We call creative activity such human activity that creates something new, no matter whether this thing created by creative activity is some kind of thing outside world or a certain structure of the mind or feeling, living and revealed only in the person himself. If we look at a person’s behavior, at all his activities, we can easily see that in this activity two main types of actions can be distinguished. One type of activity can be called reproductive, or reproductive; it is closely connected with our memory; its essence lies in the fact that a person reproduces or repeats previously created and developed methods of behavior or resurrects traces of previous impressions.

It is easy to understand how enormously important such preservation of his previous experience is for a person’s entire life, how much it facilitates his adaptation to the world around him, creating and developing permanent habits that are repeated in the same conditions.

The organic basis of such reproducing activity or memory is the plasticity of our nervous substance. Plasticity is the property of a substance, which consists in its ability to change and retain traces of this change. Our brain and our nerves, which have enormous plasticity, easily change their subtle structure under the influence of certain influences and retain a trace of these changes if these excitations were strong enough or repeated often enough. In our brain, strong or frequently repeated stimulation produces a similar blaze of new paths. Thus, the brain turns out to be an organ that preserves our previous experience and facilitates the reproduction of this experience. However, if the activity of the brain were limited only to the preservation of previous experience, man would be a creature that could adapt primarily to familiar, stable conditions environment. Any new and unexpected changes in the environment that were not encountered in a person’s previous experience, in this case, could not cause a proper adaptive reaction in a person.

Along with this function of preserving previous experience, the brain has another function, no less important. In addition to reproducing activity, it is easy to notice another type of activity in human behavior, namely combining or creative activity. Any human activity, the result of which is not the reproduction of impressions or actions that were in his experience, but the creation of new images or actions, will belong to this second type of creative or combining behavior. The brain is not only an organ that preserves and reproduces our previous experience, it is also an organ that combines, creatively processes and creates new positions and new behavior from the elements of this previous experience. If human activity were limited to just reproducing the old, then man would be a creature turned only to the past, and would be able to adapt to the future only insofar as it reproduces this past. It is the creative activity of a person that makes him a being turned to the future, creating it and modifying his present.

This creative activity, based on the combining ability of our brain, psychology calls imagination or fantasy. Usually what is meant by imagination or fantasy is not exactly what is meant by these words in science. In everyday life, imagination or fantasy is called everything that is unreal, that does not correspond to reality, and that, thus, cannot have any practical serious significance. In fact, imagination, as the basis of all creative activity, is equally manifested in all aspects of cultural life, making artistic, scientific and technical creativity possible. In this sense, everything that surrounds us and what is made by the hand of man, the entire world of culture, in contrast to the world of nature, is all a product of human imagination and creativity based on this imagination.

Our everyday idea of ​​creativity also does not quite correspond to the scientific understanding of this word. In the usual view, creativity is the lot of a few chosen people, geniuses, talents who created great artistic works, made great scientific discoveries or invented some improvements in the field of technology. We readily recognize and easily recognize creativity in the activities of Tolstoy, Edison and Darwin, but it usually seems to us that in the life of an ordinary person this creativity does not exist at all. However, as already said, such a view is incorrect. According to one of the Russian scientists, just as electricity acts and manifests itself not only where there is a majestic thunderstorm and dazzling lightning, but also in the light bulb of a flashlight, so creativity actually exists not only where it creates great historical works, but also everywhere where a person imagines, combines, changes and creates something new, no matter how small this new thing may seem in comparison with the creations of geniuses.

If we take into account the presence of collective creativity, which unites all these often insignificant grains of individual creativity, it becomes clear what a huge part of everything created by humanity belongs to the nameless collective creative work of unknown inventors. The vast majority of inventions were made by someone unknown. Scientific understanding of this issue thus forces us to view creativity as the rule rather than the exception. Of course, the highest expressions of creativity are still accessible only to a select few geniuses of mankind, but in the everyday life around us, creativity is a necessary condition of existence, and everything that goes beyond the routine and that contains even an iota of the new owes its origin to the creative process of man.

If we understand creativity in this way, then it is easy to notice that creative processes are revealed in all their strength already in very early childhood. One of the very important questions of child psychology and pedagogy is the question of creativity in children, the development of this creativity and the meaning creative work For general development and child maturation. Already at a very early age we find creative processes in children, which are best expressed in children's games. All these children playing represent examples of the most authentic, most genuine creativity. Of course, in their games they reproduce a lot of what they saw. Everyone knows what a huge role imitation plays in children's games. The games of a child very often serve only as an echo of what he saw and heard from adults, and yet these elements of the child’s previous experience are never reproduced in the game in exactly the same way as they were presented in reality. A child’s play is not a simple recollection of experiences, but a creative processing of experienced impressions, combining them and building from them a new reality that meets the needs and desires of the child himself. In the same way, children’s desire to write is the same activity of imagination as play.

This ability to create a structure from elements, to combine the old into new combinations is the basis of creativity. With complete justice, many authors point out that the roots of such creative combinations can be seen in the games of animals.

The play of an animal is also very often a product of motor imagination.

However, these beginnings of creative imagination in animals could not receive any lasting and strong development under the conditions of their life, and only man developed this form of activity to its true height.

Chapter 4 Imagination (fantasy) as a creative process

4.1. Imagination and creativity

As S. L. Rubinstein noted, imagination plays an essential role in every creative process, but its importance is especially great in artistic creativity. Every work of art expresses its content in a concrete figurative form. In accordance with the traditions of socialist realism, S. L. Rubinstein believed that “the special power of the artistic imagination lies in creating a new situation not by violating, but subject to the preservation of the basic requirements of life reality” (1999, p. 301). However, artistic imagination also takes place in abstract painting, the main criterion of which is precisely the violation of reality. But such painting, according to S. L. Rubinstein, requires less power of imagination: “The idea that the more bizarre and outlandish the work is, the greater the power of imagination it testifies to is fundamentally erroneous. In order to create new samples and paint a broad picture on a large canvas, maximally observing the conditions of objective reality, special originality, plasticity and creative independence of the imagination are needed. The more realistic a work of art, the more strictly it adheres to the reality of life, the more powerful the imagination should be.

zhenie” (p. 301).

This does not mean, writes S. L. Rubinstein, that adherence to reality is associated with its photographic copying. The task of a work of art is to show others what the artist sees (and he sees differently than ordinary people). Even in a portrait, the artist does not reproduce, but transforms what he perceives, as a result of which he gives a more accurate, deeper description of a person.

Imagination and creativity are closely related. The connection between them, however, is not such that one can start from imagination as a self-sufficient function and derive creativity from it as a product of its functioning. The leading one is the inverse relationship; imagination is formed in the process of creative activity. Specialization of various types of imagination is not so much a prerequisite as a result of the development of various types of creative activity. Therefore, there are as many specific types of imagination as there are specific, unique types of human activity - constructive, technical, scientific, artistic, pictorial, musical, etc. All these types of imagination, formed and manifested in various types of creative activity, constitute a type of higher level - creative imagination.

Rubinstein S. L., 1999, p. 300.

