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Copyright of Zeitschrift für Psychodrama und Soziometrie is the property of Springer Nature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Ahmed Yesevi, also known as Pir-i Turkestan Hodja Ahmed Yesevi, is an important scholar of the Turkish-Islamic world and one of the pioneers of Turkish Sufism. He was a poet and expert in Sufism and Islamic sciences who lived in the 12th century. Yesevi made significant contributions to the Islamic enlightenment of the Turkish people. Many academics from different countries have conducted various studies on his life and creative works. Among scientific studies, the subject of Sufism and Sufi philosophy has an important place. This article deals with the examination of the life and activities of Ahmed Yesevi, one of the pioneers of the Turkish-Islamic Sufi tradition, in both local and international Turkology studies. The analysis of publications in Tatarstan, the study of Ahmed Yesevi’s works in the context of Tatar theological thought and Tatar literary studies are handled independently. The article underlines the importance of Ahmed Yesevi’s role and position in the spiritual world of the Tatars. After examining the research of Tatar academics on the subject, the author determined that the studies were of a general nature. The analysis of the heritage was carried out under the influence of methodological stereotypes and ideological prejudices formed during the years of Soviet rule. In conclusion, future research prospects on this topic are outlined. The article is based on the concrete-historical cognitive method, which gives priority to the principle of historicism and the system approach when examining the evolution of culture and social thought.

Not only our conscious expectations, wishes and intentions are directed towards the future, but also pre- or unconscious tendencies, hunches and anticipations. Using a term coined by Ernst Bloch, they can be summarized as the not-yet-conscious. This not-yet-consciousness usually unfolds spontaneously and without a plan; it is not expected or striven for, but rather emerges in consciousness in such a way that the subject is surprised by itself, so to speak. This gives rise to phenomena such as the conspicuous, the accidental, the new and the improvised, which are particularly important for understanding creative and therapeutic processes. The aim of this article is to develop a general phenomenological framework for understanding not-yet-conscious dynamics and their unfolding in different contexts. To this end, the structure of the not-yet-conscious is examined in the light of protention, in which the phenomenon is fundamentally located. [ABSTRACT FROM AUTHOR]

Background: In 1945 the artist and art collector J. Dubuffet coined the term Art brut for original works by psychiatric inmates that had been created outside of traditions and art movements. In the following decades these works were at the center of negotiation processes in which not only psychiatrists but also exhibition organizers, gallery owners etc. increasingly became involved. Objective: Based on the evaluation of four exemplary pairs of psychiatrists and artist patients (H. Müller-Suur—P. Goesch; M. in der Beeck—E. Spießbach; J. Porret-Forel—A. Corbaz; L. Navratil—R. Limberger), this study explores the field of tension between art and psychiatry after 1945. Material and methods: The results of the subproject "Normal#Crazy Art. Works from a Psychiatric Context between Diagnostics and Aesthetics after 1945" of the German Research Foundation (DFG) research group "Normal#Crazy" (FOR 3031) are based on the evaluation of archival material, estates, interviews with contemporary witnesses and contemporary media. Results: It is shown that different attitudes of the psychiatrists towards "their" artist patients strongly influenced their entry into the art world. In this context, impulses from beyond psychiatry were important in order to expand purely diagnostic views of the works with other approaches. Discussion: The renewed interest in the individual creativity of patients after 1945 can be understood as a reaction to their dehumanization under fascism and National Socialism; however, the focus on the pathologized personality of artist patients could obscure alternative perspectives on their art, just as the disposal of their works by psychiatrists could hinder their dissemination. [ABSTRACT FROM AUTHOR]

Use case scenarios play an essential role in innovation projects and influence the design of technologies. In this research article, I examine how use cases are generated, varied, and anticipated. To do so, I analyze interviews with international innovation experts (N = 14), e.g., Chief Technology Officer, Innovation Director, or User Experience Researcher. A heterogeneity of practices for the design of use cases, the creation of use case variants, and the anticipation of a possible extension of use cases can be identified. Anti-personas and worst-case scenarios are tools specifically aimed at identifying malicious use cases. A surprising result is the absence of special AI‑based procedures for use case generation, variation, and anticipation, indicating untapped potential for innovation projects.

