RPIVA KREATIVITTES ZINTNISKAIS INSTITTS SCIENTIFIC INSTITUTE OF CREATIVITY RTTEMA

RADOA PERSONBA
ZINTNISKO RAKSTU KRJUMS

CREATIVE PERSONALITY
COLLECTION OF SCIENTIFIC PAPERS

VIII
Rga 2010
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Radoa personba, VIII. Starptautiski recenzts zintnisko rakstu krjums. Rga, izdevjs RPIVA Kreativittes zintniskais institts, 2010. 416 lpp. Krjum iekautie raksti par kreativitti individualittes dzves gait, kreativittes attstanu veidoti, pamatojoties uz XIV starptautiskaj kreativittes konferenc nolastajiem refertiem, Creative Personality, vol. VIII. A collection of internationally reviewed scientic papers. Riga: Scientic Institute of Creativity, RTTEMA, 2010. 416 pages. The articles on creativity across the lifesplan of an individuality were developed on the basis of reports presented at the 14th International Creativity Confe rence. Zintnisk redkolija, scientific editorial board: Prof. Dr. psych. R. Bebre (Latvija) Prof. Phd I. Magyari Beck (Ungrija) Prof. Dr.psych. R. Tomassoni (Itlija) Prof. Dr. habil. psych. A. Fusco (Itlija) PhD N. Papadakis (Grieija) Asoc. prof. Dr. psych. A. Petrulite (Lietuva) Dr. A.Wach (Polija) PhD A. Ozolia Nucho (ASV) Prof. Dr. habil. philol. D. Markus (Latvija) Prof. Dr. paed. M. Marnauza (Latvija) Recenzenti; Scientific reviewers: Prof. PhD I. Magyari Beck (Ungrija) Prof. Dr. habil. T. Siek Piskozuba (Polija) Dr. paed. S. M. Golestans Hashemi (Irna) Prof. Dr. habil. philol. D. Markus (Latvija) Prof. Dr. psych. R. Bebre (Latvija) Prof. Dr. habil. psych. . Karpova (Latvija) Prof. Dr. paed. Z.a Anspoka (Latvija) Prof. Dr. habil. paed. D. Lieeniece (Latvija) Prof. Dr. paed. I. Jurgena (Latvija) Prof. Dr. phylol. I. Kokins (Latvija) Prof. Dr. paed. M. Marnauza (Latvija) Prof. Dr. paed. M. Sle (Latvija) Prof. Dr. paed. R. Spalva (Latvija) Prof. Dr. habil. psych, Dr. oec. M. Vidnere (Latvija) Prof. Dr. art. B. Avramecs (Latvija) Asoc. prof. Dr. biol. J. Raipulis (Latvija) Asoc. prof. Dr. paed. B. Garjne (Latvija) Asoc. prof. Dr. paed. L. Mrniece (Latvija) Asoc. prof. Dr. psych. T. Zria (Latvija) Dr. paed., Dr. art. N. Lse (Latvija) Dr. philol. I. Surkova (Latvija)

Sastdtja; Editor: Tehniskais redaktors Vka grafikas autore Korektore Makettjs

Prof. Dr. psych. R. Bebre A. verins Mg. educ. M. Ruzgte Dr. philol. I. Surkova G. Rutkis

R. Bebre Izdevjs RPIVA Kreativittes zintniskais institts

ISBN 978 - 9984 - 9965 - 2 - 3 ISSN 1407 - 6276 RPIVA KZI, Imantas 7. lnija 1, Rga, LV 1083, tlr. +371 67860672, + 371 29249099 e-pasts: rita.bebre@rpiva.lv, mjas lapa: http:// www.rpiva.lv Iespiests: SIA Jumi, Patversmes iela 3 1, Rga, LV 1005 jumi@apollo.lv, tlr. +371 67312365
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PRIEKVRDS Zintnisko rakstu krjum publictie raksti veidoti, balstoties uz 2009. gad notikus XIV starptautisks kreativittes konferences Kreativitte individualittes dzves gait refertu bzes. Aizvadtais gads Kreativittes un inovciju gads Eirop - pievrsa ne vien ptnieku, bet ar plakas sabiedrbas, politiu uzmanbu Eiropas mrog jautjumiem, kas saistti ar kreativitti un uz ts bzes radtm inovcijm, bez k nav iespjams attstbas progress. K turpinjums iepriekjam gadam 2010. gada aprl Latvij notika Radouma neda, kuras iniciatore bija Britu padome, bet organizatoru vid ar RPIVA Kreativittes zintniskais institts. Radouma jdziens droi iegjis gan izgltbas, gan uzmjdarbbas, gan plakas sabiedrbas apzi. FOREWORD The scientific papers presented in the Collection are developed from the presentations given at the XIV International Creativity Conference Creativity in the Lifespan of an Individu ality. The past year European Year of Creativity and Innovation drew attention not only of researchers, but also of a wider community, of politicians to the issues related to creativity, in novation, without which no development can progress. As a continuation to the previous years activity, the Creativity Week was organised in April 2010 in Latvia, initiated by the British Council and organised by the Scientific Institute of Creativity, RTTEMA. The creativity con cept has now confidently entered education, business, and a wider public consciousness.

SATURS Priekvrds. Foreword . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 Rita Bebre. 15 STARPTAUTISKAS KREATIVITTES KONFERENCES LATVIJ KREATOLOIJAS ATTSTBAI (1996 2010) 15 INTERNATIONAL CREATIVITY CONFERENCES IN LATVIA for the DEVELOPMENT of CREATOLOGY (1996 2010). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

I nodaa. Kreativittes psiholoiskie aspekti Part 1. Psychological Aspects of Creativity

Indra Krmia, Lga Roe. KREATIVITTES PSIHOLOISKO ASPEKTU PTNIECBA URNL CREATIVITY RESEARCH JOURNAL 2007 2009. GADA RAKSTOS: JAUNKS TENDENCES UN PROBLMJAUTJUMI RESEARCH ON PSYCHOLOGICAL ASPECTS OF CREATIVITY IN 2007 2009: CURRENT TENDENCIES AND ISSUES. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 Irina Sekret. PSYCHOLOGICAL ASSUMPTIONS OF ENHANCING STUDENTS CREATIVITY WITHIN THEIR PROFESSIONAL COMPETENCE AT A HIGHER SCHOOL Studentu kreativittes veicinana profesionls kompetences ietvaros augstskol. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 Mra Vidnere. dzves izturbas, STRESA un Kreativittes resursu Mijsakarbas studentiem Role of Life hardiness FOR Developing Resources of Creativity for students. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54 Simona Orinska. Buto dejas izmantoana deju un kustbu terapij jaunieiem personisko resursu apzinan Use of Butoh in Dance Movement Therapy to Raise the Awareness of the Inner Resources of Young Adults. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66 Guna Svence. Plsmas jeb flow fenomena izpte sievieu mkslinieu naratvos Flow concepts content analysis in creative profession representative narratives. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76 Jkabs Raipulis. KREATIVITTES IZPAUSMES BRNB UN PUSAUDA GADOS. EXPRESSION OF CREATIVITY IN CHILDHOOD AND ADOLESCENCE. . . . . . . . . . . . 85 Lga Roe. SKUMSKOLAS SKOLOTJU PRIEKSTATI PAR KREATIVITTES KONCEPTU UN KREATIVITTI IETEKMJOAJIEM FAKTORIEM PRIMARY SCHOOL TEACHERS NOTIONS OF CREATIVITY CONCEPT AND ITS COMPONENTS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94 Maija Zakrievska, Ivans Jnis Mihailovs. POLITIA TLA VEIDOANAS KRETIVITTES UN TISKIE ASPEKTI POLITICIAN IMAGE DEVELOPMENT: ASPECTS OF CREATIVITY AND ETHICS . . . 106

II nodaa. Radoums izgltbas praks Part 2. Creativity in Educational Practice

Inese Freiberga. PIRMSSKOLAS VECUMA BRNA PERSONISKS JGAS VEIDOANS PAR LITERATRU KREATVAIS ASPEKTS Creative Aspect of Personal Meaning Formation in Studying Literature at Senior Preschool Age . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118
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Agita bele, Agrita Tauria. PASAKAS DRAMATIZCIJA PIRMSSKOLNA PERSONBAS RADOUMA ATTSTBAI Personalitys Creativity Development Through Dramatization of Fairy Tales for Pre-ScHool Children. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127 Juris Porozovs, Dzintra Porozova, Hermanis Beinskis. Pedagoisks problmas darb ar hiperaktviem brniem The Pedagogical problems in the work with hyperactive children . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136 Zenta Anspoka, Solveiga Serkova. INFORMCIJAS VIZUALIZCIJA PEDAGOISKAJ PROCES CILVKIEM AR SPECILM VAJADZBM VISUALIZATION OF THE INFORMATION IN THE PEDAGOGICAL PROCESS FOR PEOPLE WITH SPECIAL NEEDS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146 Ilga Prudikova. Prasmju veidoana izgltojamiem ar smagiem | gargs attstbas traucjumiem specil interntpamatskol Skills modeling of the educatees of severe mental age disturbance at specialprimary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154 Daina Moeika, Jnis Gedrovics, Dagnija Cdere. TELPISKIE DOMU MODEI RADOUMA VEICINANAI MIJAS MCBS SPATIAL MIND MODELS AS PROMOTERS OF CREATIVITY IN CHEMISTRY EDUCATION. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163 anete Tauria. Jaunieu radouma kompetences izpte vidj izgltb Study of youth creativity competences in education . . . . . . . . . . . . . 173 Franz Feiner. RE-CREATION CREATIVE APPROACHES TO RELIGIOUS EDUCATION AND PERSONAL DEVELOPMENT Prveidoana rados pieejas reliiskaj izgltb un personbas attstb. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182 Nijole Petronele Vekiene, Sigita Sauleniene, Reda atniene. INTERDISCIPLINARY COLLABORATION AS A SOURCE OF CREATIVITY: CHILD DAY CARE CENTRE CASE Starpnozaru sadarbba k kreativittes avots: brnu dienas centra piemrs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190 Olga Apse. ASPECTS OF CREATIVITY IN EDUCATIONAL PROCESS OF INFORMATION AND COMMUNICATION TECHNOLOGIES FOR PEOPLE IN VARIOUS PHASES OF GERONTOLOGICAL AGE KREATIVITTES ASPEKTI INFORMCIJAS UN KOMUNIKCIJAS TEHNOLOIJAS MCBU PROCES CILVKIEM DADOS GERONTOLOIJAS VECUMA POSMOS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200 Ingna Lce. RADOUMA NOZME PEDAGOGA KARJERAS ATTSTB Significance of Creativity in Educators CareeR Development . . . . 207 Geert Franzenburg. Creativity training and life long learning Radouma veicinana mizgltb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215 Staislava Marsone. JAUNS SKOLAS PEDAGOGI PAR SKOLNU RADOUMA VEICINANU (LATVIJA, 20. GS. 20. 30. GADI) NEW SCHOOL TEACHERS FOSTER STUDENTS CREATIVITY. . . . . . . . . . . . . . . . 223

III nodaa. Literrs dairades psiholoija Part 3. Psychology of Literary Art

Rosella Tomassoni, Geny Di Palo. HOMESICKNESS: A CREATIVE VARIABLE IN SNDOR MRAI. Ilgas pc dzimtenes: radoais mainigais ndora Mrai darbos. . . . 234 Eugenia Treglia. SHORT PSYCHOLOGICAL ANALYSIS ABOUT THE REFUSAL BY FRANK KAFKA F. KAFKAS STSTA ATTEIKUMS PSIHOLOISK ANALZE. . . . . . . . . . . . . . . . . 240 Rosella Tomassoni, Antonio Fusco, Daniela de Bellis. PSYCHOLOGICAL HINTS ABOUT ORAGE BY JOHAN AUGUST STRINDBERG J.A. STRINBERGA DARBA ORADE PSIHOLOISK ANALZE. . . . . . . . . . . . . . 247 Gustavs Elers. ANTK SKEPTICISMA MANTOJUMS BRVAI SPRIEANAI THE HERITAGE OF ANCIENT SKEPTICISM FOR FREE REASONING. . . . . . . . . . . . 253

IV nodaa. Radoais process mksl Part 4. Creative Process in Art

Iveta Brzia, Maruta Sle. PUSAUDU EMOCIONL ATTSTBA MZIKAS APGUVES PROCES Adolescent Emotional Development in the Process of Musical Education. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264 Ginta Ptersone. Ritmikas mcbu metodes izmantoanas pieredze Eirop un Latvij radoas personbas attstbas veicinanai Experience of Rhythmic Teaching Methods in Europe and Latvia for Advancing Creative Individuality Development . . . . . . . . . . . . . . . 272 Dzintra Erliha. LCIJAS GARTAS SOLODZIESMU INTERPRETCIJA 20. /21.GADSIMTA ATSKAOTJMKSLAS TENDENU KONTEKST Interpretation of Lcija Garta vocal miniatures in context of main performing arts during 20-21 century. . . . . . . . . . . . . . . . . . . . . . . . . 280 Laima Mrniece. Kreativitte k vrtba atskaotjmkslinieka profesionlaj darbb. Creativity as a Value in the Music Performers Professional Activity. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288 Sandra Vtola. KREATIVITTE INDIVIDUL STILA VEICINANAI DEJAS INTERPRETCIJ The Role of Creativity in the Development of an Individual Style in Dance Interpretation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294 Mris aka, Aleksandra ahova. MKSLAS STUDENTU RADOS MCBU DARBBAS ATTSTBA The Development of Art Students Creative Study Activity. . . . . . . . 303 Dagnija Vigule. Rotalieta brna prieka avots un rados darbbas sekmtja Toys as a facilitator of childs enjoyment and creation activity . . . 312
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V nodaa. Kreativitte valodu apguv Part 5. Creativity in Language Acquisition

Adriana Biedro. CREATIVE ABILITIES IN HIGHLY ABLE FOREIGN LANGUAGE LEARNERS Svevalodu apguv spjgu studentu rados spjas . . . . . . . . . . . . . . 320 Miroslaw Pawlak. THE IMPORTANCE OF CREATIVITY IN LEARNING AND TEACHING FOREIGN LANGUAGE GRAMMAR Radouma loma svevalodu gramatikas apguv. . . . . . . . . . . . . . . . . . . 329 Ali Rahimi, Somayeh Najafi. The Interplay Between Creativity in Asking and Answering Questions and Critical thinking Mijsakarbas starp kreativitti, KRITISKO DOMANU UN JAUTJUMIEM UN ATBILDM VALODU STUNDS . . . . . . . . . . . . . . . . . . . . . . . . . . 338 Gunta Rozia, Indra Karapetjana. LINGUISTIC POLITENESS AND INTERDISCOURSE COMMUNICATION Valodas lietojuma etietes apguve . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 346 Ekaterina Mikhailovskaya. FILM ADAPTATION: FIDELITY VS CREATIVITY Filmu adaptcija: kreativitte prt precizitti . . . . . . . . . . . . . . . . . . . . 354 Marija Aleksandrovska. Mitoloisk koncepta vrdnca: kreatv leksikogrfija The dictionary of Mythological concept: creative lexicography. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 361

VI nodaa. Referti Part 6. Reports

Istvan MagyariBeck. A Mathematical Metaphor of the Relationship between Learning and Creativity Mcans un kreativittes saistbas matemtisk metafora. . . . 361 Krlis Markus. Kreatvo ideju attstbas iespjas biznesa inkubator Development Possibilities of Creative Ideas in a Business Incubator. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 377 Margarita Kaltigina, Inta Ratniece. RADOA TOPOO PEDAGOGU UN MCBSPKU SADARBBA SVEVALODU APGUVES PROCES CREATIVE COLLABORATION OF TRAINEE-TEACHERS AND ACADEMIC STAFF IN THE PROCESS OF FOREIGN LANGUAGE ACQUISITION . . . . . . . . . . . . . 384 Viktors Ritovs. PIANISTISKO SPLES PAMIENU PILNVEIDES KREATVIE ASPEKTI THE CREATIVE ASPECTS OF PIANO TECHNIQUE IMPROVEMENT. . . . . . . . . . . . . 393 rija Karpova. KREATIVITTES IZPAUSMES GERONTOLOISK VECUMA VIDJ POSM. INDIVIDULO GADJUMU ANALZE FORMS OF CREATIVITY IN MIDDLEAGE. OLD ANALYSIS OF INDIVIDUAL CASES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 400 Elmrs Vbers. SZIFA MOTVS VRTBU JAUNRAD Sisyphus motive in the creation of values . . . . . . . . . . . . . . . . . . . . . . . . . . 408
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Prof. Dr. psych. Rita Bebre Rgas Pedagoijas un izgltbas vadbas akadmijas Kreativittes zintnisk institta direktore, Latvija

15 starptautiskas kreativittes KONFERENCES LATVIJ KREATOLOIJAS ATTSTBAI (1996 2010)

2010. gada 5. 6. novembr notiek jubilejas piecpadsmit starptautisk kreativittes konference Latvij. ZA akadmiis J. Ekmanis XIV starptautisks kreativittes konferences atklan ZA 2009. gada 6. novembr apgalvoja: etrpadsmit starptautiskas kreativittes konferences neatkargs Latvijas laik tas jau ir oti nopietni. Hronoloiski izsekojot konferenu norism, var konstatt, ka ts ir bijuas mrtiecgi virztas uz aizvien plaku un dziku kreativittes izpti, pamazm paplainot kreativittes ptniecb iesaistto zintu nozaru loku. Pirmajs trs konferencs referenti bija tikai psiholoijas un pedagoijas zintu prstvji. Ar ceturto konferenci iesaistjs biologu un fiziu prstvji. Skot ar piekto konferenci 2000. gad neiztrkstoi tajs piedals mzikas, vizuls mkslas, literatras ptnieki, vlk ar filozofi, ekonomisti u.c. Konferencs prstvto zintu nozaru skaits turpina augt, radot pamatu jauns XXI gadsimta zintnes kreatoloijas attstbai. Ar katru konferenci paplainjuies ar starptautiskie kontakti. Pirmaj konferenc ptjumu par Lietuvas valstsvra Vtauta Landsbera psiholoiju prezentja Lietuvas vadoais dairades psiholoijas prstvis Dr. habil. psych. A. Jacikjavius. Gadu gait Latvij rkotajs kreativittes konferencs piedaljuies vairk nek 20 dadu rvalstu ptnieki. Kop ar citvalstu koliem, pilnveidojoties no konferences uz konferenci, paplainot un padziinot ptmo problmu loku, ir veicinta kreatoloijas attstba. To pai turpmk veicins XIII konferences laik 2008. gada 7. novembr nodibintais Starptautiskais Kreatoloijas zintniskais centrs. Lai izvirztu tlkos attstbas mrus un uzdevumus, ir svargi konstatt padarto. Tur p mk sekos apkopot informcija, komentri par 15 konferencm un kopsavilkums (Summary).

Prskats un komentri par piecpadsmit starptautiskajm kreativittes konferencm Latvij