The painter Martini always saw in front of him the pictures he was painting, so one day, when someone stood between him and the place where the image appeared to him, he asked this person to step aside, because it was impossible for him to continue

E. P. Ilyin. “Psychology of creativity, creativity, giftedness”

copying, while the original, which existed only in his imagination, was closed.

Lombroso Ch., 2006, p. 32.

For creative people, the imagined images can reach unprecedented brightness... Levitan painted most of his summer landscapes in winter, recreating them visually from separate sketches.

Another landscape master, Nyssa, says: “I like to work from memory, without resorting to sketches and drawings from life. I try to “absorb” the landscape into myself, so that later, sometimes for a long time later, in silence and solitude, somewhere on Senezh or in a Moscow workshop, to bring it to life with a brush... My piece “In the Far East” was spotted from the window of a fast-moving train. The stubble of the forest on the ridge of the hill, an airfield with airplanes quickly flashed by. I didn’t have time to sketch anything, nor did I make a sketch. The rest is in the imagination and vision from memory.”

And when the artist realized that his quality of recreating images of the surrounding reality in absentia was not sufficiently developed, he tried to correct the situation to the best of his ability. Alexey Tolstoy, for example, said: “I began to learn to see - to hallucinate. Subsequently I developed

V this ability became so vivid that often, when remembering, I confused what was and what was imagined.”

Moreover, the composer does not necessarily have to create auditory images, while the artist does not necessarily have to create visual ones. This is what the 19th-century playwright Legouwe wrote to his partner Scribe: “When I write a scene, I hear, and you see. With every sentence I write, the character's voice rings in my ears. Your characters walk before your eyes. “I am the listener, you are the viewer.” “Exactly,” Scribe replied. – Do you know where I am mentally when I write a play? In the middle of the ground."

Rimsky-Korsakov, composing music, mentally saw pictures of nature

V full richness of colors and with all the finest shades colors. That is why his music is so picturesque. The visual images that arose in him were as vivid as the auditory ones.

Saparina E.V., 1967, p. 77–78.

F.I. Chaliapin said that nothing can save a singer who has no imagination from creative impotence - neither a good voice, nor stage practice, nor a spectacular figure. Imagination gives the role its very life and content.

Imagination is necessary not only in artistic creativity, but also in science, for example, in such a seemingly strictly limited science as mathematics. No wonder the German mathematician D. Hilbert said about one unlucky student: “He became a poet. He had too little imagination for mathematics.”

T. Ribot (1901) even argued that if we compare the imagination expended in the field of artistic creativity and in technical and mechanical inventions, then in the second case it turns out to be greater. J. Priestley (1733–1804), the 18th-century English chemist who discovered oxygen, argued that great discoveries can only be made by scientists who give full play to their imagination. Participating along with thinking in the process of scientific creativity, imagination performs a specific function: it transforms the figurative, visual content of the problem and thereby contributes to its resolution.

E. P. Ilyin. “Psychology of creativity, creativity, giftedness”

People with above average intelligence have little or no specific imagination, unlike people with average intelligence.

S. L. Rubinstein wrote that “there is a piece of fantasy in every act of artistic creativity and in every genuine feeling; there is a piece of fantasy in every abstract thought that rises above the immediately given; there is a piece of fantasy in every action that at least to some extent transforms the world; there is a piece of fantasy in every person who, by thinking, feeling and acting, brings into life at least a grain of something new, his own” (1999, p. 301).

Human thought without imagination is fruitless, just as imagination is fruitless without reality.

K. Paustovsky

In many works, fantasy is considered as the natural basis of any creative activity, it is called the “royal road to the subconscious,” which works on the same principle (Getzels, Jackson, 1967; Jones, 1972; Lytton, 1971; Razik, 1972; Sinnot, 1959) .

Ermolaeva-Tomina L. B., 1977, p. 170.

But if imagination is inherent in every person, can it be considered as an ability that a priori indicates differences between people in the level of manifestation of this function? Obviously, it is not only possible, but also necessary. Thus, some people have the ability to imagine a complex whole in their imagination, while others do not or do it with great difficulty. For some, the images of the imagination are very vivid, detailed, as if a person is seeing a real object, for others, the emerging image is very vague. K. Leonhard (2000), for example, notes that the demonstrative personality type “under certain circumstances can manifest itself excellently in artistic creativity, since it has a rich imagination” (p. 17).

4.2. The Essence of Imagination

Back at the beginning of the 20th century. Perky (1910) conducted an experiment in which subjects evoked images by pronouncing certain words. It turned out that some images of things were easily recognizable, definite, appearing in a certain spatial context, in certain circumstances, and were associated with specific person. Other images of things that arose in the subjects were not recognizable as any specific object. The author attributed the first images to the “imagination of memory”, and the second to the “imagination of imagination”. From then to the present day, in one case, the actualization of ideas (memory images, i.e., ideas) is taken as imagination; in the other, the creation of something new from them. In S.I. Ozhegov’s “Dictionary...” (1985), imagination is interpreted in both ways - both as the ability to mentally imagine something, and as a conjecture, a fruit of fantasy. However, in scientific definitions the emphasis shifts to a different plane; Even L. S. Vygotsky (1950) wrote that the imagination “builds some new series from previously accumulated impressions. In other words, introducing something new into the very flow of our impressions and changing these impressions so that as a result of this activity some new, previously non-existent image arises. the very basis of that activity which we call imagination” (p. 328). The same understanding of imagination is given in modern dictionaries: “Imagination (fantasy) is a mental process consisting in creating new images(representations) by processing the material of perception and ideas obtained in previous experience” (Psychological Dictionary, 1983, p. 54); “Imagination is the ability to create new sensory or mental images in

E. P. Ilyin. “Psychology of creativity, creativity, giftedness”

human consciousness based on the transformation of impressions received from reality” (Philosophical Dictionary, 1980, p. 57); “Imagination is a mental cognitive process consisting in the transformation of ideas that reflect real reality, and the creation of new ideas on this basis (“Man.”, 2007, p. 97), etc.

However, a dual understanding of imagination still exists. Therefore, to emphasize that we're talking about about “true” imagination, many psychologists distinguish creative imagination as opposed to reproductive imagination.

No imagination - no art. Fantasy weaves a creative pattern of fiction out of the flow of actual experiences, observations, and facts.

V. Shishkov, writer

The starting point of all creativity is the ease of forming unexpected associations; This, by the way, is where creative imagination manifests itself.

Matejko A., 1970, p. 9.

Piaget (Piaget, 1945) believed that a child’s imagination is an internalized imitation of the actions of another, and E. Jacobson (1932) and Hull (1933) that imagination is a “delayed imitation” (ideomotor act). Jacobson wrote that when we imagine any movement, functional currents similar to the real movement arise in the muscles that were “occupied” in this movement.

Miller (1960) and Berlyne (1965) understand imagination as internal processes whose content and structure resemble the content and structure of sensory configurations. They use the term "imagination" to define each system of internal processes that represents what a given person knows or judges about a given fragment of external reality, perceived, recalled, or constructed. With this approach, the specificity of imagination disappears altogether.