In this article, we discuss our home cooking school as one example of a strategy we call "Shared Creative Work Experience" (SCrWE, pronounced "screwy"): Planned, playful extra-research activity during which collaborators engage in and reflect on creative work (e.g., cooking, sewing, painting, building, writing, performing, designing, gardening) that yields a product of some sort (e.g., a meal, a quilt, a painting, a shelf, a poem, a play, a game, a communal garden). Through SCrWE, we argue, collaborators playfully but deliberately create disequilibrium, shift perspectives, and unsettle power dynamics, ultimately preparing for productive, meaningful research partnerships. By creating a space for co-researchers to experience shared creative work, we aim to disrupt taken-for-granted assumptions and invite co-researchers to embrace ambiguity together. Grounded conceptually in aesthetic experiential play and the notion of the social imagination, SCrWE helps research teams identify potential sources of substantive, procedural, and affective conflict and then explore these conflicts in productive ways. Using techniques of collaborative autoethnography, we weave together recipes, photos, and scholarly writing to illuminate our experiences. We conclude by describing the steps for developing a SCrWE and include reflective questions to help research team members uncover their ontological, epistemological, and axiological commitments, ultimately leading to more meaningful research partnerships.

The main goal of this paper is to point out the concept of creativity in teaching, specifically creativity in the teaching of Nature and Society. Nature and society, as a subject, provide many opportunities to express the creativity that we carry within us through the role of a teacher, as well as to teach students how to be creative. The paper highlights examples of different teaching units that indicate ways to encourage creativity in students and awaken their imagination. Through teaching, through tasks that the teacher creatively devises, we encourage students to think creatively and act, in addition to acquiring knowledge more permanently and functionally. Possibilities of creating Nature and Society lessons through creative examples and experiments, as well as evaluating and measuring creativity, were presented. The work results indicated that creative teachers create their fruits, which are called creative students, that they are causally connected, and that creativity is a synonym for an expert and professional teacher.

Dünya genelinde birçok girişim platformuna ve eğitimciye göre yaratıcılık ve hesaplamalı düşünme geleceğin insan gücü ve günümüzün öğrencileri için oldukça önemli beceriler arasında yer almaktadır. Bu iki önemli beceri günümüzde öğretim programlarına da dâhil edilmeye çalışılmaktadır. Bu çalışmada özel yetenekli öğrencilerin yaratıcılık ve hesaplamalı düşünme beceri düzeyi algıları arasındaki ilişkinin incelenmesi ve yaratıcılık düzeyi algısının hesaplamalı düşünme beceri algısını yordama düzeyinin belirlenmesi amaçlanmıştır. Araştırmanın amacı doğrultusunda ilişkisel tarama modeli araştırma modeli olarak belirlenmiştir. Örneklemin seçilmesinde seçkisiz olmayan örnekleme yöntemlerinden biri olan uygun örnekleme yöntemi kullanılmıştır. Bilim ve Sanat Merkezine (BİLSEM) devam eden ortaokul düzeyinde 92 özel yetenekli öğrenci örneklemi oluşturmuştur. Özel yetenekli öğrencilerin hesaplamalı düşünme beceri düzeyi algısının belirlenmesi amacıyla “Bilgisayarca Düşünme Beceri Düzeyleri Ölçeği” ve kendilerine yönelik yaratıcılık algılarını belirlemek amacıyla “Ne Kadar Yaratıcısınız? Ölçeği” kullanılmıştır. Pearson korelasyon analizi ve basit doğrusal regresyon analizi verilerin analizinde kullanılmıştır. Araştırma bulgularına göre yaratıcılık ve hesaplamalı düşünme algısı arasında pozitif, düşük düzeyde ve anlamlı ilişki belirlenmiştir. Araştırmanın bir diğer bulgusu ise özel yetenekli öğrencilerin yaratıcılık düzeyi algısı, hesaplamalı düşünme düzeyi algısının anlamlı bir yordayıcısı olduğudur. Araştırma bulguları alan yazındaki yaratıcılık ve hesaplamalı düşünme arasındaki ilişkiyi destekler niteliktedir. Sonuç olarak özel yetenekli öğrencilerin yaratıcılık eğitimlerinin desteklenmesinin hesaplamalı düşünme becerilerinin gelişimine katkı sunacağı önerilebilir. Konuya ilişkin ileride gerçekleştirilecek farklı araştırmalar ile gerçekleştirilen çalışmanın sonuçları karşılaştırmalı olarak değerlendirilebilir.

