home Cosmetics Theoretical aspects of the formation of creative qualities of a student’s personality through decorative and applied arts. From the history of the issue

Theoretical aspects of the formation of creative qualities of a student’s personality through decorative and applied arts. From the history of the issue

By discipline: "Basics scientific research and creativity."

On the topic of: " "Characteristics of a creative personality."

Completed by: student of group EKZBS-11-1

Golubeva E.S.

Extramural

Introduction

1. Human creative activity.

1.1.The main qualities of a creative personality.

1.2. The structure of creative qualities.

2. The phenomenon of creativity in history.

2.1.Stages of creativity.

2.2. Personality problems in the process of creative activity.

3. Intuition, as an integral part of a creative personality.

Conclusion

What is personality? There are many different answers to this question from philosophers, educators, and psychologists. We adhere to the definition given by the outstanding Soviet philosopher E.V. Ilyenkov. “The child will become a personality - a social unit, a subject, a bearer of social-human activity - there and then when he himself begins to perform this activity..., according to the norms and standards given to him from the outside by the culture in the field of which he awakens to human life. The basis of this activity is creation.

1.Human creative activity.

What determines the results of human creative activity? To answer this difficult question, carefully consider the following diagram: personality - methods - problems - solutions - implementation of solutions. There is no doubt that in order to obtain high results in creative activity, the methods that a person uses when solving problems are important, the level of the problems themselves is important - they must be large enough, the ability to find and formulate solutions and implement them is also important, but the main thing is the personality, or rather creative qualities personality. If a person has creative qualities, then he will master new ones, effective methods problem solving, will choose for research problems that are important for all humanity and will be able to correctly find and formalize the resulting solutions. If a person has not developed creative qualities and does not engage in self-education, then it is useless to expect high performance results from him. Therefore, in creative activity everything depends not so much on the methods, but on the person himself. The main problem of creative activity is the development at school and self-development throughout life of the creative qualities of the individual. What qualities characterize a person as creative?

1.1. Basic qualities of a creative personality.

Many researchers have posed the problem of what qualities a person must have in order to be a creative person. This problem is not new in the history of science. Many researchers and research teams have obtained various solutions this problem. The essence of these decisions was that a creative person must have too many qualities, which made it difficult for them to develop purposefully in children and self-development in adults.

In addition, some scientists adhere to the position that creative qualities are inherited from parents to children and they cannot be formed if they are not genetically determined. If this is so, then only people chosen by nature can become creators, and the school is doomed only to create conditions for the development of the individual, but not to manage the development of creative qualities. Simply put, only gifted children need to be developed; the rest will not work anyway. However, it is not. Scientists have analyzed the biographies of many creative personalities - writers, artists, composers, engineers, doctors, and scientists. As a result, it was found that, regardless of the type of activity, a creative person has the following basic qualities.

· the ability to set a creative (worthy) goal and subordinate one’s activities to achieving it;

· the ability to plan and self-control one’s activities;

· the ability to formulate and solve problems that form the basis of the goal;

· high efficiency;

· the ability to defend one's beliefs.

As we see, all these qualities are acquired, or rather the result of self-development throughout life and have nothing to do with heredity. At the same time, it cannot be denied that every person receives genetic inclinations for one activity or another. To realize these inclinations, creative qualities are necessary. What is the structure of a person’s creative qualities, what skills are included in each of the qualities?

1. 2. The structure of creative qualities.

Ø Creative focus.

Unfortunately, a person lives only once. A very important question arises - how to manage your life so that at the end of it there are no regrets about the years spent aimlessly. Therefore, the choice of a person’s purpose in life becomes very relevant. The goal for which life is worth living must be creative; this does not mean that everyone should become great composers, writers, engineers, artists. But this means that every person during his life must do at least one creative thing that is useful not only for himself, but also for other people. And there are a great many such creative things, seemingly insignificant, but at the same time very interesting and useful: raising your own children, designing furniture, creating new varieties of plants and animal breeds, creating recipes for new dishes, new clothing models and much more. Each person must create in the area of his interests and at the level of his capabilities. Is creating a new recipe worse than writing a literary novel?

The question arises: what goal is creative, worthy of human life? To do this, scientists have proposed the following criteria for assessing its worthiness.

1. Novelty- the goal must be new, not previously achieved by anyone, or the means to achieve the goal must be new.

2. Social utility- the goal must be useful both for the creator himself and for other people and civilization as a whole.

3. Specificity- the structure of the goal must be specific and clear, both for the creator himself and for others.

4. Significance- achieving the goal must bring significant results to society.

5. Heretical- the goal must contain an element of fantasticality and implausibility.

6. Practicality- work on the goal should bring specific practical results.

7. Independence- achieving the goal, at least at the first stage, should not require expensive equipment and the participation of large scientific teams.

What does it mean to form and develop creative purposefulness? First of all, it is necessary to get acquainted with materials that contain information about modern unsolved problems in science, technology and art. In this regard, the ability to abstract popular scientific literature is especially important: write a brief summary of the article, indicate the problems outlined in it, analyze the solutions proposed by the author of the article - evaluate their positive and negative aspects, propose your own solutions in the form of hypotheses.

Ø Planned and self-controlled activities.

Setting a creative goal is, although difficult, still the initial part of the work. Achieving a goal largely depends on the reality of the plan that a person has drawn up.

The form of the plan is not of fundamental importance - it is written on paper, in a computer file or contained in the head, its content is of fundamental importance. The plan for achieving the goal should include a list of the researcher’s work tasks, the implementation of which is necessary to solve the problem.

To achieve any creative goal, you need to learn to plan:

1. Work on the analysis of scientific literature on creative purposes and related areas.

2. Work on the development of new scientific technologies for research and problem solving.

3. Work on self-analysis and self-control of one’s activities.

What study skills are needed to analyze scientific literature?

Ability to combine scientific information:

1. Highlight the main thing.

2. Compare.

3. Change and supplement.

4. Systematize and classify.

These same skills are necessary for successful work on the development of new scientific technologies for research and problem solving. Self-analysis of one’s work presupposes that an individual has the ability to compare the results of one’s work with the activity plan. Thus, learning self-analysis involves learning to plan one’s activities both in completing individual tasks and in working in classes to study a topic.

Self-control is an assessment of the results of your work based on scientific theories and patterns. Self-control presupposes that a person has the ability to compare the results obtained with scientific theories and patterns on the basis of which the research is carried out. What is it for? To search for “blank spots” in theories. If the theory does not explain the research results, then it is necessary to change

Ø The ability to defend your beliefs.

Beliefs are knowledge tested in the process of diverse creative activities. A researcher who has created new knowledge, expressed in the form of facts, patterns, theories, is obliged to verify their correctness in the process of numerous experiments. After all, the criterion of truth is practice. But this is not enough. The researcher must be able to briefly, clearly and specifically present the results of his work, comparing them with the works of other authors, for changes and additions. After all, new truths are not born out of nothing; in science and art there are processes of gradual development of knowledge, and it is important to see this development and determine the place of your ideas in it. To do this, it is necessary to master the methods of dialectical logic - the basis of any cognitive activity, including creative ones.

The development of an individual’s ability to defend their beliefs is carried out by teaching them the ability to analyze and compare scientific information, conduct dialogue and discussion, create a logically correct system of evidence, find various options for evidence, conduct a comparative analysis of work results, present the results of their research in the form of articles and monographs .

Ø Moral qualities of a creative personality.

Morality is a system of internal rules of a person that determine his behavior and attitude towards himself and other people. A person’s system of internal rules is formed under the influence of many factors: family, personal experience, school education, social relations, etc. Depending on what values these internal rules morality can be racial, nationalistic, religious-fanatical, humanistic. There is hardly any need to explain who racists, nationalists, and religious fanatics are. If anyone thinks that they have no morals, they are deeply mistaken. These people have morality and it requires a noble attitude towards their own and the destruction of strangers. By the way, these are purely genetic programs that we inherited from our distant ancestors. They helped me survive primitive people, but at present they do nothing but harm, moreover, they maim people. As you know, genetic programs are corrected through education. However, a society in which racial, nationalist or religious fanatic ideas are officially preached only strengthens these genetic programs. Could there be creative personalities among them? Of course, quite a lot. But there is one thing. The results of their creativity have value for people only if they are aimed at developing life and implying an improvement in the living conditions of all people. Racists, nationalists and religious fanatics usually have few such results, because the vast majority of their works are devoted to the search for some kind of evidence of the superiority of their race, nation or religion and ways to destroy others. And since there is no such superiority and cannot be, then there are corresponding results. Many truly talented people, intoxicated by the poison of racism, nationalism or religious fanaticism will never be able to achieve outstanding results in creativity.

