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Creativity and striving for. Modern problems of science and education

A theoretical analysis of works devoted to the problem of the structure of creative abilities has been carried out. It is noted that many researchers have identified motivational, personal and cognitive components in the structure of creative abilities. The importance of considering the procedural side of creativity, the nature of which affects the effectiveness of creative activity, is emphasized. In this regard, the components directly related to this side of creative activity are singled out: the activity-procedural component, which includes creative independence and the ability to optimize one's behavior (the choice of a behavior strategy that will lead to a positive result); reflexive component (ability for deep reflection, striving for aesthetic enrichment, self-education and self-development). Thus, the structure of creativity junior schoolchildren has the following components: cognitive-emotional, personal-creative, motivational-value, activity-procedural, reflexive.

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creative abilities of younger students

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The focus of modern pedagogical science and practice is the problem of educating a free, critically thinking, creative personality. That is why the problem of developing creative abilities has been relevant for quite a long time. GEF IEO of the second generation sets the teacher the task of educating an inquisitive, actively learning and creatively creative student. Understanding the structure of creative abilities is a necessary knowledge for a modern teacher who seeks to solve the problem of organizing work to develop creative abilities in modern educational institutions.

By creative abilities, we mean the synthesis of individual psychophysiological characteristics of the personality and new qualitative states (changes in thinking, perception, life experience, motivational sphere) that arise in the process of a new activity for the individual (in the process of solving new problems, tasks), which leads to successful its implementation or the emergence of a subjectively / objectively new product (idea, object, work of art, etc.). Creative abilities are inherent in everyone, they are formed and developed in activity. The product obtained as a result of creative activity bears the imprint of individual personality traits. The quality of the product (its elaboration, completeness, expressiveness, degree of originality) depends on the characteristics of the processes of thinking, perception and the motivational component (interest in the business, the need for creative self-expression) of the individual. But what is the structure of creativity?

Under the structure of creative abilities, we will understand the sum of the components (a number of particular abilities) that make up the unity of psychological and personal elements leading to the successful performance of an activity or the emergence of a subjectively/objectively new one.

To highlight the structural components of creativity for our study, we turned to the analysis of scientific literature, the results of research on this topic.

In the works of foreign researchers there is no such thing as "creativity". There is the concept of "creativity", which is defined in different ways, depending on the approach: 1) as a component of general mental endowment; 2) as a universal cognitive ability; 3) as a stable property of the individual. Representatives of the cognitive approach (F. Galton, G. Eysenck, L. Theremin, R. Sternberg, E. Torrens, L. Cropley and others) do not distinguish creativity as an independent specific form of mental activity. From their point of view, creativity is a way of applying intelligence, characterized by flexible and versatile processing of information. According to R. Sternberg, the structure of creativity consists of “three special intellectual abilities: 1) synthetic - to see problems in a new light and avoid the usual way of thinking; 2) analytical - assess whether ideas are worth further development; 3) practical-contextual - to convince others of the value of the idea.

Other researchers (L. Thurstone, J. Gilford and others) have a different point of view - creativity as independent process. J. Guilford defined creativity as a "universal cognitive creative ability", which is based on divergent thinking (focused on finding several options for solving a problem). They identified the following intellectual abilities included in the structure of creativity. Among them: fluency of thought (the ability to generate a large number of ideas); flexibility of thought (the ability to use different solution strategies); originality (the ability to avoid obvious, banal answers); curiosity (sensitivity to problems); elaboration (ability to detail ideas).

Further research in the field of creativity was developed on the basis of a personal approach - creativity began to be understood as a property of the individual. Here, the researchers assigned an important role to the emotional and motivational spheres. They (S. Springer, G. Deutsch, J. Godefroy, L.S. Kyuby, F. Barron) identified the following personality traits inherent in people who are successful in creativity: non-recognition of social restrictions, sensitivity, pronounced aesthetic principle, duality of nature , arrogance, self-confidence, independence, eccentricity, aggressiveness, complacency, independence of judgment, vulnerability, non-conformity, curiosity, sharp mind, openness to new things, preference for complexity, high enthusiasm for the task, great fortitude, resistance to environmental disturbances, to different kind conflicts, sense of humor. As for the motivational sphere, there are two points of view. Creative people are characterized by: 1) a tendency to self-expression, the achievement of "correspondence to one's capabilities"; 2) a tendency to take risks, the desire to reach and test one's limits. Other motives stand out: for example, game, instrumental, expressive, internal. Researchers (M. Vasadur, P. Hausdorf and others) pay great attention to the latter. It is from the inner position of the individual, its orientation, value orientations that the result of any activity, and even more so creative activity, depends.

The problem of creativity, the structure of creative abilities was further developed in our country. A new direction has emerged - the psychology of creativity. Creativity is understood as a specific ability that is not limited to intellect. However, in many studies, the structure of creative abilities is based on their cognitive side - the so-called creative thinking (thinking aimed at a fundamentally new solution to a problem situation, leading to new ideas and discoveries). So, A. N. Luk, based on the research of J. Gilford, expanded the number of indicators of creativity, including in them, in addition to the cognitive component, features of perception, temperament and motivation.

S. Mednik considers creativity as an associative process. Creativity in his understanding is a synthesis of developed convergent and divergent thinking. That is why the author distinguishes the following units in the structure of creative abilities: the ability to quickly generate hypotheses; associative fluency; finding similarities between individual elements (ideas); mediation of some ideas by others; intuitive insight. Ya. A. Ponomarev also emphasizes the importance of intuition and notes it as one of the important components of creativity.

Further study of creative abilities led to the reflection and consolidation of personal and behavioral aspects in the structure of creative abilities (cognitive-affective component).

E. Tunik distinguishes the following structural components of creative abilities: curiosity; imagination; complexity and risk appetite.

A. M. Matyushkin, who studied creative giftedness, substantiated its following synthetic structure: a high level of cognitive motivation; high level of research creative activity; flexibility of thinking; fluency of thinking; the ability to predict and anticipate; the ability to create ideal standards that provide high aesthetic, moral, intellectual assessments.

V. A. Molyako singled out the components of creative potential, including in them: the inclinations and inclinations of the individual; the strength of the manifestation of intelligence; features of temperament; character traits; interests and motivation; intuitionism; features of the organization of their activities.

In the studies of D. B. Bogoyavlenskaya, the cognitive and affective subsystems of the personality find their way out in the so-called "intellectual activity" - unstimulated productive activity, cognitive amateur activity. Intellectual activity - "the ability to develop activities on the initiative of the subject himself." This activity is the force that drives the creative process. The structure of creative abilities looks like “the relationship of the “whole” (intellectual activity) and the “part” (general mental abilities, motives)” . We emphasize the main thing in this approach - creativity is seen as an activity of the individual, which consists in the possibility of going beyond the given.

VN Druzhinin sees the structure of creative abilities as follows: intellect; learnability; creativity (transformation of knowledge). He emphasizes the importance of individual personality traits that lead to the dominance of either supra-situational (creative) or adaptive (non-creative) activity, which makes it possible to divide people into more or less creative.

The very concept of supra-situational activity was introduced by V. A. Petrovsky. This is going beyond the given, external conditions and one's own needs; it is the desire for self-actualization and creation; it is the choice of the unknown; setting excessive, from the point of view of the original task, goals. Creativity is a form of supra-situational activity.

The views of V. A. Petrovsky were developed in the works of S. V. Maksimova, who developed the concept of the duality of non-adaptive and adaptive manifestations in creativity. According to this concept, the creative process consists of non-adaptive activity that generates new ideas, goals, etc. and adaptive activity necessary for their implementation.

Now the trend remains to consider the structure of creative abilities in the unity of cognitive and personal variables.

I. A. Malakhova offers the following structure of creative abilities: thinking (convergent, divergent); qualitative indicators of mental activity (breadth of categorization, fluency, flexibility, originality); imagination; creative well-being; intellectual initiative (creative activity, sensitivity to the problem).

V. T. Kudryavtsev, considering the structure of creative potential, pointed to imagination and initiative.

E. V. Getmanskaya distinguishes three interrelated structural components: cognitive motivation; creative thinking; creative personality traits.

T. A. Barysheva, along with motivation and divergence, includes an aesthetic component (shaping, perfectionism) in the structure of creative abilities.

E. V. Goncharova included imagination and emotional development in the cognitive-creative component, verbal intelligence, creative thinking, cognitive activity in the cognitive-intellectual component, and creative perception and creative product in the creative component.

The junior school age is considered by us as the most successful period for the development of creative abilities. Since it is at this age, while maintaining children's spontaneity, curiosity, impressionability and the desire for knowledge, that all cognitive processes, imagination, motivational sphere, and individuality develop. The child is looking for himself in learning activities, communication, he is open to new experiences and believes in himself.

There are few works on the problem of the structure of the creative abilities of younger schoolchildren.

L. G. Karpova substantiated the existence of cognitive, emotional and motivational components in the structure of creative abilities of younger schoolchildren.