Against the background of his professional biography, which is closely linked to Info DaF, the author searches for traces of „play" in the contributions of the 1980 s. The increasing interest in „play", for example in learning games and role plays, can be explained by the influence of communicative didactics, in which the taking on of (speaking) roles becomes central. Videos advance to a popular medium and thus attention is directed to the skill of (listening &) viewing, which is also relevant in teaching and learning activities with a focus on play. Towards the end of the 1980 s a special interest in the art form of theatre emerges, and drama pedagogy begins to play an important role in the subject of German as a Foreign language. [ABSTRACT FROM AUTHOR]

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This article presents the results of an experiment with eleven students from two universities that translated and post-edited three literary texts distributed on the first and last days of their translation technology modules. The source texts were marked with units of creative potential to assess creativity in the target texts (before and after training). The texts were subsequently reviewed by an independent professional literary translator and translation trainer. The results show that there is no quantitative evidence to conclude that the training significantly affects students’ creativity. However, after the training, a change is observed both in the quantitative data and in the reflective essays, i.e. the students are more willing to try creative shifts and they feel more confident to tackle machine translation (MT) issues, while also showing a higher number of errors. Further, we observe that students have a higher degree of creativity in human translation (HT), but significantly fewer errors in post-editing (PE) overall, especially at the start of the training, than in HT.

Developers of generative artificial intelligence systems promote the idea of personal assistants for various tasks, including translation and authoring creative content. As a consequence of these developments, the topic of “human” creativity has moved centre stage. Acknowledging similarities between translation and creative writing, this article offers a critical discussion of intersecting areas and suggests a framework for creative skills couched in the tradition of social sciences research. As a practical application with pedagogical impact, the paper presents a new module on writing specifically designed for translators. As is argued, the conceptual design, content, mode of delivery and evaluation of potential pedagogical benefits may be replicable in other pedagogical settings at undergraduate or postgraduate level. The role of technology is also problematised, indicating how writing may be augmented by using tools. Ideally, this is to be done in a context where creativity upskilling can equip students with the ability to (de)select context-appropriate solutions, that is, to use convergent and divergent thinking, ultimately preparing them to play a fundamental role in a rapidly evolving digital world.

Translation poses a challenge to copyright laws, which extend protection to works based on the originality of expression rather than the ideas expressed, because translations convey the ideas of the original in a different language and therefore also use different expressions. Technologization of translation has further increased this complexity, as tools such as translation memories and machine translation and post-editing practices are starting to also emerge in literary translation, calling for a more detailed investigation of the literary post-editor’s role and ownership of the text. Post-editing of machine-translated output could give rise to copyright protection, but this depends on the level of intervention and whether the post-edited translation is deemed sufficiently original. This article aims to investigate questions of originality, creativity and textual ownership in literary post-editing. We examine two cases where a literary text was machine translated, post-edited and then published. Our research materials consist of the peritexts surrounding the published translations and three epitexts: one publisher’s website, a research article written by one of the post-editors to describe the experience, and an interview with the other post-editor. Through a qualitative content analysis of these materials, we examine how they reflect the post-editors’ approach to post-editing, personal input in the process and textual ownership of the post-edited target text. The findings suggest that the two post-editors have different approaches to post-editing, leading them to differing perceptions of their own creative input and relationship with the final text.