I Radoas personbas diagnostika un attstba (Zintniski praktiska konference) 1996. 15. 16. novembr, Rg, IZM, Vau iel 2 Baltaj zl un Jrmal Luda Brzia muzej Rkotjs IZM Pedagogu izgltbas atbalsta centrs (PIAC) un psihologu grupa Konferences vadtja LZP granta vadtja Dr. psych. R. Bebre Konferenci atklj Latvijas Zintnieku savienbas valdes prieksdtjs Dr. habil. phys. J. R. Kalni. Piedals viesis Dr. habil. psych. A. Jacikjavius (Lietuva) Rcbas komiteja Dr. paed. V. Hibnere un PIAC veck referente A. mite Referenti R. Bebre, V. Hibnere, . Karpova, M. Vidnere, D. Rumpte, I. Mielsone (Liepja), A. Kaala (Tallina, atstja refertu), R. Garleja, A. Petere, I. Lika (Liepja), R. Cipi ja, V. Kaiina (Liepja), I. Sabiene (aui, atstja refertu) Intereu grupas Trs intereu grupu darbs (V. Hibnere, A. mite, V. Kavacs) Izstde Publikcijas par kreativittes psiholoiju un pedagoiju Dalbas maksa Ls 1,5 (pavairoana, kafija un klieris) Referti publicti Jaun urnla Skolotjs 1997. 1. un 2. numur R. Bebres, I. Likas, I. Mielsones, D. Rumptes, V. Hibneres, . Karpovas, R. Garlejas, M. Vidneres raksti Komentri ir pirm starptautisk kreativittes konference Latvij. T pamat veidojs k R. Bebres LZP granta grupas atskaite, piepulcjot vl citus ptniekus. Konferences noslgum paziots, ka 2000. gad Rg tiks plnota liela starptautiska konference Radoas personbas diagnostika, struktra, attstba. Daa no I konferences referentiem veido pamatu daudzm nkamajm konferencm par kreativitti un bs RPIVA Kreativittes centra dibintju skait (Bebre, Hibnere, Rumpte, Vidnere, Karpova). R. Bebres konferences refert un rakst urnl Skolotjs (1997, Nr.1) pirmoreiz plak publicts autores jaunvrds radoums latviskais ekvivalents jdzienam kreativitte. Faktiski pirmoreiz tas mints R. Bebres rakst laikrakst Izgltba un Kultra 1996. gada 3. oktobr. K oficili atztu to public Pedagoijas terminu skaidrojoaj vrdnc 2000. gad, tagad tas ir pilnb ieguvis plau lietojumu zintniskaj un sadzves valod. II Radoas personbas struktra un attstba (Zintniski praktiska konference) 1997. gada 14. novembr, Rg, LU PPI, Kronvalda bulvr 4 252. auditorij Rkotjs LZP granta vadtja Dr. psych. R. Bebre Konf. vadtja Dr. psych. R. Bebre Rcbas komiteja Dr. paed. V. Hibnere Referenti R. Bebre, V. Hibnere, . Karpova, M. Vidnere, D. Rumpte, I. Mielsone, D. Kalja-Gasparovia u.c. Izstde Kreatvo spju attstba Dalbas maksa Ls 1,Referti publicti Dai no uz konferences refertiem balsttie raksti vlk publicti zintnisko rakstu krjuma Radoa personba I sjum Komentri Konferenc prezentti R. Bebres LZP granta grupas ptjumi: R. Bebre Ptjumi par radoas personbas struktru, V. Hibnere Brnu domanas
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attstana, modeljot attlus un vizulu kompozciju, D. Rumpte Svevalodu variatva apguve, gatavojoties radoai profesionlai darbbai. Informatvs raksts par konferenci publicts laikrakst Izgltba un Kultra 1997. gada 13. novembr. III Radoas personbas struktra (Zintniski praktiska konference) 1998. gada 13. novembr, Rg, Brvbas iel 72, RPIVA 3. stva zl Rkotjs LZP granta vadtja R. Bebre Konf. vadtja Dr. psych. R. Bebre Rcbas komiteja Dr. habil. psych. A. Jacikjavius (Lietuva), V. Hibnere Referenti R. Bebre, V. Hibnere, D. Kalja Gasparovia (Liepja), I. Jurge na, G. Svence, I. Mielsone (Liepja), A. Lasmane, A. Valikeviute (Kaua), J. Kereiene (aui), J. Strazdia, J. Bulatova u.c. Izstde Grmatas par dairades psiholoiju Dalbas maksa Ls 1,Referti publicti Dai raksti vlk publicti zintnisko rakstu krjuma Radoa personba I sjum Komentri Notika R. Bebres granta grupas dalbnieces V. Hibneres grmatas Brna vizul darbba I daas atvrana. Nolemj izdot zintnisko rakstu krjumu Radoa personba, kur publict nozmgkos konferences refertus. konference pardja, ka Latvija ir Baltij vado kreativittes ptjumu jom. Informatvs raksts par konferenci publicts laikrakst Izgltba un Kultra 1998. gada 5. novembr. IV Radoas personbas attstba (Baltijas valstu psihologu zintniski praktiska konference) 1999. gada 12. novembr, Rg, Brvbas iel 72, RPIVA 3. stva zl Rkotjs RPIVA Kreativittes centrs (KC) Konferences vadtja KC dibintja asoc. prof. dairades psiholoij R. Bebre Rcbas komiteja V. Hibnere, D. Rumpte Referenti R. Bebre, V. Hibnere, J. Raipulis, D. Kalja Gasparovia, M. Martin sone (Stokholma), N. Viakova (Minska), D. Lieeniece (Liepja), V. Kaiina (Liepja), A. Vorobjovs (Daugavpils), J. R. Kalni, D. Rumpte, J. Strazdia, L. Embrekta (Csis), M. Ruzgte (aui), O. Monkjaviene un K. Stankjaviene (Via), J. Bulatova, R. pola, I. Sabiene (aui), E. ernova (Daugavpils), D. Magazniece (Daugavpils) u.c. Izstde Brnu zmjumi Dalbas maksa Ls 1,Referti publicti Dai raksti publicti Radoa personba I sjum Komentri Paplainjies rvalstu referentu loks: no Lietuvas, Zviedrijas, Baltkrievijas. Psiholoiskajiem un pedagoiskajiem kreativittes ptniecbas aspektiem pievienojies ar bioloiskais (entiskais) aspekts J. Raipua ptjum, fizikas kategorijas tiek lietotas Dr. habil. phys. J. R. Kalnia prezentcij Paorganizans un kreativitte. Refertus prezentja LZP granta grupas dalbnieki R. Bebre, V. Hibnere, D. Rumpte. 118 konferences dalbnieku vrd pieemts Aicinjums Valsts prezidentei, LR Saei mai, valdbai Par radou personbu attstbu, tautas kvalitti (publicts 19.11.1999. laikrakst
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Izgltba un Kultra). Saemtas atbalstoas atbildes no Valsts prezidentes Dr. psych. Vairas Ves-Freibergas un Izgltbas ministrijas. Vsturisks notikums: konferences laik 12 domubiedru grupa nodibinja Kreativittes centru, kura uzdevums veikt un koordint ptjumus jaunrades psiholoij un plak kreativittes psiholoij. Centra zintnisko kodolu veido LZP finanst granta grupa (vadtja R. Bebre, dalbnieki V. Hibnere, D. Rumpte, R. pola), ap kuru apvienojas citi zintnieki un praktii (J. Raipulis, M. Vidnere, A. Lasmane, J. R. Kalni u.c.). Par vadtju nominta R. Bebre, kas turpmkos trsarpus gadus sabiedrisk krt vada o Centru k RPIVA sabiedrisku struktrvienbu. KC ierdts 465. kabinets ar uzraksta plksni RPIVA, Brvbas iel 72. V Radoas personbas diagnostika, struktra un attstba (Starptautiska zintniski praktiska konference) 2000. gada 10. 11. novembr. Rg, Brvbas iel 72, RPIVA 3. stva zl Rkotjs RPIVA Kreativittes centrs Konf. vadtjs Asoc. prof. dairades psiholoij Dr. psych. R. Bebre Rcbas komiteja D. Kalja-Gasparovia, R. pola Referenti R. Bebre, V. Hibnere, A. Petrulte (Lietuva), D. Rumpte, M. Sle, G. Svence, A. Lasmane, J. R. Kalni, V. Lmans, I. Jlinga, H. Knopfs (Vcija, nolasts iesniegtais referts), M. Veide, I. Sabiene (Lie tuva), M. Ruzgte (Lietuva), L. Vorkale, A. Vorobjovs (Daugavpils), R. pola, I. Zarkevica, I. Fokina (Daugavpils), M. Zilgalve, J. Strazdia, R. Spalva, . ernova u.c. Izstde Fotostendi Dalbas maksa Ls 1,50. Studentiem ieeja bez maksas Referti publicti Daa rakstu vlk publicti Radoas personba II sjum Komentri Jauns tkstogades ieskaas kreativittes konferences nosaukums tika publiskots jau pirmaj konferenc 1996. gad. Pirm jubilejas 5. konference iezmjs ar to, ka virkne ptnieku rezumja iepriekjos gados veiktos ptjumus, bet augstskolu mcbu spki zioja par pieredzi, veidojot un ptot jaunradi mcbu proces, tai skait klavierspl, mzikas klausans proces u.c. Zintnisko rakstu krjuma Radoa personba I sjuma atvrana (sast. R. Bebre, RPIVA izdevniecba Vrti, 258 lpp.). Grmatu galds. Informcija par V konferences rkoanu publicta urnl Skolotjs, 2000. gada 5. numur. Apskats par konferences norisi publicts urnl Skolotjs 2000. gada 6. numur. R. Bebre prezentja ptjumu par radoas personbas adaptciju un neadaptciju (publicts RPIVA starptautisko konferenu krjum Socil pedagoija un personbas psiholoisk adaptcija maingaj socilaj vid, 2000). LZP granta grupas ptnieces V. Hib nere un D. Rumpte prezentja savu ptjumu apkopojumus. Kreativittes psiholoisko aspektu ptniecbai veltto refertu tematisko loku paplaina Dr. habil. phys. J. R. Kalnia referts par sinertiku, fraktiem un atraktoriem. Kreativittes tmai pievrsuies jauni ptnieki: studente I. Zarkevica, maistrantes R. pola un J. Bulatova, maistre M. Ruzgte (Lietuva), doktorantes L. Vorkale un . ernova. R. Bebre, kas nesen atgriezusies no Vcijas 42. Starptautisk psihologu kongresa Jn, informja, ka Latvij kreativittei tiek pievrsta lielka uzmanba nek mintaj kongres, kur daudz uzmanbas tika veltts negatvo socilo aspektu izptei.
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VI Radoas individualittes attstba (Starptautiska zintniski praktiska konference) 2001. gada 9. 10. novembr, Rg, Brvbas iel 72, RPIVA 3. stva zl un LU telps Aspazijas bulvr 5 Rkotjs RPIVA Psiholoijas fakulttes Kreativittes centrs Konferences vadtja Asoc. prof. dairades psiholoij Dr. psych. R. Bebre Mzikas fakulttes Pianists Mris agars apsveikums Rcbas komiteja D. Rumpte, E. Mancaka-Volfelde (Polija), J. Krols (Polija), A. Gumuauskiene (Lietuva), T. Bogdanova, I. Jurgena, J. Strazdia, R. pola Plenrsdes referenti D. Markus, R. Bebre, . Karpova, M. Vidnere,A. Vorobjovs (Daugavpils), D. Rumpte, J. Stabi, I. Kokina un V. Bagirjane (Daugavpils), M. Ruzgte (aui), E. Bandura (Krakova), I. Kramia u.c. Sekcijas Sakar ar lielo dalbnieku skaitu pirmo reizi pards atsevias sekciju sdes. Psiholoijas (vadtja R. Bebre), Pedagoijas (vadtja I. Jur gena), Mzikas (vadtja M. Sle), Valodu (vadtja D. Rumpte) Dalbas maksa Ls 2. Studentiem ieeja bez maksas Referti publicti Daa rakstu vlk publicti Radoa personba II sjum Komentri Konferenc tika akcentta doma, ka Valsts pamatizgltbas standart (1999) k pamatizgltbas pirmais komponents minta kreativitte un paizpausme. Tau, k liecina ptjumi, pedagogu izpratne par kreativitti un faktoriem, kuri ir noteicoie ts sekman, biei nav skaidri un btiski atiras. Svargs ptnieku uzdevums to noskaidrot un popularizt izgltbas praks, tai skait ar konferencm un rakstu krjumiem, publikcijm pres (D. Rumpte, I. Kokina u.c.). R. Bebre prezentja uz plau materilu bzes veiktu ptjumu Radoas individualittes pabu izpausme primraj un sekundraj dairad, saldzinot dzejnieku, komponistu, gleznotju un atskaotjmkslinieku, k ar citu izpildtju dairadi (publikcija Radoa personba II sjum). LZP granta dalbnieces D. Rumpte referja par mijiedarbbu k radoas individualittes attstbas faktoru svevalodu apguves proces un R. pola par identifict literr tla un lastja Es tla saistbu dailiteratras uztveres proces. Visjaunkais dalbnieku sastvs bija mzikas sekcij, kur refertus lasja virkne RPIVA studentu un absolventu. Sekciju darb raisjs radoas diskusijas. Konferences norise apliecinja, ka teortiskais un praktiskais mantojums, k ar jaunks atzias kreativittes jom ir japkopo, maksimli jpopulariz un tm jpievr paa uzmanba k vienai no svargkajm un aktulkajm izptes jomm. Plas R. Bebres raksts Starptautiska kreativittes konference publicts laikrakst Izgltba un Kultra 2001. gada 22. novembr.

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VII Radoas individualittes diagnostika un attstba (starptautiska kreativittes konference) 2002. gada 8. 9. novembr, Rg, Brvbas iel 72, RPIVA 3. stva zl Rkotjs RPIVA Psiholoijas fakulttes Kreativittes centrs Konferences vadtja Dr. psych. R. Bebre. Pirmo reizi konferenci RPIVA vadba: rektors J. Stabi atklj Rcbas komiteja D. Rumpte, D. Kovalevska (Polija), . Karpova, G. Bria, R. pola, J. Strazdia Plenrsdes referenti R. Bebre, L. Baranova (Maskava), A. Petrulte (Via), A. Lasmanis, L. Embrekta (Csis), D. Lieeniece (Liepja), G. Bria un A. Kacena, J. Bulatova u.c. Sekcijas Psiholoijas un pedagoijas (vadtja R. Bebre), Valodu (vadtja D. Rumpte). Sekciju darb piedals rvalstu referenti no Igaunijas (E. Vahtere), Li etuvas (D. Bulzgiene, I. Sabiene un M. Ruzgte), Zviedrijas (A. En glunda), Polijas (D. Kovalevska), Maskavas (V. Zadornova) Rado darbnca Tetra sports (vadtja A. Kacena). Dalbas maksa Ls 5,- Studentiem ieeja bez maksas Referti publicti Daa refertu publicti Radoa personba III sjum Komentri Konferenc piedaljs 28 referenti, to skait 12 no rzemm: Lietuvas, Igaunijas, Zviedri jas, Polijas, Krievijas. Iesaistjuies jaunie ptnieki: doktorante I. Akmekalna, maistranti I. Surkova un A. Sokols, kas izvrsa filoloijas ptjumu tmas par kreativitti svevalodu apguv. Klaustju vid daudz skolotju pat no Ludzas, Daugavpils, Liepjas, Bauskas u.c., jo interese par iem ptjumiem, kas daa veikti skols un ir saistti ar praktisko pedagoisko darbbu, aizvien pieaug. Vislielkais dalbnieku skaits psiholoijas sekcij 63. Tika veikta aptauja: kur guvui informciju par konferenci. Vielielkais skaits no R. Bebres (79), no IZM skolu valdes (16), no D. Rumptes (13), no interneta (13), RPIVA (9), no afias LU (6) u.c. Konferenc tiek prezentti prof. R. Bebres LZP granta ietvaros strdjos ptnieces D. Rumptes un KZI darbinieces G. Brias ptjumi. R. Bebres tma Skolotju kreativittes ptjumi Latvij balstjs ar uz autores vairks skols (kop 317 vidusskolas skolotji) veik tajiem ptjumiem (publicts Radoa personba III sj.), G. Bria referja par tetra sportu (publicts Radoa personba III sj.), D. Rumpte par studentu kreativittes attstanu angu valodas apguv. Organizts grmatu galds, video demonstrjumi. Konferences noslgum tika atzmta Psiholoijas fakulttes Kreativittes centra 3. dzimanas diena. urnla Skolotjs 2003. gada 1. numur publicta informcija par konferences norisi.

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VIII Radoas individualittes attstba un struktra (starptautiska kreativittes konference) 2003. gada 7. 8. novembr. Rg, Brvbas iel 72, RPIVA 3. stva zl. Rkotjs RPIVA Psiholoijas fakulttes Kreativittes centrs Konferences vadtja Asoc. prof. dairades psiholoij Dr. psych. R. Bebre Konferenci atklj RPIVA rektors J. Stabi Muzikls moments J. Vtola un S. Rahmainova skadarbus atskao 2. kursa studente O. Gorbaova Organizcijas komit. Prieksdtja R. Bebre. Komitejas loceki: A. Petrulte (Via), J. Mi hailovskaja (Maskava), V. Majka (Polija), D. Rumpte (Rgas Tehnisk universitte), G. Bria. Plenrsdes referenti E. Govana un D. Munta (Londona), A. Petrulte (Via), D. Rumpte, V. Bagirjana (Daugavpils), I. Ijuonoka un M. Sle u.c. Darbojas sekcijas Psiholoijas (vadtja R. Bebre), Pedagoijas (vadtja A. Petere), Valodu (vadtja D. Rumpte), Mzikas (vadtja M. Sle). Rado darbnca Valodu sekcij (vadtja D. Rumpte). Dalbas maksa Ls 5,-, rvalstniekiem USD 20 (tulkiem). Studentiem ieeja bez maksas. Referti publicti Daa rakstu publicti Radoa personba III sjum, k ar urnl Skolotjs 2004.g.(E. Govanas D. Muntas un K. Otzules I. Lindes raksti) Komentri Informcija par konferenci sk pardties RPIVA mjas lap Notika starptautiski recenzta zintnisko rakstu krjuma Radoa personba II (264 lpp.) un III (320 lpp.) sjuma atvrana (sast. R. Bebre, izd. RaKa). Grmatu galds. Nolasti 48 referti, to skait bija referenti no 12 Latvijas augstskolm: LU, RTU, LMA, DU, RA, LPA, LSPA, LNNA, Biznesa augstskolas Turba, SPPA, LJA. Konference iezmjs ar ar lielo rvalstu zintnieku skaitu: 19 referenti no 6 rvalstm, k ar ar jaunu tematiku: peda gogu rados izskums, sports, Nacionlie Bruotie spki, reklma. Ldz im notikuajs astos konferencs nolasti 270 referti, 140 no tiem publicti trijos Radoa personba sjumos. LZP granta ietvaros veikto ptjumu Brnbas gadu nozme mkslinieka personbas veidoans proces un dairad prezentja R. Bebre (vlk daji publicts Radoa personba V sj.). Kreativittes centra 4. dzimanas dien KC sveica ar viesi no Lielbritnija, Polijas un Lietuvas. urnla Psiholoijas pasaule 2003. gada 11. numur publicta plaa intervija ar R. Bebri par konferences rezulttiem, pievienoti foto.

