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Section 6. Pedagogy
(подушка), укладывали куколку и укрывали одеяльцем (листиком).
«Болото». (7 лет. — Серёжа А) Осенью после дождя в то время когда родители черпали лужи со двора мерил их глубину на улице в резиновых сапогах. Прежде чем зайти в лужу измерял палочкой, ставя её перед собой — как — бы прощупывая почву. («А то, вдруг засосёт!») А кто глубже зайдёт, определяли по следу (от воды) на сапогах.
«Город». (6 лет — Ваня Р.) Из песка строили дороги (деревянной круглой палкой проводили по песку — оставляя след), по краям выкладывали камешки (там заканчивалась дорога — это были края), рядом строили домики (делали из песка кучки и вставляли в них трубу-палочку). Рядом с домами делали огород и грядки сажали урожай — листики, высаживали травинки, цветочки. Знание изобилия даров природы; знание свойств песка.
Подобные эколого-субукультурные практики можно найти и в воспоминаниях уже взрослых
людей. В подобных играх ребенок активно взаимодействует с природой, наблюдает, экспериментирует. Свой формирующий эксперимент мы построили на основе активного включения детей в игровые эколого-субкультурные практики. Как показали результаты исследования средний показатель высокого уровня экологического развития детей на этапе контрольного эксперимента повысился до 78 %, тогда как на этапе контрольного эксперимента он составлял всего 28 %.
Экологическое развитие детей старшего дошкольного возраста обеспечивается, если ребенок имеет возможность участвовать в различных эколого-субкультурных практиках. Ребенок учится понимать окружающий мир. У него формируется круг экологических интересов и культурно-экологических потребностей, которые он стремится удовлетворить самостоятельно, либо с помощью сверстников или взрослых.
Список литературы:
1. Зебзеева В. А. Эколого-субкультурные практики детей дошкольного возраста//Начальная школа плюс До и После. - Москва: - 2011. - № 7. - с. 3-7.
2. Зебзеева В. А. Экологическая депривация и пути её устранения//Начальная школа плюс До и После. - М.: 2007. - № 6. - с. 6-10.
3. Куликовская И. Э., Чумичева Р. М. Категориальное видение картины мира ребенком//Ребенок в мире культуры/под. ред. д. п.н. профессора Р. М. Чумичевой, - Ставрополь: Изд.-во Ставропольсерис-школа, -1998. - с. 295-346.
4. Лазарева О. Н., Волкова Н. А., Ворошилова В. М. Теория и методика экологического образования детей. -Екатеринбург: Изд-во УрГПУ, - 2004. - 279 с.
5. Моисеева Л. В., Иванова А. В. Экологическая картина младших школьников: образ и познавательная модель: монография. - Екатеринбург: Изд-во УрГПУ, - 2004. - 96 с.
Kamyshova Nadezhda Viktorovna, a teacher of fine arts, School № 531, St. Petersburg, Russia, E-mail: kamyshovanadya@yandex.ru
Look at the art school
Abstract: the article touches upon art in school. And raises the issue of assessing creativity as creative product assessment and evaluation of the creative process. The author focuses on the fact that an element of creativity is possible in any school subject.
Keywords: art in school, artistic creativity, creativity assessment.
Each subject in the school system, depending on its content and ways of organizing learning activities of students reveals some room for creativity. In any educational field have the ability to create, create or discover some-
thing new. Art — figurative reflection of the world in the arts is a special form of a variety of human creativity.
Art school presented academic subjects: art and music. The federal basic curriculum of these classes are held
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once a week with 1 to Grade 7. Objective of the course — the development ofvisual-spatial reasoning, students as a form of emotional and value, the aesthetic development of the world, giving the opportunity to express themselves artistically and orientation, moral space [6].
The subject “Art” of an integrated character, includes the basics of different kinds of visual- spatial skills: painting, drawing, sculpture, design, architecture, arts and crafts, etc. Its uniqueness and significance was determined aimed at forming associative imagery and spatial reasoning, intuition, simultaneous perception of complex objects and phenomena, emotional evaluation, ability to paradoxical conclusions, to the knowledge of the world through the senses and emotions, on the basis of the development of artistic abilities and creativity of the child.
Form lesson should promote and encourage student creativity, creating a creative atmosphere in the classroom. From the perspective of Kit White, creativity — is always a discovery, “ifyou are dealing only with what you know, maybe you do not your job. Learning something new, surprising yourself, you are involved in a process of discovery”.
Creativity — the process of activity, creating a qualitatively new material and spiritual values or a total objective of creating a new one. The main criterion of creativity — its uniqueness result. Schoolboy puts in their creative work possible, their abilities, their vision of the world, self, expresses the final result of some aspects of his personality. This fact gives additional value to the products of creativity. According to Matthew Arnold: “ ... an expression of the creative power of free creative energy — the highest function of man.”
In all the arts creativity is not only reflection of reality, but in the expression of the artist. Personality of the artist, is the result of his life. According to Pablo Picasso: “Artist — emotional personality. It is fueled by a wide variety of sensations. They are inspired by heaven and earth, rustling paper, any combination of temporary forms, web weightlessness”.
De Bono argues that creativity is not only an innate ability, you need to direct training of creative thinking. At fine arts lessons constantly going to work with images, convert them, because in their creative thinking is done transcoding, ie the transition from spatial objects to conditionally graphic, three-dimensional images from two-dimensional to the back and forth. It turns out that creativity is impossible without artistic activity, where the process of creation, from the origin of figurative conception to its realization.
