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увереннее в себе, появилась возможность съездить в другие страны и города, благодаря программе академической мобильности. Из негативного опыта упоминается - разочарование в людях, разочарование в выбранной профессии, «понимание, что не все зависит от меня».
В результате проведенного нами исследования можно сделать вывод о том, что психологический портрет современного студента-медика отличают следующие черты характера: целеустремленность, высокая адаптивная способность, честолюбие, высокая работоспособность, эрудированность, самокритичность. Отмечается, что с переходом на старшие курсы возрастает само-осознанность, самостоятельность, коммуникабельность, ответственность, желание быть лидером и желание показать себя с лучшей стороны.
Таким образом, переход КГМУ на кредитную систему, предоставил студентам возможность в большей мере развивать свои интеллектуальные и творческие способности, учит их самостоятельности, креативности, целеустремленности. Кредитная система дает возможность студентам, еще на уровне обучения, развить свои научные наклонности и проявить их на международном уровне. Позволяет стать более конкурентоспособным в профессиональной сфере.
Список литературы / References
1. Волов В.Т., Четырова Л.Б., Чаденкова О.А. Социальный портрет студента российского негосударственного вуза как результат сегментирования образовательного рынка // Труды СГУ, 2009. Вып. 17. 200 с.
2. Климко Н.В. Развитие у студентов среднего профессионального учебного заведения навыков самоорганизации в учебном процессе // Педагогическое образование и наука, 2008. № 7. С. 46-49.
3. Епифанова С. Формирование учебной мотивации // Высшее образование в России, 2000. № 3. С. 1006-1007.
4. Сысоева Ю.Ю. Социально-психологический портрет студента в условиях модернизации современного образования // Вектор науки ТГУ. Серия: Педагогика, психология, 2015. № 1 (20). С. 251-253.
THEORITICAL AND METHODICAL FOUNDATIONS OF DEVELOPING OF CREATIVE POSSIBLITY IN THE SPACE OF ECOLOGICAL MARGANILAIZED
Al-Fawadi Hutham Mezaal Salih Email: [email protected]
Al-Fawadi Hutham Mezaal Salih - Postgraduate Student, DEPARTMENT OF THEORY AND METHODS OF DECORATIVE ARTS AND GRAPHICS, ART AND GRAPHIC FACULTY, GOVERNMENTAL INSTITUTION SOUTH UKRAINIAN NATIONAL PEDAGOGICAL UNIVERSITY NAMED AFTER K.D. USHYNSKY, ОDЕSSА, UKRAINE
Abstract: the article considers the concept of "ecological marginalization of the environment" in its connection with artistic crafts and the development of creative abilities of students. It is substantiated that ecological marginalization of the environment is an important subject for creative formation in art crafts. The theoretical and methodological foundations of the development of creative abilities of students in the space of environmental marginalization are disclosed. The results of an experimental study of the formation of creative abilities in the space of ecological marginalization are shown. The results of experimental and experimental activities on the formation and development of creative abilities on the basis of the image-sensory sphere of students are presented.
Keywords: ecological marginalization, space of ecological marginalization, creative abilities, artistic handicrafts.
ТЕОРЕТИЧЕСКИЕ И МЕТОДИЧЕСКИЕ ОСНОВЫ РАЗВИТИЯ КРЕАТИВНЫХ СПОСОБНОСТЕЙ В ПРОСТРАНСТВЕ ЭКОЛОГИЧЕСКОЙ МАРГИНАЛИЗАЦИИ Аль-Фавади Худам Мезаал Салих
Аль—Фавади Худам Мезаал Салих — аспирант, кафедра теории и методики декоративного искусства и графики, художественно-графический факультет, Государственное заведение Южноукраинский национальный педагогический университет им. К.Д. Ушинского, г. Одесса, Украина
Аннотация: в статье рассматривается концепция «экологической маргинализации окружающей среды» в ее связи с художественными ремеслами и развитием креативных способностей студентов. Обосновывается, что экологическая маргинализация окружающей среды является важным предметом для творческого формирования в художественных ремеслах. Раскрыты теоретические и методические основания развития креативных способностей студентов в пространстве экологической маргинализации. Показаны результаты экспериментального исследования сформированности креативных способностей в пространстве экологической маргинализации. Представлены результаты опытно-экспериментальной деятельности по формированию и развитию креативных способностей на основе образно-чувственной сферы студентов.