The study is devoted to construct a typology of discourses about a miracle. Discourses are interpreted in this case not in a linguistic, but in a philosophical sense, as a certain “way of talking” about a chosen phenomenon. This includes the ontological and ideological position of the speaker (writer), emotional and value pathos, a communicative attitude or lack thereof, a message to the listener (reader) of specific views and beliefs. The author distinguishes three groups of discourses on the ideological basis: 1) a miracle, understood as supernatural, but accessible for communication; 2) a miracle understood as a man-made, purely human phenomenon; 3) a miracle as the result of a “dual determination” coming from both the transcendent and the person himself. The miracle is initially interpreted in the article as a positive phenomenon that can be described and expressed in speech without directly naming the word itself. Within the first group of discourses, the following are considered: religious (Christian), mythological and fairy-tale discourse, and the fate-providentialist discourse is also highlighted. The second approach, connected with the denial of the supernatural, speaks of a miracle in the context of its scientific and technical creation, as well as hopes for a miracle within the framework of progressive and utopian concepts. The third type of discourses, combining the view of a miracle as coming from above and from the person himself, includes mystical-magical, existential and creativistic discourses - interpreting the theme of creativity. The mystical-magical discourse describes a miracle as the result of illumination and as a consequence of persistent spiritual searches. In the existential discourse, represented by fiction, there is also a place for describing a miracle as a magical nature and a magical fate. In creative discourse, the miracle is the very act of the birth of a new one. Summing up what has been said, the author emphasizes that he presents readers with nothing more than a sketch that requires further work and thematic disclosure.

The present article reflects two fundamental concepts – creativity and technologies/innovations, emphasizing the interaction of these two concepts, their importance, levels and techniques of development. The article also highlights the role that creativity and technologies/innovations play in education, the transformations taking place in art, etc. The ascension of the human spirit is undergoing great innovative and creative transformations. Creativity, open access to information, the use of new technologies are engines of transformation with a positive impact on society. These essential components will influence the future and ensure a sustainable development

Copyright of Výtvarná Výchova is the property of Charles University Prague, Faculty of Education and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The modern world is confronted with a series of global problems, exacerbated by technological advancements. In this context, concerns arise in the public consciousness regarding the potential of artificial intelligence (AI) to surpass humans in intellectual and creative activities. The topic of AI creativity becomes pertinent and sparks debates within the scientific community regarding its creative potential. In response to these challenges, members of the Club of Rome in 2018 propose the concept of a new Enlightenment and the principle of balance as a response to the demands of technological development. These ideas underscore the need for a balanced approach to technical progress, taking into account global values and ethical principles. I explore the definitions of creativity and AI, formulate criteria for assessing creativity, and analyse recent achievements in modelling creative processes in AI. I also focus on the utilisation of various algorithms for implementing diverse forms of creative activities, including text, image and music generation. Additionally, I present diverse opinions of researchers regarding creativity in AI. To systematise these perspectives, I propose a classification which allows their ranking. The conclusion emphasises that currently the issue of evaluating the creative potential of AI lacks a definitive solution, underscoring the relevance of further research. The future outlook may alter this situation, prompting the necessity to focus on predicting potential consequences of technological developments and developing mechanisms for controlling AI activities; humans, after all, bear responsibility for AI actions. Such an approach aligns with the concept of a new Enlightenment which seeks a balance between technological advancements and the preservation of global harmony.

RESEARCH OBJECTIVE: This article examines teachers’ attitudes towards socioemotional learning (SEL) and digital technology in the post-pandemic era, focusing on the DigiSEL project. This project aimed to integrate digital tools and SEL to support students’ well-being and academic success, enhancing primary school teachers’ skills in these areas. THE RESEARCH PROBLEM AND METHODS: The study involved partner countries conducting qualitative and quantitative analyses to determine the needs of in-service and preservice teachers. The Italian team’s needs analysis, conducted through a Focus Group and a creativity survey, revealed insights into teachers’ attitudes and experiences with digital teaching and creativity skills development. THE PROCESS OF ARGUMENTATION: The authors introduce the DigiSEL project, detailing how it aligned with their research for the online course modules. RESEARCH RESULTS: The Italian team’s focus group outcomes highlighted innovative solutions for educational challenges. Initial frustration with technology evolved into a rewarding transformation as educators mastered its use. Online courses were identified as motivating and providing novel approaches to address students’ diverse issues, such as concentration and emotional expression difficulties. CONCLUSIONS, INNOVATIONS AND RECOMMENDATIONS: Despite challenges, the project effectively supported educators in their roles and maintained their enthusiasm for teaching. Drawing inspiration from earlier European research on creativity and ICT in teaching, this study aligned with teachers’ perceptions of creativity as vital for students’ development and demonstrated how technology could enhance teaching methods. In conclusion, the DigiSEL project showcased the potential of merging SEL and digital tools to empower educators and foster student growth amidst evolving educational landscapes. More research should take in consideration the importance of SEL and creativity to enlighten passion in teaching with new and inspiring methods.

