VIII Международная студенческая научная конференция Студенческий научный форум - 2016

INTRODUCTION

In the creativity-fostering classroom, teachers generate and maintain a climate in which creative thinkers are respected, students tolerate new ideas, conformity is not imposed, and diversity in ideas is encouraged and appreciated. Teachers can improve creative thinking in students by providing choices, rewarding different ideas and products, encouraging sensible risks, and emphasizing students' strengths and interests. With increasing diversity in the classroom, teachers can utilize the positive aspects of cultural diversity that can benefit all students and make efforts to promote creative problem solving and idea generation among students. Furthermore, when teachers construct real and critical events, model their own creativity for students, and use space creatively, creative learning is likely to occur.[14,192]

The topicality of promoting creativity helps teach cognitive skills such as mathematics and scientific thinking. Creative thinking involves imagination, basic use of the scientific method, communication, physical dexterity and exertion, problem posing, problem solving, making interpretations, and using symbols which help with future literacy skills.

The aim of the term paper is formation of ideas about creativity and its impact on English classroom.

To achieve our aim we have to solve the following objectives:

1.The use of innovative technologies on the lessons of the English language as a means to improve the effectiveness of learning and development of creativity;

2.Consideration of the development of creative activities in the classroom of English through a variety of innovations: projects, role-playing games, elements of technology PL, dramatization, ICT, methods of technology of critical thinking;

3.Cultivate creativity with the help of motivation.

The object of the research is creative.

The subject - promotion tools with different games and exercises.

Methods of investigation: Researching methodical literature, educational magazines, internet; activities to promote creativity in English classroom.

Theoretical significance: The concept of teaching creativity has been around for quite some time. Academics such as E. Paul Torrance, dedicated an entire lifetime to the advancement of creativity in education. Torrance faced much opposition in his day about the nature of creativity.  Creativity was considered to be an immeasurable, natural ability.  Torrance called for explicit teaching of creativity.  He advocated that it was skill-specific, requiring intentional instruction. His life's work ultimately led to the development of the Torrance tests and gifted programs throughout the world.

Most of the practice of creative methods is being done outside the traditional educational institutions by consulting firms and by persons in companies who have been trained in creative problem solving methods. In universities not much has changed since 1950, when the distinguished psychologist J. P. Guilford in his inaugural address as president of the American Psychological Association stated that education's neglect of the subject of creativity was appalling.

The concept of "creativity" used D. Simpson in 1922, indicating a person's ability to abandon the stereotypical ways of thinking. Ilyin E. P., analyzed studies of creativity of scientists come to the conclusion that there are three points of view on the development of creativity in ontogeny. According to the first is a gradual continuous increase creativity with age. E. Belov found that children with high creativity among six-year-twice as much than in the five-year plans (respectively 68.4% and 31.6%). M. A. Sorokin also saw an increase in creativity, but in the early school years. M. S. Semiletkin and E. I. Shcheblanova recorded an increase in children of all indicators of creativity within 6 months of the 1st and the 2nd grades. E. I. Banzelyuk showed increased creativity (the dough P. Torrence, curly shape) from 6 to 8 years; however, a period of from 8 to 9 years, the growth performance of creativity is terminated. The author draws attention to the fact that the increase in the age index of fluency may be due to greater development in children 8 years of age (compared to Six-Year and seven years), motor capacity, so that they will paint and set aside 10 minutes of time to draw more pictures. It is not possible to adequately assess the number of ideas produced by children of all ages. But among children of the same age the advantage of fluency given to those who have better motor development. The second view assumes that the acquisition of knowledge as the creativity of the child is reduced. According to N. B. Shumakova, children under 6 years old exhibit high creativity, but to the 11 years it is reduced, but it is changing its qualitative nature. Questions acquire structure hypotheses narrowing the breadth of their content, but there are new issues that have personal meaning. With 15 years significantly increases the differences in the forms of creative activity.

Scholars who hold a third point of view, defending an idea of ​​the oscillatory nature of the development of creativity. For example, P. Torrens said that the peaks in the development of creativity occur in pre-school age (5 years), primary school age, as well as youth and senior school age (9 years, 13 years, 17 years), t. E. Approximately every four years, there has been some recovery in the development of creativity. E. S. Zhukova says instability characteristics of creativity in older preschool and early school years: the decline in some children, the rise of the others, the stability at the third. Moreover, some indicators may increase with age, and the other - to fall.

