontaneity becomes a violation of discipline, and the thirst for knowledge is significantly hampered by the authoritarianism and conservatism of the existing education system (52, pp. 98-99).G. Lindsay, K.H. Hall and R.F. Thompson, highlighting a number of obstacles to the realization of intellectual talent, note their social nature (42). The first and main obstacle is conformism, understood by the authors as the child’s desire to be like another. “A person is afraid to express unusual ideas for fear of seeming funny or very smart. A similar feeling can arise in childhood” (42, p. 156). The reasons for the occurrence of this obstacle are also indicated here - this is primarily a misunderstanding that arises on the part of adults. The second obstacle is internal censorship. This obstacle occurs when the child feels afraid of his own ideas. This fear leads to the fact that he begins to react passively to everything that happens around him and does not try to solve the problems that arise. And finally, the third obstacle is rigidity. The authors note that this obstacle most often arises during school education. “Typical school methods help consolidate knowledge accepted today, but do not allow teaching to pose and solve new problems, or improve existing solutions (42, p. 154). In his article “Diagnostics and development of gifted children and adolescents” K.A. Heller (43), highlighting “special reasons for counseling gifted children and strategies for their development,” notes the problems as the most significant social behavior(40.6%), and problems associated with school performance (31%) (43, p. 256). Analyzing the causes of social problems faced by gifted children, we came to the conclusion that, first of all, it is worth noting a certain vulnerability of the self-concept in gifted children, which is characterized by a fairly strong sensitivity to the social environment. The very low threshold level of reactivity in gifted children leads to the fact that they attribute everything that happens to themselves. This egocentrism often contributes to feelings of guilt even when they are not actually accused of anything. Feelings of guilt often start in early childhood in progress family education. Parents of gifted children feed unjustifiably big hopes that their child will achieve equally high results in almost every industry he encounters. And of course, they are sure that their son or daughter must be an excellent student. As a result, the child develops an “excellent student complex,” in which any decline in grades is perceived in the family, and even by the child himself, as a drama. In this case, when the child does not live up to the expectations placed on him, parents most often demonstrate dissatisfaction, and this demonstration can take place both at the conscious and unconscious levels. The pressure exerted in this way from the parents has a fairly strong influence on the formation of the self-concept of a gifted child, because for him, especially in early childhood, it is the parents who act as the most authoritative and significant figures, and it depends on them whether conditions will be created for the child, which could ensure his psychological safety, create an atmosphere of acceptance and empathic understanding. A paradoxical situation arises. It would seem that the outstanding achievements that are made by gifted children, the high creative and intellectual potential that is inherent in them, should form in the child a sense of self-confidence, and the inadequacy of self-esteem should tend towards its overestimation, rather than understatement (10, p. 161). However, instead of the positive self-perception that should develop in a gifted child under the influence of success in activities and the enthusiasm of others, psychologists are faced with alarming symptoms of almost despair. What factors can be identified as the main ones that explain such a decrease in self-esteem? First of all, these are inflated standards for evaluating their activities, which sometimes coincide with insufficiently high results. The formation of these standards is often the result of parental upbringing. In many families where a child is growing up who is ahead of his peers in a number of indicators, primarily cognitive, it is very difficult for parents to avoid extremes in upbringing. An atmosphere is created of either praising the child, and then development follows a scenario like: “you owe me everything,” or excessive demands are placed on the child. In this case, parents associate their child’s achievement of success with the realization of their own aspirations. Such a distortion of role settings can lead to an emotional, physical or intellectual breakdown of the child and subsequent loss of interest in the type of activity that previously brought success or caused him constant stress, since the implementation of any activity will end with a comparison of the result with the expected demands. If a child does not “meet” the required level determined by the social environment, his self-esteem rapidly declines. Moreover, for this, it is not at all necessary for others to openly demonstrate their reaction. In the process of personal development, a gifted child develops extremely high personal standards (of course, not without the influence of society). This quality allows him to carry out the comparison mechanism himself. The next factor that has a serious impact on the decline in self-esteem is the response to failure in school. Surprisingly, children with highly developed intelligence may have academic problems at school (26, p. 108). Domestic psychologist B.C. Yurkevich, who has significant experience in working with gifted children, notes that cases of so-called dyssynchrony in the development of intellectual and academic giftedness in modern schools are quite common (52). Moreover, teachers, having failed, are ready to assume that the child has almost mental disability. The modern school culture and the prevailing stereotypes within its walls have the most serious impact on the self-concept of a gifted child. The main values ​​for the school education system for many years remained, and are still a priority, the compliance of the acquired knowledge with certain rules, the predetermination (and therefore correctness) of the answer. It should also be noted that the verbal nature of teaching is predominant in school. Academic achievement is often associated with proficiency in oral and written communication skills. That is, it is important not only and (or) not so much the originality and accuracy of the idea, but above all the form in which this idea is clothed. For a gifted child, this state of affairs is completely unacceptable. For him, the essence is more important, not the shell. Quick grasp, excellent memorization of information, the power of enrichment, curiosity and independence of judgment are wasted under the influence of an already mastered boring program. As a result, the gifted child “will adapt to his normal peers and his behavior will be similar to the behavior of his classmates. He will begin to adjust the performance of this task in quality and quantity to the corresponding expectations of teachers” (3, p. 180). Numerous problems are also associated with the fact that one of the main tasks of school education remains the formation of a versatile personality. At the same time, the special areas of interest of gifted children are completely ignored. And research from psychological science convincingly proves the prevalence of special types of giftedness. At one time, N.S. Leites identified a special category of gifted children who, “with a normal level of intelligence, show a special predisposition to some particular subject (16, 17). Such a student is partial to mathematics or physics, or biology, or languages. In “his” subject or a group of subjects, he can stand out, significantly surpass his fellow students in the ease with which he is given the specifics of the material, the depth of interest; here he has a special readiness to assimilate, and even creatively participate in the work" (16. p. 100). In this case, indeed, specific talent may determine the lack of an adequate level of development of other abilities, and sometimes low interest in any subjects not directly related to what one loves. Very often at school, a gifted child feels a lack of attention from adults. After all, in secondary school Most teachers target children with a “low shutdown threshold,” that is, they most often answer their own questions, confident that the children will not be able to find the correct answer on their own. In this situation, a gifted child creates certain interference and difficulties in the teacher’s work. For him, especially in primary school, the desire to correctly complete the teacher’s task, to answer his question correctly and faster than others is just an interesting mental game, a kind of competition, and he raises his hand before others. “Most teachers simply do not have time to take care of a gifted child, and sometimes they are even hampered by students with amazing knowledge and mental activity that is not always clear” (31 p. 219). The low psychological level of teacher preparation for working with such children leads to the fact that, when assessing their students, teachers note in them, first of all, demonstrativeness, a desire to do everything their own way, hysteria, reluctance, and sometimes inability to follow accepted models, etc. etc. It should be noted that such assessments are a consequence of teachers’ inadequate understanding of the personal characteristics and patterns of development of a gifted child. The results of numerous studies show that children with extraordinary mental abilities often have difficulties in communication, a lower level of social competence, and they are more introverted. Thus, we can talk about the presence of intellectual-social dyssynchrony, which is characterized by a high level of intellectual development and insufficiently formed and (or) tested social skills. A characteristic feature of gifted children is nonconformism. It is always difficult for them to get used to established norms and rules, and some of them decide to confront. And according to Investment Theory