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Copyright of Organisationsberatung, Supervision, Coaching is the property of Springer Nature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The purpose of the study has been an investigation of students’ attitudes towards the teaching of business correspondence in English with the use of imagination and humour, as expressed in the questionnaire and reflected in the students’ writing. It was assumed that the use of imagination, creativity and humour would motivate the students to practise business writing and develop their skills. The study is based on both an analysis of students’ actual writing as well as a questionnaire regarding their attitudes towards simulation and humour in practising business correspondence. As the results show, the students’ writing varies considerably, ranging from standard letters modelled on textbook examples, up to humorous letters from and to imaginary companies. Similarly, the questionnaire reveals a variety of attitudes: some students regard simulations of this kind as interesting and motivating, while others find them artificial. They also tend to prefer learning serious correspondence, which is closer to their future professional work. It can thus be concluded that, while using imagination and even humour has some benefits, such as motivating students and developing their creativity, the focus of teaching should be on more authentic business correspondence, closer to that which they will use in the future.

Creativity, a distinctive privilege of the fine arts, is the act of shaping a void or absence into an original creation, a harmonious blend of intellect and emotion. It is an intellectual and affective aptitude, wherein ingenuity and intuition converge to birth unprecedented masterpieces. While creativity seems to be incongruent with the logic of the translation process at first glance, often associated solely with literary translation, it, in fact, permeates the very essence of translation, regardless of the text type. Translation is not merely a reproduction but a transformative process, akin to an act of production fueled by creativity. To comprehend the concept of creativity in literary translation, one must explore its relationship with three essential human sciences - sociology, psychology, and philosophy. In the realm of translation, sociology plays a crucial role in understanding the cultural and social dimensions that impact language and communication. A translator's creative choices are inevitably influenced by the context in which they operate. Societal norms, values, and traditions subtly guide the translator's decisions, shaping the outcome of the translated work. Psychology also bears significance, as the translator's mental processes, including cognitive abilities and emotional intelligence, influence their approach to the task. Translators must creatively navigate linguistic challenges, adapting their understanding of both the source and target languages, to convey the intended meaning faithfully while preserving the essence of the original work. Furthermore, philosophy adds depth to the concept of creativity in translation, offering insights into the nature of language, meaning, and interpretation. Philosophical perspectives influence how translators grapple with issues of subjectivity, ambiguity, and the limits of linguistic expression. A translator's creative intuition comes into play when confronting the gaps between languages and cultures, striving to transcend these barriers and give life to a cohesive and captivating translated piece. In conclusion, creativity thrives in the art of translation, extending its reach far beyond literary works. Whether rendering scientific texts, legal documents, or technical manuals, the translator's creativity remains an essential tool in overcoming linguistic challenges and creating nuanced, accurate, and culturally sensitive translations. The interplay between sociology, psychology, and philosophy enriches the understanding of creativity's role in translation, emphasizing its transformative power in bridging cultures and bringing forth captivating, novel expressions of language. As translation continues to evolve, acknowledging and embracing creativity will undoubtedly foster a deeper appreciation for the beauty and intricacies of multilingual communication.

The article is the first exploration of Mārganāṭyam, a new tradition in the performing arts of modern India, created (and still in the process of the development) from the beginning of the XXI century by an outstanding researcher of musical, theatrical and dance culture, Kalamandalam Piyal Bhattacharya (Kolkata, West Bengal) and his students. It is based on the many years of the author’s personal observations, interaction, interviews and discussions with the participants of “Chidakash Kalalay. Centre of Art and Divinity”, an artistic community based on the direct transfer of knowledge and skills from teacher to students, which has developed around Piyal. The features of the method of reconstruction of the ancient Indian theater, the flexible application of the legacy of the past in modern conditions are under study. Particular attention is paid to the artistic interpretation and comprehension of the Indian philosophical heritage, and above all the concepts and worldview of Nyaya and Vedanta systems, transferring them to the space of scenic images. The presented material demonstrates that an integrated approach to the artistic heritage, a metatheater, combined with individual pedagogical unfold of the personality of the artists, creates the possibility of recreating the long-vanished tradition and complex philosophical issues in a way that is well understood today, relevant and reflects the essential needs of modern creators and viewers of the Indian theater at large.