Ключевые слова: экологическая маргинализация, пространство экологической маргинализации, креативные способности, художественные ремесла.
УДК 371.32
The relevance of research. The more ecological marginalization inherent in most countries of the world, since each country or even continent have their own specific "industrial waste" social and cultural environment in general. And so the removal of 'ecological marginalization "as a problem of life and the survival of the environment is a priority for the present and future for each state and region in the world.
Environmental marginalized - as the expression of certain contemporary stage of industrial ideas - this is all that is peculiar to a particular region of the country with the specific non recycled raw material, but the potential for a new creative transformation, and, in particular, in the process of artistic training.
Topical is up to the present is the search for creative processing facilities environmental marginalized among the possible, and therefore of great interest and is the field of arts and crafts. In this study, and be tasked to disclose the value of the field of arts and crafts to give a new aesthetic value of objects marginalized ecological environment, such as industrial waste or residues of raw materials.
The extent of a problem. The disclosure of certain provisions of the study was justified appeal to a number of works, of which perhaps the following. Questions of use of various kinds of arts and crafts considered in the works T.A. Belov, P.G. Demchev, T.S. Komarov V.S. Kuzin, B.T. Likhachev, S.N. Novikov, N.N. Rostovtsev, A.S. Firewood, G.V. Cheremnyh, E.V. Shorohov, T.Y. Shpikalova other.
It draws attention to the common position that the decorative arts occupies a significant place in the process of art education, as characterized by the unity of artistic structure, the presence of a variety of activities. At the same time, characteristic and important idea sounds I.P. Kiriyenko that profound knowledge of the culture of his people, the region or province must be organically combined with the positive elements of innovation and progressive knowledge [1].
It is not enough illuminated aspects of the problem. In general, it is characteristic that in spite of the fact that performed a number of different levels of studies dealing with the various aspects of the field of art craft, however, and until recently not identified work related to the synthetic nature of the project in recent years - a conversion of thinking based on the use of ecological marginalization environment as an object for creative shaping.
The goal of the study is to discover the concept of "ecological marginalization of the environment" and its relation to artistic crafts. To substantiate the idea that environmental protection marginalization serves as a creative opportunity in the artistic crafts. Main content. Our position - the hypothesis of the study is based on the ecological environment as the marginalization of the allocation of the object to form the skills - of its fundamental "creative - provocative factor" in the perception of objects for creativity-before recycling them into a new aesthetic quality - the creative shaping in art crafts.
Idioms definitions, we highlight research idioms: environmental marginalized; EcoArt; creative possibility; the field of handcrafts.
Ecological marginalized - this is the world of objects with "definite and indefinite forms of" waste industry, raw materials, which are located in a specific region, country in accordance with their socio -material needs in the past. Depending on many factors, those "things" impossible - for them to use primary essentially completely disposed or further use in the form in which they are in the present case.
Ecological marginalized as a concept covers the semantic field:
- ecology-environmental pollution by various waste management;
- marginalization - is waste that is inherent in a particular region, a country, are not destroyed and not used, and act as "actual, real" objects, which are not drawn further attention in the following context:
- they are not disposed of;
- not used as a material for a new, another;
- most importantly, they do not become the subject of aesthetic perception and material for further transformation of the traditional - traditional forms of art.