True creativity is always humanistic and the main moral value of humanism is respect for all people, regardless of their race, nationality and religious beliefs. What humanistic moral qualities are inherent in a truly creative person?

Ø Creative orientation of the individual.

Every person has the right to satisfy his biological and cultural needs, but a moral person will never become a slave to them. Creation should prevail over consumption in the activities of the individual. Not every person will be a great writer, composer, doctor, engineer, but everyone is obliged to produce spiritual or material goods in order to be able to consume. The progressive development of society is determined primarily by the predominance of creators over consumers. Unfortunately in last years The media creates the erroneous image of “working to consume,” while the moral image of a person looks like “working to create and consume.” The first image gradually leads a person to a criminal dead end, the second to professional and spiritual perfection.

The creative orientation of the individual is cultivated in the process of developing motivation for creative activity. After all, the ability to create begins with the desire to create, to create something new. The development of motivation for creative activity is possible only if a person sees the significance of the results of his creative activity for himself and for society. If such results exist, then they strengthen a person’s desire to engage in creative activity.

Ø Personal and social usefulness of the activity.

Not every activity is moral, but only that which is useful for the person himself and society - other people. In recent years, the slogan of educating an individualist has prevailed, that he can bring nothing but harm. From one extreme - everything for society, the collective, we have driven ourselves to the other extreme - everything for the individual. The truth, as a rule, is in the middle - activity must bring personal and social benefit, only then is it moral. Useful activity can only be performed by someone who sees its practical necessity and is able to ensure its implementation in such a way as not to harm others, both in the process of its implementation and taking into account its long-term consequences. At the same time, others mean not only people, but all living organisms and technical and cultural objects useful to humans.

Ø Vision of variability in goal achievement.

From philosophy we know that many roads lead to truth. A moral person must not only see a variety of options for achieving a goal, but also be able to use them. The problem with many people is that they use only one way to realize their plans. More often than not, this only path turns out to be wrong, or insurmountable obstacles arise. And then a person “breaks down” spiritually, sometimes this leads to a loss of faith in own strength, abandonment of the chosen career, disappointment in life.

Ø Fulfilling personal obligations.

The hardest thing in life is keeping your own promises. We have already heard so many different promises - political, economic, social. It’s good if a tenth of them is completed. Living not by a lie requires a person to take on only such obligations that he is able to fulfill. But fulfilling the obligations undertaken requires the presence of a very important quality - willpower - the ability to overcome emerging difficulties and achieve assigned tasks, but not at any cost, but while performing personally and socially useful activities. A moral person is determined primarily by what he promises and fulfills what he promises.

Ø Recognition and support of alternative beneficial activities.

We are talking about envy, or rather black envy. There have been so many examples in history when less talented creators destroyed more talented ones. A classic example is the destruction of N.I. Vavilov by the associates of T.D. Lysenko. A moral person understands perfectly well that there will be success in any business only if there is healthy competition between individual creators or creative teams.

The nobility of a person’s soul manifests itself when he recognizes and supports his competitors, knowing full well that many roads lead to the truth and it is unknown which of them is shorter and more effective - the one along which he himself, or his competitors. You and I know how often adults are painfully worried about the successes of their colleagues, how less talented people try to find mistakes and miscalculations in the work of more talented ones, forgetting that the main thing is not criticism of others, but the results of their own work. Unfortunately this is not the best quality human soul Our children are starting to adopt it. And is it then any wonder that sweet, good boys and girls grow up to be angry, envious and intolerant of the successes of others? Nurturing this quality requires teaching children the ability to compare the results of their own and others’ work with the set goal, determine the ratio of time spent and results obtained, as well as the complexity of the chosen path. The criteria for the effectiveness of any activity are the following: high results, relative ease of implementation, minimal expenditure of time, equipment and materials.

Ø Constructiveness of critical analysis.

You must be able to criticize. The ability to criticize constructively is a whole science that needs to be taught to the younger generation. Constructively criticizes someone who has deeply studied the subject of criticism, owns all modern methods knowledge and methods of dialectical logic, who are able to see the positive, new in the criticized idea and suggest ways for its improvement and further development, help correct the mistakes of the author of the idea. Criticism should stimulate creativity and give the author confidence in the correctness of the chosen path. And another important moral aspect - the idea is criticized, and benevolently, and not the author himself or his relationship with his opponent. Well, which of our school graduates fully possesses all of the above skills? And in what school and in what subjects do they teach students constructive criticism?

2.The phenomenon of creativity in history.

The question of the essence and meaning of creativity was posed and interpreted differently in different historical eras. Thus, in ancient philosophy, creativity is associated with the sphere of finite, passing and changeable existence, and not infinite and eternal existence; contemplation of this eternal existence is placed above all activity, including creative activity. In the understanding of artistic creativity, which was not previously distinguished from the general complex of creative activity, later, especially starting with Plato, the doctrine of Eros develops as a unique aspiration of a person to achieve the highest contemplation of the world, the moment of which is creativity. The views on creativity in the Middle Ages of philosophy are associated with a personal understanding of God, who freely creates the world and, by an act of his own will, causes existence from non-existence. In Augustine Aurelius, human creativity appears as the creativity of historical existence, in which finite human beings take part in the implementation of the divine plan for the world. Will and act of will faith, and not reason, connects a person with God, personal action, an individual decision acquires significance as a form of participation in the creation of the world by God. This creates the prerequisites for understanding creativity as a unique and inimitable phenomenon of human existence. The Renaissance era is permeated with the pathos of the boundless creative possibilities of man, in which this phenomenon of human existence is recognized as artistic creativity, the essence of which is seen in creative contemplation. There emerges the cult of genius as the bearer of creativity, interest in the very act of creativity and in the personality of the artist, reflection on the creative process that is characteristic of modern times, and a tendency to view history as a product of purely human creativity. In the Age of Enlightenment, creativity begins to be viewed not only as the highest form of human life, but also as the most important prerequisite for knowledge and transformation of the surrounding reality, as something akin to invention.
In modern times, research attention to the phenomenon of creativity has increased significantly in the field of psychology, for which direct scientific interest is no longer so much the abstract spiritual and personal nature of creativity as the specific psychological components and mechanisms of creative activity of the individual.
In psychology, creative activity is interpreted as a complex personality characteristic, formed on the basis of a relatively high development of general and special abilities and manifested in successful professional activity, in a high level of motivation and corresponding socio-psychological attitudes, as well as in the characteristics of intellectual and personal characteristics. Creative activity is one of the essential properties of a personality, through which the individual, special in the psychological organization of the personality is most fully manifested. In relation to activity, this specialness finds its highest expression in the originality (as opposed to stereotypes) of the solution to a particular research or practical problem. We can distinguish the following components that determine the creative activity of an individual:

Compliance with the task set from the outside (technical, scientific, research, managerial) and the psychological attitudes of the individual. In most cases the task is socially motivated, i.e. be perceived by the subject as socially significant.

The ability of an individual to identify the principle underlying any design and use it in new conditions. A creative personality is characterized by receptivity to new ideas, creative courage, curiosity, observation, the ability to overcome stereotypes, and specialized “transfer” of solution techniques from task to task when solving seemingly completely new problems.

The ability of an individual to determine the so-called “search zone”, on his own initiative to go beyond the initially intended area of research, to search and find problems, to find constructive techniques that rationalize activities.

High intellectual level: developed verbal and non-verbal intelligence, spatial representation and imagination, high level system associations, ability to generalize.

2.1.Stages of creativity.