E. P. Shulga has emotional and activity components. Motivation and personal characteristics are combined by the researcher into a motivational-personal component. Creativity, creative thinking and imagination are included in the cognitive-creative. Here we observe in the structure all those components that we have already met in the works of various researchers, presented by us above.

From the point of view of G. V. Terekhova, the development of creative abilities is the result of teaching creative activity to younger schoolchildren. Therefore, the researcher identifies the following components in the structure of creative abilities: creative thinking, creative imagination, application of methods for organizing creative activity.

So, in the scientific literature there is no consensus on the issue of the structure of creative abilities. However, the motivational, personal and cognitive components are reflected in many works on this issue. Many researchers limit themselves to these components. We note the insufficient attention of researchers to the procedural side of creative activity (analysis of the problem, search for contradictions, development of solutions, justification, etc.), and, as a result, the absence in the structure of creative abilities of the components responsible for the effectiveness of the creative process. That is why we single out the activity-procedural component, which includes creative independence and the ability to optimize one's behavior (the choice of a behavior strategy that will lead to a positive result). The development of creative abilities is impossible without deep reflection, the desire for aesthetic enrichment, self-education and self-development. Therefore, we singled out one more independent component - the reflexive one.

The structure of the creative abilities of younger students in our understanding is as follows:

1) cognitive-emotional component (divergent thinking, temperament, expressiveness, emotional sensitivity);

2) personal-creative component (creativity, imagination, criticality, independence, risk-taking, intellectual activity);

3) motivational-value component (the need for creative activity, socially significant motives for activity, recognition of the value of creativity);

4) the activity-procedural component (creative independence, the ability to optimize one's behavior);

5) a reflexive component (self-assessment of creative activity, the desire of the individual for self-education, self-development).

The components we have identified indicate the directions of the teacher's activity in diagnosing and developing the creative abilities of students and can be reflected in methodological developments.

Reviewers:

Kharitonov M.G., Doctor of Pedagogical Sciences, Professor, Dean of the Psychological and Pedagogical Faculty of the Federal State Budgetary Educational Institution of Higher Education AND I. Yakovlev, Cheboksary;

Kuznetsova L.V., Doctor of Pediatric Sciences, Professor, Director of the Research Institute of Ethnopedagogics named after Academician of the Russian Academy of Education G.N. Volkov AND I. Yakovlev, Cheboksary.

Bibliographic link

Kondratieva N.V., Kovalev V.P. STRUCTURE OF CREATIVE ABILITIES OF JUNIOR SCHOOL CHILDREN // Modern problems of science and education. - 2015. - No. 5.;
URL: http://science-education.ru/ru/article/view?id=21736 (date of access: 01/05/2020). We bring to your attention the journals published by the publishing house "Academy of Natural History"

Introduction. 3

Chapter 1. The concept of creativity. 6

Chapter 2. Technologies for the development of creative potential. nine

2.2. Features of adolescence. eleven

Chapter 3. Examples of technologies for developing creative potential. 12

Conclusion. fourteen

References: 15

Introduction

The development of the creative potential of children and adolescents is a new problem for pedagogy and psychology within the framework of modern society and especially for Russia.

In the past, in our country, due to the long rule of one party and the idealization of the totalitarian regime, children were brought up as performers, people who were subordinate to the system, thinking the way the state wanted. For almost a century, the Soviet government purposefully carried out the implementation of tasks aimed at educating a disciplined personality, starting from early childhood. The consequences of this policy were entire generations of young people with a poorly developed emotional and volitional sphere, a low level of aspirations and intelligence, poor imagination and lack of creative abilities.

During the crisis of the 1990s and the transition to market economy young people were not able to act mobile in a new environment, due to difficult socio-economic conditions of life, there was a surge of negative phenomena, such as drug addiction, alcoholism and others.

The Russian government revised the previously existing life goals and tasks of shaping the way of life of the nation, set a new task for society related to the need to develop the creative potential of the personality of youth and children from an early age, since youth and children are the future of the country.

In accordance with the Federal Law "On the State Youth Policy in the Russian Federation", state support for the creative activity of young people is one of the main directions of the state youth policy in the Russian Federation, since in the modern dynamic world high demands are made on human activity in various spheres of society. A specialist needs to have a high creative potential to successfully solve non-traditional problems.

Also, the development of creative abilities is one of the urgent tasks of education, since they manifest themselves in the willingness to use new perspectives provided by a constantly changing life, to put forward unique and non-standard ideas and satisfaction of the need for self-realization.

Over the past decade, a number of works have appeared that explore the problems of developing the creative potential of students in modern conditions: psychological foundations of the process of development of creative potential (E.L. Yakovleva); the formation of the creative potential of the individual in the system of higher education from the standpoint of philosophy (P.F. Kravchuk) and in the aspect of readiness to form the creative potential of students (L.K. Veretennikova, A.I. Sannikova).

Despite the fact that every year there are more and more articles devoted to the development of creative potential, there is no systematic study of this problem, since it began to be actively studied relatively recently, about a decade ago in connection with the modern socio-economic reforms of Russian society, mentioned higher.

The practical interest of our study is the study of the motivation for creative activity, methods, technologies and platforms for developing the creative abilities of adolescents. While the relevance of the problem we raise is based on the fact that, for all its importance, it remains practically unexplored in terms of new methods of work and the volume of ongoing activities. This problem is not given sufficient attention, which determines the theoretical significance of this research work.

aim This work is a study of existing technologies for the development of the creative potential of adolescents.

Tasks:

1) Explore the concept of creativity.

2) Explore psychological, pedagogical and social literature on the topic of developing creativity.

3) Separate the terms "technology", "method" and "method"

4) Explore the psychological characteristics of adolescents

5) To study the concept of technology using specific examples of projects and events

Object of study: human creative potential.

Subject of study: technologies for developing the creative potential of adolescents.

Methods:

Document analysis

Theoretical analysis of scientific literature

Interpretation of results from other studies

Study structure: The course work includes an introduction, 3 chapters and 2 subparagraphs in one of them, in which the assigned research tasks are solved, a conclusion, a list of sources and references.

Chapter 1. The concept of creativity

First of all, in order to explore technologies that affect the development of creativity, it is necessary to decide what we mean when we use the very concept of "creativity".

It is fair to note that the concept of "creativity" can be used in the context of not only one area of human life. Scientists in various fields of science have been studying this phenomenon since the 1960s. Then the term was considered within the framework of philosophical and psychological sciences. And in pedagogy, the study of creativity began only in the 80s.

It is rather difficult to give one definition of such a concept as creativity. It does not have an unambiguous interpretation, and it has its own interpretation depending on the approach in which it is studied.

So, for example, from the point of view of the developmental approach, researchers define creativity as “a set of real opportunities, skills and abilities, a certain level of their development” (O.S. Anisimov, V.V. Davydov, G.L. Pikhtovnikov, etc.). At the same time, within the framework of the activity-organizational approach, this phenomenon is considered as “a quality that characterizes the measure of an individual’s ability to carry out creative activities” (I.O. Martynyuk, V.G. Ryndak)

Within the framework of the integrative approach, researchers define creativity as “a gift that everyone has, as an integrative personal characteristic of a person, which is a systemic formation that expresses a person’s attitude to creativity (positions, attitude, focus)” (A.M. Matyushkin)

T.G. Brajet defines creativity as “the sum of a system of knowledge, skills and beliefs on the basis of which activity is built and regulated; a developed sense of the new, a person's openness to everything new; a high degree of development of thinking, its flexibility, and originality, the ability to quickly change methods of action in accordance with the new conditions of activity. And L. A. Darinskaya, in turn, describes creativity as “a complex integral concept that includes natural-genetic, social-personal and logical components, which together represent the knowledge, skills, abilities and aspirations of the individual to transform in various fields activities within the framework of universal norms of morality and morality.

Based on the foregoing, it can be concluded that the this moment there is no consensus on the content of the concept of creativity. However, most researchers of this problem agree on one thing: every person, without exception, has the ability for creative activity.

We will use the definition in a narrower sense as a working definition. Creativity is the energy that can contribute to the development of natural creative abilities, personal qualities and properties of a person, and lead to a comprehensive embodiment of a person's capabilities.

Very often, in the conditions of modern society, we are faced with the fact that most people confuse such concepts as inclinations, abilities, talent, giftedness, genius, creativity, inclination and creativity, believing that all these terms are synonymous and use them in their speech, without thinking about the real meaning. But this opinion is wrong. Each definition differs from each other in one way or another.

Let's start with one of the most important definitions. So B.M. Teplov believed that “inclinations are congenital anatomical and physiological features nervous system, the brain, which constitute the natural basis for the development of abilities. That is, the makings here are the very first, initial level of the formation of creative potential, which in turn consists of many components. The next stage in the development of inclinations is abilities.