Pay attention to the possible understanding of the problem that the existing environmental conditions - Environmental conditions, according to the thoughts I.P. Kiriyenko, is the possibility of many variations that by analyzing functional aspects can be used in the construction of alternative design solutions. This approach radically changes the role of design - educational activity, which is a means of reproduction of intellectual and cultural potential of the society. This, essentially, is approved look at design as the bridge that connects the modern civilization culture [1].
Observe possible that the term 'Environnement ", as stressed by L. Veytraub often includes" environmental "problem, but it is not specific to them [5]. And while S. Stayman first notes of the artist relationship with nature using natural materials [3].
Historically, that the earliest examples Environnement go from landscape and views. When artists painted on the ground, they have developed a deep connection with the environment and moved close these observations in their paintings. Thus, according to George. House, Monet's series of paintings illustrates the relationship of the artist with the environment. "For me, the landscape does not exist in its own right, since its appearance changes at any time, but the surrounding atmosphere brings it to life, air and light, which change continuously for me, this is only the surrounding atmosphere which gives subjects their true value" [6].
At present, according to the thought Kagan, definition EcoArt quite different. EcoArt is usually understood as a socially active or interventionist reductive art [7].
In general, it is possible to identify the main positions that environmental art or EcoArt is artistic practice or discipline, and offers a paradigm of sustainable relationships with life forms and resources of our planet - emphasizes J. Wilden [8]. It consists of artists, scientists, philosophers and activists who dedicate themselves to the practice of environmental art [5]. His historical precedents include earthworks, land art, and landscape painting / photography. EcoArt different emphasis on systems and relationships within our environment: ecological, geographical, political, cultural and biological [5]. Ecoart creates awareness, promotes dialogue, changing human behavior in relation to other species, and encourages long-term respect for natural systems, with which we coexist.
The focus on the possible development of ecological art away from formal issues, in particular working with the materiality of the planet Earth as a sculptural material, you need to move to a deeper relationship to the systems, processes and phenomena in relation to environmental issues, - noted S. Gablik [9], Matilskaya and B. [10].
It is important to highlight the relevance and possible environmental art, which generates both environmental awareness and the idea of the transformation of the surrounding environment of waste -its ecological marginalization. At the same time, "artists believe that by working in this area, you must perform the following principles:
- to make the focus on the web of relationships in our environment, based on the physical, biological, cultural, political and historical aspects of ecological systems;
- to create works that use natural materials;
- creatively restore and repair damaged environment;
- their creativity to inform the public about the ecological dynamics and environmental challenges we face;
- revise the ecological relationships as creative, offering new opportunities for co-existence, stability and healing the planet [11].
At the base of the ecological environment marginalized reveals a rich arsenal of art, design, design methods, the cultural significance of which is shown in the organization and the medium itself, and most importantly, at the same time - it promotes creative shaping based on her as an object for creative. For example, the essential practice of "renewable energy sculpture" as the recent development in the field of environmental art. In response to the growing concern over global climate
change, artists develop ideas overt intervention at a functional level, implying merging aesthetic responses with functional properties of energy generation and savings.
As noted in this regard, I.P. Kiriyenko, creative activities enriched the theory and practice of environmental approach, the regional design activities should contribute to the creation of mutually and harmoniously connected with each other and the natural landscape of artificial environmental objects. This approach is the need to pay due attention to the relationship-saving and security guards, accentuation of recreating lost problems. In this evolving installation on involvement, perception of themselves as part of environmental projected studied or whole identification with them [1].
Based on this analysis, we can identify that in fact always implies a connection with certain creative artistic crafts, lying at the base of creative forming the basis of eco-marginalization of the environment as an object for creativity. Did note that the work - it is always a creation, ie the creation of a new and original, non-standard vision in the normal functioning of its new features, or include it as part of the new system, the ability to produce a large number of ideas. Particularly attracted the attention of respect for the masters of artistic crafts to the material with which they had to work. It always relates to the same attitude to nature, understanding unbreakable bond with her.