Similar documents

Research on the problem of giftedness in children scientific literature. Psychosocial characteristics of a gifted child. The process of early identification, training and education of a gifted and talented child as a task to improve the educational process.

course work, added 04/23/2015


Psychological and pedagogical characteristics of a gifted child. Concept and definition of giftedness in children. Development of a gifted child and his self-esteem. Difficulties of mental development of gifted children. Child giftedness as a problem.

course work, added 04/03/2007


Characteristics of the relationship between parents and child. Specifics of the teaching profession. "Parental" and "pedagogical" settings. Analysis of the influence of the professional affiliation of parents-teachers on the parenting style and personal characteristics of the child.

course work, added 01/20/2011


Scientific research covered a system of problems in the psychology of giftedness, diagnostic problems, and the development of principles and methods for the development and training of gifted children. Special comprehensive programs for gifted students. Psychosocial development.

thesis, added 01/05/2009


The problem of aggressiveness in psychological science. Age and gender characteristics of the level and manifestations of personality aggressiveness. Analysis of the results of a study of gender characteristics of aggression in adolescents, recommendations for the correction of aggression.

thesis, added 11/13/2009


The influence of society and the changing world on children and adolescents. The role of parents’ initial upbringing on the development of a child as a person. The problem of mutual alienation of children and parents, the discrepancy in the vision of the world around them. Extending the authority of parents.

essay, added 10/31/2013


The problem of “difficult” students as one of the central psychological and pedagogical problems. Features of educational activities of socially and pedagogically neglected children. Character flaws in children and adolescents. Typology of child and adolescent maladjustment.

abstract, added 05/07/2011


Theoretical studies of adaptation and aggression in adolescents. Adaptation and maladaptation as psychological phenomena. Factors in the development of maladaptation and the manifestation of aggressiveness in adolescence. Organization and methods of researching the problem.

course work, added 09/18/2014


Psychological features of the manifestation of aggressiveness in high school students. Characteristics of normal, deviant and pathological types of social adaptation. Study of the relationship between conflict and socio-psychological adaptation in adolescents.

thesis, added 09/19/2011


Social and psychological analysis of the family. Features of the relationship between children and parents. Independence as a component of the development of children's self-organization. Independence as personal quality and the factor of positive relationships between children and parents.