E.V. Ilyenkov (1984) writes that the essence of imagination lies in the ability to “grasp” the whole before the part, in the ability to build a holistic image based on a separate hint. Distinctive feature imagination is a kind of “departure from reality”, when a new image is built on the basis of a separate sign of reality, and not simply constructed and reconstructed existing ideas, which is typical for the functioning of internal plan actions (Rubinstein S.L., 1946).

Only a person can have imagination in a very specific sense of the word, believed S. L. Rubinstein.

Only those who give full play to their imagination and look for connections with the most distant concepts are inventors. Even when these comparisons are crude and chimerical, they can provide a happy occasion for great and important discoveries. A prudent, slow and cowardly mind would never have thought of such discoveries.

J. Priestley, English scientist

Functions of the imagination. S. Freud (1912) wrote that the effect of creative behavior

- this is the elimination of oppressive emotions that arise in the conflict until a tolerable level is reached. Neo-Freudians also believe that the main function of the imagination is to protect the personality, protect the Self, compensate for negative experiences, which, however, are generated not by unconscious processes, but by preconscious, recording social conflicts personality (Karin Horney).

E. P. Ilyin. “Psychology of creativity, creativity, giftedness”

This concept has been criticized for exaggerating the role of biological tendencies in the development of the human psyche. At the same time, it is not denied that affective imagination can act as a defense mechanism for the individual. At the same time, there are two possible ways to achieve this: expressing one’s experiences in creative works and through building an image of the ideal Self, an ideal situation that compensates for real failure.

From a general psychological point of view, it is believed that with the help of imagination a) an image of the means and the final result of an activity is built; this creates the opportunity to present the result of work before it begins; b) a program of behavior in an uncertain problem situation is created; c) images are produced that replace activity; d) images are created that correspond to the description of the object (for example, in literary work); e) the purpose of a number of objects is modified, which is typical for small children: the combination of a table and a chair placed on it is a tank, a box is a house for a doll, etc.

Creating new images of reality is just one of the functions of the imagination; by the way, it is not as obvious and unambiguous as it might seem at first glance. In any case, “breeding chimeras” is far from the only and not even the most illustrative example works of imagination. Another important function of imagination, according to E.V. Ilyenkov, is manifested primarily in the ability to look at the world (including oneself, and first of all oneself) “through the eyes of another person,” more broadly, of the entire human race, which gives us the opportunity to see the world is truly integral. This is what the French enlightener D. Diderot had in mind, who once called the imagination the “inner eye” (I remember F. M. Dostoevsky and his “eye of the soul”). Kant, Fichte

And Hegel in his works, in fact, gave a meaningful justification for this simple and precise metaphor.

It is thanks to the imagination that the personality of each of us in childhood experiences a kind of non-pathological “split” for the first time. Actually, this leads to the birth of personality in the strict sense of the word. An “internal position” (Kravtsova) is formed within us; the image of the Other “inhabits” us. It is important that this image is of a generalized nature, not coinciding with the images specific people, involved in the circle of direct communication with us. It is not reduced to a “virtual” set of empirical points of view of different people,

and therefore, when solving any problem, performing any action, we do not have to conditionally substitute ourselves in the place of each of them (E.V. Ilyenkov). And in general, the question is: “What will Princess Marya Alekseevna say?” not asked on behalf of an individual. When solving a problem alone, thanks to our imagination, we do not feel lonely, but when we come to a solution, we feel confident in its correctness even before checking (analyzing) what happened. For here we receive a “hint” from the hands of the “generalized Other” (J. G. Mead’s term), embodying not only the experience, but also the creative potential of the human race as a whole. Subjectively, the moment of receiving such a “hint” is experienced as an intuitive insight, “illumination from above.”

This “generalized Other” immediately or over time begins to differentially perform the functions of an internal Partner (assistance), Master and Controller - “king in the head” (arbitrariness), Inspirer (emotional support), Interlocutor (inner speech), Like-minded person (reflection), Supreme Judges (conscience), Co-author

E. P. Ilyin. “Psychology of creativity, creativity, giftedness”

(creativity) and other important functions. But most importantly: it allows us to rediscover “extraordinary worlds” not only in everyday reality, but also in ourselves. By the power of imagination, with the assistance of the “generalized Other,” we transform our everyday mental life, the seemingly already inhabited territory of our own Self, into “terra incognita” - an undeveloped land that has yet to be developed, into something unusual and even miraculous, taking the path of self-transformation. In the “creation of new forms of behavior”, their mastery and development, L. S. Vygotsky saw psychological essence creativity. Thus, the “generalized Other” becomes an accomplice (mediator) of our personal growth.

We see an ontogenetic precedent for such a “split self” in story game. Let's look at a textbook example.

The child rides on a stick like a horse. Commenting on this case, the authors of the textbooks claim: the child symbolically transferred the properties of the horse onto the stick - this is the work of the imagination. However, in my opinion, this “work” is not limited to the operation of sign-symbolic substitution. The creative task for a child is not to “see” a non-existent horse in a real stick. A wand is just a convenient tool for solving another, broader problem that requires the efforts of creative imagination. When riding it, the child must not just imitate riding, but get used to the image of another person - the rider. And it is in this capacity that the wand truly becomes “magic”. With its “wave” a new, unusual (not just conventional) reality is born.

A game situation is never reduced to the interaction of a subject with an object. In it, two characters, two subjects merge with each other, although one of them is virtual. Not just depicting and being portrayed. More precisely: the player and his hero are both the product and alterego of the player. The “hero” of the game has not fictitious, but very real power. With his participation (mediation), a grandiose transformation of the child’s picture of the world takes place, primarily based on a radical change in the image of oneself and one’s capabilities. Along the way, imagination also acts as the ability to concentrate the virtual power of another (others) in one single action, in solving one single problem. Therefore, the child with developed imagination will easily overcome egocentrism, a diffuse lack of differentiation of worldview, will be able to get involved in a learning situation, seeing “from the outside” what should be done and how, he will never get bogged down in his own fears when mastering new actions, etc. After all, all of humanity will be his co-author and adviser , even if he doesn’t know about it (which will strengthen the child’s much-needed sense of “basic trust in the world,” in E. Erikson’s terminology).

Kudryavtsev V.T., 2007, p. 155–156.

Alexander Fadeev on the role of imagination in a writer’s work: “A fact in most cases is only a point of application of force, which we call fantasy.” “You,” he addressed the aspiring writer, “overestimate the importance of a writer’s life (factual) knowledge of

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WITHpossession

Introduction………………………………………………………………………………...…2

1. Imagination……………………………………………………………..4

1.1 The nature of imagination……………………………………………………...4

1.2 Types of imagination………………………………………………………...5

1.3 Functions of imagination and its development…………………………………...9

1.4 Imagination and creativity…………………………………………….10

2. Creativity……………............................................... .....................................12

2.1 The nature of creativity……………………………………………………….12

2.2 Creative abilities (creativity)……………………………..12

2.3 The relationship between creativity and intelligence………………….14

2.4 The essence of creativity……………………………………………………………..15

2.5 Creativity and success…………………………………16

2.6 Development of creative abilities……………………………………...17

Conclusion………………………………………………………………………………….20

Literature……………………………………………………………………………….22

INconducting

Currently, the general situation of instability in society has a variety of influences on both society and the individual. Blurring occurs value orientations, norms of behavior, the processes of socialization and adaptation themselves. Under these conditions, the demand for a harmoniously developed, socially active person, capable of making decisions independently and being personally responsible for their implementation, has increased.