A.V. Petrovsky in his textbook on general psychology gave the following definition of ability: “Abilities are such psychological characteristics of a person on which the success of acquiring knowledge, skills, skills depends, but which themselves cannot be reduced to the presence of this knowledge, skills and abilities.” If we compare abilities and inclinations, then we can easily come to the conclusion that if inclinations are innate physiological characteristics of a person, then abilities are features at the psychological level. When we talk about a person's abilities, we mean his capabilities in a particular activity, and not already developed skills in a skill. Abilities cannot exist by themselves, they exist only in a constant process of development. An ability that is not developed will eventually be lost. In addition to abilities, there are several more terms that are confused with each other. This is "talent" and "giftedness". There are many different points of view on whether the terms "talent" and "giftedness" can be considered synonymous.

The term "giftedness" appeared only at the beginning of the 20th century. Since “talent” was used before, it became necessary to clarify the similarities and differences between the concepts. There are scientists who consider talent to be realized giftedness, and giftedness to be only a natural prerequisite for talent. For example, A.V. Libin, who said that "all people are naturally gifted, but only those who have special abilities and manage to realize them are talented." But there is also an opposite point of view, which claims that “giftedness” and “talent” are actually synonyms, denoting a set of abilities that develop in the course of a person’s life.

We will adhere to the version that the concepts of "talent" and "giftedness" differ in meaning. When we talk about ability, we emphasize the ability of a person to do something, and, speaking of talent, giftedness, we point to the innate nature of this quality of a person. So, if giftedness is an innate, genetically inherent human quality for the manifestation of any abilities; then talent is the same qualities, but only with the difference that a person has already shown them during his life. In this case, "inclinations" and "giftedness" can be considered synonyms.

And the last highest level of talent development, which creates the possibility of achievement in any area, is considered to be genius. One of the characteristics of genius is originality. We call those creations ingenious, which are distinguished by uniqueness, individuality, novelty and a fresh look. A genius is a person who can do differently and better than his contemporaries, but this is not always perceived positively, since this is an exception, and society is afraid of exceptions and tries to eradicate them. The difference between genius and talent is that the manifestations of genius are more unconscious, sudden, uncontrollable, spontaneous and unpredictable.

The assessment of genius depends on external factors, on its perception by the surrounding society. Discoveries usually happen by accident. A significant role is played by the era in which a person lives and the depth of knowledge of mankind in the area under study. Therefore, genius is not a physical or psychological factor, it cannot be measured, since it depends mainly on social factors.

Analyzing all of the above, I chose the concept of creativity, because it is much broader than other terms related to creativity and depends not only on one physiological or psychological factor, but on the combination of both.

At the beginning of the 20th century, “creativity” became a strictly scientific subject of research (P.K. Engelmeyer). Then a surge of activity in the study of certain aspects of the development of the creative potential of the individual is noted in the 60-80s. in philosophy (S.R. Evinzon, M.S. Kagan, E.V. Kolesnikova, P.F. Koravchuk, I.O. Martynyuk and others), as well as in psychology (L.B. Bogoyavlenskaya, L. B. Ermolaeva-Tomina, Y. N. Kulyutkin, A. M. Matyushkin, Y. A. Ponomarev, G. S. Sukhobskaya, etc.) (Yatskova, 2012).

In pedagogy, an active study of this phenomenon began in the 80-90s. (T.G. Brazhe, L.A. Darinskaya, I.V. Volkov, E.A. Glukhovskaya, O.L. Kalinina, V.V. Korobkova, N.E. Mazhar, A.I. Sannikova, and etc.). The creative potential of a person, as noted by O.Yu. Yatskova, was one of the key pedagogical concepts for understanding the personality as a systemic integrity in connection with its development and the most complete realization of internal essential forces [Yatskova, 2012].

The category “potential” is one of the general scientific concepts and is characterized as mental capabilities, inclinations, abilities, qualities, inclinations, energy, productive forces, the need to know oneself (I. Kant, G. Hegel, N. A. Berdyaev, M. K. . Mamardashvilli and others). This concept in the studies of K. Rogers, A. Maslow, E. Fromm correlates with the processes of actualization, implementation, deployment, reproduction, disclosure, embodiment, ascent to oneself, the desire to "go beyond", the accumulation of social experience, self-creation, self-expression, self-affirmation, self-realization and development [Yatskova, 2012].

As I.M. Yarushin, the concept of “potential” implies such properties and possibilities of a person that can be realized and become a reality only under certain conditions. But the potential also acts as a result of development, as well as a complex systemic formation that contains new driving forces for further development [Yarushina, p.12].

Creativity is understood as a variety of psychological phenomena: the process of creating new material and spiritual values (E.L. Yakovleva, E. Torrance, N. Rogers), the spiritual state of a person (V.D. Shadrikov), interaction leading to development (I .A. Ponomarev), the creation of something unique (D. Morgan), an element of any labor process (T.N. Balobanova, T. Edison), intellectual activity (D.B. Bogoyavlenskaya).

According to E.A. Yakovleva, creativity is the process of revealing one's own individuality. Creativity is inseparable from the individuality of a person, it appears as a realization by the personality of its universality [Yakovleva, p.10].

An analysis of the literature showed that there are many points of view on the essence of creativity. With all the variety of definitions of creativity, its overall characteristic is that creativity is the ability to create something new, original.

As I.M. Yarushin, the meaning of human existence comes down to the realization of this desire, in self-expression as finding oneself. Creativity, the ability to create is a generic quality of a person, i.e. inherent in everyone, but can be developed to varying degrees [Yarushina, 2007].

Being a rather complex formation, the creative potential of the individual does not have an unambiguous interpretation, a generally accepted definition. So, from the point of view of the axiological approach (M.S. Kagan, A.V. Kiryakova, etc.), creativity is understood as a repertoire of acquired and independently developed skills and abilities, as an ability to act and a measure of their implementation in a certain field of activity and communication [Yarushina, 2007].

The authors of the ontological approach (M.V. Koposova, V.N. Nikolko and others) consider creativity as a characteristic property of an individual that determines the measure of his capabilities in creative self-realization and self-realization. M.V. Koposova considers creativity as "a characteristic property of an individual that determines the measure of opportunities in creative self-realization and self-realization" [Koposova, 2007].

This phenomenon is recognized as the most important generative factor of mankind, a way of actualizing the creative essence of a single person.

From the point of view of the developing approach (O.S. Anisimov, V.V. Davydov, G.L. Pikhtovnikov), the creative potential of a person is defined as a set of real opportunities, skills and abilities, a certain level of their development.

Within the framework of the activity-organizational approach (G.S. Altshuller, I.O. Martynyuk, V.G. Ryndak), this phenomenon is considered as a quality that characterizes the degree of a person’s ability to carry out creative activities.

V.G. Ryndak defines creative potential as “a system of personal abilities that allow optimally changing methods of action in accordance with new conditions, and knowledge, skills, beliefs that determine the results of activity and encourage a person to creative self-realization and self-development” [Ryndak, 2008].

In the works of D.B. Bogoyavlenskaya, A.V. Brushlinsky, Ya.A. Ponomarev and others, an ability approach is presented that allows one to identify creativity with the creative abilities of a person and consider it as an intellectual and creative prerequisite for creative activity. In the works of D.B. Bogoyavlenskaya emphasizes that an indicator of creativity is intellectual activity, which combines two components: cognitive (general mental abilities) and motivational [Bogoyavlenskaya, 2003].

In the interpretation of Ya.A. Ponomarev's creativity is seen as "interaction leading to development". The researcher notes that “only a person with a developed inner plan actions, which allows him to assimilate in the right way the amount of special knowledge of a particular field of activity necessary for its further development, as well as to claim personal qualities, without which genuine creativity is not possible” [Ponomarev, 2006].

T.A. Salomatov, V.N. Markov and Yu.V. Sinyagin consider the creative potential of the individual from the standpoint of the resource approach. Researchers emphasize that potential, being a resource indicator, is constantly consumed, renewed in the course of the subject's life, realized in relationship with the outside world, and is also a systemic quality [Salomatova, 2009].

According to the supporters of the energy approach (N.V. Kuzmina, L.N. Stolovich), creativity is identified with the psychoenergetic resources and reserves of the individual, which are expressed in the extraordinary intensity of spiritual life and can be discharged in other activities [Kuzmina, 2006].

P.F. Kravchuk, A.M. Matyushkin's creative potential of the individual is studied from the standpoint of an integrative approach. Researchers define integrativity as its characteristic property, and characterize creativity as a gift that everyone has. At the same time, an integrative personal characteristic acts as a systemic dynamic formation, which reflects the measure of the possibilities of actualizing its essential creative forces in real transformative practice; expresses a person's attitude to creativity (positions, attitudes, orientation [Kravchuk, 2009].

T.G. Braje defines creativity as the sum of a system of knowledge, skills and beliefs on the basis of which activities are built and regulated; a developed sense of the new, a person's openness to everything new; a high degree of development of thinking, its flexibility, non-stereotyping and originality, the ability to quickly change methods of action in accordance with new conditions of activity. And the development of creative potential as a whole consists in finding ways to develop each of the components and ways of their interrelationships [Brage, 2006].