In the creative process itself, the following successive stages can be distinguished:
1) the “embryonic” stage, at which some creative idea arises, often still very vague;
2) the initial stage at which the concept is concretized, the first search for its certainty, problem setting and definition possible ways her decisions;
3) the stage of the first formulation of the plan, in which the effectiveness of the selected solution methods is assessed, the problem itself is analyzed in many ways, information is collected and analyzed;
4) the stage of main design, when hypotheses are put forward, various assumptions are sorted out, a person consciously engages in solving a creative problem. It is at this stage that moments of “creative insight” often arise, accompanied by corresponding mental states against the backdrop of emotional upsurge;
5) the final stage, when the final design, “crystallization” of the developed ideas occurs, the effectiveness of the achieved result is assessed, the compliance with the goal and the final product is analyzed.
However, this stage structure is very conditional, since creativity acts as a continuous process that is difficult to distinguish, and between the stages one can distinguish separate creative pauses, during which the hidden, so-called subconscious creative process and the creation of new blanks usually continue.

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.

PERSONAL QUALITIES OF A CREATIVE PERSONALITY

Introduction

“A child who has experienced the joy of creativity, even to the smallest extent, becomes different from a child who imitates the acts of others.”

B. Asafiev

In everyday life, we talk about raising children, meaning the influence on them of parents, relatives, teachers and other adults. If these influences turn out to be ineffective, then they begin to look for the culprits: bad comrades, “harmful” movies and television shows, unqualified teachers. They often talk about bad heredity. And all this is quite fair.

A child, when born, has certain inclinations and predispositions. Moreover for a long time many scientists argued that both always have plus signs and it depends only on upbringing whether they develop or not. Science has now given us ample reason to be considerably less optimistic. Quite convincing data have been obtained that, for example, some people are born predisposed to drug addiction, alcoholism, and even the opposite behavior. Another thing is that such a predisposition is not fatal. Whether a person, for example, becomes a drug addict or not depends on how his life turns out, starting from infancy.

This also depends on upbringing, that is, targeted influence on a child, teenager, young man. But to a large extent, what kind of person will become, what inclinations and inclinations will develop and what will not, what personal qualities he will acquire, depends on the numerous circumstances of his life. It depends on what kind of people he will meet on his way and how his relationships with them will develop. It depends on what geographical, natural, social environment it will grow in, how it will interact with it. It depends on how actively the person himself will strive to build his interaction with the outside world and relationships with people. That is, it depends on how his development will proceed - physical, mental, emotional, intellectual, social.

Creativity in man

How does creativity develop in a person?

Outstanding teachers of the 20s and 30s invested a lot of talent, intelligence and energy in the development of pedagogical problems related to the creative development of the individual, primarily the personality of the child and adolescent: A.V. Lunacharsky, P.P. Blonsky, S.T. Shatsky, B.L. Yavorsky, B.V. Asafiev, N.Ya. Bryusova. Based on their experience, enriched by half a century of development of the science of teaching and raising children, the best teachers, led by the “elders” - V.N. Shatskaya, N.L. Grodzenskaya, M.A. Rumer, G.L. Roshal, N.I. Sats continued and continue to theoretically and practically develop the principle of creative development of children and youth.

Creativity gives birth to a living fantasy and a vivid imagination in a child. Creativity, by its nature, is based on the desire to do something that has never been done before, or to do something that existed before you in a new way, in your own way, better. In other words, the creative principle in a person is always a striving forward, for the better, for progress, for perfection and, of course, for beauty in the highest and broadest sense of this concept.

This is the kind of creativity that art cultivates in a person, and in this function it cannot be replaced by anything. In its amazing ability to evoke creative imagination in a person, it undoubtedly occupies first place among all the diverse elements that make up the complex system of human upbringing. And without creative imagination there is no way to move forward in any area of human activity.

You can often hear the following words from parents and even from teachers: “Why is he spending expensive time to write poetry - he doesn’t have any poetic gift! Why does he draw - he won’t make an artist anyway! Why is he trying to compose some kind of music - it’s not music, but some kind of nonsense!..”

What a huge pedagogical misconception in all these words! It is imperative to support any desire for creativity in a child, no matter how naive and imperfect the results of these aspirations may be. Today he writes awkward melodies, unable to accompany them with even the simplest accompaniment; composes poetry in which clumsy rhymes correspond to clumsy rhythms and meter; draws pictures depicting some fantastic creatures without arms and with one leg...

Just don’t try to laugh at these manifestations of children’s creativity, no matter how funny they may seem to you. This would be the biggest pedagogical mistake you can make in this case. After all, behind all these naiveties, awkwardness and clumsiness lie the sincere and therefore truest creative aspirations of the child, the most genuine manifestations of his fragile feelings and not yet formed thoughts.

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

Russian scientists psychologists Medvedeva I.Ya. and Shilova T.L. As part of the “dramatic psycho-elevation” program, working with “difficult” children, they talk about various situations when parents and teachers, without considering the creative principles in the child’s personality, almost caused irreparable harm to the formation of his personality and character.

For example, Alyosha S., who, if he had been born into a family with different attitudes, would have been completely normal, healthy and most likely happy. As it was, his appearance was disfigured by frequent tics, he stuttered badly, and was afraid to open his mouth and raise his eyes. But when he nevertheless raised them, his ugly face was illuminated by some otherworldly light. His mother complained about his stupidity and inability to study, and in those cornflower blue eyes one could read shy inspiration and a lurking, living dream.

It quickly became clear that Alyosha’s daydreaming is the “root of evil.” The authoritarian father and his completely subordinate mother, with tenacity worthy of better use, pushed the boy onto a path alien to him, demanding from him the ability to work with his hands and an interest in the exact sciences. And he was a dreamer. He even answered the question “What do you love most?” in the questionnaire. Laconically answered: “Dream.”

It was very difficult for psychologists to convince his father, who worked at a construction site, and his mother, who grew up in a village, that the dreamy Alyosha, if supported as he is and helped to navigate correctly, could not only fully recover, but also become an outstanding person . Towards the end of the treatment cycle, when the boy’s face stopped twitching, the parents of the children who studied with Alyosha in the same group whispered in surprise: “Wow, what a handsome boy!”

Daydreaming is not a vice, not a harmful quality. And in pre-adolescence, adolescence and adolescence, this is the most important soul-building element.

A conversation about nurturing creativity in a person leads us to a very important and pressing problem in our conditions: the difference between a specialist-creator and a specialist-craftsman. This extremely important problem is closely related to the problems of aesthetic education.

A true specialist-creator differs from an ordinary specialist-craftsman in that he strives to create something beyond what he is supposed to create “according to the instructions.” The craftsman is satisfied with the fact that he creates only what he is supposed to - “from here to here.” He never strives for more and for better and does not want to burden himself with such aspirations. He cannot be accused of poor work - after all, he does everything he is supposed to, and maybe even does it well. But such a generally formal attitude towards one’s work, no matter what area it may be, not only does not move life forward, but even serves as a brake, because in relation to life one cannot stand still: one can only either move forward, or fall behind.

The presence or absence of creativity in a person, a creative attitude towards his work, becomes the dividing line that passes between the specialist-creator and the specialist-craftsman.

This must be emphasized with all clarity, because sometimes one hears a more than strange opinion that there are “creative” professions and “non-creative” professions. The greatest misconception! And this misconception in practice often leads to the fact that a person engaged in supposedly uncreative work considers himself entitled to be uncreative about his work.

There is no such area, no such profession where it would be impossible to show creativity. And when they say that students are graduates secondary school it is necessary to focus on one profession or another, they forget about the main thing: that from the first grade of school it is necessary to instill in students the idea that there are no bad professions, just as there are no uncreative professions, that, working in any profession, each of them can open a new one, at least small world. But if he works in a craft, not creatively, then he won’t create anything worthwhile in the “creative” profession itself.

That's why the most important task aesthetic education in school - the development of creativity in students, no matter where it manifests itself - in mathematics or music, in physics or in sports, in social work or in patronage of first-graders. Creativity plays a huge role in the classroom itself. All good teachers know this. After all, where creative initiative appears, savings in effort and time are always achieved and at the same time the result increases. This is why it is not true for teachers who are reluctant to introduce elements of aesthetics and art into the subjects they teach, citing the fact that their own workload and the workload of their students is already too great. These teachers do not understand what a kind, generous and faithful helper they are giving up.

The concept of personality development

Personality most often defined as a person in the totality of his social, acquired qualities. This means that personal characteristics do not include such human characteristics that are genotypically or physiologically determined and do not in any way depend on life in society. Many definitions of personality emphasize that personal qualities do not include the psychological qualities of a person that characterize his cognitive processes or individual style of activity, with the exception of those that manifest themselves in relationships with people and in society. The concept of “personality” usually includes such properties that are more or less stable and indicate a person’s individuality, determining his actions that are significant for people.

