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Can We Teach Creativity? Extending Socrates's Criteria to Modern Education

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When is creativity teachable? Is it a single scientific field, and who is appropriate to undertake its teaching? What are Socrates's criteria, and how can we apply them to creativity? This paper examines the value of creativity as it arises through scholars historically in the fields of philosophy and education. It also examines forms and theories of creativity in education. Gradually, curricula began to consider the cultivation of students' creative thinking, and interest was shifted form “gifted” children to creativity for all. Are heuristics sufficient to contribute effectively to the adoption of techniques that promote creative thinking within the school environment and make it a separate lesson in the curriculum, or should we try some “risky” scientific choices?
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... In the context of creativity, metacognitively aware individuals are able to distinguish between situations where developing creative solutions is appropriate and where following a more traditional path is suitable (Kaufman & Beghetto, 2013). Chatzidaki and Kechagias (2019) suggested that both metacognition and creativity are influencing the ways of how to solve problems (Sanz de Acedo Lizarraga & Sanz de Acedo Baquedano, 2013). For instance, design students who attended a semester-long metacognitive thinking intervention not only improved their creative performance on creative thinking tests, but also produced more creative design products, as evaluated by independent design professionals (Hargrove & Nietfeld, 2015). ...
... Even though the relationship between metacognitive awareness and creativity was weaker than in the case of motivation, the results of correlational analysis revealed another interesting finding: creative performance is more strongly connected to metacognitive knowledge than to metacognitive regulation. These results highlight the importance of prior knowledge about what, how, when, and why to do for the successful creative process (Chatzidaki & Kechagias, 2019;Kaufman & Beghetto, 2013;Valgeirsdottir & Onarheim, 2017). It is also noticeable that the present study revealed a weak link between extrinsic motivation and creative performance in addition to a stronger link with intrinsic motivation. ...
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... 309· πρβλ. Chatzidaki & Kechagias, 2019). Επειδή γνωρίζει, γι' αυτό προμαντεύει και όσα θα γίνουν στην πορεία της Ιούς, στο Γ΄ Επεισόδιο και το πώς θα λυτρωθεί ο ίδιος από τα μαρτύριά του. ...
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Θὰ μποροῦσε κάποιος εὔκολα νά φανταστεῖ ὅτι τὸ ἀνά χεῖρας πόνημα ἀποτελεῖ ἄλλο ἕνα προϊὸν τῆς δουλειᾶς κάποιου Φιλολόγου ἢ Γλωσσολόγου, ὁ ὁποῖος ἐπιχειρεῖ νὰ δώσει στὸ εὐρὺ κοινὸ ἕνα ἀκόμη βιβλίο μὲ ἀντικείμενο τὴν ἱστορικὴ ἐξέλιξη τῆς γλώσσας ἀπὸ τὴν ἀρχαιότητα ὡς σήμερα. Τέτοιου εἴδους εἰδικὲς μελέτες εὑρίσκονται εὔκολα στὶς προθῆκες τῶν βιβλιοπωλείων καὶ ἀφοροῦν κατὰ κύριο λόγο, μία μερίδα εἰδικῶν ἐπιστημόνων, ποὺ εἶναι εἴτε Γλωσσολόγοι, εἴτε Φιλόλογοι καὶ Ἐκπαιδευτικοὶ καὶ ἐπιζητοῦν νὰ ἐντρυφήσουν στὰ γλωσσικὰ φαινόμενα γιὰ ἐρευνητικοὺς ἢ γιὰ ἐκπαιδευτικοὺς σκοποὺς ἐν γένει. Ὁ συγγραφέας ὅμως αὐτοῦ τοῦ βιβλίου ἐπιχειρεῖ κάτι ἐντελῶς διαφορετικό: νὰ ἐμφυσήσει τὴν εἰλικρινῆ ἀγάπη γιὰ τὴν βαθύτερη ἀλήθεια τῆς Γλώσσας καὶ νὰ δώσει κίνητρα στὸν ἀναγνώστη νὰ κοιτάξει προσεκτικὰ αὐτὰ πού, συνήθως λαθεμένα, θεωρεῖ ὡς «αὐτονόητα» ἢ «παρωχημένα» στοιχεῖα ἑνὸς ζωντανοῦ ὀργανισμοῦ, ποὺ ζεῖ, κινεῖται, ἀναπνέει, πάσχει καὶ ἐλευθερώνεται καθημερινὰ μαζὶ μὲ ἐμᾶς, τὴν Ἑλληνικὴ μας Γλῶσσα. Ἀπὸ τοὺς ἁπλούς, φθόγγους ἕως τὴν ἔκφραση τοῦ λόγου (discourse)...