N. V. Novikova defines creative potential as “a set of internal capabilities, needs, values and appropriated means for a person to achieve such states of consciousness, which are expressed in the person’s readiness for creative self-realization and self-development; in the realization by the individual of his own individuality” [Novikova, 2011].

IN AND. Maslova defines the creative potential of an individual as a systemic characteristic (or system of properties) of an individual, which gives him the opportunity to create, create, find something new, make decisions and act in an original and non-standard way [Maslova, 2003].

An analysis of the philosophical and psychological literature shows that up to the present time there is no unity in the definition and content of the concept of "creativity".

In general, it can be concluded that the creative potential of the individual is an integral integrity of the natural and social forces of a person, providing his subjective need for creative self-realization and self-development.

From the point of view of Yu.N. Kulyutkin, the creative potential of an individual, which determines the effectiveness of his activity in a changing world, is characterized not only by the value-semantic structures that have developed in a person, the conceptual apparatus of thinking or methods of solving problems, but also by a certain general psychological base that determines them [Kulyutkin, 2006].

According to Yu.N. Kulyutkin, such a base (such a development potential) is a systemic formation of a personality, which is characterized by motivational, intellectual and psychophysiological reserves of development, namely:

- the wealth of the needs and interests of the individual, its focus on more and more complete self-realization in various areas of work, knowledge and communication;

- the level of development of intellectual abilities that allow a person to effectively solve new life and professional problems for him, especially of a global nature, that is: to be open to the new; to realistically approach emerging problems, to see them in all their complexity, inconsistency and diversity; have a broad and flexible mindset, see alternative solutions and overcome existing stereotypes; critically analyze experience, be able to draw lessons from the past;

– high working capacity of a person, his physical strength and energy, the level of development of his psychophysiological capabilities [Kulyutkin, 2006].

The structural and content plan of the creative potential, according to the researcher, reflects the complex of the abilities of the intellect, the complex of the properties of creativity, the complex of personal manifestations, but is not limited to them. The probability of manifestation of creative potential depends on the personal desire of a person to fully realize their capabilities, on the degree of their inner freedom; from the formulation of social feeling (effectiveness, creativity) [Kulyutkin, 2006].

Creativity contributes to bringing the individual to a new level of life - creative, transforming the social essence, when the individual realizes, expresses himself not only in the order of resolving the situation, responding to its requirements, but also in the order of a counter, opposing, transforming the situation and life itself decisions.

As I.M. Yarushina, when they talk about creativity in childhood, they most often mean the disclosure of the creative potential of the personality of a growing person in the process of education and upbringing [Yarushina, 2007].

Developing in the process of activity and being stimulated by its leading motives, creativity characterizes the measure of an individual's capabilities and manifests itself as the ability to productively change and create a subjectively new product, thereby determining the creative style of the activity itself. Therefore, the goal of developing the creative potential of an individual is to create the prerequisites for its creative self-realization [Yarushina, 2007].

As an initial factor in the accumulation and realization of the creative potential of V.I. Maslova highlights motivational readiness for creativity. If the role of the genotype in the formation of general intellectual ability is great, then the environment and motivation become the determining conditions in the development of creative potential (E.A. Golubeva, V.N. Druzhinin, V.I. Kochubey, A. Maslow). The most general characteristic and structural component of the child's creative potential are cognitive needs, the dominant cognitive motivation. It is expressed in the search activity of the child, manifested in increased sensitivity and selectivity to the new and unusual [Maslova, 2003].

According to V.I. Maslov's creative potential includes the following structural components:

- the motivational component expresses the level and originality of the interests and hobbies of the child, the interest and activity of his participation in creative activity, the dominant role of cognitive motivation;

- the intellectual component is expressed in originality, flexibility, adaptability, fluency and efficiency of thinking; ease of association; in the level of development of creative imagination and in the use of its techniques; in the level of development of special abilities;

- the emotional component characterizes emotional attitude the child to the process and result of creative activity, emotional attitude to it, emotional-figurative characteristics of the psyche;

- the volitional component characterizes the child's ability to the necessary self-regulation and self-control; qualities of Attention; independence; ability for volitional tension, striving for the goal of creative activity, the child's exactingness to the result of his own creativity [Maslova, 2003].

As V.I. Maslov, these components of creative potential are mutually interconnected and with its integral structure. Thus, providing conditions for the formation of interests will contribute to the development of the emotional sphere (K.E. Izard, A. Maslow, J. Singer, etc.); directed formation of the emotional-figurative sphere - the development of intelligence and motivation; the inclusion of an intuitive search and an associative process - the development of emotional and intellectual spheres; creation of intensive and long-term motivation for the development of all spheres; the formation of a critical attitude and aspirations to improve the products of creative activity - the development of the volitional sphere [Maslova, 2003].

An analysis of the psychological and pedagogical literature allows us to conclude that in order to develop creative potential, it is necessary to ensure the transition of the totality of creative abilities and mental neoplasms of preschoolers from a potential state to an actual one, from a state of possibility to an actual one, which as a result will encourage children to manifest and develop creative individuality.

Thus, the following conclusion can be drawn. As the analysis showed, there are the following approaches to the concept of "creativity": axiological, ontological, developing, activity-organizational, energy, ability, resource, integrative. The conducted theoretical analysis allows us to consider the creative potential of a person as a general personal ability of a person to create something new, which is expressed in the following features: personal (emotional stability, adequate or high self-esteem, focus on success, independence, self-confidence, motivation for creative self-expression); cognitive (curiosity, fluency, flexibility, originality of thinking); communicative (empathy, developed ability to interact).

Similar information.

Since it is up to a person to solve inventive problems, G. S. Altshuller developed not only an algorithm and methodology that contribute to this, but also paid due attention in TRIZ to issues of improving creativity abilities.

The development of creative potential, imagination and creativity of an individual and a team is a separate area that is studied within the framework of the Theory of Inventive Problem Solving. In general, this problem is considered by our site in a separate training "Creative Thinking". This lesson describes only TRIZ technologies for developing the creative potential of an individual, groups, children, students and teachers.

TRIZ Pedagogy

G. S. Altshuller called for "teaching creativity." He saw the task of TRIZ pedagogy not only in teaching a narrow circle of specialists who need it in the first place, but also in creating a new pedagogical concept. According to her, starting from kindergarten, it is necessary to educate a creative personality capable of solving complex inventive problems in the future. Modern goals of TRIZ pedagogy are more specific:

Development of the need for knowledge of the world around;
Formation of systemic dialectical thinking;
Education of the qualities of a creative personality based on the theory of development of a creative personality (TRTL);
Facilitating the development of skills for independently obtaining information and working with it.

At the same time, it is obvious that the general concept of the development of creativity and education of a person prepared for solving open (creative, heuristic, life) tasks is preserved.

As a scientific direction of TRIZ, pedagogy was formed in the late 80s. of the last century, but methodological searches and development continue to this day. If we talk about the start of the direction, then it was given by G. S. Altshuller's fantastic story "The Third Millennium", which presents how education will be conducted in the near future. We gave a thesis presentation of the principles contained in this work when we talked about the areas of TRIZ application.

Initially, TRIZ pedagogy completely depended on the needs of teaching the theory itself. But over time, it emerged as an independent area, which today is one of the most developing. Since 1998, conferences dedicated to TRIZ pedagogy have been held annually in Chelyabinsk, where the latest developments in the industry are presented, and teachers and everyone who is interested share their experience. A printed collection "Pedagogy + TRIZ" was published, later materials began to be published on specialized sites on the Internet. Today, to help teachers and everyone who wants to learn TRIZ, special materials have been collected, organized as card indexes and collections of problems. Everyone can apply them in their practice, since the range of topics varies from physics to art.

The integration of TRIZ methods into the educational process most often goes by combining with classical methods. In some educational institutions, the development of creative imagination (CTI) is taught to children of preschool and primary school age as a separate subject. TRIZ methods and algorithms are studied by older students as optional courses. In general, if we talk about the education of a creative person based on TRIZ, we can distinguish 2 areas:

The theory of creative personality development (TRTL) was developed by G. S. Altshuller and I. M. Vertkin. Includes an analysis of the basic concepts of the development of a creative personality, the development of a life strategy (ZhSTL-3) and an ideal creative strategy (“maximum upward movement”), as well as a set of practical materials (business games, problem books, file cabinets) for educating the qualities necessary for a creative person .
The theory of the development of creative teams was developed by B. Zlotin, A. Zusman and L. Kaplan. They identified the stages and cycles of development of creative teams, the patterns of their functioning, the mechanisms of inhibition and development of teams, and on the basis of this they identified the principles for preventing stagnation in the team.

Methods for developing creative imagination

“My second specialty is a science fiction writer. Perhaps this circumstance helped once "swing" at the development of the RTV course. In 1966, at the Institute of Mathematics of the Siberian Branch of the USSR Academy of Sciences, G. S. Altshuller, acquainting listeners with TRIZ, for the first time included a short course on the development of creative imagination in the seminar. 20 years later, at a seminar in Novosibirsk, a third of the time was devoted to this topic.