Abstract/Izvleček The study aims to explore whether there are significant differences in self-assessed creativity between pedagogical and non- pedagogical students, the potential connection between creativity and pedagogical or non-pedagogical study orientation, whether the pedagogical or non-pedagogical orientation of studies influences creativity, and additionally whether there are significant differences in self-assessed creativity between the genders, related to the results of creativity self-assessment. The results showed no statistically significant differences in creativity between students according to gender or according to whether they were pedagogical or non- pedagogical students. We can conclude that the expression of creativity is likely to be influenced by many other factors.

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Copyright of Transfer: Zeitschrift für Kommunikation & Markenmanagement is the property of Deutsche Werbewissenschaftliche Gesellschaft and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Zeitschrift für Psychodrama und Soziometrie is the property of Springer Nature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Zeitschrift für Psychodrama und Soziometrie is the property of Springer Nature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Zeitschrift für Psychodrama und Soziometrie is the property of Springer Nature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Zeitschrift für Psychodrama und Soziometrie is the property of Springer Nature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Zeitschrift für Psychodrama und Soziometrie is the property of Springer Nature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Bu araştırmanın amacı; Waldorf yaklaşımına dayalı eğitim programının okul öncesi dönemdeki çocukların yaratıcılık ve bilişsel becerilerine etkisini incelemektir. Araştırmada deneysel araştırma modellerinden yarı deneysel desen kullanılmıştır. Waldorf yaklaşımına dayalı eğitim programının uygulandığı bir okulda eğitim gören 32 çocuk deney grubunu oluşturmuştur. Milli Eğitim Bakanlığı Okul Öncesi Eğitim Programının uygulandığı bir devlet anaokulunda eğitim gören 45 çocuk kontrol1, özel anaokulunda eğitim gören 48 çocuk da kontrol2 grubunu oluşturmuştur. Araştırmanın bağımlı değişkenleri yaratıcılık becerileri ve bilişsel beceriler; bağımsız değişkeni ise Waldorf yaklaşımına dayalı uygulanan eğitim programıdır. Veri toplama aracı olarak, çocukların yaratıcılık becerilerinin ölçülmesinde Lee ve Lee (2002) tarafından geliştirilen Türkçeye uyarlanması Yuvacı (2017) tarafından yapılan Hibrit Yaratıcılık Testi kullanılmıştır. Bilişsel becerilerinin ölçülmesi amacıyla ise Raven, Raven ve Court (1998) tarafından geliştirilen, Bildiren, Kargın ve Korkmaz, (2017) tarafından geçerlik güvenirlik çalışması yapılan Renkli Progresif Matrisleri testi kullanılmıştır. Veriler SPSS programında analiz edilmiştir. Araştırma sonucunda yaratıcılığın, esneklik, akıcılık, özgünlük alt boyutlarında ve toplam yaratıcılık son test puanlarında Waldorf yaklaşımına dayalı eğitim programının uygulandığı grubun lehine anlamlı bir sonuç bulunmuştur. Bilişsel becerileriler son test puanlarında ise gruplar arasında herhangi bir farklılık gözlemlenmemiştir.

A writing body, a written body? On somatic aspects of creating by Elżbieta Drużbacka ----- The article is devoted to the conditions of Elżbieta Drużbacka’s creative work, with emphasis on the participation of her body in the writing process. Both the poet’s correspondence as well as the literary works were analysed. The author presented the concept of otium negotiosum, and then pointed out the exception from it visible in Drużbacka’s texts. The factors determining the process of creating was numerous health problems resulting from Drużbacka’s age. Moreover, the metaphor of the felled trees that are rotting with the senescent human body and the setting of the poetic imagination of the author of the Collection of Rhythms in the world of nature were discussed.

