Nuolat besikeičiančiame pasaulyje visuomenei tenka atsakyti į naujus iššūkius, todėl gebėjimas veikti kūrybiškai ir siekti naujovių yra labai svarbus tiek asmens tobulėjimui, tiek socialiniam ir ekonominiam šalies vystymuisi. Kūrybingumas tampa labai aktualus žmogaus veiklos aspektas, kurį reikia skatinti ir ugdyti. Magistro darbo „Kūrybingumo ugdymas mokant fitodizaino“ tikslas ištirti suaugusiųjų kūrybingumo ugdymo galimybes mokant fitodizaino. Empirinio tyrimo uždaviniai: ištirti pedagogų ir mokinių nuomonę apie kūrybingumo ugdymo galimybę, mokant fitodizaino, išsiaiškinti ugdytinių kūrybingumo apraiškas bei atskleisti jų kūrybingumą, komponuojant kompozicijas. Tyrimas atliktas taikant anketinės apklausos, pokalbio bei ugdomosios veiklos stebėjimo metodus. Empirinis tyrimas atskleidė mokinių nuomonę, kad floristinių kompozicijų komponavimas lavina vaizduotę, sudaro sąlygas saviraiškai, moko rasti naujus sprendimo būdus. Pedagogai mano, kad mokant fitodizaino kūrybingumas ugdomas, nes ugdytiniai kurdami kompozicijas ieško naujovių bei originalumo, tobulėja kaip asmenybės, kurdami išreiškia savo jausmus. Mokinių nuomone, kūrybingumas atsiskleidžia, nes jie pastebi originalius darbus, apmąsto būsimą kompoziciją, kūrinio mintį ir nuotaiką perteikia kompozicijos raiškos ir harmonizavimo priemonėmis. Pedagogai pritaria, kad kūrybingumą ugdytiniai išreiškia kompozicijos raiškos ir harmonizavimo priemonėmis, taip pat įgytais gebėjimais, įgyta patirtimi bei medžiagomis. Tačiau... [toliau žr. visą tekstą] / In a changing world society has to react to new challenges, that is why, an ability to act creative and search for new possibilities is so important, not only for development of a human being but also for social and economical development of a country. Creativity is becoming a topical aspect of human being activity, and has to be encouraged and educed. Task of the master thesis “Creativity in education teaching phytodesign“ is to analyze the possibilities of creativity of adult people by teaching them phytodesign. Empiric problem of analysis: to investigate the opinion of teachers and students about the possibility to educate creativity by teaching phytodesign, to explore the outpouring of students’ creativity and to show their creativity in making compositions. The analysis was done by questioning, conversation and using methods of observation educational process. Empirical survey showed that students are of the opinion, that making of floristically compositions, exercises the imagination, makes the expression easy and teaches to find new ways out. According to teachers opinion, creativity is developing, because students are looking for new possibilities and original ways of expression while learning phytodesign, they improve like personalities, because by creating something new, they are expressing their own feelings. Students come to a conclusion, that creativity opens, because they see original compositions, they ponder about their own composition and convey its‘mind... [to full text]

This thesis explores children's and teachers' perspectives on creativity, and its implementation, within one primary school classroom in Scotland. The data collection phase of the research employed an ethnographic approach, involving four and a half months of fieldwork in the primary school classroom. Data were generated from participant observation/informal conversations with children and teachers and one round of semi-structured interviews with twenty-five children (aged eleven to twelve) and two teachers. Creativity within primary education has been mainly studied through psychological research, which is mainly based on theories of developmental psychology. Such theories view creativity solely as an individual trait. Despite recognition of the importance of sociocultural issues to the flourishing of children's creativity, the study of their collaborative creativity has been neglected - particularly in relation to socio-cultural power dynamics. This thesis specifically analyses the balance between individual and collective creativity in the primary classroom, examines how collaborative creativity can acknowledge childhood diversity, and poses questions about how we include children with differing and complex identities in creative processes. Furthermore, this research has been carried out in Scotland, within the context of a fairly new curriculum, the Curriculum for Excellence. This curriculum has