Problems of creativity

Alexander Kudlay

There are people who always bring something interesting and fresh into the everyday life of the majority, who live by themselves almost exclusively instinctively or mechanically. It occurs to them how to rise into the air, descend into the water and breathe there, how to carve a dwelling in soft stone, and even a temple, how to depict the beauty they have seen, or beauty that no one has ever seen, how to depict the music of speech in a poetic form and, having said the main thing, do not dissolve in the secondary. Such people create sciences and arts, which then everyone else marvels at. The miraculous creation of something like this is very often associated with torment. And the reason for them is, oddly enough, the opposition to such creativity of that same majority, acting according to the habitual pattern or not acting at all, but only reacting. The first reaction to something unusual (new), successful, is surprise and alienation - after all, reactionaries do not notice the ability for the unusual and beautiful in themselves, and therefore consider creators to be strangers. The stranger is associated in a weak consciousness withdangerous , with what to watch out for and what to keep an eye on. So they breathe over their shoulders, and they also have a stick at the ready. And they will threaten the creators, and stop them, and punish them from time to time, just in case.

Creators and reactionaries act and feel in antiphases: the former are filled with good energy and love; they are generous, and the latter are insignificant, greedy, stingy and hateful, because they tend to see their reflection in the entire world around them, i.e. grabbers, money-grubbers, fighters for existing limited benefits - and therefore they revere competition. The former are more likely to see new opportunities to increase the already existing benefit, while the latter are entirely focused only on squabbling over a bone that has already been thrown into the flock. The former give and give without acquiring, and the latter acquire and acquire without giving. The hand of the giver does not fail, and the belly of the one who consumes is not filled. This is despite the fact that both of them work continuously, although each in his own style: the first is determined to bring things from non-existence into being, and the second is to expropriate things that already have existence. The former can therefore be called idealists, and the latter existentialists (or materialist-realists).

Existentialists, acutely aware of the existence of their ego and things,existing along with him and for him, they despise idealistic strangers who bring what still belongs only to the mind (creative), but unknown to empirical minds, into reality (or into existence), and therefore are independent ofalready having empirical existence (existence). The curiosity of existentialist empiricists is determined solely by their consumer interests. They are verypractical , i.e. they look only at what is already available, and are only occupied with the questionHow manipulate it. They have a practical mindphronisis . Idealist creators are curiousepistemologically , i.e. value knowledge in itself, knowledge of what does not even yet exist in the physical epsotasis, although it already lives as an idea of ​​the mind, and is subject to pure identification ideal means creativity, always new - becausecreate it is forbidden already existing oralready having existence.

Creativity has therefore been associated for millennia with the divine - for it is God who creates existing things from non-existent things through the effort of his will or intellect. Angels, muses and geniuses were believed to visit creative artists and poets, who were therefore called geniuses. The mediocre could not understand this, and in their pride they began to invent explanations of the unknown using terms and concepts familiar to them, trying to describe genius in a material, physical way, or “pin a sunbeam to paper.” They, at least in their existential-materialist ideology, placed brilliant creators even below themselves, incapable of creativity, calling them eccentrics, strange madmen, and dreamers who need their realistic guidance and control. They sought to manipulate genius by manipulating the physical nature of those gifted with it. And they knew how to do this mainly through intimidation and pain, which they learned to use as their means of manipulation. This has complicated the work of creators, both in terms of practical implementation and in terms of motivation for creativity itself. Therefore, servants of the muses often abstained from their creativity, destroyed their works, hid them until better times, encoded inventions, and made the language incomprehensible to manipulators. Often creators suffered from what they had to do, feeling that they were committing a crime by not following their high calling, and therefore were guilty before the muses and God. Realistic manipulators, seeing that once new and “dangerous” inventions are now universally recognized and used, giving profit, gave a distorted namegeniuses already that people -creators (often posthumously). New talents still continued to be treated with suspicion and sabotage.

The creators, wanting to improve the situation in the world, tried to expand the number of educated people, trying to acquaint the ignorant with the achievements of science and technology, literature and philosophy, but that wasnot easy absorb knowledge. The latter underwent a transformation in the minds of the semi-literate. A “scientific” mythology of the semi-literate about knowledge and creativity arose. Now the semi-literate not only did not call themselves ignorant, but also began to be considered scientists and creators, even though they studied distorted things and created all sorts of perversions. Knowledge was declared no longer elitist, but democratic (accessible to anyone), and this happened in the era of empirical epistemology, i.e. belief that all knowledge is acquiredonly through the senses, and the sense-serving mind. The original idealist creators faced new problems: 1. How to dissolve the illusion of empirical existentiality in the minds of democratic manipulative experts? 2. How to make real knowledge, which was always previously accumulated only in an elite manner, the property of a larger number of individuals,but without distortion ? 3. How can we invite more people to be co-creators rather than distorters? 4. How to ensure that people do not interfere with creating beauty in the spirit of freejudaimonia ? 5. How to establish the criterion of good taste in creativity? How to remain faithful to muses and geniuses, and not to evil demons in their guise?

