home Medicines from A to Z Personal qualities of a creative person, motivation for creativity. They watch people

Personal qualities of a creative person, motivation for creativity. They watch people

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 people often don't 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 more success than rich inner life, creative people 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. Anyone in life creative personality 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 to reconsider your point of view on this is to recognize that it is not a mistake, but a learning 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 that such intrinsic motivation leads to success 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 a 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 own life, you will see that she 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

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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 whether they develop or not depends only on upbringing. 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 what he acquires 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. Shatskoy, 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 complex system 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 one is extremely important problem is closely connected with 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 the system of his psychological characteristics that 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 which are hidden in the contradictory interaction of both natural and social aspects of 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 extract from them correct conclusions. 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 about deep psychological analysis subconscious, about the continuation of Dostoevsky’s line, 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 of a child’s intellectual development, especially under the age of 4, 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 from young children, not yet 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 articulate teaser, poorly learns a foreign language, acquires an inferiority complex that will prevent him from discovering in himself an outstanding mathematical, design, poetic or any other talent. 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, greater feeling 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 leveled, generally favorable conditions of development, very great importance acquire hereditary differences in talent. 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 by uricase into allantoin, but in primates, due to the absence of uricase, it remains in the blood, and it is with this, presumably, that new stage evolution, going under the 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. O 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 the Greats geographical discoveries- headed by 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. Psychological situation in each family and group kindergarten, in a high school classroom, a moral, psychologically healthy atmosphere develops throughout the country. That's why individual approach to every child creative development his personality, nurturing the best of his qualities, is of the utmost importance to 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.

Process description

In fact, no creative person has ever wondered how he manages to achieve this or that result. What did you have to endure during this sometimes very long period of creation? What stages needed to be overcome? A psychologist from Britain at the end of the 20th century, Graham Wallace, was puzzled by these questions. As a result of his activities, he identified the main points of the creative process:

Preparation;
incubation;
insight;
examination.

The first point is one of the longest stages. It includes the entire training period. A person who has no previous experience in a particular field cannot create something unique and valuable. First you have to study. This could be mathematics, writing, drawing, design. All previous experience becomes the basis. After which an idea, goal or task appears that needs to be solved, relying on previously acquired knowledge.

The second point is the moment of detachment. When long work or searches do not produce a positive result, you have to throw everything aside and forget. But this does not mean that our consciousness also forgets about everything. We can say that the idea remains to live and develop in the depths of our soul or mind.

And then one day inspiration comes. All the possibilities of creative people open up, and the truth comes out. Unfortunately, it is not always possible to achieve your goal. Not every task is within our power. The last point includes diagnosis and analysis of the result.

Character of a creative person

For many decades, scientists and ordinary people They are trying to better understand not only the process itself, but also to study the special qualities of the creators. of great interest to people. As experience shows, representatives of this type are usually distinguished by high activity, expressive behavior and cause conflicting reviews from others.

In fact, no model developed by psychologists is an exact template. For example, such a trait as neuroticism is often inherent in people who create spiritual values. Scientists and inventors are distinguished by their stable psyche and balance.

Each person, creative or not, is unique, something in us resonates, and something does not coincide at all.

There are several character traits that are more characteristic of such individuals:

curiosity;

self-confidence;

not too friendly attitude towards others.

The latter is probably due to the fact that people think differently. They feel misunderstood, judged, or not accepted for who they are.

Main differences

If there is a very creative person on your list of friends, then you will definitely understand this. Such personalities often have their head in the clouds. They are true dreamers; even the most crazy idea seems like a reality for them. In addition, they look at the world as if under a microscope, noticing details in nature, architecture, and behavior.

Many famous people who created masterpieces did not have a usual working day. There are no conventions for them, and the creative process occurs at a convenient time. Some people choose early morning, while for others, their potential awakens only at sunset. Such people do not often appear in public; they spend most of their time alone. It’s easier to think in a calm and familiar atmosphere. At the same time, their desire for something new constantly pushes them to search.

These are strong, patient and risk-taking individuals. No failure can break faith in success.

Modern research

Previously, the opinions of scientists agreed that a person was either born creative or not. Today this myth is completely dispelled, and we can say with confidence that developing talents is available to everyone. And at any period of your life.

Basic qualities creative person With desire and persistence, you can develop it yourself. In the only case where it is impossible to achieve a positive result is when a person personally does not want to make changes in his life.

Modern research has led to the conclusion that intellectual abilities increase if you combine logic and creativity. In the first case, it is connected to work left hemisphere, in the second - right. By activating as many parts of the brain as possible, you can achieve greater results.

Work for a creative person

After graduating from school, graduates are faced with the question: where to go? Everyone chooses a path that seems more interesting and understandable to them, at the end of which a goal or result is visible. Unfortunately, it is not always possible to realize the potential inherent in us.

What do you think is the best job for creative people? The answer is simple: any! Whatever you do: leading household or design space stations- everywhere you can show resourcefulness and ingenuity, create and surprise.

The only thing that can really interfere with this process is third-party interference. Many managers independently deprive their employees of the desire to make independent decisions.

A good boss will support impulses for development and creativity, of course, if this does not interfere with the main process.

Paradoxes

Let's think about why the character of a creative person is so difficult to clearly analyze and structure. Most likely, this is due to a number of paradoxical traits that are inherent in such people.

Firstly, they are all intellectuals, well-grounded in knowledge, but at the same time they are as naive as children. Secondly, despite their excellent imagination, they are well versed in the structure of this world and see everything clearly. Openness and communication skills are only external manifestations. Creativity very often hides in the depths of personality. Such people think a lot and conduct their own monologue.

It is interesting that by creating something new, they, one might say, introduce some dissonance into the existing course of life. At the same time, everyone is insanely conservative, their habits often become more important than those around them.

Genius and creativity

If a person, as a result of his activities, has created something impressive, something that has amazed those around him and changed his ideas about the world, then he wins true recognition. Such people are called geniuses. Of course, for them creation and creativity are life.

But not always even the most creative people achieve results that can change the world. But sometimes they themselves do not strive for this. For them, creativity is, first of all, an opportunity to be happy at the present time, in the place where they are.

You don't have to be a genius to prove yourself. Even the smallest results can make you personally more confident, positive and joyful.

conclusions

Creativity helps people open their souls, express their feelings, or create something new. Anyone can develop creativity, the main thing is to have a great desire and a positive attitude.

It is necessary to get rid of conventions, look at the world with different eyes, perhaps try yourself in something new.

Remember - creativity is like a muscle. It needs to be regularly stimulated, pumped up, developed. It is necessary to set goals of various scales and not give up if nothing works out the first time. Then at some point you yourself will be surprised at how dramatically life has changed, and you will begin to realize that you also brought into the world something necessary and new for people.

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