In working with creativity, student's imagination has an important role. About it we have a good opinion of M. Zhumabaev: "A fantasy of a child who grows standing in the yellow funny steppe in the open arms of nature, under the blue roof strewn with pearls, over fragrant green carpet, laughs with the sun, scowls with the night, runs with the wind must be quick, sharp and deep". Said the teacher is directly related to the art of words - literature. So how the reading right literature is one of the ways of promoting creativity.

The practical significance of the investigation is that all the given activities really works and can be used in lessons.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

1        Motivation in teaching foreign languages

1.1Creativity as a tool of motivation

Creativity is the act of turning new and imaginative ideas into reality. Creativity is characterized by the ability to perceive the world in new ways, to find hidden patterns, to make connections between seemingly unrelated phenomena, and to generate solutions. Creativity involves two processes: thinking, then producing. If you have ideas, but don't act on them, you are imaginative but not creative. (http://www.creativityatwork.com/2014/02/17/what-is-creativity/)

The survey found that the term ‘creativity' was widely used in the schools surveyed but there were variations in what was meant, ranging from an innate attribute to an approach and set of skills that could be cultivated. All the schools initially offered examples of ‘creativity' in subjects commonly thought of as intrinsically creative, such as the visual and performing arts. However, when inspectors asked about ‘creative ways of learning', examples were offered from most subjects across the curriculum. Teachers and senior leaders most confidently identified and evaluated creativity as an aspect of learning when it was translated into specific activities such as those set out by the Qualifications and Curriculum Authority's (QCA) publication Creativity: find it, promote it, rather than expressed as an abstract idea. Creative learning was widely understood to be characterized by:

• questioning and challenging
• making connections and seeing relationships
• envisaging what might be
• exploring ideas, keeping options open
• reflecting critically on ideas, actions and outcomes.

Creativity is a characteristic of:

• People - our self-esteem and confidence as creative people - who we are;
• Processes - the creative skills and knowledge we can use - how we do things;
• Products - the outcomes of our creative efforts - what we do.

As teachers, we play an important role in supporting children's ability in art, dramatic expression, and creative responses to problems. When we encourage divergent thinking, we help to maintain children's motivation and passion for in-depth learning. Encouraging children to keep on generating new ideas fosters their creative-thinking abilities.

When children learn how to become comfortable with ambiguities, they are developing complex thinking skills. For example, Joey, an older toddler; was glad to be invited to his friend's birthday party, but he also felt grumpy because he did not get the toy train that his friend received as a birthday gift. Children need help to understand that it is not only possible, but acceptable, to hold contradictory or opposite ideas and feelings in their minds at the same time. Give children experiences in playing with ideas that may be ambiguous or uncertain.

You can help children understand that:

• Some feelings and wishes are the same as those of other people, and some are different.
• A friend may want to play the same game as you some of the time but not all of the time.
• You can do some things now, and some things later.
• One idea could be a good idea or not a good idea. (Singing songs is fun, but not at naptime when others are resting.)

Also researchers who have attempted to measure creativity or creative aptitude use similar terms to describe it, including:

• Fluency (number of ideas generated)
• Originality and imagination (unusual, unique, novel ideas)
• Elaboration (ability to explain ideas in detail)
• Flexibility, curiosity, resistance to closure (ability to generate multiple solutions)
• Complexity (detail and implications of ideas; recognition of patterns, similarities and differences)
• Risk taking (willingness to be wrong and to admit it)

There is one variable in the Creativity in the Classroom triangle. When you were in school, did a teacher ever try to "motivate" you like this?

  "You'd better study this because it is going to be on the TEST!"

  "If you don't do well in this class you will never get into a good college."

  "This grade is going into your PERMANENT FOLDER!"

  I don't know about you, but these kinds of threats may have convinced me that my test grades could pose some threats to my future but they (and this is crucial) never motivated me to actually understand anything - at least not about the content. If anything, I learned to be test-smart, and to engage in the type of study that would enhance my short-term memory of specific facts rather than long-term understanding of key ideas.

