Journal articles: 'Creativity, creative attitude, emotional intelligence, personality' – Grafiati (2024)

Abstract:

The article presents an overview of the relationships between creativity and personality traits, namely, tolerance/intolerance for uncertainty, emotional intelligence, intuition, and self-assessed creativity. We report on the results of an empirical study that highlighted the importance of this Positive Triad of traits in creativity measured via the ‘Creative Cartoons’ task. Three groups of accomplished creative professional participated in the study (writers, composers, and directors), for a total n = 52. In addition to administering the Creative Cartoons task, we administered a set of assessments: self-assessed creativity (using the procedure parallel to that proposed by A. Furnham for studying self-assessed intelligence), T. Kornilova’s New questionnaire for tolerance to uncertainty (NTN), the Emotional Intelligence (EmIn) questionnaire developed by D. Lyusin, and S. Epstein’s Rational-Experiential Inventory. A correlational analyses of the relationships between the studied traits provided support for the hypotheses related to the positive role of the Positive Triad of traits in creativity. Psychometric creativity was related to self-assessed creativity and trust in intuition, whereas intuition was related to tolerance for uncertainty, in its turn related to interpersonal emotional intelligence. Intrapersonal emotional intelligence, on the other hand, was negatively correlated with interpersonal intolerance for uncertainty: thus, both emotional intelligence traits were associated with a more positive attitude towards uncertainty.

Abstract:

Background. One of the debated issues of modern psychology is the characteristics of the emotional sphere in the structure of a person’s intellectual and personal potential. Its most important component is emotional intelligence (EI), which can be studied from different methodological standpoints. It makes it urgent to develop appropriate diagnostic techniques. The objective: based on testing of the Russian-language version of the questionnaire “Trait Emotional Intelligent Questionnaire” (TEIQue-SF), the problem of understanding EI as an ability or personality trait, and the relationship of EI with uncertainty tolerance (UT) and emotional creativity (EC) is considered. Design. EI as a trait was measured using the approved TEI questionnaire (N= 482); as ability — using the EI questionnaire (N= 230); as attitude to uncertainty — using the new uncertainty tolerance questionnaire (N= 61); as emotional creativity — using the OEC questionnaire (N= 231). Research results. For the TEI questionnaire, a four-factor structure, similar to the original English version was confirmed. It included the following scales: “well-being”; “emotionality”; “sociality” and “self-control”. Their convergent validity with the scales of the EmIn questionnaire has been demonstrated. Relationship between tolerance to uncertainty and emotional creativity has been established, which makes it possible to talk about the positive role of emotional intelligence in personal and style self-regulation. Conclusions. The data obtained allow us to consider the psychometric characteristics of the Russian-language version of the TEI questionnaire satisfactory. The revealed positive relationship between the characteristics of EI according to the methods of TEI and EmIn, as well as links with EC, suggests the possibility of a broader interpretation of EI as a trait but also does not allow to deny its interpretation as an ability. Differences in methodological approaches regarding understanding the construct of EI do not prevent the possibility of measuring it as a variable of a person’s intellectual and personal potential interconnected with the attitude towards uncertainty and with the creative potential of a person.

Abstract:

The development of psychological literacy in younger classes is an urgent task of modern school, as the development of the necessary set of psychological competencies is a guarantee of their success in various spheres of life, the ability to effectively adapt to variable living conditions of society, to assimilate the social skills of behavior, to occupy an active life position, events in their surroundings. Development of emotional sector of children is a guarantee of the formation of an active, initiative, independent, pitiful personality. The disadvantages of the development of the emotional sphere in children of junior school age are the inability to establish effective communication with both adults and peers, social adaptation problems, dissemination in training. The younger school age is a synthetic period for the development of the world of emotions. Musical art has an inexhaustible potential of emotional influences, intellectual development of children, activates emotional and sensory experiences, promotes the enrichment of emotional experience, forms aesthetic feelings, artistic culture, stimulates thinking activity, level of self-consciousness, creativity, creative activity. The need for a modern teacher of musical art to carry out not only aesthetic and cultural development of the personality of the student, but also the development of its emotional sphere, requires the formation of a number of psychological and pedagogical competencies necessary for effective management of the process of musical and aesthetic education of children. The lesson of musical art has the greatest potential in expanding emotional self-awareness of schoolchildren, the development of empathic attitude towards others. The author of the article established that the development of emotional intelligence in younger classes contributes to the growth of their educational success, the ability to concentrate attention, improves the flow of memory processes. The lesson of musical art has a great potential in the formation of psychological literacy of children. The formation of the complex of psychological and pedagogical competencies in the teacher of musical art, will allow him to use music as an important tool for developing emotional self-awareness of children, ability to identify their own emotions, to give them the verbal characteristics, to understand what they encourage them, to detect empathy to others, be able to distinguish between emotional status of the others by external features.

Abstract:

Abstract. Creative potential realized in creative achievement changes the world and defines progress. Accordingly, the investigation of factors that contribute to the process of achieving creative accomplishments seems essential. The relationship between creativity and personality was a thoroughly studied subject almost from the very beginning of creativity research, yet even today it is still unclear whether emotion-related personality traits – specifically, trait emotional intelligence and emotional creativity – are the driving factors that help individuals with creative potential to gain creative achievements. In this study, 342 participants ( Mage = 21.87, SD = 5.84) took the Alternative Uses and Instances tasks (creative potential); the Inventory of Creative Activities and Achievements (ICAA); the Trait Emotional Intelligence Questionnaire (TEIQue); and the Emotional Creativity Inventory (ECI). Results show that trait emotional intelligence (specifically, the sociability factor) and emotional creativity (namely, the novelty aspect) moderate the relationship between creative potential and creative achievements, while this relationship is mediated by creative activities. The study provides insight into which emotional personality traits can facilitate the path from creative potential to real-life creative achievements.

Abstract:

This study examines the relationship between self-perceived emotional intelligence (EI) measured by the Emotional Intelligence Scale (EIS) [1] and other personality measures including the five-factor-model. The EI construct has lately been re-defined as the ability to think intelligently about emotions and to use them to enhance intelligent thinking [2]. Two studies provide support that self-reported EI is mainly associated with personality traits (extraversion, agreeableness, conscientiousness, self-perceived creativity), life satisfaction and thinking styles with only a low relation to verbal intelligence. Furthermore, persons higher in the EI dimension “emotional efficacy” produced more creative performances than persons low in this domain. These findings suggest that self-reported EI cannot be considered as a rational form of intelligence so that it does qualify to fit into the framework of personality traits.

Abstract:

The article deals with the results of the empirical research that allowed us to identify the functions of social intelligence of the head of the educational institution. 1. Cognitive-evaluative function is explained in determining the individual capabilities of the leader, which are actualized in order to achieve results, providing a real help to others, in determining the content of interpersonal interactions, which are due to the processes of socialization. Social intelligence provides the processing of information that is necessary for a specialist to predict the results of professional activities. On the one hand, a person, receiving information about the nature of other people’s activities, is aware of it and it is a subject to this information of mental operations that will be carried out in the future. And, on the other hand, in the process of information processing it is useful the formation of judgments about the significance of those events that take place. The information having been received by the manager often finds its explication in the manifestation of evaluative judgments about the possibility of its use, the actual levels and the achievement of certain results. In general, the processes of professional creativity are included into the paradigm of self-knowledge, which allows a person to understand himself/herself, his/her essence. Thus, the implementation of this function allows us to select the most relevant information, which is largely adequate for the current conditions of the professional activity for the realization of the specialist as a full-fledged subject (the actualization of the cognitive aspect of a cognitive activity). The latter gives the manager the opportunity to form evaluative judgments about what really happens in the world around the person. 2. Communicative and valuable function of social intelligence, related to the need to understand others, and, in turn, to be understood by them. Knowing yourself in a constant communication with other people begins as a process in which a person actively models the interaction with others and masters the norms and standards of relationships. Thus, professional communication is realized in the ability of the individual to convey certain information, to describe people’s own personal conditions, their attitude to what was perceived in the message; finally, we tell about the ability to identify intentions and targets for a particular message. In addition, the process of nonverbal communication, on the one hand, is a way to establish a connection between a man and a social environment, and, on the other hand, between the process of finding personal meanings among the values of his/her life. Accordingly, we can distinguish two dominant manifestations of communicative and valuable function: 1) creating an ideal content plan of the professional activity, which is associated with determining the situation of social action at the level of quasi-communication, which contributes to the process of understanding the another person. The leader not only communicates and perceives information, but also transforms it, formulating tasks and modeling problems that are directly related to social relationships; 2) the act of revealing oneself in another person (so-called “existential communication”), which is realized by the ability to understand, to perceive personal and socio-psychological positions of people, in analyzing the behavior of the leader, to imagine another person in his/her place or himself/herself on the place of this specialist. In our opinion, this existential communication finds its explication in the anticipation of a certain attitude, opinions, assessments of specific people or groups as a whole. The latter leads to the formation of its original, unique image, the content of which largely depends on the realism of a person’s thinking, his/her ability to perceive and summarize objectively numerous and sometimes diverse assessments of his/her personality by others, which allows the leader to really shape the image by his/her own system of values. 3. Reflexive-corrective function of social intelligence is reflected in self-knowledge and awareness of the advantages and disadvantages of social interaction, as well as changes in the process of interaction with the aim of leveling the premise of cognitive dissonance, which largely allows the leader to control his/her emotions and needs.

Abstract:

In today's globalizing world, more and more people claim that academic knowledge is not sufficient for the success of the individual in life. Definitions of so-called hard and soft skills have been formulated.The article discusses the main accents related to the so-called soft skills and the opportunities for development of children from pre-school and primary school age.The term "soft skills" (soft skills) is used in pedagogical theory and practice and the term context competencies. They are part of the key competences for human success at every stage of his development. Soft skills include: communication, tolerance, reassurance, mutual assistance, empathy, teamwork, leadership, negotiation, decision-making, creativity, etc. Important factors for their formation from the earliest age are the family and educational institutions, which are an essential part of the child's life.Soft skills are defined as a combination of social skills, communicative skills, character, attitude, career features, emotional intelligence, etc. They can help people to orientate in the environment, to work well with others, to achieve their goals. They are complementary to other skills such as technical, professional, academic, called "hard skills".Pedagogical literature and practice seek appropriate technologies to describe the ways in which soft skills complement the so-called "hard skills" that are technological requirements for a particular activity the student is trained to perform. Soft skills are largely leading in shaping the personality of the individual. Of particular importance for the future realization of the growing generation is that besides the academic and technical skills, key social skills are also formed.The role of soft skills is increasingly appreciated by the increasing need for individual competitiveness and the globalization of the modern world. Having a number of social qualities always has the advantage of having the same academic knowledge or technical skills.The environment in which the modern generation is growing and developing is dynamic. Children are surrounded by a huge amount of information that reaches them through different channels and regardless of their desires. Their life skills are essential when the movies they watch have unrealistic ideas and the messages and challenges of social networks and peers are attractive and accessible. Children need to be prepared to deal with the "traps" of life, to have critical thinking, to master their emotions and their relationships with others, to be able to express their ideas and defend their position with arguments.In support of the lessons learned of the need to develop “soft” skills from an early age, it is imperative that UNICEF suggests that schools introduce a module of ten important skills that children can form. These include life skills such as self-awareness, decision-making, problem solving, creative thinking, critical thinking, empathy, dealing with emotions and stress; as well as soft skills such as communicative and interpersonal skills.Unfortunately, the trend that is observed is that schools primarily focus on academic knowledge. This is due to the fact that an important factor achieved success in different types of assessments. The lack of a social educational element leads to a number of problems in adolescents - aggression, associalization, lack of communication skills, etc.

Abstract:

From experience of working with gifted children we could observe a gap between their intellectual and emotional functions. The purpose of this study was to explore the inter-relationships between emotional maturity and intelligence in gifted children. Emotional maturity is defined as the strength and courage to actualize individual abilities within the frame of social demands. Our hypothesis was that emotional maturity would have an affect on creativity, independent of intelligence. In the study, 221 children participated, between the ages of 9–13. All were measured for emotional maturity, intelligence and creativity. Results showed an effect of emotional maturity on creativity, as well as an effect of intelligence. Among the highly intelligent group, emotionally mature children were more creative. These results demonstrate that giftedness is conditioned not only by high intelligence but that emotional maturity has its share in it, and their interaction facilitates creative behavior — the actualization of the whole personality.

Abstract:

We hope to answer the following questions with this study: What are the most characteristic personality traits of students with creative talent? Are there personality traits that allow a subject to promote his or her creativity? Lastly, is there a relationship between these personality traits and a neurobiological basis for creativity? The results of this study should serve to identify and develop creative talents and to continue stimulating their divergent thinking. The BFQ-NA questionnaire, which evaluates five personality traits, and the CREA and PIC-N creativity tests, which measure creative intelligence and imagination, respectively, were administered to a sample of 244 students aged ten to twelve years old. The data from the statistical analysis indicate that Conscientiousness is the most predictive trait for creativity for CREA (B = 0.18, p < 0.001), as well as for PIC in terms of narrative creativity (B = 1.044, p < 0.001) and graphic creativity (B = 0.213, p = 0.003 and total B = 1.259, p < 0.001). Other statistically significant traits, albeit to a lesser degree than Conscientiousness, were Openness and Emotional Instability.

Abstract:

Although emotional intelligence (EI) is positively associated with beneficial outcomes such as higher job performance and better psychological well-being, its relationship with creativity is uncertain. To assess an overall correlation between EI and creativity, in the present study a meta-analysis of 96 correlations obtained from 75 studies with a total sample size of 18,130 was conducted. The results uncovered a statistically significant moderate correlation (r = 0.32, 95% CI, 0.26–0.38, p < 0.01) between these two constructs. Moderation analyses revealed that the link was modulated by the type of creativity/EI measure and sample characteristics, such as gender, employment status, and culture. Specifically, the link was stronger when EI and creativity were measured using subjective reports (EI: trait EI; creativity: creative behavior and creative personality) compared to objective tests (EI: ability EI; creativity: divergent thinking test, remote associate test, and creative product). In addition, the link was stronger in males compared to females, in employees compared to students, and in East Asian samples compared to Western European and American samples. Theoretical implications and future directions are discussed in detail.

Abstract:

The goals of this study were to examine the relationship between creativity and personality, to identify what personality variables better predict creativity, and to determine whether significant differences exist among them in relation to gender. The research was conducted with a sample of 87 students at the Universidad Pública de Navarra, Spain. We administered the Creative Intelligence Test (CREA), which provides a cognitive measure for creativity and the Situational Personality Questionnaire (SPQ), which is composed of 15 personality features. Positive and significant correlations between creativity and independence, cognitive control, and tolerance personality scales were found. Negative and significant correlations between creativity and anxious, dominant, and aggressive personalities were also found. Moreover, four personality variables that positively predicted creativity (efficacy, independence, cognitive control, and integrity-honesty) and another four that negatively predicted creativity (emotional stability, anxiety, dominance, and leadership) were identified. The results did not show significant differences in creativity and personality in relation to gender, except in self-concept and in social adjustment. In conclusion, the results from this study can potentially be used to expand the types of features that support creative personalities.