Personality - this is a person taken in a system such as his psychological characteristics, which are socially conditioned, manifest themselves in social connections by nature and relationships are stable, determine the moral actions of a person that are of significant importance for himself and those around him.

The formation of a person’s personality is a consistent change and complication of the system of relationships to the surrounding world, nature, work, other people and to oneself. It happens throughout his life. Children and adolescence are especially important in this regard.

The development of man as an individual is carried out comprehensively and holistically in the unity of his physical and spiritual powers. Psychology and pedagogy claim that human personality is formed and develops in activity and communication. Leading personality traits develop as a result of external influence on the personality and its inner world.

Human development is a process of quantitative and qualitative change, the disappearance of the old and the emergence of the new, the source and driving forces of which are hidden in the contradictory interaction of both natural and social aspects of the personality.

The natural side of a person develops and changes throughout his life. These developments and changes are age-related. The source of social development of the individual is in the interaction between the individual and society.

The formation of personality is influenced by three factors: upbringing, social environment and hereditary inclinations.

Upbringing is considered by pedagogy as a leading factor, since it is specifically organized system influence on a growing person to transfer accumulated social experience.

Social environment is of primary importance in the development of the individual: the level of development of production and the nature of social relations determine the nature of the activities and worldview of people.

Makings of- special anatomical and physiological prerequisites for the ability to different types activities. The science of the laws of heredity - genetics - believes that people have hundreds of different inclinations - from absolute pitch, exceptional visual memory, lightning-fast reactions to rare mathematical and artistic talent.

But the inclinations themselves do not yet ensure abilities and high performance results. Only in the process of upbringing and training, social life and activity, assimilation of knowledge and skills are formed in a person on the basis of inclinations. capabilities. The inclinations can be realized only through the interaction of the organism with the surrounding social and natural environment.

“Whether an individual like Raphael will be able to develop his talent depends entirely on demand, which, in turn, depends on the division of labor and on the conditions for the enlightenment of people generated by it.” (Marx K., Engels F. “German Ideology”, op. 2nd)

Creativity presupposes that the individual has abilities, motives, knowledge and skills, thanks to which a product is created that is distinguished by novelty, originality, and uniqueness. The study of these personality traits has revealed an important role imagination, intuition, unconscious components of mental activity, as well as the individual’s needs for self-actualization, in revealing and expanding their creative capabilities. Creativity as a process was initially considered based on self-reports figures of art and science, where a special role was given to “illumination”, inspiration and similar states that replace the preliminary work of thought.

Prerequisites for genius

Every child has the makings of a genius. We are all members of one community called homo sapiens, and therefore have inherited genes that give us a unique human brain, we are born into certain circumstances that can stimulate or slow down the development process, with each birth of a child a potential genius is born...

As for individual talents, their diversity is so great, they are so independently inherited that, due to genetic recombination, each person is given some set of abilities, be it the most diverse types of auditory and visual sensitivity, auditory and visual memory, combinatorial abilities, linguistic, mathematical, artistic talents.

But what is genius?

If we recognize as geniuses only those who are almost unanimously recognized as such in the world, then the total number of them for the entire existence of our civilization will hardly exceed 400 - 500. Approximately these figures are obtained from the selection of celebrities who are given maximum space in encyclopedias different countries Europe and the USA, if from the number of these celebrities we subtract those who were included in their number because of nobility or other random “merits”. But if the distinction between geniuses and talents remains controversial, then especially great difficulties are encountered in defining the very concept of “genius.”

According to Buffon, genius lies in an extraordinary measure of endurance. Wordsworth defined genius as the act of enriching the intellectual world with some new element. Goethe argued that the initial and final characteristic of genius is the love of truth and the desire for it. According to Schopenhauer, the essence of genius is the ability to see the general in the particular and a ceaselessly moving forward study of facts, a sense of what is truly important. According to Carlyle, genius is, first of all, an extraordinary ability to overcome difficulties. According to Roman i Cajal, this is the ability, during the maturation of an idea, to completely ignore everything that is not related to the problem raised, and the ability to concentrate, reaching the point of trance. According to V. Ostwald, this is independence of thinking, the ability to observe facts and draw correct conclusions from them. According to Lyukka: “If we evaluate productivity objectively, namely as the transformation of something existing into value, as the transformation of the temporary into the eternal, then genius is identical to the highest productivity, and genius is continuously productive, because creativity is its essence, namely the transformation of words into deeds.” .

The term " genius " is used both to denote a person’s ability to be creative and to evaluate the results of his activities, suggesting an innate ability to productive activity in one area or another; genius, unlike talent, is not just the highest degree of talent, but is associated with the creation of qualitatively new creations. The activity of a genius is realized in a certain historical context of life human society, from which a genius draws material for his creativity.

Geniuses often take a long time to find the area in which they are most gifted. Moliere, a very mediocre playwright and dramatic artist, relatively late became the author of brilliant comedies and switched to comic roles. A good example of how a person gets to his true calling through trial and error is Jean-Jacques Rousseau. The most educated, well-read, painfully proud, almost obsessed with justice, he has been writing operas for more than a decade - “The Gallant Muses”, “Narcissus”, “Prisoners of War”, “Letters on French Music”, and also writes poetry, and all this in a good professional manner. level (although, it seems, his operas were never staged either under him or posthumously). He took his failures in the musical field seriously, even tragically, and only when he was middle-aged did he finally write what would make his name immortal and his influence enormous. G.H. Andersen tries many false paths before becoming the greatest storyteller. Balzac writes mediocre dramas before coming to the "Human Comedy". A.N. Tolstoy, who has the gift of an unusually visible, plastic, most vivid description events, dreamed of a deep psychological analysis of the subconscious, of continuing the line of Dostoevsky, evidence of which is “The Lame Master.”

But in all cases, genius is, first of all, an extreme tension of individually characteristic talents, it is the greatest, unceasing work, designed for centuries, despite the lack of recognition, indifference, contempt, poverty, which Rembrandt, Fulton, Beethoven, etc. tasted in abundance.

The decisive role of children and adolescents’ developmental conditions in determining value criteria, attitudes, aspirations and self-mobilization

a) the importance of childhood and adolescence

Bloom quantified the enormous importance of early childhood and childhood developmental conditions for future intelligence. According to his data, optimization of conditions for intellectual development at the age of up to 4 years increases the future intelligence quotient, IQ, by 10 units, optimization at the age of 4 - 9 years by 6 units, at 8 - 12 years by 4 units. Accordingly, neglect intellectual development child, especially under the age of 4 years, sharply worsens future intelligence. It is at this early childhood age that constant communication with an affectionate mother lays the foundations of sociality, contact, and kindness. Well-groomed, well-nourished children, but deprived of affection, tenderness, and attention at this critical age, if they do not fall ill with the “abandoned” syndrome, then they grow up to be ruthless egoists, incapable of social contacts.

Psychoanalysis, biology and genetics now converge in the understanding that the creative abilities of an individual depend on the conditions in which he spent his first years of life. The chances presented or taken away at this time determine his subsequent educational ability.

Biographies of great people contain many direct and indirect references to decisive role selectively perceived childhood and adolescent impressions. Strange, unexpected questions young children, who have not yet been overwhelmed by their always busy parents and teachers, when thought through, show that children are not only talented linguists, but also the most annoying whys, experimenters, oriented towards creativity. But by the time they have normally mastered science and accumulated skills, their curiosity, as a rule, disappears. Partly because their aspirations for knowledge and skill are frustrated not only by the busyness of adults, but also by their own inevitable mediocrity in most of the activities in which they are involved by the Brownian movement of the natural need for self-expression. A child who begins to hum in the absence of musicality, draws in the absence of color talent, clumsily runs races or dances, argues with a much more linguistic teaser, has poor learning skills foreign language, acquires an inferiority complex that will prevent him from discovering his extraordinary mathematical, design, poetic or any other talent.