  These experiences point out the difference between two key types of goals students (and others) may set for themselves: performance goals and mastery goals. Performance goals are goals that are undertaken to meet the approval of others or to gain external indicators of success - such as grades or a winning score in a ball game. With such goals, the individual is, in a sense, "performing" for others and awaiting the applause.

  Mastery goals, in contrast, are undertaken because individuals want to master something - to best their own time, to understand a complex idea, to play a piece of music with their own interpretation and flair. Can you guess which type of goal is more likely to lead to learning for understanding?

  The concepts of performance goals and mastery goals are tied directly to extrinsic and intrinsic motivation. Performance goals are tied to intrinsic motivation - motivation that stems from within and is focused on the task, as opposed to extrinsic motivation, which is focused on a reward. Intrinsic motivation is strongly tied to creativity.

  Amabile (1998) found that intrinsic motivation was fundamental to the creative process. She compared it to the feelings of a rat in a maze. If the rat is motivated by an extrinsic reward (cheese, for example), it takes the straightest line to the reward and gets out of the maze as quickly as possible. If the rat is intrinsically motivated, it enjoys being in the maze. It wants to explore it, take time in it, and find all the interesting nooks and crannies there. Of course, the intrinsically motivated rat is more likely to find an interesting or creative way through the maze. Intrinsic motivation is - not surprisingly - also tied to learning.

  In schools, we tend to think of intrinsic motivation as finding joy in learning, but it is a bit more complex than that. If we define intrinsic motivation as enjoying each task, every minute of the school day, that's probably not realistic. To promote creativity in the classroom, we need to think about intrinsic motivation in more complex ways. Consider a time when you learned something, because you wanted to. Maybe you were learning to drive, to speak another language, or to play an instrument. Not all the tasks on the way to your goal may have been enjoyable - learning how to engage a clutch, speaking awkwardly, or practicing scales. But for many of us, we were motivated to continue to do these things because we valued the knowledge and skills we were gaining.

  This is what Brophy (2010) terms "motivation to learn", and it combines with intrinsic motivation in the Creativity in the Classroom model. In this case, classroom motivation doesn't necessarily mean that students will always feel, "this is fun", but they may also feel, "I'm learning" or "I'm really getting better at this". (Can you hear mastery goals here?) This kind of motivation helps students press forward when the activity isn't their favorite because they value the learning. Both aspects of intrinsic motivation, the affect (This is so much fun I want to do more!) and the cognitive (Look at how much I've improved!) are important for creativity and learning.

  So we need intrinsic motivation for learning. We need intrinsic motivation for creativity. We need creativity for learning - and learning for creativity. When we add them together, they create a Creativity in the Classroom model, which we could call the Learning in the Classroom model or Intrinsic Motivation in the Classroom model just as well. Creativity, and the flexible thinking that is associated with it, is not "fluff". It is fundamental to the processes that lead to motivation and deep learning. It is essential for progress in our economy. But that isn't all. [4,8]

Teachers who enjoy work that requires creativity tend to provide instruction that increases creative thinking in students. However, this effect was present only on three of the five instructional approaches - multiple perspectives in problem solving, transfer of learned knowledge to new situations, and use of creative skill - all with medium to large effect sizes. In general, the findings are not surprising in that multiple perspectives, transfer, and creative skill use require creative/divergent thinking since they involve processing or producing more than one way of solving problems or involve more than one learning situation. Teachers enjoying creative work might have easily or naturally used their personal creative tendencies to provide these types of instructional activities in their classrooms.

On the other hand, instruction that encourages collaboration among students may or may not require a creative tendency in teachers. Collaborative activities have been viewed as important to elicit creative thinking.

Brainstorming is one of the examples that show a strong relationship between group collaboration and creative outcome. However, collaborative activities in classrooms have also shown their negative effects, especially in high ability students, when such activities were not used prudently. The current finding indicates that elementary teachers who are motivated in creative work do not necessarily promote collaboration among students, a relationship that warrants further understanding.