Abstract:

Positive personality traits have been linked with various positive outcomes such as job performance, job satisfaction etc. However emotional intelligence and creativity have been scarcely linked with the entrepreneurship. Bering in mind the importance of entrepreneurship, present study has investigated the impact of emotional intelligence, entrepreneurial education and creativity on the entrepreneurial intentions. Data were collected from the students who were in their last semester of their degree. Smart-PLS was used for data analysis. The results of the study revealed that emotional intelligence has significant positive impact on the entrepreneurial intentions of students. Furthermore, results also showed a significant positive relationship between creativity and entrepreneurial intentions. Finally results also showed a positive relationship between the entrepreneurial education and entrepreneurial intentions. All the hypothesis was supported by the results of the study. Study findings concluded that students who are emotionally intelligent, creative and when they are provided with the quality education regarding the entrepreneurship, their intentions tend to be more inclined towards the entrepreneurship. Future directions are limitations are provided at the end of the study.

Abstract:

Background: Although self-expressive creativity is related to cyberbullying, it can also reinforce strengths that contribute to positive adolescent development. Our study concentrated on the relationships between personality traits and self-expressive creativity in the digital domain in an adolescent population. For this, we analyzed the effect of self-esteem and emotional intelligence as assets for positive development related to personality traits and self-expressive creativity. Methods: The study population included a total of 742 adolescents that were high-school students in the province of Almería, Spain. The following instruments were used: Big Five Inventory (BFI) to evaluate the five broad personality factors, Rosenberg Self-Esteem Scale (RSE), Expression, Management, and Emotion Recognition Evaluation Scale (TMMS-24), and the Creative Behavior Questionnaire: Digital (CBQD). Results: The cluster analysis revealed the existence of two profiles of adolescents based on their personality traits. The analysis showed that the group with the highest levels of extraversion and openness to experience and lowest levels of neuroticism were those who showed the highest scores in self-esteem, clarity, and emotional repair, as well as in self-expressive creativity. Higher scores in neuroticism and lower scores in extraversion and openness to experience showed a direct negative effect on self-expressive creativity and indirect effect through self-esteem and emotional attention, which acted as mediators in series. Conclusions: To counteract certain characteristics that increase adolescents’ vulnerability to social network bullying, a plan must be developed for adequate positive use of the Internet from a creative model that enables digital self-expression for acquiring identity and self-efficacy through the positive influence of peers, which promotes feelings of empowerment and self-affirmation through constructive tasks that reinforce self-esteem and emotional intelligence.

Abstract:

The present article focuses on the attempts to disclose the sustainable values in the creative output of Hab. Dr. Lukšienė as manifested in her two scholarly studies, ‘The Meanings of Time’ (Laiko prasmės) and ‘Life and Creative Work of Jonas Biliūnas’ (Jono Biliūno gyvenimas ir kūryba). The in-depth analysis of the two studies allows to assert that Hab. Dr. Lukšienė‘s fundamental value-based views and beliefs had been primarily shaped by her family environment (in the first place – on her mother Julija Janulaitytė- Biliūnienė-Matjošaitienė’s side) as well as by the processes of complex sociocultural development of that time. In turn, her value-based world outlook had also been strongly influenced by her mother’s fist husband Jonas Biliūnas’ life story and creative output. Hab. Dr. Lukšienė is generally considered as a personality of phenomenal nature whose major concerns, even since her very young days, centered around a range of issues about how to educate individuals as the main agents of the nation and society at large. She felt obliged and was guided by ‘a sense of responsibility for everything that was taking place around me’. By communicating face to face with that exceptional personality as well as by studying her scholarly heritage, one cannot help admiring the depth and breadth of the scope of her values. This it is only natural to search for explanations and implications in order to answer questions about the origins of her sustainable values, about her dedications and fidelity to her values despite the most hurting effects in some unusually complex situations of her professional and social life, and about her ability to preserve composure and self - esteem in the most unfavorable circumstances. Therefore, the aim of the present article was to reveal the sources and origins of Meilė Lukšienė’s sustainable values. Dr. Lukšienė’s warning about the necessity to be cautious of ‘not floating on the surface in one’s daily existence’ (1993) had been one of her own guidelines in life since her very young days and she proved being capable of ‘not floating on the surface’ in what she did. The basic sources for our analysis were Meilė Lukšienė’s prepared studies ‘Life and Creative Work of Jonas Biliūnas’ and ‘The Meanings of Time’. The main method used was the ethnographic study that enabled us to identify the values under discussion in different forms of their manifestations in a variety of life situations, also materials about the people from Meilė Lukšienė’s closest environment: her parents, family friends and other contemporaries. We have restricted our study to a certain number of values only, namely, the ones of freedom, education, national awareness and dignity, respect and care of other people, responsibility and obligation. We were very much aware of the interplay of the values under discussion as well as of their underlying significance in shaping all other personal values in the individual’s value-based existence. Meilė Lukšienė’s mother Julija Janulaitytė (Biliūnienė-Matjošaitienė), mainly in her reminiscences about her parents’ mode of living, as well as about her own childhood, revealed a great variety of contexts, in which their family-observed values can be traced and explored. M. Lukšienė’s mother Julija Janulaitytė’s family advocated and observed values focused on the issues of social, cultural, educational, economic and political character in their most varied manifestations. Our second major source of analysis was Meilė Lukšienė’s study ‘Life and Creative Work of Jonas Biliūnas’. The choice was preconditioned by our goal to investigate two issues under discussion: 1. To what extent Meilė Lukšienė’s mother Julija Janulaitytė relied on her family-specific values, acquired in her early years of growing and maturing, throughout her independent life, within the framework of family- life, professional world and society–bound activities; 2. What specific value-based views Meilė Lukšienė pointed out and defied while studying the life and creative output of J. Biliūnas on the basis of recorded memoirs presented by the writer’s contemporaries, oral accounts as well as on the basis of Meilė Lukšienė’s mother’s reminiscences. In the process of our study, we exceptionally focused on the following values: those of freedom, national dignity, care and readiness for assistance, learning, and the perceived relevance of education, responsibility and obligation. We also admit that these values become interrelated in specific and multi-faceted contexts of their manifestation with other values also finding place under certain circumstances. Our carried out research of M. Lukšienė’s two studies, ‘The Meanings of Time’ and ‘Life and Creative Work of Jonas Biliūnas’, alongside our reflections on face-to-face communication acts with M. Lukšienė, also on the basis of her diaries, written prior to the years of her university studies , enabled us to draw the following conclusions: The sustainability of values under discussion, namely those of freedom, national dignity, care and readiness for assistance, learning and the perceived relevance of education, responsibility and obligation comes from their originating sources: the family of her grandparents, Agota and Matas Janulaičiai, her own mother Julija Janulaitytė and her first husband J. Biliūnas’ father Stasys Matjošaitis, with the permeating light of Biliūnas – specific perception of meaningful living as ‘the lantern of happiness’ –seeker. It should be pointed out that the values under discussion were certain to acquire enhanced effect in the mature personality of Meilė Lukšienė and they had an enormous emancipating impact on other people Meilė Lukšienė came into contact with. M. Lukšienė-perceived freedom is understood as ‘a process with its distinct manifestations on the surface, but in equal measure, and even more so – as an inner process involving the capability of learning and teaching how to build freedom as well as how to live with it’, without violating the freedom of other individuals but rather asserting the attitude of responsibility and fairly manifested understanding of honest freedom. The sustainability of national dignity and its manifestations can be traced in the process of cherishing, developing and communicating this understanding on the levels of a separate individual, nation and state, in an attempt to educate ‘openness to the world and otherness of personality, but simultaneously – to preserve the fundamental understanding of own culture’. In turn, the major objective of education and school is to perform the role of ‘eye-opener and mind-activator’, on the road to personal cognition, thinking, change, creativity and readiness to assist. The values of responsibility and obligation are treated as ‘the process of building essentially different type of relationships, with the surrounding world’ through freely-chosen, honest and responsible behavior, these values ‘by no means coincide with partial processes of changing methodology alone or giving greater or smaller prominence to separate school subjects, they are not comparable to the amount of knowledge either’. The very daily-life environment alongside the advocated and consistently followed values in the families of M. Lukšienė’s parents and grandparents lay at the basis of the most significant and sustainable M. Lukšienė’s values, which, in turn, facilitated the processes of developing emotional intelligence and well-represented wisdom resulting in aspirations to dedicate own life to undeniable devotion to her nation and its people.

Abstract:

Research on creativity as an attitude, thinking ability, and creative behavior developed in the education sphere is profoundly related to positive things. Meanwhile, the research for negative creativity or the allegedly dark side of creativity is still very limited both in education and in the industrial world. This study examines the influence of internal factors (personality and intelligence) and external factors (organizational climate and organizational culture) on positive and negative creativity. The sample comprised 180 government employees in a ministry office and 150 private employees at a well-known insurance company in Jakarta. The results of this study show that for government employees, positive creativity mainly influenced by internal factors, namely the openness personality type, and none of the external factors affects. Simultaneously, negative creativity influenced by external factors, particularly the goal-oriented organizational climate, and none of the internal factors affects. On the other hand, private employees have various positive creativity influenced by internal factors (such as extraversion personality and neuroticism) and also external factors (the culture of cooperation and customer orientation). In contrast, negative creativity influenced by external factors of the organization, specifically the internal process that runs within the organization.

Abstract:

Interest in creativity as a subject of research has been growing exponentially since the second half of the 20th century in all areas of human history. A wide range of both domestic and foreign studies allows authors to assert that creativity is a personality trait, inherent to one degree or another. Whereas the development of such trait becomes an urgent necessity in the new reality. The entire evolutionary process of the social development illustrates its dependence on personal and collective creativity. The aim of this research is to study the phenomenon of creativity through the perspective of axiology, i.e. the science of values. Axiology allows us to consider the realities of the modern world from the perspective of not only external factors, circumstances and situations, but also of deep value foundations. Creativity has been studied quite deeply from the point of view of psychology: the special characteristics of a creative person, stages of the creative process, the relationship between creative and critical thinking, creativity and intelligence. Some psychologists emphasize motivation, creative skills, interdisciplinary knowledge, and the creative environment as the main components that contribute to the development of creativity. The authors of the article argue that values and value orientations towards cognition, creativity, self-realization and self-expression are the drivers of creativity. In a broad sense, values as a matrix of culture determine the attitude of society to creativity, to the development of creativity of the individual and the creative class, and to how economically successful a given society will be. Since innovation and entrepreneurship are embodied creativity. Thus, the study of creativity from the perspective of axiology combines the need for a deep study of this phenomenon and the subjective significance of creativity in the context of new realities

Abstract:

The article is devoted to the problem of formation of creative abilities and cognitive interests of students. The main directions of development of the creative person according to the social needs of the present are considered. It is noted that creative activity becomes a form of knowledge of the material-objective world; identifies personality possibilities, new ways of one’s personal development. Therefore, the problem of developing the creative abilities of students in the course of educational and cognitive activity is of an exceptional relevance. The author believes that influencing the organization of creative activity is possible only under certain conditions, in particular: to conduct classes in an atmosphere of mutual understanding and co-creation, perceiving each student as a person; to give preference to the dialogical form of conducting classes, when students have an opportunity: to think independently, to make suggestions, to defend their own point of view, presenting their own arguments; it is advisable to create situations of choice at classes and to enable students to carry it out. The author notes that the observance of certain organizational and methodological conditions can significantly contribute to the development of creative potential of students, namely: the creative vision of the world through the systematic organization of work with students; development of creative values through the proper level of teacher's teaching skills; deepening the perception of the world picture through the integration of various types of students’ creativity, works of art and their figurative reproduction in their own creative activity; individual peculiarities of perception and emotional attitude through the use of the educational potential of the family, organization of creative activity. When performing creative tasks the individual characteristics of students to select the material of the appropriate level of complexity must be taken into account. The article examines the examples of students' creativity during the European Cultures Festival, debates and clubs on the basis of the Kryvyi Rih National University.

Abstract:

The article about the intellectual and creative activity of teenagers is especially productive if it is devoted to the knowledge of artistic values. Here, intelligence and creativity are activated. Moreover, in adolescence, there is a lively interest in art and a great need for its knowledge at the logical-cognitive and artistic-aesthetic levels. In dealing with highly artistic works (in preparing teenagers for their perception and the process itself) logical and artistic thinking develops, with the maximum activation of creative thinking and imagination, generalization, and one's attitude, as well as reproduction. However, this is not enough for teenagers: intellectual and creative potential requires its implementation in any activity of cognition. It is in this process of intellectual and creative development with the result of activities (for example, cognitive and educational) that the personality of adolescents is formed.

Abstract:

Unique personality and intelligence factors are important components of the makeup of any individual. In addition, emotional factors, such as a person's inherent levels of joy, anger, passion, worry, grief, and dedication, influence their creative expression. The picture becomes more complicated when there are four individual members with different emotional, intelligence, and personality profiles who must collaborate to make one composition of a creative group. The inner workings of a band are intrinsic and may produce inner conflict, affecting not only themselves and family members but also management and production teams. While there is a growing amount of literature on cohesiveness and attitudinal influences on performance in other areas of psychology, the lack of literature and exploration into the dynamics of cohesiveness and group attitude within the musical domain is significant. Using the WAIS-III, MMPI-2, Rorschach Inkblot Test, and an interview, the authors took a psychological “snapshot” of a band. Making music is often the first thing a musician states as his life’s work, but as this case study illustrates, intra-band difficulties including severe depression, anxiety, control issues, and family disruptions are significant issues that arise, affecting the success goals of the group.

Abstract:

The development of children’s creativity is an urgent problem of modern pedagogy. The main goal of the educational system is to educate the younger generation of a creative approach to transform the world around them, active and independent thinking, to contribute the achievement of positive changes in the life of society. The formation of the child’s personality serves as a direction of the pedagogical process, which creates favorable emotional conditions for each child, ensures spiritual development and contributes to the formation of artistic and creative abilities of preschool children. The article deals with the problem of the development of children’s creativity by means of musical and theatrical art. The importance of cognition of musical art by preschool children is given. The structure of musicality and the ways of its research are revealed. It is noted that the child develops in the process of musical activity under the influence of the values of musical art, communication between music and adults. It was found that listening to music contributes to the development of artistic taste and the formation of value judgments. Exactly music enables the child to see the world around him in a new way because the diverse content of musical works arouses imagination, develops memory, perception, creativity, and enriches vocabulary. The article presents classification of one of the specific types of children’s activity. It is theatrical activity associated with dramatization and play, contains a creative principle and is a kind of artistic activity. Theatrical activity reveals the creative potential of the child, fosters a creative personality, teaches the child to notice interesting ideas in the world around him and to impersonate them, to create his own artistic image. It is noted that theatrical-play activity contributes to the child’s study of human feelings, fosters will, develops dreams, ideas, initiative of speech, creates a positive attitude, relieves stress, teaches how to solve conflict situations due to play. These types of art education’s activities in preschool age form the personality of the child, develop his creative abilities, direct the child’s manifestations to evaluative and control actions intuitively.