The paper analyzes teachers’ attitudes and beliefs concerning the use of different materials that can be used for artistic expression in arts education called non-standard art material (NAM)[1]. By manipulating and experimenting with these materials children participate in creative games that incite curiosity, initiate first original ideas and strengthen the team spirit. The research was conducted on a sample of 56 teachers who work in primary schools in the territory of the town of Vranje. The instrument used to collect the data was constructed for the purpose of this research. The results indicate the importance of the use of NAM in arts education – their application in the realization of a great number of units since the first grade of primary school develops creative and critical thinking among pupils, which further contributes to a more creative approach to teaching other subjects.

Applying analogies in teaching and learning can significantly improve their outcomes. It is pedagogically important to know the various factors on which depend the frequency and manner of application of analogies. Such factors include creativity. We can see the relationship between creativity and analogy from several angles. In this paper, we are dealing with the connection between self-assessment of creativity and the tendency to apply analogies in a pedagogical context. On a sample of 305 students, the Kaufman Creativity Domain Scale (K-DOCS) and inventory were applied to measure the propensity to spontaneously apply analogies. The results suggest that there is a connection between self-assessment of creativity and a tendency to apply analogies, but also that the nature of that connection is complex. The connection was registered with two areas of expression of creativity (personal-everyday and academic area), while the connection with other areas was not registered. The meaning and pedagogical significance of the obtained results were discussed.

The article deals with the identification, translation, content clarification and brief analysis of Bukovynian press materials of the late 80s of the 19th and early 20th centuries, about the outstanding Ukrainian writer and public figure Ivan Franko, his views on the public, socio-political and national-cultural life of Ukrainians, in particular those of Bukovyna, and the latter’s attitude towards I. Franko, his work and as a politician. In particular, on the basis of discovered issues of newspapers in local (Chernivtsi) funds, where something is mentioned about I. Franko’s reside in Bukovyna there is information about his publishing and editorial activities. Out of 9 funds of processed Bukovynian newspapers and funds of Bukovynian calendars, 59 numbers were found, which, to a different extent, write about the life and work of the outstanding Ukrainian writer, scientist, public and political figure. The absolute majority of the identified numbers are from the Ukrainian press, especially from the newspaper «Bukovyna», in particular, when it was edited by a talented native of Galicia, Osyp Makovei. A certain amount of newspaper material testifies to his active social and especially political activity as one of the founders and leaders of the «Ruthenian-Ukrainian Radical Party». Separate issues of the newspapers contain information about I. Franko’s scientific activities, in particular, about social and economic relations in Galicia and Bukovyna in the 18th – 19th centuries. Information about the celebration of the anniversaries of his literary activity: 25-year, 30-year, 40-year is widely presented in Bukovyna newspapers. The Bukovyna press did not ignore the unpleasant facts of government restriction and persecution of I. Franko for his political views. Appropriate conclusions have been drawn.

In this piece we offer a reflexive account of our recent experiences of teaching with drama in two different online settings. Eva will recount her practice teaching trainee teachers in Switzerland and Nicky will recall her practice working with postgraduate applied theatre students in a drama school in the UK. Over and over again, we have encountered the mind-set that teaching drama online is “not possible”, or at the very least, that it is but a pale reflection of face-to-face teaching. Although we were out of our comfort zone at first, we now feel that teaching with drama online has its place in our fast-paced and increasingly technological world. Teaching and learning in digital contexts will likely remain a reality from now on, thus it is the purpose of this article to make the case for the creative potential of and indeed urgent need for online teaching that includes drama.