Meanwhile, natural selection, creating humanity, worked tirelessly to develop the “exploratory instinct”, curiosity, inquisitiveness, impressionability and learning ability precisely in childhood and adolescence, just as it works to develop and preserve the memory of this cognitive period among old people, the former main transmitters of the social succession of the relay from one generation to another (at least until the period of literacy). But either a certain flexibility or perseverance is required in order to retain in oneself those traits with which creative abilities are associated. We can call them the research instinct, curiosity, inquisitiveness, but these phenomena are highly age-related.

Learning ability, as a typical age-related phenomenon, the unusually rapid growth of knowledge in childhood and adolescence is created by the tremendous forces of natural selection. About what amazing abilities he has Small child, is well known.

Unfortunately, the early childhood, childhood and teenage periods in the biographies of geniuses for the most part remain poorly illuminated, simply unknown. But where this period is covered, it almost invariably turns out that this particular age passed in conditions extremely favorable for the development of a given genius. Moreover, we're talking about in much. more about the intellectual than about the economic situation. The social continuity superimposed on undoubted hereditary genius can rarely be traced. But in absolutely all cases where the childhood, adolescence and youth of a genius are known, it turns out that in one way or another he was surrounded by an environment that was optimally conducive to the development of his genius, partly because the genius nevertheless managed to choose, find, create it.

The unusually talented, businesslike, knowledgeable and efficient V. Suvorov, seeing that his son is small and frail, decides that military service no good for him. But with his table stories, he so inspired his son with a love of military affairs that he begins to absorb all the books about the war from his father’s large library. Hannibal, who accidentally spoke to him, is convinced of such deep knowledge of the boy that he persuades his father to give his son the opportunity to become a military man, despite the already missed 13 years of fictitious “internship”. Fortunately, in this case we know for sure that we owe to Hannibal to some extent the appearance of not only A.S. Pushkin, but also another genius - A.V. Suvorov. But how many such circumstances are hidden from us? Since the vast majority of people spend their childhood in conditions that are not optimal for the development of individual talents, humanity thereby loses a huge number of potential geniuses, but who have not developed due to the discrepancy between the social environment and their talents.

But if the optimum has been created, if upbringing, self-education or an inner call led in adolescence or young adulthood not only to the maximum development of individual talent, but also to the value criteria corresponding to it, then a monstrous barrier of impossibility of realization arises.

A number of researchers have found that the firstborn achieves significantly more than subsequent children, partly due to receiving more high education, more attention and “demand” from parents, a greater sense of their responsibility. But the firstborn does not have any genetic advantages over his brothers; it’s all a matter of educational and environmental factors.

It is obvious that there are gigantic reserve capabilities of the “normal” human brain, which need development, volitional stimulation and opportunities to create very talented and even brilliant things. Countless examples show that no matter how often potential geniuses are born (and this frequency, according to the laws of population genetics, should be approximately the same at all times and in all nations, because natural selection for high intelligence has long ceased), their development and implementation will be to a large extent determined by social factors.

b) to the genetics of intelligence

To what extent is the tested intellectual genotype inherited under relatively close, similar developmental conditions?

In his studies, Cavalli-Sforza supposedly accepted that the excess above the average level of intelligence is 50% due to the environment, 50% to heredity; This is probably close to the truth for large populations, but in individual cases one factor may account for up to 100% and another up to 0.

Is it possible to massively recreate the conditions of education that Beethoven, Mozart, Goethe, Bacon, Pushkin had for hundreds of thousands, millions of children? Technically this is possible, but obviously ineffective, because Pushkin in Mozart’s conditions will not become a great poet, and Mozart in Pushkin’s conditions will not become a great composer. Technically, by the age of ten, it is possible to fully identify the spectrum of a teenager’s abilities. But by this time, the stage of formation of passion, the stage of formation of value criteria, the formation of conscience, humanity, without which talents, even outstanding ones, can become exploiters and stranglers of other people's talents, especially larger ones, will be missed. It is precisely by recognizing that the conditions of upbringing and education in childhood and adolescence are of decisive importance for development, that the realization of genius requires “demand”, a social order for genius of this particular type, that, by studying the problem, one can clearly see the role of genetics.

Genius is a disease?

It is considered reliably established that in equalized, generally favorable conditions of development, hereditary differences in giftedness become very important. In this regard, a pattern of increased mental activity in gout patients has been identified.

The answer to the increased incidence of gout among geniuses was found in 1955 in the remarkable work of Oruan, who showed that uric acid is structurally very similar to caffeine and theobromine, known stimulants of mental activity. Oruan also pointed out that uric acid in all pre-primate animals is broken down under the action of uricase to allantoin, but in primates, due to the absence of uricase, it remains in the blood, and it is with this, presumably, that the new stage of evolution proceeding under a sign of increased brain activity.

Since gout and hyperuricemia (increased levels of uric acid) are quite clearly inherited in a variety of metabolic disorders, a working hypothesis has arisen:

1. This metabolic disorder is one of many possible mechanisms for the emergence and transmission to offspring of that portion of increased intelligence that is hereditarily determined.

2. Moreover, gouty brain stimulation is one of those mechanisms that can increase its activity to the level of talent or genius. Then at least some cases of genius would be decipherable by natural science, and genius itself would turn from a subject of speculative reasoning into an object of scientific research.

There is a number of unusually strong evidence that a very significant proportion of the largest figures in history and culture actually suffered from gout. Scientists also drew attention to the fact that conspicuous high-brow and even giant-brow are unusually common among geniuses. Biologists need only recall the portraits of Mendel, Morgan, Crick and Watson.

When considering the factors of increased mental activity, of course, one must clearly understand that the presence of any of them, separately or in pairs, does not at all guarantee high mental activity. It is quite obvious that any of them can be completely suppressed by a variety of negative hereditary, biological, biosocial and social factors.

If the first gout recorded in history was the Jewish king, the wise Aza, a descendant of Solomon, then Heron of Syracuse in the 5th century BC already knew about the connection between joint disease with bladder stones, i.e. about urolithiasis in gout. A mass of urates was discovered in the big toe of the skeleton of an elderly man buried in Upper Egypt. Most ancient find is a uric acid kidney stone in a 7,000-year-old Egyptian mummy

The Roman poet Lucian suffered from gout and died from it, describing the agony of gout in his poems. Stakelei believed that many Greek leaders who participated in the Trojan War suffered from gout, including Priam, Achilles, Oedipus, Protesilaus, Ulysses, Bellerophon, Plestenus, Philoctetes, while Tyranion Grammaticus died of gout.

By this time, attention had already been paid to the unusually high intelligence of many gouty people. These observations were confirmed by medieval authors, publicists and modern doctors. In 1927, G. Ellis gave a clear definition of the characteristics of gouty geniuses, noting their exceptional determination, energy, inexhaustible perseverance and efficiency, perseverance overcoming any obstacles.

Those who suffered from gout were:

Marcus Vipsanius Agrippa (63 - 12 BC). Marcus Agrippa's gout has been reliably established. Moreover, it is known that he suffered three severe gouty attacks and committed suicide at the beginning of the fourth attack, not wanting to endure the incredible torment any further.

Pope Gregory the Great (540 - 604). He was an ascetic, a man of extraordinary strong will, a distinguished administrator and writer. He suffered from severe gout, so widespread that his swollen hands could not handle a pen, and he had to tie the pen to his hand in order to write, or to dictate his vast classical works.

Michelangelo (1475 - 1564). Almost all of his biographers mention his kidney stone disease, and R. Rolland mentions gout along the way. He combined incredible, relentless work ethic with almost limitless versatility.

Christopher Columbus (1451 - 1506). In Spanish literature about Columbus there are frequent references to the fact that he suffered from gout, and in English books they talk vaguely about gout or rheumatism.

Boris Godunov (1551 - 1606). Boris Godunov was broken not by remorse, but by severe gout. Graham mentions the gout of Boris Godunov Grunwald: “In 1598 he gained weight, his hair turned grey, attacks of gout made walking a pain for him.” “It is known that even earlier he had to accompany his sister to the cemetery not on foot, as was customary, but on a sleigh because of gout.”

John Milton (1608 - 1674). . Milton went blind, but he said that blindness tormented him less than gout. Black's work is devoted to Milton's gout, which also mentions that the disease apparently began in 1664 - 1666, that his fingers were gouty and covered with tophi, that Milton led an extremely moderate lifestyle.