Creative idea arises from the collision of two forces: the impact of the outside world, life, society, nature and the internal needs, psychological readiness, irresistible call of feelings thoughts, wishes to say something to people.
Artistic creativity inherent in every person, and freedom of creativity is one of its inalienable rights. According to the writer Daniil Andreev: “Creativity — the highest, the most precious and sacred human ability, the manifestation of the divine prerogatives ofthem his spirit.” Through art student expresses himself as a free person and is exempted from any external influence, from the limitations of human mobility; from the constraints of public life.
How to assess creativity? After the lesson “Art” is a chain of subject disciplines, which should be subject to evaluation. On the one hand we get a process of creative activities, and other product or creative work. What is more valuable: achieving results or efforts made to creativity? The evaluation should include both, and more. We can not ignore the personal desire or impulse to achieve creative work and evaluate only the final result. The whole process from beginning to end of the lesson relate to creativity, even the conduct of this lesson is a creative process, only part of the teacher.
Obviously, the artistic creativity in the classroom “Art” does not occur outside of time: high school students depend on the social environment, socio-economic and political conditions, the level of culture, geographical location, the whole group of existing aesthetic principles. The creative process may relate to different forms of activity on different subjects in different atmosphere, different conditions, etc. The most striking examples of creativity presented in the works of artists, composers, actors, directors and other artists, which the company refers to the special people — people with innovative thinking.
It is recognized that students have more creative than others, new relationships are easily formed in their head that lead to the generation of new ideas. But school program opens and develops creative thinking is not only a capable and talented students, but also for those who need some help. And if logical reasoning, the teacher would have to, in this case, to abandon the teaching of humanities, natural sciences, mathematics, engineering disciplines, etc., giving these areas a student with a certain set of qualities.
Gymnasts, for example, hone their skills constant training. English scientist Philip Carter offers exercises to develop creative thinking, memory, intelligence and intellect, performing that can train your brain just like your muscles are trained [2].
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Undoubtedly, it is impossible to make each of the great artist, as well as the study of Russian language and literature does not all writers. If, however, all educated people write competently express their thoughts coherently, solve mathematical problems, then why not
learn to think creatively? “The most creative one can not learn. Unlike exercise, developing creativity and a mechanical process, although they certainly can direct thoughts in a new direction, creativity itself requires much more effort" [5].
Reference:
1. Intensive development of creative thinking: Per. with Engl./B. Clegg, P. Beach. - Moscow: OOO “ Publisher Astrel” LLC “ Publisher AST “, - 2004.
2. Ken Russell, Philip Carter. Develop intelligence. Exercises to develop creative thinking, memory, intelligence and intellect - M: Astrel, - 2003.
3. Indicative Programme for academic subjects. Fine art classes 5-7. Music, 5-7 classes. Arts, 8-9 classes: project. -2nd ed. - M.: Education, - 2011. - 176 p. - (Standards of the second generation).
4. Horomina N. Encyclopedia of wisdom. Collection of thoughts, sayings, aphorisms, paradoxes, epigrams — M. RIPOL Classic, - 2007.
5. Intensive course for the development of creative thinking: Per. with Engl./B. Clegg, P. Beach. - Moscow: OOO “Publisher Astrel” LLC “Publisher AST”, - 2004. - 392 p. - (Intensive).
6. Sample programs for academic subjects. Fine art classes 5-7. Music, 5-7 classes. Arts, 8-9 classes: project. -2nd ed. - M.: Education, - 2011. - 176 p. - (Standards of the second generation).
Klinkov Georgi Todorov, University of Plovdiv "Paisii Hilendarski”, Bulgaria, Senior Assistant Professor Dr., The Faculty of Pedagogy
E-mail: starcom2@abv.bg
Pedagogical and Educational Reasons for Implementing the TRIZ Strategy in the Process of Technological Education in Bulgaria
Abstract: The most important feature of modern education is its focus on students’ adaptivity, as well as on their ability to cope with situations related to social and technical changes, to be able to experiment straight in classrooms. These educational directions received international recognition at the beginning of the 1990s as “working reference points” in UNESCO programs.
Keywords: TRIZ, strategy, experimentation, learning tasks.
The most important feature of modern education is its tendency to help students not only to adapt, but to actively assimilate situations related to social changes. At the beginning of the 1990s, these educational references received international recognition as “working reference points” in UNESCO programs [3].
‘We live in an age when the world is getting transformed right before our eyes, and it is possible, in the near future, to witness the transformation of the type of civilisational dimension itself” [5].
The types of civilization are defined above all by the system of “over-biological programs” of human activity, behaviour and communication. Academician V. S. Stepin calls it a “system of sociocodes”, which represent the diversity of knowledge, rules, ideals, images, ideas, habits, value qualities. The introduction of these sociocodes to
the young generation, based on the permanency of social experience, is a major priority of the modern educational paradigm worldwide.
The abbreviation TRIZ/Teoriya Resheniya Izobre-tatelskikh Zadatch/, translated from Russian, means Theory of Inventive Problem Solving. It was developed by Genrich Altshuller, who started working on it back in 1946, and the first specialised publication on the subject was created in 1956 under the name On the Psychology of Inventive Creation in the journal Issues of Psychology. The article defines the main objective of this innovative idea for educational change: “To provide rules for organising the thinking in a multi-screen system, based on studying the development of technological systems” [1].
The International TRIZ Association was founded in 1989. The program product “Invention Machine”, which
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