These are the problems that idealistic creators are trying to solve, through the enormous resistance of mediocrities and perverts, against the backdrop of the wild ideologies of semi-literatescientists neighbors whose misconceptions are not easy to showcreators , having neither good education, no good taste, and wary, as before, against alien creators and idealists who live largely outside the boundaries of existence.

How can one live outside of existence, which existentialists identify with life? For the latter it may sound:live beyond life , which may seem pointless. The explanation goes back to understanding the meaning of the wordbeing (esse ), as combinationsessence (esentia) And existence (existence). For a thing it is possible to be, but not to exist, while for a person it is possible to exist, but not to be. We can say that a thing exists even when its idea exists, i.e. That,What this thing is, butmore or already there is no materialization of this idea. It can also be said that a person canexist , But Not be aware of your idea, and therefore in your consciousnessnot to be what he is according to an idea that has eluded him. Therefore, paradoxically, the existentialist, who speaks of being as existence, may in fact be deprived of just being, butin essence missed by him due to the underdevelopment of his mind (ornon-implementation ideas of its existence). The latter occurs only because the existentialist maintains artificial mental activity, which consists in his affirmation of the secondary nature and derivativeness of the idea from existence, which is false, and therefore deprives it of true existence, from the positionessence . Consciousness enslaved by existence ceases to be creative, because it is impossible to create what already exists. What already exists can only be manipulated, therefore only this type of activity remains for the existentialist. That's what he ismyself I kept it for myself, making a logical mistake in the first place. Therefore, if such a person happens to somehow become involved in creativity, it will be “not thanks to, but despite” his own philosophy, i.e. in those moments when he forgets her or is distracted from her, acting mediumistically, likeblind a conductor of someone’s will that is alien to him, which later, due to insufficient distinctiveness, he calls his own. If such creativity happens, it is always dark for such a “creator” himself, with whose language and hands someone else essentially creates, without his knowledge (because the existentialist-creator exists, but he is not consciously there, orconsciousness he is locked in the artificial idea of ​​his (consciousness) non-existence, or non-existence. The idealist creator does not make this mistake, heNot closes his consciousness in an illusion that is logically groundless. For himbeing consciousness is primary, and existence is secondary, or accidental, i.e. not necessary (i.e. a thing or somethings they have opportunity to be projected into physical reality from mental reality, and also has the opportunity not to be projected into existence). He creates from the truth and brings truth into this world, i.e. With his creativity he speaks only the truth. When a genius or muse visits him, they work together in fruitful co-creation. The problem of creativity remains only in the sense of counteraction to it by the dark. The latter, if they do anything, then “they don't know what they are doing.” The creed of their faith is: “You can fully exist, but you cannot fully know.” Although this belief is based on a logical error, existentialist activity, while it remains such, is always fundamentally opposed to essential knowledge and true creativity.

Therefore, in order to ease the pangs of creativity of an idealist, he only needs to be disturbed as little as possible.from outside . Whereas, in order to make the creativity of an existentialist possible, he needs to stop adhering to his irrational faith and thereby not interfere with himselffrom the inside . The first needs the world to understand him, and the second needs to understand himself.

Text from the Unified State Examination

(1) I will say simply: inspiration is the reward for the artist’s exacting honesty. (2) A believer would clarify - God’s reward. (3) An atheist would say: the reward of our moral nature. (4) To which a believer might ask: where did your moral nature come from? (5) But this dispute is eternal. (6) When we have before us a truly talented work, it is always subjectively honest, but the scope of the truth depends on the strength of talent, knowledge of the subject, and the ideal of honesty that has been developed by this writer. (7) Inspiration throws the writer to the pinnacle of his ideal. (8) But the heights of the ideal of Leo Tolstoy or simply a good writer Pisemsky are at different levels, and here our own honesty in measuring their achievements must take this into account. (9) Tolstoy from his height sees everyone and is therefore visible to everyone. (10) It’s just that a gifted writer from his height sees something and is visible to some people. (11) Moreover, a gifted writer can see some parts of the opening landscape better than a genius. (12) I’m just afraid that this consolation of mine would not have stopped Salieri. (13) Inspiration may go astray, but it cannot lie. (14) I will say more precisely, everything truly inspired is always truly truthful, but the addressee may be false. (15) Let’s imagine a poet who wrote a brilliant poem about the life-giving intelligence of the movement of the sun from east to west. (16) Can we enjoy such a poem, knowing that it does not comply with the laws of astronomy? (17) No conditionally, we can! (18) We enjoy the plasticity of the description of a summer day, we even enjoy the charm of the poet’s gullibility: as he sees, so he sings! (19) Such mistakes do occur, but they are relatively rare, because inspiration in general is an obsession with truth, and at the moment of inspiration the artist sees the truth with all the completeness available to him. (20) But obsession with truth most often comes to those who think about it the most. (21) I will say this: there is a pathetic prejudice that when you sit down to write, you must write honestly. (22) If we sit down to write with the thought of writing honestly, we are too late to think about honesty: the train has already left. (23) I think that for a writer, as, apparently, for any artist, the first most important act of creativity is his life itself. (24) Thus, a writer, when he sits down to write, only adds to what has already been written by his life. (25) What was written by his personal life already determined the plot and the hero in the first act of his work. (26) You can only add further. (27) A writer, like any person, not only creates an image of his worldview in his head, but invariably reproduces it on paper. (28) He cannot reproduce anything else. (29) Everything else is stilts or someone else’s inkwell. (30) This is immediately obvious, and we say - this is not an artist. (31) Therefore, a true artist intuitively and then consciously builds his worldview as a will to goodness, as an endless process of self-purification and cleansing of the environment. (32) And this is an increase in ethical pathos, earned through one’s own life. (33) And the writer simply has no other source of energy.