Abstract:

The article is devoted to the analysis of the results of empirical research of psychosemantic features of perception of animation advertising by the representatives of the youth target audience. Differences in the perception of animation advertising between representatives of three age groups within the youth target audience were established. The authors identified four factors (“Confidence”, “Attractiveness”, “Trust”, “Consumer Activity”), which are manifested in the perception of animation advertising by young teens (12-15 y.o.). At the same time, for аdolescence teens (16-19 y.o.) and youth (20-24 y.o.) there are three factors (“Confidence”, “Attractiveness”, “Consumer activity”), which determine their attitude to animation advertising. The peculiarities of young people's attitude to animation advertising with different types of graphics (2-D, 3-D, combined) and consumer motivation of this target audience are revealed. It has been identified that commercials based on the use of 3-D graphics are evaluated by representatives of the youth audience (of all age groups) most positively and often make them want to buy the products of the advertised brand. Commercials based on the use of 2-D graphics technology attract the most attention of younger teens (12-15 y.o.) and create the appropriate consumer motivation. The commercials created on the basis of the combined graphics are the least interesting to the representatives of the youth target audience. However, the ideas underlying such advertising are the most understandable for youth, and the advertising itself is perceived as relevant and evokes a sense of trust in the product and brand. The connection between the level of emotional intelligence and creativity with the peculiarities of the perception of animation advertising is revealed. Subjects with higher level of emotional intelligence rate animation graphics in advertising more positively than people with low levels of emotional intelligence. Representatives of the youth target audience (all age groups) with high levels of emotional intelligence are most sensitive to animation advertising using 3-D graphics. A similar trend is observed in subjects with a high level of creativity, rate commercials using 3-D graphics higher and perceive it more positively (compared with subjects with lower level of creativity). It is established that young teenagers (12-15 y.o.) with a high level of creativity also positively perceive animation advertising using 2-D graphics technology. Prospects for further research include a more detailed study of the perception of animation advertising with different types of graphics by different age groups, determining the relationship between the perception of animation advertising and the value-semantic sphere of the personality of consumers.

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The article discusses an issue of teacher’s work with preschool children in regard to movement design. The emphasis was placed on creative methods, application of which implies a child’s complete personality formation. Movement is the most important stimulator of physical development, and creative movement also influences intellectual, emotional and social development. A unique personality of a preschooler requires a teacher to have an innovative attitude and to use diversified and novel methods in physical education. Children’s creativity can only be developed by creative teachers. Therefore, research was undertaken, which established to what extent teachers use motor creative expression methods, what’s the status of their preparation for it, and what factors determine the diversity of respondents in this field. The research procedure was based on a diagnostic survey method. A questionnaire was administered among 158 female teachers coming from different local backgrounds and diversified in terms of age and career progression degree. The survey was supplemented by an observation of the respondents during classes conducted with the use of the creative motor expression methods. The results analysis led to the conclusion that teachers often use these methods. Some differences in their application frequency were noted in favor of teachers from large cities, teachers between 30 and 39 and those who obtained the degree of a certified teacher. A similar distribution of data was observed during the examination of teachers’ preparation level for conducting classes using creative motor methods, although with a higher degree of differentiation and a much lower percentage of well-prepared persons. The overall conclusion is that often poorly prepared teachers conduct classes in a kindergarten using the creative motor expression methods. Therefore, it is important to encourage teachers and to promote innovative forms of professional development through participation in qualification courses, trainings, workshops, etc., and forms of self-education, among others at online educational platforms

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The paper is devoted to the study of the phenomenon of “sanitary-genetic identity” of adolescents, which is the value self-determination of a forming personality, coupled with an attitude towards achieving psychological health. In previous works, we presented an integral model of psychological health, which includes emotional, regulatory-volitional, cognitive-creative, reflexive-acmeological and socio-communicative components. Based on the presented model, we have developed and carried out a methodology for studying sanitary-genetic identity, which allows us to study the values of psychological health, the current and prospective sanitary-genetic identity of adolescents. The study involved 119 adolescent schoolchildren of St. Petersburg. It was found that adolescents are aware of the value of psychological health, predominantly identify themselves with a group of peers who exhibit constructive behavioural patterns, and also demonstrate targeted health-forming and health-preserving attitudes. The most problematic for girls are emotional patterns of psychological health, which at the same time have a high value for them. The cognitive-creative component of psychological health (interest in cognition, study, creativity) has a low value for boys in comparison with other components, both in the designation of values and in the structure of sanitary-genetic identification. The conducted factor analysis made it possible to single out the key value-self-identification factors of the psychological health of adolescent schoolchildren.

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Penelitian ini dilakukan untuk mengetahui (1) Hubungan Kecerdasan Interpersonaldan Sikap Pada Profesi Keguruan dengan OCB Guru MTs Negeri Se-Kota Banjarmasin.Hasil penelitian menunjukan bahwa (1)tidak Terdapat hubungan tingkat Kecerdasan Interpersonal dengan Organizational Cittizenship Behaviour (OCB) Guru-Guru MTs Negeri Se-Kota Banjarmasin. (2) Terdapat hubungan tingkat Kecerdasan Interpersonal dan sikap Terhadap Profesi dengan OCB Guru-Guru MTs Negeri Se-Kota Banjarmasin.(3) Terdapat hubungan sikap Terhadap Profesi dengan OCB Guru-Guru MTs Negeri Se-Kota Banjarmasin. Direkomendasikan (1) Karena ada hubungan kecerdasan Interpersonal dengan OCB guru Di Madrasah Tsanawiyah Negeri se- Kota Banjarmasin, maka dalam memberdayakan guru-guru untuk melaksanakan proses belajar-mengajar di sekolah adalah untuk bertanggung jawab terhadap lingkungan kerjanya untuk mengatasi berbagai permasalahan yang dialami ketika melaksanakan tugassehingga ia bisa kreatif dinamis, (2) Penelitian menunjukan Sikap terhadap profesi yang baik menjadi salah satu dampak keberhasilan sekolah, karenanya sikap terhadap profesi seseorang guru yang erat kaitannya dengan kepribadian, perilaku, dan karakter guru. Oleh karenanya setiap guru harus memiliki kemampuan secara internal yang melakukan hubungan secara vertikal maupun horizontal, (3) penelitian ini diharapkan dapat menjadi bahan pengkajian peneliti selanjutnya sehingga dapat diperoleh perkembangan yang lainnya dari hubungan kecerdasan Interpersonalonal dan sikap terhadap profesi dengan OCB pada objek yang berbeda.__________________________________________________________This study was conducted to determine (1) The relationship between emotional intelligence with intelligence and attitude Against Profession together with Cittizenship Organizational Behavior (OCB) Teachers MTs Negeri Banjarmasin. The population in this study is MTsNegeri as the city of Banjarmasin, amounting to 142 people. Samples determined through measures such as: set the proportional random sampling technique from each member of the sub-population based on the number of schools under study it was determined the sample of 105 people. The test for determining the validity and reliability are used to collect research data were then analyzed using linear regression and multiple regression.The results showed that (1) There is a level of emotional intelligence relationship with OCB Teachers MTs Negeri Banjarmasin. (2) There is a relationship and attitude level of Emotional Intelligence Professionals Against the OCB Teachers MTs Negeri se-Banjarmasin (3) There is a relationship Profession Against attitude with OCB Teachers MTs Negeri se-Banjarmasin.. Recommended (1) Since there is a relationship of emotional intelligence with teachers OCB MTs Negeri Banjarmasin, then in empowering teachers to implement the teaching-learning process in schools is to be responsible for the work environment for overcome the various problems faced when implementing the tasks so that he can be creative dynamic, (2) Research shows that a good attitude towards the profession into one of the effects of school success, hence the attitude towards one's profession is closely related to the teacher's personality, behavior, and character of the teacher. therefore every teacher should have the capability internally that having vertically or horizontally, (3) This study is expected to be the next research assessment materials that can be obtained more development of emotional intelligence relationship and attitude towards the profession with the OCB on an object that different.

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The article examines the ways of effective assimilation of the development of oral speech by foreign students when studying the creative heritage of Oleksandr Pushkin. Unresolved issues and problems of teaching Russian language and literature as a foreign language remain and are a stimulus for new research. This determines the relevance of the article, the purpose of which is to strive to choose a methodological direction and an effective approach when acquainting with the literary heritage of Oleksandr Pushkin in the classroom on the Russian language and literature with foreign students of philology. To understand a work of art not only as a means of teaching and upbringing, but as a source of personal inspiration and inspiration for foreign students, an incentive to attract them to creative research work; to perceive a literary and artistic work as an individual and unique system of artistic speech, the interpretation of which will contribute to the understanding of the individuality of the author’s personality, expressed through the concept, emotional-evaluative attitude and a set of considerations of the work; to analyze the connections between artistic phenomena of the literary process – these are the main directions of research in this article. The authors are convinced that in the classroom with foreign students of philology, it will be effective to study the poet’s work with the involvement of the interaction of various types of art: Pushkin author’s illustrations, portraits of the poet, paintings by outstanding artists. The appeal to musical compositions based on the works of Oleksandr Pushkin is justified. Musical works will allow foreign students-philologists not only to learn about the interpretation of Oleksandr Pushkin’s poems by composers, but also to enrich their own aesthetic experience of music perception. Methodically conditioned by the use of film interpretation in the classroom with foreign students, it allows you to motivate not only to read the works of O. Pushkin, but also to create your own films and animation works based on the poet's work.

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Introduction: the article deals with current problems of teaching talent and teaching intelligence. A review of the main foreign psychological concepts of giftedness is presented (the concept of “intellectual threshold” is a triad concept of giftedness, a five-factor psychosocial model of giftedness, etc.), different approaches to understanding the structure of this phenomenon are analyzed. The theoretical concepts of giftedness of domestic researchers are discussed in the context of the psychology of intelligence and the psychology of creativity: the working concept of giftedness, the theory of intellectual giftedness, the dynamic theory of giftedness, etc.). The national concept of teaching talent of schoolchildren is analyzed from the point of view of the authors' understanding of the psychological content and dynamics of the development of teaching talent in the age aspect. Materials and methods: the main methods of the research are the analysis of the literature, formalization and modeling, psychological and pedagogical design of theoretical and applied approaches to the description of the phenomenons of teaching talent and teaching intelligence.Results: the author's understanding of teaching talent as a psychological prerequisite for the development of pedagogical abilities and teaching intelligence is proposed, its structure and content of its components are determined. The variable range of manifestations of universal structural components (creativity, activity, level of development of cognitive processes) and special structural components (pedagogical, communicative and organizational tendencies, artistry, speech abilities, empathy, interest in teaching activity) teaching talent are described. A brief overview of the key modern psychological theories of intelligence, including plural, emotional, creative, practical intelligence is given. Some domestic studies are analyzed, in particular the structural-dynamic theory of social intelligence. A teaching intelligence construct is introduced that meets the modern principles of scientific knowledge: inter-paradigm, the search for new generalizations based on the study of the history of the problem and the requirements of new approaches. The author's understanding of teaching intelligence as an integrative individual psychological personality characteristic is formulated. A five-factor structure of teaching intellect is presented, including cognitive intelligence, creative intelligence, practical intelligence, emotional and social intelligence.Discussion and Conclusions: the definition of theoretical and applied approaches to describing the phenomenons of teaching talent and teaching intelligence is the basis for developing the conceptual framework for identifying and accompanying pedagogically gifted youth. The prospect of the study is the development of instruments for diagnosing and monitoring the effectiveness of work on supporting pedagogically gifted young people at all stages of the life cycle of the teaching profession. The article is addressed to a wide range of specialists involved in the work of supporting gifted children and pedagogically gifted youth - schoolchildren, applicants, students and graduates of pedagogical universities.

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The article substantiates the possibilities of developing promising skills of the XXI century, in particular soft skills, as a set of non-specialized, super-professional skills, which, unlike specialized, are not related to a specific field of professional activity. The leading means of developing such skills are STEM-projects, which combine the basic elements of research, project activities and take into account the external requirements of a particular activity. The analysis detected that common skills that were relevant 5 years ago and were envisaged for today, were such as interaction with people, integrated problem solving, creativity, critical thinking, the ability to form own opinions and make decisions, the ability to listen and ask, flexibility of mind (the ability to quickly switch from one thought to another) and emotional intelligence. In most scientific papers, the key soft skills include creative thinking, information management, emotional intelligence, the ability to form own opinions and make decisions, presentation skills. Based on this, the emphasis is on changes in the formation of soft skills and their development. At the theoretical level, methods of developing key skills include trainings, seminars, mastering models of successful behavior, finding feedback, learning from the experience of others, identifying models of successful behavior of people with a high degree of development of certain competencies. The development of soft skills requires special methods that focus on critical thinking; creativity; organizational skills; team working; emotional intelligence; problem assessment and decision making; ability to interact effectively; cognitive flexibility; versatile development of individuality; formation of a holistic scientific worldview of students; formation of a holistic scientific worldview of students; formation of a personality capable of independently choosing and making responsible decisions; education of students' respect for work, providing conditions for life and professional self-realization, formation of readiness of a conscious choice and mastering of the future profession. It is proved that the driver of the development of key competencies and skills of the future in students is STEM education in general and STEM projects in particular. The scheme proposed to the participants of the All-Ukrainian online-contest “Teacher of the Year” on the version of science journal “Kolosok”, who competed in the category “STEM teacher”, is highlighted.

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The article proves that in the academic folk-instrumental art of Ukraine the personality of Lubov Mandziuk is significant. This is evidenced by her active concert and performance activities, a high level of teaching skills in the training of future bandura specialists, the identity of scholarly intelligence, organizational talents and the promotion of bandura performance in the world. It is understood that in the modern conditions of development of Ukrainian culture in general and musical art in particular, the versatility of Lubov Mandziuk’s personality is revealed in various manifestations. And it’s not just talents, skills, abilities, beliefs, value orientations, a kind of architectonics of musical thinking, a culture of feelings, diligence, will etc. It is emphasized that, first of all, the existence of Lubov Mandziuk’s personality in creativity is determined by the fact that she is self-fulfilling, because the existential release of creative energy and its direction to the development of the essence of spiritual potential depends on the level of actualization of personal self-realization. Not everyone succeeds, because it requires a lot of effort. A special reason for the author’s thoughts is the comprehension of the intentional space of the creative life of Lubov Mandziuk, which is manifested not only through the demonstration of her own virtuoso performance and artistic abilities, teaching creativity and wisdom, scientific originality, etc., but also through entelechical (movement that embodies the goal in itself) orientation on universal values in life. It is postulated that the personal attitude to one’s existence in the work of Lubov Mandziuk is perceived as the realization of a vocation that has an imperative and evaluative character, is formed on stable moral, psychological and social values, and hence the ability to deal with their own shortcomings, not hide them, uphold beliefs, constantly educate themselves and teach others. The purpose and task of the article is to identify and comprehend the features of the phenomenon of being in the work of personality Lubov Mandziuk. Analyze aspects of her creative self-realization as the realization of spiritual potential. The methodology is based on a set of research approaches to the study of the proposed issues. The basis is a comprehensive approach that combines the principles of systematic, determinism, functional-structural and activity-value methods of analysis. Conclusions The multifaceted figure of Lubov Mandziuk – a musicianvirtuoso, an experienced teacher, researcher certainly deserves special attention of scholars. After all, her creative existence is a transcended movement from a certain self-overcoming, constant self-development to self-realization as the achievement of the fullness of personal life. It (being) is interesting for the multilevel stereoscopicity of the life and professional position of the individual, which involves the mobilization of spiritual potential, all intellectual, psychological, physical resources, which ultimately form the life credo of Lubov Mandziuk. Of course, this is the achievement of a person who perceives his existence as a unique phenomenon and makes significant efforts to master the complex art of “being” in art. Thus, such individuals with a high level of professionalism, an impressive range of worldviews and original strategies for solving professional problems can help overcome the spiritual crisis of modern society, which requires the formation and upholding of spiritual values aimed at national cultural and historical creation.