been viewed by some as a progressive, modern and motivating curriculum that enables children's autonomy, and by others as one that has been highly influenced by accountability and performativity regimes, which leave limited space for children's and teachers' autonomy. This thesis examines how the Curriculum for Excellence is interpreted in everyday practice and the extent to which it enables the cultivation of children's creativity. The thesis does so by shedding light on the practical interconnections between children's and teachers' agency, structural enablers/barriers, and cultural processes. The findings of this study show that children perceive, perform and embody creativity not only as an individual trait, but also as a collaborative process. However, the findings also show that collaborative creativity entails many complexities and that cultural barriers to creativity may emerge when power among people (children and teachers) operates in ways that create cultures of exclusion. The thesis concludes that the multiple identities of the Curriculum for Excellence, its multiple interpretations, and lack of coherence regarding what is expected of teachers, leads to a blurred landscape of implementation. The thesis argues that lack of a clear plan, strategy and framework for enabling creativity inhibits the founding principles of the Curriculum for Excellence from being achieved. The thesis also argues that environmental and structural barriers within the research setting inhibit the flourishing of children's creativity, but that the structural barriers can sometimes be overcome through the construction of enabling cultures. The thesis is able to define enabling cultures as cultures that value diversity, promote inclusion, and view space not as static, but as a dynamic process. In so doing, the findings of this study emphasise the interconnected importance of: viewing creativity as an individual trait; perceiving creativity as a collaborative process; and thinking in spatial terms, for example, in ways that create the space for children to perceive, perform and embody creativity in their diverse, but equally valuable ways. This finding enables this study to argue that there is a need for future policies and curricula which promote and encourage greater flexibility in teaching and learning practices, in order to enhance children's and teachers' agency and thus allow them to collaboratively create the types of enabling environments, originally envisaged by the Curriculum for Excellence, that will allow children's creativity to flourish.

Creativity has been included in student learning and model teaching standards with little systematic attention on the preparedness of current practitioners to implement such expectations. This qualitative case study is conducted to discover what knowledge and skills teachers perceived to be necessary to implement practices that foster and develop student creativity with a strong sense of self-efficacy. A purposeful sample of 58 teachers from 4 Arkansas A+ (ARA+) network schools shared their perceptions of how creativity-fostering professional development (PD) influenced their sense of self-efficacy to foster creativity and answer the research questions. Data were collected using questionnaires, individual interviews, and focus groups and analyzed through comparative analysis of open-ended responses. Findings showed that teachers who reported attending ARA+ PD had a positive influence on their sense of self-efficacy to foster creativity through shared applicable ideas and permissible risk taking. Establishing infrastructure for the creative process was determined to be the most salient knowledge and an increase in flexible thinking was the most salient skill. Conclusions drawn from teachers' experiences could provide an opportunity for positive social change through insightful recommendations. Creativity-fostering strategies, such as brainstorming procedures, were recommended for both professional interactions and for classroom instruction. Conclusions and proposed recommendations promote a deeper understanding of how efficacious beliefs towards creativity integration among practitioners could improve systematic efforts to address the imperative call for teachers to develop creativity skills within students.

The problem of this study is to analyze some of the effects of selected ESEA, Title III, PACE projects on the educational processes in Texas.