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Θὰ μποροῦσε κάποιος εὔκολα νά φανταστεῖ ὅτι τὸ ἀνά χεῖρας πόνημα ἀποτελεῖ ἄλλο ἕνα προϊὸν τῆς δουλειᾶς κάποιου Φιλολόγου ἢ Γλωσσολόγου, ὁ ὁποῖος ἐπιχειρεῖ νὰ δώσει στὸ εὐρὺ κοινὸ ἕνα ἀκόμη βιβλίο μὲ ἀντικείμενο τὴν ἱστορικὴ ἐξέλιξη τῆς γλώσσας ἀπὸ τὴν ἀρχαιότητα ὡς σήμερα. Τέτοιου εἴδους εἰδικὲς μελέτες εὑρίσκονται εὔκολα στὶς προθῆκες τῶν βιβλιοπωλείων καὶ ἀφοροῦν κατὰ κύριο λόγο, μία μερίδα εἰδικῶν ἐπιστημόνων, ποὺ εἶναι εἴτε Γλωσσολόγοι, εἴτε Φιλόλογοι καὶ Ἐκπαιδευτικοὶ καὶ ἐπιζητοῦν νὰ ἐντρυφήσουν στὰ γλωσσικὰ φαινόμενα γιὰ ἐρευνητικοὺς ἢ γιὰ ἐκπαιδευτικοὺς σκοποὺς ἐν γένει. Ὁ συγγραφέας ὅμως αὐτοῦ τοῦ βιβλίου ἐπιχειρεῖ κάτι ἐντελῶς διαφορετικό: νὰ ἐμφυσήσει τὴν εἰλικρινῆ ἀγάπη γιὰ τὴν βαθύτερη ἀλήθεια τῆς Γλώσσας καὶ νὰ δώσει κίνητρα στὸν ἀναγνώστη νὰ κοιτάξει προσεκτικὰ αὐτὰ πού, συνήθως λαθεμένα, θεωρεῖ ὡς «αὐτονόητα» ἢ «παρωχημένα» στοιχεῖα ἑνὸς ζωντανοῦ ὀργανισμοῦ, ποὺ ζεῖ, κινεῖται, ἀναπνέει, πάσχει καὶ ἐλευθερώνεται καθημερινὰ μαζὶ μὲ ἐμᾶς, τὴν Ἑλληνικὴ μας Γλῶσσα. Ἀπὸ τοὺς ἁπλούς, φθόγγους ἕως τὴν ἔκφραση τοῦ λόγου (discourse)...
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Creativity is one of the most important features of humans. Creativity is a phenomenon that has always fascinated lay people as well as scientists. In old times, creativity thought a feature of artists and musicians. However nowadays, we are hearing this word for all job issues. Creativity related cognitive, environmental and personal issues and all these features can be developing via education. If you would like to develop creativity via education, encourage children to identify and surmount obstacles, sensible risk-taking, and tolerance of ambiguity and help children build self-efficacy, find what they love to do, teach children the importance of delaying gratification, and provide an environment that fosters creativity. Keynote: creativity, charesteristics, steps of creativity, education
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A critical analysis of the concept of creativity and of its applications and misapplications in education
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One trend in the creativity literature is towards unambiguous expressions of talent. This trend follows from an interest in scientific rigour, but if we are interested in children, it is creative potential that is the primary concern, rather than unambiguous creative performance. Educators and others working with children should define creativity in very literal terms, as thinking or problem solving that involves the construction of new meaning. This in turn relies on personal interpretations, and these are personal and new for the individual, not on any larger scale. This approach is consistent with the educational premise 'to understand is to invent', and it allows educators to target self-expression. The emphasis is thus on the individual, the self. Equally significant for educators is that this view of creativity posits that creativity is widely distributed. A wide distribution is implied because virtually every individual has the mental capacity to construct the personal interpretations that are involved. Creativity is, then, something we can find in every child, not just the gifted or highly intelligent.