The finding that instructional practices for facilitating task-commitment were not predicted by the creative tendency in teachers was surprising. Other studies have indicated the strong presence of task commitment in creative individuals. Perhaps in classroom environments, task commitment is viewed by teachers as diligence or thoroughness that may not rise up the level of commitment required for creative process and production. This finding warrants further investigation.

1.1.         Types of activities using creativity

Creativity brings with it a fresh attitude towards ideas and solutions. It is a way of breaking the conventional and traditional barriers, and going beyond the obvious. Companies today are actively promoting the 'out of the box' perspective. Creative thinking sessions are organized at the professional as well as educational level. Take a look at some exercises and activities listed below to help you give wings to your imagination.

 

Title	Activity
The Game of Learning
I know a word	You can begin this skills game by saying, "I know a word that starts with the same sound you hear at the beginning of butterfly." Students will raise their hands, and you choose one to tell you a word the starts with "B." Once they tell you the word, toss them the ball. They choose someone else to tell them another word that begins with that letter, passing the ball to the student who gets it right. As the game continues, change the letter every so often. Play until everyone has had a turn. You can use this game for beginning sounds, ending sounds, middle sounds etc.
Rhyme time	Say, "I need a word that rhymes with cat." Pass the ball to someone once they give you a correct rhyming word. Keep changing the starting word and continue the game until all kids have gone.
Practice counting	You can have your class practice counting by twos, fives and tens. Pass the ball clockwise or counterclockwise, with the student who receives it saying the number that comes next. For example, you say, "We are going to count by fives. Five!" The person next to you says "ten," the next one says "fifteen," and so on.
Unrelated relations	Here is a fun activity to try with a group. Divide the people into two groups and hand each group an object. For example, a cherry and cake. Ask them to describe the objects and state different uses of them, like a cherry is red in color and the flavors of a cake can vary from chocolate to butterscotch. Next, ask the participants to relate the two objects to each other, like in the above example: the cherry can be used as a topping on the cake. The groups must try to come up with endless possibilities to correlate and bring about a connection between the objects.
Opposites attract	The following exercise will make sure that people look beyond the obvious for the answers. Make a list of random words. For example, ugly, night, down, etc. Now, ask the participants to note down the first opposite word that comes to their mind in relation to these words. They must come up with at least three or four such antonyms. For night, one may think of day, shine, awake, bright, etc. as the opposite words.
Spelling review	For older kids, you can pass the ball and go through your spelling words one letter at a time. For example, you say, "We're going to spell the word their, as in 'This is their ball.'" The first person says "T," the second person says "H," the third person says "E," and so on. If one says the wrong letter, the next person says correct letter and fixes the mistake.
I need a synonym	This is a great vocabulary building exercise. You can use the ball or a pair of flyswatters, depending on the age of your students. You say, "I need a synonym for mad." Choose someone to give you another word that means the same thing, such as angry, furious and enraged. For older kids, you can put a list of synonyms on the board and divide the class into two teams. Have one person from each team come up and compete. Whoever slaps the board with the flyswatter and says the correct synonym wins a point for their team. In the end all of your students win a better vocabulary.
Reinforce other skills	What other subjects are you teaching? You could adapt these games to fit pretty much anything. "I need a name of an explorer." "I need you to name one of the phases of matter." "I need to know one of the reasons for the Civil War." Be creative!
Sight Word Slap Game	Write your sight words on the board. Separate your class into two random teams. Let one person from each team step forward and hold a fly swatter. Call out one of the sight words. The first one to slap the correct sight word gets a point for their team. Continue until everyone has gone. This is great for helping sight word recognition
String the Letters	This creative exercise works well for students as well as adults and is a great idea to develop one's linguistic skills. Take a short word, say for example Dye. Now make a sentence using the letters of this word as the first letter of each word in a sentence. So in the given example, one could make a sentence: Did You Eat? With the word What, a sentence can be made: Who Has A Torch?
The Artsy Side of Creative
Turn your room into the environment of what you are learning about.	When the class is learning about fairy tales, turn your classroom into a castle. When you're learning about animals, turn your classroom into a jungle.
Make It Yourself	Take a look at this creative activity that is great for students. Make groups of three people and give each group a long piece of wire that can be molded flexibly. Ask the members to make something creative and useful with the wire, like a tool. They may make a coat hanger out of the wire or come up with several other creative possibilities.
Creative Science
Use the ice from the above activity and talk about gravity.	Stand on a chair and discuss what will happen if you drop the ice, and if it matters which way you drop it. Let your students predict the possible outcomes.
Exercises
Turn circles into new products and/or services	During the next 3 minutes, please draw as many new products and/or services of a certain company in the circles.
Connect the dots	Draw 4 straight lines to connect the 9 dots without lifting your pencil from the paper