Submitted by SBI Biblioteca Digital (sbi.bibliotecadigital@puc-campinas.edu.br) on 2018-06-04T12:29:36Z No. of bitstreams: 1 ROSSILENE MILHOMEM JARDIM COSTA.pdf: 1949139 bytes, checksum: 009b6742959cc303cdcc117998f11d29 (MD5) / Made available in DSpace on 2018-06-04T12:29:37Z (GMT). No. of bitstreams: 1 ROSSILENE MILHOMEM JARDIM COSTA.pdf: 1949139 bytes, checksum: 009b6742959cc303cdcc117998f11d29 (MD5) Previous issue date: 2018-02-23 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES / Pontif?cia Universidade Cat?lica de Campinas - PUC - Campinas / This research aims to reflect on development of pre-school children?s imagination and creativity using stop motion technique, with the historical-cultural approach as a theoretical reference. Based on this theoretical framework, the following specific objectives were outlined: (i) to reflect on the limits and potentialities of using the stop motion technique as a pedagogical practice in Preschool education; and (ii) to understand the relevance of such pedagogical practice which stimulates imagination and creativity in education. Aged five or six years old, thirty-two students at a pre-primary school in Indaitatuba took part in this research. The qualitative method was applied and, as outputs, stop motion animations were produced and organized in axes and sub-axes. The first axis refers to what and how did the children create with three sub-axes: quantitative analysis, predominance of reproduction/recombination, technique mastery. The second axis refers to role of the mediator with the sub-axes: models, reception and challenges of mediation. The results produced and analyzed showed that: 116 characters, both diverse and repeated among pairs, were created by the children; different scenarios were built and transformed by them with drawings, readymade images and modeling dough; stories were imagined and created, individually and in groups, and all students created stop motion animations by manipulating the technological tools available. Furthermore, from the analysis of the axes, propositions of models, the reception of the students? ideas, children?s autonomy and technique, as well as mediation dilemmas could be observed. Such aspects evidenced that the use of stop motion was relevant for the children as they loosened up, created, understood the proposal and displayed autonomy and creativity. Using such a technique also proved pertinent, as it is a practice that requires a creative process to imagine characters, stories and scenarios. The creative models provided by the adult ? in this case the researcher ? and the reception of the children?s ideas encouraged this creative dynamic and strongly contributed to the development of the imagination. Thus, this research brings its contribution to the understanding of children?s imaginative capacity and the many ways to develop them through innovative educational practices using technology. In addition, it supports teacher training programs regarding the poss ibility of works using the stop motion technique as a teaching- learning resource for students in preschool. / A presente pesquisa tem como objetivo refletir sobre o desenvolvimento imaginativo e criativo de crian?as na Educa??o Infantil por meio do uso da t?cnica de stop motion, tendo como referencial te?rico a abordagem hist?rico-cultural. Com base nesse arcabou?o te?rico, foram delineados os seguintes objetivos espec?ficos: (i) refletir sobre os limites e as potencialidades do uso da t?cnica de stop motion como pr?tica pedag?gica na Educa??o Infantil; e (ii) entender a relev?ncia da pr?tica pedag?gica que estimule a imagina??o e a criatividade na Educa??o. Participaram da pesquisa 32 alunos, entre cinco e seis anos, de uma escola de Educa??o Infantil de Indaiatuba. O m?todo utilizado foi qualitativo e, como procedimentos, foram produzidas anima??es em stop motion. A pesquisa foi organizada em eixos e subeixos. O primeiro eixo se relacionou ao o que e como as crian?as criaram, tendo tr?s subeixos: an?lise quantitativa; predom?nio da reprodu??o/recombina??o; dom?nio da t?cnica. O segundo eixo tratou do papel do mediador, com os subeixos: modelos; acolhimento; e desafios da media??o. Os resultados produzidos e analisados indicaram que: as crian?as criaram 116 personagens diversificados e, tamb?m, repetidos entre os pares; foram constru?dos diversos cen?rios, transformados pelos estudantes com desenhos, imagens prontas e massa de modelar; as crian?as imaginaram e criaram hist?rias individuais e em conjunto e todos criaram anima??o em stop motion. A partir das an?lises dos eixos, foi poss?vel constatar: proposi??es de modelos; acolhimento das ideias dos alunos; t?cnica e autonomia das crian?as; dilemas da media??o. Tais aspectos evidenciaram que o uso do stop motion foi relevante para as crian?as, pois elas se soltaram, criaram, entenderam a proposta e tiveram autonomia e criatividade. Utilizar tal t?cnica tamb?m se mostrou pertinente por ser uma pr?tica que exige um processo criativo para imaginar personagens, hist?rias e cen?rios. Os modelos criativos proporcionados pelo adulto ? no caso, a pesquisadora ? e acolhimento das ideias das crian?as auxiliaram nessa din?mica criativa e contribu?ram fortemente para o desenvolvimento da imagina??o. Esta pesquisa traz, assim, contribui??es para a compreens?o sobre a capacidade imaginativa de crian?as e as m?ltiplas formas de desenvolv?- las por meio de pr?ticas educacionais inovadoras com o uso da tecnologia. Al?m disso, auxilia a forma??o de professores no que diz respeito ?s possibilidades de trabalhos com a t?cnica de stop motion como recurso de ensino-aprendizagem dos alunos na Educa??o Infantil.