Together with Altshuller, P. Amnuel, a physicist and science fiction writer, worked on RTV. It all started, as in the case of TRIZ, with the identification of patterns in science fiction ideas. In particular, it was noted that the development of SF ideas is subject to objectively existing laws; you can identify these laws and use them to consciously generate new ideas. This served as the basis for the further development of the theme of the development of the imagination of the inventor.

Further work, the discovery of other methods and techniques significantly diversified RTV and it took an important place in the TRIZ system. Genrikh Saulovich wrote: “The role and significance of the RTV course in teaching technical creativity can be explained by a simple analogy: the RTV course is like gymnastics for an athlete. With any sports specialization, gymnastics is absolutely necessary for all athletes. In the same way, the solution of any creative problems - scientific, technical, artistic, organizational - largely depends on the ability to "work with fantasy".

Today, methods for the development of creative imagination, as a set of techniques and special methods of fantasizing, are designed to reduce the psychological inertia that occurs when solving creative problems. The main ones are:

Using Science Fiction Literature (SFL) to Develop Creative Imagination. Predictive functions of science fiction literature;
PBC operator (parametric operator);
Modeling method "little men" (MMP);
Fantograms;
Goldfish method (method of decomposition and synthesis of fantastic ideas);
Step design;
association method;
Trend method;
Method of hidden object properties;
View from the outside;
Changing the value system;
situational tasks;
Fantasizing techniques (techniques for generating fantastic ideas);
SF-ideas evaluation scale "Fantasy-2";
The system of exercises for the development of creative imagination (RTV).

Let's take a closer look at some of these methods.

Focal object method(MFO) - transferring the properties of one or more objects to another. Other definition of MFI is a method of searching for new ideas by attaching properties or features of random objects to the original object. Designed by Professor E. Kunze of the University of Berlin, and modernized by the American C. Whiting. The essence of the method is to transfer the features of randomly selected objects to the object being improved, which lies in the focus of the transfer and is therefore called the focal one. The resulting modifications are developed by associations, which activates the associative thinking of the creator. Based on the obtained original solutions, the original object is improved. It is used in many areas: pedagogy, management, marketing, etc.

Algorithm of work on MFIs (according to N. Kozyreva):

4-5 random objects are selected (from a dictionary, a book…).
Lists of characteristic properties, functions and signs of random objects are compiled (5-6 interesting words each - adjectives, gerunds, verbs).
A focal object is chosen - the thought is focused on it.
The features of random objects are alternately attached to the focal object and recorded.
All resulting combinations develop through free associations.
The received options are evaluated and the most interesting and effective solutions are selected.

Despite the external simplicity and universality of the method, its weaknesses are unsuitability for solving challenging tasks and lack of clarity in the choice of criteria for evaluating the ideas received.

MMP technique(modeling by little men) - modeling of processes occurring in the natural and man-made world between substances. It is one of the methods for solving the simplest contradictions. Also known for its use in his practice by the British physicist J. Maxwell.

The method is based on the observation that the solution of many problems is easier if they are presented in the form of a model. This is the essence of MMP: the object under study is depicted as a set of interacting little men. Such a model retains the advantages of empathy (visibility, simplicity) and does not have its inherent disadvantages (the indivisibility of the human body). The technique of applying the method is reduced to the following operations:

It is necessary to select a part of the object that cannot fulfill the requirements of the task and present this part in the form of little men.
Divide the little men into groups acting (moving) according to the conditions of the task.
The resulting model must be considered and rebuilt so that conflicting actions are performed.

The theory of creative personality development

The method as a tool does not work by itself, it only helps a person to work. TRIZ offers the researcher a whole set of such tools, but how successfully it will be applied depends only on the properties and qualities of the inventor. In this matter, one cannot rely on natural talents, and even more so on chance. Therefore, within the framework of the theory of solving inventive problems, there is a separate section - the theory of the development of a creative personality (TRTL), the task of which is to prepare the creator himself.

TRTL was the last major work of G. S. Altshuller, written jointly with his student I. M. Vertkin. To formulate the theory, they analyzed a huge amount of information, having studied the biographies of a large number of famous figures. On the basis of this, ZhSTL was born - the life strategy of a creative person, because the authors were sure that it was necessary to work on improving their creative skills all their lives. ZhSTL-1 and ZhSTL-2, which appeared in 1985 and 1986, respectively, were incomplete, but the 1988 modification - ZhSTL-3 - can already be considered an independent theory.

ZhSTL-3 is revealed through the Game - a person striving for development is forced to play, to fight with opponents - external and internal factors. The strategy gives direction and describes the typical steps in this Game to win. The description of these steps, and there are 88 of them, is voluminous enough to be given in this lesson, so for anyone interested in the strategy for developing a creative person, we recommend reading the book How to Become a Genius. Life strategy of a creative person” on an external resource.

But let's dwell on 6 qualities necessary for a creative person. They were identified by I. M. Vertkin:

Worthy goal. Not achieved by others, significant, useful. Only the realization that your path is unique and will lead to something new pushes and motivates you to work in a given direction.
Plans. It is necessary to formulate a set of real work plans to achieve the goal and regularly monitor their implementation in order to understand how and why it will be achieved. We wrote about one of the options for drawing up such a plan earlier.
Working capacity. To achieve the goal and fulfill the plan, you need to work hard. Remember T. Edison, who slept for 4 hours, and devoted the rest of the time to work. Another excellent example is J. Verne, who, in addition to his works, left 30 thousand notebooks with encyclopedic notes as an epistolary heritage. Gathering scientific information was both his hobby and his writing aid. Not surprisingly, many of his fantastic ideas were later brought to life.
Problem solving technique. Every inventor has his own. Altshuller systematized the experience and proposed TRIZ, but even before him, many scientists successfully coped with contradictions.
The ability to take a hit. The most valuable skill that teaches you not to give up on the way to the goal. T. Ford until late at night worked on his first car after returning from work at the factory. The same T. Edison conducted about 10 thousand experiments until he received a working prototype of an electric light bulb.
Efficiency. If the previous qualities are present, then already at the intermediate stages a person should see the result. If it is not there, the concept needs to be reconsidered - it may be that the goal is chosen incorrectly, or the plan does not allow it to be achieved.

The theory of development of creative teams

The followers of Altshuller became interested in the development of not only a creative personality, but also associations of people - groups and collectives. In relation to them, a theory of the development of creative teams was developed. In the works that formed its basis, the concept of "scientific team" is most often encountered, although the authors - B. L. Zlotin and A. V. Zusman claim that they analyzed different teams - from the family to society.

The principles of the theory of the development of creative teams are described in detail in the books Fundamentals of the Theory of the Development of Teams and Solving Research Problems. Using the materials of the latter, we will only briefly analyze some important points.

Research teams go through certain stages of development:

Stage 1. The emergence of an idea. The development of any team comes from the creation of an idea, a discovery. Gradually, a small team of like-minded people gathers around the author, spurred on by enthusiasm. On the this stage the task facing the team is to convey their views to the scientific community and accept them. This process is not always easy, because new ideas can go against the already accepted ideas, and, as a result, hurt the interests of other, stronger teams. During such a period, the team rests on informal, personal connections and the authority of the leader.

Stage 2. Recognition. When the idea receives official recognition and support from society, the second stage of the development of the team begins. A formal structure is being created - a laboratory, a department, a scientific association. There is an official leader and staffing. The work receives funding, and from that moment on, a powerful development factor is included - positive feedback; increase in funding - increase in the number of people - increase in returns - increase in funding, etc. Competition appears, the first factors of inhibition arise, associated with the difficulties of rapid mobilization of resources and training of people.

Stage 3. Slowdown of development. The team continues to grow, there are publications, reports are written, scientific products are issued, dissertations are defended, but all this requires more and more funds with more and more modest results. The development factor remained the same - the growing need of society, and the braking factor - the exhaustion of resources for the development of this theory, concept, paradigm. This is an objective phenomenon. The main contradiction of the third stage: the interests of the collective and society diverge, but, in contrast to the first stage, now the goals of society are progressive - it needs development, even at the cost of a complete reorganization or disbandment of this collective, and the goals of the collective are reactionary - it seeks to slow down development that is dangerous for itself.

Braking mechanisms

An analysis of the third stage in the development of collectives makes it possible to identify specific mechanisms of inhibition, which is very important because it can help in the fight against them. Here are some of them:

Cult of hierarchical pyramids. A scientist, a specialist from a free thinker turns into the bottom link of a multi-stage hierarchical pyramid.
Hierarchy stabilization. The introduction of "senior" honors. Long work experience in one place turns into best performance team member. The introduction of restrictions on the influx of young people, on the occupation of certain posts in the hierarchy by young people.
Delegation of authority "up". The right to make decisions is transferred from the natural level (the level where the problem arose) to one or two levels of the hierarchy upwards. This ensures the strengthening of the apparatus, but leads to its overload with minor problems that one leader cannot physically solve.
Creation of the illusion of the omnipotence of the apparatus. Many years of lies, artificial evaluative criteria create the illusion of success in all undertakings of the apparatus. A voluntaristic style of management is being developed, a disregard for the economy, a serious study of issues, and a search for alternative ways.
Punishability of the initiative. The punishment for a mistake becomes great, but for inaction they are not punished. Any action becomes much more dangerous than inaction, so it slows down. The methods of "non-decision making" are known: transferring to different services, red tape, etc.