The role of imagination in cognition and transformation of the surrounding world is great, since the ability to imagine something that has not yet happened and translate it into reality is the key to progressive movement forward. In this aspect the most important condition and a prerequisite for more complete development of personality is the creation of conditions for the disclosure of human abilities. Realization of individual abilities, formation of an image of the future, planning of activities is one of the most important and little-studied problems of psychology. The study of imagination will allow practitioners to solve issues of planning, creative change in the environment and the individual in it, and positive interaction between man and society.

Within psychological research This topic was covered in the works of famous domestic psychologists such as Vygotsky L.S., Basin E.Ya., Brushlinsky A.V., Dudetsky A.Ya., Ponomarev Ya.A., Rubinshtein S.L., Yakobson P.M. , and others.

Despite their great importance, the problems of creativity and creative abilities have not yet been sufficiently developed. However, research is being conducted in this direction by both domestic and foreign psychologists.

Creativity is studied from the perspective of ability (Epiphany).

Creativity is considered as a characteristic of personality, the question is raised about creative personality. This line includes, in particular, approaches in terms of self-actualization, which postulate initial creative potential (Maslow, 1999), or equally classic works F. Barron, who relied on the concept of “a mindset of originality” that underlies creativity (Barron, 1968).

Creativity is considered as an activity in the context of life, in the context social relations. Here attention is paid to the social environment (Csikszentmihalyi, 1999), social processes (Shabelnikov, 2003), motivation (Maddi, 1973), intellectual activity (Bogoyavlenskaya, 2002), life strategy (Altshuller, Vertkin, 1994); creative career (Crozier, 2000), creative lifestyle (Poluektova, 1998).

Any creative process is associated with imagination, and creativity can be called the quintessence of imagination and developed creative abilities. The ability to find non-standard solutions in today's life is valued no less, and even more, than the theoretical knowledge of a certified specialist.

The purpose of this work is to study mental processes: imagination and creativity. The work will provide definitions of the concepts of imagination and creativity, as well as trace and establish connections between these processes.

Objectives: to study the influence of the role of imagination and creativity on the development of cognitive processes.

1. INimage

1.1 The nature of imagination

In cognitive processes, along with perception, memory, and thinking, imagination plays an important role in human activity. In the process of reflecting the surrounding world, a person, along with the perception of what acts on him in this moment, or a visual representation of what influenced him before, we create new images.

Imagination is the mental process of creating something new in the form of an image, idea or idea.

The process of imagination is peculiar only to man and is a necessary condition for his work activity.

Imagination is always directed towards the practical activities of man. Before a person does anything, he imagines what needs to be done and how he will do it. He already creates in advance the image of a material thing that will be manufactured in the subsequent practical activities of man. This ability of a person to imagine in advance the final result of his work, as well as the process of creating a material thing, sharply distinguishes human activity from the “activity” of animals, sometimes very skillful.

The physiological basis of imagination is the formation of new combinations from those temporary connections that have already been formed in past experience. At the same time, simple updating of existing temporary connections does not yet lead to the creation of a new one. The creation of a new one presupposes a combination that is formed from temporary connections that have not previously entered into combination with each other. Wherein important has a second signaling system, the word. The process of imagination is a joint work of both signaling systems. As a rule, the word serves as a source of the appearance of images of the imagination, controls the path of their formation, and is a means of retaining, consolidating, and changing them.

Imagination is always a certain departure from reality. But in any case, the source of imagination is objective reality.

In psychology, a distinction is made between voluntary and involuntary imagination. The first manifests itself, for example, during the purposeful solution of scientific, technical and artistic problems in the presence of a conscious and reflected search dominant, the second - in dreams, so-called altered states of consciousness, etc.

A dream is a special form of imagination. It is addressed to the sphere of a more or less distant future and does not imply immediate achievement real result, as well as its complete coincidence with the desired image.

At the same time, a dream can become a strong motivating factor in creative search.

1.2 Types of imagination

There are several types of imagination, among which the main ones are passive and active.

Passive, in turn, is divided into voluntary (daydreaming, daydreaming) and involuntary (hypnotic state, dreaming, fantasy).

Active imagination includes artistic, creative, critical, recreative and anticipatory. Close to these types of imagination is empathy - the ability to understand another person, to be imbued with his thoughts and feelings, to rejoice, to empathize.

Under conditions of deprivation they intensify different types imagination, therefore, apparently, it is necessary to give their characteristics.

Active imagination is always aimed at solving a creative or personal problem. A person operates with fragments, units of specific information in a certain area, their movement in various combinations relative to each other. Stimulation of this process creates objective opportunities for the emergence of original new connections between the conditions recorded in the memory of a person and society.

In an active imagination there is little daydreaming and “groundless” fantasy. Active imagination is directed to the future and operates with time as a well-defined category (that is, a person does not lose his sense of reality, does not place himself outside of temporary connections and circumstances). Active imagination is directed more outward, a person is mainly occupied with the environment, society, activities and less with internal subjective problems. Active imagination is stimulated by a task and directed by it, it is determined by volitional efforts and is amenable to volitional control.

Recreating imagination is one of the types of active imagination, in which new images and ideas are constructed in people in accordance with stimulation perceived from the outside in the form of verbal messages, diagrams, conventional images, signs, etc.

Despite the fact that the products of reconstructive imagination are completely new images that have not previously been perceived by a person, this type of imagination is based on previous experience. K.D. Ushinsky viewed imagination as a new combination of past impressions and past experience; he believed that the recreating imagination is a product of the influence of the material world on the human brain.

Basically, the reconstructive imagination is a process during which recombination occurs, the reconstruction of previous perceptions in a new combination.

Anticipatory imagination underlies a very important and necessary human ability - to anticipate future events, foresee the results of one’s actions, etc. Etymologically, the word “anticipate” is closely related and comes from the same root with the word “see”, which shows the importance of understanding the situation and transferring certain elements of it into the future based on knowledge or predicting the logic of the development of events.

Thanks to this ability, a person can “with his mind’s eye” see what will happen to him, other people or surrounding things in the future. F. Lersch called this the Promethean (looking forward) function of the imagination, which depends on the magnitude of the life perspective: what younger man, the more and more clearly the forward orientation of his imagination is represented. In older and older people, the imagination is more focused on events of the past.

Creative imagination is a type of imagination in which a person independently creates new images and ideas that are valuable to other people or society as a whole and which are embodied (“crystallized”) into specific original products of activity. Creative imagination is a necessary component and basis of all types of human creative activity.

Images of creative imagination are created through various techniques of intellectual operations. In the structure of creative imagination, two types of such intellectual operations are distinguished.

The first is the operations through which ideal images are formed, and the second is the operations on the basis of which the finished product is processed.

One of the first psychologists to study these processes, T. Ribot, identified two main operations: dissociation and association.