(F.A. Iskander)

Introduction

Writer's inspiration is the force through which we become witnesses to amazing worlds born in the minds of artists and poets.

Sometimes we plunge headlong into a fictional world, experience it together with the characters, admire the beauties of nature, not suspecting that this is nothing more than the author’s true worldview, poured out on paper thanks to the inspiration that descended on him.

Problem

What is inspiration? What is it based on and can it be intentionally caused? F.A. thinks about this. Iskander in his text.

A comment

In his opinion, inspiration is a well-deserved reward for the honesty of a writer. Depending on the strength of talent, a writer can cover only some part of the truth or all of it. In the latter case we are talking about genius.

Author's position

It is important for a writer to remember that when sitting down to work, it is impossible to be honest. Such work will be doomed to failure. After all, for a true master, the plot and development of the action are dictated by his own life, and further creativity is intended only to complete the possible outcome of events.

For F. Iskander, inspiration is the artist’s worldview, the process of his self-purification and cleansing of the environment. The writer simply has no other source of energy.

Your position

F. Iskander is a wonderful artist of words and one cannot but agree with him. Inspiration is truth, knowledge that controls the artist on a subconscious level.

Argument No. 1

There are many examples in Russian and world literature when the hand of a writer or artist is guided by a certain heavenly power. For example, A.S. Pushkin, creating the novel “Eugene Onegin,” only sketched out the images of the heroes, endowed them with certain character traits and psychological characteristics, and then they began to act independently.

At the beginning of the novel, Tatyana appears as a modest girl, superstitious and naive, who easily and forever falls in love with Evgeniy, who is unlike those around her. Disregarding decency, she writes a letter to the young man declaring her love and meekly accepts his admonishing confession when he admits his inability to reciprocate her feelings.

Years later, when Tatyana Larina gets married and turns into a noble and revered lady, she meets Evgeniy again. Now he falls passionately in love with her, but she is adamant. At the end of the novel, when Onegin confesses his love to Tatyana, kneeling in front of her, the girl refuses him, saying: “But I have been given to another and I will be faithful to him forever.”

In a letter to a friend Raevsky A.S. Pushkin admits that he did not expect such behavior from his beloved heroine, that she acted independently, regardless of the will of her creator.

Argument No. 2

For the poetry of the early 20th century, called poetry " Silver Age", the poet appears as a demiurge, creator, creator. The responsibility for depicting the surrounding reality from the perspective of his own vision falls on his shoulders. We all admire the poems of A. Blok, V. Mayakovsky, B. Pasternak, A. Akhmatova, M. Tsvetaeva and others, although we do not suspect under what forces their works were created.

M. Tsvetaeva speaks about this: “If only you knew from what rubbish poetry grows, without knowing shame. Like a yellow dandelion by the fence. Like burdocks and quinoa.”

Conclusion

True inspiration does not depend on the mood or thoughts of the artist. It can germinate in completely unsuitable soil. But the result of this birth will be a magnificent work, the reading of which will reveal something unknown to us, help us understand the incomprehensible, or remind us of the long past.

In literary criticism, the problematics of a work of art are usually understood as the area of ​​comprehension, the writer’s understanding of the reflected reality. This is the sphere in which the author’s concept of the world and man is manifested, where the writer’s thoughts and experiences are captured, where the topic is considered under certain angle vision.

At the level of issues, the reader is offered a dialogue, one or another system of values ​​is discussed, questions are raised, artistic “arguments” are given for and against one or another life orientation.

The problematic can be called the central part of artistic content, because it, as a rule, contains what we turn to the work for - the author’s unique view of the world.

Naturally, the issue requires increased activity from the reader: if he takes the topic for granted, then regarding the issue he can and should have his own thoughts, agreement or disagreement, reflections and experiences, guided by the reflections and experiences of the author, but not entirely identical to them .

Above, in the first section, we discussed the fruitful idea of ​​M.M. Bakhtin about the specific knowledge of artistic content as a dialogue between the author and the reader; To the greatest extent, this idea relates precisely to the problems of the work.