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IX Kreativittes izpte un atraisana (starptautiska kreativittes konference) 2004. gada 12. 13. novembr. RPIVA, Rg, Imantas 7. lnija 1. Rkotjs RPIVA Psiholoijas fakulttes Kreativittes centrs Konferenci atklj RPIVA rektore prof. D. Markus Konferenci vada Prof. R. Bebre Zintnisk komiteja Prieksdtja R. Bebre, loceki: D. Markus, M. Marnauza, D. Beresneviiene (Lietuva), D. ulcs (Vcija), L. ebedeva (Krievija) Rcbas komiteja Prieksdtja D. Rumpte. Loceki: A. Petrulte (Lietuva), A. Petere, M. Sle, G. Svence, S. Dzrve, S. Madalne Plenrsdes referenti D. Markus, R. Bebre, J. Raipulis, A. Petrulte (Lietuva), V. Turins, L. ebedeva (Krievija), J. Zais, J. R. Kalni u.c. Sekcijas Psiholoijas sekcija (vadtja G. Svence), Pedagoijas sekcija (vadtja A. Petere), Mzikas sekcija (vadtja M. Sle), Valodu sekcija (vadtja D. Rumpte) Darbseminri Rado potencila atraisana ar transgresijas un drmas metodi (G. Bria un L. Smildzia). Krsu nozme radoas personbas veidoan (I. Matuze). Aktu zl nodarbba Zintnisko rakstu noformana atbilstoi starptautiskajm prasbm Dalbas maksa Ls 10,- Dalbniekiem no rvalstm Ls 15, studentiem Ls 5,Referti publicti Daa rakstu publicti Radoa personba IV sjum Komentri Konferences atklan broras Kreativittes centram 5 atvrana. R., RPIVA, 2004, 16 lpp. Taj pirmoreiz publicti prof. R. Bebres ptjuma gait izstrdtie attli par sistmisko un komplekso pieeju kreativittes un kreatoloijas izpt. Tie ilustr R. Bebres kon ferences refertu Kreatoloija k kreativittes kompleks izpte. Kreatoloijas jdziens ar o konferenci gst plaku atpazstambu un ievrbu. pai to akceptja dairades psiholoijas specializcijas maistranti, ierosinot attstt kreatoloijas ptniecbas virzienu. Ar klteso kreativittes ptniece no Krievijas L. ebedeva o jaunvrdu novrtja atzingi, jo, vadot daudzus maistra darbus aj nozar, ar ldzgu pieeju nebija sastapusies. Konferencs prstvtais ptjumu virziens kreativitte kst jo aktulks ar sakar ar nepiecieamo cilvkresursu attstbu saistb ar Latvijas iestanos Eiropas Savienb. Ar konferenu un rakstu krjumu paldzbu Latvij tiek aktivizts kreativittes (radouma) jdziens. Par t noskaidroanu ir ieinteresti pedagogi, un tas apliecina Kreativittes centra izvlt virziena aktualitti. J. Raipulis referja par radoajm spjm un smadzeu funkcijm, R. Bebres vadt LZP granta grupas locekle D. Rumpte par de Bono metodikas izmantoanu radoas domanas veicinanai. Virkni refertu dairades un kreativittes psiholoij nolasja RPIVA maistra programmas dairades psiholoijas specializcijas maistres un maistrantes: par kreativitti humnistisks psiholoijas traktjum referja RPIVA psiholoijas maistrantras dairades psiholoijas maistrante S. Vektere, par dairades psiholoiju Latvij 20. 30. tajos gados maistrante I. sten, par kvalitatvo ptniecbu maistrante I. Rubule, par rados domanas dinamiku klavierspl Mg. I. erbikova. Par radoo spu un rotau ietekmi uz brnu ar VSNA runas attstbu - Mg. Z. Aigare un par piecm dilemmm msdienu kreativittes ptjumos Mg. Dz. Rubule. Svaigu pieeju radja divu profesoru fizikas doktoru Jura Zaa un Jura Ro berta Kalnia referti skatjums uz kreativitti no fiziu viedoka. RPIVA kst aizvien populrka ar savm kreativittes konferencm. Konferenc darbojas grmatu galds. Iepazans vakars. Kreativittes centru 5 gadu jubilej sveic rektore prof. Dace Markus. Notika rzemju viesu, Zintnisks un Rcbas komite jas pieemana pie Rektores.
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X Kreativittes kompleks izpte un ts rezulttu stenoana izgltbas praks (starptautiska kreativittes konference) 2005. gada 11. 12. novembr. RPIVA, Rg, Imantas 7. lnija 1. Rkotjs RPIVA Psiholoijas fakulttes Kreativittes centrs Konferences vadtja Prof. Dr. psych. R. Bebre. Konferenci atklj RPIVA rektore prof. D. Markus Muzikls moments Augstskolas mziu koncerts Zintnisk komiteja Prieksdtja R. Bebre, loceki: D. Markus, M. Marnauza, D. ulcs (Vcija), L. ebedeva (Krievija), D. Beresneviiene (Lietuva), T. Siek-Piskozuba (Polija) Rcbas komiteja Prieksdtja D. Rumpte. Loceki: A. Petrulte (Lietuva), A. Petere, M. Sle, G. Svence, D. Kalja Gasparovia, S. Madalne, A. Maulvurfa, S. Dzrve Plenrsdes referenti D. Markus, R. Bebre, J. Raipulis, G. Svence, B. ramova un K. Fihnova (Slovkija), A. Petrulte (Lietuva), J. Satkova (Slovkija), I. uplinska Sekcijas Psiholoijas (vadtja G. Svence), Pedagoijas (vadtja A. Petere), Valodu (vadtja D. Rumpte), Mzikas (vadtja M. Sle). Pirmo reizi jaunas sekcijas: Vizuls mkslas (vadtja D. Kalja-Gasparovia), Studentu (vadtja A. Maulvurfa) Rados darbncas Ieskats kreativittes videotreni (R. Zlte, G. Kozlova), Vrtbu radana mksliniecisk darbb (I. Brika), Mksliniecisk ierosme (L. Vorkale). Svevalodas kreatva apguve (D. Rumpte) Darbseminri Studentu radouma veicinana raksttprasmes apguv (A. Januliene Lietuva), Iztle pc pastjuma ? (A. Sokols) Dalbas maksa Ls 10,- Dalbniekiem no rvalstm Ls 15, studentiem Ls 5,-, Par iepazans vakaru Ls 4,Referti publicti Daa rakstu publicti Radoa personba IV sjum Komentri Konferences dalbnieki saem bukletu Creativity Centre (4 lpp.), kas iespiests starp tautisku konferenu vajadzbm. Notiek konferences video filmana (Jubilejas konferences video monta pardta nkamaj konferenc). Jubilejas 10. konferenc ts rkotju R. Bebri sveica RPIVA rektore D. Markus. Grmatu galds. Vizuls mkslas izstde. Iepazans vakars. Konferenc piedaljs 216 dalbnieki, no tiem 80 referenti, tai skait 19 no rvalstm. Pirmo reizi darbojas Vizuls mkslas un Studentu sekcija. Psiholoijas sekcija bija pai kupli apmeklta, bija daudzi viesi no citm augstskolm. Lielko interesi raisja jauno psiholoijas maistru dairades psiholoijas specializcij I. stens, Dz. Rubules, I. Rubules, S. Silias un I. Nagles referti, kuros atspoguoti ar kvalitatvajm ptniecbas metodm veik tie ptjumi, k ar apkopojums par kreativittes ptjumiem RPIVA Psiholoijas fakultt. Ptjumos mints, ka Latvijas skolni starptautisk aptauj izrdjuies k tdi, kam radoa izpausme iet pai nozmga. Tiek pieauts, ka to vartu ietekmt kreativittes konferenu un publikciju bieums Latvij. Plenrsd Dr. habil. philol. D. Markus piesaistja ar spilgtiem faktiem un secinjumiem par jdzieniem brnu zmjumos un aprakstos. Par kreativittes komplekss izptes atirgajiem aspektiem dads valsts jauns XXI gadsimta zintu starpnozares kreatoloijas izpratn referja R. Bebre, kas ldzgu tmu prezentjusi maij Amerikas Psihologu asocicijas (APA) un Krievijas ZA Psiholoijas instta rkotaj starptautiskaj kreativittes un mkslas psiholoijas kongres Perm, kur guvusi oti lielu ieinterestbu un atsaucbu k paa novitte. Mintaj kongres R. Bebrei bija uzticts gods bt par vienas sekcijas ldzprieksdtju.
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Pdjo reizi kreativittes konferenc lietotas etras valodas: latvieu, angu, krievu, vcu. Turpmk priets uz divm valodm: latvieu un angu, jo ir problmas ar tulkoanu daudzs valods. Pirmoreiz rta tulkoanas kabne, ko vlk prma ar RPIVA konferencs. Sludinjums par 10. konferenci savlaicgi tika ievietots urnl European Psychologist 2005 (Vol. 10 (2); 170 171). urnla Psiholoijas pasaule 2005. gada 12. numur publicts redakcijas raksts (ar vairkiem foto) Kreativittes centram 10. jubilejas konference, taj lasms: atzingi vrtjams ir KC darbs desmit gadu garum, izgltojot, bagtinot ar jaunm idejm pedago gus, k ar dodot iespju apmainties pieredz ar citu valstu specilistiem gan praktiskaj, gan teortiski ptnieciskaj darb. urnla Psiholoija mums 2006. gada 1. numur publicts R. Bebres raksts 10. kreativittes konference jubilejas konference (ar foto). Laikrakst Zintnes Vstnesis (ZA un LZS izdevums) 2005. gada 21. novembr publicts R. Bebres raksts Kreativittes konference (ar foto). XI Kreativitte k process (starptautiska kreativittes konference) 2006. gada 10. 11. novembr. RPIVA, Rg, Imantas 7. lnija 1 Rkotjs RPIVA Psiholoijas fakulttes Kreativittes centrs Konferences vadtja Prof. Dr. psych. R. Bebre Konferenci atklj RPIVA rektore prof. D. Markus Zintnisk komiteja Prieksdtja R. Bebre, loceki: D. Markus, M. Marnauza, D. ulcs (Vcija), L. ebedeva (Krievija), D. Beresneviiene (Lietuva) Rcbas komiteja Prieksdtja D. Kalja-Gasparovia, loceki: D. Rumpte, A. Petrulte (Lietuva), I. Jurgena, M. Sle, G. Svence, S. Madalne, E. Klis Plenrsdes referenti V. arfs (Austrija), R. Tomasoni un A. Fusko (Itlija), T. Volkova, R. Bebre, . Karpova, J. Raipulis, I. uplinska (Rzekne), A. Petrulte (Lietuva), I. sten, N. Lse (Jelgava) Sekcijas Psiholoijas (vadtja G. Svence), Pedagoijas (vadtja A. Petere), Val odu (vadtja D. Rumpte), Mzikas (vadtja M. Sle), Vizuls mkslas (vadtja D. Kalja-Gasparovia), Studentu (vadtja A. Maulvurfa) Rados darbncas Koordincijas vingrinjumi radoas personbas attstbai (vadtjs T. Gibovskis), Intuitv zmana (vadtja I. Brika), Mkslas darba rados koncepcijas apzinana un stenoana (vadtja L. Vorkale) Darbseminrs Kreativitte un svevalodas vadtja I. Surkova Dalbas maksa Ls 20, Dalbniekiem no rvalstm 40 eiro. Referti publicti Raksti publicti Radoa personba V sjum (skot ar o sjumu starptautiski recenztais zintnisko rakstu krjums iznk katru gadu) Komentri Radoa personba IV sjuma atvrana (sast. R. Bebre, izdevis Kreativittes centrs, 278 lpp.). Grmatu galds. L. Vorkales grafikas izstde. R. Bebres videofilmas 10. Starptautisk kreativittes konference (25 min.) demonstrana konferences atklan. Iepazans vakars. Pirmo reizi konferenc piedals 6 cilvku grupa no Itlijas: Kasino universittes kreativittes psiholoijas doktoranti un 2 profesori dekne R. Tomasoni un prof. emer. A. Fusko. Turpmk vii piedalsies katru gadu dad sastv. Pirmo reizi ar viesi no Brazlijas, Austrijas, Kolumbijas. Atkrtoti no Lielbritnijas, Slovkijas u.c. pai kreatva bija V. arfa (Austrija) prezentcija, kur vi ne vien iepazstinja ar sava ptjuma Mkslas kreativitte k process teortisko pusi, bet ar
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kop ar savu asistentu V. Albinu demonstrja skadarbu radou izpildjumu. Konferences noslgum R. Bebre tika uzaicinta par kreativittes eksperti Kasino universitt (Itlij). KZI vadoais ptnieks J. Raipulis prezentja ptjumu Vai hiperaktivitte liecina par kreativitti?. R. Bebre un KZI ptniece I. sten iepazstinja ar ptjumu Operas un baleta mkslinieku priekstati par nozmgiem brnbas faktoriem radoas personbas attstb, D. Kalja-Gasparovia par ekspresiju k rado procesa rosintju (mintie ptjumi publicti Radoa personba V sj.). Granta grupas dalbniece D. Rumpte prezentja ptjumu par studentu radouma veicinanu specil lietojuma angu valod. pai lielu interesi izraisja vieas Banku augstskolas rektore T. Volkovas referts Rado ekonomika Latvijas labkljbas garants. Via, tpat k J. Vtola Mzikas akadmijas profesore I. Grauzdia izteica vlanos sadarboties ar Kreativittes zintnisko instittu. oti veiksmgi konferences organizan iesaistjs jaunie KZI darbinieki: vad. ptnieks J. Raipulis un asistente D. Kalja-Gasparovia, k ar R. Bebres vadt LZP granta dalbnieks E. Klis, palgs A. verins. XII Kreativitte k personbas paba (starptautiska kreativittes konference) 2007. gada 9. 10. novembr, RPIVA, Rg, Imantas 7. lnija 1 Rkotjs RPIVA Kreativittes zintniskais institts (KZI) Konferenci atklj RPIVA rektore D. Markus Muzikls moments Jauno RPIVA fleli ieskandina V. Ritovs Konf. vadtja Dr. psych. R. Bebre Zintnisk komiteja Prieksdtja R. Bebre, loceki: D. Markus, G. Francenburgs (Vcija), A. Aghai (Irna), R. Tomasoni (Itlija), A. Petrulte (Lietuva), M. Mar nauza, I. Grauzdia Rcbas komiteja Prieksdtja D. Kalja-Gasparovia, B. Garjne, . Karpova, S. Madalne, D. Rumpte, M. Sle, R. Balts-Baltia,L. Roe, A. San nikova, A. verins, E. Klis Plenrsdes referenti R. Bebre, I. sten, L. Roe, I. Karlsone (Zviedrija), P. Diotaiuti un S. Mancone (Itlija), R. Tomasoni un A. Fusko (Itlija), M. Sle, . Karpova Darbojas sekcijas Psiholoijas (vadtja . Karpova), Pedagoijas (vadtja B. Garjne), Mzikas (vadtja M. Sle), Vizuls mkslas (vadtja D. KaljaGasparovia), Valodu (vadtja D. Rumpte), Studentu (vadtja S. Madalne) Rados darbncas Uzdrksans spjas attstoie uzdevumi vizulaj mksl (vadtja D. Kalja-Gasparovia), Akadmiska kompozcijas uzde vuma izpildes variabilitte (vadtja L. Vorkale), Personbu attstoie ritma vingrinjumi (vadtjs T. Gibovskis) Dalbas maksa Latvijas dalbn. Ls 20,-,rzemniekiem 40 eiro, studentiem Ls 5,Referti publicti Raksti publicti Radoa personba VI sjum Komentri Radoa personba V sjuma (sast. R. Bebre, izdevis Kreativittes zintniskais institts, 298 lpp.) atvrana. Uz konferenci izdota brora Kreativittes zintniskais institts. Scientific Institute of Creativity. RPIVA KZI, 2007, 16 lpp. Demonstrta R. Bebres videofilma 10. Starptautisk kreativittes konference. Grmatu galds. Dagnijas Prupes grafikas izstde un Ana Grbes foto izstde. Diskusiju vakars. Konferenc piedaljs 10 rvalstu viesi (Vcija, Zviedrija, Igaunija, Itlija jau otro gadu piedals 5 cilvku grupa, kas stud kreativittes psiholoijas doktorantr, k ar 2 profe
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sori). Paredztais viesis no Irnas veselbas problmu d nevarja ierasties un atstja refertu nolasanai plenrsd. T k ne Zviedrij, ne Igaunij nav kreativittes instittu, tad abu valstu ptnieki izteikui prieklikumu individulai sadarbbai ar RPIVA KZI. R. Tomasoni informja, ka R. Bebre ievlta par Kasino universittes profesoru padomes locekli un uzaicinta last lekcijas doktorantiem. Turpins sadarbba ar Mzikas akadmiju. Kop nolasti 80 referti, no tiem 17 rvalstu referentu, lielkais viesu skaits psiholoijas sekcij, kas bija visprpildtk sekcija. Mzikas sekcijas vadtja Dr. paed. M. Sle jau vairkas konferences vada Mzikas sekciju un ir pratusi ieinterest gan studentus, gan maistrantus, dokto rantus, gan kolus kreativittes ptniecb. Ar valodu sekciju ilggadgi vada Dr. paed. D. Rumpte, kas ir R. Bebres LZP granta grupas pastvga dalbniece, pta kreativitti angu valodas apguv. Vizuls mkslas sekcija iezmjas ar aktivittm radoo darbncu veidoan, kas saista konfer ences dalbniekus, ts vada KZI asistente D. Kalja Gasparovia. Konferenc tika prezenttas jaunas ptjumu tmas, kas padziina un paplaina kreativittes izpratni. Interesi izraisja KZI ptnieu R.Bebres, I.stens, L.Roes prezenttais ptjums, saldzinot, ko kreativittes jom pdjo 3 gadu laik pta pasaul un ko dara Latvijas kreativittes ptnieki. Secinjums: ms esam iekvuies starptautiskaj aprit un pris joms pat vartu bt interesanti citiem. Studenti pauda gandarjumu par iespju vingrinties refertu lasan, k ar par iespju konferences laik tikties ar interesantiem cilvkiem, tai skait ar rzemju viesiem, un dibint kontaktus. Konferenc rads ierosme apkopot starptautisko konferenu un publikciju pieredzi un uz ts bzes veidot ieteikumus Nacionl Attstbas plna priorittes rados personbas operacionlajai programmai. XIII Kreatoloija k kreativittes komplek izpte (starptautiska kreativittes konference) 2008. gada 7. 8. novembr, RPIVA, Rg, Imantas 7. lnija 1. Rkotjs RPIVA Kreativittes zintniskais institts Konferences vadtja Dr. psych. R. Bebre Konferenci atklj RPIVA rektore prof. D. Markus Zintnisk komiteja Prieksdtja R. Bebre, loceki:R.Tomasoni (Itlija),S.M.Golestans Haemi (Irna),N.Papadakis (Grieija), E.Heinla (Igaunija),D.Markus, M. Marnauza, I.Grauzdia, D.Rumpte Rcbas komiteja Prieksdtja D. Kalja-Gasparovia, vietniece M. Aleksandrovska Plenrsdes referenti R. Bebre, N. Papadakis (Grieija), E. Heinla (Igaunija) G. Francenburgs (Vcija), J. Raipulis, A. Fusko, R. Tomasoni (Itlija), B. Avramecs Sekcijas Psiholoijas (vadtja . Karpova), Pedagoijas (vadtja B. Garjne un M. Vidnere), Mzikas (vadtja M. Sle), Vizuls mkslas (vadtja D. Kalja- Gasparovia),Valodu (vadtja D.Rumpte un I.Surkova), studentu (vadtja S. Madalne) Rados darbncas Relaksjoa mkslas nodarbba (vadtja L. Vorkale), Emocionla atraisans jaunrades proces (vadtja D. Kalja-Gasparovia) Dalbas maksa Latvijas referenti Ls 25, raksta publicana Ls 30, klaustji Ls15, doktoranti Ls 15, studenti Ls 5, rvalstu referenti 50 eiro, raksta publicana 40 eiro Raksti publicti Radoa personba VI sjum Komentri Pirmo reizi tiei konferences nosaukum pards jdziens kreatoloija, lai gan par to referts ar iepriekjs konferencs. Tika noskaidrots, ka kreatoloija ir starpnozaru zintne, kas pta kreativittes pardbas no vairku zintu: psiholoijas, pedagoijas, bioloijas, mkslas zintu, filo zofijas u.c. aspektiem. Aizvadto konferenu un izdoto rakstu krjumu pieredze auj secint, ka tiem notiek radouma ptniecba no dadiem aspektiem, kas auj preczk izprast o komplicto pardbu.
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Starptautiski recenzta zintnisko rakstu krjuma Radoa personba. Creative Per sona lity VI sjuma (sast. R. Bebre, izd. Kreativittes zintniskais institts, 272 lpp.) un zintnisko rakstu krjuma Dairades psiholoija Latvij (sast. R. Bebre, izd. Valters un Rapa, 304 lpp.) atvrana. Prof. R. Bebres rado darba vakars. Demonstr . Lauska filmu Ritas Bebres polonze caur dzvi, koncert piedals soliste Solveiga Raja, pianists Valdis Jancis un komponists Romualds Jermaks. Mkslinieces Agnijas rmanes izstde Vencija. Grmatu galds. Konferenci film TV operators . Lauskis. Kreativittes konferencs piedaljuies referenti no 16 rvalstm: Itlijas, Grieijas, Polijas, Lietuvas, Igaunijas, Zviedrijas, Krievijas, Vcijas, Ungrijas, Lielbritnijas u.c. Konferences laik R. Bebre (Latvija) un R. Tomasoni (Itlija) parakstja sertifiktu par Starptautiska Kreatoloijas zintnisk centra (ICSCr) dibinanu, ko vlk parakstja ar I. Maari Beks (Ungrija) un S. M. Golestans Haemi (Irna). is notikums vrtjams k starptautiski nozmgs, jo ldzga centra pasaul nav, tds tiek dibints pirmoreiz. Tas vl vairk nostiprins starptautisko sadarbbu kreatoloijas k jaunas XXI gadsimta zintnes attstb, ku rai jieem sava vieta zintnes nozaru struktr.

Attl: XIII konferences dalbnieku grupa. No kreiss: prof. I. Grauzdia, Mg. psych. L. Roe, Mg.G. Di Palo (Itlija), PhD N. Papadakis (Grieija), Dr.psych. R. Bebre, Dr. psych. R. Tomasoni (Itlija), Dr. habil. psych. A. Fusko (Itlija), Mg. paed. D. Kalja-Gasparovia, Dr. psych. P. Diotaiuti (Itlija), Dr.paed. M. Sle, Dr. psych. E. Heinla (Igaunija), Mg.psych. S. Nemeritski (Igaunija), Mg. philol. M. Aleksandrovska.

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XIV Kreativitte individualittes dzves gait (starptautiska kreativittes konference) 2009. gada 6. novembr plenrsde notiek Zintu akadmij, Akadmijas laukum 1, Rg. 7. novembr sekciju darbs un noslguma sde notiek RPIVA, Imantas 7. lnija 1. Rkotjs Norway granta grupa, RPIVA Kreativittes zintniskais institts, Latvijas Zintnieku savienba, Starptautiskais Kreatoloijas zintniskais centrs. Konferenci atklj ZA prezidents akadmiis Juris Ekmanis Muzikls Akordeona prieknesumus sniedz starptautisko konkursu laurets RPIVA moments 1. k. students E. uinskis, Valsts un starptautisko konkursu laurets Konferenci vada Rgas Pedagoijas un izgltbas vadbas akadmijas Kreativittes zintnisk institta direktore prof. Dr. psych. R. Bebre un kraatoloijas zintnisk vir ziena dibintjs PhD I. Maari-Beks (Ungrija) Zintnisk Prieksdtja: R. Bebre. Loceki: I. Kalvi, I. Maari-Beks (Ungrija), komiteja R. Tomasoni (Itlija), N. Papadakis (Grieija), E. Heinla (Igaunija), D. Markus. Rcbas komiteja Prieksdtja: D. Kalja-Gasparovia. Prieksdtja vietnieks: A. verins. Loceki: . Karpova, M. Sle, B. Garjne, M. Vidnere I. Surkova, S. Buka-Vaivade, D. Govinuka, S. Madalne, L. Roe Plenrsdes R. Bebre, M. Derenovskis (Polija), G. Franzenburgs (Vcija), I. Maarireferenti Beks (Ungrija), M. Vidnere, A. Fusko, R.Tomasoni, D. De Bellis (Itlija), P. Diotaiuti, S. Mancone, (Itlija), M. Pavlaks (Polija), R. de Haas (Nderlande), D. Beresneviiene (Lietuva) Darbojas sekcijas Psiholoijas (vadtjas . Karpova un M. Vidnere), Pedagoijas (vadtjas B. Garjne un I. Kposta), Mzikas (vadtja M. Sle), Vizuls mkslas (vadtja D. Kalja-Gasparovia), Valodu (vadtja I. Surkova), Studentu (vadtja S. Madalne). Rados Mediatv zmana komunikcijai ar zemapziu (vadtjas G. Svence darbncas un I. Savicka), Kompozcijas uzdevums: mrtiecgi inspirta un virzta jaunrade kluss dabas uzstdjum (vadtja L. Vorkale), Ja Tu nekad nemainsi savu viedokli, kd tds vispr ir vajadzgs?. Nopietns kreativittes pamieni emptiskkai un efektvkai lderbai, Pankumu pamat ir idejas. Dr. Edvarda de Bono Seas domanas cepures (vadtjs R. de Haas, Nderlande). Dalbas maksa Konferenci un rakstu krjuma izdoanu finans Norvijas divpusj finanu instrumenta grants Nr. LV0088. Referti iesniegti publicanai Radoa personba VIII sjum. Komentri XIV konference notiek zmgaj Eiropas Parlamenta un Padomes izsludintaj Kreativittes un inovciju gad, pirmo reizi plenrsde notiek ZA telps un to atklj ZA prezi dents akadmiis J. Ekmanis. Notiek starptautiski recenzta zintnisko rakstu krjuma Radoa personba. Creative Personality VII sjuma atvrana (sast. R. Bebre, izdevis RPIVA Kreativittes zintniskais institts, 240 lpp.).Uz konferenci tipogrfiski iespiesta konferences Programma ar organizatoru logo un specilu de Bono autogrfu. Piedals 250 dalbnieki, no tiem 80 referenti, to vid ptnieki no Ungrijas, Itlijas, Nderlandes, Polijas, Vcijas, Austrijas, Krievijas, Lietuvas, Ukrainas. KZI direktores R. Bebres analz par KZI 10 gadu darbbu konstatts, ka KZI ptjumi ideli iekaujas Latvijas Nacionlaj Attstbas pln (2007 2013), kura centr izvirzta radoa personba. Veikti teortiski un empriski ptjumi kreativittes psiholoij, dairades psiholoij un kreatoloij. Pabeigts RPIVA grants Torrensa testa adaptcija Latvij (vad. M. Vidnere), stenoti vairki LZP granti (vad. R. Bebre), uzskts liels projekts Norway grants, individulais projekts Nr. LV 0088 (vad. R. Bebre). Granta projektu izstrdja etras KZI ptnieces:
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R. Bebre, M. Vidnere, . Karpova un L. Roe, balstoties uz KZI iepriekjos 9 gados uzkrto pieredzi, konkurs tika iegta augsta vieta un pieirts gandrz 300.000 eiro finansjums. Veikta saldzinoa kreativittes ptjumu analze Latvij un pasaul, publicts pirmais plakais ieskats Latvijas psiholoijas (pai dairades psiholoijas) vstur, veikti ptjumi par kreativittes bioloiskajiem aspektiem, par brnbas gadu nozmi mkslinieka personbas attstb, radoo izpausmi vizulaj mksl, rados domanas spjm pusaudiem no augsta socil riska imenm, gerontoloisk vecumposma kreativittes izpausmm u.c. R.Bebre akcent KZI iekauanos RPIVA studiju proces: 2004. 2005. gad notika divi maistrantras izlaidumi ar specializciju dairades psiholoija; Norway grants ietvaros notiek jaunas maistrantras programmas sagatavoana kreativittes psiholoij. Izdoti 7 starpt. rec. zin. rakstu krjumi Radoa personba, kur publicti daudzi KZI ptnieku un KZI stenoto grantu dalbnieku raksti, k ar citu Latvijas un rvalstu ptnieku publikcijas. Notikuas 14 starptautis kas kreativittes konferences, ptnieki piedaljuies ar cits konferencs Latvij un rvalsts. Konferenc refertus nolasja visi KZI darbinieki un Norway granta dalbnieki, rzemju viesi no 8 augstk mintajm valstm, k ar vairku Latvijas augstskolu un institciju prstvji. konference bija iekauta Eiropas kreativittes gada starptautisko konferenu sarakst (www://create2009.europa.eu) un godam attaisnoja Eiropas kreativittes gada starptautiskas konferences statusu. pai tika atzmta bagtgi prstvt plenrsde (6 Eiropas valstu 14 prstvji) un kupli apmeklts sekciju sdes.

Attl: XIV konferenci atklj ZA prezidents akadmiis J. Ekmanis, konferenci vada prof. R. Bebre.

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XV Kreativittes izptes un paaugstinanas nozme cilvkresursu attstb (starptautiska kreativittes konference) 2010. gada 5. 6. novembr. 5. novembr plenrsde notiks Zintu akadmij, Akadmijas laukum 1, Rg. 6. novembr sekciju darbs un noslguma sde notiks RPIVA, Imantas 7. lnija 1 Rkotjs Norway grants grupa, RPIVA Kreativittes zintniskais institts, Latvijas Zintnieku savienba, Starptautiskais Kreatoloijas zintniskais centrs Konferenci atklj ZA prezidents akadmiis J. Ekmanis Konferenci vada Rgas Pedagoijas un izgltbas vadbas akadmijas Kreativittes zintnisk institta direktore prof. Dr. psych. Rita Bebre un kreatoloijas zintnisk virziena dibintjs PhD Itvans Maari-Beks (Ungrija) Zintnisk Prieksdtja: R. Bebre. Loceki: I. Kalvi, I. Maari-Beks (Ungrija), komiteja R. Tomasoni (Itlija) N. Papadakis (Grieija), A. Petrulte (Lietuva), D. Markus, M. Marnauza. Rcbas komiteja Prieksdtja S. Buka-Vaivade, prieksdtja vietnieks A. verins. Loceki: G. Svence, M. Vidnere, M. Sle, B. Garjne, I. Surkova, D. Govinuka, S. Madalne, L. Roe, M. Zakrievska Plenrsdes Tiek precizti referenti Darbojas sekcijas Psiholoijas (vadtjas G. Svence un M. Vidnere), Pedagoijas (vadtjas B. Garjne un I. Kposta), Mzikas (vadtja M. Sle), Vizuls mkslas (vadtja D. Kalja-Gasparovia), Valodu (vadtja I. Surkova), Studentu (vadtja S. Madalne). Rados Tiek preciztas darbncas Dalbas maksa Dalbu konferenc finans Norvijas divpusj finanu instrumenta grants Nr. LV0088, par raksta publicanu Ls 25,00 (40 eiro). Raksti tiks Radoa personba IX sjum publicti Komentri ir jubilejas konference 15. starptautisk kreativittes konference Latvij, kuras kop 1996. gada katru gadu notiek novembr. Paredzta starptautiski recenzta zintnisko rakstu krjuma Radoa personba. Crea tive Personality VIII sjuma atvrana (sast. R. Bebre, izd. RPIVA Kreativittes zintniskais institts), k ar Norway grants ietvaros uzemts populrzintnisks filmas Radoas personbas psiholoija (zintnisk konsultante Dr. psych. R. Bebre) pirmizrde.
Literatras saraksts Radoa personba (1999-2009), I VII sj., sast. R. Bebre, Rga: Vrti, RaKa, Kreativittes centrs, RPIVA Kreativittes zintniskais institts Avoti RPIVA Kreativittes centra/Kreativittes zintnisk institta arhva materili.