Dissociation is a negative and preparatory operation, during which a sensitively given experience is fragmented. As a result of preliminary processing of experience, its elements are able to enter into a new combination that is unthinkable. Dissociation is the first stage of creative imagination, the stages of preparing material. The impossibility of dissociation is a significant obstacle to creative imagination.

Association is the creation of the integrity of the image of their elements, isolated units of images. The association gives rise to new combinations, new images. There are other intellectual operations, for example the ability to think from an anthology with partial and purely accidental similarities.

Passive imagination is subject to internal, subjective factors; it is tendentious.

Passive imagination is subordinated to desires, which are thought to be realized in the process of fantasizing. In the images of passive imagination, the unsatisfied, mostly unconscious needs of the individual are “satisfied”. Images and ideas of passive imagination are aimed at strengthening and preserving positively colored emotions to repress and reduce negative emotions and affects.

During the processes of passive imagination, unreal, imaginary satisfaction of any need or desire occurs. This is where passive imagination differs from realistic thinking, elements of concepts and other information emphasized through experience.

Synthesis, realized in the processes of imagination, is carried out in various forms:

* Agglutination - “gluing” of different Everyday life incompatible qualities, parts;

* Hyperbolization - exaggeration or understatement of the subject, as well as changing individual parts;

* Typification - highlighting the essential, repeated in homogeneous images;

* Sharpening - emphasizing any individual characteristics.

1.3 Functions of imagination and its development

In human life, imagination performs a number of specific functions. The first of them is to represent reality in images and be able to use them when solving problems. This function of imagination is connected with thinking and is organically included in it.

The second function of imagination is to regulate emotional states. With the help of his imagination, a person is able to at least partially satisfy many needs and relieve the tension generated by them. This vital function is especially emphasized and developed in psychoanalysis. The third function of imagination is associated with its participation in the voluntary regulation of cognitive processes and human states, in particular perception, attention, memory, speech, and emotion. With the help of skillfully evoked images, a person pays attention to the necessary events. Through images, he gains the opportunity to control perceptions, memories, and statements. The fourth function of imagination is the formation of an internal plan of action - the ability to carry them out in the mind, manipulating images. The fifth function is planning and programming activities and the implementation process.

With the help of imagination, we can control many psychological states of the body and tune it to upcoming activities. There are known facts indicating that with the help of imagination, purely by will, a person can influence organic processes: change breathing rhythms, pulse rate, blood pressure, body temperature. These facts underlie auto-training, which is widely used for self-regulation.

With the help of special exercises and techniques, you can develop your imagination. In creative types of work - science, literature, art, engineering and others - the development of imagination occurs in the pursuit of these types of activities. In autogenic training, the desired result is achieved through a special system of exercises that are aimed at learning to relax individual muscle groups (arms, legs, head, torso) by force of will, arbitrarily increasing or decreasing pressure, body temperature (in the latter case, imagination exercises are used heat, cold).

1.4 Imagination and creativity

Fantasy images are never completely divorced from reality, having nothing in common with it. If any product of fantasy is broken down into its component elements, then among them it will be difficult to find something that does not actually exist. Even when we subject the works of abstract artists to this kind of analysis, in their constituent elements we see, at least, geometric figures familiar to all of us.

The effect of unreality, fantasy, novelty of products of creative and other imagination is achieved mostly through a continuous combination of known elements, including changes in their proportions.

There are individual, typological features of the imagination associated with the specifics of human memory, perception and thinking. Some people may have a predominant concrete, imaginative perception of the world, which internally appears in the richness and diversity of their imagination. Such individuals are said to have an artistic type of thinking. It is assumed that it is physiologically associated with dominance of the right hemisphere of the brain. Others have a greater tendency to operate with abstract symbols and concepts (people with a dominant left hemisphere of the brain).

A person’s imagination acts as a reflection of the properties of his personality, his psychological state at a given moment in time. It is known that the products of creativity, its content and form well reflect the personality of the creator. This fact has found wide application in psychology, especially in the creation of psychodiagnostic personal techniques.

2 . The role of creativity in the development of cognitive processes

2.1 The nature of creativity

imagination creativity creativity abilities

It is, of course, impossible to understand the nature of creative abilities without understanding the essence of creativity.

Creativity is a human activity aimed at creating some new, original product in the field of science, art, technology, production and organization. A creative act is always a breakthrough into the unknown, a way out of a deadlock situation in such a way that new opportunities for development appear, be it a person’s own personal development, the development of art, the improvement of production or the sales market.

The creative act is preceded by a long accumulation of relevant experience, which is consolidated in abilities, knowledge and skills; formulation of the problem; elaboration of all possible solutions. The accumulation of knowledge and experience can be characterized as a quantitative approach to a problem, when they try to solve an existing problem using old traditional methods, using habitual and stereotypical thinking operations. The creative act itself is characterized by the transition of the number of all kinds of ideas and approaches into their new unique quality, which is the true solution to this problem. The famous “Eureka!” Archimedes? The discovery of the law appeared to him as if suddenly while he was taking a bath. But it was the result of long, concentrated thinking about the problem.

2.2 Creative abilities (creativity)

Research on creativity, which took place intensively in America in the 60s, led scientists to the conclusion that Creative skills are not synonymous with learning ability and their relationship with intelligence is ambiguous.

The identification of a universal creative ability, called creativity (from English creativity - literally: creativity), occurred not so long ago and is associated with the name of Guilford, who proposed a three-factor model of intelligence. Guilford pointed out the fundamental difference between the two types mental operations. Thinking aimed at finding the only correct solution to a problem was called convergent. The type of thinking that goes in different directions, looking for a solution in different ways, is called divergent (divergent). Divergent thinking may lead to unexpected, unforeseen conclusions and results.

Guilford identified four main dimensions of creativity:

· originality - the ability to produce unusual answers;

Productivity - the ability to generate large number ideas;

· flexibility - the ability to easily switch and put forward a variety of ideas from different areas of knowledge and experience;

· the ability to improve an object by adding details.

In addition, creativity includes the ability to detect and pose problems, as well as the ability to solve problems, i.e. ability to analyze and synthesize.

Unlike intellectuals, who can solve complex problems that have already been set by someone, creatives are able to see and pose problems on their own.

2.3 Relationship between creativity and intelligence

Some authors believe that extensive knowledge and erudition sometimes interfere with seeing a phenomenon from a different, creative perspective. Others argue that the inability of the mind to be creative is due to the fact that it is logical and limited by strictly ordered concepts, which suppresses fantasy and imagination.

To develop a high level of creative abilities (creativity), a level of mental development is required that is slightly above average. Without some base of learning ability, without a good intellectual foundation, high creativity cannot develop. However, after reaching a certain level of intelligence development, its further increase does not in any way affect the development of creative abilities. When intelligence is very high (more than 170 IQ units), the manifestation of creative abilities is not observed. It is known that people with encyclopedic knowledge rarely have high creative potential. Perhaps this is due to a tendency to organize and accumulate knowledge and ready-made facts. And for spontaneous creativity, sometimes it is important to abstract from what is already known.