Diploma thesis is focused on younger school age children´s drawings. Theoretic part gives information about the stages of younger school age, describes the art development of children and it deals in more detail with the concept of creativity. The thesis gives a characteristic of art taught at a primary school and fine art at an art school in its last part. Practical part of this diploma thesis analyzes a set of 64 drawings of children aged 8-9 years. Its aim is to compare the drawing expression and to find differences in drawings on the given, theme between two groups of children, children from a common elementary school and children from an art school who visit fine arts lessons.

Este trabalho investiga uma ação educativa em arte em espaços não formais de educação originária de uma política pública da Secretaria do Menor do Estado de São Paulo (gestão 1987 a 1994). Levantou a hipótese de que esta experiência com ensino de arte concorreu para a formação de seus profissionais e trouxe contribuições para as práticas que exercem nas instituições escolares às quais estão vinculados hoje. Configurou-se como pesquisa qualitativa e a metodologia empregada ressaltou o levantamento de dados secundários, como as publicações oficiais da época, mas também dados primários a partir de entrevistas semiestruturadas com profissionais que tiveram papel fundamental na criação, implantação e prática nos Programas de Complementação Escolar. Concluiu que esses professores realizaram uma experiência de ensinar e aprender de maneira significativa e que a concepção Arte como pesquisa, no espaço educativo indicou orientações didáticas para o trabalho em arte que enfatiza um espaço/tempo privilegiado para os menores desenvolverem ação criadora e trabalhos nas linguagens artísticas e, às equipes profissionais, a práxis educativa. A concepção Arte como pesquisa, no espaço educativo apresenta um modo de ver a arte na educação, com um projeto pedagógico em arte comprometido com a experimentação, descoberta, invenção e processos criadores das crianças, adolescentes e jovens, como também dos professores. / This paper investigates an art-centric educative action in informal venues of education, originating from a public policy created by the Secretariat of Minors of the State of São Paulo (management of 1987 to 1994). It hypothesizes that the experience with art education concurred with the development of its professionals and brought contributions to the practices of the educational institutions to which they were bound presently. It was configured as qualitative research, and the methodology applied highlighted the survey of secondary data, such as official publications of the time, but also primary data in the form of semi-structured interviews with professionals who had fundamental part in the creation, establishment and practice of the after-school Programs. The conclusion was that these professors held a teaching and learning experience in a significant way and that the concept of Art as research in the educative environment implied didactic orientations for the work in art that emphasizes a privileged space/time for minors to develop creativeness and action in artistic languages and, to the professional teams, the educative praxis. The concept of Art as research in the educative environment presents one manner in which to see art in education, like one pedagogic project in art committed with experimentation, discovery, invention and creative processes in children, adolescents and the youth, as well as with professors.