Kopsavilkums Rakst apkopota, sistematizta un analizta informcija par Latvij notikuajm 15 starptautiskajm kreativittes konferencm. Ts ik gadu novembr notiek kop 1996. gada, visas konferences organizjusi un vadjusi prof. Dr. psych. R. Bebre, skum balstoties uz pieirtajiem LZP grantiem, vlk ts ieguvuas noteiktu regularitti neatkargi no tiem.
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Konferences mrtiecgi virztas uz kreativittes ptniecbas paplainanu, kreatoloijas k XXI gadsimta zintnes attstbu. s komplicts pardbas izpratne iespjama, tikai stenojot komplekso pieeju ptot kreativittes pardbas no dadu zintnes nozaru as pektiem: tiek ptti psiholoiskie, bioloiskie, pedagoiskie, mkslas zintu u.c. aspekti. Konferenu tematika piesaista aizvien vairk rvalstu dalbnieku, kas atzst msu konferences par viiem saistom, ptniecbu rosinom. Citvalstu dalbnieku skaits prsniedz 20 rvalstis, skot ar tuvkajiem kaimiiem Lietuvu, Igauniju, Poliju, Zviedriju, Vciju un tlkiem: Nderlandi, Ungriju, Itliju, Grieiju, Turciju, Horvtiju, Ukrainu, Krieviju, riju, Lielbritniju, Kolumbiju, Brazliju u.c. Veidojas abpusjas ptniecisks sadarbbas intereses, attsts kreativittes ptniecba, kas pai svarga tds nozars k izgltba, uzmjdarbba, mkslas zintnes u.c. Msu aktivittes samuas atbalstu no Japnas un nas Kreativittes asociciju prezidentiem, no Irnas Kreatoloijas institta, no Ungrijas profesora I. Maari-Beka, kas pasaul pazstams k kreatoloijas virziena aizscjs un ir pagodinjis msu pdjo konferenci ar ldzdalbu. K pai nozmgs jmin Starptautisk Kreatoloijas zintnisk centra (ICSCr) nodibinanas fakts XIII konferences laik 2008. gad. Rgai, RPIVA, KZI ir gods bt par pasaul pirm Starptautisk Kreatoloijas zintnisk centra dibinanas vietu. Dibintji ir no etrm valstm: Ungrijas, Irnas, Itlijas, Latvijas, ir izteikta vlans pievienoties no Austri jas, Grieijas u.c. Konferencm ir starptautiska zintniska komiteja, ko veido vairku valstu prstvji. Uz konferencs nolasto refertu bzes tiek veidoti raksti, kas apkopoti starptautiski recenztos zintnisko rakstu sjumos Radoa personba (I-VIII, sastdtja R. Bebre), kop IV sjuma tie iznk katru gadu. Msu studenti un doctji konferencs guvui iespju praktizties ptjumu prezentcij, starptautisku publikciju sagatavoan, kontaktu veidoan. Kreativittes idejas ar konferenu paldzbu izplats plakos iedzvotju slos, jo konferencs piedals izgltbas darbinieki, socilie darbinieki, studenti, valsts iestu darbinieki un gst atzias savam tieajam darbam. Ptjumus veic ar skolotji, kuri tiei praks saskaras ar radouma daudzveidgajm formm, tiek pievrsta uzmanba radouma iezmm audzku personbs un darbb, novrtts rados produkts, veidota radoa vide, darba pamieni u.t.t. Regulrs kreativittes konferences ir ieguvums Latvijas sabiedrbai, ts cilvkresursu attstbai. Summary The article summarizes, systematizes and analyzes information on 15 international creativity conferences held in Latvia. They take place each year since 1996 in November. All the conferences were organized and conducted by prof. Dr. psych. R. Bebre, on the basis of regularly received grants from the Latvian Council of Science. The conferences focus on the development of creativity research, on the devel opment of creatology the XXI century science. The understanding of these complicated phenomena is only possible using a complex approach, researching the phenomenon of creativity from different aspects in different domains psychological, biological, peda gogical, Arts, etc. The conferences draw an ever increasing number of foreign participants, who regard our conferences as a challenge for their research. Foreign participants come from more than 20 countries: raging from our immediate neighbours Lithuania, Estonia, Poland, Sweden, Germany to more distant countries the Netherlands, Hungary, Italy, Greece, Turkey, Croatia, Ukraine,
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Russia, Ireland, Great Britain, Colombia, Brazil, etc. Mutual research collaboration is being con structed, creativity research develops in such vital areas as education, business, arts, etc. Our activities have received support from the Japanese and Chinese Creativity Associ ation presidents, from the Iran Creatology Institute, from Hungary professor I. Magyari-Beck, who is a world known founder and pioneer of Creatology and who honoured our last confer ence by his participation. A particularly important event was the foundation of the International Centre for the Science Creatology (ICSCr) at the XIII Conference in 2008. Riga, RPIVA, SIC has the honour to be the first International Centre for the Science Creatology in the world. The founding members are from four countries: Hungary, Iran, Italy, and Latvia. Austria, Greece, and some other countries have expressed their intent to join the Centre. The conference is led by the international scientific committee, which consists of the representatives from several countries. The papers presented at the conferences are published in the Collection of Scientific Papers Creative Personality volumes I-VIII (edited by R. Bebre). Since volume IV, they are published every year. Our students and professors have gained an opportunity to present their research, to publish in an international publication, to build contacts. Creativity ideas with the help of the conferences have spread in a wider society. Educa tors, social workers, students, civil servants participate in the conferences and get new knowl edge for their work. Studies are also conducted by school teachers, who directly in their practi cal work contact creativity in its various forms, focus on the creative personality characteristics of their pupils and their activity, evaluate creative products, develop creative environment and methods, etc. Regular creativity conferences are a benefit for the Latvia society, its human re source development.

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Kreativittes psiholoiskie aspekti Psychological Aspects of Creativity

I
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Indra Krmia. Esmu RPIVA lektore, klnisks psiholoijas maistre. obrd studju doktorantr kognitvo psiholoiju, mani interes ar imenes psiholoija un smilu spu terapiju. Radouma ptjumos mani interes rast zintniski pamatotas un praktiskas iespjas, k paldzt cilvkiem kt labkiem un veiksmgkiem gan pla, teortisk nozm, gan ar praktiski sav dzv un darb. Ceru apzint veidus, k varu atbalstt brnu un studentu radoas domanas attstbu un nostiprint radoumu k vienu no viu dzves un profesijas strakmeiem. Lga Roe. Esmu ieguvusi maistra grdu klniskaj psiholoij. Kreativittes ptniecba mani interes ar joprojm plau neizptto jautjumu loku. Radoums ir piemtos cilvka dabai, td nav aubu, ka jebkura cilvka radoo potencilu nepiecieams atklt un atraist. Taj pa laik nevajadztu zaudt tiskos orientierus atkljumu proces lai tas, ko radm, btu ne tikai oriinls un inovatvs, bet ar socili vrtgs un humns. Lai saglabtu o ldzsvaroto skatjumu, ldzs kreativittei studju teoloiju.

INDRA KRMIA LGA ROE Rgas Pedagoijas un izgltbas vadbas akadmija Latvija

KREATIVITTES PSIHOLOISKO ASPEKTU PTNIECBA URNL CREATIVITY RESEARCH JOURNAL 2007. 2009. GADA RAKSTOS: JAUNKS TENDENCES UN PROBLMJAUTJUMI
KOSAVILKUMS Ievads. Socilo, humanitro un citu zintu nozaru ptniekiem ir vrtgi apzint jaunks ten dences kreativittes psiholoisko aspektu ptniecb, lai plnotu jaunus ptjumus un veicintu vispusgu datu interpretciju. Darba mris. Atklt aktuls tendences, problmjautjumus un trkumus kreativittes psiholoisko aspektu ptniecb. Materili un metodes. Creativity Research Journal 2007.-2009.gad publictie ptjumi (N=126), kodti pc 5 analzes kategorijm kreativittes dimensija, kreativittes veids, kreativittes ptanas lmenis, ptjuma dalbnieku vecums un ptjuma dizains. Rezultti. Kreativittes ptniecb domin rado potencila dimensijas ptjumi, ikdienas kreativittes izpte, kas visbiek norit individul lmen un ar pieauguajiem. Tiek veidoti jauni kreativittes koncepti. Secinjumi. Rakst ir izstrdti ieteikumi turpmkiem ptjumiem un aicints uz plaku starpdisciplinru zintnisku diskursu par kreativittes ptjumu atzim. Atslgas vrdi: kreativittes dimensijas un veidi, ptjumu lmei, vecumposmi, ptjuma dizains.