Anti-braking mechanisms

Despite the unwillingness of the structure to change, history shows that sooner or later further evolution comes to replace stagnation. To overcome negative factors (braking), the following measures are taken:

Decision-making at the natural level - where the problem arose.
Disaggregation of departments to a level where each member of the team can see their contribution to the final result.
Compliance with the principle of payment based on performance.
Setting before the team a single large socially useful goal, with which the personal interests of each member of the team are linked.
Raising a sense of significance in each member of the team, creating an atmosphere of friendship and creativity.

This lesson presents theoretical aspects methods for the development of a creative personality, developed and organically integrated into the structure of TRIZ. To get a tangible result, you need to practice their application, in particular, solving open, creative problems. You can find links to relevant materials in the next lesson. Also useful for developing creativity skills will be the passage of a special training on our website.

Test your knowledge

If you want to test your knowledge on the topic of this lesson, you can take a short test consisting of several questions. Only 1 option can be correct for each question. After you select one of the options, the system automatically moves on to the next question. The points you receive are affected by the correctness of your answers and the time spent on passing. Please note that the questions are different each time, and the options are shuffled.

A.V. Lukanowska

The article focuses on the structural components of the creative potential of the individual. There are various interpretations of the phenomenon of creativity, its nature, basis, structure of the creative process, methods of developing creative abilities, etc. Recently, the search for ways and means of developing the creative potential of the individual has intensified.

Key words: creativity, creative activity, creative abilities, creative potential of the individual, structural components, psychological aspect.

The article focuses on the structural components of the creative potential of the individual. There are various interpretations of the phenomenon of creativity, its nature, foundation, structure of the creative process, methods for developing creative abilities, etc. Recently, the search for ways and means of developing the creative potential of the individual has intensified.

Key words: creativity, creative activity, creative abilities, creative potential of the individual, structural components, psychological aspect.

The problem of the creative development of the individual is acute in modern world. Every civilized country, or one that wants to be civilized, takes care of the creative potential of society in general and of each person in particular. All this together is connected with the level of general education, attention to the development of the creative potential of the individual, giving her the opportunity to show her abilities.

Today, creativity is proclaimed an integral part of any human activity. And the place of creativity in the structure of activity will increase in connection with the transformation of the human environment from natural to created, man-made. The urgent need to intensify creatively transformative activity in the new realities of social development has necessitated a deep scientific development of the problem of creativity. As a result, the problem of creativity, the problem of man as a creator, the problem of human life as a creative ascent to one's own "I" are among the most important in philosophy, psychology and pedagogy. The main attention is paid to the development of the creative potential of the individual. Scientists are looking for means to identify and develop the natural talents of each child, to help her realize herself, to make creativity an integral part of her activity. This is explained by the fact that creativity makes a person happy and useful to society.

In the 20-30s of the XX century. Creativity was studied mainly by psychologists and physiologists. From the second half of the 1950s to the present, the phenomenon of creativity has been developed at various levels. The works of G. Altshuller, D. Bogoyavlenskaya, I. Volkov, A. Shumilin and others are devoted to clarifying the essence of creativity and its mechanisms. G. Kostyuk dealt with questions of the psychology of creativity in his time. He carried out an analysis of abilities, their structure, with an emphasis on the importance of natural inclinations, which are successfully developed in the corresponding activity. Labor JI. Vygotsky, I. Volkov, A. Luka, O. Leontiev, V. Molyako, Ya. Ponomarev, V. Chudnovsky

Yurkevich and others reveal the ways and means of developing the creative abilities of the individual. The works of I. Semenov,

Stepanov, V. Molyako, V. Rybak. Sh. Amonashvili, D. Jola. B. Nikitin, V. Sukhomlinsky, V. Shatalov and others discovered the pedagogical conditions for the development of creative abilities, found out the features of the development of creative abilities of schoolchildren in various types activities. Problems of development of creative abilities of schoolchildren different ages the works of A. Andreichak, I. Bekh, D. Bogoyavlensky, A. Bodalev, M. Borishevsky, A. Vasilyeva, E. Golovakha, V. Davydov, A. Kirichuk, A. Kononko, A. Kronik, I. Kulaginoi, N. Leites, A. Luka, A. Matyushkin, V. Molyako, V. Rybaki, L. Fridman, M. Friesen, I. Yakimanskaya, E. Yakovleva and others. D. Dzhola and B. Shcherbo point to the importance of aesthetic education, the role of art in the development of the creative abilities of students of different age groups. A. Maslow, V. Molyako, V. Rybak, K. Rogers and others explore the dependence of a person's creative abilities on the social conditions of his dwelling. Side effects of attracting schoolchildren to creative activity (including the formation of their cognitive activity) are studied by K. Abulkhanova-Slavskaya, Yu. Babansky, V. Davydov, I. Rodak, P. Pidkasisty and others.

An analysis of the results of the studies performed allows us to state that the researchers managed to reveal the significance of figurative thinking in the creative process, to track its connection with verbal-conceptual thinking, to rethink the connections between thinking and speech, to show the role of the subconscious and intuition in creativity, to determine hypotheses, analogies, modeling in the creative search for problem solving, understand the relationship between formal and dialectical logic, show that dialectical logic is the logic of creativity, inventions and discoveries.

The versatility of creativity attracts attention, its various aspects are reflected in the concepts of creativity, creative possibilities, creative abilities, creative thinking, creative activity, creative attitude, creative activity, creative work, creative personality. For a long time, creativity was seen as the most fully expressed manifestation of the human spirit. At the same time, it was believed that this phenomenon does not lend itself to scientific analysis at all.

Creativity is often defined as an activity, the result of which is the creation of qualitatively new material and spiritual values. Together, creativity is the ability of a person to create a new reality from the existing material of reality on the basis of knowledge of the laws of the objective world. A body that satisfies a variety of social and personal needs.

Shumilin identifies the following signs of creativity.

Creativity is an activity that consists in the production of essentially new social values: methods of activity, material and spiritual products.

Originality - non-standard methods and means are used.

Creation of new useful combinations from elements of existing objects, methods, means by combining.

Organic connection with the knowledge of reality. Creating new values, a person relies on existing knowledge and at the same time expands it. The act of creativity is at the same time an act of knowledge. The two main ways of cognition are the disclosure of existing patterns due to the reflection of reality and in the process of transforming reality, in creativity.

Creativity is a form of development of society, environment, culture.

Creativity is supreme view activities, the form of development and the generic essence and sign of a person.

Creativity is characterized by the unity of the ideal and the material.

Molyako states that "in the psychological aspect, creativity should be understood as the process of creating, discovering something new, previously unknown to this particular subject" .

Within the framework of this approach, creativity is studied in two main aspects - procedural and personal. In the procedural aspect, the features of the transformation by the subject of the object of creativity, objective reality as a whole are determined. Therefore, the stages, stages, phases and results of the named transformation come to the fore. In the personal aspect, the main place is occupied by the qualities, abilities of the personality as a subject of creative activity, its needs, motives, interests, knowledge, skills, characterological properties, emotions, feelings, etc., as well as their development. Recently, the tendency of rapprochement, the combination of the procedural and personal aspects of the study of the problem of creativity, has become more and more pronounced. This is facilitated by the introduction of a systematic approach in scientific research.

It should be noted that the study of creativity actualized the rapid development of production in the late XIX - early XX centuries. As a consequence, there are studies of scientific and technical creativity; subsequently, individual aspects of organizational and artistic creativity are intensively studied.

Creativity at its different levels is available to everyone. In the understanding of creativity as an activity, it gives rise to a fundamentally new one, contains a statement about the absence of a creative principle in an ordinary person, which is available and is convexly represented in gifted individuals. From this position, K. Cox, K. Taylor, E. Rowe and others explore the characterological, emotional, motivational, communicative qualities of gifted individuals, as a result of which their generalized personality portrait is created. In contrast to the indicated JI. Vygotsky wrote that the highest manifestation of creativity is still available only to a few selected geniuses of mankind, but in everyday life that surrounds us, creativity is a necessary condition for existence, and everything that goes beyond the routine and which contains at least an iota of new, obligations "is linked by its origin to the creative process of man.

The internal source of creativity is the interaction of the qualities and properties of the individual, capable of realizing a particular creative act. This phenomenon is called creativity. Potential is a value that characterizes the potential energy of the subject of creativity. Creativity in philosophical terms is considered as a synthetic quality of the individual, characterizes the measure of P opportunities to set and solve new problems in the field of activity of social importance. It can be represented as a set of transformative-objective (skills, abilities, abilities), cognitive (intellectual abilities), axiological (value orientations), communicative (moral and psychological qualities), artistic (aesthetic abilities) possibilities. The mental characteristics of a person are considered in psychology as the consequences of a spontaneous process of deployment of hereditary development programs, and also as a result of the formation of the human psyche in certain cultural, social, historical conditions. Throughout the previous history of development, thanks to heredity, humanity has accumulated the necessary potential for creative activity.