Este trabalho investiga uma ação educativa em arte em espaços não formais de educação originária de uma política pública da Secretaria do Menor do Estado de São Paulo (gestão 1987 a 1994). Levantou a hipótese de que esta experiência com ensino de arte concorreu para a formação de seus profissionais e trouxe contribuições para as práticas que exercem nas instituições escolares às quais estão vinculados hoje. Configurou-se como pesquisa qualitativa e a metodologia empregada ressaltou o levantamento de dados secundários, como as publicações oficiais da época, mas também dados primários a partir de entrevistas semiestruturadas com profissionais que tiveram papel fundamental na criação, implantação e prática nos Programas de Complementação Escolar. Concluiu que esses professores realizaram uma experiência de ensinar e aprender de maneira significativa e que a concepção Arte como pesquisa, no espaço educativo indicou orientações didáticas para o trabalho em arte que enfatiza um espaço/tempo privilegiado para os menores desenvolverem ação criadora e trabalhos nas linguagens artísticas e, às equipes profissionais, a práxis educativa. A concepção Arte como pesquisa, no espaço educativo apresenta um modo de ver a arte na educação, com um projeto pedagógico em arte comprometido com a experimentação, descoberta, invenção e processos criadores das crianças, adolescentes e jovens, como também dos professores. / This paper investigates an art-centric educative action in informal venues of education, originating from a public policy created by the Secretariat of Minors of the State of São Paulo (management of 1987 to 1994). It hypothesizes that the experience with art education concurred with the development of its professionals and brought contributions to the practices of the educational institutions to which they were bound presently. It was configured as qualitative research, and the methodology applied highlighted the survey of secondary data, such as official publications of the time, but also primary data in the form of semi-structured interviews with professionals who had fundamental part in the creation, establishment and practice of the after-school Programs. The conclusion was that these professors held a teaching and learning experience in a significant way and that the concept of Art as research in the educative environment implied didactic orientations for the work in art that emphasizes a privileged space/time for minors to develop creativeness and action in artistic languages and, to the professional teams, the educative praxis. The concept of Art as research in the educative environment presents one manner in which to see art in education, like one pedagogic project in art committed with experimentation, discovery, invention and creative processes in children, adolescents and the youth, as well as with professors.

Fostering students’ creativity in school subjects has recently become a central focus of educational researchers, educators, and educational policymakers around the world. In Kuwait, educational researchers and teacher educators have supported the need to foster students’ creativity via a national curriculum. Yet, the Ministry of Education has conducted few studies to explore practitioners’ perspectives on how to foster creativity through the current curriculum. The overall aims of this study were to explore science teachers’ pedagogical beliefs and practices in fostering creativity in science classrooms as well as to investigate the influences of sociocultural factors on teachers’ beliefs and practices in fostering creativity. The study also examined the consistency and inconsistency levels between teachers’ beliefs and practices. The study has a qualitative nature that stands on an interpretive worldview. The methodology uses eight case studies, each of which consisted of a male science teacher and one of his classes. Multiple methods were used, including semi-structured interviews (pre- and post-observational interviews), student focus groups, unstructured observations, participants’ drawings, and field notes. The analysis was based on thematic analysis model proposed by Braun and Clarke (2006). Thematic findings and case studies findings were drawn from the analysis of the data collected. In general, the thematic findings indicated that science teachers are able to define the meaning of creativity and its main aspects. Professed pedagogical beliefs enforce four teaching approaches to foster creativity in the science classroom: the teaching of thinking skills, inquiry-based learning, cooperative learning, and practical investigation (experimentation). The teachers believe that these approaches could promote students’ creativity in science classroom when specific sociocultural factors facilitate the effectiveness of such approaches in terms of fostering creativity. Three interdependent categories represent these facilitating factors: (1) educational setting-related factors, (2) teacher-related factors, and (3) student-related factors. Differences and similarities appeared when these professed beliefs were compared to the applied classroom practices. The thematic analysis revealed several themes underlying the main categories. Extensive teacher-centred practices and modest student-centred practices were evident; more specifically, the observations revealed primarily teacher-centred approach inside the science classes. Meanwhile, student-centred approaches were modestly applied in comparison to teacher-centred activities. The teachers justified their practices in accordance with the sociocultural factors that mediate their beliefs and practices as well as the role of their goal orientation. The science teachers perceived the mediating factors as constraints that prevent them from applying their beliefs about fostering creativity in classroom practices. Multiple constraining factors emerged, and they were categorised into personal, external, and interpersonal constraints. Concerning the case study findings, consistencies and inconsistencies were identified using a cut-off point as an analytic technique to classify teachers’ beliefs and practices into traditional (non-creativity fostering), mixed, or progressive (creativity fostering). The case study findings identified four consistency and inconsistency levels characterizing teachers’ beliefs and practices: traditional (consistent level), mainly traditional (inconsistent level), mixed (consistent level), and mainly progressive (inconsistent level). Each level was represented by an exemplary case study. The exemplary case studies revealed that sociocultural contexts influence teacher’s belief-practice relationship with respect to fostering students’ creativity in science classroom. Further, the thematic and case study findings were discussed in relation to the existing body of knowledge, followed by an illustration of significant conclusions, including some implications, contributions, limitations, and future suggestions.