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

2        Practical application of creativity

2.1Elementary level

Every child is born with the potential of being creative. Creativity is a crucial aspect of any personality. It helps to analyze things in diverse and uncommon way. Creativity does not just happen; it needs to be cultivated, and the cultivation of creativity in every kid starts from the classroom.

Creativity can be promoted or cultivated and here is the lesson plans that can help teachers to promote or cultivate creativity in the classroom.

Go Fish!

Time required: 60 minutes

Goals: To review vocabulary (in this example, numbers)

Materials: paper (thick stock works best), scissors, and markers: chalk and a chalkboard or markers and a large piece of paper

Procedures:

1. Divide the class into groups of four or five students. Each group should work together to make its own deck (set) of 40 cards.

           a) Half the deck - 20 cards - will be "number" cards. Students should create two sets of these cards (20 total) by writing the numbers 1 through 10 in the center of the cards. They should write only one number on each card.

           b) The other 20 cards will be "fish" cards. Students should create two sets of these cards (20 cards total) by writing the words for the numbers one through ten (one word on each card) in the top left corner of the cards. In the center of the cards, they should draw the same number of fish to represent the number. For example, for the card showing three fish, students should write the word three in the top left corner and draw three fish in the center of the card.

Encourage students to count aloud in English as they draw the fish on the cards.

2. Explain the game rules by using gestures and demonstration to supplement your instruction in English. Tell students their goal is to get pairs of matching cards. Show them a pair (such as a card with two fish on it and a card with the number 2 on it) and explain that they will take turns asking other players in their group for a card that matches one in their hand. Explain that two cards showing the number 2 would not be a match; a match consists of a number card and its corresponding  fish card.

3. Choose one person in each group to be the dealer. This person should shuffle (mix up) the cards and give five cards to each player; the players look at their cards but should not show the cards to one another. The remaining cards should be placed face down in a pile, called the "fish pool," in the middle of the group.

4. Write the following questions and answer  on the board or on a large piece of paper:

           Do you have ___ fish?                     Yes, I do.

           Do you have the number ___?          No, I don't. Go fish!

5. Share the following rules with the class by using explanation, demonstration, and repetition. You might have students play one practice round first.

           a) Students should locate any pairs they already have. They should take these cards out of their hands and place them where everyone can see them.

           b) The player on the dealer's left (Player 1) goes first by asking one other player in the group (Player 2) for a card that forms a pair with one in Player 1's hand. For example, if Player 1 has a card showing the number 4, Player 1 would ask Player 2, "Do you have four fish?" Or, if Player 1 has a card showing four fish, Player 1 would ask Player 2, "Do you have the number 4?" (Note: Player 1 can only ask for a card that forms a pair with a card that he or she already has.)

           c) If Player 2 has the requested card, he or she must give it to Player 1. Player 1 then puts the pair face up on the table where everyone can see it. Then, Player 1 gets to take another turn, asking any other player for a card to try to make another match.

           d) If Player 2 does not have the requested card, he or she says, "Go fish!" and Player 1 must take a card from the fish pool. Then the person to the left of Player 1 takes a turn. (If the card Player 1 takes from the fish pool matches a card in his or her hand, Player 1 places the pair face up so everyone can see it.)

           e) The game continues this way until a player runs out of cards or until the fish pool is empty. The player with the most pairs of cards at the end of the game wins.

6. You may wish to give the winning student from each group a small prize. Or you could find the student in the class who accumulated the most pairs and award just that student a prize.

Variations

Other vocabulary lists

Go Fish can be used to review many lexical sets. (Be sure that you have a deck of at least 40 cards.) Suggestion include the following:

• Colors and shapes. Make a list of five shapes (e.g. square, circle, triangle, rectangle, oval) and another list of five colors. Have students make two cards for each shape in each color (two cards with a red square, two with an orange circle, etc.). The goal is to collect pairs of cards that are the same (e.g. both cards with the red square on them). Students work with only one question form:

                     Do you have a(n) _______ _______?