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The article reveals the peculiarities of the formation of aesthetic tastes of junior schoolchildren in art lessons. The content and tasks of artistic and aesthetic development of students are determined by the categories of aesthetic culture, in particular the formation of aesthetic tastes, knowledge, needs, ideals, feelings, development of creative abilities, artistic and aesthetic skills. It was found that the creative nature of the process of formation of aesthetic tastes in the study of art, during art activities as part of the diverse development of personality, requires pedagogical conditions: an acquaintance of junior students with aesthetic, artistic and social content of art as an object of aesthetic tastes; mastering visual knowledge, practical skills and abilities in various types of art activities; use of non-traditional techniques and materials for mastering visual arts; creating a favourable, emotionally rich, humane learning environment in the classroom.The article also highlights the importance of artistic activity in the formation of aesthetic tastes of children of primary school age. During the creation of a certain image or product, students develop artistic taste, observation, creativity, aesthetic perception. In the process of artistic activity, children have the opportunity to embody in works their emotional state, their attitude to the surrounding reality, learn to create the beauty of the world, to notice it in life and in works of fine arts.It is claimed by the author that for the development of imagination, fantasy, creative activity of students, mastering certain knowledge and skills, ability to think, fantasize, it is advisable to use non-traditional drawing techniques that demonstrate an unusual, original combination of materials and tools. Keywords: aesthetic education; aesthetic tastes; art lesson; junior schoolchildren; art activities; pedagogical conditions; means of art; non-traditional drawing techniques.

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В статье рассматривается креативность как важный фактор в формировании профессионализма у сотрудников сферы индустрии моды и красоты (на примере дизайнеров и парикмахеров-стилистов). В современной жизни им приходится постоянно развиваться. Творческое отношение к работе и стремление к новому помогают им оставаться востребованными и реализованными в профессии, поэтому изучение различных характеристик креативности актуально для профессиональной самореализации и оценки продуктивности профессиональной деятельности представителей данной сферы. Авторами с помощью тестовых методик и контент-анализа проведено исследование креативности и успешности профессиональной деятельности специалистов в сфере индустрии моды и красоты, результаты которого подтвердили гипотезу о существовании прямой связи между ними, в частности между различными переменными их креативности и количеством клиентов, подписчиков в социальной сети Instagram, успешностью в конкурсах профессионального мастерства и разнообразием предлагаемых услуг. При этом обнаружено, что у дизайнеров более высокие показатели оригинальности, воображения, беглости мышления, склонности к решению сложных задач, творческого отношения к профессии, а у парикмахеров-стилистов более развиты интуиция и эмоциональность, хотя гибкость мышления, оценка любознательности и чувства юмора у представителей обеих профессий одинаковы. Кроме того, у дизайнеров прямо связаны показатели любознательности, сложности, воображения и количество клиентов; гибкость, оригинальность, чувство юмора и количество подписчиков в социальных сетях; гибкость, оригинальность, интуиция и количество конкурсов, в которых они участвовали, в то время как у парикмахеров-стилистов — оригинальность, сложность, воображение, беглость мышления, склонность к риску и количество клиентов, а также подписчиков в социальных сетях. Результаты данного исследования могут быть использованы для совершенствования системы деятельности индустрии моды и красоты, повышения конкурентоспособности специалистов данной сферы, а также для развития креативности представителей творческих профессий. Дальнейшие перспективы исследований связаны со сравнением потенциала креативности представителей разных специальностей и определением взаимосвязей между их личностными особенностями и проявлениями креативности. The article treats creativity as an important factor promoting the formation of professionalism in workers of the fashion and beauty industry (at the example of designers and hair-stylists). Modern fashion and beauty experts have to be constantly improving their knowledge and skills. Their creative attitude to work and their endeavor to learn enable them to stay in demand and be successful in their work. Therefore, it is essential that they should study various characteristics of creativity as an integral part of professional self-actualization that will ensure success in their professional endeavors. The authors of the article use test methods and content analysis to investigate creativity and professional success in fashion and beauty workers and to prove the hypothesis that creativity is an essential component of success. The investigation shows that creative fashion and beauty industry workers have more clients, more followers in social networks, are more successful in professional contests, provide a larger spectrum of services. The investigation also shows that designers are more ingenious, imaginative, quick-witted, and capable of solving difficult tasks, they work creatively. Hair-stylists, on the other hand, are more intuitive and emotional. Both designers and hair-stylists are flexible, curious and have a good sense of humor. Moreover, the more curious, creative and imaginative designers are, the more clients they have. Their flexibility, ingenuity and sense of humor predetermine the number of their followers in social networks. Flexible, intuitive and ingenious designers take part in a larger number of professional contests. It should also be mentioned that hair-stylists who are ingenious, creative, imaginative, quick-witted and willing to risk have more clients and followers in social networks. The results of the research can be used to improve the situation in the fashion and beauty industry and can help improve fashion and beauty workers’ competitive ability and creativity. The perspectives for further research are associated with a comparative study of creativity in specialists of different fields and with the examination of the relationship between personality characteristics and creativity.

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The article presents a philosophical and psychological analysis of the psychodynamics of deceit, as a specific phenomenon determined by personal qualities. The results of the study are presented on the basis of a questionnaire developed by the authors to self-evaluate the admissibility of a lie. Students of both sexes participated (156 people between the age of 17-25). Three groups of subjects were identified, 30 people in each: group 1, with a negative attitude to lies; group 2: people who admit to lying in some cases, and group 3: people who admit to lying in all its manifestations. Personality factors in these groups were compared using the Kattel 16 PF questionnaire. People with different permissibility of lying and falsehood have different psychotypes. People who categorically deny and do not tolerate lies and deceit have high self-control of their behavior, severity and rigidity, while they are internally timid, aloof, tense, overly careful, avoid stress, and have a narrow life perspective. A person who admits falsehood in some cases and situations is conformal, dependent, not always confident in himself, often preoccupied with problems, emotionally unstable, often tense. There is a struggle between conscientiousness and falsehood; provoked by emotional instability and the lack of a “moral core” that does not allow the expression of one’s own opinion. Respondents representing the openly deceitful type reveal emotional balance, flexible intelligence, sociability, good memory and variable creative thinking. In the selected groups, there are different ways of resisting stress. It is shown that the adaptability of people from group 3 is higher than that of people from 1 and 2. The permissibility of lying is positively correlated with resilience to stress, and the inadmissibility of lying is associated with low stress tolerance. It follows from this that falsehood is embedded in the structure of the personality as an adaptive strategy. The authors state that falsehood is an adaptive phenomenon that facilitates survival in society.

Abstract:

Background. The article deals with the choral creativity by the famous Ukrainian composer Mark Karminskyi. The weight of M. Karminskyi’s choral works in the legacy of the composer and in choral art in general stimulates research interest in this area of his activity. However, there are relatively few scientific studies that examine the composer’s choral work; most of them are aimed at reconstructing his general creative portrait or at examining other pages of his heritage. The scientific novelty of this research is determined by the comprehensive coverage of children’s choral creativity by M. Karminskyi and the consideration of his unpublished choral works. The research methodology, synthesizing analytical and generalizing approaches, is based on the traditions of national musicology and is determined by the specifics of vocal and choral genres, first of all, by the inextricable link between musical drama and text. The purpose of the article is to recreate the most complete picture of M. Karminsky’s choral work for children and to determine its role in contemporary choral performing. The results of the research. The composer’s early works were distinguished by meaningfulness, optimism, brightness of musical images, which was embodied in easy, convenient and accessible tunes. Many Soviet-era songs created for children of different school age were included in the “Songs for Students” collections as a new program material for choral singing of Ukrainian secondary schools students in music lessons. Several works of the author became known throughout the country and published in the leading music publishers in Kiev and Moscow: “What Boys Are Made Of” (lyrics by R. Burns translated by S. Marshak), “Quicker to the Gathering” (by L. Galkin), “Balloons” (lyrics by Ya. Akim). The songs about Victory in the Second World War are popular: “Victory is celebrated by the people” (S. Orlova), “The soldier has forgotten nothing” (E. Berstein), “Red Poppies” (poems by G. Pozhenyan). The composer combines his songs into vocal-symphonic suites. One of the main genre of choral creativity of the author has become a miniature that is able to absorb a variety of musical expressive means to expand and deepen the content of the work in a small area of the form. The works by M. Karminskyi revealed such features of choral miniature as philosophicity, attentive attitude to the word, its emotional and semantic meaning, which is reflected in the detailed development of the thematic material. Most of the composer’s choral works are written for a cappella choir. The collections of “Choral Notebooks” (1988) and “Road to the Temple” (1995) have reflected the artist’s thoughts for several decades. The figurative content of “Choir Notebooks” includes the lyrical states caused by contemplation of pictures of nature; the collection “Road to the Temple” represents philosophical reflections not only of a personal nature, but also thoughts about the universal problems of today. The cycles reveal the principles of the composer’s thinking and are one of the pinnacles of his creative heritage. The article looks at one of the best works of the cycle “Road to the Temple”, the choir “Remembering Drobitsky Yar” (lyrics by E. Yevtushenko) for children’s choir, soloist (tenor) and piano. Also, the article deals with unpublished choral works by M. Karminskyi “Paraphrases on the Sonata of Mozart” and “Guitar” on F. G. Lorka’s poems. In the work “Guitar” on Lorca’s poem (translated by M. Tsvetayeva), the composer uses signs of Spanish color: imitation of techniques of playing the guitar, rhythmic copyism of the castanets playing and other. The poetic text “decorated” by flexible, broad, expressive melody that gives words greater emotion. The piece is full of sharp changes of genre signs of melodic structures (vocal without text, dance, austinous repetitions) revealing the semantic implication of the poem. The basis of the “Paraphrase on the theme of Mozart’s Sonatine” was the fourth part (Allegro) of Sonatina No. 1 in C Major from the Six Vienna Sonatas by W. A. Mozart. M. Karminskyi noticed the vocal nature of many parts of this cycle and skillfully made a “translation” of one of them for the children’s choir. Unlike many of his contemporaries, he wrote music that does not fundamentally claim to be innovative. As a true professional, he pays attention to the integrity of the compositions elaborating the smallest details. He strives for the laconism of expression and, at the same time, is able to saturate the choral texture with modern expressive means, if the artistic image of the work requires it. Natural expressive intonation, intonation as emotional content of vocal language distinguishes choral music by M. Karminskyi. A special role in intonation is played by breathing, it is inextricably linked with melodic movement and energy. The breath of the melodies of the author is enriched by the lively intonations of the language, which reveal her “soul”, give a feeling of warmth, strength, caress, greatness, truthfulness. Musical form of the composer’s works is determined by the intonation of the music. Based on linguistic-vocal intonations, most of the author’s works have strophic forms that follow from the semantic aspect of the literary text. Karminskyi is a master of choral unison. This mean of expressiveness, which is not often used by composers, in Karminsky’s works is a carrier of expressive melodism and suppose the performance with a great inner feeling. Features of declamation always find a place in his choirs, they reproduce the living human language, the spiritual experiences of a man. Conclusion. The works for the children’s choir have a special purity and cordiality that is so subtly perceived by children. Mark Karminsky’s music is capable of drawing children’s attention to musical values that purify the soul and nurture personality. His music makes you think and feel! M. Karminsky’s creativity has forever entered the concert practice of children’s choirs of Ukraine.

Abstract:

The article considers the relevance of the acquisition and development of masters ’ soft skills. The objective of this article is to get acquainted with the soft skills system required by a future translator/interpreter in his or her professional activity and to highlight the opportunities for gaining and developing these skills during Master ’ study programme "Translation (English)". The theoretical analysis to determine the list of "soft skills" as important components of the competitiveness of future translators was conducted. The list of flexible skills for applicants of the second (master's) level of higher education is systematized. Based on the analysis of researchers' approaches to the classification of soft skills, the following three groups of soft skills were distinguished: social and communication skills (communication skills, interpersonal skills, group work, leadership, social intelligence, responsibility, ethics of communication); cognitive skills (critical thinking, problem-solving skills, innovative thinking, intellectual workload management, self-study skills, time management); personal qualities and components of emotional intelligence (emotional intelligence, honesty, optimism, flexibility, creativity, motivation and empathy). It should be noted that, within each category and between categories, individual skills and qualities interact. It is clear that different types of soft skills are a priority for different activities. The results of a survey of Master’ students and teachers of Alfred Nobel University, Dnipro are presented. Respondents were asked to determine the list of the most priority soft skills of competitive translation professionals and to determine the degree of their importance. An experience analysis singled out two approaches to the soft skills formation today - to teach directly by introducing separate courses within the variant component of the study programme and to combine all disciplines in with non-formal education and extracurricular activities. The training course "Fundamentals of Translation Activity" is described here, the content of which is naturally combined with the traditional subjects of the professional training cycle, and the implementation of interactive teaching methods aimed at developing "soft skills" in future translators is presented. Through the implementation of dialogical and discussion methods of training using the techniques of synectics, game teaching methods involving modeling of professional situations, joint analysis and problem solving, our results can demonstrate the ability of Master’s students to reflect on their own experience and individual characteristics necessary to develop soft skills. The findings provide a potential mechanism of the following techniques to implement the aforementioned game methods selected for training: reflection, advisory group, role rotation, support, interlocutor chair, mute assistant, replay and placement. To develop soft skills in post graduate students it is necessary to choose some facilitation methods (World Cafe, Open Space, Anti-Brainstorming, Dynamic Facilitation). Superior results could be seen for one more pedagogical technique, project work, which involves the "immersion " in the teaching material, determination of the personality of their emotional and value attitude to it and improving the efficiency of assimilation.