At the present stage of its development, arts and crafts enriched with new aspects of the philosophical and aesthetic sound, its substantial beauty need a man in our time growing its artistic and cultural value.
Manual work of art is individual and creative process always has two stages; The first is the formation of artistic conception, the second - the work on the implementation of the artistic product. While working directly on the product there are ideas that are embodied in the production of products, and successfully developed a certain ability. Availability of skills of mental work, diligence, systematic, care to help the successful development of artistic abilities and the development of intelligence in the course of employment artistic manual labor.
Thus, it may be emphasized that the field of arts and crafts is an important axis for creative shaping and getting different experiences in the course of a conscious understanding of the processes that combine creativity and technical talent in good agreement dependent experiments on various raw material kinds in order to achieve aesthetic visions in accordance with the changes of our time. The field of arts and crafts is one of the most important areas of art education, which deals with the methods of experimentation and accession updated materials to achieve perfect harmony.
In this case, the raw material in the field of crafts is the "language" that gives students an opportunity to express freely. Thanks to their meaning and their artificial nature of occurrence, they can dive into the material and extract the principles that will help them to channel their creative activity, dealing with each material separately, or combine them.
Ecological marginalized, being in direct communication with the field of crafts, it promotes the formation of new creative abilities. Of course, that is always a problem and the connection of traditional and modern teaching methods in their synthesis.
Ecological marginalized - is the actual connection with the design - the design of various objects and objects acquire a new aesthetic quality, and the environment - extends from the audience - a workshop where students on the basic products work with raw waste of different materials - and to the region, gains in terms conversion is impossible to utilize in what - or artistic - creative new, and usually unexpected - creative essence.
Artistic experience gained in the process of artistic manual labor, it helps to better understand the depth of the beauty of arts and crafts and occupations makes them thoughtfully and carefully to perceive reality.
Observe possible that many work and study there, calling to teach creative thinking through the restoration of the ecological environment, as they used the traditional content of the curriculum in the educational process. In J. Kaufmanna also emphasizes the possibility of the development of innovation and training in the appropriate environment to be able to reveal the imagination and offer more innovative ideas [12, p. 235 - 252].
Criterion and diagnostics of figurative-sensory reflection.
Figurative-sensory reflection (the ability to provocative perception and recreation of reality in an artistic image, which is characterized by spontaneity, simplicity, flexibility, originality, identity).
The essence and results of experimental and experimental activities on the formation and development of creative thinking on the basis of the development of the emotional-sensory sphere of students made it possible to identify the benchmarks for diagnosis:
- in the creative process, the connection of emotions and intellect is unquestionable;
- a choice in the situation of creative thinking is guided by a sense of universal harmony;
- the main condition for the self-realization of the individual is the ability to self-development and positive social mobility.
On this basis, it is possible to identify certain criteria:
- the principle of the all-pervading unity of emotions and logic, which manifests itself both in content and in means. This is the principle of the integrity of knowledge in its intellectual and emotional manifestation;
- the principle of the unity of productivity, positivity and harmony, meaning that knowledge can be, by and large, true, and activity expedient (in the long term, not momentarily) only if they are positive and harmonious. This principle reflects the manifestation of the universal harmony of human existence;
- the principle of the joy of self-development, which states that self-development is one of the ways to realize the meaning of one's existence, to feel satisfaction and joy from life.
Diagnosis of the formation and development of creative thinking is associated with such manifestations of it as:
- creativity (creating a new, original);
- mobility (dynamism, freedom of association, mobility in depth and breadth);
- divergence (flexible versatile search, ability to combine, based on the use of both rational-logical and emotional-figurative component of thinking);
- social positivity (positive productive life aspiration, humanity);
- self-improvement (constant self-development).
In addition, the development of the emotional-sensory sphere, namely: intellectual and moral-aesthetic emotions and feelings, was an important criterion for the effectiveness of the activity. The main methods of diagnosis were - psychological and pedagogical testing, questioning, peer review, self-assessment, analysis of products of students.
