"Creativity" and "Tradition"

Kristeller, Paul Oskar

doi:10.2307/2709307

Cited by 30 publications

(14 citation statements)

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“…This discrepancy is found among both researchers and laypersons (Niu & Sternberg, 2002). It could be said that Easterners tend to see creativity as a reinterpretation of ideas, while Westerners see creativity as a break from tradition (Kristeller, 1983). In contrast, Easterners view creativity as a state of personal fulfillment and the understanding or expression of an inner sense of ultimate reality (Chu, 1970;Kuo, 1996;Mathur, 1982), with a focus on meditation (Sarnoff & Cole, 1983).…”

Section: Eastern and Western Views Of Creativitymentioning

confidence: 99%

Korean Science Teachers’ Understanding of Creativity in Gifted Education

Seo

Lee

Kim

2005

Journal of Secondary Gifted Education

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With the passing of Korea's Gifted Education Act, creativity has come to the forefront in considering the future of Korea's economic prosperity in the global economy (Korean Educational Development Institute, 2003). The purpose of this study was to examine the understanding of creativity among Korean science teachers of gifted students. Sixty teachers participated in this study with an open-ended questionnaire about their understanding of creativity. The data were analyzed based on Urban's (1995) three components of creativity. The findings indicated that these science teachers had a thorough understanding of the cognitive component and a strong association of creativity with intellectual ability, but overidentified with the cognitive component, showing less awareness of the personal and environmental components of creativity. To shift their understanding to a more balanced view, personality and environmental components, as well as attributes in other component areas, should be emphasized.

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Section: Eastern and Western Views Of Creativitymentioning

confidence: 99%

Korean Science Teachers’ Understanding of Creativity in Gifted Education

Seo

Lee

Kim

2005

Journal of Secondary Gifted Education

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“…In Hindu religion, "creativity is seen as a spiritual statement and not an innovative solution to a problem" (Lubart 1999). In addition, in East Asia perspective, creativity is seen as something that involves the re-interpretation of traditional ideas to seek a new perspective while in the approach of Western society, creativity involves parting with traditions (Kristeller 1983).…”

Section: The Difference Of View On Creativity Between East and Westmentioning

confidence: 99%

Creative Thinking Skills for a 21st Century Muslim Educational System

2018

MALIM

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After achieving independence 60 years ago, various changes, progress and modernization has been achieved by Malaysia. But one thing is obvious, Malaysian still relies heavily on ideas, thoughts and technology borrowed from other countries. This dependence if persistent in the long run will certainly bring many disadvantages. Malaysian people and Muslims from other countries as well, should be smarter and more creative to create new sciences and technologies without depending directly on external parties. However, the effort to produce many creative individuals is facing various obstacles. One such obstacle is a barrier contained in the education system itself. This article attempts to peel off the obstacles in Malaysian education system. The exam-oriented education system has been around for a while and indeed it's not an easy thing to change it. In Malaysia, the Ministry of Education steps in abolishing the PMR public examination and replacing it with the Assessment Test School-based Form Three (PT3) has been an excellent effort in promoting Higher Orders Thinking Skills (HOTS) among the young people. Consequently, more aggressive measures should be taken in changing the education system to emphasize intrinsic motivation to reproduce new Islamic creative figures which can revitalize the Islamic civilization to the fullest.

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Section: From Creativity To Co-creativitymentioning

confidence: 99%

“…Moreover, human creativity was closely tied to creative genius and to the arts. Both Engell (1981) and Kristeller (1983) suggest that these understandings originated in the Enlightenment and held throughout the twentieth century.Even at the beginning of the 21st century some scholars mention 'romantic genius' er, they identify other rhetorics of creativity. Creativity as involving some kind of individual genius has been fundamentally deconstructed (e.g.…”

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confidence: 99%

On Co-Creativity in Playful Classroom Activities

Schmoelz

2017

Creativity. Theories – Research - Applications

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Recent research points to the essential role of creativity in coping with and acting in a changing world. It has been shown that individual, collaborative and communal efforts are a core capacity for acting in and coping with everchanging circumstances, such that a novel emphasis on cocreativity has arisen. Yet there is very little research on how to provide occasions for co-creativity in classrooms and so the research problem focuses on enabling co-creativity.Therefore, a playful pedagogical design was created and facilitated in classroom. The qualitative data collection methods involved narrative-Socratic dialogues with teachers and students, field notes, and gameplay videography.The Narrative-Structural Method was used to analyze the research material. The main results show that playful classroom activities provide an occasion for co-creative reframing's, engaging in dialogue, expressing emotions, and co-creating a shared story that is rich in co-determined actions. In conclusion, the pedagogical implications of the results are that classroom activities for co-creativity may facilitate mixed playful pedagogies and empty content spaces, so that children and young people can playfully identify, explore and negotiate shared topics that are novel and meaningful to themselves and others. the students of the middle school who worked on piloting the paper prototype of 4Scribes.I am very thankful to Kerry Chappell, Gertraud Kremsner, Christian Swertz, Alessandro Barberi, Matthias Huber and Wolfgang Ruge and the reviewers for taking the time to read and provide feedback on this paper. This paper is dedicated to our esteemed and much loved colleague, Professor Anna Craft, who very sadly died during this project. While we miss her companionship, we are very grateful for her kindness, inspiration and creativity. INTRODUCTIONScholars and scientists have identified accelerating change and uncertainty (Rogers, 1969;Giddens, 2003;Beck, 2007) as central constants in society. Some see increasing entropy (Heintz, 1982) and accelerating connectivity (Hepp, Krotz & Winter, 2005;Seitz, 2002), others deep transformations of the way we produce as well as exchange goods, money (Teusch, 2004; Altvater & Mahnkopf, 2007;Perraton, 1998;Neyer, 1995), and information (Feigelson, 2003; Wurzer, 2000;Featherstone & Lash, 1995;Farhauer, 2003;Giddens, 2003) as core drivers of accelerating change, as well as the disruption of the welfare state (Bourdieu, 1997) and the politics of speed (Glezos, 2012) as a core driver of uncertainty. As a consequence of our ever-accelerating and uncertain world, Engel and Hurrelmann (1989) identify an increase in socio-psychological strain on children and young people and Wilkinson (2009) forefronts deep psychological effects such as vulnerability and anxiety.These circumstances, coupled with the old assumption regarding radical change and society in flux (Seibt, 2016), re-raise questions for education. How can we educate and enable children and young people for a future world that we cannot fully grasp yet?How...

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"Creativity" and "Tradition"

Cited by 30 publications

References 0 publications

Korean Science Teachers’ Understanding of Creativity in Gifted Education

Korean Science Teachers’ Understanding of Creativity in Gifted Education

Creative Thinking Skills for a 21st Century Muslim Educational System

On Co-Creativity in Playful Classroom Activities

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