Abstract:

The article discusses the problem of creating an innovative model of teaching Chinese pupils. It takes into consideration the new requirements for the modernization of the education system in China. The solution to this problem is to develop the independence and creativity of the student’s personality on the basis of the humanistic paradigm of education and the concept of lifelong learning. Currently, the main purpose of Chinese school students is to obtain high marks and scores in «gaokao» (analogue of the Russian unifed state exam). However, social surveys show that Chinese children rarely use the knowledge gained at school in everyday life. They feel lack of creative initiative, it is easier for them to perform their training tasks than to offer their own solutions. These are the consequences of the traditional system of education used in Chinese schools, called «Shiben». The main role in the educational process within this system belongs to the teacher. In the innovative training system «Shengben», proposed in the article, the curriculum is focused on the learning child, which is an important resource, the main subject and the end point in the educational process. In accordance with the system «Shengben», the main component of educational success is providing children with more freedom of choice and autonomy. The teacher gives students the opportunity to be active, to learn to ask questions and solve them, to gain new knowledge and to fnd different ways image/svg+xml128 to apply them. This approach creates a completely new way of thinking in children. Such kind of training makes the personal potential of students most evident. Students themselves become «masters of the process of obtaining knowledge.» As a result, children have a desire for self-education and self-development. Study under this model formes the fexibility of thinking, the ability to analyze and make decisions, critical thinking skills, creativity, develops emotional intelligence and the ability to interact with other people, that is, formes the key skills that one needs in the modern world. The result of our study is the theoretical and methodological justifcation of the training system by the method of «Shengben». It has received an international application, is constantly developing and improving.

Abstract:

Introduction. Over the past decades, Russian society has seen an increase in humanistic trends related to a more attentive and more careful attitude towards the qualitative diversity of society than before. In particular, there are significant changes in the education and upbringing of children with mental development problems (deviations or disorders). Creating the conditions for the full and dignified existence of such children is impossible without their inclusion in social relations, without the support of the process of formation of their individuality, which is particularly significant at the early stages of ontogenesis, when the foundations are laid down and cultural and social norms of behaviour are learned.The aims of the present publication are the following: to describe diagnostic tools for identifying the level of formation of the adaptation and integration potential of children with mental retardation of primary school age; to demonstrate the ways of this potential development by means of artistic and creative activities.Methodology and research methods. The research was based on the principles of individualisation and differentiation of correctional and pedagogical process; the capacities, characteristics of development and needs of each child; systemacity of training with close cooperation of all its participants; compliance of requirements, methods, techniques and educational conditions with individual and age characteristics of students. In the course of the experiment, a complex of diagnostic and correctional-developing methods was used: “Finish the Story” (G. A. Uruntayeva, Yu. A. Afon’kin), “Story Pictures” (R. R. Kinina), “Rukavichki” (G. A. Zuckermann), etc. The obtained data were processed through a mathematical method of assessing the significance of differences using the Spearman’s rank correlation coefficient.Results and scientific novelty. The research presents the developed and tested methodology of diagnostics of adaptive and integrative potential of children of primary school age with mental retardation. This methodology was developed in educational establishments, including children’s art schools. The criteria and qualitative characteristics of the levels of formation of this potential are highlighted. Three of its structural components – cognitive, emotional and behavioural – are identified, which are proposed to be developed through artistic and creative activities with close cooperation of specialists of the school support service, parents and teachers of additional education. Such activities are considered as a specially organised process with personal-oriented goals, in which art acts as a determinant of the socio-cultural formation of a child’s personality and contributes to his or her successful inclusion in the school community of peers and further socialisation. The idea and concept of improving correctional and pedagogical work with children with special educational needs through artistic creativity are based on: the predisposition of any child to it, regardless of the presence/absence of any nosology; the accessibility for everyone of this way of learning the world around.Practical significance. The research materials can be used in the practice of special psychologists, rehabilitators, defectologists, teachers of children additional education, as well as in the system of training, advanced training and retraining of pedagogical personnel.

Abstract:

Statement of the problem. Recently, there has been growing interest in the personality of the outstanding Polish composer, pianist, teacher and conductor M. Moszkowski (1854–1925), whose creativity occupies a significant place in the history of European musical art of the second half of the nineteenth – early twentieth centuries. The multifaceted composer’s legacy of M. Moszkowski gives a large variety of materials for researchers. His piano creativity, which encompasses composing, performing, teaching and editorial activities, is an outstanding phenomenon in the European musical culture. One of the key genres of piano music by composer is a miniature. The miniatures that were created by M. Moszkowski during his life, reflects the evolution of his individual style, clearly representing his creative method, aesthetics and piano performance features. However, the question of the genre of miniatures in the work of M. Moszkowski has not been considered by the researchers yet. Thus, there is a need for scientific analysis of M. Moszkowski’s piano miniatures in the context of the general stylistic norms of his creative work. The purpose of the article is characterization of stylistic features and attempt to classify of M. Moszkowski’s piano miniature in view of the role of this genre in the Polish composer’s creativity. Methods. The methodological basis of the study is the unity of scientific approaches, among which the most important is a functional one, associated with the analysis of the genre as a typical structure. The desire to realize the fundamental principles of scientific knowledge, comprehensiveness and concrete historical approach to the study of the target problem requires the combination of musical analysis with historical-cultural, stylistic generalizations, considering piano works by M. Moszkowski in the unity of historical, ideological, stylistic and performing problems involving the conceptual apparatus of theoretical musicology and the theory of pianism. Results. The vast majority of piano pieces by M. Moszkowski are miniatures. According to their place in the performing practice, miniatures are differentiated into concert-virtuoso, pedagogical, household directions. According to the internal genre typological features, they are divided into etudes, dance pieces (waltzes, mazurkas and polonaise serve as confirmation of the musical-historical experience of romantic composers) and others. In the palette of the latter are scherzo, capriccio, fantasia-impromptu, musical moments, arabesques, barcarole, lyrical pieces – that is, almost the whole arsenal of the most common types of miniatures of the Romantic era. The analysis of piano miniatures reveals the composer’s individual attitude to tradition, free choice of figurative and stylistic priorities by him. Under consideration are the piano cycles “Spanish dances” op. 12, “Arabesque” op. 61, the piece-fantasia “Hommage &#224; Schumann” op. 5, Suite for 4 hands “From all over the World op. 23” and other miniatures that were creating throughout the life of the composer. These samples of the salon style of the late XIX century became a kind of generalization of creative searches of the previous constellation of composers – salon performers. Throughout his life, M. Moszkowski repeatedly turns to ancient forms and finds for creation of his miniatures an entirely new impulse: the small forms of the Baroque age. By rethinking, “romanticizing” them, the composer creates his own modifications of the genre models of ancient music in such works as “Canon” (op.15, op. 81, op. 83), “Rococo” op. 36, “Burre” op. 38, “Siciliana” op. 42, “Gavotte” (op. 43, op. 86), “Fugue” op. 47, “Sarabande” op. 56, “Prelude and Fugue” op. 85, as well as numerous “Minuets”. The latter carry out the traits of the aesthetics of the gallant style. Since 1900, Moszkowski prefers etudes. The arsenal of techniques he uses in these works is rich and diverse and emphasizes the artistic qualities of these compositions. Sometimes Moszkowski interprets the genre of the etude very freely: as a substitute for another genre (“Two miniatures” op. 67), as part of the cycle-diology (“Etude-Caprice” and “Improvisation”, op. 70), etc. Modern pianists seldom perform the piano music by Moszkowski. At the same time, the pieces represent a very interesting material that clearly reflects the originality of the musical language of the late romantic pianists, to which Moszkowski belonged. Perhaps, performers confused by the overload of musical material with various technical difficulties. The composer used a wide range of romantic pianistic means. The typical stylistic feature of his music is improvisation, based on the tradition of a brilliant piano style of performance with a romantically impulsive change in emotional states. The performance seems to be more unattainable, because the composer’s bold innovation in virtuoso texture is combined with a refined romantic manner of writing. This circumstance explains the fact that the works by Moszkowski were forgotten for many years. And only now, at the beginning of the twenty-first century, when many values and priorities are revised, art salon style and Moszkowski’s compositions are becoming of great interest. Conclusions. The piano “workshop of miniatures” is the most important component of the composer’s legacy of M. Moszkowski, reflecting the peculiarity of the author’s aesthetic position – cultivating a positive mood, elegance, refinement, virtuosity as signs of ownership of the instrument. It is these aesthetic principles – the feeling of Beauty as preciosity, delicacy, non-conflict state of reality – formed his attitude to the genre of miniatures. M. Moszkowski’s piano miniatures marked by the features of virtuoso style creating associations with the music of F. Chopin and R. Schumann. Chopin’s influences can be traced in the choice of genres of miniatures – among them there are waltzes, polonaises, impromptu, etudes, scherzo and barcaroles. However, for M. Moszkowski, as a composer of Polish origin, was simply necessary to be “native” to the musical heritage of F. Chopin. At the same time, the “similarity” of certain techniques to Chopin’s in the piano works by Moszkowski, always appears in the updated version without duplicating the original sources. The influence of R. Schumann is manifested in the dominance of melodious lyric and playful scherzo’s spheres, the tendency toward the characteristic images and the cycling of pieces, often combined with a certain artistic idea, specified by the programmatic subtitles or by the suite principle. Moszkowski’s piano works are perfect in a form, in possessing of specifics of the piano texture and the richness of figurative thinking. Moszkowski’s miniatures represent a very high level of piano skills, technically, they often require the ability to have a good command of the instrument, but technical difficulties submit to a vivid, meaningful image. Piano miniatures by M. Moszkowski became a significant contribution to the development of Western European art of the second half of the nineteenth and early twentieth centuries. The numerous piano pieces by the composer, distinguished by high artistic qualities, today should rightfully take a worthy place in the concert practice of modern pianists.

Abstract:

Naturalist intelligence of early childhood has a very big role in today's modern age as the basis for children to have environmental-loving behaviour. The purpose of this study was to determine the effect of Loose Parts learning media on the naturalist intelligence. This study uses a quasi-experimental method with data collection techniques through multiple intelligence tests of children's intelligence instruments. The subjects of this study were 17 children aged 5-6 years. The results showed that there was a significant effect of giving Loose Parts media to the naturalist intelligence of early childhood after seeing a difference between pre-test and post-test. The use of natural-based Loose Parts media can be a means for teachers to increase children's naturalist intelligence in kindergarten and be a development of conventional media made from manufacturers in the learning cycle so far. 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Abstract:

Background. The work focuses on studying gender peculiarities of interpretations of the Second Piano Concerto by F. Chopin. Presenting the results of the scientific works that concern the issue of gender peculiarities of performing music, the author comes to the conclusion about lack of research of this question in the field of piano art. While the contemporary social and psychological works of the domain of gender turn to the primary signs of gender differences, embodied still at the point of the earliest stage of personality formation, starting with the very birth of a child (Bendas, T., 2006 et alt.). For instance, still in their childhood girls develop such features as a higher intensity emotionality, subtleness of feelings, whereas boys tend to be more rational while thinking over life situations or works of art. Such psychological peculiarities are revealed for various life periods and get more distinct in the process of age advancement. Research methodology. In this article the gender approach is combined with the comparative method while considering key features of different performance versions of the Second Piano Concerto by F. Chopin. Appealing to the performance versions of E. Kissin, С. Arrau, Lang Lang, M. Argerich, B. Davidovich, we emphasize their uniqueness with a simultaneous focus on performance tools used by these prominent musicians to reveal the essence of this masterpiece of the Romantic era. The purpose of this article is to generalize the tendencies of the performing concepts of Chopin’s Second Concerto by the famous masters of piano art of the XX – early XXI century in the light of gender approach. Research results. The Second piano concerto, created by F. Chopin at the turn of the 20s–30s of the XIX century, has become a model of the innovative approach both to interpreting the genre in general and to piano virtuosity. Firstly, it is expressed through the dominance of the pianoforte over the orchestra, while the former being characterized by the total melodization of the texture. Researchers of F. Chopin’s creativity point out the fact that in his concertos there are influence traces of W. Mozart, C. Weber, J. Hummel; however, despite the belonging of the concertos to early stage of creative activity, Chopin achieves unique artistic results. Maintaining, just like Mozart’s, the classical structured transparent form, enriching musical textures with passages, just like Hummel, Chopin, nevertheless, presents deeply individual images. If in the First part of the Second Concerto the dependence on classical traditions is still obvious, the Second part and the Final demonstrate broad horizons for the lyric component of the composer’s music. Before we turn to a number of outstanding samples of the Second Concerto performance, we recall the opinion of one of the best pianist-interpreters, E. Fisher, that the sound embodiment of a musical work consists of three elements: musical text, instrument and artist (Fisher, E. 1977: 201). He noted that the musical text is an unshakable material basis for the performer. Interpretation is possible only under the condition of accurate transmission of what is stated in the author’s text reflecting both the development of the playing technique and the improvement of musical instruments. At the same time, the end result – the sound image of the work – arises under the influence of the artist’s personality, reflecting its qualities, such as “the degree of development of intelligence, worldview, especially emotional life, belonging to one or another artistic type” (ibid.). So, performers who turn to the Second Concert, can accent certain elements, lines, forming its rich semantic complex. If we classify performing versions of the Chopin Concert by gender qualities, we can come to certain conclusions. In the male versions studied we have clearly revealed the constructivism in musical arrangements, an intellectual structure, rational forethought concerning all the stages of musical development. A special emphasis is laid on caesuras and differentiation between various types of musical material, clearly bespeaks pianists’ intention to reflect more comprehensively a philosophical content of the work. The peculiar predominant feature as for E. Kissin’s performance is his lyric-psychological interpretation of the image palette of the Concerto. Kissin’s main way of realizing the corresponding tasks is articulation that emphasizes the uniqueness of each episode. In the performance of С. Arrau we notice a characteristic brightness, emotionality, contrasting effect, thanks to the intensive exploitation of agogics; at the same time, the unity of the music form is reached through the exactness of the meter and rhythmic pulsation. Lang Lang’s version is a model of a supreme sound lyricism. The pianist plays in the style of Mozart with a clear texture, rationed pedalizing and agogics. At the same time, in his performance there is a philosophical generalization that can be perceived. In comparison with the male versions, the female ones, on the whole, are peculiar in terms of their subtler sound richness, touch&#233; softness. In the interpretation of the drama lines of the Concerto it is the image-emotional component that prevails but, together with this, a special emphasis is laid on lyric and psychological details. The analyzed interpretation by B. Davidovich is characterized by a specific style of its own as, while building up the performance dramaturgy of the Concerto, she prefers a through theme development, without dividing the sound stream into separate fragments the way many performers prefer to do. M. Argerich understands this music by F. Chopin in a different way. Her performance style is unique due to its high drama intensity, emotionality, passion, introducing elements of rationalism into the drama line of the Concerto.