The internal personal tendency to creative problem solving is called "creativity". From a psychological point of view, creativity is closely related to other traits in a holistic system of personality traits. Views on the nature of creativity are revealed in the works of S. Arieti, E. Chris, JI. Cuba. It was the subject of a special study in the studies of such scientists as Wallach, J. Gilford, X. Gruber, J. Davidson, V. Druzhinin, N. Kogan, V. Kozlenko, P. Kravchuk, JI. Lyakhova, S. Mednik, V. Molyako, G. Mooney, J. Odor, Ya. Ponomarev, P. Torrens, K. Torshina, D. Feldman, D. Harrington, A. Stein and others.

D. Bogoyavlenskaya considers intellectual activity to be the main indicator of creative potential. E. Yakovleva understands creativity as a personal characteristic, but not as a set personality traits but as a person's realization of his own individuality. Human individuality is inimitable and unique, so realization is a creative act (introducing something new into the world, moreover, non-existent). The characteristics of creativity, from her point of view, are objective (in the sense of the presence of a product, material or ideal), non-processual, because this is the process of revealing one's own individuality. The expression of one's own individuality is nothing but the expression of one's feelings, emotions. Smell, taste, tactile, sound, visual sensations are used to provide opportunities for emotional self-expression. Breaking patterns of emotional response provides an opportunity to develop your own, individual, unique repertoire of emotional response.

The structure of abilities, according to A. Melik-Pashayev, is not a combination of individual qualities, but the number of manifestations of "something united." The analysis shows that the views of this author are somewhat different from the concept of abilities professed by representatives of the scientific school of the activity approach: abilities not only manifest themselves in the process of activity, but also arise in it. Abilities are a condition for successful activity, at the same time they develop in the process of activity. Involvement in creative activity, in particular, determines the development of a person’s imagination, thinking, the ability to abandon the usual methods of solving problems, evaluate a phenomenon from several points of view at once, see more of what others see, quickly focus and switch attention, etc. .

In his study, I.S. Voloshchuk notes that the structural creative potential of the individual is determined by the main forms of manifestation of the human psyche, namely: cognitive and emotional-volitional processes, mental states, properties, etc. The above means the fact that the creative potential of the individual has a universal human nature.

Since creative ideas have an empirical basis, the creative potential of an individual, of course, is determined by his ability to reflect objects and phenomena of objective reality. At the same time, there is no scientific data that testifies to the connection between the creative potential of an individual and the characteristics of his sense organs. This is the basis for considering the latter as necessary condition mental activity and not single them out as a component of the creative potential of the individual. Together, intuition suggests that the creative abilities of the individual in a certain way must have depended on the specific processes of sensation. Indirect confirmation of what has been said are cases of significant creative abilities of individuals with unique characteristics of the processes of sensation at the expense of the loss of others.

Creativity potential is, of course, the ability of an individual to concentrate on an object of perception, which determines the strength with which its individual properties act on the senses, and the effectiveness of activation of temporary nerve connections.

One of the signs of an individual associated with his inherent features of perception, without which his work is not conceived, is observation. Observation is manifested in the ability to notice in the object of perception imperceptible, but significant details. It is they who allow us to see and formulate a problem that requires its solution. Observation is a basic quality of personality.

For effective creative activity, it is necessary to have the ability to optimally perceive objects and phenomena of the objective world. In the case of excessive breadth of the formulated problem, it is very difficult to find its solution. In the case of an excessively narrow problem, it actually does not exist as such, and the solution is more in the nature of an image of simple improvement than a qualitatively new approach.

The creative potential of an individual is also his ability to perceive objects and phenomena of the surrounding reality optimally and holistically. Perceiving this or that object, a person must see it as a whole and, at the same time, single out its components. Excessive integrity makes it difficult to see behind the whole its structural components. Insufficient integrity of perception, on the contrary, does not allow one to form a whole out of individual components and see in it something different from the sum of structural components.

It is known that not all details of an object or phenomenon are equally brightly reflected in the representation. Those that have significant significance for the individual appear in relief, those that do not have such significance are indistinct. The same properties of objects and phenomena in some cases may appear essential, in others - insignificant. Therefore, for effective operation with them and, ultimately, for creativity, it is important to perceive objects and phenomena of the objective world in the largest possible combination of their properties and represent them in situations in which various properties act as essential. This quality of the individual helps him to see objects and phenomena of the objective world from different angles of view, makes the idea of them dynamic and actually opens the way to using them in non-standard situations, when the non-essential properties of objects and phenomena become essential.

The leading place in the structure of the creative potential of the individual is occupied by the characteristics of the imagination. Creating a mental image, an individual uses previous experience, analyzes it, singles out structural elements in it, applies some of them, combining them according to his plan, or completely accidentally comes to create a new image. If an individual easily combines individual elements that are interconnected by a deep connection, then he has a rich imagination.

Since by-products of object action participate in the production of new ideas, the creative potential of the individual must necessarily be represented by his well-developed involuntary memory. In addition, for productive creativity, it is important that the memory is mobile and accurate.

Among the structural components of the creative potential of the individual, perhaps, the central place belongs to the qualities of thinking. J. Guilford assert?? that for creativity such features of thinking as speed, flexibility, originality and accuracy are of particular importance. E. Torrens is on the same positions. It is quite natural that a well-developed logical thinking is necessary for productive creative activity, since the creative process begins with the formulation of a problem situation: analysis of what is available, identification of imperfect, obsolete in it, advancement of the ultimate goal, discovery of a contradiction between the data of the situation and the ultimate goal. No less important in the structure of the creative potential of an individual is a well-developed intuitive thinking, since a new idea is the result of the intersection of two independent series, a leap of thought aimed at overcoming a psychological barrier is carried out at an intuitive level.

One of the prerequisites for creative thinking (without which it is impossible to solve a creative problem) is the ability of an individual to think independently. In order for an individual to be able to think independently, he must first of all possess such a trait of character. Yu as courage. After all, in order to find a creative solution to a problem, you need to question the existing solution. To find a problem, to formulate a problem, it is often necessary to challenge the authorities on the exhaustibility of their proposed systems or solutions to certain problems. Of course, courage must be developed as far as possible, since general criticism of the results of other people's work, rejection of the ideas of others has nothing to do with productive creativity. From the individual is required not only the ability to question the reliability or completeness of the results obtained by others, but also to offer their own effective solutions to this criticized. Therefore, the courage of criticism and doubt has to be supplemented by fear that one's own results will be better and more effective. As a result, smart balance, slightly shifted towards doubt, should characterize the creative potential of the individual.

Offering a solution to a creative problem, a person, as a rule, cannot foresee all the consequences arising from it. This is especially true of organizational technical creativity. In this case, one has to make risky decisions that can result in serious economic or social problems. If you do not offer innovative (partially risky) solutions, then there are more chances to avoid conflict situations, but non-risk steps, as a rule, are trivial, not much different from existing methods solutions to certain problems. This, of course, does not mean that any risky decisions can be justified. Risk must necessarily take place in creative activity, but the risk must be weighed, thought out. To make risky decisions, you must first predict the consequences of your actions. And yet, with a relative balance of willingness to take risks and the desire to accurately predict the consequences of the proposed solutions to certain problems, the former should prevail in the creative potential of the individual. And this is possible under the condition that an individual has such a character trait as courage.

Decisiveness is a valuable personality trait. Often the individual realizes that the method, device or process that he uses does not give the desired results, and therefore must be improved. Often he even has an idea for such an improvement, but the forces of inertia prevent him from taking on improvement, joining the creative process. Sometimes he is sure that he will bring the matter to its logical conclusion, will receive a positive result, and therefore does not dare to take up its implementation. Determination is needed to overcome the forces of inertia.

A person involved in innovative processes, due to objective circumstances, is constantly forced to defend his views, ideas, solutions to certain problems. Often such upholding is accompanied by a clash of interests, a conflict with representatives of other views on the same problems. As a rule, the forces are uneven, therefore it is always more difficult to introduce the new than to defend the old. So, from an individual who proposes new solutions to a problem, a certain courage is required in order to withstand, not to submit and defend his case, giving a start to life to his own decisions. Meanwhile, it may happen that ideas that seemed right, in time, in the process of discussion, turn out to be false. Then courage is needed again, but not in order to prove anything that one is right, but on the contrary, in order to abandon one's views.

An equally valuable feature in the structure of creative potential is perseverance in achieving the goal. Here we mean volitional efforts aimed at overcoming the difficulties that arise in the process of solving a creative problem. Perseverance helps to prove solutions Connect to their logical conclusion, not ziits from a distance halfway. The path to the heights of creative achievements is thorny and difficult. Often a scientist or artist encounters seemingly insurmountable difficulties on it. In such a situation, faith should come to the rescue that it is possible to reach the cherished distances, that the difficulties are temporary, that not the whole road is covered with them, that there will be minutes of rapid approach to the goal. It is impossible to convince yourself of this without being an optimist.