In contrast to the subject matter, the problematic is the subjective side of the artistic content, therefore, the author’s individuality, the original author’s view of the world, or, as L.N. wrote, are maximally manifested in it. Tolstoy, “the author’s original moral attitude to the subject.”

The number of topics that objective reality provides a writer is inevitably limited, so it is not uncommon for works by completely different authors to be written on the same or similar topic. But there are no two major writers whose works would coincide in their problems.

The originality of the issue is a kind of calling card of the author. Thus, there was practically no poet who would bypass the topic of poetry in his work, but how differently the problems associated with this topic sound for different poets!

Pushkin viewed poetry as the “service of the muses”, the poet as a divinely inspired prophet, emphasized the greatness of the poet and his role in the cause national culture. Lermontov emphasized the poet’s proud loneliness in the crowd, his incomprehensibility and tragic fate.

Nekrasov raised the question of citizenship poetic creativity and the social usefulness of the poet’s activity in the “time of grief,” sharply opposing the theories of “pure art.” For Blok, poetry was primarily an interpreter and expresser of the mystical secrets of existence.

Mayakovsky was the first to consider poetry as a kind of “production,” raising the question “about the place of the poet in the working class.” As we see, with the unity of the theme, the problematics of each of the poets turn out to be very individual and subjective.

From what has been said, it is clear the significance that the problematic has in the composition of artistic content. The central problem of a work often turns out to be its organizing principle, permeating all elements of artistic integrity.

In many cases the works verbal art become multi-problematic, and these problems are not always resolved within the work. A.P. Chekhov rightly wrote, giving priority to the problem even before the idea: “You are confusing two different phenomena: solving a problem and correct positioning question. Only the second is mandatory for an artist.

In “Eugene Onegin” or “Anna Karenina” not a single question is resolved, but they completely satisfy you, because all the questions are posed correctly in them” (Letter to A.S. Suvorin dated October 27, 1888). The problematics of the work give the reader the opportunity to think and experience, and this, in essence, is the main thing for which we turn to fiction.

So, it is clear that the analysis of the problem must in no case be neglected. Meanwhile, this is often done in the practice of school literary criticism, in which the concepts of problem and problematic do not even have an independent existence. From the theme of the work, school analysis jumps straight to the idea, and it turns out that the author “came, saw, reflected and branded (or sang).”

The main aspect of it disappears from the idea of ​​the creative process: what the writer thought and felt before branding or singing. And from the ideas about the artistic whole of the work, the most interesting things are also “washed out”: questions to which sometimes there are no answers or these answers are debatable; reflections, experiences, everything that excites the reader’s thoughts and feelings.

As a result, an idea of ​​artistic content, simplified to the point of distortion, arises as a mathematically clear and simple scheme in which there is nothing to look for, to which there is no need to apply one’s life experience, efforts of understanding, etc.

This situation with the analysis of problems does not make it possible to reveal the true richness - emotional and intellectual - of classical works of literature.

Looking ahead somewhat, we can advise starting the analysis of the content not with themes and “images”, as is customary and usually done, but with the central problem of the work. This approach has a number of obvious advantages: it immediately addresses the most important thing in the work, arouses and maintains the persistent interest of students, and allows one to combine the principle of problem-based learning with the principle of science.

For practical analysis of problems, it is always important to identify the individual uniqueness of a given work, a given author; compare (at least in the process of preparing for analysis) the work being studied with others and understand what is unique and unrepeatable about it.

In other words, it is important to find the “zest” of a given work, and if we talk about artistic content, it very often lies in the area of ​​problematics. As a first step in this direction, we can recommend establishing the type of problematic in the work under study.

Esin A.B. Principles and techniques of analysis literary work. - M., 1998

One of the most important trends in science, philosophy and culture last decades is a change in the forms of rationality and ideas about it. In the modern world, the understanding of how the rational and the irrational are related, as well as how they influence certain forms of human activity, is radically changing. Currently, ideas about the place and meaning of creativity are changing. After all, it is in this phenomenon of human existence that the irrational and rational principles merge and integrate in an inextricable connection as opposite manifestations of a single whole. Therefore, philosophical understanding and study various sides and forms of creativity not only enriches empirical knowledge about nature and man, but can also serve as the basis for the creation of complex methods for analyzing complex philosophical and psychological categories.

Throughout the entire historical period of development of philosophy, ideas about creativity have changed significantly. Within the framework of mystical views, it was considered primarily as the implementation of a divine plan, where a person in best case scenario only a “performing role” is prepared. Despite criticism of the mystical approach, he long time dominated philosophical ideas about creativity. Each subsequent stage of research into this category enriched and expanded our knowledge both about it itself and about the possibility of independent creative activity of a person.

Interest in the problems of creativity among ancient thinkers arose almost simultaneously with the advent of systematized philosophical knowledge. Ancient philosophers believed that creativity can exist in two forms: divine and human. If divine creativity is represented in the acts of creation of the cosmos and life, then human creativity is represented in the form of art and craft. Human creativity was made dependent on divine plans, when a person only realizes the divine will in “earthly affairs.”