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RESEARCH ON PSYCHOLOGICAL ASPECTS OF CREATIVITY IN 2007 2009: CURRENT TENDENCIES AND ISSUES
Summary Introduction. The large number of creativity studies of the last decade promotes de velopment of creativity research and enriches our understanding of creativity. At the same time it also makes it difficult for scientists to follow all the new trends in creativity research. In this article, the authors continued the tradition started in collection Creative Personality VI of making a review of creativity research (Bebre, sten, & Roe, 2008)summarizing the studies of creativity of 2007-2009 to make the newest developments in the psychological aspects of creativity research more accessible to Latvian researchers of various sectors, to promote inter disciplinary discussion and subsequent comprehensive study of data interpretation. Aim of the study. Reveal currently emerging trends, challenges and gaps in the re search of the psychological aspects of creativity. Materials and methods. In the study, all the articles published in the magazine Cre ativity Research Journal (hereinafter - CRJ) from 2007 to 2009 (N=126 studies) were ana lyzed. 3 categories of theoretical analysis were chosen for the systematisation and analysis of the review: (1) Creativity dimensions creative potential (abilities and knowledge, process, per sonality), creative behaviour (creative activities and achievements), as well as creative environ ment (physical, social environment and time) (Ivcevic, 2009). The creativity map of Ivcevic was supplemented with the dimension of the recipient or art receiver (Bebre, 2002). (2) Kinds of creativity, based on the 4C creativity model Big-C or eminent creativ ity, Pro-C or professional expertise, little-c or everyday creativity and mini-c or transfor mative learning. (Kaufman & Beghetto, 2009); (3) Levels of creativity research individual (personal) level, group and organization level, as well as society (cultural, civilization) level (Magyari-Beck, 1999). Two additional categories of methodological analysis were distinguished research design (empirical quantitative, empirical qualitative, case study, theoretical, methodological, meta-analysis, literature review articles and comments) and the age group of research partici pants (children, adolescence and adults). Analytical categories were assessed by both authors of the article; assessor consistency in all categories of analysis was significant (>0.61) (Table 3). Results. Creativity dimensions. Creative potential has been investigated the most often in the studies published by CRJ from 2007 to 2009 85.7%; the studies on creative behaviour and creative environment has been carried out two times least 35.7% and 40.5%; however, 9.5% of studies refer to recipients psychological aspects (Picture 1). Skills and knowledge have been examined in 55.6% of studies. The skills of divergent thinking and problem solving have been researched the most often. The process domain has been researched in 40.5% of sample studies, and they are mainly based on their phase (stage) models. The personality domain has been investigated in almost half or 43.7% of studies. Creative personality traits and character istics, including psychopathology, have been studied the most often, more seldom aspects of self conception connected with creativity. Overall, creative behaviour has been investigated in 35.7% of studies and its domains creative activities and creative achievements refer to 18.3% and 21.4% of studies. In the category of creative activities the most frequently studied are models of creative behaviour and creative occupations in autobiographical perspective. In the creative achievement category, the products generated by high professionals or outstanding
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creative people have been mainly researched, linking these products with the creators persona lity characteristics, life history factors, etc. Different aspects of creative environment have been included in almost half of the (45.3%) reviewed studies. The physical environment as a factor promoting creativity has been studied in 25% of the sample, both modelling factors of physical environment in experimental studies and researching the effect of different kind of training to development of creative skills. Social environment has been researched in 20.3% of studies. Family environment factors, study and organization environment factors have been viewed. Little attention has been paid to society and cultural characteristics. Time as an element of the creativity environment has been studied in 23.4% of the sample: in the aspect of individual de velopment, as a factor which characterizes the duration of experience in the sector, as the period of cultural history, and finally, as timeliness for raising the effectiveness of the creative product. 9.5% of studies belong to the category of the recipients psychology. Kinds of creativity. In the sample of the research, little-c research dominates - 40.6% (Picture 5); 29.4% of studies were not referred to any kind of creativity, as they generally characterized abilities, processes, behaviour etc. connected with creativity. Equal proportion of studies 15.9% - are attributed to the kind of mini-c and Pro-C. Big-C has been studied in 7.8% of the sample. The level of creativity research. In CRJ, during the last 3 years studies in an indivi duals level dominate (98.41%). The creativity in a groups or society level has been researched only in 10% of the studies. Research design. Mainly empirical studies (65%) have been published in CRJ during the last 3 years. About 20% of studies is composed of reviews articles, where authors have criti cally assessed research of other scientists. Around 20% of studies on creativity is devoted to research reports, meta-analysis or development of new theoretical concepts. In 13% of studies methodological aspects of creativity research have been viewed. Age. Studies on adults creativity dominate in CRJ during the last 3 years. A bit more than 10% of the studies have been devoted to the research of children and adolescence. Conclusions. The analysis of CRJ publications of 2007 to 2009 suggests that empiri cal studies directed towards the research of creative potential (skills, process, potential, per sonality) of adults in an individuals level from the everyday aspect or little-c dominate in creativity research. Divergent thinking and creative problem solving are mainly considered as the basis of the fundamental creativity, characteristic to any individual. During the recent years scientists have developed various concepts of creativity which have been taken as the basis in systematization of this review article. Still the existing concepts, e.g., mini-c and Pro-C do not cover all the psychological aspects of creativity, therefore further theoretical and empirical research of these aspects is advisable. Creativity map (Ivcevic, 2009) provides a comprehensive structure of creativity dimensions. It suggests investigation of creativity from inside (potential) and outside (behaviour), and creativity in the context (environment). It would be useful to supplement it with the dimension of the creative product. In making a further research design, it would be advisable to examine the mutual interaction of creativity dimensions and develop designs revealing the interaction of relations and creative process in dynamics. A significant trend in creativity studies is striving to the integration of conclusions of existing findings, ge neralizing theoretical concepts and critical assessment in an interdisciplinary context. A more comprehensive studys reviews of professionals of different areas would reveal the actual situ ation of creativity research more completely and suggest a scientific discussion and creative and critical communication among scientists of different areas and readers. Key words. Creativity dimensions and kinds, levels of creativity, research design, age group.
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Ievads Pdj desmitgad ir pieaugusi ptnieku interese par kreativittes ptniecbu, ir oti daudzas publikcijas par radoumu. Mekljot ptjumus ar atslgas vrdu kreativitte datu bz EBSCO, redzams, ka pdjo 10 gadu laik ir publicti vairk nek 15 tkstoi zintniski recenztu ptjumu par kreativitti dads nozars. ptjumu prpilnba veicina kreativittes ptniecbas attstbu, t bagtina msu izpratni par kreativittes btbu un likumsakarbm. Bet vienlaicgi tas ar rada grtbas zintniekiem izsekot ldzi vism jaunajm tendencm radouma ptniecb. A. Ranko (Runco, 2007) novroja, ka pdj laik urnl Creativity Research Journal (Kreativittes ptniecbas urnls, turpmk tekst CRJ) publicanai tika iesnieg ti virspusji ptjumi, kas nepilngi pamatojs esoajs zintniskajs atzis un vienpusgi interpretja ptjumu rezulttus. Ldzinjie prskati par kreativittes ptjumiem. Rakstu krjum Radoa Personba VI tika sniegts prskats par 2005.-2007.gada ptjumiem pasaul un Latvij (Bebre, sten & Roe, 2008). Autores secinja, ka kreativittes ptniecbai Latvij ir raksturga kompleksa pieeja, kas pamatojas starpnozaru zintn, kreatoloij, savukrt pasaul dadu nozaru ptnieki publicjas atirgos urnlos. Latvij radoumu pta dadu nozaru specilisti, un tas var kt par pamatu produktvm starpnozaru diskusijm, sekmt esoo ptjumu kritisku novrtanu un dadu skatu punktu integrciju, atklt kreativittes btbu un rast pamatotu un plau ptjuma atziu pielietoanu. Bet taj pa laik jatzst, ka ptniekiem vartu bt grti izsekot ldzi jaunkajiem kreativittes ptjumiem un to atzim viss nozars. Citu prskatu par kreativittes ptniecbu 2005.-2007.gad veica Kahla ar koliem (Kahl, da Fonseca & Witte, 2009). Vii apkopoja aj laik pasaul aizstvts doktora disertcijas, kurs tika ptta kreativitte un secinja, ka ptjumi par kreativitti tiek veikti daudzs nozars. Autori rezumja, ka 25% disertciju par kreativitti bija psiholoijas nozar, 24% izgltb, 29% ekonomik, 18% inenierzintns. Turklt 21% no vism disertcijm bija tendence uz jauktu, starpnozaru analzi (piemram, saistb ar mkslu, valodniecbu, literatru, filozofiju, reliiju, teoloiju u.c.). Tas norda uz kreativittes ptniecbas plaumu. Neskatoties uz nozaru atirbu, Kla ar koliem atzmja, ka galvens tendences kreativittes ptniecb bija ldzgas prsvar bija sastopami empriski ptjumi par kreativitti, bet maz bija teortisku ptjumu. Empriskajos ptjumos vienldz biei bija satopami kvantitatvi (33%) un kvalitatvi (32%) ptjumi. Saldzinot ar 1986.gadu, novroja, ka bija samazinjies kvalitatvu ptjumu skaits. Iepriekmintais prskats par kreativittes ptniecbu (Kahl etc., 2009) sniedza kop savilkumu par radouma ptjumu jomu, dizainu un ptjuma dalbniekiem, k ar nedaudz analizja pttos kreativittes satura aspektus. Autori secinja, ka radoums 2005.-2007.gada visu nozaru disertcijs prsvar tika ptts indivda lmen, bija nedaudzi ptjumi, kas vrsti uz grupas kreativittes iepazanu, bet ptnieku neievrota joma bija kreativittes loma kultras un starpkultru lmen. Tpat autori nordja, ka radoas personbas kvalittes prsvar tika pttas psiholoij un izgltb, rados process tika ptts starpdisciplinri, inenierzintns, k ar viss socils zintns, bet rados produkts tika ptts prsvar ekonomik un biznesa administrcij. ie secinjumi ir saska ar Bebres, stens un Roes (2008) atzim. Apkopojot kreativittes ptniecbas psiholoiskos aspektus, vias secinja, ka 2005.-2007.gad dominja ptjumi par radoa procesa kognitviem, emocionliem un neirofizioloiskiem aspektiem, k ar radoas personbas kvalittm, bet saldzinoi mazk ir ptjumi par radou produktu, kreativittes izpausmm grupas, specifisku nozaru un mkslas kontekst, k ar par radouma atirbm dados vecumposmos.
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Ttad, kreativittes ptjumiem ir raksturgs starpdisciplinrs raksturs. Lai padartu dadu nozaru Latvijas ptniekiem pieejamkas jaunks tendences kreativittes psiholoisko aspektu ptniecb, veicintu starpdisciplinru diskusiju un vispusgu turpmko ptjumu datu interpretciju, raksta autores turpinja 2008.gad rakstu krjum Radoa Personba aizskto tradciju un izveido ja prskatu par 2007.-2009.gada kreativittes ptjumiem psiholoijas nozar. Teortiskie koncepti par kreativitti psiholoij. Lai izveidotu kvalitatvu ptjumu prskatu, ir nepiecieama vienota un teortiski pamatota sistma dadu ptjumu saldzinanai un apkopoanai. Ldzinjos ptjumos (Bebre etc., 2008, Kahl etc., 2009) ptjumi tika analizti no metodoloisk aspekta (ptjuma dizains, ptjuma dalbnieku vecums, ptjuma nozare) un no saturisk aspekta (kreativittes dimensijas process, personba, produkts, recipienta dimensija; kreativittes lmenis individulais, grupas un sabiedrbas jeb kultras lmenis). Metodoloiskie ptniecbas aspekti pdjos gados nav mainjuies, turpret izpratne par kreativittes btbu un sat uru jaunkajos radouma ptjumos ir btiski papildinta. Vairki autori (Ivcevic, 2009, Kaufman & Beghetto, 2009, Glaveanu, 2009, Sternberg, 2006, Sternberg & Lubart, 2006) ir izstrdjui teortiskus modeus jeb konceptus, kas, pamatojoties uz iepriekjiem ptjumiem, tiecas izskaid rot kreativittes komplekso btbu, emot vr ts daudzpusgos aspektus. Turpmk tiks piedvts kopsavilkums par atseviiem jaunkajiem kreativittes teortiskajiem modeiem. etru-K kreativittes modelis jeb kreativittes veidi. Ldz im tradicionli kreativittes ptjumi tika veikti divos aspektos pau personbu kreativittes izpte jeb Liel-K (Big-C) un ikdienas kreativittes izpte jeb maz-k (little-c). Ne visi ptjumi par kreativitti varja iekauties ajs divs kategorijs. Tpc Kaufmans un Begetto (Kaufman, Beghetto, 2009) ierosinja o modeli paplaint t, lai tas visaptveroi izskaidro ptjumos gts atzias un teortisks nostdnes. Vii piedvja turpmk runt par etru-K kreativittes modeli (The Four C Model of Creativity). Lai kreativittes modelis vartu izskaidrot ar cilvku radoos prdzvojumus, kas notiek, apgstot kaut ko jaunu, un kreativittes attstbas aspektus, vii iero sina ikdienas kreativittes konceptu mazo-k papildint ar prveidojoo mcans mini-k kreativittes aspektu (transformative learning, mini-c creativity). kreativittes aspekta centr ir dinamisks, persongi nozmgs interpretcijas process, kas prveido cilvka pieredzi, darbbas un notikumus jaun izpratn noteikts socils vides kontekst. Mini-k kreativittes koncepts ir saska ar A.M.Ranko (Runco), L.S.Vigotska (Vygotsky), R.K.Soijeres (Sawyer) un L.M.Koena (Cohen) kreativittes ptjumiem. Mini-k modelis auj vrtt kreativitti k pr asmi, ko var un vajag attstt. Tas izskaidro kreativittes attstbu socili nozmgs interakcijs. Tpc tiei par mini-k kreativitti ir btiski ptt, lai rastu vrtgas atzias cilvkresursu attstbas iespjm. Savukrt pao personbu kreativittes konceptu Lielo-K autori paplaina ar profesionls kompteneces Pro-k kreativittes aspektu (professional expertise, Pro-c creativity), kas raksturo ikdienas kreativitti prsniedzous sasniegumus, augstu profesionlo kompetenci. da kreativitte raksturga cilvkiem, kas ir atstjui nozmgu ieguldjumu kd rado nozar. Pro-k kreativittes koncepts ir saska ar K.A.riksona (Ericsson) un C.Martindeila (Martindale) ptjumiem. Tdjdi autori atstj Lielo-K kreativitti tdm personbm, kuru radoais sniegums ir izturjis laika un vstures prbaudi, savukrt Pro-k kreativitte attiecas uz msdienu cilvkiem. Kopum is modelis piedv visaptveroku kreativittes teoriju integrciju un dziku izpratni par kreativittes btbu. Radouma karte jeb kreativittes dimensijas. Analizjot kreativittes ptjumus no to ptjuma priekmeta un izvlto mrjumu instrumentu skatu punkta, parasti ptnieki izdalja 4 ptjumu dimensijas jeb 4P pieeja personba, process, produkts un vide (Rhodes, 1961). Tomr ne visos ptjumos izzias priekmetu bija iespjams viennozmgi defint kd no m dimensijm. Td Ivcevia (Ivcevi, 2009) ierosinja nedaudz modifict ierasto iedaljumu noirt radoo potencilu (creative potential kognitvs spjas, procesi, personbas iezmes, kas veicina radou
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izpausmi un ir raksturgas konkrtam cilvkam), radou uzvedbu (neatkargi no ptjuma rji novrojamas rado potencila izpausmes aktivittes, idejas, produkti) un radou vidi (fizisko, socilo un laika dimensij). is modelis dod iespju ptniekiem preczk un detaliztk defint sava ptjuma izzias priekmetu kreativittes dimensiju, lai pc tam izveidotu defincijai atbilstou ptjuma dizainu un ptjuma metodes. Darba autores uzskata, ka o radouma karti btu vrtgi papildint ar recipienta jeb (mkslas) uztvrja dimensiju (Bebre, 2002). Radouma paradigmas vai kreativittes lmei. Kreatoloijas pieej ldzs kreativittes ptjumu dimensijm tiek apskatti ptjumu lmei individulais (personlais) lmenis, gru pas un organizcijas lmenis, k ar sabiedrbas (kultras, civilizcijas) lmenis (Magyari-Beck, 1999). Ptot grupu un organizciju kreativitti, parasti tiek akcentta vairku indivdu ar kopgu mri mijiedarbbas ptana, piemram, ptot rado procesa patnbas komand un sadarbb, k ar indivda un grupas mijiedarbbu. Sabiedrbas lmen var ptt ar radoumu saisttos kultras aspektus, sabiedrisks domas vsturi attiecb uz radoumu vai sabiedrbas nostju pret radoumu, k ar radoos produktus, kas attiecinmi uz nozmgm izmaim sabiedrb, ts attstbu, dadu kultru sacensbu. Kopsavilkums. Kreativittes teortiskie koncepti psiholoij ir atirgi un cits citu papildinoi. Tie raksturo kreativitti no atirgiem skatu punktiem un dod iespju komplek si analizt un interprett bijuo un nkamo ptjuma atzias. Tpc darba autores ptjumu prskatu veidoja, pamatojoties un analizjot tos no iepriekminto teortisko modeu prizmas. Darba mris ptjuma mris ir atklt palaik aktuls tendences, problmjautjumus un trkumus, robus kreativittes psiholoisko aspektu ptniecb. Materili un metodes Rakst sniegts prskats par jaunkajm radouma ptnieku atzim. Raksta autoru nolks bija rosint Latvijas ptniekus uz vispusgu ptjum ietverto atziu analzi, interpretciju un kritisku novrtjumu, integrjot to pastvoaj zintniskaj literatr. Ptjuma dati. Analizti visi urnl Creativity Research Journal (turpmk tekst CRJ) raksti, kas publicti no 2007. ldz 2009.gadam, respektvi 126 ptjumi, kas ietverti 11 urnla numuros. CRJ ir starptautiski recenzts zintnisko rakstu krjums ar vairk nek 20 gadu pieredzi radouma ptjumu publican. Tas ir 30 cittko urnlu skait psiholoij un tam ir lastji apmram 60 pasaules valsts (Runco, 2007). Tpc darba autores CRJ publictos ptjumus novrt k pietiekoi labu izlasi, lai gtu skotnju priekstatu par kreativittes ptniecbas tendencm pasaul. Ptjuma procedra. Analzes kategorijas. Lai gtu visprju priekstatu par kreativittes ptniecbas tendencm, katrs ptjums tika novrtts un kodts vairks analzes kategorijs. Tika izdaltas trs satura analzes kategorijas kreativittes dimensijas (Ivcevi, 2009), kreativittes lmenis (Magyari-Beck, 1999) un kreativittes veids (Kaufman & Beghet to, 2009), k ar divas metodoloisks analzes kategorijas ptjuma dizains un ptjuma dalbnieku vecumgrupa. Satura analzes kategoriju detalizts apraksts ir 1.tabul, metodoloisko analzes kat egoriju apraksts ir 2.tabul. Vrtjumu saskaotba. Ptjumu kodanu pa analzes kategorijm veica abas raksta autores. Lai nodrointu ticamus ptjuma rezulttus un secinjumus, vairkos posmos tika prbaudta vrtjumu saskaotba.
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Skotnji ptjuma autores paralli un neatkargi kategorizja 30 nejaui atlastus izlases ptjumus mcbu izlasei. T kalpoja k izveidots kodanas shmas pilotptjums. Tika aprints vrttju saskaotbas rdtjs kappa koeficients (Sim & Wright, 2005). Pc pilotptjuma izlases kodanas vrttju saskaotba vairks kategorijs bija vja vai mrena. pai vja saskaotba bija Radoas uzvedbas, Vides un 4K modea analzes kategorijs (3.tabula). Autores diskutja par ptjumu kodanas nesakritbm un, pamatojoties uz konkrtu ptjumu saturisko analzi, precizja kritrijus ptjumu iekauanai katr kategorij. Tdjdi Rado potencila apakkategorija spjas tika prdvta par Spjas un zinanas un papildinta ar ar neiroloiskiem ptjumiem. Koncepti, kas saistti ar jdzienu stils, piemram, kreativittes stils vai kognitvais stils, attiecinmi gan uz procesu, gan personbu, jo uzskatmi par feno menu, kas atrodas izzias un personbas krustpunkt (Noppe, 1996). Kategorijas Vecum posms un Kreativittes veidi tika papildinti ar apakkategoriju Visprgi, kas vecumpos ma kategorij raksturoja ne-empriskus ptjumus, kuru secinjumi attiecinmi uz kreativitti kopum, neizceot noteiktu vecumposmu. Savukrt kategorij Kreativittes veidi iekauti ptjumi, kuros minti visprji ar kreativitti saistti fenomeni, kas attiecinmi uz visiem kreativittes veidiem. Mini-k kategorija sagdja lielks grtbas vrtjumu saskaotb, ts galvenais iemesls bija vrttju atirg izpratne par pieredzes transformcijas un mcans kritrijiem. Piemram, vai ptjumi par kreativitti brnu vecumposm automtiski attiecinmi uz mini-k. K galvenais un vienojoais kritrijs tika izvlts kreativittes attstana un ar to saisttu jaunu prasmju apgana, piemram, ptjum, kura dalbniekiem tika sniegta sa apmcba par problmu clou analzes izmantoanu radou risinjumu meklan. Pc tam tika veikta atkrtota vrtjumu savstarpjs saskaotbas noteikana nejaui atlastiem 20 rakstiem no kopjs ptjuma izlases kontrolizlasei (taj netika iekauti ptjumi no mcbu izlases). Rezultt tika iegta nozmga vrttju saskaotba (>0,61). Vrttju saskaotbas rdtji apkopoti 3.tabul. Tad darba autores vlreiz precizja analzes kategoriju vrtanas kritrijus un sakodja visus ptjumus. Rezultti 1. Kreativittes dimensijas Visbiek ptt joma CRJ publictajos ptjumos 2007. 2009. gad ir radoais potencils 85,7%, divkrt retk ptnieki pievrsuies rados uzvedbas un radouma vides aspektu ptjumiem 35,7% un 40,5%, savukrt 9,5% ptjumu skar recipienta psiholoijas aspektus (1. attls). Vairum ptjumu kreativitte ptta vairk nek vien no dimensijm vai to apakjomm, piemram, ptot radoas personbas un socils vides aspektu sakarbas. 1.1. Radoais potencils. Rado potencila kategoriju bieumu sadaljums 2007. 2009.gad publictajos ptjumos atspoguots 4. tabul. Spjas un zinanas pttas 55,6% ptjumu. Vado tendence s kategorijas ptjumos ir diverents domanas un problmrisinanas spju izpte. Daa ptjumu veltta zinanu un pieredzes komponentu noteikt darbbas jom ptniecbai, un to rezultti apliecina ekspertzes pakpes un pieredzes nozmi radoaj sniegum, ttad nozares specifisks pieejas pamatotbu. Pttas dadas ar radoo domanu saisttas spjas attlintu asociciju veidoana, konceptul paplainana, spja prkpt robeas, iztles kapacitte u.c. Pttas rados specifisks spjas (matemtisk kreativitte, mksliniecisk kreativitte, kustbu kreativitte), k ar intelekta spjas (telpisks, verbls domanas, operatvs atmias, konverents domanas spjas). No vienas puses, ie ptjumi atklj jaunus vai preciz esoos kreativittes koreltus, no otras, autori ne vienmr skaidri apraksta to vietu rado potencila kopj ain un kreativittes koncepcijs vispr. Visdrzk, nepiecieami tlki kompleksi ptjumi un to integrcija. Viens
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CRJ numurs (19.sj.1.nr.) veltts diskusijai par jaunu kreativittes neiropsiholoisko teoriju, kur centrl nozme piedvta operatvajai atmiai un smadzents glabtajiem kognitvs kon troles modeiem. Recenziju rakstos modelis samis virkni kritisku piezmju, tomr to autori uzsvrui du ptjumu nozmi turpmk. Spjas lielkoties tiek pttas mazs-k un kreativittes visprgi kontekst. Procesa apakjoma ptta 40,5 % izlases ptjumu. Saldzinoi ar citm kateogorijm, aj ir vairk teortiska un prskata dizaina ptjumu. Iespjams, to nosaka grtbas eksternalizt un objektvi aprakstt kognitvs opercijas, no kurm atkargas rados spjas (Welling, 2007). Procesa ptjumi pamat balstti uz t fu (stadiju) teorijm, galvenokrt uz Vollesa modeli (sagatavoans, inkubcijas, apgaismbas un verifikcijas fze; Wallas, 1926). Mazk pazstams Latvijas ptniekiem vartu bt D. Simontona izveidotais kreativittes darviniskais modelis, ko raksturo 2 fzes akl vaircija un selektv saglabana (Si monton, 2007). Viens CRJ numurs (19.sj.4.nr.) veltts diskusijai par kreativittes darvinisk modea izmantoanu izcilu radou produktu tapanas procesa analzei. Procesa ptjumos ar eksperimentlo dizainu, manipuljot ar neatkargajiem maingajiem, tiek iegti dati par rado procesa norises faktoriem un to atsevim fzm, piemram, par prtraukumu ietekmi uz radou problmu risinanas rezulttiem. Procesa jom ir dai raksti, kuri btu attiecinmi uz t.s. mistisko pieeju kreativittes ptniecb (Sternberg, Lubart, 2006), piemram, par jo gas procesu nozmi kreativitt, k ar rados un mistisks domanas procesa ldzbm. os ptjumus raksturo specifiski, vji operacionalizjami/prbaudmi koncepti vai modei, piemram, Kreativittes Okeniskais modelis, kur kreativitte saistta ar kristalizto, fludo un vakuuma apzias stvokli (Horan, 2007). Kopum procesa ptjumu rezultti apliecina iespjas ar rjiem fizisks vai socils vides faktoriem veicint radoo sniegumu. Saldzinoi reti ptnieki pievrsuies rado procesa fenomenoloiskajiem aspektiem sub jekta prdzvojumiem rado darba laik, nodoanos darbam, radoajai darbbai pieirtajai jgai. Liela daa rado procesa rakstu ir attiecinmi vai nu uz kreativitti visprgi, vai ar uz mazs kreativittes izpti. Tas zinm mr sasaucas ar atziu, ka gan izcila, gan ikdienia radouma pamat ir vieni un tie pai procesi (Sternberg, Lubart, 2006). Saldzinoi biei sas topama rado procesa izpte profesionlaj kreativitt. Personbas apakjoma tikusi ptta gandrz pus jeb 43,7 % ptjumu. Tas liecina par joprojm pastvoo personbas raksturojumu aktualitti kreativittes ptniecb. Tiek pttas radoas personbas iezmes un raksturojumi, emocionls sfras raksturojumi, t.sk. psihopatoloija. Saldzinoi reti ptti ar radoumu saistti pakoncepcijas aspekti radoa personas identitte, radoa paefektivitte, sava radouma panovrtjums, k ar motivcijas sfra - iekj motivcija, izzias vajadzba, vrtbas un mra orientcija. Personbas apakjom ptjumos pards jauni koncepti: inovciju motivcija (ts kon strukta validitte ptjum neapstiprinjs), rados temperaments, radoa personas identitte. Personbas ptjumi lielkoties attiecinmi uz mazo-k , savukrt visretk uz Lielo-K . Spjas-process-personba. Dai teortiski ptjumi apvieno visas rado potencila apakjomas. Nozmgk no tm ir G.Smita personbas-procesa teorija, kur indivda tagadjs funkcionanas interpretcija balstta uz vsturisko perspektvu. Teorija pieem, ka indivd (personb) pastvgi mijiedarbojas katra mirka realittes perceptoenze un dzves vsture. G.Smits noraida tipoloisko pieeju personbas izpt, pieemot attstbu par personbas teorijas centrlo asi un attiecina to ar uz radoumu. Tdjdi radoa personba tiek raksturota nevis ar pabu kategorijm, bet gan ar dzves pieredzes ietekmtu radoas uztveres procesu. Savukrt spju vietu aj teorij raksturo kognitv veiklba un elastba.
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1.2. Radoa uzvedba. Radoas uzvedbas kategoriju bieumu sadaljums 2007.-2009. gad publictajos ptjumos redzams 5. tabul. Kopum radoa uzvedba ptta 35,7 % ptjumu, un ts apakkategorijas radoas aktivittes un radoi sasniegumi attiecinmas uz 18,3% un 21,4% ptjumu. Radou aktivitu kategorij iedaltajos ptjumos nozmgu vietu ieem indivda radoas uzvedbas modeu un stratiju izpte ar panovrtjuma metodm, piemram, nostiprintas kreativittes kompetences un ideju enercijas uzvedba ikdien. Neliel da o ptjumu izmantotas autobiogrfiska rakstura aptaujas par radom aktivittm dzves laik, interviju kvalitatv analze par radom nodarbm un interesm brnb. Par rados darbbas stratijm ikdien ptnieki uzzina no padziintm intervijm un novrojumiem, k ar gadjuma analzm. Aktivittes lielkoties pttas mazs-k ietvaros, savukrt visretk mini-k un Liels-K kontekst. Radoi sasniegumi. Empriska dizaina ptjumos galvenokrt ptti profesionlo pakpi sasnieguu vai ievrojamu, vispratztu radou cilvku radtie produkti mkslas, muziklie, literrie darbi, zintniskie ieguldjumi u.tml., saistot tos ar radtju personbas raksturojumiem, dzves vstures faktoriem u.c., piemram, ptot sakarbas starp ievrojamu zintnieku zintnisk ieguldjuma veidu un nozmi un viu psihopatoloisko traucjumu veidu. K uzmanbas vrtu vartu izcelt daos ptjumos pielietoto ptjuma metodi - radoo produkta vairku tapanas stadiju (trajektorijas) analzi, lai pttu gan rado procesa, gan radoo spju aspektus. Radoas uzvedbas dimensijas abs apakkategorijs tika iekauti sei ptjumi, kuri izrietja k diskusija par A. Kroplija teortisk ptjum piedvto aundabgs kreativittes jdzienu, kreativittes funkcionlo modeli un proaktva rado produkta raksturojumiem (Cropley, Kaufman & Cropley, 2008). Taj nozmga vieta pieirta socilajam kontekstam radouma definan un novrtan. 1.3. Radoa vide. Radoas vides kategoriju bieumu sadaljums 2007.-2009.gad publictajos ptjumos redzams 6. tabul. Radoas vides dadie aspekti ietverti gandrz pus (45,3%) apskatto ptjumu. Paras ti vide ptta ldzs citm kreativittes dimensijm. Fizisk vide k radoumu ietekmjos faktors ptta 25% izlases. o vides katego riju ptjumos var raksturot divos virzienos. Pirmkrt, t ir fizisks vides faktoru modelana ar dadm praiminga manipulcijm (noskaojuma vai attieksmes inducana; rado dar ba procesa prtraukana). Otrkrt, dada veida un rakstura apmcbu (ilglaicgu un slaicgu treniprogrammu, instruktu) ietekmes uz radoo procesu un radoo sniegumu ptana. Kvalitatva vai teortiska dizaina ptjumos nedaudz ptta darba vides resursu nozme, piemram, nozar pieejam kultras un zinanu kapitla nozme radoaj proces. Socil vide ptta 20,3% ptjumu. Pirmkrt, aplkoti imenes vides faktori (piemram, integrcijas-diferencicijas procesi imen, vecku audzinanas stils, pieerans figras agrna zaudjuma ietekme uz radoo darbbu) un to sakarbas ar radoo potencilu vai uzvedbu. Otrkrt, ptti mcbu un organizciju vides faktori, lielkoties saistb ar psiholoisko klimatu, attieksmm u.tml. Daa socils vides kategorijas ptjumu attiecinmi uz sabiedrbas un kultras raksturojumiem, piemram, ptot multikulturlas vides nozmi radoum vai sabiedrbas reakciju uz radoiem produktiem. Laiks k radouma vides elements ptts 23,4% izlases. aj kategorij attiecintajos ptjumos radoums analizts vairkos aspektos. Pirmkrt, individuls attstbas aspekt (indivda radoo spju un kompetenu lmea izmaias dada ilguma treniprogrammu rezultt). Otrkrt, k faktors, kas raksturo profesionls izgltoans un pieredzes ilgumu. Trekrt, laiks k kreativittes konteksts kultvsturisk laikmeta
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izpratn. Visbeidzot, savlaicgumu k radoo risinjumu btisku elementu akcentjis A. Kroplijs, uzsverot, ka radoa produkta efektivitti ietekm t nesasteigta un reiz nenovlota ievieana. 1.4. Recipienta psiholoija. Recipienta psiholoijas kategorij iedalti 9,5% ptjumu un to vid ir gan ptjumi, kas ietver radouma konceptu, gan tdi, kuros ptta tikai indivda esttisku un mkslas produktu uztvere. Saistb ar pirmajiem minami dai ptjumi, kuros noskaidrots, kd mr profesionls zinanas un pieredze ietekm indivda novrtjumu par produkta radouma/novittes pakpi. Savukrt ar radoumu nesaistt veid ptta literro un muziklo darbu uztvere, to izraists emocijas un ietekme uz respondentu sniegumu spju testos vai uz personbas rakstur ojumiem. Ptnieki analizjui, vai specializcija kd mksliniecisks darbbas nozar ietekm esttisko uztveri un to, kd mr btu iespjams prognozt nkotnes nodarboanos atkarb no esttisks pieredzes brnb. 2. Kreativittes veidi Kreativittes veidu bieumu sadaljums saska ar 4K modeli 2007.-2009.gad publictajos atspoguots 7. tabul. Ptjuma izlas domin mazs-k izpte 40,6% (7. tabula), savukrt 29,4% ptjumu netika attiecinti uz kdu no etirem kreativittes veidiem, t k tie visprgi raksturoja ar kreativitti saistts spjas, procesus, uzvedbu u.tml. Viends patsvars ptjumu 15,9% attiecinmi uz mini-k un Pro-K veidu. Liel-K ptta 7,8% izlases, visbiek rado potencila un sasniegumu kategorijs, visretk - fizisks vides un aktivitu kategorijs. Mini-k veida ptjumos visbiek pttas spjas, personba un fizisk vide, visretk radoas aktivittes. Tajos biei izmantotas specifiskas instruktas (piemram, insaita problmu risinanai, jaunu ideju enercijas tehniku apganai grup u.c.), apmcbas par rados domanas stratijm un kreativittes treniprogrammas. Savukrt Pro-K visbiek ptta rado potencila, sas niegumu un socils vides ptjumos, visretk fizisks vides un laika kategorij. Nozmgs atirbas mazs-k un Liels-K patsvar vartu skaidrot gan ar vieglk pieejamm respon dentu izlasm mazs-k ptanai, gan Liels-K ptjumu norietu, saldzinot ar kreativittes psiholoijas pirmajm desmitgadm. Jatzm, ka analiztie Liels-K ptjumi ar interesantm ptjumu metodoloijm (piemram, teksta lingvistisko analzi, zintnisk ieguldjuma veida un nozmes noteikanu) pievrsuies gan izcilu radtju personbas faktoriem, t.sk. daudz pttajm radouma - psihopatoloijas sakarbm, gan, balstoties uz gadjumu analzm, veikui ptjumus par radoo procesu un pat radouma neiropsiholoisko bzi, un tie sniedz jaunas atzias par kreativittes fenomenu. Vrttju saskaotba 4K kategorijs bija nozmga (k > 0,69). Atirbas Pro-K novrtjum (kappa 0,69) radja tie ptjumi, kuros ptts noteiktu specializcijas pakpi ieguvuu cilvku radoums, kas vairs nav ierindojams mazs-k lmen un tomr vl nav profesionls rados sniegums (Pro-K), piemram, mkslas vai dizaina studentu rados spjas. Atirbas mini-k kategorizan (kappa 0,77) visdrzk rada grtbas praktiski piemrot mini-k definciju ptjumu analzes proces. No vienas puses, mini-k var attiecint uz jebkuru radoo uzdevumu, kuru veicot, indivds gst jaunu, apzintu pieredzi un atzias par radoo darbbu. Tomr pieredzi transformjo nozme var nebt ptnieka uzmanbas lok vai atspoguota iegtajos datos. 3. Kreativittes ptanas lmenis Kreativittes ptanas lmea bieumu sadaljums CRJ 2007.-2009.gados publictos ptjumos ir atspoguots 8.tabul.
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Rezultti liecina, ka CRJ pdjo 3 gadu laik domin ptjumi indivda lmen (98,41%). Savukrt kreativitte grupas un sabiedrbas lmen ptta tikai apmram 10% ptjumu. Tas ir saska ar iepriekjo ptjumu atzim (Kahl etc., 2009) un auj secint, ka kreativittes psiholoisko aspektu ptniecb turpins tendence fokusties uz katra atsevia indivda radouma izpti, saldzinoi maz uzmanbas pievrot radouma izptei grupas attiecbs un kultras kontekst. 4. Ptjuma dizains Ptjuma dizaina bieumu sadaljums CRJ publictajos ptjumos 2007.-2009.gados atspoguots 9.tabul. Rezultti rda, ka CRJ pdjo 3 gadu laik prsvar publicti empriski ptjumi, tie veido vairk nek pusi no publictajiem rakstiem. Tas liecina, ka kreativittes ptniecb tpat k psiholoijas ptjumos kopum saglabjas emprisko ptjumu proporcionls vairkums. Apmram piekto dau no ptjumiem veido recenziju raksti, t.i., raksti, kuros autori ir kritiski izvrtjui cita zintnieka ptjumus. ie recenziju raksti dod iespju lastjiem un ptniekiem rpgk un vispusgk novrtt ptjuma atzias un rosina uz publisku, atkltu diskusiju. Iespjams, tendence pieaugt recenziju rakstiem pau tiei konkrt urnla iniciatvu un nav visprinma uz visprjo kreativittes psiholoisko aspektu ptniecbu. Tomr raksta autores uzskata, ka t ir vrtga un atbalstma tendence, ko vartu attstt un premt ar Latvij. Apmram piektdaa ptjumu par kreativitti ir veltta ptjumu prskatiem, metaanalzei vai jaunu teortisko konceptu izstrdei. Tas liecina par jaunu tendenci kreativittes ptniecb vispusgi analizt, apkopot, integrt jau esoo ptjumu bzi. Trspadsmit procentos ptjumu ir vrtti radouma ptniecbas metodoloiskie aspekti. Ttad, neliel apjom, bet metodoloiskie jautjumi ar tiek izstrdti un attstti. Prsvar tie ir ptjumi par metou izstrdi un adaptciju cits valods vai jauniem, specifiskiem kreativittes aspektiem, piemram, kulinrijas produktu radoums. 5. Ptjuma dalbnieku vecumposms Ptjuma dalbnieku vecuma bieumu sadaljums CRJ 2007.-2009.gados publictos ptjumos ir atspoguots 10.tabul. Rezultti norda, ka CRJ pdjo 3 gadu laik domin ptjumi par pieauguu cilvku kreativitti. Pieauguo cilvku izpte atklj radouma visprjs likumsakarbas, tomr ne vienmr pieauguiem raksturgs kreativittes likumsakarbas ir attiecinmas uz brniem. Brnu un pusaudu izptei veltti tikai nedaudz vairk nek 10% ptjumu. Iespjams, ka ds ptjumu dalbnieku sadaljums ir izskaidrojams ar CRJ specifiku, iespjams, brnu un pusaudu radouma psiholoisko aspektu ptnieki public savus darbus urnlos, kas specializjas attstbas psiholoij. Secinjumi Kreativittes dimensiju iedaljums saska ar papildinto Z. Ivcevias izstrdto kreativittes karti apliecina savu nodergumu kreatv potencila un rels rados uzvedbas izptes nodalan. Visprpieemtais 4P modelis nenoliedzami ir nodergs kreativittes ptjumu jomu aprakstan, tomr tas nedod iespjas preczi kategorizt noturgas radoas uzvedbas ptjumus jeb radoumu relaj dzv. Msuprt, btu lietdergi aj shm tomr ietvert ar Radoa produkta dimensiju, k tas ir 4P model, paredzot to ptjumiem, kuru centr ir produkta raksturojumi un kuros produkts kalpo nevis k ldzeklis potencila
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vai radoas uzvedbas (sasniegumu) izptei, bet uzskatms par artefaktu, kas tiek pakauts objektvai izptei. Piemrs dai dimensijai btu radoa proaktva produkta kritriji (Cropley et.al, 2008). Veiktais ptjumu prskats dod iespju secint, ka rado potencila dimensijas izpte domin pr radoas uzvedbas dimensijas izpti. T iespjamie iemesli ir metodoloiski - lielks radoo potencilu ietekmjoo faktoru skaits un ptniecbas metou daudzveidba - un praktis ki ptot tikai uzvedbu, nevar gt pilngu priekstatu par radoajiem resursiem jeb potencilu, turklt potencila izpte ciei saistta ar attstbas iespjm, uz kurm norda virkne ptjumu rezulttu (Scott, Leritz, Mumford, 2004). Iespjams, abu dimensiju paralla izpte dotu virkni praktisku ieguvumu, piemram, ptot potencila un rels uzvedbas likumsakarbas, turklt td veid paaugstinot rezulttu prognostisks iespjas. Diverents domanas un problmrisinanas spju izpte joprojm ieem galve no vietu radoo spju dimensijas ptjumos k rado potencila galvenie rdtji, savukrt procesa izpt ldzs rado procesa fu un taj iesaistto kognitvo operciju izptei aktuli ir praimingu izmantojoi ptjumi, kas sniedz nozmgas atzias par rado procesa norisi ietekmjoajiem faktoriem. Ptjumi apliecina zinanu un pieredzes nozar faktora nozmi radoaj sniegum, kas ptniekiem btu jem vr korektai ptjumu izlau veidoanai. Personbas jom maz ir ptti motivcijas aspekti, k ar ar radoumu saisttie pakoncepcijas aspekti, lai ar intencionalitte tiek uzskatta par oti btisku kreativittes komponentu (Runco, 2004). Radouma un psihopatoloijas sakarbu ptjumu patsvars ir oti neliels, lielkoties Liels-K kontekst. aj jom ldz im jau veikti daudzskaitlgi ptjumi, tomr jatzm, ka ar jaunkie no tiem sniedz virkni jaunu un interesantu atziu. Dadu apmcbu un instruktu ietekmes uz radoajm spjm un uzvedbu ptjumi rvalsts vartu bt pamudinjums ar Latvijas ptniekiem. Radoas uzvedbas ptjumiem ir btiska nozme, bet tam nepiecieama plaka metou bze, turklt ptniekiem jatspoguo ptmo uzvedbas aspektu vieta kreativittes koncepcij un tas, no kdm spjm, iezmm vai citm radoo spju kategorijm tie izriet. pai rado potencila ptjumus raksturo ar plas ptto konceptu skaits, tiesa, daa no tiem ir ar neskaidru nozmi kreativittes koncepciju struktr. Lai ar kreativittes psiholoij nozmgu vietu ieem kompleksie modei, ptjumos lielkoties tiek apskatti atsevii to faktori. Tas apliecina joprojm pastvoo daudzveidbu kreativittes konstrukta izpratn un nepiecieambu integrt ptjumu rezulttus pastvoajs teorijs. 4K modelis (Kaufman, Beghetto, 2009) ir sekmgi piemrojams kreativittes veidu ptniecbai, jo aptver lielko dau radoo darbbu un paredz diferenctku kreativittes veidu iedaljumu nek divjd izcil un ikdienas kreativitte. Ptnieku uzmanbas lok visbiek ir maz-k, kas norda gan uz kreativittes universls dabas paradigmu un ikdienas radouma aktualitti, gan, iespjams, saistts ar metodoloiskiem apsvrumiem, piemram, vieglk organizjamm ptjumu izlasm. Iespjams, mini-k ir tas kreativittes veids, kura definjum un interpretcij ptjumu rezultt jnonk pie preczk formultm pazmm. 4K modea ietvaros vl jturpina diskusijas par ptjumiem, kuros vrtts noteiktu specializcijas pakpi ieguvuu cilvku radoums, kas vairs nav ierindojams mazs-k lmen un tomr vl nav Pro-K. Btu ieteicams turpmkos ptjumos, jo pai mini-k, atspoguot transformjos pieredzes nozmi respondentiem. Otrkrt, veidojot ptjumu dizainu, ptniekiem btu lietdergi defint ptmo kreativittes veidu, tdjdi paverot iespjas atbilstoko metou izvlei un korektai rezulttu interpretcijai. K novittes kreativittes ptniecb CRJ izlas vartu izcelt proaktva radoa produk ta raksturojumus un kreativittes funkcionlo modeli, kur attiecinms uz kreatoloijas jomu un vartu bt ar nozmgu praktisku lietderbu (Cropley, 2008), G. Smita procesa-personbas
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teorijas pielietojumu kreativittes fundamentlai izptei ar psihometrisku, psihodinamiskaj pieej balsttu metodi Creative Functioning Test (Smith, 2008), iepazstinanu ar jaunm vai mazpazstamm kreativittes izptes metodm. Msdienu kreativittes ptniecb arvien ir aktuls jautjums par kreativittes visprgo vai specifisko dabu un autori lielkoties norda uz nepiecieambu emt vr k vienu, t otru (Plucker, Beghetto, 2004). Ldzgu prskata ptjumu kategorizcijas veikanai nkotn btu lietdergi piemrot dimensiju visprg nozares specifisk kreativitte. Pie ptjuma ierobeojumiem jmin tas, ka tas aptver tikai viena urnla CRJ 2007.2009.gada publikciju analzi. Ldz ar to ptjum konstatts tendences vartu determint konkrt urnla specifika. Pareizjais ptjums sniedz ieskatu radouma ptniecbas tendencs, bet tas nav vispusgs un visaptveros. Td galvenie secinjumi nav attiecinmi uz radouma ptniecbu kopum. Lai gtu vispusgku prskatu par radouma ptniecbu, turpmkos ptjumos vlams paplaint skotnjo izlasi, taj iekaujot dados urnlos publictus ptjumus, k ar doktora disertcijas. Tas sniegtu pilngku ieskatu par radouma ptniecbas tendencm. Izvltas piecas analzes kategorijas sniedz tikai ierobeotas ptjumu tendenu analzes iespjas. Turpmkos ptjumos btu vlams paplaint analzes kategoriju skaitu, piemram, papildus vartu novrtt, cik liel mr kreativitte ir ptta k visprga un cik liel mr k nozarei specifiska spja. Tas paldztu labk saprast iegto atziu visprinanas iespjas. Vrtga btu ar plaka starpkategoriju analze. Kopsavilkums. 2007.-2009.gada CRJ publikciju analze auj secint, ka kreativittes ptniecb domin empriski ptjumi, kas vrsti uz radoa potencila (spjas, process, personba) izpti pieauguiem cilvkiem individul lmen no ikdienas kreativittes jeb maz-k aspekta. Diverent domana un radoa problmu risinana lielkoties tiek uzskatta par fundamentlu kreativittes pamatu, piemtou jebkuram cilvkam. Kaut ar ikdienas kreativittes ptjumi sniedz praktiski plak pielietojamas atzias, jatzm, ka tiei izcili radou personbu ptjumi ir rosinjui zintniekus uz jaunm atzim un pavrsieniem radouma ptniecb. Pdjos gados zintnieki ir izveidojui vairkus kreativittes konceptus, kas emti par pamatu prskatu raksta sistematizan. Tau pareizjie koncepti vl joprojm neprklj visus kreativittes psiholoiskos aspektus. T, piemram, 4K model Pro-K un mini-k as pekti pagaidm ir neskaidri un nepilngi. Uz to norda ar saldzinoi ar citm kategorijm zemk vrttju saskaotba o aspektu novrtan. Tpc vlama turpmka Pro-K un mini-k psiholoisko aspektu teortiska un empriska izpte. Radouma karte (Ivcevic, 2009) sniedz vispusgu kreativittes dimensiju struktru. T auj apskatt kreativitti no iekpuses (potencils), no rpuses (uzvedba) un kreativitti kontekst (vide). Veidojot turpmku ptjumu dizainu, bt vrtgi apskatt ne tikai vienu kreativittes dimensiju, bet ar to savstarpjo mijiedarbbu. Ja vides mijiedarbba ar radou potencilu vai uzvedbu ir ptta, tad pagaidm nepilngi ir pievrsta uzmanba radoa potencila un uzvedbas savstarpjm likumsakarbm, k ar radoa potencila un uzvedbas kopjai in terakcijai ar vidi, kaut ar radoas uzvedbas dimensija it k iekauj radou sasniegumu aspektu, kas teortiski vartu nozmt ar radoa produkta mrjumus. Tomr t vairk vrsta uz radou sasniegumu jeb produktu sabiedrisku, ikdieniu novrtjumu, bet nepilngi izskaidro radoa produkta novrtanas psiholoiskos kritrijus, k to piedv Kroplijs un ldzautori (Cropley et.al, 2008). Turpmkos ptjumos btu vlams integrt s abas pieejas. Ievrojot msdienu tehnoloiju straujo attstbu un to lomu cilvku dzv, raksta autores ierosina radouma kartes vides dimensiju papildint ar virtuls vides radouma aspektu. Kaut ar kreativittes ptniecb ir tendence aizvien vairk ievrot dadus vides kontekstus, un tas ir nozmgi msdienu maingajos apstkos, CRJ saldzinoi maz bija
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ptjumu, kas vrsti uz cilvku savstarpjo attiecbu (pr, grup, organizcij) mijiedarbbu ar kreativitti. Dai ldzinjie ptjumi mrja dadu grupu vai attiecbu raksturojumu mijiedarbbu ar kreativitti, bet apskatot tos k statisku, nemaingu kontekstu. Tau, ievrojot, ka kreativitte tpat k cilvku savstarpjs attiecbas ir dinamisks process, turpmk ptjumos btu vrtgi izveidot ar tdus dizainus, kas atklj attiecbu un radoa procesa savstarpjo mijiedarbbu dinamik. Jauna, interesanta un nozmga tendence kreativittes ptjumos ir tiekans uz esoo ptjumu atziu integrciju, apkopoanu teortiskos konceptos un kritisku novrtanu starpdisciplnu kontekst. CRJ tas tika rosints, publicjot recenziju rakstus. Ievrojot rakstu krjuma Radoa Personba iedibinto starpdisciplinro pieeju, attstot kompleksus ptjumus kreatoloij, raksta autores uzskata, ka t btu atbalstma prakse ar Latvij publict plaka ptjuma recenzijas no dadu nozaru profesionu skatjuma. Tas pilngk atkltu kreativittes ptniecbas aktulo stvokli un mudintu uz zintnisku diskusiju, radou un kritisku komunikciju starp dadu nozaru kreativittes ptniekiem un dadu sfru ieinterestajiem.
LITERATRAS SARAKSTS 1. Bebre, R. (2002/2003) Kreativittes psiholoijas ptjumi Latvij. Zintnisko rakstu krjums Radoa personba, IIsj. Rga: RaKa, 11.22.lpp. 2. Bebre, R., sten, I., Roe, L. (2008) Kreativittes ptjumi Latvij un pasaul 2005.2007.gad. Zintnisko rakstu krjums Radoa personba, VIsj. Rga: KZI, 8.20.lpp. 3. Cropley, D.H., Kaufman, J.C., Cropley, A.J. (2008) Malevolent Creativity: A Functional Model of Creativity in Terrorism and Crime. Creativity Research Journal, No20 (2), p.105115. 4. Glveanu, V.P. (2009) Paradigms in the Study of Creativity: Introducing the Perspective of Cultural Psychol ogy. New Ideas in Psychology, doi:10.1016/j.physletb.2003.10.071 (05.08.2009.) 5. Horan, R. (2007) The Relationship Between Creativity and Intelligence: A Combined Yogic-Scientific Ap proach. Creativity Research Journal, No19(2/3), p.179202. 6. Ivcevi, Z. (2009) Creativity Map: Toward the Next Generation of Theories of Creativity. Psychology of Aesthetics, Creativity, and the Arts, No3 (1), p.1721. 7. Kahl, C.H., da Fonseca, L.., Witte, E.H. (2009) Revisiting Creativity Research: An Investigation of Contem porary Approaches. Creativity Research Journal, No21 (1), p.15. 8. Kaufman, J.C., Beghetto, R.A. (2009) Beyond Big and Little: The Four C Model of Creativity. Review of General Psychology, No13 (1), p.112. 9. Magyari-Beck, I. (1999) Creatology. In: Runco, A., Pritzker, S. (Eds.) Encyclopedia of Creativity, Vol.1. New York: Academic Press, p.433441. 10. Noppe, L.D. (1996) Progression in the Service of the Ego, Cognitive Styles, and Creative Thinking. Creativity Reserach Journal, No9 (4), p.369382. 11. Plucker, J.A., Beghetto, R.A. (2004) Why Creativity is Domain General, why It Looks Domain Specific, and why the Distinction Does Not Matter. In: Sternberg, R.S., Grigorenko, E.L., Singer, J.L. (Eds.) Creativity: From Potential to Realization. Washington, DC: APA, p.127151. 12. Rhodes, M. (1961) An Analysis of Creativity. Phi Delta Kappan, No42, p.305310. 13. Runco, M.A. (2004) Everyone Has Creative Potential. In: Sternberg, R., Grigorenko, E.L., Singer, J.L. (Eds.) Creativity: From Potential to Realization. Washington: APA, p.2130. 14. Runco, M.A. (2007) Correcting the Research on Creativity. Creativity Research Journal, No19 (4), p.321327. 15. Runco, M.A. (Ed.) (2007) Creativity Research Journal, No19, 398p. 16. Runco, M.A. (Ed.) (2008) Creativity Research Journal, No20, 450p. 17. Runco, M.A. (Ed.) (2009) Creativity Research Journal, No21, 416p. 18. Scott, G., Leritz, L., Mumford, M.D. (2004) The Effectiveness of Creativity Training: A Quantitative Review. Creativity Research Journal, No16 (4) p.36188. 19. Sim, J., Wright, C.C. (2005) The Kappa Statistic in Reliability Studies: Use, Interpretation and Sample Size Requirments. Physical Therapy, No85 (3), p.257268. 20. Simonton, D.K. (2007) The Creative Imagination in Picassos Guernica Sketches: Monotonic Improvements or Nonmonotonic Variants? Creativity Research Journal, No19 (4), p.329344. 41