A valuable component of the creative potential of the individual is to give them the advantage of the complex over the simple, the desire to know the meaning, and not be limited to the form. This contributes to the individual obtaining non-traditional, non-standard solutions to creative problems, as well as the formulation of problems, the solutions of which potentially contain a significant leap forward, since the contradictions in the content are always fundamental?? And, than the contradictions in form, and the elimination of the first is always accompanied by more radical changes than the elimination of the rest. In the process of solving problems, a person is faced with the opportunity to turn off the non-standard path of developing his opinion and go on the knurled path. In order not to be tempted to such actions, the individual must have the desire to move away in the process of solving problems as far as possible from ordinary, trivial solutions, while at the same time showing his "I", the originality of his own thinking, in essence is the same preference for the complex over the simple. It must be remembered that the desire to move away from the ordinary as far as possible should not be an end in itself, but should serve as a condition for finding an original solution to a creative problem. The desire to be original in everything is as harmful as the unwillingness to stand out from others.

Complex tasks often require the mobilization of the creative forces of a whole group of scientists, engineers, economists, etc. The effectiveness of a collective search for a solution depends on many factors, the leading among which are the individual's adherence to principles in essentials and compromise in trifles. Where we are talking about principles, fundamentals, a fundamental difference in approaches, there you need to prove your case within reason until you convince your opponent, or you yourself are not convinced. But when it comes to partial, superficial, non-principled, an individual, for the sake of a general positive result, needs to be able to compromise, agree with the opponent, even without fully sharing his views. The optimal ratio of adherence to principles and compromise in the character of the individual helps him bypass competing factors in the process of independent work on the problem. This is especially true for technical and organizational creativity, when it is impossible to negate the negative impact of certain factors, and therefore something has to be eliminated, and something has to be put up with. The effectiveness of collective and individual creativity is largely affected by the impartial attitude of the individual to other people's views, thoughts, ideas, etc.

An active life position must find its place in the creative potential of the individual! modesty in assessing the results of their own work. People with an active lifestyle seek to master the forces of nature and use them for the benefit of mankind. Individuals who are characterized by the above modesty are aware of the meagerness of their own achievements in comparison with the huge size of unsolved and available problems for solution.

The purposefulness of the individual affects the results of creative activity. Each person, in order to achieve something in life, needs to set a certain goal for himself and, without changing it, gradually approach it. This requirement somewhat contradicts the guidelines for comprehensive development. Therefore, in order to achieve success in creativity, an individual has to optimally combine general and special knowledge and interests and, on this basis, purposefully achieve the goal in life.

Structurally, the individual's creative potential also appears to be a balanced demand for the results of his labor. History of science and technology, etc. replete with examples when the authors, having made a certain discovery or invention, were in no hurry to publish them. There are cases when the emotional result of the results obtained is so great that the author is unable to resist not to report them, additionally, NOT convinced of their authenticity. Both the first and second extremes are harmful.

An important feature of the character of a person is a passion for streamlining, systematizing existing knowledge and ideas. Looking for a logical connection between the individual elements, which consist of a certain structure, the individual often comes across elements that do not fit with all the others. In this case, empty spaces, unfilled cells may appear in the formed structures. The opening of such empty cells is a prerequisite for the emergence of a problem situation and the formulation of a problem or a creative task. At the same time, this character trait should not contradict tolerance for the temporary without order, chaos, and absurdity. On the example of the interaction of these features, their dialectical relationship is observed. First, the individual seeks to order the existing material, then it turns out that he ordered it not in order to be satisfied with it, but in order to come through order to a new disorder, and so on without end.

A. Melik-Pashayev is one of those researchers who attribute spirituality to the components of the creative potential, although in his interpretation it appears in the concept of "soul". A. Kirichuk considers spirituality as an important prerequisite for the creative self-realization of the individual, and not on an ideal, but on a real-practical level. The specified author considers spirituality not as an a priori existing substance, but as one that should be purposefully developed in a person. The spirit is considered by him as the immanent ability of a person to free action, deed, spirituality - as a systemic mental formation, a specific human trait, is represented by its value-semantic consciousness, in contrast to the conceptual-logical one; catharsis (in general terms) - true self-purification, aimed at separating the individual (personality) from the environment and its unlimited rise above this environment. Spiritual-cathartic activity is manifested at the creative-creative level of self-regulation of leisure-playing, physical-health-improving, artistic-figurative, object-pretending, educational-cognitive, social-communicative, socially useful, national-civil activity of the individual. A prerequisite for spiritually cathartic activity is a sufficiently developed "I" - the concept of "personality" - a system of ideas of a person about himself, on the basis of which he builds his relationship with the world and himself.

Realizing the complexity of the structure of the creative potential of an individual, some researchers still try to identify in it such qualities that, with their minimum quantity, would characterize creative intelligence as a whole. In one of the approaches, divergence of thinking is distinguished among the dominant features. Imagination is often distinguished among the leading personality traits. Often, a creative person is associated with an individual who is characterized by learning from past experience. Sometimes the level of creativity of an individual is judged on the basis of how he gets out of deadlocks with temporary setbacks. There are cases when the value, emotional-motivational and intellectual spheres are distinguished in the structure of creative potential. There are other approaches to revealing the structure of the individual's creative potential, but all of them, despite their value, have certain drawbacks, typical of which are their limitations, tearing out individual qualities from the integral structure of the personality.

Recently, the search for ways and means of developing the creative potential of the individual has intensified. This is explained by the fact that in the conditions of high-tech production without the proper creative potential, an individual, a social group or a people find themselves on the sidelines of civilizational processes. E. Yakovleva, in particular, developed a program for the creative development of the individual, tested on school-age students. The program consists of four blocks: 1) "I-I" (communication with myself), 2) "I am different" (communication with another)

"I am society" (communication with public institutions) 4) "I am the world" (how I explore this world). This program was developed taking into account the fact that the level of development of abilities is undoubtedly dependent on natural inclinations, characteristics of the nervous system; Another source of development of abilities is the social conditions of training and education of the individual.

So, we can conclude that the structural creative potential of the individual is determined by the main forms of manifestation of the human psyche, namely: cognitive and emotional-volitional processes, mental states, properties, etc. Creativity, no doubt, is determined by the ability of the individual to concentrate on the object of perception . One of the signs of an individual, without which his creativity is not conceived, is observation. For effective creative activity, it is necessary to have the ability to optimally perceive objects and phenomena of the objective world. Creativity is also determined by the ability to perceive objects and phenomena of the surrounding reality optimally and holistically. For creativity, it is important to have the ability to perceive objects and phenomena of the objective world in the largest possible combination of their properties and represent them in situations in which various properties act as essential. The leading place in the structure of the creative potential of the individual is occupied by the characteristics of the imagination. Since by-products of object action are involved in the production of new ideas, the creative potential of the individual must necessarily be represented by his well-developed involuntary memory, in addition, for productive creativity, it is important that the memory be mobile and accurate. Among the structural components of the creative potential of the individual, perhaps, the central place belongs to the qualities of thinking; of particular importance are such signs of thinking as speed, flexibility, originality and accuracy; it is natural that logical thinking is well developed for productive creative activity; no less important in the structure of the individual's creative potential is a well-developed intuitive thinking. One of the prerequisites for creative thinking is the ability of the individual to think independently. In order for an individual to be able to think independently, he must first of all possess such a character trait as courage. Decisiveness is a valuable personality trait. From the individual who proposes new solutions to the problem, a certain courage is required. In order not to get lost in an uncertain situation, the individual must be an optimist. An equally valuable feature in the structure of creative potential is perseverance in achieving the goal. A valuable component of the creative potential of the individual is to give them the advantage of the complex over the simple, the desire to know the meaning, and not be limited to the form. The effectiveness of a collective search for a solution to a problem depends on many factors, the leading among which is the individual's adherence to principles in essentials and compromise in trifles. The effectiveness of collective and individual creativity is largely affected by the impartial attitude of the individual to other people's views, thoughts, ideas, etc. In the creative potential of the individual, an active life position of the individual and his modesty in evaluating the results of his own work find their place. The purposefulness of the individual affects the results of creative activity. Structurally, the individual's creative potential also appears to be a balanced demand for the results of his labor. An important trait of a person's character is a passion for streamlining, systematizing existing knowledge and ideas; however, this character trait should not contradict the tolerance for temporary disorder, chaos, absurdity. The components of the creative potential of the individual include his spirituality.

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The emphasis on the structural components of personality creative potential is made in the article. Various interpretations of the phenomenon of creation, its nature, basis, structure of creative process, methods of development of creative capabilities take place and others like that. The searches of ways and facilities of development of personality creative potential activated lately.

Key words: creation, creative activity, creative capabilities, creative potential of personality, structural components, psychological aspect.