During the ancient period, thinkers made the first assumptions about the role of the exchange of ideas in cognition and creativity. So, Socrates also pointed out the importance of the dialogical method of generating new knowledge - maieutics. The search for truth was carried out through overcoming contradictions. With the help of specially formulated questions, the interlocutors had the opportunity to identify false ideas and abandon them, as well as advance along the path of searching for the truth. Socrates repeatedly pointed out the importance of the influence of thinkers on each other in the process of communication, when favorable opportunities are created for the exchange of ideas, thoughts, and considerations.

Aristotle also paid attention to the problems of creativity. R. Mayer considers him not only “the father of the scientific approach to explaining thinking and creativity,” but also a representative of the “associationist philosophy” on which many scientific theories of creativity were based [Mauer, 1992]. Giving quite great importance feelings of man, Aristotle emphasized extremely important role art in his life.

In Christian philosophy, the problem of creativity is reflected in the works of such prominent representatives of this historical period, like Augustine the Blessed and Thomas Aquinas. Their works again declared the divine nature of creativity. In the Middle Ages, there was a common belief that talent or special abilities (which were attributed primarily to men) were manifestations of “divine choice.” The bearers of these abilities were still perceived as “conductors” of the divine creative plan.

Augustine describes creativity as the act of the divine person to “call forth being from non-being.” At the same time, he distinguishes the will as a function of the personality, dealing with what does not exist and creating something, in contrast to the mind, which deals with what already exists. Augustine emphasizes not only the “control” of human creative activity by God, but also the influence of religious institutions on it. In his opinion, in the discovery of the creative power of man decisive role Christianity will play.

One of the factors that determined the contribution of medieval philosophers to understanding the meaning of creativity is that. that they were beginning to view it in many ways as a “creation of history,” representing the creative active activity of a large number of people. It is obvious that such activity can only take place in conditions of interaction between its participants.

The next notable stage in the philosophical understanding of the nature of creativity is the Renaissance period (F. Petrarch, G. Boccaccio, B. Telesio, M. Montaigne, etc.). One of the most important features of this period in the development of human civilization is the shift in emphasis from God to man. This, of course, could not help but be reflected in the change in priorities in the field of views on the meaning, sources and process human creativity. During this historical period, human creative activity ceases to be considered only as a manifestation of the divine plan. He “frees himself” from God and begins to create on his own. During the Renaissance, creativity was understood primarily as its art form. Therefore, the originality and unusualness of the author’s creative output began to play a special role, which was a prerequisite for the special attention paid to these characteristics of creativity in modern philosophical and psychological ideas about it.

In the modern period, human freedom began to be considered as one of the fundamental values, denying any forms of pressure from the state, religion, as well as social restrictions (F. Bacon). In the light of these ideas, the idea of ​​creativity and the various aspects of its study is changing. Thus, T. Hobbes was one of the first to point out the enormous importance of “creative imagination.”

Disputes about the content and boundaries of the concept of creativity and human creative abilities during this period led to the emergence of the postulate that the potential of genius and its manifestation depend on the socio-political atmosphere. TO end of the XVIII For centuries, many philosophers have noted that neither genius nor talent can survive in repressive and totalitarian societies, where the free exchange of ideas between people is difficult. The importance of external, especially social, support for creative activity is also noted. A significant impetus in understanding the importance of exchanging the products of human creative activity was given by the appearance of the first scientific journals during this period. This made it possible to increase the organization of the exchange of ideas to more high level and created the preconditions for understanding the benefits of joint creativity.

During the period of the New Age and the Enlightenment, an additional impetus was given to the development of the associationist approach to the study of human creativity already mentioned above. This happened mainly thanks to the efforts of J. Locke and T. Hobbes. Some provisions of the teaching they developed have been continued in the psychology of creativity at the present time.

During the development of German classical philosophy, a relatively harmonious concept of creativity was created by I. Kant and developed by F. Schelling. Kant views creative activity as “the productive faculty of the imagination.” At the same time, he links this idea of ​​creativity with the Protestant idea of ​​it as active work, changing the surrounding reality and connecting the sensory and rational worlds. The relationship between the emotional and intellectual components of creative activity was further studied by psychological researchers [Vygotsky, 1998, 2003; Tikhomirov, 1975,1984].

A certain place in the development of the problems of creativity within the framework of German classical philosophy is occupied by the study of the importance of its unconscious aspects. According to F. Schelling, creative imagination is a synthesis of conscious and unconscious human activity. Genius is considered as a special type of creativity, since it is assumed that genius mainly creates unconsciously, being subject to a special influence from above, a divine impulse. At the same time, it is noted that the creative activity of a genius takes place in the subjective reality of the person himself.

The end of the 19th - beginning of the 20th century is marked by the emergence of several philosophical trends, focusing on Special attention spiritual and irrational sides of life and, in particular, creativity. These approaches developed mainly in opposition to the mechanistic and technocratic tendencies associated with the achievements of the natural sciences. A special place among them is occupied by the philosophy of life and existentialism.