                                                  color       shape

• Animals. Make a list of 10 animals and have students draw pictures of them on their cards. They should create four cards of each animal to make a deck of 40 cards. The players must get a complete set of four cards for an animal before they can place them face up on the table. The question players ask is this:

                     Do you have any __________?

                                                  animals

The other player then has to give away all of the cards he or she has showing the animal requested. For example, if Player 1 asks Player 2, "Do you have any cats?" and Player 2 has two cat cards, Player 2 must give Player 1 both cat cards, Player 1 cannot put the cat cards face up on the table until he or she has the complete set of four.

Note: This variation can be played with all sorts of nouns (classroom items, household items, clothing, etc.). It can also be played so that students simply need to get a pair before putting their cards down. In that case, the question would be this:

                     Do you have a(n) __________?

                                                   animals.

2.2   Intermediate level

Learner type: Teens and adults

Time: 90 minutes

Activity: Watching two short films,  listening,  and speaking

Topic: Creativity and language learning

Language: Vocabulary related to creativity

Materials: Two short films,  video,  PowerPoint presentation and video transcript

Step 1

Write What is being creative? on the board, and ask your students to define creativity and what being creative involves in small groups. Your students will probably come up with different definitions, write up any repeated words in their definitions.

Step 2

Tell your students they are going to watch a short film titled What is being creative? They should watch the film and compares their answers in step 1, so they should compare the definition of creativity and what being creative involves  in the film and their own ideas.

Step 3

Get feedback from your students, ask them if they agree with what the film says about creativity.

Step 4

Ask your students the following question:

What do you do to be creative?

Put them into small groups and ask them to come up with specific and practical ways which help them to be creative. Give them 5 minutes to discuss their ideas, and then go through the ideas from the different groups.

Step 5

Tell your students that they are going to watch a short film titled 29 Ways To Stay Creative.  Students should watch the film and compare what they see in the film with their answers in Step 4.

Step 6

Get feedback from your students, and then ask them if they like the advice in the film. In addition, ask them what advice can be applied to learning a language.

Step 7

Show your students the slides in this presentation, and ask them if any of the advice from the 2 films or their own ideas is included.

Step 8

Write up the 4 steps for improving creativity which the presentation recommends:

Step 1: Be curious

Step 2: Make connections

Step 3: Challenge yourself

Step 4: Cultivate your ideas

Put your students into pairs and ask them how they could apply each of the 4 steps in this process to help them be more creative and better language learners.

Follow up

For homework ask your students to watch Ken Robinson's seminal speech at TED Do schools kill creativity? in which he argues passionately for a greater role for creativity in education. In the following class ask your students if they agree with Ken Robinson. You may like to give your students the transcript  of the speech: ken_robinson_transcript

2.3   Advanced level

   Tiny Cinderella Somewhere

Tiny Cinderella Somewhere is a set of teaching resources designed to encourage students to use their higher level critical thinking skills. The focus of this lesson is on user learner generated vocabulary to help students access a listening text, listening for specific information, and students preparing to speak about their own photograph.

 

(https://www.teachingenglish.org.uk/article/tiny-cinderella-somewhere-lower-level)

 

           (Picture 1)

 

The materials accompanying this pack are designed to be used with lower level (A2/B1) students.

Each pack in this series includes an audio recording of the photographer talking about their photo, together with a complete downloadable lesson plan on how to exploit the image and the audio. There are downloadable student worksheets and a full-size copy of the image.