Abstract:

IntroductionAccording to modern scholars (N. Maslova, B. Astafiev), one of the important reasons for the global planetary crisis, including modern educational system in particular, is violation of the conformity of nature principles in the process of perception and cognition of the world, which is conditioned by the advantages of the development of logical and rational thinking and insufficient development of figurative, spiritual-intuitive thinking in the contemporary school of all levels.The modern system of education at all levels (school, higher education, postgraduate studies, and doctorate) is aimed primarily at the development of mechanisms of the left hemisphere that are rational, logical thinking, and analytical perception of reality.Such a one-way orientation leads to inhibition of right-sided processes, does not contribute to the development of creativity, disclosure and activation of the spiritual and intuitive capabilities of the individual, as well as to alienation of individual from the World, loss of personal sense of integrity, unity with the World; that is, to the disharmony of individual with his/her own nature and environment.Personal development of an individual in modern conditions takes the form of "Homo technicus" ("technical person"), "Homo informaticus" (“informational and technogenic person”), "Нomо соnsumens" (“person who consumes”), "Reified man" ("material surplus person"), "Nomo Festivus" ("person who has fun") (Butenko, 2017). As a result, a person with a technocratic, rational thinking, pragmatic and consumer attitude towards the world is brought up, and as a consequence, harmony in the "man-man", "man-nature", "man-society", "man-universe" systems, and correspondingly, the equilibrium in the integrated information-energy system interaction "Man – Society – Earth –Universe" are violated.Approach In contemporary education of all levels, high ontological and existential goals are not set, and not enough attention is paid to the spiritual and mental health of the individual, in particular to problems of spiritual self-knowledge, self-development, self-regulation and self-realization, thus leading to the formation of consumer psychology, dominance of pragmatic values, loss of spirituality, upbringing of a human – destroyer, a soulless person, but not a creator.One of the ways out from the planetary global crisis in the area of a contemporary education in particular, is the noosphereization of education, the imperative task of which is formation of the noospheric individual, actualization of his/her spiritual and intuitive potential, training of the noosphere integral harmonious bioadequate environmentally healthy mindset, which is based on a conscious total ownership of logical (left cerebral hemisphere) and creative, spiritual-intuitive (right cerebral hemisphere) thinking that, due to correspondence with both huamn nature and the laws of the cosmoplanetary world, will provide the individual with possibilities to adequately and fully (at the information and energy levels) perceive and recognize the surrounding world, and to interact with it on a spiritual basis.Results and Discussion The problem of intuition always remains relevant throughout the history of mankind. Among the scholars of the late XX century - beginning of the XXI century the problem of intuition and harmonization of the activity of the left and right hemispheres of the brain has been studied by such researchers as G. Kurmyshev, N. Maslova, Osho Bhagwan Sri Rajneesh, I. Smokvina and others. Modern psychophysiological science explains the nature of intuitive thinking and cognition: the human mind combines the ability to integrate and develop both intellectual and intuitive knowledge that modern scientists associate with the activity of the left and right cerebral hemispheres. According to psychological science, the two hemispheres of the brain cognize and reflect the surrounding world differently and, thereafter transform information in their own ways. The left hemisphere "sees" objects as discrete, separated; it is responsible for logic and intellect, verbal thinking, application of sign information (reading, counting, language), and is characterized by the ability for logical, rational, mathematical, and scientific thinking. The right hemisphere binds objects into a single whole; it is responsible for emotions, creative thinking, intuition (unconscious processes). Thanks to the right hemisphere, a holistic image of the world is formed, and the left hemisphere gradually collects the model of the world from separate, but carefully studied details. "Left- hemisphered" thinking is associated with the ability for consistent, step-by-step cognition, which has respectively analytical rather than synthetic character. "Right- hemisphered" thinking is linked to the ability for integral, voluminous and complete cognition, space spatial immediate perception of the world in all of its information-energy interrelations and interactions.Logic and intuition, rational and intuitive paths – are different aspects of the unified process of cognition, and if the intellect can be regarded as the earthly beginning in humans, then intuition – is a spiritual primary source, a phenomenon of nonlinear, unearthly thinking, the logic of the Higher Being, the logic of the Almighty. As was very wittily pointed out by Osho Bhagwan Shree Rajneesh, logic – the way our mind cognizes our reality, intuition – is how the spirit passes through the experience of reality (Maslova, 2006). Therefore, logic and intuition are two mutually conditioned mechanisms of scientific cognition that supplement and do not exist in isolation from one another. If the function of intuition in this interaction lies in creative discoveries, inventions, awareness of the true essence of things and phenomena, then the task of the scientific method, acting as an assistant of intuition, is to endeavor to comprehend new ideas, explain them from the point of view of earth science at the logical level, and "adapt" to our reality.Given this, rational and intuitive paths must complement, enrich and explain each other, interact in sync, in synthesis.Intuition is an organic component of the spiritual and psychic nature of the individual. Therefore, the problem of the development of intuition and harmonization of the discourse-logical and spiritual-intuitive components of thinking is extremely important at all levels of contemporary education. This is especially true for student youth, since students are the future spiritual and creative potential of the country, and therefore it is extremely important to reveal and develop their spiritual and intuitive abilities, to harmonize their mental-spiritual sphere, which promotes spiritual self-healing of both the individual and the environment, and harmonization of relations in the world. In the context of the modern information and energy paradigm, intuition is considered as a special mental state of a highly spiritual person, in which he/she deliberately initiates informational and energetic contact with any object of the Universe, in the physical or subtle world, "connects" to its information field, "reads out", "decrypts" and analyzes necessary information. This information-energy interaction is perceived by the individual as the process of connection, merging with the object being studied, which enables instant cognition of its true essence (Smokvina, 2013). As the analysis of the literature on the research problem testifies, if the activity mechanisms of the left hemisphere of the brain are relatively studied in modern science, the problems of the individual’s intuitive updating potential and harmonization of the activity of logical and intuitive cognitive processes are being investigated.According to many scholars, the ability for intuition is inborn in every human; however, unfortunately, in most people it is in a latent state. And only due to intense conscious work of the individual regarding their own spiritual self–cognition and self–perfection, one can discover and develop personal spiritual and intuitive abilities.According to the results of our theoretical study the general conditions contributing to the disclosure and development of intuition are as follows: (Tyurina, 2017) • Ability to cope with one’s own passions, emotions, feelings, thoughts, and achievement of the state of internal silence, voicelessness;• Formed self-motivation for spiritual self–cognition and self–perfection;• Achievement by the individual of the corresponding spiritual level: the higher the spirituality of the human, the more clearly his/her ability is expressed to obtain a higher spiritual knowledge: information and energy interaction, contact with higher levels of psychic reality;• Conscious desire, willingness of the individual to use intuitive cognition that helps overcome information-power resistance, the barrier that exists between a subject and an object, helps create harmony, assonance, interaction with the object being studied;• Intuitive human confidence: deep inner belief in personal intuitive capabilities and ability for intuitive cognition and self-cognition;• Humanistic orientation of the individual and his/her internal psychological properties such as: altruism, active love for all living beings on the Earth, empathy, ability to express compassion, care, and self-consecration, conscious desire to live in harmony with oneself and the world;• Nonjudgmental practice, which consists of the ability of a person to abandon assessments, classifications, analysis, which creates favorable conditions for immersion into the information space around us, makes it possible to connect to the information-energy field (biofield) of the object being studied;• Sense of inner unity with the world, awareness of oneself as a part of mankind, of the Earth, of the Universe, and a feeling of deep responsibility for the world and for ourselves in the world;• Striving for personal self-realization for the benefit of the cosmoplanetary world.In our opinion, the ways of actualization of intuition and harmonization of the activity of logical and intuitive components of the process of cognition should be attributed to the following (Tyurina, 2018):• Concentration, concentration of human consciousness of the subject being studied, deep and thorough knowledge of it.Psychological mood, deep concentration, focus of human consciousness on the subject of research lead to intuitive penetration into its essence, comprehension of the subject of study as if "from within." An intuitive act of cognition is the result of a huge concentration of all human efforts on a particular problem, deep and thorough knowledge of it, mobilization of all its potencies. In particular, for almost 20 years, D. Mandeleev worked continuously on the systematization of chemical elements, and only after that he "saw" his periodic system of elements in his dream. At academician M. Shchetynin school students spend 21 days (6 lessons daily) studying only one academic discipline for the purpose of deep penetration into its essence - information-energy merger, connection with the subject being studied, into a single whole, that is, achieving an intuitive level of comprehension.• Spiritual practices (prayer, meditation).Prayer and meditation are effective ways of spiritualizing a person, awakening and activating his/her intuitive potential. Through prayer, meditation a person learns to adjust to nature and Cosmos, eternity and infinity, the World Harmony, reaches consonance with the World, and permeates its inner essential depth with the heart.It is believed that it is prayer that promotes the spiritual purification of both the human soul and the surrounding world. During a heart-warming prayer a human comes to enlightenment and spiritual enlightenment, intuitive enlightenment.In the process of prayer, meditation, the right and left hemispheres of the brain begin to work synchronously, which makes the brain function in resonance with the Field of Consciousness or the Field of Information - Noosphere.• Spiritual processing of the corresponding religious, spiritual and philosophical sources, fine arts, classical music, information-energy interaction which raises the spiritual level of an individual, awakens his/her intuitive abilities.Spiritual literature is an important way of discovering and developing intuition and harmonizing the activity of intuitive and logical components of thinking, since information and energy interaction with spiritual literature contributes to individual’s spiritual growth, disclosure and development of intuition, and harmonization of personal intuitional and intellectual sphere.It should be noted that various forms of art, in particular, visual and musical, play a special role in the process of disclosure and development, intuition, harmonization of the logical and figurative, spiritual and intuitive perception of reality.The spiritual potential of art is, first of all, that in itself, creating spiritual values, spiritualizes a person, and interprets personality as a phenomenon of a global planetary-cosmic nature. True art has an ecumenical, cosmic dimension. The best masterpieces of world art transfer the idea of unity of humans with the world, their harmonious interaction.The creativity of great artists contributes to the disclosure and development of the personality's spirituality, the heart's perception of the world, the cultivation of the Cosmic Worldview, and directs the person to high ideals.Musical art is one of the most important means of revealing and developing intuition, harmonizing its spiritual and intuitive basis.The results of research by modern scholars show that classical, spiritual music activates the spiritual-intuitive sphere, harmonizes the person, gives a sense of joy and rest, and helps to restore spiritual and mental balance.It has been scientifically proven that classical musical compositions based on the perfection of harmony and rhythm, especially the works of J. Bach, L. Beethoven, J. Brahms, A. Vivaldi, G. Handel, F. List, F. Mendelssohn, A. Mozart, S. Rakhmaninov, O. Scriabin, P. Tchaikovsky, F. Chopin, F. Schubert, R. Schumann and others have a positive effect on the individual on the spiritual, mental and physiological levels, since classical music relates mainly to the natural rhythms of the human body. This music causes not only positive emotions, but also represents a powerful energy force that inspires humans and the world: makes a person more perfect and the world more beautiful.Consequently, fine arts, classical music, contribute to the disclosure and development of the spiritual and intuitive potential of the individual, to harmonization of his/her intuitive-intellectual sphere; they help the person to grow spiritually and be filled with high spiritual energy, accordingly, to change, and improve the natural and social environment.- Bioadequate REAL-methodology of noosphere education (N. Maslova), in which stages of relaxation (accumulation of information, work of the right creative hemisphere in a state of rest), alternating with stages of activity (training of the left hemisphere: logic, analysis, synthesis of information) are presented. As a result, the work of the left and right cerebral hemispheres is synchronized, which promotes harmonization of consciousness, carries a beneficial influence on the spiritual, mental, social and physical health of the student's personality.The fundamental characteristics of the bioadequate method of noospheric education are:1. Health preserving - does not violate the nature of perception, processing and preservation of information.2. Corrective - restores the natural genetic sequence of work with the information and health of the student and the teacher.3. Developing - improves the body's reserves.4. Harmonizing - integrates all systems of the body and personality (Vernadsky, 2002).According to studies of the neuropathologist I. Smokvinova, PhD, bioadequate methods of noosphere education, taking into account the physiological and informational and energy resources of the individual, contribute to the harmonization of the work of the left and right cerebral hemispheres, awaken higher feelings, recharge with life energy, teach the ability to direct vitality to the realization of one’s own higher potential, which also has a beneficial effect on the spiritual, mental and physical health of the individual. Moreover, due to the application of a bioadequate technique, psychological and physiological stress is eliminated, and a positive emotional mood is created that heals the body and the student's psychics (Osho, 2000). According to N. Maslova, holistic thinking contributes to the acquisition of basic energy, biologically adequate to livelihoods programs (Kurmyshev, 2013).Many independent groups of scientists (teachers, psychologists, physicians, biologists) have proved that noosphere education, harmonizing the left and right hemispheres thinking, has a healing effect on the body of both the student and the teacher, contributes to the development of natural creativity.Practical valueResults of our study can be used in lectures and practical classes with students in medical psychology, psychology of creativity, social, general, pedagogical psychology, pedagogy (sections of didactics, spiritual and moral education), sociology, philosophy, etc.ConclusionsThus, the actualization of the spiritual and intuitive potential of the individual and the harmonization of the activity of the left and right cerebral hemispheres stimulates the disclosure of spiritual and creative abilities of the individual, fills the individual with spiritual energy, and the person becomes a source of spiritualization of himself/herself and the world, thus contributing to the spiritual and psychological improvement of society, humanity, and civilization in general, since at the information-energy level, "Man - Society - Earth - Universe" this is the only cosmoplanetary organism, all parts of which are mutually interconnected, interact and stipulate with one another. We consider that it is important in the future to develop appropriate special disciplines for all the sections of modern school and keep working in the direction of developing and incorporating into the content of the curricula, relevant pedagogical technologies aimed at the disclosure and development of the intuitive-mental sphere of the individual

Abstract:

Abstract. The dynamic creativity framework (DCF) represents a new theoretical perspective for studying the creativity construct. This framework is based on the dynamic definition of creativity, and it has both theoretical and empirical implications. From a theoretical point of view, we review the characteristics of the dynamic creative process and its extension into the dynamic universal creative process, encompassing creativity at different layers of complexity. We discuss the key concept of creative potential, considering individual, sociocultural, and material viewpoints, and we show how the DCF is instrumental in clarifying the relationship between creativity and intelligence, between creativity and anticipation, as well as in introducing the concept of ‘organic creativity’. From the empirical perspective, we focus on the dynamic creative process broken down into four phases: i) drive, ii) information, iii) idea generation, iv) idea evaluation. We review results obtained through investigations accounting for the dynamic interplay between emotional and cognitive components defining creative performance for each. Experiments were conducted to measure the role of emotions and attention in driving the dynamic process, considering the processing of apparently irrelevant information and the interaction between idea generation and idea evaluation, always taking into account individual differences as measured through personality traits, performance variables, or lifetime achievement. Neurophysiological evidence is considered in discussing dynamic effects in divergent thinking, such as the serial order effect, as well as the possibility to enhance creative potential through neurofeedback. Finally, we report on the effects of different environments on the creative process, highlighting the dynamics produced by context-embeddedness.

Abstract:

The article deals with the theoretical issues of the formation of labor potential of the educational sector. The role of creativity in the formation of labor potential of teachers and its influence on the formation of non-standard skills is defined. The article is devoted to the influence of creativity and creativeness on the development of the country. It is proved that the creative potential of the country influences an index of innovative development and the place of Ukraine in a rating "Global Innovation Index" is analyzed. Methods of estimation of creative potential are stated, also in article the basic criteria of conformity of parameters of creativity in the field of labor potential are disclosed. Own definition of the creative potential of the participant of educational process is offered. The basic principles of development of creative potential of participants of educational process are allocated. The most significant factors inducing Ukrainian students to receive higher education abroad and threats of international educational migration for Ukraine were determined. The article also discusses factors contributing to the process of achieving creative success, which at first glance may seem less important than financial or other production factors. The relationship between creativity and personality has been the subject of careful study by the authors of the article. But at the moment it is not clear whether personality characteristics are related to emotions, in particular emotional intelligence and emotional creativity, which are the driving factors that help people with creativity to realize their innovative ideas. Thus, the authors show the relevance and necessity of such research in both entrepreneurship and education. For further development it is necessary to analyze education in the sphere of education and the need for new approaches to the development of labor potential of professional education. Thus, the main idea of the article is aimed at explaining the processes of developing creative potential of educational process participants in modern conditions, which, in its turn, implies, first of all, creative nature of their activity, which is especially important for pedagogical sphere of activity.