21. Sternberg, R.J., Lubart, T.I. (2006) The Concept of Creativity: Prospects and Paradigms. In: Sternberg, R. (Ed.) The Handbook of Creativity. New York: Cambridge University Press, p.314. 22. Wallas, G. (1926) The Art of Thought. New York: Harcourt Brace, 314 pages 23. Welling, H. (2007) Four Mental Operations in Creative Cognition: The Importance of Abstraction. Creativity Reserach Journal, No19 (2/3), p.163177. 24. Zintnisko rakstu krjums Radoa personba, IVII sjums (19992009) Sast. Bebre, R. Rga: KZI. Mg.psych. Indra Krmia Rgas Pedagoijas un izgltbas vadbas akadmija Adrese: Imantas 7.lnija 1, Rga, LV-1083, Latvija Tlr.: (+371) 26564469 E-pasts: indra.krumina@gmail.com Mg.psych. Lga Roe Rgas Pedagoijas un izgltbas vadbas akadmija Kreativittes zintniskais institts Adrese: Imantas 7.lnija 1, Rga, LV-1083, Latvija Tlr.: (+371) 67860672 E-pasts: liga.roke@rpiva.lv

Pielikums APPENDIX 1.attls Kreativittes dimensiju % sadaljums CRJ publictajos rakstos 2007.-2009.gad Picture 1 % distribution of creativity dimensions covered in articles published in CRJ in 2007 2009

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1.tabula Satura analzes kategoriju apraksts Table 1 Description of thematic analysis categories
Kategorijas nosaukums, autors Kreativittes dimensijas, Ivcevic, 2009; Bebre, 2002 Apakkategorijas un to apraksts

Radoais potencils (radoums, kas ir/notiek cilvk iek) radoas spjas (diverent, konverent domana, zinanas, pieredze) rados process (k notiek radoums, piemram, rado procesa fzes (sagatavoans, inkubcija, enercija un prbaude), procesam ir laika dimensija, tas ilgst radoa personba (iezmes, pabas, afekti, motivcija, pakoncepcija u.c. nekognitvi fak tori, kas ir radoas personbas pamat) Radoa uzvedba (radoums, ko var novrot, tas bija/notika jau pirms ptjuma) radoas aktivittes (jebkura radoas darboans, piemram, dalba attiecgs darbbas noza res profesionlajs, intereu u.c. grups, ko cilvks radou dara neatkargi no ptjuma) radoi sasniegumi (produkti, sasniegumi, piemram, izgudrojumi, kas atzingi novrtti attiecgaj nozar vai attiecb pret konkrt vecumposma prstvjiem) Radoa vide fizisk vide (dadi rjs situcijas elementi, piemram, testu instrukcijas, testanas apstki un eksperimentls manipulcijas, k ar ikdienas mcbu vai darba vides fiziskais aprkojums) socil vide (imenes, skolas, darba vietas raksturojumi, k ar sabiedrbas normas un vrtbas) laiks (radoums individuls attstbas rsgriezum vai sabiedriski vsturiskaj aspekt) Recipienta psiholoija mkslas uztvere un pieredze (piemram, muzikls atmias no brnbas), attieksme pret radoiem produktiem, esttisks reakcijas u.tml. Kreativittes Lielais-K izcilu, ievrojamu niju radoums. Ptti cilvki, kuru sasniegumiem ir veidi, vsturiski paliekoa nozme Kaufman & Pro-K ikdienas kreativitti prsniedzoi sasniegumi, augsta profesionl kompetence. Beghetto, 2009 da kreativitte raksturga cilvkiem, kas ir atstjui nozmgu ieguldjumu kd rado nozar, eksperti sav jom, bet vl nav sasniegui vsturisko kritriju mazais-k ikdienas radoums, radoums, ar ko var sastapties jebkur cilvks mini-k cilvku radoos prdzvojumus, kas notiek apgstot kaut ko jaunu, dinamisks, persongi nozmgs interpretcijas process, kas prveido cilvka pieredzi, darbbas un notikumus jaun izpratn. Mini-c modelis auj vrtt kreativitti k prasmi, ko var un vajag attstt. visprgi nevar identifict, kur veids, teortisks raksts, kad analiz citu radouma koncep ciju u.c. Keativittes Individulais ja ptjums attiecas uz 1 cilvka radoumu, pat ja tas ir kdas grupas loceklis lmenis, Magyari- Grupa ja tiek ptta mijiedarbba starp vairkiem cilvkiem un/vai grupm Beck, 1999 Sabiedrba konkrtas kultras prstvju radouma izpte, starpkultru saldzinjums

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2. tabula Metodoloisko analzes kategoriju apraksts Table 2 Description of methodological analysis categories
Kategorijas nosaukums, autors Vecumposms Apakkategorijas un to apraksts Brni ptjuma dalbnieki ldz 11 gadu vecumam Pusaudi ptjuma dalbnieki no 12 ldz 17 gadu vecumam Pieauguie ptjuma dalbnieki no 18 gadu vecuma Visprgi ne-empriski ptjumi, kuru secinjumi attiecinmi uz kreativitti kopum, neizceot noteiktu vecumposmu Emprisks oriinls ptjums, kur tiek izklstta ptms problmas btba, teortiskais pamatojums, mri, metodes, rezultti un to interpretcija. Atsevii izdalt empriskus kvantitatvus un emprisku kvalitatvus ptjumus. Gadjuma ptjums kda gadjuma materilu, iegtu darb ar indivdu vai organizciju, ar mri ilustrt problmu vai izgaismot kdu teortisku aspektu. Prskatu raksts apkopo un kritiski novrt iepriekjos ptjumus, lai informtu lastjus par msdienu ptniecbas stvokli, identific attiecbas, pretrunas, robus un nekonsekvences literatr, ierosina problmas risinanas nkamos sous Recenziju raksts recenzijas par citu ptnieku publikcijm Teortiskie raksti prezent jaunu teoriju, jaunas teortiskas koncepcijas Metodoloiskie raksti piedv jaunas metodoloiskas pieejas, jau pastvoo metou modifikcijas un diskusijas par kvalitatvm un kvantitatvm pieejm ptniecb Meta-analzes raksti prskats par virkni vienas tematisks jomas ptjumiem, kas rezumjas ar jauniem secinjumiem, kas balsts uz iepriekjo ptjumu datu meta apstrdes rezulttiem.

Ptjuma veids

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3.tabula Vrtjumu saskaotbas rdtji(Kappa koeficients un nozmbas lmenis) Table 3 Concordance of categorization among independent raters (Kappa and level of significance)
Kategorijas Spjas Process Personba Potencils kop Aktivittes Sasniegumi Uzvedba kop Fizisk Socil Laiks Vide kop Recipienta psiholoija Liel-K Pro-K Maz-k mini-k Visprgi Indivds Grupa Kultra, sabiedrba Brni Pusaudi Pieauguie Empriskais kvantitatvais Empriskais kvalitatvais Gadjuma Prskata Recenziju Teortiskais Metodoloiskais Meta-analzes Mcbu izlase (n=30) Kappa Sig. Radoais potencils 0,434 0,018 0,654 0,000 0,220 0,058 0,655 0,000 Radoa uzvedba -0,09 0,619 0,439 0,016 0,252 0,173 Vide 0,216 0,061 0,525 0,001 -0,048 0,728 0,23 0,052 Recipienta psiholoija 0,713 constant 0,344 0,403 -0,058 -0,058 -0,036 constant constant 1,00 1,00 0,557 0,000 4K modelis 0,062 0,014 0,684 0,684 Lmenis 0,847 Vecums 0,00 0,00 0,002 Ptjuma dizains 0,000 0,000 0,000 0,011 Kontroles izlase (n=20) Kappa Sig. 0,80 1,00 1,00 0,64 1,00 0,88 1,00 1,00 1,00 1,00 1,00 1,00 1,00 0,69 1,00 0,77 1,00 constant 1,00 1,00 constant 1,00 1,00 1,00 1,00 1,00 1,00 1,000 0,83 1,00 constant 0,000 0,000 0,000 0,000 0,000 0,000 0,000 0,000 0,000 0,000 0,000 0,000 0,000 0,001 0,000 0,001 0,001 0,000 0,000 0,000 0,000 0,000 0,000 0,000 0,000 0,000 0,000 0,000

0,758 0,651 constant 1,000 constant 0,365 constant

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4. tabula % sadaljums rado potencila dimensij CRJ publictajos rakstos 2007.-2009.gad (N=126) Table 4 % distribution of creative potential dimension in articles published in CRJ in 2007 2009 (N=126)
Kategorija Potencils kop Spjas un zinanas Procesi Personba n 105 70 51 55 % 85,7 55,6 40,5 43,7

5. tabula % sadaljums rados uzvedbas dimensij CRJ publictajos rakstos 2007.-2009.gad (N=126) Table 5 % distribution of creative behaviour dimension in articles published in CRJ in 2007 2009 (N=126)
Kategorija Radoa uzvedba kop Aktivittes Sasniegumi n 45 23 27 % 35,7 18,3 21,4

6. tabula % sadaljums vides dimensij CRJ publictajos rakstos 2007.-2009.gad (N=126) Table 6 % distribution of environmental dimension in articles published in CRJ in 2007 2009 (N=126)
Kategorija Vide kop Fizisk vide Socil vide Laiks n 51 31 28 20 % 40,4 24,6 22,2 15,9

7.tabula Ptto 4C kreativittes veidu % sadaljums CRJ publictajos rakstos 2007.-2009.gad (N=126) Table 7 % distribution of 4C kinds of creativity in articles published in CRJ in 2007 2009 (N=126)
Kategorija Liel-K maz-k Pro-K mini-k Visprgi n 10 54 20 20 37 % 7,8 40,6 15,9 15,9 29,4

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8.tabula Kreativittes ptanas lmea bieumu sadaljums CRJ publictajos ptjumos 2007.-2009. gad (N=126). Table 8 % distribution of creativity research levels in articles published in CRJ in 2007 2009 (N=126)
Lmenis Individulais Grupa Sabiedrba n 124 9 5 % 98,41 7,14 3,97

9.tabula Ptjuma dizaina bieumu sadaljums CRJ publictajos ptjumos 2007.-2009.gados (N=126). Table 9 % distribution of kinds of research design in articles published in CRJ in 2007 2009 (N=126)
Dizains Emprisks kvantitatvs Emprisks kvalitatvs Gadjuma ptjums Prskata raksti Recenziju raksti Teortiski ptjumi Metodoloiski ptjumi Meta-analzes ptjumi n 65 17 8 5 25 14 13 6 % 51,59 13,49 6,35 3,97 19,84 11,11 10,32 4,76

10. tabula Ptjuma dalbnieku vecuma bieumu sadaljums CRJ publictajos ptjumos 2007.-2009.gados (N=126). Table 10 % distribution of participants age in articles published in CRJ in 2007 2009 (N=126)
Vecumposms Brni Pusaudi Pieauguie Visprgi 7 7 77 37 n % 5,56 5,56 61,11 29,37

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Iryna Sekret. I was born in 1974. In 1995 I graduated from Dniepro petrovsk state university with a degree in psychology and English teaching. In 2002 I defended my PhD thesis The Psychological Fac tors of the Foreign Language Text Production. I am an associate pro fessor in Dnieprodzerzhinsk state technical university, the head of the Foreign language department. My scientific interest is the professional competence development through e-learning.