In this lesson, students are asked to do the following:

• to use learner-generated materials to support listening and speaking skills
• to listen for specific information
• to write sentences based on a listening text (Listening / Writing skills)
• to speak about a photo (Speaking skills)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

CONCLUSION

         To convey the idea that research has solved all of the puzzling phenomena about creativity would be the grossest of errors. There are many more questions that need to be answered before we have a fully adequate scientific base for guiding creativity. However, we know enough from research to enable us to do a far better job than we are apparently doing in achieving even the most widely accepted goals of education. No matter how much we learn from research, the individual teacher's way of teaching must be his or her unique invention. Teachers must arrive at this personal invention through their own creative processes in trying to accomplish their teaching goals. As they fail or succeed in reaching these goals, teachers become aware of their deficiencies, defects in their techniques and strategies, and gaps in their knowledge. They draw upon their past experiences. They try to apply creatively the scientifically developed principles they have learned in their professional education and reading. They see things of which they had hitherto been unaware. They start making some hypotheses, testing, and modifying them. Through the pain and pleasure which accompany this process, the teacher's personal invention - his or her way of teaching evolves.

         Research and literature in the field suggest that creativity should be conceptualized as a skill, which everyone can develop, and therefore, which can be fostered or inhibited in education. In this term paper, creativity is understood as a product or process that shows a balance of originality and value. Creative learning is therefore learning that involves understanding and new awareness, which allows the learner to go beyond notional acquisition.

 

 

 

 

 

 

 

 

 

 

 

 

                                          BIBLIOGRAPHY:

1.    http://www.innovationexcellence.com/blog/2013/01/10/30-ways-to-promote-creativity-in-your-classroom/

2.     http://www.edutopia.org/blog/creativity-in-classroom-trisha-riche

3.     http://www.creativityatwork.com/2014/02/17/what-is-creativity/

4.     Creativity in the classroom: schools of curios delight/Alane Jordan Starko - 4th ed.

5.     http://www.moluch.ru/conf/ped/archive/97/4368/

6.     Rewarding Creative Behavior. Englewood Cliffs, NJ.: Prentice-Hall. 1965.

7.     Torrance and Myers, R. E. Creative Learning and Teaching. New York: Harper and Row, 1970.

8.     Torrance, B. P. Guiding Creative Talent. Englewood Cliffs, N. J.: Prentice-Hall, 1962.

9.     Encouraging Creativity in the Classroom. Dubuque, Iowa: Wm. C. Brown, 1970.

10.                       https://www.teachingenglish.org.uk/article/tiny-cinderella-somewhere-lower-level

11.                       Brookhart, S. M. (2013). Assessing creativity. Educational Leadership, 70(5), 30.

12.                       Amabile, T. M. (1996). Creativity in context. Boulder, CO: Westview Press, Inc.

13.                       Brandau, H., Daghoref, F., Hollerer, L., Kaschnitz, W., Keller, K., Kirchmair, G., Krammer, I., & Schlagbauer, A. (2007). The relationship between creativity, teacher ratings on behavior, age, and gender in pupils from seven to ten years. Journal of Creative Behavior, 41, 91-113.

14.                       Hoang, T. (2008). Creativity: A motivational tool for interest and conceptual understanding in science education. International Journal of Humanities and Social Science, 1(4), 209-215.

15.                       Jeffrey, B. (2006). Creative teaching and learning: Towards a common discourse and practice. Cambridge Journal of Education, 36, 399-414.

16.                       Kaufman, J. C., & STERNBERG, R. J. (2007). Creativity. Change. 39(4), 55-60.

17.                       Milgram, R. M., & Hong, E. (1999). Creative out-of-school activities in intellectually gifted adolescents as predictors of life accomplishment in young adults: A longitudinal study. Creativity Research Journal, 12, 77-87.

18.                       Nolen, S. B. (1988). Reasons for studying: Motivational orientations and study strategies. Cognition and Instruction. 5, 269-287.

19.                       Parnes, S. J. (1988). Visioning. Buffalo, NY: Creative Education Foundation Press.

20.                       Cachia, R., Ferrari, A., Kearney, C., Punie, Y., Van den Berghe, W., & Wastiau, P. (2009). Creativity in Schools in Europe: A Survey of Teachers (No. JRC55645). Seville: European Commission - Joint Research Centre -Institute for Prospective Technological Studies.

21.                        Quoted in the Ofsted report Expecting the Unexpected: Developing Creativity in Primary and Secondary Schools (2003).

22.                        Cropley, A. J. (2001) Creativity in Education and Learning: A Guide For Teachers and Educators. London: Kogan Page.

23.                        Fisher R. (1997) Games for Thinking. Oxford: Nash Pollock.

 

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