Abstract:

AbstractEmotional creativity is defined as the ability to feel and express emotions in a new, effective and authentic way. There are currently no Basque-language self-report instruments to provide valid and reliable measures of this construct. Thus, this paper describes the process of adapting and validating the Emotional Creativity Inventory (ECI) for the Basque-speaking population. The sample was comprised of 594 higher education students (388 women and 206 men) aged between 18 and 32 years old (Mage= 20.47;SD= 2.48). The Basque version of the ECI was administered along with the TMMS-23, NEO PI-R, and PANAS. The results of exploratory and confirmatory factor analyses on the Basque ECI corroborated the original scale’s three-factor structure (preparedness, novelty, and effectiveness/authenticity). Those dimensions showed acceptable indexes of internal consistency (α= .80, .83, and .83) and temporal stability (r= .70, .69, and .74). The study also provided some evidence of external validity (p< .05) based on the relationships found between emotional creativity and emotional intelligence, personality, affect, and sex. The Basque ECI can be regarded as a useful tool to evaluate perceived emotional creativity during the preparation and verification phases of the creative process.

Abstract:

Pemikiran kreatif ialah nilai tambah yang ‘wajib’ ada dalam diri pelajar-pelajar Institusi Pengajian Tinggi (IPT) dalam menyumbang kepada pembangunan negara yang berinovatif. Pembentukan individu yang mempunyai kemahiran berfikir secara kreatif harus dimulakan seawal pendidikan pra-sekolah dan terus digilap di peringkat universiti. Hampir kesemua IPT di Malaysia telah menjurus kepada membangunkan kemahiran pemikiran kreatif pelajar dalam struktur pembelajaran dan pengajaran melalui kerja berpasukan. Namun demikian, masih kurang kajian yang menguji pengaruh komposisi kerja berpasukan secara spesifik, iaitu personaliti proaktif dan kecerdasan emosi ahli pasukan ke atas pembangunan pemikiran kreatif pelajar. Kajian lepas mendapati bahawa tidak semua kerja berpasukan mampu menghasilkan hasil yang hebat disebabkan kurangnya keserasian antara ahli pasukan. Oleh itu, pasukan yang hebat bukan sahaja perlu memilih ahli yang terbaik tetapi mereka perlu mempunyai komposisi ahli yang sama-sama dapat membangunkan tahap pemikiran kreatif yang tinggi. Setiap ahli pasukan perlu melibatkan diri dalam proses kreatif yang membantu membangunkan kemahiran pemikiran kreatif. Proses ini merangkumi beberapa langkah iaitu mengenal pasti masalah, mencari maklumat dan mengekodkan dan menjana idea dan alternatif dalam penyelesaian masalah. Tujuan kajian ini adalah untuk menguji hubungan antara karakteristik individu dalam komposisi pasukan dan proses kreatif serta menguji sejauh mana proses kreatif dapat membangunkan kemahiran pemikiran kreatif pelajar dalam kerja berpasukan. Sampel kajian ini ialah pelajar daripada enam buah IPT di Malaysia di mana 250 borang kaji selidik (40-50 bagi setiap IPT) telah diedarkan secara atastalian dan data diuji menggunakan perisian SPSS (versi 22). Hasil kajian daripada 242 maklumbalas menunjukkan bahawa personaliti proaktif dan kecerdasan emosi pelajar mempunyai hubungan yang positif dan signifikan dengan penglibatan pelajar dalam proses kreatif. Seterusnya, proses kreatif mempunyai hubungan yang positif dan signifikan dengan pembangunan kemahiran pemikiran kreatif pelajar. Abstract Creative thinking is a compulsory added value within students of Malaysian Higher Education Institutions (MHEIs) in contributing to the innovative national development. The development of an individual who has creative thinking skills must begin as early as pre-school education and continue to be practised at the tertiary level. Almost all MHEIs have focused on the development of creative thinking skill among students in the teaching and learning structure through teamwork. Nonetheless, studies that specifically test the influence of teamwork composition, namely proactive personality and emotional intelligence of team members on the development of students’ creative thinking are rather scarce. Previous studies found that not all teamwork is able to produce great outcome due to the fact that there is no chemistry among team members. Thus, great teams not only have to choose the best members but they also need to have a composition of members that can collectively develop high level of creative thinking skills . Every team member must take part in the creative process that facilitates the development of creative thinking skills. This process encompasses several steps of activities namely identifying problems, finding information, coding and generating ideas and alternatives in problem-solving. The purpose of this study is to test the relationship between individual characteristics in team composition and creative process as well as to the extent of which the creative process can develop students’ creative thinking skills in teamwork. The study sample comprises 250 students from six Malaysian HEIs (40-50 questionnaires per HEI) with the questionnaires distributed online. The data from 242 respondents were tested using SPSS software (version 22). The findings of the study reveal that there was a positive and significant relationship between the proactive personality and emotional intelligence of the students and the students’ involvement in the creativity process. There was also a positive and significant relationship between the creativity process and the development of creative thinking skills. Keywords: Proactive personality, emotional intelligence, creative process, creative thinking skills, Malaysian higher education institutions, student.

Abstract:

She lies helpless and fragmented, limbs leaden with story, forced ever further into herself by the viscous shame that suffocates and disables her. Fleshed lips cling to each other, tongue recoils from the sharp taste of the narrative of her body. Within the impotent portal of her mouth, her story sits, an impenetrable oral hymen. — Brenda DowningRape is, without doubt, a catastrophic experience.When rape is experienced in childhood and is also silenced, it can have devastating consequences that carry through to adulthood.In what ways then can the catastrophic memory of silenced childhood rape be coaxed from its hiding place in the female body? How is it possible to make the transition from silenced experience to public articulation? Can creativity fill the body with courage in the face of helplessness and create breath in the suffocating and silencing space of the aftermath? Can creativity help facilitate the personal expression of muted experience?In this paper we will each reflect on the complexities and enabling capacities of the creative and collaborative processes present when negotiating the landscape between the private memory of silenced childhood rape and public articulation and performance. Brenda will retrace the steps of her academic research. She will identify two paths that have taken her from personal and social silence to public voice, and the articulation of her embodied trauma experience through differing modes of creative expression. Alice will reflect on the ways in which preparing Brenda for the journey from articulation and expression to public performance sometimes required moments of freefall full of risk yet also full of creative forces. Images from Brenda’s solo performance aperture will accompany these reflections. aperture is a companion piece to Brenda’s doctoral research and is the creative result of our collaboration.BrendaIn 2008, I completed my feminist and autoethnographic Honours research. This work explored the multiple and significant ramifications of my silenced and silencing experience of childhood rape. Commencing this research as a mature aged woman inevitably involved a movement back through time to revisit 1971, the year of my rape experience, gathering recollections of the aftermath along the way. My memories of the events of that year, folded tight within me since I was eleven years old and enveloped in a shroud of secrecy for decades, had nonetheless been held with full consciousness and silenced in an act of pragmatism that allowed me to function. These were not uncovered or recovered memories; rather they were suppressed and revisited. I didn’t experience a sudden cracking open of lost memory, instead I stepped easily, though not without discomfort, into the archives of my body and reached with outstretched hand. In the gesture, I offered my memories the opportunity to speak, and speak they did.From within my body, stored memories were unleashed and hurled themselves at me. I caught these memories and held them close. I turned them over, set them down, reached again. I reflected, I explored, paused, considered. I sat alongside them. I got angry. I wept. It was as though these embodied memories, these lived subjective experiences, had been crouching impatiently just beneath the surface awaiting release from the repressive silence that had contained them for so many years.But what had helped facilitate this release? Was it simply the opportunity to be immersed in self-reflective and reflexive research? Following the conventionally written academic-style opening chapters of my Honours thesis, sits my autoethnographic chapter. It was no accident of method that I explored my personal experience through creative writing. I didn’t stumble into this medium; I had a compelling and irresistible urge to express my experience creatively. It seemed the only way. When I sat down to write, the sentences were expelled from my body like a series of long-held but desperate exhalations. They emerged as my memories had sat since childhood, blunt, raw and panting, filled with barely-contained energy. They revealed the chaos and disconnection of the body and mind in the aftermath of silenced childhood rape. They disrupted chronology and mirrored shattered identity. Temporally and spatially they were restless birds, unable to perch for too long, nor in one place. Slipping in and out of the first and third person, they struggled to sustain a fixed identity, or perhaps, refused one. Relational threads appeared transparent but were as strong as lines that support the weight of thrashing fish.In the laying down of the multiple layers of my story, I soon realised the writing was serving an additional purpose. It had evolved to become a critical factor in not only the actualisation of my story but also a means of making sense of my experience by locating it within wider familial, social and cultural contexts. The grounding of my experience through reflexivity and the piecing together of my tenuous sense of self became intimately entwined in the creative process. I recorded each evocative exhalation with frantic diligence, as though I mustn’t lose a word. I felt my visibility, my credibility reliant on each syllable and every nuance. I intuitively sensed that the creative re-capturing of my story would liberate my memories from the smothering folds of corporeal darkness in which they had reluctantly huddled and in that liberation, I would also find freedom from the dragging and stultifying weight of their heavy presence. Helene Cixous talks of moments when we are “unwoven weft” (38), when writings or “songs of an unheard-of purity flow through you [...] well up […] surge forth” (39). I’m certain the liberation of story and self I experienced through the creative writing medium, at a point when I too was unwoven weft, gave me the courage to walk in the night shadows of my embodied childhood memories, the light of creativity guiding my way. In making the transition in 2009 from Honours to doctoral research, I carried with me the knowledge that to ignore or pay cursory attention to the materiality of the raped body is to deny its cellular intelligence and its abundant creative reserves. While the researching and writing of my Honours project was deeply satisfying, what emerged for me during that process was an intense desire for a more three-dimensional aesthetic and embodied engagement with my PhD project. I felt the poetics of embodied language and my moving body would satisfy this desire.With the addition of a performance modality I was convinced I could lift the words off the thesis page in order to, literally, bring the information to life. Through performance I knew I could give the bones of the written language of sexual trauma a heartbeat, a pulse, give them breath. I believed a performance held the potential to drape flesh on the words and pump blood through their sentences. I wanted the narrative of sexual trauma to move and sweat, collapse and stand rather than remain in stasis. I wanted the unresolved nature of silenced sexual trauma to permeate the flesh and speak with more than written language. I wanted my raped female body to be fully present. A performance seemed the only way to convey the three-dimensionality of my muted experience. “Performance is a promissory act,” Della Pollock tells us, “not because it can promise possible change but because it catches its participants—often by surprise—in a contract with possibility: with imagining what might be, could be, should be” (2). When I came across these words, I felt certain that I could create for an audience Pollock’s contract with possibility. Through a performance modality a portal would open to the reality of how it is to live with silenced and unresolved sexual trauma. Beyond that portal an invitation would await for others to engage with the difficulties and compromises of this reality through embodied imagination and somatic empathy. A performance, I felt, could act as a physical, emotional and intellectual bridge of communication between those who have experienced sexual violence and those who have not. In the actualisation of this PhD project my role would be multiple. I would take up the position not only of the researcher but also the researched. Through an engagement with the somatic work of Body-Mind Centering® (BMC®), my still traumatised body would become the primary focus of the research. Additionally, I would present this work in the solo performance aperture. My body then, would become the site of somatic inquiry, providing the embodied text for the research, scribing the work in symbolic language and articulating the emotional landscape of the aftermath of my trauma through performance. As Tami Spry notes, “words can construct, but cannot hold the weight of the body” (170). The words of my thesis then would construct my story from the findings of my somatic inquiry as well as shape my research but the performance would hold the weight of my flesh in the embodied articulation of my story. But I couldn’t do this alone.Help arrived in mid-2010, when I was introduced to and entered the world of BMC® and the work of Alice Cummins. At times the BMC® work and the creative development phase of aperture felt a little like attempting a base jump with a parachute that might, or might not open. However, with Alice’s depth of knowledge and experience guiding me, I have taken what has been an extraordinarily profound journey of somatic exploration resulting in personal healing, revelation, illumination and embodied performance. AliceAs a dance artist and somatic movement educator, my teaching and choreography are influenced by post-modern dance practices and feminist philosophy. My interests have engaged me with socio-political concerns and how the poetics of the moving body articulates our humanity. In my somatic movement practice I draw on BMC®, the work of Bonnie Bainbridge Cohen, with whom I studied in Massachusetts, 1995-98. BMC® evolved in the post-modern dance scene of New York City in the early 1970s and belongs to the lineage of moving research pioneered by Rudolph Laban, F.M. Alexander, and Mabel Todd.Bainbridge Cohen writes:Body-Mind Centering® (BMC®) is an ongoing, experiential journey into the alive and changing territory of the body. The explorer is the mind – our thoughts, feelings, energy, soul, and spirit. Through this journey we are led to an understanding of how the mind is expressed through the body in movement. (1)In June 2010 Brenda participated in a three-day BMC® workshop. During an integrative practice of Authentic Movement she experienced pleasure in moving for the first time. This experience was profound for Brenda after a lifetime of repressing sensation and feeling as a way to contain the memory of her rape. To unravel a torment you must begin somewhere. — Louise BourgeoisSo we began.Before embarking on the creative development of performance making it was critical that Brenda did private work with me. Her history was too traumatic to venture into making work from the body without prior therapeutic hands-on work. When trauma has occurred, the tissue holds this frozen as a way to contain the terror. But it lies in wait and erupts unexpectedly when the circumstances stimulate or provoke memory. As BMC® teacher Phoebe Neville (1996) says: “Memory remains in the tissue until we are ready to feel it”. During her two years of private sessions this hands-on work gave Brenda the capacity to feel and helped her develop somatic and personal insight. This provided the leverage for her understanding, and eventually the making involved in the collaborative process. A BMC® hands-on technique I used during the therapeutic process was cellular touch. This dialogue through touch invites the cells to breathe—to receive and process new information. This exchange supported and stabilized Brenda’s nervous system and perceptual response cycles and helped cultivate endurance. Through the BMC® work we created a visceral bond of attachment and trust that allowed risk as provocation towards realization not as re-stimulus and withdrawal. This allowed Brenda to go from a withdrawn physicality to a dynamic performance presence. Without this capacity to be present, we could not have found a vocabulary that might unearth and express her story through embodied performance making. Brenda’s capacity to be “100% available to be seen” (Hay), would allow meaning to touch her audience. I make work with and through the bodymind and for Brenda’s “voice” to be heard I knew she needed to be able to access the intelligence and imaginary life of her body ... to make, to grasp, to reveal her experience. As artistic director of aperture it was my role to discern how the creative met the psychodynamic and became new realisation and transformation. The BMC® philosophy “support precedes change” (Cohen) infused the collaborative process. Our collaboration also involved a constant flow and exchange of ideas, feelings, intuitive responses and imaginings in both verbal and somatic conversation. This process enabled Brenda’s experience of childhood rape to become a way of exposing the silence and silencing that surrounds rape in our culture.One of the specific research skills we practiced in the creative process was Authentic Movement. Developed in the 1950s by Jungian analyst, Mary Starks Whitehouse, it is a practice that relies on moving and being witnessed. As Brenda moved I, as witness, provided the space of containment and safety, both physical and psychological for the moving exploration to occur. It was in the intersubjective space between us that material arose that might otherwise remain held in the tissue. As Starks Whitehouse says: “Movement, to be experienced, has to be ‘found’ in the body, not put on like a dress or a coat […] it is that which can liberate us” (53). This practice gave Brenda the creative and therapeutic space to explore her experience. In crafting the work I guided Brenda’s movement and emotional states through improvisation and experimentation. In paying close attention to the emergent language and meaning of the nuanced moving, I identified moments of creative potential. Risk and provocation, critical to the transformative act of contemporary performance making, was now possible.As Brenda and I moved to performance making, I was unable to maintain the relationship of client/practitioner. Shifting from the clear perimeters of client and practitioner to an arts practice entails risk. I felt I had to choose at specific moments in our work together to step across the line and transgress, though what it is I transgressed I’m now unsure of. I’ve allowed Brenda into my private realm; she’s shared meals with me, met my friends and partner and slept at my studio home. We’ve spent many hours together and the intimacy of the creative process and the material itself forged our friendship as well as the work. I don’t know if this intimacy was necessary to make this work with Brenda. It is what happened. Brenda’s story touched me deeply and I was participating in its evolution. The work is the result of our private work and our creative relationship, coloured by all its variables. Brenda’s experience of being raped as a child is the catastrophe that we mined to make aperture. The ordeal of this experience shaped her life and her relationships. Its aftermath destroyed her capacity to interact in the world with any agency. When someone has lost their voice and their agency how do we help them find it? During a private session in 2010, Brenda experienced re-stimulation of the trauma. This experience became the “aperture” through which Brenda’s healing has come about. She entered the wound and slowly found her voice and her agency. Both literally and metaphorically, Brenda found her self and her story gathered fleshed substance.The making and performing of aperture was a collaborative process made possible through Brenda’s deep desire for healing and understanding. She led and I followed. Sometimes the path felt perilous and yet it was in these moments that I also felt most certain. These were the risks critical for her realization and empowerment. In both the private and the performance work I practiced a state of love that was self-reflexive and dispassionate. In the moments of greatest distress and disturbance I felt a certainty that was irreducible. The dance we were in was one of survival and I felt the certainty of her innate capacity to survive, and my own capacity to follow her. This was not a certainty constructed of ideas but a felt experience based on every skill and nuance I embodied at that moment. I employed my whole life to work with Brenda and the work also moved my life. What I know and don’t yet know is present in aperture. I am privileged to have witnessed Brenda finding her way to “step into the light”, as Antonio Damasio would put it, and move “through a threshold that separates a protected but limiting shelter from the possibility and risk of a world beyond and ahead” (3).ConclusionThe work of traversing the landscape between private memory and public performance has taken us across some difficult terrain. The adoption of a creative approach has been intrinsic to the navigation of this terrain and central to the storying of this catastrophic experience. The creative process has coaxed, shaped and articulated the complexities and sensitivities of this experience in multiple ways, encouraging voice where once there was silence. This story now speaks and moves. ReferencesBainbridge Cohen, Bonnie. Sensing, Feeling, and Action: The Experiential Anatomy of Body-Mind Centering. 2nd ed. Northampton: Contact Editions, 2008. Bourgeouis, Louise. What Is the Shape of This Problem. Detail. 1999 Cixous, Helene. Coming to Writing and Other Essays. Ed. Jenson, Deborah. Cambridge: Harvard U P, 1991. Cohen, Bainbridge. Personal Communication. 28 Jun. 1995.Damasio, Antonio. The Feeling of What Happens. London: Heinemann & Vintage, 2000. Hay, Deborah. Personal Communication. 20 Jul. 1985.Neville, Phoebe. Personal Communication. 4 Jul. 1996.Pollock, Della. "Introduction: Remembering." Remembering: Oral History Performance. Ed. Pollock, Della. Gordonsville: Palgrave Macmillan, 2005. 1-17.Spry, Tami. Body, Paper, Stage: Writing and Performing Autoethnography. Walnut Creek: Left Coast, 2011. Starks Whitehouse, Mary. "Physical Movement and Personality (1963)." Authentic Movement: A Collection of Essays by Mary Starks Whitehouse, Janet Adler & Joan Chodrow. Ed. Pallaro, Patrizia. London: J. Kingsley, 1999. 51-57.