All major indicators were monitored during the school year. Additional data were found out as the need arose (training, rating of subjects, attitude to innovations, etc.). The main criteria for choosing the methods used were objectivity, validity, reliability and expediency. In the abbreviated form, such data can be cited (Table 1).
Table 1. The test for the definition of creative abilities (H. Zivert)
Groups Scale D (divergence of thinking) The scale of CA (freedom of association - mobility)
03. 2012 03.2013 03.2012 03.2013
Experimental groups 38 47 26 38
Control group 38 40 29 30
Note. The number of points corresponds to a certain level of development of the selected quality: 0 - 20 - low; 21 - 30 - below the average; 31 - 40 - medium level; 41 - 50 - above the average; 51 - 60 - high level.
The main parameters of creative thinking (divergence, mobility) in the experimental class are significantly higher than in the control class.
This is also evidenced by tests of "creative thinking" - the modification of E.E. Tonik tests Guilford and Torrens (the total value of subtests number 1 - 2, 4 - 7), reflecting the level of development of such features of creative thinking as flexibility and originality (Table 2) .
Table 2. Level of development of creative thinking
Groups Flexibility of thinking Originality of thinking
03.2012 03.2013 03. 2012 03.2013 r.
Experimental groups 26 43 16 33
Control group 25 29 16 19
In general, it is obvious that the growth of the level of formation and development of creative thinking - creative abilities in turn, is closely interrelated with the development of the emotional and sensory sphere, which is evident from the change in the indicators of the level of spiritual and moral development (the Andreev method) and the level of development Intellectual and aesthetic emotions and feelings (author's modification of the method of V.I. Andreev) (Table 3).
Groups Level of intellectual development Level of development of aesthetic feelings and emotions
03. 2012 03.2013 03. 2012 03.2013
Experimental groups 47 71 39 64
Control group 49 50 40 45
Note. The number of points corresponds to a certain level of intellectual and emotional development: 10 - 22 -very low level; 23 - 30 - low; 31 - 38 - below the average; 39 - 46 - just below average; 47 - 54 - medium level; 55 -62 - just above average; 63 - 70 - above the average; 71 - 78 - high; 79 - 90 - very high level.
The high growth of indicators in the experimental classes is confirmed by an analysis of the products of students' activities, the results of observations. The analysis of all the results of experimental work confirms the assumption of the possibility of targeted development of emotions and feelings within the educational process and proves the interconnected development of the emotional and sensory sphere and creative thinking, as well as the success of teaching students in general.
In particular, one of the most important indicators of the educational criterion of experimental activity was the measurement of the level of the degree of training determined by the formula - COY = (K5 + K4 x 0.64 + K3 x 0.36): N x 100%, where K5 is the quantity "5", K4 - the number of "4", K3 -the number of "3", N - the number of students (V.P. Simonov). In experimental classes this indicator increased from 43% (2012), to 61% (2013), and in the control classes remained unchanged - 46%.
Based on the selected indicators, it is possible to characterize the levels of formation and development of creative abilities:
- Low level. The student has difficulty in completing assignments to find various options for obtaining the result; On the development of hypotheses and the production of original ideas. The student is not interested in the upcoming creative work, does not seek to participate in its collective forms, does not show initiative, does not participate in discussions, does not share his creative plans with his comrades. Assignments perceive passively, but think inertly. Extremely low productivity. Images are of little interest, not worked out. The student avoids tasks of increased complexity, does not show interest in problem-search types of tasks. He has difficulties with the organization of independent work, so almost always needs the help of a teacher or comrades. Mastering them creative ways is extremely slow, so he prefers to act according to the pattern. The creative product has an unfinished appearance. Self-regulation skills are weak. The student feels uncomfortable, insecure, afraid to speak publicly. The perception of artistic works is not very lively and emotional. Failures are accompanied by long negative emotions. Has an understated or inflated self-esteem.