Routine thinking and its focus on a clear, correct answer often prevents us from finding an original, new solution.

Mini-tests to study the ability to think outside the box and overcome stereotyped thinking.

a) It is proposed to solve a non-standard problem: Two people approached the river. Near the deserted shore there was a boat in which only one person could fit. Both of them crossed the river on this boat and continued on their way. How did they do it?

(Correct answer: The travelers approached different banks of the river, and first one crossed, and then the other.)

The problem is hampered by the stereotyped understanding of the first phrase (“Two approached the river”), which suggests that the travelers walked together and in the same direction.

b) How to cross out, without lifting the pencil from the paper, four points, which are the vertices of a square, with three straight lines and return to the starting point?

IN Stereotypes prevent us from finding a solution to this problem. Here we must abandon the stereotyped idea that one cannot go beyond the space limited by points.

2.4 The essence of creativity

Various researchers reveal the essence of the creative act and creative abilities with different sides. Let's look at a number of definitions.

“Creativity is the ability to bring something new to experience” (Barron).

“The ability to recognize problems and contradictions” (Torrance).

“The ability to generate original ideas in the face of new problems” (Ballah).

“The ability to abandon stereotypical ways of thinking” (Guilford).

“The ability to be surprised and learn, the ability to find solutions in non-standard situations, this is a focus on discovering something new and the ability to deeply understand one’s experience” (E. Fromm).

There is also an interesting definition: creativity is “the ability to think around.”

One of the most famous researchers of creative abilities, the American scientist Paul Torrance, understands creativity as the ability for a heightened perception of shortcomings, gaps in knowledge, sensitivity to disharmony, etc. He believes that the creative act is divided into:

· perception of the problem;

· search for a solution;

· emergence and formulation of hypotheses;

· modification of hypotheses;

· finding the result.

2.5 Creativity and success

High learning abilities and creativity do not always coincide. Underachieving students may have high creative abilities, and vice versa.

According to Torrance (1962), about 30% of children expelled from school for inability, poor performance, and even stupidity are children who are highly creatively gifted. Torrance conducted long-term studies, tracing the fate of children who showed high creative abilities. It turned out that after 20 years, many of them had achieved nothing in life and occupied a low social status (“scavengers”).

And here they stand interesting questions about what creative abilities give a person. Are they always in demand? What, besides creative abilities, does a person need in order to realize his creative potential, make a discovery, achieve something in life, become successful, and benefit society?

2.6 Development of creativity

Creativity is stimulated by being receptive to new ideas rather than being critical of them, and creative solutions seem to be more likely to come from moments of relaxation rather than from focused, problem-solving moments.

There is a well-known example of the famous chemist Dmitry Mendeleev, who saw the periodic table of chemical elements in a dream. (This does not mean that the more you sleep, the greater the chance of making a discovery.)

Creative abilities can be developed. This can be done especially effectively by organizing special classes with young children who have not yet developed the habit of making stereotypical decisions and finding the correct answer approved by adults. But adults can also develop creative abilities and creativity.

This is convenient to do in a group when various ideas are expressed - in the form of a “brainstorming”. By the way, in the West this method is successfully used by large firms in crisis situations when previous ways of working turn out to be ineffective. A group of developers gathers to generate new ideas. At the first stage, nothing is criticized. At the second stage, the most interesting proposals are selected. At the third stage, the possibility of their use is checked.

The history of scientific discoveries is replete with examples when a seemingly completely wild idea turned out to be the most fruitful and led to the discovery of new facts and the invention of more advanced technologies.

The book “The Life of Inventions” by M. Arista gives such an example. Engineer Shukhov sat in his office one day after work. He watched as the cleaning lady, while dusting, removed a heavy flower pot and placed it on an upside-down lightweight wastebasket woven from willow twigs. This caught the engineer's attention. He thought: “Why can such a fragile basket support such a heavy load?” And I realized that the rods form between themselves a hyperboloid of revolution, the curved surface of which is made of rectangular elements. This idea was embodied in an elegant and extremely durable building structure - a tower, on top of which a huge water tank was installed. This invention turned out to be extremely useful for water supply to cities and railways.

Exercises to develop creative abilities among students

a) Non-standard use of items

Take three minutes to think of as many creative ways to use a common item as you can. Number your options and write them down on a piece of paper. Nobody says anything out loud. I'm noting the time. So, this item is a newspaper (brick, ruler, rope, etc.).

After the time has passed, the presenter stops the students and asks: who came up with 20 options? 15? 12? You are asked to read your list to the person who has the most options. When reading the list, the presenter approves, encourages, notes originality, does not criticize anything and does not express doubts. Then he asks the other participants to add to the list - to suggest options that have not yet been presented. Obligatory comments like: “Wonderful, very interesting, look how unusual!” etc.

b) Synonyms

Within two minutes, come up with as many synonyms for the word “tall” as you can.

When analyzing the answers, which is carried out similarly to the first exercise, students’ attention is drawn to such a parameter of originality as “flexibility”. Usually the word “tall” is associated with size, size, and typical synonyms are: long, tower, etc. Flexibility of imagination allows one to break out of stereotypical associations: maybe someone will remember that “tall” is also said about the tone of voice, and then the associative series will be supplemented with synonyms “subtle”, “ringing”, etc. The concept of “high” is applicable to moral qualities, aspirations, and then associations “noble”, “purposeful”, etc. will arise.

c) Unpredictable consequences

In conditions of limited time, it is proposed to write down on your pieces of paper various options for the consequences of some fantastic event: for example, what will happen if eternal darkness comes on Earth? What consequences could it have if all cats on Earth disappear?

d) Circles. On forms with 20 circles drawn, within 5-10 minutes, draw as many original drawings as possible, using the circles as a basis.

There are many various games and tasks to develop creative abilities. Their description can be found in the literature.

Conclusion

Via active cognitive activity Not only does information come to be comprehended, the objective world is displayed, but also it is transformed into a subjective image, the creation of a new representation, idea, the development of creative abilities, and the improvement intellectual level, professional skills.

During the research work the hypothesis associated with the assumption of a significant influence of the role of imagination and creativity in the development of cognitive processes was confirmed.

The processes of imagination and creativity and their influence on the development of cognitive processes were studied.

IN course work a holistic approach was used, revealing the nature of imagination, types of imagination, the interaction of imagination and creativity, creativity and creativity, etc.

As a result of the study, the following questions were studied:

* Interaction of activity and mental processes

* The role of imagination in the development of cognitive processes

* The role of creativity in the development of cognitive processes

The main goals and objectives were achieved:

* Knowledge and experience were accumulated about the role of imagination and creativity in the development of cognitive processes, game and problem-based methods were used in order to develop creative capabilities, professional skills, and enhance mental activity;

* The role of imagination as a strong motivating factor in creative search in cognitive activity.

* The role of creativity as the emergence of new opportunities in the development of cognitive processes.

* Experience has been accumulated, which is consolidated in skills, abilities, knowledge in setting tasks, in developing all kinds of solutions.