The philosophy of life considers creativity as a phenomenon human life, determined by the very biological essence of man. One of the brightest representatives of this trend, who proposed a detailed concept of this category, is A. Bergson. Creativity, in his opinion, is closely related to irrational intuition, which is divine gift, is not characteristic of every person [Bergson, 2001] and is characterized by integrity, non-violence, and organicity. As one of the main characteristics of creativity, A. Bergson recognized openness to the world as a willingness to interact with it. In the philosophy of life, creativity is considered not only within the framework of bio-natural determinism, but also as the creation of culture and history, which is impossible without the joint efforts of a large number of people.

Within the framework of another direction, which is one of the most popular in this historical period - existentialism - the paramount importance of the personal and spiritual essence of creativity, which is possible in the philosophical, artistic and moral spheres of human life, is emphasized. N.A. left a clear mark on the understanding of its meaning. Berdyaev. The cross-cutting theme of all his quests and hobbies is Homo creatus, a creative person [Berdyaev, 2002]. “For the philosophy of creativity, the main thing is the consciousness that man is not in a complete and stabilized system of being, and only because of this is the creative act of man possible and understandable. Another basic position is that the creative act of man is not only a regrouping and redistribution of the matter of the world and is not only an emanation, an outflow of the primary matter of the world, nor is it only the design of matter in the sense of imposing ideal forms on it. A new, non-existent, not contained in the creative act of a person is introduced. this world, in its composition, breaking through from another plane of the world, not from eternally given ideal forms, but from freedom, not from dark freedom, but from enlightening freedom” [Berdyaev, 1995, p. 247-248]. An emphasis on educational freedom means recognizing the social and humanitarian importance of a creative act that changes not only the person from whom it comes, but also other people.

The orientation of philosophers of the late XIX - early XX centuries towards the search for the meaning of human creativity and recognition of its existential importance means highlighting and including into the framework of philosophical analysis not only its target and effective, but also procedural aspects. This prepared the basis for posing, within the framework of the science of psychology, the question of the mechanisms of creativity and those ways of interaction between a person and the surrounding reality (primarily sociocultural), which determine the creative process and make possible the existence of various forms of exchange of ideas between people.

One of the most important distinctive features modern philosophy is a refusal to focus on the strict canons of science and even greater attention to man. In the sense of increasing attention to a person with his own ideas, thoughts and experiences, the period modern history in the development of philosophy, in many ways, in our opinion, is similar to the Renaissance.

Origins modern understanding the meaning of human creative activity can be found already in the works of M. Heidegger and H.G. Gadamer, in their philosophical hermeneutics. Human freedom in their understanding is manifested in his own interpretation of the text. Both the author and the interpreter of the text act as equal “creators” of a single and integral creative product. The exchange of thoughts and ideas mediated by the text between the author and interpreters of the text ensures its semantic flexibility, and also provides the basis for the emergence of original ideas not only at the stage of its creation, but also at the stage of reading and interpretation.

The idea of ​​“liberation” of a person in creativity found its further development in poststructuralism (J. Deleuze, J. Derrida, J. Kristeva), when the object of study becomes not order, but chaos, which lies beyond the boundaries of all kinds of structures. In this chaos, which ensures the existence and clash of the most diverse opinions and the effective exchange of ideas, boundless prospects for creativity and all kinds of interpretations open up for a person.

To a significant extent, tendencies towards the liberation of man in his work also manifested themselves in the postmodernist direction in philosophy (J. Baudrillard, J. Bataille, J. Deleuze). Within the framework of this philosophical direction, this happened primarily due to the denial of the rigid natural-scientific picture of the world, built on identifying cause-and-effect relationships. Avoiding the canons formal logic and recognition of the equality of almost any opinions and judgments means involving an infinite number of co-authors in a single creative process. The growing popularity of postmodern and poststructuralist trends in the philosophy of creativity at the end of the 20th century occurred in parallel with the growing popularity of Eastern and mystical approaches to understanding its essence, in which elements of the divine determination of creativity and latest developments Western philosophy (Sri Aurobindo, Osho Rajneesh, etc.).

In general, an analysis of the main philosophical approaches to understanding the nature and role of creativity showed that the understanding of its essence and significance in human life changed from one historical era to another. Mystical ideas gave way to realistic ones, focusing on human interaction not with higher powers, but with yourself and others like you. As the philosophical thought Increasingly, attempts were made to solve narrower philosophical and psychological problems associated, for example, with the role of the unconscious in the creative process, with the importance of social assessment of the products of the subject’s creative activity. Philosophical prerequisites were created for the emergence and development of a sociocultural paradigm that allows creativity to be included individual person into a wider context. In this regard, in various historical eras and at various levels, attempts were made to philosophical and psychological analysis of various forms of creative activity. This problem has become more higher value in the context of the development of concepts of post-industrial and information society.