The article deals with the identification, translation, content clarification and brief analysis of Bukovynian press materials of the late 80s of the 19th and early 20th centuries, about the outstanding Ukrainian writer and public figure Ivan Franko, his views on the public, socio-political and national-cultural life of Ukrainians, in particular those of Bukovyna, and the latter’s attitude towards I. Franko, his work and as a politician. In particular, on the basis of discovered issues of newspapers in local (Chernivtsi) funds, where something is mentioned about I. Franko’s reside in Bukovyna there is information about his publishing and editorial activities. Out of 9 funds of processed Bukovynian newspapers and funds of Bukovynian calendars, 59 numbers were found, which, to a different extent, write about the life and work of the outstanding Ukrainian writer, scientist, public and political figure. The absolute majority of the identified numbers are from the Ukrainian press, especially from the newspaper «Bukovyna», in particular, when it was edited by a talented native of Galicia, Osyp Makovei. A certain amount of newspaper material testifies to his active social and especially political activity as one of the founders and leaders of the «Ruthenian-Ukrainian Radical Party». Separate issues of the newspapers contain information about I. Franko’s scientific activities, in particular, about social and economic relations in Galicia and Bukovyna in the 18th – 19th centuries. Information about the celebration of the anniversaries of his literary activity: 25-year, 30-year, 40-year is widely presented in Bukovyna newspapers. The Bukovyna press did not ignore the unpleasant facts of government restriction and persecution of I. Franko for his political views. Appropriate conclusions have been drawn.

In the biblical perspective, stories about the creation of the world in Gen 1–2 remain to be the basis to a discussion about human creativity. The premise of the text – creation of man “in the image of God” – makes us assume that, according to the Bible, creativity of man is to be the image of God’s creativity. Verification of this thesis goes from presenting history of interpretation of the biblical idea, namely crea­tion of man “in the image of God,” then points to the need of analyzing the narrative of this phrase. Since the image of God presented in Gen 1 is not descriptive, the second part of the paper examines the way God reveals himself in this text through his creative action. The key to God’s creativity is his word of creation which he uses to differentiate created beings and establish relationships among them in order to build harmony in the newly founded world. The final part of the paper focuses on the analysis of verbs which in Gen 1–2 refer to human creativity; those verbs also point to their possible association with words as instru­ments for creating, organizing and arranging reality shaped by man. Following that comes the conclusion that God’s creativity is extended into creativity of man who was made “in the image of God.”

Higher cognitive processes are often characterized as fitting into categories that, while treated as natural kinds, actually are human-made inventions, such as intelligence, creativity, and wisdom. Other germane categories include reasoning, problem solving, and concept formation. The different categories generate their own journals, their own tests, their own training programs, and, of course, their own cadres of researchers who specialize in one (or, more rarely, more than one) of the categories. I suggest in this article that the mental structures and processes underlying these various categories are largely the same. For example, all of them require metacomponents, or executive processes, such as recognizing the existence of problems, defining the nature of problems, formulating strategies to solve problems, and so forth. Their utilization also requires certain attitudes. What differs is the purpose to which processes and attitudes are utilized. In intelligence, the processes and attitudes are used primarily for knowledge acquisition, utilization, and analysis. In creativity, the processes and attitudes are used to generate new, useful ideas. In wisdom, the processes and attitudes are used to seek a common good. The arbitrariness of these separate categories serves artificially to isolate related theoretical and empirical work that should integrate intelligence, creativity, and wisdom. In this article, I discuss how the construct of meta-intelligence helps bring unity to theory and research endeavors that are now viewed as being largely independent of each other.

In this article the foreign language classroom in a Waldorf school is described as a space inviting active performative participation. It gives examples spanning the lower, middle and particularly the upper school, in which performative methods and creativity are specifically encouraged. The aim is to involve the whole child and young person not only in reproducing but in producing actions in and through the foreign language, using methods such as enacting stories and pictures, producing and playing scenes, translating prose texts into scripts for plays, radio plays and story boards for film.

The article discusses MELT (Mainstream English Language Teaching) in relation to the author’s perception of Waldorf education. It first attempts a definition of performance. It goes on to describe the recent history of MELT with particular regard to performative and creative elements. It then considers those teacher qualities needed for successful in-depth learning and relates this to performance. The major differences between Steiner and MELT are then set out, in particular the encroachment of regulation on MELT. It argues that, while MELT may be imperfect in many ways, not least in the current preference for control, it has nonetheless produced a rich variety of creative work much of which is compatible with Waldorf philosophy and practice. Waldorf likewise has much to offer MELT in helping to restore physical, emotional and spiritual aspects which it currently neglects. It suggests there would be mutual benefit in a better knowledge and understanding between MELT and Waldorf systems.

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