Literature

1. Dudetsky A.Ya. Yulystina E.A. Psychology of imagination. M., Smolensk, 1997.

2. Zhdan A.N. History of psychology, M., 1997.

3. Zavalishina D.N. Psychological analysis operational thinking, M., 1985.

4. Ilnitskaya I.A. Problem situations as a means of activating mental activity, Perm, 1983.

5. Gippenreiter Yu.B. Introduction to general psychology, M., 2000.

6. Krupetsky V.A. Psychology of mathematical abilities of schoolchildren, M., 1968.

7. Kudryavtsev V.T. The principle of self-development of the subject of activity // Psychological Journal, 1993, No. 3.

8. Montyev A.N. Activity. Consciousness. Personality, M., 1975.

9. Thinking: process, activity, communication, M., 1982.

10. Nemov R.S. Psychology, book. 1, M., 1995.

11. Psychology of cognitive processes, Samara, 1992.

12. Ponomarev Ya.A. Psychology of creativity, M., 1976.

13. Pushkin V.N. Heuristics - the science of creative thinking, M., 1967.

14. Rubinshtein S.A. Basics general psychology, S-P., 1998.

15. Tikhomirov O.K. Psychology of thinking, M., 1984.

16. Ponomarev Ya.A. Knowledge, thinking and mental development, M., 1967.

17. Tunik E.V. Creativity Questionnaire D. Johnson, S.P., 1997.

18. Chesnokova I.I. The problem of self-awareness in psychology, M., 1997.

19. Stolyarenko L.D. Fundamentals of Psychology, Rostov-on-Don, 2001.

20. Tsvetkova L.S. Brain and intellect (impairment and restoration of intellectual activity), M., 1995.

21. Shadrikov V.D. Psychology of human activity and abilities, M., 1996.

22. Shemyakin F.N. On theoretical issues of the psychology of thinking: On thinking and ways of its research // Questions of Philosophy, 1959, No. 9.

23. Stern V. Mental talent, S.P., 1997.

24. Elkonin D.B. On the problem of periodization psychological development in childhood // Personality Psychology, M., 1982.

25. Esaulov A.F. Activation of educational and cognitive activity of students, M., 1982.

26. Esaulov A.F. Problems of problem solving in science and technology, Leningrad, 1979.

27. Jung K. Psychological types// Psychology of individual differences, M., 1982.

28. Yakimanskaya M.S. At the origins of educational psychology // Soviet pedagogy, 1989, No. 8.

29. Yaroshevsky M.G. History of psychology, M., 1985.

30. Yaroshevsky M.G. Psychology in the 20th century, M., 1974.

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Psychological definition creative abilities - individual qualities of a person that determine the success of his performance of creative activities of various kinds. Empirical research level of development of creative abilities in preschool children.

It is, of course, impossible to understand the nature of creative abilities without understanding the essence of creativity.

Creativity is a human activity aimed at creating some new, original product in the field of science, art, technology, production and organization. A creative act is always a breakthrough into the unknown, a way out of a deadlock situation in such a way that new opportunities for development appear, be it a person’s own personal development, the development of art, the improvement of production or the sales market.

Creativity is the creation of something new; it is also a mechanism for personal development. (Ponomarev Y.A., 1976)

The creative act is preceded by a long accumulation of relevant experience, which is consolidated in abilities, knowledge and skills; formulation of the problem; elaboration of all possible solutions. The accumulation of knowledge and experience can be characterized as a quantitative approach to a problem, when they try to solve an existing problem using old traditional methods, using habitual and stereotypical thinking operations. The creative act itself is characterized by the transition of the number of all kinds of ideas and approaches into their new unique quality, which is the true solution to this problem. The famous "Eureka!" Archimedes? The discovery of the law appeared to him as if suddenly while he was taking a bath. But this was the result of long, concentrated thinking about the problem.

Creativity is a historically evolutionary form of human activity, expressed in various types of activities and leading to personality development. Through creativity, historical development and the connection of generations are realized. It continuously expands human capabilities, creating conditions for conquering new heights.

Creative processes are revealed already in early childhood - in children's games, which always represent a creative processing of experienced impressions, their combination and the construction of a new reality from them that meets the needs and desires of the child himself. It is the ability to create a structure from elements, to combine the old into new combinations that is the basis of creativity.

Creativity is not the preserve of only a select few people, geniuses who have created great works of art, made great scientific discoveries, or invented some improvement in technology. Creativity exists wherever a person imagines, combines, changes and creates something new, no matter how small that new thing may seem. A huge part of everything created by humanity belongs to the combination of many grains of individual creativity.

Creative activity of L.S. Vygotsky defines it as “human activity that creates something new, no matter whether it is created by creative activity, some thing in the external world or a known structure of the mind or feeling, living and revealed only in the person himself.”

L.S. Vygotsky says that all human activity can be divided into two types, which have their own characteristics: reproducing, or reproductive, and combining, or creative.

Reproducing activity is the preservation of a person’s previous experience, ensuring his adaptation to familiar, stable environmental conditions. This activity is based on the plasticity of the human brain, which refers to the ability of a substance to change and retain traces of this change.

The result of creative or combining behavior is not the reproduction of impressions or actions that were in a person’s experience, but the creation of new images or actions. The brain not only preserves and reproduces a person’s previous experience, but it also combines, creatively processes and creates new positions and new behavior from the elements of this previous experience. Creative activity makes a person “a being turned to the future, creating it and modifying his present.”

It is this creative activity, based on the combining ability of the brain, that is called imagination or fantasy in psychology.

“Every invention,” says Ribot, “large or small, before becoming stronger and actually being realized, was united only by imagination - a structure erected in the mind through new combinations or relationships.

Imagination, as the basis of all creative activity, manifests itself equally in all aspects of cultural life and makes artistic, scientific and technical creativity possible. Therefore, the everyday definition of imagination as everything that does not correspond to reality and cannot have any practical serious meaning is not correct. In this sense, everything that surrounds us and what is made by the hand of man, the entire world of culture, in contrast to the world of nature, is all a product of human imagination and creativity based on this imagination.

The fine arts play a great role in the formation of a creative personality. It's unthinkable to imagine art without creativity. Everything that a person feels, experiences, everything that worries him can be displayed in lines, spots, color. And you don’t have to be a recognized artist to do this. This is where we can talk about the value of self-discovery. You just need to show your child how to express himself through visual materials.

Some people love realistic drawing and they succeed at it. And for some, an abstract image will suit. "My Bad mood"I will leave it on paper in the form of angry, sharp, hard lines, shapes or gloomy, dark, unattractive colors.

Artistic and creative activity is perhaps the most interesting view activities of younger children school age. It allows the child to reflect in drawings his impressions of the world around him and to express his attitude towards it. At the same time, artistic and creative activity is of invaluable importance for the comprehensive aesthetic, moral, labor, and mental development of children.

Observations and identification of the properties of objects that are to be conveyed in the image (shape, structure, color value, location in space) contribute to the development in children of a sense of form, color, and rhythm of the components of the aesthetic sense. A sense of beauty can be formed only when the beauty of an object or phenomenon appears before children (due to their specific, imaginative thinking) in a specific expression. On this basis, in the process of visual activity, children develop their imagination. The child creates an image not only on the basis of what he directly perceives from the world around him. The image of a just perceived object comes into relationship with the experience of past perceptions and existing ideas. Children, for example, had never seen a fairy bird, but they could see a wide variety of birds in the surrounding life, in illustrations, listened to tales about magical birds (firebirds, blue birds), looked at clay toys, images of various decorative birds on various subjects decorative arts. On this basis, the image of an unusual, fantastic bird is formed.