Peter I (1672 - 1725). Portraits of Peter I and his gigantic stature are well known, but not everyone understands the significance of his huge, constantly bulging eyes, his fast, overflowing speech, incredible mobility, mental and physical. It was not possible to find direct evidence of Peter I’s gout, but his gout, judging by the presence of kidney stones, 20 years of “rheumatism” and other signs, is extremely likely.

If, after all that has been said, we look at the past, then we can notice a far from constant, but still a clear pattern: during periods of relative peace, uniform, smooth development, gout, of course, also exists, but somehow it is not particularly noticeable, not very noticeable. All destinies are clearly predetermined by social, class, caste frameworks.

But a crisis arises, be it the formation or collapse of an ethnos, revolution, conquest, revival, reformation or counter-reformation, the formation or liberation of a nation, the emergence of new sciences, new art - and gout is in the forefront, with a frequency tens and even hundreds of times higher their frequency among the population.

The legendary, heroic period of Greece - among the first gouty heroes are Priam, Achilles, Ulysses, Bellerophon, Oedipus. The struggle between Carthage and Greece for the Sicilian Greeks is led by the gouty Hiero of Syracuse.

The formation of the Macedonian kingdom and the conquest of the great Persian empire: headed by the likely gouty Philip of Macedon and Alexander the Great, who fell ill with gout very early.

Rome has the best generals, the “emperors” are almost all gouty. The crisis of the Roman Republic and the formation of an empire. Among the 5 - 6 major figures is the forgotten but great Marcus Agrippa. The formation of the Roman Catholic Church - led by the gouty Gregory the Great. The creation of the Frankish empire was led by the gouty Charlemagne.

The crisis of the empire of the Ottoman Turks, named after the founder of the gouty dynasty Osman, whose work was continued by the gouty or its transmitters Orhal Bey, Bayezid I, Mohammed I, Murad II, Mohammed II the Conqueror, Bayezid II, Murad IV. The invasion of the Turks is stopped by the gouty hyperuricemic Janos Hunyadi, the gouty Matthew Corvinus, the gouty Emperor Charles and the gouty King Jan Sobieski.

Renaissance crisis. Among the leaders are the gouty Cosimo and Lorenzo de Medici, Michelangelo. The age of great geographical discoveries is led by the gouty Columbus.

The crisis of humanism, reformation and counter-reformation: among the leaders of the gout are Thomas More, Erasmus of Rotterdam, Martin Luther, the Saxon elector Frederick III the Wise who sheltered him, who renounced the imperial crown, I. Calvin, Charles V, Philip II, the gout of Giza, Henry IV, Henry VII , Henry VIII Tudors, Cardinal Wolsey, Burley, Alexander Farnese.

The crisis of the Thirty Years' War: the top ten gouty figures include Wallenstein, Generalissimo Thorstenson, Condé the Great, Mazarin. The revolution in England is led by gouty Cromwell, the crisis of offensive wars is led by gouty Louis XIV, gouty Colbert, Condé the Great, Turenne, Maurice, Marshal of Saxony, William III of Orange, John Churchill-Marlborough.

The crisis of the Great Northern War, Russia's entry into the ranks of the great powers, the elimination of Sweden from them - the main characters are gouty Peter I, Charles XII, Augustus the Strong.

The crisis of the formation of Prussia: the gouty “Great Elector”, his gouty grandson King Frederick William, gouty great-grandsons Frederick I and Henry of Prussia.

The crisis of the struggle between France and England for dominance in the East Indies and North America. On the English side are the victorious gouty Pitt the Elder and Clive.

The crisis of the American colonies secession from England. Among the 4-6 leading personalities are the gouty Pitt the Elder and B. Franklin.

The great long-term crisis of the formation of independent united nations. It is led in France by the gouty Louis XI, in England by the gouty Tudors and Elizabeth with their gouty ministers Burley and his son, in Russia by the gouty Ivan III, Boris Godunov, Peter I.

The universal monarchy of the Habsburgs collapses on the national idea; in Holland, the idea is embodied by William of Orange, apparently not the gouty ancestor of a dozen gouty geniuses. Among the predecessors of the idea of equality, fraternity and freedom in France are the gout d'Alembert and B. Franklin.

The crisis of the revolutionary and Napoleonic wars. The gout of Napoleon I is very doubtful, but his most outstanding Marshal Berthier is an indisputable gouty, as is his main, most stubborn opponent Pitt the Younger, the organizer of ever new anti-Napoleonic coalitions, sparing no expense either on subsidies to the continental powers or on the creation of an omnipresent, powerful military fleet.

The rise of great colonial England. There is a succession of energetic, extraordinarily talented, knowledgeable, enterprising gouty prime ministers from R. Walpole and both Pitts to Canning, Derby, Palmerston, Disraeli. The crisis of German unification, wars with Denmark, Austria, France. Among the main figures of the gout were Bismarck and Wilhelm I.

The crisis of the emergence of natural science, mathematics, physics and chemistry. Among the major figures of gout are Galileo, F. Bacon, Leibniz, Newton, Harvey, Jacob and Johann Bernoulli, Boyle, Wollaston, Berzelius, Darwin. The era of internal combustion engines is led by gouty Diesel.

Among the greatest philosophers are the gouty Montaigne, Malebranche, Kant, and Schopenhauer. Among greatest artists, sculptors, composers, poets, writers gout Milton, Goethe, Pushkin, Tyutchev, Michelangelo, Rembrandt, Rubens, Renoir, Beethoven, Maupassant, Turgenev, Blok.

One could name two dozen more crises and at least two hundred non-gouty geniuses. But it is impossible to embrace everything, and there is a fatal incompleteness of pathographies. Which biographer was interested in what exactly the figure described was ill with?

But right after the gouty “geniuses” there is a long line of giant-headed (starting with Pericles and not ending with Burns), giant-headed (Marx, Engels, Lenin), and very high-browed “geniuses”. They are followed by a long line of hypomanic-depressive geniuses and a small group of gouty-manic-depressive “geniuses.” The group of talented geniuses with hyperadrenaline Marfan syndrome is still small, but will expand, but it has already included such significant and diverse figures as Abraham Lincoln, G.H. Andersen, K.I. Chukovsky, ichthyologist G. Nikolsky, V. Kuchelbecker.

But the genius of Joan of Arc perhaps points to the powerful stimulating effect of the male sex hormone, which is not bound by target organs (hereditary testicular feminization syndrome).

Of course, the point is not at all that these geniuses, talents, and only they, carry out the tasks of society. Society dominates, but the tasks set by it are disproportionately often carried out by those who both society and internal features given the opportunity to develop and realize their “genius” by solving a super task that was set or arisen before them. And if the lists are full of nobles, it is only because they have usurped and monopolized both the opportunities for developing their talent and the possibilities for its implementation. Countless, however, are those who, having these opportunities, did not use them. But what has been done clearly shows the gigantic reserve capabilities of the mind, which are not used due to the unsatisfactory state of society, its inconsistency with the needs of the era, the inability to set the initial stimulation, to optimize the development and implementation of talent.

It is not difficult to see that in any area, gout is not only the first of the first, but its frequency is tens of times higher than the frequency of gout among the elderly, elderly and old population, even living in conditions of food and alcohol abundance. The extraordinary variety of fields in which gout has occupied a leading place is a magnificent proof of the enormous role that purposeful mobilization and activation of the intellect plays in great achievements.

There are other patterns of hereditary genetic abnormalities and the emergence of brilliant personalities.

Marfan syndrome, a special form of disproportionate gigantism, the result of a systemic defect of connective tissue; is inherited dominantly, that is, along a vertical line, but with very variable manifestations. Historical figures: Abraham Lincoln (1809 - 1865), Hans Christian Andersen (1805 - 1875), Charles de Gaulle (1890 - 1970), K.I. Chukovsky (1882 - 1969).

Morris syndrome, Joan of Arc, androgens. Pseudohermaphroditism should have given rise to severe mental trauma, but the emotional stability of these patients, their love of life, varied activity, energy, physical and mental, are simply amazing. For example, in terms of physical strength, speed, and agility, they are so superior to physiologically normal girls and women that girls and women with Morris syndrome are subject to exclusion from women's sports.