Abstract:

The contemporary debate on ecology is largely influenced by the theses of the French anthropologist Philippe Descola, who in his masterpiece published in 2005 “Par-delà nature et culture” describes how different cultures relate to what the West calls nature1. Nature, in this framework, is itself a cultural element differently accessible according to the way it is thought and described. This is a very important contribution and not only for European anthropology. However, one of the theses of this book is particularly problematic: the one that leads Descola to recognize in Western culture a “naturalist” attitude, that is, objectifying the rest of non-human living beings. In the West, “nature” would be unified and defined by its very absence of soul or spirit, whereas other cultures recognize a form of subjectivity in everything that lives and for this very reason are forced to think in “nature” a “cultural” plurality that the West does not perceive. The problematic aspect of this thesis is the idea that animism, the attitude that recognizes the existence of a mind or self-consciousness even outside of humanity or a small number of animals, would be impossible or a minority in Western cultures. To this hypothesis, the one that Western culture devoid of any animist sensibility, was actually already opposed a few years before the publication of Descola’s masterpiece another great European anthropologist, Alfred Gell. At the end of the last century, Gell published a masterpiece entitled “Art and Agency. An Anthropological Theory”2, in which he described the cultural forms through which, even in Western culture, becomes possible to attribute agency to artifacts and objects and then practice a form of structural animism for our societies, even if irreflective and unconscious. First of all, there is a very common form of domestic and everyday animism, thanks to which we attribute personality to things: this is the case of children and their relationship with dolls and soft toys, but also of adults, every time they are surprised to talk to a car or a computer. It is, however, an ironic and metastable attitude: in this kind of behavior, often the dominant attitude is that of as if, of play, of fiction, which means that the human subject who, for example, talks to objects or places himself in front of them as if he were in front of another subject, can regularly enter and leave this kind of posture. The attribution of subjectivity is not an act that obliges us to some consequence and has no temporal continuity. Yet there is another form of animism, deeper and more deeply rooted, in which the recognition of the subjective character of objects is neither ironic nor unstable: this is art. In Western society there is a sphere in which we are all unconsciously but invariably animists: we actually call art that cultural space in which we relate to objects as if they were subjects. It is enough to think of what happens in a museum: a museum, after all, is a warehouse full of old objects for which we have a sort of special veneration. Every day, in the “western” world, millions of people enter these enormous storerooms and come across more or less finished portions of linen cloth covered with layers of pigment, or structures of steel, marble, wood: yet, instead of seeing only geometric shapes of extended matter (as the cultural attitude that Descola calls naturalism would presuppose) they see the presence of a subject or a soul, they read opinions, or a vision of the world of someone who existed hundreds or thousands of years before. When we deal with an artistic artifact (but we could also say when we are in front of a book or a written page), we accept the idea that it contains a psychological, emotional, mental intensity that is present regardless of the non-anatomical nature of the material in which it insists. That is to say, in front of artistic objects we are all animists. We don’t even need to go into museums to be one. We are animist even before we open our front door. The British anthropologist who founded material anthropology, Daniel Miller, published a very nice book a few years ago about the way we accumulate things at home, called “The Comfort of Things”3. He looked at some thirty apartments on one street in London and described the different ways people use objects to furnish their homes. Miller considers that this form of choices is a kind of small personal cosmology: deciding what to keep at home and what to throw away is not just an aesthetic or economic decision, it is a cosmological decision, because it involves trying to reconstruct the world differently. And vice versa, everything in the house seems to exude the personality of those who live there: things take on the same status as their subjects. From this point of view, houses are vernacular spaces of animism: places where matter is always imbued with soul and subjectivity. Home is that space in which we are used to relating to everything objective as if it were the presence of something subjective4. Once again, we are animists, without needing to be conscious of it. Art, design and architecture are, in this sense, immense archives and repositories of collective animism that educate us to see subjects where anyone else sees only objects; they accustom us to confer agentivity on any portion of matter, to relate to the world as if it were populated by souls different from our own. In the gaze of these three forms of knowledge, matter is endowed with a spiritual life that is the same as that which allows us to be conscious, sentient and self-reflective. This is why the ecological problem must be transformed into an aesthetic problem. A great Australian eco-feminist who lived in the last century, Val Plumwood, had identified the main reason for the ecological crisis with the absence of animism or “panpsychism” in Western culture: it is because we are unable to recognize the subjectivity of plants, animals and bacteria that we are guilty of genocide on a planetary scale5. The solution, according to Plumvood, would be to disperse the creativity and agentivity, that theology has attributed only to God and his copy – the human species – to all the inhabitants of the earth, allowing to consider evolution itself as «the proof of the existence of a mind present in nature, of the intelligence that implies the elaboration and differentiation of species». It would therefore be a matter of extending to nature the supplementary animism with which art, architecture and design require ourselves to relate to our own artifacts. Yet the analysis of these unconscious forms of animism or “european” panpsychism does not end here. In fact, in these cases we are dealing with positions that allow us to relate socially to matter as if it were endowed with agentivity and subjectivity, without constructing a real ontology. But there are other examples, more radical, in which, even if unconsciously, a form of ontological animism has been achieved. Bruno Latour had suggested some years ago that even science is an immense reservoir of unconscious animism. Applying to scientific laboratories the method that ethnography of the last century applied to non-European societies without writing, Latour realized that science, precisely where it keeps repeating that there is an ontological divide between subjects and objects, never stops transgressing this division. Scientists cannot help but relate to machines and matter as if they were subjects: they attribute to them the ability to act but also the ability to speak. We do the same every time we think that the thermometer “tells us” our temperature. Thus, Pasteur’s great revolution was more political than purely ontological: it was more a question of recognizing the political agentiveness of microbes than of discovering their mere existence. Science does not cease to ontologically constitute its objects into subjects, even if it claims exactly the opposite. More generally, if European modernity affirms a fundamental metaphysical division (a constitution in Latour’s words) between subjects and objects, it does not cease to confuse the two categories and make objects live in the manner of subjects. In some way we have always been animists6. That is, we should stop linking the animist attitude to a specific culture or era: it is a universal attitude that is proper to any living being. Latour’s insight is however important for another reason. If science always does the opposite of what it says, that is, if, while claiming to relate to what it studies as objects, it actually treats them as if they were subjects, then we must read any scientific paper as if it were a huge exercise in ethnography of the non-human. Whether it be botany or zoology, virology or electronics, computer science or physics, everything we have grouped under the somewhat claudicant rubric of natural science is nothing but an investigation of the behavior of subjects who do not share our form. Often, exactly like the anthropologists of the last century, we have pretended to derive universal rules from their behavior; yet beyond the conclusions, we should grasp in this literature only an exercise of falsetto in which ethnography does its best not to appear as such, but a sort of ventriloquism of the non-human by interposed person. And it is through this point of observation that the world becomes animated: there is no need to penetrate further into the matter of this world, there is no need to add discoveries to what we know, there is no need, above all, to deny inanely a culture in order to invoke in a simplistic way the conversion to another culture. It is enough to observe differently the knowledge that surrounds us and grasp in them their own reality: the knowledge that surrounds us will also become deposits of animism that will allow us to recognize the presence of subjects where we used to see only objects.

Abstract:

This study is aimed at evaluating the relationship among students’ skills and their employability based on surveying students using 5 point Likert scale. The survey includes 490 students whose major are foreign languages and the results show that there are differences in the level of awareness between first year students, third year students and last year students. Thanks to the data analysis, it is revealed that most students believe that the university reputation has an important role in their employability (Mean= 3.80), they can do any kinds of work provided that work matches their skills and experience (Mean=3.05); therefore, students need to have some other skills in order to become successful in finding their jobs. Among the skills mentioned in the survey, the skills for working in group, skills for adaptability, skills for listening to others, skills for risk acceptability, skills for public speaking and skills for critical thinking are more effectively contributing factors to employability in comparison with other skills. Keywords Students, employability, skills, attitude, influence References [1] Bộ Lao động Thương binh và Xã hội. (2018). Bản tin cập nhật thị trường lao động Việt Nam - quý II năm 2018. [2] Đào Đăng Phượng. (2017). Thị trường lao động và sự hình thành nguồn nhân lực ở Châu Âu và Việt Nam. Paper presented at the Hội Thảo Khoa Học Quốc tế "Tăng Cường Cơ Hội Tiếp Cận Thị Trường Lao Động Cho Thanh Niên và Sinh Viên Việt Nam Sau Khi Tốt Nghiệp. [3] Hà, T. T. (2017). Tiếp cận thị trường lao động cho sinh viên Việt Nam trong thời kỳ đổi mới giáo dục. Paper presented at the Kỷ yếu hội thảo khoa học quốc tế Tăng cường cơ hội tiếp cận thị trường lao động cho thanh niên và sinh viên Việt Nam sau khi tốt nghiệp.[4] Andrew Rothwell, Ian Herbert, & Frances Rothwell. (2007). Self-perceived employability: Construction and initial validation of a scale for university students. Journal of Vocational Behavior. [5] Andrews, G., & Russell, M. (2012). Employability skills development: strategy, evaluation and impact. Higher Education, Skills and Work-Based Learning, 2(1), 33-44. [6] Bailin, S. (1987). Critical and Creative Thinking. Informal Logic, 9(1), 23-30. [7] Bénabou;, R., & Tirole;, J. (2001). Seft-confidence and personal motivation. Paper presented at the the Oxford Young Economists’ Conference. [8] Cavanagh, J., Burston, M., Southcombe, A., & Bartram, T. (2015). Contributing to a graduate-centred understanding of work readiness: An exploratory study of Australian undergraduate students’ perceptions of their employability. 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Abstract:

This study is an attempt to highlight the cultural implication of CPEC on Pak-China relations, how it will align two nations culturally, and what steps were taken by the governments of two states to bring the people closer. After the establishment of diplomatic relations between Pakistan and China, the cultural aspect of relations between the two states also moved forward. The flow of cultural delegations intensified after the 2010, because this year was celebrated as the ‘Pak-China Friendship Year’. This dimension of relations further cemented between the two states with the signing of CPEC in April 2015. CPEC will not only bring economic prosperity in Pakistan but it will also bring two states culturally closer. The roads and other communication link under this project will become source of cultural flow between the two states.