- Average level. The student copes with tasks to find various options for obtaining the result; On the development of hypotheses and the production of original ideas, but does not aspire to the largest number of them and is not capable, if the task requires it, to choose the most successful solution to the problem. For the implementation of creative work is taken with pleasure, but the productivity is not high enough. He is looking for opportunities to express himself in creativity, but interest in him is unstable. The images are interesting, detailed. Successfully interacts with the team, but does not always express their point of view, being afraid of criticism. The student prefers difficult tasks to difficult, but in their decision is not always persevering. Interest in problem-search types of tasks is, but it is unstable. He is capable of intense activity, "immersing" in the task. The child can work independently, but this does not always happen. Mastering the ways of creative activity is at an average pace, success in mastering is not permanent. The creative product has a complete look, but not all the details are worked out. Self-regulation skills are not developed enough. Emotions that accompany activities, as a rule, depend on many circumstances: environment, mood, success or failure. Perception of works of art is lively and emotional. The average level is characterized by insufficiently developed skills of adequate self-esteem.
- High level. Students are easily given assignments for identifying characteristics, finding various ways of classifying, searching for various options for obtaining the result, finding and posing problems, generating a large number of ideas, remote associations, improving the object, finding its new use. His work is original, original, bears the imprint of the personality of the creator. In the work adheres to individual tempo and style, being able to subordinate emotional, intellectual and volitional efforts of a certain goal. The teacher does not need help. The student is in constant search of any opportunities for the release of his creative energy and is satisfied with the process rather than the result. Strives to consider the problem on a deeper level, or on the other hand. Images are unusual, great attention to detail. Can formulate problems, set clear questions, come to justified
Conclusions. Based on the above, it became possible to make certain generalizations and conclusions:
1. Environmental marginalized - this is the world of objects with "definite and indefinite forms of" waste industry, raw materials, which are located in a specific region, country in accordance with their socio - material needs in the past.
2. Environmental marginalized treated as space activities, where any creative task related environment of topics is based on multiple objective-spatial relations, focused on the individual and his relationship with the environment, including the creative transformation and its use of the material world of things in art.
3. Ecological marginalized is directly related to the field of converting crafts - especially artistic handicrafts, which promotes the formation of new creative Form Creation on the basis of reflection and give new aesthetic qualities of the objects found surrounding environment.
4. This study is based on the hypothesis that in the whole organic transformative design objects regionally - environmental level of the existing unlimited palette for metaphorical imagery and symbolism, semiotics can develop not only the general artistic culture, but, above all, creative abilities.
Prospects for further research. This study is only an attempt to disclose the importance of artistic craft in the creative shaping in the context of ecological marginalization as an object of art, but it is necessary to continue to identify new conceptual methods of application of artistic craft in a determined depending on new technologies and materials, as well as the emergence of new aesthetic values and new creative perception and vision in the environmental global culture.
References / Список литературы
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2. Bower Sam, (2010). "A Profusion of Terms". greenmuseum.org. Retrieved29 January 2014.
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5. Weintraub Linda. "Untangling Eco from Enviro". Artnow Publications. Retrieved 8. (February 2014).
6. House John, 1986. Monet: Nature into Art. London: Yale Univ. Press. p. 221.
7. Kagan Sacha, 2014. The practice of ecological art. [plastik] 4. [Electronic resource]. URL: http://art-science.univ-paris1.fr/plastik/document.php?id=866/ (date of access: 28.07.2017).
8. Wildy Jade. "Progressions in Ecofeminist Art: The Changing Focus of Women in Environmental Art". International Journal of the Arts and Society. The Arts Collection 6 (1): 53-66.
9. Gablik S., 1984. Has Modernism Failed? New York: Thames and Hudson. Gablik S. (1992) The Reenchantment of Art. New York: Thames and Hudson.
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11. "Beverly Naydus of ISE publishes" the Art of change " Institute for social ecology, 2014.
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