Although the syndrome is rare, it is found in almost 1% of outstanding female athletes, i.e. 600 times more often than would be expected if it did not stimulate exceptional physical and mental development. Prokop names a dozen wonderful sports “amazons” with this syndrome.

Joan of Arc (1412 - 1432) was tall, strongly built, exceptionally strong, but slender and with a thin feminine waist, her face was also very beautiful. Her overall physique had somewhat masculine proportions. She was very fond of physical and military exercises, very willingly wore men's clothing. She never menstruated, which allows us, based on a combination of other features, after five and a half centuries, to confidently diagnose Joan of Arc with testicular feminization - Morris syndrome.

Paradoxically, it is precisely outstanding women who often have a clearly defined masculine characterology. Such are Elizabeth I Tudor, Christiana of Sweden, daughter of Sultan Adolf, Aurora Dudevant (George Sand), German poetess Annette Droste-Gulshoff, the once famous theosophist Blavatsky and many others.

Hypomanic. The disease of manic-depressive psychosis is usually diagnosed clinically at the height of an attack of mania or depression, in the first case by chaotic racing thoughts and meaningless but energetic actions, in the second case by an unusually depressed, hopeless mood. But the symptoms do not always, and far from all patients, reach a clearly pathological, psychotic level; the anomaly can be reduced to periodic sharp rises and sharp declines in mood. Characteristic is the preservation of full consciousness, without any special disturbances in thinking. To a first approximation, we can say that it is not thinking that suffers, but tone.

Brain, justifying the idea of a connection between genius and psychosis or psychopathy, gives a long, albeit incomplete, list of English authors who suffered from cyclothymia, schizophrenia, obsession, psychopathy, alcoholism or drug addiction. These are Beddes, Vlek, Bothwell, Banian, Burns, Byron, Chatterton, Clare, Coleridge, Colpins, Cooper, Crabbe, De Quincey, Dickens, D. Donne, Gray, Johnson, Lamb, Rossetti, Ruskin, Shelley, Smart, Swift, Swinburne, Tennyson, F. Thompson. As proof that English authors are no exception, he names Baudelaire, Dostoevsky, Flaubert, Goethe, Gogol, Hölderlin, Nietzsche, Poe, Rimbaud, Rousseau, Strindberg, Swedenborg and Verlaine.

With regard to psychopaths, syphilitics, alcoholics and drug addicts, we note that talent and genius do not necessarily protect against these diseases. But didn’t alcoholics, drug addicts, and psychopaths become creators not because of their addictions, but in spite of them?

Conclusion

In the formation of personality as a sociobiological phenomenon, society and microsociety come first, which is demonstrated by a sharp fluctuation in the frequency of the appearance of outstanding figures and geniuses.

Apparently, the “normal”, “average” human brain, in the absence of external inhibitors in relation to it and with chronic exposure to any of the four internal dopings, turns out to be potentially capable of unusually high productivity, close to genius. Specifying the factors that inhibit or stimulate development and implementation is primarily the job of sociologists and educators, but studying the biographies of outstanding figures, both those who have realized themselves and those who have not, can be very helpful in this regard.

But it’s probably not so important that a country, a nation, has a huge number of brilliant, outstanding people. For a nation to be prosperous, its citizens must be healthy and rationally developed. The psychological situation in every family, in a kindergarten group, in a high school class develops into a moral, psychologically healthy atmosphere throughout the country. That's why individual approach to every child creative development his personality, nurturing the best of his qualities, carries overriding character for all of us. To what extent we listen to our child, brother, sister today, to what extent we can provide fertile soil for the development of his personal qualities, this is the future we and our children will have to live in.

BIBLIOGRAPHY

1. Kabalevsky “Education of the mind and heart” - M.: “Enlightenment”, 1981.

2. Ed. A. Petrovsky “Psychology. Dictionary" - M.: "Politizdat", 1990.

3. V.P. Efroimson “Preconditions of genius” VINITI (N 1161), 1982.

4. Medvedeva I.Ya., Shishova T.L. “A book for difficult parents.” - M.: Belfry-MG - Roman-newspaper, 1994. 269 p.

5. Asmolov A.G. Psychology of Personality. M., 1990.

6. Bratus B.S. Personality anomalies. M., 1988.

2. Thinking from the ground up

The second characteristic of creative people is that they practice “thinking from the ground up.” The philosophy of this approach means asking yourself: “If I weren’t doing what I’m doing now, and knew what I know now, would I start doing this?”

And if the answer is no, they stop what they are doing and start doing something else. It's amazing how many people persist in doing something they have no inclination to do.

3. Ability to change

Creative people have the value of being open to change. They recognize that in our world, unwillingness or inability to change leads to sad results. And if you prefer to be responsible for your life, you need not only to be prepared for inevitable changes, but also to organize them yourself.

According to one study, 70% of the decisions we make turn out to be wrong in the long run. This means you have to be willing to change your mind and try something else most of the time.

4. Admit when you're wrong.

The fourth creative component is the willingness to admit that you are wrong. A huge amount of people's mental and emotional energy is spent defending themselves from admitting that they have made a bad decision. Truly open-minded creative people must always be flexible and willing to change their minds and admit when they are wrong.

5. Continuous learning

Highly creative people have the freedom to admit that they don't know something. No one can know anything about everything, and it is very likely that almost everyone is wrong about some subjects.

Regardless of what problem you are faced with, someone has probably already dealt with it at some point and this solution is in use today. The easiest and most effective way to deal with the problem is to find a ready-made successful solution and copy it. Learning is all about learning from other people's experiences and putting them into practice.

6. Focus

The activities of creative people are focused on their goals, in achieving which they can be realized. They live productively and knowing exactly what they want; have a great idea of what their goal will look like if it were a reality today. And the more they visualize and imagine their goal as a reality, the more creative they become and the faster they move towards achieving it.

7. Control your Ego

And finally, the seventh characteristic of highly creative people is that their ego is less involved in decision making. They are more concerned with what is right than who is right, and are willing to accept ideas from any source to solve their problems.

Creative thinking generates new ideas

The most important part of being a creative individual is. And the more ideas you generate, the better their quality will be. The more ideas you have, the more likely you are to have the right idea at the right time.

But Thomas Edison said: “Genius is one percent inspiration and 99 percent labor.” The true sign of a creative person is the ability to come up with an idea and then put it into practice. Every time you come up with a new idea, make a plan to implement it, and then execute it, you are developing your creativity. And the more you develop them, the more you will achieve in every area of your life.

1. A worthy goal - new (not yet achieved), significant, socially useful. Fifteen-year-old schoolboy Nurbey Gulia decided to create a high-capacity battery. He worked in this direction for more than a quarter of a century. I came to the conclusion that the required battery is the flywheel; I started making flywheels – on my own, at home. Year after year he improved the flywheel and solved many inventive problems. He persistently walked towards the goal (one stroke: Gulia received AS 1048196 in 1983 - according to an application made back in 1964; 19 years of struggle for recognition of the invention!). In the end, Gulia created super flywheels that surpass all other types of batteries in terms of specific stored power.

2. A set of real work plans for achieving the goal and regular monitoring of the implementation of these plans. The goal remains a vague dream unless a package of plans is developed - for 10 years, for 5 years, for a year. And if there is no control over the implementation of these plans - every day, every month.

Ideally, you need a system (described by D. Granin in the book “This Strange Life”), which was followed by the biologist A.A. Lyubishchev. This is a regular accounting of hours worked, a systematic fight against time loss.

In most cases, plans include acquiring the knowledge necessary to achieve a goal. Often this knowledge turns out to be beyond the scope of the existing specialty - you have to start from scratch. M.K. Čiurlionis, having conceived a synthesis of music and painting, went to elementary art school (and by this time he was a highly qualified professional musician): together with teenagers he learned the basics of painting.

3. High efficiency in implementing planned plans. There must be a solid daily “output” - in hours or units of production. Only auxiliary work - compiling a personal file - requires about three hours a day. Card index V.A. Obrucheva contained 30 pounds (!) of neatly written sheets of notebook format. After J. Verne, I remind you, there was a card index of 20,000 notebooks left.