Design fixation is a phenomenon experienced by professional designers and engineering design students that stifles creativity and innovation through discouraging ideational productivity, fluency and diversity. During the design idea and concept generation phase of the design process, a reliance on perceptual surface feature similarities between design artefacts increases the likelihood of design fixation leading to design duplication. Psychologists, educators and designers have become increasingly interested in creative idea generation processes that encourage innovation and entrepreneurial outcomes. However, there is a notable lack of collaborative research between psychology, education and engineering design particularly on inductive reasoning of undergraduate engineering students in higher education. The data gathered and analysed for this study provides an insight into property inference decision-making preferences and decision switching (SWITCH) patterns of engineering undergraduates under similarity-based inductive judgements [SIM] and category-based inductive judgements [CAT]. For this psychology experiment, property induction tasks were devised using abstract shapes in a triad configuration. Participants (N = 180), on an undergraduate engineering programme in London, observed a triad of shapes with a target shape more similar-looking to one of two given shapes. Factors manipulated for this experiment included category alignment, category group, property type and target shape. Despite the cognitive development and maturation stage of undergraduate engineers (adults) in higher education, this study identified similarity-based inductive judgements [SIM] to play a significant role during inductive reasoning relative to the strength of category-based inductive judgements [CAT]. In addition to revealing the property inference decision-making preferences of a sample of undergraduate engineers (N = 180), two types of switch classification and two types of non-switch classification (SWITCH) were found and named SIM_NCC, SIM-Salient, Reverse_CAT and CAT_Switching. These different classifications for property inference switching and non-switching presented a more complex pattern of decision-making driven by the relative strength between similarity-based inductive judgements [SIM] and category-based inductive judgements [CAT]. The conditions that encouraged CAT_Switching is of particular interest to design because it corresponds to inference decision switching that affirms the sharing of properties between dissimilar-looking shapes designated as category members, i.e., in a conflicting category alignment condition (CoC). For CAT_Switching, this study found a significant interaction between a particular set of conditions that significantly increased the likelihood of property inference decisions switching to affirm the sharing of properties between dissimilar-looking shapes. Stimuli conditions that combined a conflicting category alignment condition (where dissimilar-looking shapes belong to the same category) with category specificity, a causal property and a target shape with merged (or blended) perceptual surface features significantly increased the likelihood of a property inference decision switching. CAT_Switching has important implications for greater ideational productivity, fluency and diversity to discourage design fixation within the conceptual design space. CAT_Switching conditions could encourage more creative design transformations with alternative design functions through inductive inferences that generalise between dissimilar artefact designs. The findings from this study led to proposing a Cartesian view of the concept design space to represent the possibilities for greater movements through flexible and expanding category boundaries to encourage conceptual combinations, greater ideational fluency and greater ideational diversity within a configuration design space. This study has also created a platform for further research into property inference decision-making, ideational diversity and category boundary flexibility under stimuli conditions that encourage designers and design students to make inductive generalisations between dissimilar domains of knowledge through a greater emphasis on causal relations and semantic networks.