IRYNA SEK RET Dnieprodz erz hinsk state tech ni cal uni ver sity Ukraine

PSY CHO LOGI CAL AS SUMP TIONS OF EN HANC ING STU DENTS CREA TIV ITY WITHIN THEIR PRO FES SIONAL COM PE TENCE AT A HIGHER SCHOOL
Ab stract In tro duc tion. The de vel op ment of a com pe tent and crea tive per son al ity is of prime im por tance, so the cor re la tion of pro fes sional com pe tence and crea tiv ity is worth of spe cial re search. Aim of the study. The in ves ti ga tion of crea tiv ity within pro fes sional com pe tence. Ma te ri als and meth ods. Analy sis of theo reti cal sources, ob ser va tion, teach ing ex peri ence analy sis. Re sults. Strate gies of en hanc ing crea tiv ity along side stu dents pro fes sional competence. Conclusions. As creativity is a complex and dynamic unity determined by a persons intellectual and psychic abilities, at a higher educational establishment it is important to provide conditions for its further development within students professional competence. Key words: creativity, personality, professional competence. IN TRO DUC TION Nowa days there is a need for spe cial ists, who are able to think and act ex cep tion ally, ready for self-de vel op ment and ca pa ble to solve prob lems in non-stan dard situa tions (Zalubovskaya, 2009). Therefore, the edu ca tional sci ence is con cerned with the prob lem of the de vel op ment of a per son al itys crea tive abili ties, i.e. how to bring up crea tiv ity as a fea ture of the per son al ity. The com pe tence ap proach as one of the edu ca tional con cepts en tails quali ta tive changes in the con tents of edu ca tion and es ti ma tion of its out comes (ibid). According to its prin ci ples, an edu ca tional in sti tu tion is due to pro vide nec es sary con di tions for quali ta tive knowl edge ac qui si tion and pro fes sional skill de vel op ment as well as mo ti vat ing stu dents to en hance their po ten tial for fur ther per son al ity growth and professional career. AIM OF THE STUDY Topi cal ity of the prob lem for the edu ca tional sci ence and prac tice de ter mined the aim of the study, that is (a) to in ves ti gate the na ture of crea tiv ity and fac tors which de ter mine its en
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hanc ing in pro fes sional ac tiv ity, and (b) to de scribe strate gies of its en hanc ing within stu dents pro fes sional com pe tence at a higher school. MA TE RI ALS AND METH ODS The aim of the study was achieved by the analy sis of the theo reti cal sources on the crea tiv ity in pro fes sion, ob ser va tion and analy sis of teach ing ex peri ence at a higher school. The study re lies on the theo ries ac cord ing to which crea tiv ity is based on a com bi na tion of per sonal and so cial as pects, edu ca tion and train ing, pro fes sional back ground, so cial and eco nomic fac tors, cul tural traits, his toric and po liti cal events (Heinla, 2009). Bon darevskaya (1999) char ac ter izes crea tiv ity as (1) an ac tiv ity aimed at cre at ing some thing es sen tially new; (2) a proc ess which is al ways origi nal and im plies us age of new fa cili ties, ways, unique pro grammes of ac tiv ity; (3) in ven tion of new use ful com bi na tions com pris ing ele ments from dif fer ent sys tems; (4) one, which is closely con nected with cog ni tion, tiv ity; in the proc re flec tion on re al ity; re flec tion is a ground for crea ess of crea tiv ity a per son deep ens his/her knowl edge, there fore, crea tiv ity turns into a form of study ing re al ity; (5) a proc ess of set ting and solv ing non-stan dard prob lems; any prob lem de ci sion en tails set tling con tra dic tions; (6) the high est type of a per sons ac tiv ity, a way of his/her ex is tence, a form of self-de vel op ment and self-re ali za tion; (7) a unity of the spiri tual and the ma te rial. Mul ti ple stud ies of the in ter re la tion be tween a per son al itys in tel lec tual level and pro fes sional ac tiv ity dem on strate that pro fes sion ally suc cess ful and crea tive peo ple are noted for high re sults in IQ tests. It means that the role of the in tel lec tual com po nent in a per sons crea tiv ity is suf fi ciently im por tant (So rokina, 2007 Simultaneously, self-es ti ma tion of ones own in tel lec tual abili ties is a sig nifi cant fac tor for suc cess in pro fes sional crea tiv ity (ibid). Compre hension of his/her own crea tive status contributes to creativity in the profession. Re search ers of the cor re la tion be tween per son al ity, in tel lect and crea tiv ity em pha size the pri or ity of per sonal fac tors over in tel lec tual ones. A crea tive per son al ity is dis tin guished by bold ness, open ness for new ex peri ence, origi nal ity, cog ni tive needs, in de pend ence, and flexi bil ity (ibid Among fun da men tal char ac ter is tics of a crea tive per son al ity there is an ac tive in ad apta bility, spon ta ne ous pro duc tiv ity, re flec tion upon new pos si bili ties (ibid). Results In or der to dif fer en ti ate the strate gies of en hanc ing crea tiv ity within stu dents pro fes sional com pe tence, it is ur gent to de fine the con nec tion be t ween per son al itys crea tiv ity and pro fes sion, namely, pro fes sional com pe tence as it func tions in real life. Pro fes sional com pe tence is an in di vid uals abil ity to ful fill suc cess fully spe ci fic tasks on the ba sis of ade quate in ter pre ta tion of the situa tion and his/her pos ses sion of the nec es sary rep er toire of the be hav ior strate gies. Com pe tence com prises knowl edge, skills, hab its, and abili ties, per sonal traits which con trib ute to the in creas ing of self-ef fi cacy in the pro fes sional and so cial en vi ron ment (Sek ret, 2009). From the point of view of train ing spe cial ists, pro fes sional com pe tence can be pre sented as a unity of (a) key com pe tences, which de ter mine suc cess ful ac tiv ity of a crea tive per son al ity in ever chang ing world, (b) gen eral pro fes sional com pe tences, char ac ter ized by a com plex and in ter dis ci pli nary na ture and con di tioned by the pro file of the stu dents train ing, (c) spe ci fic pro fes sional com pe tences, de vel oped within the frame work of spe ci fic pro fes sional dis ci plines (Sten ina, 2007 The de vel op ment of stu dents pro fes sional com pe tence in the unity of its com po nents can be pre sented sche mati cally in Fig ure 1.
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Fig ure 1. De vel op ment of the Stu dents Pro fes sional Com pe tence at a Higher School (Af ter Sten ina, 2007) The de vel op ment of the pro fes sional com pe tence re sults in the en hanc ing of pro fes sional con scious ness which, in its turn, is de ter mined by the per son al ity as a doer of this ac tiv ity and her/his be liefs about the pro fes sion (Smahtina, 2008). There fore, a per son al itys pro fes sional con scious ness is a re flec tion of all the struc tural com po nents of his/her self-con scious ness onto the pro fes sional ac tiv ity. It in cludes such as pects, as (a) a per son al itys adop tion of norms, rules, mod els of the pro fes sion as a set of stan dards for un der stand ing his/her own quali ties; (b) com pre hen sion of those quali ties in other peo ple, (c) his/her com pari son with an ab stract col league or a real one; (d) his/her es ti ma tion as a pro fes sional by the col leagues; a per son al itys self-es ti ma tion (ibid Pro fes sional con scious ness is re ferred to as a per sons self-re ali za tion, firstly, in the sys tem of pro fes sional ac tiv ity, sec ondly, in the sys tem of pro fes sional com mu ni ca tion, and, thirdly, in the sys tem of ones own per son al ity (ibid The back ground of the per son al itys selfre ali za tion is a need for fur ther self-de vel op ment and self-ef fi cacy (Kravchenko, 2008 Among main spheres of self-re ali za tion are, first of all, a pro fes sional sphere (in clud ing edu ca tion) and a sphere of pri vate life (mar riage, birth of chil dren, etc (ibid Self-re ali za tion is an in te gral at trib ute of an adults de vel op ment, re veal ing and re ali za tion of his/her po ten tial. The per son al itys self-re ali za tion in so ci ety is dou ble-sided. Re al iz ing his/her own needs, ideas and plans, the per son al ity in flu ences the near est sur round ing, and si mul ta ne ously con trib utes to the so ci ety life (ibid). Mak si mova (2002) states that pro fes sional ac tiv ity in the struc ture of vi tal val ues can be viewed as: a) a main sense of ex is tence, b) a con sid er able com po nent, c) an out ly ing com po nent. More over, the more the pro fes sional ac tiv ity is val ued, the higher is the de gree of selfre ali za tion in the pro fes sion, i.e. pro fes sional re quire ments and per son al itys mani fes ta tions be come to merge (Kravchenko, 2008). The pro fes sional ac tiv ity turns into the most im por tant con di tion and sphere of the per son al itys mani fes ta tion. If pro fes sional ac tiv ity oc cu pies an out ly ing place in the struc ture of vi tally im por tant ori en ta tions, the pro fes sional re quire ments and the per son al itys mani fes ta tion come into con tra dic tion (ibid).
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Vahro mov (2002) con sid ers that pro fes sional en vi ron ment pro poses unique pos si bili ties for the per son al itys self-re ali za tion. This pos si bil ity is con nected with the pres ence of com plex prob lems, which re quire origi nal de ci sions. Self-re ali za tion is in di vid ual by na ture. It is con di tioned by self-es teem and per sonal per cep tion of the world (Kravchenko, 2008). A posi tively col oured im age of the world pro motes pro fes sional self-re ali za tion since it al lows the per son al ity to con sider his/her ef forts in pro fes sion not in vain and stimu lates fur ther ac tiv ity. An in ter nal de pres sive rep re sen ta tion of the world gen er ates self-mis trust, un der es ti ma tion of ones own pos si bili ties (ibid The higher de gree of the per son al itys self-re ali za tion, the more of ten s/he ex peri ences positive emotions, the more satisfied s/he feels about his/her life (ibid). Professional self-realization is conditioned by the choice of an educational establish ment or a work place (professional self-determination), then, a type and direction of profes sional activity, advancements in the chosen profession, and the growth of the professional com petence (ibid.). Creative potential is not fulfilled unless the personality is motivated to do so, and creative solutions are not found unless s/he is moti vated to apply his or her skills (Runko, 2007). The connection between motivation and the results of professional activity is intermediated by the personalitys inborn abilities, obtained professional skills (Artemenko, 2007), the work essence and its social evaluation, the personalitys need for self-realization and self-efficacy. In practice, the status motivation plays a considerable role in stimulating the personality to achieve higher positions and to fulfill more complicated work (Krushelnitska, 2006). One of the main motives in the professional activity is the motive of self-efficacy. The feeling of his/her own dignity and desire to be meaningful in society stimulates the personalitys professional activity. The impact upon the personalitys creativity in the professional activity, a need for self-realization in the professional environment through the professional competence and con sciousness is presented in the appendix (figure 2). Taking into consideration the psychological assumptions of creativity in the context of the professional competence it is possible to highlight strategies of enhancing students creativ ity to develop within their professional competence at a higher school. First of all, it should be noted that students professional competence is influenced by external and internal factors (Zalubovskaya, 2009). So, for enhancing students creativity in profession it is important to take into account both factors. External factors include the state educational standard of the higher vocational training, curricula, methodological background of the educational process, professional competence of the teaching staff, extracurricular educa tion. Internal factors comprise individual psychic and physiological particularities of the per sonality that form a core of the personalitys professional self-realization. To intensify exterior factors several strategies can be distinguished, such as: 1. Enlarging students educational environment through the integration of professional and humanitarian subjects in the form of seminars and optional classes (Stenina, 2007). It would help to overcome a mosaic character of knowledge which students obtain at different courses and contribute to the development of their professional competence with all the multiplicity of its implementation in real life. 2. Learning on the basis of problem-solving tasks and project work. It entails absence of ready-made answers and stimulating students to search for their own original way out from the given situation on the basis of knowledge and skills obtained at lectures and practical classes. 3. Stimulating students extracurricular work and education. Being organized on the principle of integration of the professional and humanitarian knowledge, it allows to introduce new forms of the students cooperation with their peers, students from other higher educational
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establishments, their teachers, and people successful in a certain professional field. Enlarging the learning space beyond their traditional classroom, extracurricular work facilitates the devel opment of the students skills of creative solution of the professional tasks. 4. Enhancing students informational culture. The informational culture is a component of the personalitys general culture, which is a unity of the information outlook, knowledge and skills, providing goal-directed independent activity to satisfy personalitys informational needs by traditional and new informational technologies (Gendina, 2008). It is the most important fac tor for the personalitys successful professional activity, everyday life, and his/her social sound position in the informational society (ibid.). An ability to create ones own informational pro duct on the basis of the independently found, critically evaluated and transformed information is an important characteristic of a creative personality. Its development is of a prime urgency for the modern system of education. It is suggested that a strong tie exists between a creative personality and his/her informational culture. This relation results in increasing his/her intellec tual work productivity as its essence entails the personalitys abilities to analyze, compare, and generalize. A high level of the informational culture results in the psychological and intellectual courage and independence which are necessary for creativity. Therefore, besides certain psyc hic features, students should gain special knowledge, skills, and experience to enhance their informational culture as an important contributor to their future profession and creativity. Conclusions The study was aimed at (a) the investigation of creativity and factors which determine its enhancing in the professional activity, and (b) description of the strategies which would allow its enhancing within students professional competence at a higher school. The find ings of the present study are grounded upon the recent research of creativity and professional competence. Due to the conducted analysis, creativity in profession is a complex and dynamic unity which is determined by the personalitys inborn intellectual and psychic abilities as well as those gained during his/her life, communication, learning and other forms of interaction with the surrounding environment. So, at the stage of the higher education it is important to provide all necessary conditions for further development of the students creative abilities and direct them into the sphere of their future profession. Among main strategies of the professional creativity development it is essential to reorganize their educational environment on the basis of the profession and humanitarian knowledge integration; problem-based learning and project work; enhancing students extracurricular work and education; development of the students informational competence through appropriate tasks and activities.
REFERENCES 1. Runco, M.A. (2007). Motivation, Competence and Creativity. In A. J. Elliot, C. S. Dweck (Eds.), Handbook of Competence and Motivation. New York, London: The Guilford Press. 2. Heinla, E. (2009). Creativity in Estonian Society: Students Vision. In Creative Personality. Collection of Scientific Papers VII. Riga: Scientific Institute of Creativity. 3. Sekret, I.V. (2009). Methodological Background of the Competence Approach to the University Students Training in Ukraine. In EDULEARN09 Proceedings CD. EDULEARN09. International Conference on Education and New Learning Technologies. 6th-7th July. Spain, Barcelona: IATED, from www.iated.org/ edulearn09. (Retrieved July, 2009) 4. , . (2007). , from http://www.library.oridu.odessa. ua/library.exe?e=d-00000-00--0oripa220--00-0--0-10-0---0---0prompt-10---4-------0-1l--11-ru-50---20-about---00-0-1-00-0011-1-0utfZz-800&cl=CL2.1&d=HASH01a235efc19771204313cee6&x=1. (Retrieved July, 2009) 52

5. , .. (1999). . In , 3, c.37-43. 6. , . . (2002). . In . .: , c. 147-164. 7. , .. (2008). , (. 2), from http://emag.iis.ru/arc/infosoc/emag.nsf/BPC/a1811d9b47e6ce8ec325759400302 5fa. (Retrieved July, 2009) 8. , .. (2009). -. . -, from http://www.spbstu.ru/science/files/0000011D.doc (Retrieved July, 2009) 9. , .. (2008). , from http://www.pacademy.edu.by/academ/doc/kpu/ 2008/kravchenko.doc. (Retrieved July, 2009) 10. , . ., , . . (2006). : . , . .: , 308 . 11. , . . (2002). . In . .: , c. 194-207. 12. , .. (2008). . . , from http://www.rags.ru/files/dissertation/383.doc. (Re trieved July, 2009) 13. , .. (2007). , from http://www.acmeology.ru/files/journal/N1-2007/ sorokina.pdf. (Retrieved July, 2009) 14. , .. (2007). , . . , from http://www.art-education.ru/ avtoreferaty/avtoreferat-stenina.doc. (Retrieved July, 2009) Iryna Sekret PhD, Head of the Foreign Language Department, Assistant professor Dnieprodzerzhinsk state technical university Dnieprobudivska str, 1, Dnieprodzerzhinsk, Dni epropetrovska reg., Ukraine, 51900 Office phone + 38569538566 Mob. phone + 380503625660 irenesekret@mail.ru APPENDIX

Picture 1 Persons Creativity in Profession

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Mra Vidnere, dzimusi 1951. gad, precjusies, 3 pieaugui brni un 3 mazbrni. Vaasprieki: peldana, drza darbi ziedi, dziedana, ceojumi, sevii kop ar imeni. Blakus intereses psiholoij: mkslas un smilu terapija, transpersonl psiholoija. Manas dzves moto: Es piederu pie tiem, kas neietilpst starp cepuri un zbakiem tpc mana interese par nezinmo ir neizskstoa. Esmu mga mekltja, ceotja un jsmotja par patiesm, labestgm cilvku jtm. MRA VIDNERE Rgas Pedagoijas un izgltbas vadbas akadmija Latvija

Dzves izturbas, STRESA un Kreativittes resursu Mijsakarbas studentiem

Kopsavilkums

Ievads. Dzves izturba ir viens no personbas kreativittes potencilu veicinoiem nosacjumiem. Darba mris. Sniegt teortisku un praktisku ieskatu par dzves izturbas, stresa un kreativittes resursu paaugstinanas iespjm studentiem. Materili un metodes. Stresa noteikanas aptauja, Stresa jomas aptauja, Kreativittes kvalitu izvrtanas aptauja, Kreativittes resursu barjeru aptauja, Dzves izturbas aptauja. Datu apstrde Microsoft Excel programm. Rezultti. Kreativittes resursu barjeras ir tie sakarb ar stresa lmeni, t paaugstinanos. Secinjumi. Ptot kreativittes resursu un dzves izturbas paaugstinanas iespjas studentiem, ir konstattas cieas korelatvas saiknes starp dzves izturbu, kreativittes resursiem un kreativittes kvalittm. Atslgas vrdi: dzves izturba, kreativitte, kreativittes resursi,kreativittes barjeras, stress, stresa jomas.

Role of Life hardiness FOR Developing Resourses of Creativity for students SumMary
Introduction. The decade since social changes in Latvia have been characterized by preoccupations with overwhelming social problems. Recent political, social and economic changes in the Baltic states have encouraged shaping new actuality in social psychology and culture. A human being who is not capable to adapt in a new environment can encounter a nega tive transformation: changes in psyche, health deterioration, collapse of social viewpoints. This period is characterized by identity crisis, anxiety, depression and emotional disturbance as well independent creative thinking and future designing emerged. As quantity of studies increase there are serious lack of physical activity, creative and integrative approach to individuals de velopment in high school period. Although the most logical progression would be to start with the basic skills to help students lower the level of stress. First there are the basic fire-fighting skills which offer imme
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diate reduction of tension and anxiety. Next, the restorative skills which require some practice before relief is experienced. And finally, there are the various life enhancement skills which gradually lead to changes in students life hardiness to provide relative immunity to stress, and developing creativity resources. Aim of the study is to determine significance of personalitys Life Hardiness and Creativity`s resources. Research of Life hardiness correlation to Stress level, Stress dimensions (Vidnere, Nucho, 1998) and barriers for creativity. Research participants indicates barriers for creativity resources and level of creativity awareness (pedagogical students at the age 25 to 50, mid age 35,9). Materials and methods. There are several methods applied in this research: test As sess your creativity resources (E.P. Torrance, 1989, adapted M. Vidnere). The Generalized Contentment Scale developed by Hudson questionnaire (W. Hudson, 1982, adapted M. Vidnere, A. Nucho), is another relativity simple means of establishing a baseline. Barriers of Creativity resources questionnaire (E. Torrens, adapted M. Vidnere), Creativity resources: Quality`s (N. Vishnakova), Life Hardiness questionnaire (D. eontjevs, adapted M. Vidnere). Date process ing Microsoft Excel program. Results. In today`s world a sense of balance is threatened by changes in the ex ternal and the internal environments. When crises occur, an understanding of the underlying mechanisms of reactions to stress presented in this work are crucial to the practioner`s ability to modify the changes precipitated by crisis and developing life hardiness. The response to stress is complex and vulnerability of the individual to particular kind of pressure. Stress may manifest itself in any one of them. Sometimes several of the five domains is a cause for concern, this concern will spill over and affect the rest of the system. This interrelationship is one of the characteristics of a system. But what is equally true is that the effects go in both directions. Im provement in one subsystem flow over into the other subsystems. It may be too overwhelming to attend to all the sources of stress in ones life. Twenty-five years after Selyes initial work on stress, Kobasa (1979) focused on what she called the subtle points in his findings in an attempt to isolate factors that mitigate negative impacts of stressful events. In Kobasas determination, persons who experience high degrees of stress without becoming ill have a personality structure differentiating them from those who become sick under stress. Kobasa called that personality structure hardiness. Kobasa, Maddi, and Kahn (1982) believed that hardy persons possess three major characteristics: control, commitment, and challenge. Hardy persons recognize they have op tions to exercise judgment and make good decisions (control), opportunities to become actively involved in various life activities (commitment), and abilities to perceive change as beneficial (challenge). When faced with a stressful life event, hardy persons will attempt to change or modify events (control) into a challenge consistent with lifes purpose (commitment) that re sults in learning and personal growth (challenge) (Bigbee, 1985). Various studies have explored the benefits of a hardy personality and its positive relationship to mediating stress of stress. In her study of upper and middle-level executives with comparable levels of stress, Kobasa (1979) found that highly stressed executives with low illness rates exhibited more hardiness than highly stressed executives who exhibited a high rate of illness. Csikszentmihalyi (1990,1996) has concluded that the major distinguishing character istic of creative people is the capacity to experience flow, that experience of timelessness and oneness with the activity in which one is engaged. In a flow state, people have a sense that their abilities are only just equal to the challenge, they are caught up in the process of creating in order to enhance the flow state.
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In addition to these characteristics and life conditions that enhance creativity, certain psychological conditions can block creativity. Although creative individuals often are consid ered to live on the edge and generally choose more independent stress management skills. Results of research demonstrate that Stress Management skills increase multiple cre ativity resources and Life Hardiness, to reduce the Stress level and barriers of creativity. When a person has high level of stress, then his ability to risk is lowered and the life hardiness is af fected. When stress is high,a person has a feeling of injustice and his ability to solve problems is low. Life hardiness and the ability to control stress in one`s life improves. Conclusions. The study also showed that the Pearson correlation coefficient showed a linear correlation relationship between the Life hardiness and creativity resources (r = 0.39, p < 0.05), as well as the durability and life stress, and stress fields (r = 0.61, p < 0.05). Life hardiness test score associated positively with the ability to control pas sion p < 0.05 level, a positive, statistically significant. Life hardiness questionnaire score associated with a positive personality and passion for life control capabilities: ability to control the excitement (statistically significant p < 0.05 level) correlated positively. The initial idea calculated Pearson correlation coefficients of the linear stress, creativity and Life Hardiness test between the scale (see att.5). For the detailed study of the general characteristics of the sample characteristics and to better understand the relationships be tween variables, factor analyses performed with Varimax rotation. The 11 factors explained 94.16 % of the total variance. Pearson correlation coefficient showed a linear correlation relationship (see tables.4) between Life Hardiness and life commitment (0.58 p < 0.01). As well as the risk-taking challenge (0.33 p < 0.01), and the ability to control (0.37 p < 0.01). The two tests (see tables 6-7) positive correlation between the scale factor of more than negative. A high body weight, stress, boredom, stress ratio due to the high level of creativity. Compensatory response, attention switch, while maintaining the strength of life. High levels of stress, a sense of injustice, integrity problems due to the low creativ ity. Metaphor, abstraction, reflection, pracsis skills are higher and the associated stress. Life strength, especially in the control ability and risk taking in high stress lower because they are contrary to the concept. (see tables 5-7). We can concluded, that and Life Hardi ness increases creativity resources and reduced stress level There is correlation between Life Hardiness and creativity`s resources and dimensions of creativity.(see tables4-6). Key words: Creativity, Dimensions of creativity, Life Hardiness, Barrier of Cre ativity, Stress. IEVADS Ieilgus socils prmaias, kas negatvi skruas valsts socilos un finansilos as pektus, smagi ietekmjuas ar cilvka emocionlo stabilitti, stresu ikdienas dzv, k ar profesionls darbbas produktivitti. Lai konstruktvi prvartu raduos krzi, personbai ir nepiecieama stabila psihisk veselba, kuras pamatu veido dzves izturba un emocionl labsajta. To nosaka divi komponenti: dzves izturba stresa rezistence un savu kreativittes resursu attstba. Dzves izturba ir viens no personbas kreativittes potencilu veicinoiem nosacjumiem. dARBA MRIS Izptt dzves izturbas, stresa kreativittes resursu un ts kvalitu mijsakarbas studentiem.
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mATERILI UN metodes Ptjum izanalizti dzves izturbas, kreativittes un stresa galvenie teortiskie as pekti. Dzves izturbas aptauja novrt savas dzves situciju, kontroles spjas un gatavbu riskam (,,2006), kuru 2008. gad latvieu valod aprobjusi M. Vidnere. (Vidnere,2009) Stresa lmea noteikana saistta ar skumlnijas novrtjumu stresa lmeni (pc Nucho, Vidnere, 1998,2004). Stresa jomu aptauja (pc Nucho, Vidnere, 1998) atspoguo stresa raans avotus, Kreativittes izvrtanas aptauja (Vidnere, Viakova. 2004)nosaka kreativittes kvalittes un kreativittes resursu barjeras (Rickards;Jones,1991) atspoguo kreativittes resursu izmantoanas barjeras, to lmeni. Ptjum aprobcij piedaljs 20 RPIVA maistratras studenti, vecum no 25 ldz 51 gadam (vidjais vecums 35,9). Datu apstrde Microsoft Excel programm. Darbs veikts humnistiski-sistmiskaj aspekt, kur kreativittes attstana ir indivda parealizcijas pamats. REZULTTI Dzves izturba (hardiness) raksturo personbas spjas izturt stresa situcijas, saglabjot iekjo sabalanstbu un nemazinot darbbas sekmgumu. is jdziens tika izmantots ptjumu proces, kad tika meklta atbilde uz jautjumu kdi psiholoiskie faktori sekm stresu prvaranu un iekjs spriedzes samazinanu? Dzves izturbas jdziens, ko ieviesa Sjzena Kobeisa un Salvatore Madi (Kobasa, 1979; Maddi, Ko basa, 1984), atrodas eksistencils psiholoijas teortisko uzskatu un stresa psiholoijas krustpunkt. Dzves izturbas praktisko aspektu nosaka t vieta, kda im personbu raksturojoajam faktoram ir atvlta sekmgai personbas pretstvanai stresa situcijs. Pc ptjumu datiem, tiei dzves izturba ir galvenais faktors, kas nosaka stresogno faktoru (taj skait hronisko) ietekmi uz somtisko un gargo veselbu, k ar darbbas sekmgumu. Tdjdi, dzves izturbas koncepcija auj pieldzint ptjumus stresa psiholoijas nozar eksistenclajiem priekstatiem par ontoloisko trauksmi un ts prvaranas veidiem, piedvjot atbildi uz vienu no aktulkajm msdienu problmm (Maddi, 1998, 2002, 2004). Dzves izturba un ts struktra Dzves izturba ir prliecbu sistma par sevi, par pasauli, par attiecbm ar pasauli. dispozcija ietver sev trs relatvi autonomas komponentes: iesaistanos, kontroli un riska pieemanu. o komponentu un kopjs dzves izturbas izpausmes neauj izveidoties iekjai spriedzei stresa situcijs. Iesaistans (commitment) tiek novrtta k prliecba par to, ka iesaistans notiekoaj dod maksimlu iespju personbai atrast kaut ko svargu un interesantu (Maddi, 1998). Cilvks ar attsttu iesaistans komponenti gst apmierintbu ar savu darbbu. Pretji tam, das prliecbas trkums rada atstumtbas izjtu. Ja js izjtiet prliecbu sev un par to, ka pasaule ir augstsirdga, jums piemt iesaistans (Maddi, 1984). Kontrole (control) ir prliecba par to, ka ca auj iespaidot notieko rezulttus, bet ar tad ts ietekme nav absolta un pankumi nav garantti. Pretstat tam paa bezpaldzbas izjtas. Cilvks ar augsti attsttu kontroles komponenti izjt to, ka vi pats izvlas savu darbbu, savu ceu. Riska pieemana (challenge) cilvka prliecba par to, ka viss, kas ar viu notiek, veicina via attstbu, pamatojoties uz tm zinanm, kas gtas no pieredzes, nav svargi, pozitvas vai negatvas.
57