While working on an image, a child acquires various knowledge, his ideas about the environment are clarified and deepened, he masters new visual skills and abilities that expand his creative capabilities, and learns to consciously use them. All this is very significant for him mental development, because every child, when creating an image of a particular object, conveys the plot, includes in it his feelings, understanding of how it should look. This is the artistic and creative activity of a school-age child, which manifests itself not only when he himself comes up with a theme for his drawing, but also when he creates an image on the instructions of the teacher, determining the composition, color scheme, other means of expression, making interesting additions, etc.

Characterizing the imagination of children, L.S. Vygotsky spoke about the need to understand the psychological mechanism of imagination, and this cannot be done without clarifying the connection that exists between fantasy and reality. “The creative activity of the imagination,” writes L.S. Vygotsky, is directly dependent on the richness and diversity of a person’s previous experience, because this experience represents the material from which fantasy structures are created. The richer a person’s experience, the greater the material available to his imagination.” This idea of ​​the scientist should be especially emphasized, because it is too widely believed both abroad and here that a child has a wild, unlimited imagination and is capable of generating bright, inorganic images from within. Any intervention by an adult or teacher in this process only fetters and destroys this fantasy, a wealth that cannot be compared with the fantasy of an adult. At the same time, it is quite obvious that the poverty of a child’s experience also determines the poverty of his imagination. As experience expands, a solid foundation is created for children's creative activity.

The connection between imagination and reality allows us to conclude that the process of children's creativity does not end with the creation of souvenirs and other results of creative activity. They should be used to further enrich imagination and creativity. It is important to remember that a child is influenced not only by his own works, but also by works created by other children.

A prerequisite for the development of imagination is creative activity, which cannot lead to success without the work of imagination.

Fine art activities, including drawing, are perhaps the most interesting type of activity. It allows the child to reflect his impressions of the environment in visual images and to express his attitude towards them. At the same time, visual activity is of invaluable importance for the comprehensive aesthetic, moral, labor, and mental development of children. The development of the imagination of younger schoolchildren is most facilitated by thematic and decorative drawing. Decorative drawing mainly develops reproductive imagination, as children usually study in class different kinds folk paintings(Khokhloma, Gzhel, etc.) and recreate them. But there are still tasks that require creative imagination (for example, applique, drawing an ornament, etc.).

Thematic drawing most contributes to the development of creative imagination. In thematic drawing, the child shows both artistic and creative abilities. And here, first of all, it is necessary to define the concept of the topic itself. Exist common topics (« eternal themes" - good and evil, relationships between people, motherhood, courage, justice, the beautiful and the ugly), having many manifestations and provoking creativity, and specific topics, with a clear indication of the place and action that require precise execution. They help diagnose creative imagination.

Based on the above, the following points can be noted:

· the creative process includes three main stages: accumulation of material, processing of accumulated material (dissociation and association of impressions) and a combination of individual images, bringing them into a system, building a complex picture.

· accumulation of material includes external and internal perception, which is the basis of creativity. This is what the child sees and hears.

· imagination and creativity are closely related to each other, imagination is formed in the process of creative activity, although creativity cannot be imagined outside the process of fantasy.

· creativity without imagination acts as a chain of cause and effect relationships, constantly varying and changing.

Psychology of creativity, creativity, talent Ilyin Evgeniy Pavlovich

Chapter 4 Imagination (fantasy) as a creative process

4.1. Imagination and creativity

As S. L. Rubinstein noted, imagination plays a significant role in every creative process, but its importance is especially great in artistic creativity. Every work of art expresses its content in a concrete figurative form. In accordance with the traditions of socialist realism, S. L. Rubinstein believed that “the special power of the artistic imagination lies in creating a new situation not by violating, but subject to the preservation of the basic requirements of life reality” (1999, p. 301). However, artistic imagination also takes place in abstract painting, the main criterion of which is precisely the violation of reality. But such painting, according to S. L. Rubinstein, requires less power of imagination: “The idea that the more bizarre and outlandish the work is, the greater the power of imagination it testifies to is fundamentally erroneous. In order to create new samples and paint a broad picture on a large canvas, maximally observing the conditions of objective reality, special originality, plasticity and creative independence of the imagination are needed. The more realistic a work of art, the more strictly it observes the reality of life, the more powerful the imagination should be” (p. 301).

This does not mean, writes S. L. Rubinstein, that adherence to reality is associated with its photographic copying. The task of a work of art is to show others what the artist sees (and he sees differently than ordinary people). Even in a portrait, the artist does not reproduce, but transforms what he perceives, as a result of which he gives a more accurate, deeper description of a person.

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From the book The Path of Least Resistance by Fritz Robert

6.1. Mastering the native language as a creative process Adult man studying new language, consults the dictionary. He constantly uses his support in order to determine with the greatest accuracy the meaning of a particular foreign word. A child immersed in the element of his native

From the book Time in a Bottle by Falco Howard

Chapter 7 Primary Fantasy and Personality Women marry men in the hope that the latter will change. Men marry women in the hope that women will remain the same. Therefore, both of them will inevitably be disappointed. Albert Einstein Men and women

From the book New Psychology by Enel Charles

Chapter 2 Fantasy, suffering and misinterpretation And now even to herself it seemed that her voice came not from her own lips, but from those that she had according to his imagination; and if she laughed, she suddenly had the feeling that it was not she herself who was laughing, but as if she

From the book FORMATION OF PERSONALITY. A VIEW ON PSYCHOTHERAPY by Rogers Carl R.

Structure and the Creative Process We are taught from childhood to think that circumstances that are not conducive to our plans are a problem. And now, being sure of this, we are trying to solve this problem. And to solve a problem means to make something -

From book New life old things author Heckl Wolfgang

Part two The creative process

From the author's book

Chapter 11 Creative cycle Three stages of creation The process of realizing a creative plan takes place in three stages: origin, assimilation and completion. This is what a full cycle looks like creative process, and the stages always follow each other in a given order.

From the author's book

Creative Process STEP 1. SETTING AN INTENTION To set an intention correctly, you need to listen to the innermost desires of your heart. Start with the goal that resonates most strongly with you. Try to imagine what you want as vividly as possible.

From the author's book

Chapter 7 The Creative Process “The quality of the thoughts we accept corresponds to the quality external states the world around us. There is nothing more true than this statement. It is the Law that knows no exceptions. It is this Law about the correspondence of thought and its subject, with

From the author's book

The creative process There are different approaches to defining creativity. To make the following discussion clearer, let's look at the elements that I believe are part of the creative process and then try to define it. First

From the author's book

Repair is a creative process Repair is an energetic intervention, correcting mistakes, searching for different options. Of course, you need to be smart, because you usually have to work without precise instructions, often with a meager set of tools and sometimes