4. Good problem solving technique. On the way to a goal, it is usually necessary to solve dozens, sometimes hundreds of inventive problems. You need to be able to solve them. Biographers of Auguste Piccard write: “The invention of the bathyscaphe is fundamentally different from many other inventions, often accidental and, in any case, intuitive. Piccard came to his discovery only thanks to a systematic, thoughtful search for a solution”... Of course, in Piccard’s time there was no TRIZ, but the creator of the stratospheric balloon and bathyscaphe knew how to see technical contradictions and had a good - even by modern standards - set of techniques. It is no coincidence that many of the problems solved at one time by Piccard became firmly established in TRIZ tasks - as training exercises.

5. The ability to defend your ideas - “the ability to take a blow.” Forty years passed from the dream of going underwater to the actual launching of the first submersible. Over the years, Auguste Piccard had to experience a lot: lack of funds, mockery of journalists, resistance from specialists. When, finally, it was possible to prepare the bathyscaphe for the “Great Dive” (descent to the maximum depth of the ocean), Piccard was almost 70 years old, he was forced to refuse personal participation in the dive: the bathyscaphe was led by his son Jacques. Piccard, however, did not give up. He began work on a new invention - the mesoscape, an apparatus for exploring medium depths.

6. Effectiveness. If there are the five qualities listed above, there should be partial positive results no longer on the way to the goal. The absence of such results is an alarming symptom. It is necessary to check whether the goal has been chosen correctly and whether there are any serious miscalculations in planning.

The structure of the technology for developing the creative potential of an individual includes the following main components:

1. Preliminary diagnosis of the level of creative development;

2. Motivation (represents one of the leading areas of work);

3. Organization of creative activities. Certain conditions must be created to promote the development of the creative potential of the individual and its realization.

4. Quality control of creative activities. The control process must be given significant attention. When using the methodology, the main attention should be focused on the process of organizing creative activity and creating certain conditions conducive to its effective implementation.

5. Determining whether the results obtained correspond to those planned. Objective and reflective analyzes of the effectiveness of the work performed. Identification of difficulties and problems in re. The process of development of creative potential and the transition from reproductive to productive activity is clearly visible when considering the three types of creativity identified by G.S. Altshuller and I.M. Vertkin. The authors consider the application of a known solution to a known problem to be creativity of the first type (the simplest). Creativity of the second type is a new application of a known solution or a new solution to an old problem, that is, a solution by means that are not accepted, not familiar in this area. With creativity of the third type, a fundamentally new solution is found for a fundamentally new problem. For the development of society, as the authors note, any type of creativity is important. But its first type directly implements progress, and the second and third types solve the problems of the distant future, making the necessary adjustments.

Ecology of life. People: Neuroscience has proven that those with a creative mind have brains that work differently than other types of people.

Neuroscience has proven that those with a creative mind have brains that work differently than other types of people.

Science cannot yet explain exactly how all these processes occur, but creativity is believed to involve several cognitive processes. It is difficult to say that certain behavior is associated specifically with creativity.

However, there are some different traits, behaviors and social influences that are influenced by creativity.

Here are fourteen traits that characterize creative people.

1. They are attentive

Creative people carefully observe everything around them. They also love to watch people. Many creative people often carry a laptop, notepad, or camera with them to capture what they see. In many famous works, it is the details that fascinate us most.

For example, we see many nuances of human behavior in Jane Austen's novels. These small but captivating details breathe life into her works.

2. They're dreamy

When we were kids, most of us were told to stop dreaming. However, psychologists now claim that dreaming and wasting time are not the same thing.

Daydreaming is actually a complex brain process during which connections are made, insights occur, and new ideas are generated. When we dream, we can look at life differently, imagining what it would be like to be someone else or live in a different world. It can improve creativity thought processes and lead us to new ideas.

3. They challenge the status quo

Creative personalities often do not want to accept things as they are. They want to change the world and feel important. They ask questions like “What if?” and “Why not?” This helps them reconsider the possibilities.

Take, for example, the First World War poet Wilfred Owen. He decided to challenge the belief that dying for one's country was a great thing and depicted the horrors of war.

4. They get into a creative flow regularly.

Creative people, when they are engaged at work, slip into “the zone.” Also known as "flow", this state is described in the book by Mihaly Csikszentmihalyi. The author explains how a state of flow is achieved when we are working on something we enjoy, as well as in moments when a situation challenges us. In a state of flow, creative work works out much better.

Creativity does not entail multitasking. Often you just need a distraction to get into the flow.

5. They have trouble finishing a project.

One of the downsides of having a creative mind is that finishing things can be a real challenge. The initial stages of a creative project seem exciting and new, but that excitement can fade over time, as with most romance novels!

They can easily give up on projects when they become more difficult and complex. Creative people may also get distracted by another brilliant idea.

6. They see structures and connections.

What sets creative people apart from others is the ability to make connections. Creativity is often about connecting things that others might view as completely unrelated.

By discovering structures and connections that others miss, creative people can create something new from what has been overlooked and underappreciated. They see opportunities where others don't and use it to create something original.

7. They feed their souls

We cannot continually create new things if we do not take the time to nourish our souls. Julia Cameron described it as "good filling". She says, “We must be mindful enough to consciously replenish our creative resources as we use them.”

Each person has different requirements for this filling. Often this concerns time spent alone. No matter how we spend our time or what we do about it, nourishing the soul is important for continued creative expression.

8. They are open

Openness is a key factor in creativity. Creative people are very curious and love new experiences.

Being open to new emotions, creative individuals are fascinated by new information, sensations and feelings. They are constantly exploring external world and their inner self and remain open to new possibilities throughout their lives.

9. They are real

In a society that values external signs success more than a rich inner life, creative individuals can fail. However, they are moving on a different course. Creative process is part of what makes them who they are.

As a result, creative individuals remain true to their vision of the world around them and follow their dreams, rather than strive for success and popularity.

10. They create in cycles

Creativity has its own natural rhythms that cannot be changed, just like the seasons. In the life of any creative person, rapid changes occur: periods of productivity are replaced by a desire to remain completely calm - and vice versa.

Creative projects begin with an incubation period, and only after a while are they ready to see the light of day. Creative people give in to these cycles instead of being obsessed with constant productivity.

11. They don't believe in themselves

Creative people suffer from the same doubts and self-confidence issues as everyone else. When an artist is struggling to find his place in life and win the affection of his audience, the lack of self-confidence can be felt more acutely. Even highly successful creatives often find it difficult to recognize the brilliance of their own work.

12. They are cheerful

Fortunately, despite the fact that creative people often doubt themselves, they remain cheerful. They should be like this. IN creative work There are many projects that do not follow the rules and often fail. This is where cheerfulness is needed.

Creative people cannot afford to take failure personally. The best way reconsider your point of view on this - admit that this is not a mistake, but a useful experience.

13. They follow their passions

Creative people are rarely motivated by material rewards. They find motivation in intrinsic rewards such as personal satisfaction, drive, and passion.

Artists create because something inside them demands it, and not out of a thirst for fame or wealth or a desire to please someone. Understanding what it is intrinsic motivation leads to success and can increase overall creativity.

14. They see life as an opportunity to express themselves.

Creativity is part of our self-expression. Everything we do comes from our own need for self-expression. Thus, our whole life can become creative project .

While some people may be more creative than others, I think that creativity is a quality we all have. If you look at your own life, you will see that it is full of creativity. When we cook a meal, redecorate a room, choose equipment, or plant a garden, we are creating. The things we choose say a lot about us and are part of how we build our own lives. published

Diagnostics and diseases. Medicines from A to Z

Theoretical aspects of the formation of creative qualities of a student’s personality through decorative and applied arts. From the history of the issue

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

Creativity in man

How does creativity develop in a person?

Daydreaming is not a vice, not a harmful quality. And in pre-adolescence, adolescence and adolescence, this is the most important soul-building element.

A conversation about nurturing creativity in a person leads us to a very important and pressing problem in our conditions: the difference between a specialist-creator and a specialist-craftsman. This extremely important problem is closely related to the problems of aesthetic education.

The presence or absence of creativity in a person, a creative attitude towards his work, becomes the dividing line that passes between the specialist-creator and the specialist-craftsman.

The concept of personality development

Prerequisites for genius

Conclusion

BIBLIOGRAPHY

Similar documents

2. Thinking from the ground up

3. Ability to change

4. Admit when you're wrong.

5. Continuous learning

6. Focus

7. Control your Ego

Creative thinking generates new ideas

Here are fourteen traits that characterize creative people.