S. Madi (Maddi, 1998) uzsver visu trs komponentu izteiksmes svargumu, lai saglabtu veselbu un optimlu darbaspju un aktivittes lmeni stresognos apstkos. Var runt gan par kat ras komponentes individulajm atirbm dzves izturbas sastv, gan ar par to saskaotbas nepiecieambu k savstarpji, t ar ar kopjo (summro) dzves izturbas vrtjumu. Dzves izturba stresa model Viens no pirmajiem un prliecinokajiem ptjumiem, kas pamatojas uz dzves izturbas konstruktu, ir longitudinlais ptjums, kur S. Madi vadb tika veikts ar lielas telekomunikciju kompnijas menederiem Ilinoisas tat (Illinois Bell Telephone Company IBT). Stresogn situcija izveidojs, kad likumdoanas izmaias paredzja ievrojamu personla skaita samazinjumu. situcija provocja distresa reakcijas, somtisks saslimanas un psihiskos traucjumus daudziem darbiniekiem, kuri gaidja lmumu par savu turpmko likteni. Ptjums atklja izteiktu atgriezenisko saiti starp dzves izturbas atsevio kompo nentu izpausmi un kompnijas menederu nopietno saslimstbu iespjambu gada laik pc stresa situcijas izveidoans (Maddi, 1987). Pie zemas visu triju dzves izturbas komponenu izpausmes saslimstbas iespjamba bija 92,5 %, pie augsta vienas komponentes lmea 71,8 %, pie augsta divu komponenu lmea 57,7 %, pie augsta visu triju komponenu lmea tikai 7,7 %. ie rdtji liecina ne tikai par dzves izturbas komponenu nozmgumu stresa novran, bet ar par sistemtisku, sinertisku to savstarpjo mijiedarbbu, pie kam summrais efekts ievrojami prsniedz katras atsevii emtas komponentes efektivittiStresa raanos iespaido dadi faktori: iedzimt organisma ievainojamba (piemram, nosliece uz dadm saslimstbm), rjie notikumi, cilvka prliecbas, via spjas prvart stresa situcijas (Maddi, Kobasa, 1984). Pirmo divu faktoru iespaids ne vienmr pakaujas kontrolei, tau transformatvo kupanas stratiju un dzves izturbas attstba veicina to izsaukto seku stresa samazinanu.(sk. 1.att.). Dzves izturbas uzskati, no vienas puses, iespaido situcijas novrtanu pateic oties gatavbai aktvi darboties un prliecbai par iespjm iespaidot situciju, t tiek uztverta k mazk traumatiska. No otras puses, dzves izturba paldz aktivizt grtbu prvaranu. T stimul rpes par persongo veselbu un labkljbu (piemram, ikdienas rta rosme, ditas saglabana u.tml.), uz kurm bzjoties, spriedze un stress, ko prdzvo cilvks, nekst hroni sks un nenoved pie psihosomtikm saslimstbm. S. Madi iedala regresvos un transformatvos stresa prvaranas pamienus. Transformatvie pamieni, atirb no regresvajiem, paredz atvrtbu jaunajam, gatavbu darboties un aktivitti stresa situcijs. Vi apraksta piecus galvenos mehnismus, pateicoties kuriem izpauas dzves izturbas pozitvais iespaids, lai pretotos dadm saslimstbm un novrstu darbbas efektivittes samazinanos (Maddi, 1998, sk. 2.att.): dzves izmaiu k mazk stresognu novrtjumu; motivcijas izveidoanu transformatvai stresa prvaranai; imns reakcijas nostiprinanu; atbildbas nostiprinanu attiecb pret veselbas saglabanu; aktvus socils paldzbas mekljumus, kas veicintu transformatvo stresa prvaranu. Krievijas zintnieka D. eontjeva (,.2006) sastdts metodikas aprobcija apliecinja S. Madi teoriju, uzsverot, ka dzves izturba ir btiska ne tikai stresa situcijs, bet t veido ar vienu no svargkajiem personbas radoo potencilu attstoajiem faktoriem. Kreativitte angliski creativeness (Maslow, 1967) k cilvka iekjais potencils un spja bt radoam; creativity ir indivda personisks izaugsmes, paanalzes, pilnveidoans
58

spja, saistta ar pam dadkajm dzves jomm. Rado darbba ir uzskatma par cilvka spju paust savu radoo potencilu (Cropley, 2001; Gardner, 1993; Garai, 2001;Gilford, 1967; Mayer 1999). A. Kroplijs atzm, ka jaunks ptniecbas tendences pievr uzmanbu kreatvs personbas attstoajiem aspektiem kreativitte ir attstma, pie tam liela nozme ir apkrtjai videi, darbbai un dadiem stimuliem (Cropley, 2001). Kreativittes veicinanas proces iesaists gan apzintais, gan neapzintais kopum (Garai, 2001) kreativittes resursi definjami k personbas radouma iespjas. Ir iespjams izmrt personbas spju apzinties, piekt un izmantot os resursus, k ar izzint tos faktorus, kas blo pieeju kreativittes resursiem (Vidnere, 2009). Kreativitte plai ptta humnistisks psiholoijas un sistmteoriju aspekt (Csikszentmihalyi, 1996; Simonton, 2004; , 1991; Craft, 2000; Cropley, 2001; Roger, Schank, 1995; Gilford, 1967). Msdiens kreativittes izptes kontekst tiek izvirzta bezapzias proce su nozme un savu radoo resursu atbrvotba (Csikszentmihalyi, 1996; Miller, 1996; Simonton, 2004; Kantorovich,2007). M. ikszentmihali (Csikszentmihalyi, 1999) uzskata, ka apzint domana ir linera, loiska, bet bezapzi rodamas asociatvas saiknes rpus loikas robem. Viaprt, insaits rodas tad, kad saiknes starp idejm bezapzi kst tik stabilas, ka pards k apzias plsma flow (Csikszentmihalyi, 1999). T izriet no psihes neapzintajiem procesiem k indivda nepiecieamba atraist savu Es, kas ir emocionli bagtinos process (, 1967). Bezapzias apstrdes (processing) pieeja pamatota ar H. Puankar (pc Walter, 2005) atzis, apskatot ilumincijas (kreatva ideja apzias lmen) un inkubcijas (kreatva ideja bezapzias lmen) fenomenus. Msu viedoklis paredz kreativittes resursu veicinanu, apgstot stresa vadanas iemaas un samazinot stresa rdtjus. Stresa koncepcija ir atstjusi rkrtgi lielu ietekmi dads zintu joms, kas pta cilvku. o zintnisko koncepciju ietekmjusi ievrojam Kandas zintnieka H.Selj (Selj,1983) patofizioloiskie ptjumi, kas tlk tika izvrsta medicnas, psiholoijas, socioloijas u.c. zintu ptjumos. Stress ir organisma nespecifiska atbilde uz kaitgu aentu iedarbbu, kas izpauas visprj adaptcijas sindrom. Stress ir morla vai fiziska prslodze, kur indivds nonk, ja no via prastais draud prsniegt via spju vai spku robeas. Stress ir cilvka dzves ikdienas neiztrkstoa sastvdaa, tau tas ievrojami atiras pc iedarbbas dziuma, spka un ilguma un s iedarbbas izpausms uz organismu. Stresu var aplkot ar k pozitvu adaptvu faktoru, kas auj piemroties maingajiem dzves socilajiem apstkiem. Tau organisma dado sistmu (centrls nervu, endokrns, imns u.c. sistmu) rezervju spju izskuma moment tiei stress var radt dada veida patoloisks pardbas. Personbas radoums tiek aplkots k personbai raksturga paba, kas var attstties un izpausties vis cilvka dzves ce. Personas attstba ir ciei saistta ar psihisko aktivitti (Vidnere, 2009; Nucho, Vidnere,2009). Mra sasnieganas proces tiek stenoti vairki uzde vumi: stresa skumlnijas, k ar stresa jomu apzinana; kreativittes izpausmi traucjoo bar jeru apzinana un dzves izturbas apzinana;visu iegto rdtju mijsakarbu noteikana. Rezultti Ptjuma mris bija izptt dzves izturbas, kreativittes resursu un kvalitu mijsakarbas studentiem. Ptjuma rezultti apliecina, ka vidjie stresa rdtji ir augstki par normu. Vairums stresa testa skalu novirztas uz mazkajm vrtbm, vrojama pozitva asimetrija, ttad ajs skals ir maz augsto rezulttu, raksturga ir negatva asimetrija, izemot abstrahanu un praktisks iemaas. Vairums stresa testa skalu koncentrtas ap vidjo vrtbu, pozitvs ekscess. Vairums kreativittes testa skalu izkliedtas ap vidjo vrtbu, negatvs ek scess. Vecuma skal (vidjais vecums 35,9 gadi) visizteiktka bieumu koncentrcija skalas
59

galos. Ptjum (Vidnere, 2009) tika atklts, ka piekuve kreativittes resursiem grup ir uzlabo jusies, izmantojot stresa vadbas apgts iemaas: stresa kopjais lmenis ir tuvu rezistences normlajam bzes lmenim (30 punkti). Kreativittes kvalitu rdtji grupai viss skals paaugstinjuies: metaforizcija, priekstatu tlainba, simbolizcija, otraj mrjum vienpusji nozmgi augstki vidjie rdtji (sk. 5. att.). Ptjum tpat tika konstatts, ka Prsona korelcijas koeficients pardja lineru korelatvu saikni starp dzves izturbu (life hardiness) un kreativittes resursiem (r = 0,39; p < 0,05), k ar dzves izturbu un stresu un stresa jomm (r = 0,61; p < 0,05). Dzves izturbas testa skalas saisttas pozitvi, kontroles spjas ar aizrautbu p < 0,05 lmen pozitvi, statis tiski nozmgi. Dzves izturbas aptaujas skalas saisttas pozitvi ar personbas aizrautbu un dzves kontroles spjm: kontroles spjas ar aizrautbu (statistiski nozmgi p < 0,05 lmen) korel pozitvi. Skotnjam priekstatam aprinti Prsona liners korelcijas koeficien ti stresa, kreativittes un dzves izturbas testu skalu starp (sk. 5. att.). Lai preczk izptu izlasei raksturgs visprgs pabas un labk saprastu sakarbas starp maingajiem, veikta faktoranalze ar Varimax rotciju. Ar 11 faktoriem izskaidroti 94,16 % kopjs dispersijas. Pir sona liners korelcijas koeficienti Kreativittes un Dzves izturbas testu skalu starp pardti 5. attl. Prsona korelcijas koeficienti pardja lineru korelatvu saikni (sk. 4. att.) starp dzves izturbu un aizrautbu (0.58 p < 0,01), k ar ar riskanu (0.33 p< 0,01) un savas dzves kontroles spjm (0.37 p < 0,01). Abu testu (sk. 6.-7. att.) skalu starp pozitvo korelcijas koeficientu ir vairk nek negatvo. Augsts ermea svars, garlaicbas stress, attiecbu stress saistms ar aug stu kreativitti. Kompensjoa reakcija, uzmanbas prslgana, saglabjot dzves izturbu, augsts stresa lmenis, netaisnbas izjta, integrittes problmas saistmas ar zemu kreativitti. Metaforizcija, abstrahana, refleksivitte, praksisks iemaas ir augstkas un saisttas ar stre su. Dzves izturba, pai kontroles spjas un riskana, augst stres zemkas, jo ie ir pretji jdzieni (sk. 5.-7. att.). Secinjumi Dzves izturba, pai savas dzves situciju kontroles spjas un gatavba riskam ir zemkas, ja ir paaugstints stresa lmenis. Augsts stresa lmenis, paaugstinta netaisnbas izjta, integrittes problmas saistmas ar zemu kreativitti. Dzves izturba, savas dzves kontroles spjas saisttas ar stresa lmeni. Dzves izturba veicina kreativittes resursu paaugstinanos (kreativittes barjeras, saldzinot vidjos, ir mazkas studentiem ar augstku dzves izturbu par 23,1 %). Var secint, ka, ptot kreativittes resursu un dzves izturbas paaugstinanas iespjas studentiem, konstattas cieas korelatvas saiknes starp dzves izturbu, kreativittes resursiem un kreativittes kvalittm (sk. 6.-7. att.). emot vr negatvs korelcijas (kreativittes bar jeras), var secint, ka, pazeminoties kreativittes barjerm, paaugstins dzves izturbas spjas un personbas integritte. Tdjdi rezultti apstiprina izvirzto mri par stresa mazinanas nozmi kreativittes resursu un dzves izturbas veicinan. Iespjams, ptjums iegtu plaku dimensiju, ja tiktu aplkotas lielkas grupas ar dada vecuma studentiem, k ar atspoguojot ptjum kvalitatvus aspektus.
LITERATRAS SARAKSTS 1. Bigbee, J. L. (1985) Hardiness: A New Perspective in Health Promotion. Nurse Practitioner, No 10(11), p.5156. 2. Cropley, A. (2001) Creativity in education and learning, a guide for teacher and educator.Abingdon Oxon. Routledge Farmer,260pp. 60

3. Csikszentmihalyi, M. (1996) Creativity, Flow and the Psychology of Discovery and Invention. New York: Harper Collins Publishers, 181p. 4. Csikszentmihalyi, M. (1999) Implications of a Systems Perspective for the Study of Creativity. In: Sternberg, R.J. (Ed.) Handbook of Creativity. New York: Cambridge University Press, p.311335. 5. Feldman, D.H. (1999) The Development of Creativity. In: Sternberg, R.J. (Ed.) Handbook of Creativity. New York: Cambridge University Press, p.169186. 6. Garai, E.J. (2001) Humanistic art therapy. In: Rubin, A.J. Approaches to Art Therapy. Theory and Technique. London and New York: Brunner-Routledge, p.13942. 7. Gardner, H. (1993) Frames of Mind. The Theory of Multiple Intelligences. New York: Basic Books, 450p. 8. Gardner, H. (1993) Multiple intelligences: The theory in practice. New York: Basic Books, 541p 9. Gordon, R. (1972) A Very Private World. The Function and Nature of Imagery. New York: Academic Press, p.6480. 10. Guilford, J.P. (1967) The Nature of Human Intelligence. New York: McGraw-Hill, 310p. 11. Judkins, S.K., & Ingram, M. (2002) Decreasing Stress Among Nurse Managers: A Long-term Solution. Journal of Continuing Education in Nursing, No33(6), p.259264. 12. Kantorovich, A. (2007) Scientific Discovery: Logic and Tinkering. Albany: State University of New York Press: Kessinger Publishing Company,190pp. 13. Kobasa, S. C. (1979) Stressful Life Evants, Personality and Health: an Inquiry into Hardiness. Journal of Personality and Social Psychology, No37, p.111. 14. Kobasa, S.C., Maddi, S.R., & Kahn, S. (1982) Hardiness and Health: A Prospective Study. Journal of Personality and Social Psychology, No42, p.168177. 15. Maddi, S. (2002) Dispositional Hardiness in Health and Effectiviness. In: Friedman, H.S. (Ed.) Encyclopedia of Mental Health. San Diego (CA): Academid Press, p.323335. 16. Maddi, S. (2004) Hardiness: an Operationalization of Existential Courage. Journal of Humanistic Psychology, Vol.44, No3, p.279298. 17. Maddi, S., Kobasa, S.C. & Hoover, M. (1979) An Alienation Test. Journal of Humanistic Psychology, No19, p.7376. 18. Maddi, S., Kobasa, S.C. (1984) The Hardy Executive: Health under Stress. Homewood (IL): Dow JonesIrwin, 175p. 19. Maslow, A H (1967) Self-actualizing and Beyond. In Bugental, J. F. T. (Ed.), Challenges of Humanistic Psy chology, McGraw-Hill,150p. 20. Mayer, R.E. (1999) Fifty Years of Creativity Research. In: Sternberg, R.J. (Ed.) Handbook of Creativity. New York: Cambridge University Press, p.449460. 21. Miller, G.F. (2001) The Mating Mind: How Choice Shaped the Evolution of Human Nature. Anchor, Univer sity of New Mexico,Albuquerque, NM 87131-1161,USA 528p. 22. Nucho, A., Vidnere, M. (1998) Stresa menedments. Rga: AGB, 170lpp 23. Nucho, A., Vidnere, M. (2004) Stress: t prvarana un profilakse. Rga: Biznesa partneri,240lpp 24. Nucho, A., Vidnere, M. (2009) Garg Intelience: ts mekljumi un attstba. Rga: RAKA, 189lpp. 25. Rickards, T., Jones, L.J. (1991)Towards the Identification of Situational Barriers to Creative Behaviors: the Development of a Self- report Inventory. Creativity Research Journal, Vol.4, Issue4. Creativity Unit, Man chester Business School, Manchester, United Kingdom, p.303315. 26. Roger, C., Schank, D.A. (1995) Foster: The Engineering of Creativity. A Review of Bodens The Creative Mind, No79(1), p.129143. 27. Selj, H. (1983) Mana ma stress. Rga: Zintne, 183lpp 28. Simonton, K (2004) Creativity in Science: Chance, Logic, Genius, and Zeitgeist. In: Sternberg, R.J. (Ed.) Handbook of Creativity. New York: Cambridge University Press, p.315. 29. Sternberg, R.J., Lubart, T.I. (1996) Investing in Creativity. American Psychologist, No51, p.677688. 30. Vidnere, M. (1999) Prdzvojumu pieredzes psiholoija. Rga: RAKA, 315lpp 31. Vidnere, M. (2009) Kreativittes resursu un dzves izturbas paaugstinans studentiem stresa sintonisk vadbas modea (SSVM) mcbu proces. Zintnisko rakstu krjums Radoa personba, VIIsj. Rga: RPIVA KZI, 39.50.lpp. 32. Vidnere, M., Viakova, N. (2004) Personbas garguma attstbas psiholoija. Starpnozaru urnls Psiholoija mums, Nr.10(12), 6.11.lpp. 33. Walter, S. (2005) Henri Poincar and the Theory of Relativity. In: Renn, J. (Ed.) Albert Einstein, Chief Engineer of the Universe: 100 Authors for Einstein. Berlin: Wiley-VCH, p.162165. 61

34. , . (1991) : . : , .187202. 35. , .., , .. (2006) . . : , p.64. Dr.habil.psych., Dr.oec. Mra Vidnere Rgas Pedagoijas un izgltbas vadbas akadmija Adrese: Valmieras iela 6, Jrmala, LV-2010, Latvija Tlr.: 67753139 (m.), mob. 29486006 E-pasts: mvidnere@navigator.lv

PIELIKUMS APPENDIX Stresa notikuma struktra un stresa prstrdana (Ababkovs, Perro, 2004) Figure 1 Stress and stress event`s structure of the recast (Ababkovs, Perro, 2004)
Socilie faktori Personlie faktori

1. attls

Stresors

Novrtanas process

Psihisks reakcijas, fizioloisks reakcijas

Dezadaptvs un adaptvs reakcijas (kopings)

62

2. attls S. Madi dzves izturbas modelis (Maddi, 1998) Figure 2 S. Maddie Life Hardiness model (Maddi, 1998)
Iedzimt ievainojamba

Stresori (aktie un hroniskie)

Sasprindzinjums (psihisk un fizisk mobilizcija)

Labsajtas traucjumi (neefektivitte, slimbas, psiholoisks problmas)

Dzves izturbas uzturana

Dzves izturbas prliecbas (iesaistans, kontrole, riska uzemans)

Dzves izturbas veselbas prakses (fiziskie vingrinjumi, relakscija, rstana)

Socilais atbalsts

3. attls Dzves izturbas skalu Pirsona liners korelcijas koeficienti Figure 3. Life Hardiness scale Pirson linear correlation coefficients
Aizrautba Kontroles spjas Riskana 0,58 0,33 Kontroles spjas 1 0,37

4. attls Dzves izturbas un stresa mijsakarbas Figure 4 Life hardiness and stress correlation
Rdtji Dzves izturba Aizrautba Kontroles spjas Riska pieemana Ldz Pc nodarbbu nodarbbm skumam 42,00 79,86 30,63 30,50 17,56 17,50 44,63 41,50 Dzves izturba 0,77 0,81 0,34 Stresa lmenis -0,54 -0,52 -0,49 -0,19 Norma 80,72 37,64 29,17 13,91 Kronbaha alfa 0,89 0,79 0,83 0,73

*p<0,05 **p<0,01
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5. attls Pirsona liners korelcijas koeficienti stresa testa skalu starp Figure 5 Pirson linear correlation coefficients between the scale of the stress
ermea svars Stresa lmenis Netaisnbas izjta Mentalitte Garlaicba Integritte 1.00 Summa 2,03 0,98 0,85 0,91 1,94 1,45 1,29 -1,03 0,21 -2,16 -1,63 Attiecbas 1,00 0,31 -0,11 0,01 0,07 0,05 0,18 0,01 0,09 0,21 0,19 0,07 0,23 1,67 Integritte 0,51 -0,21 -0,28 0,12 -0,22 -0,39 -0,10 -0,11 0,16 -0,10 -0,39 -2,46 Attiecbas Fziskais 1,00 0,22 0,69 0,25 0,15 0,13 0,37

*p<0,05 **p<0,01

Stresa lmenis Fziskais ermea svars Mentalitte Netaisnbas izjta Garlaicba Attiecbas Integritte

1,00 -0,03 -0,26 -0,03 -0,15 0,22 -0,75 0,09

1,00 0,20 0,13 0,04 0,26 0,25

1,00 0,32 0,36 0,03 0,51

1,00 0,03 -0,07 0,39

1,00 -0,15 0,18

6. attls Dzves izturbas, stresa, stresa jomu un kreativittes kvalitu mijsakarbas Figure 6 Life hardiness, stress, stress field, creativity qualities correlation
ermea svars Stresa lmenis Netaisnbas izjta 0,34 -0,12 0,28 0,09 0,09 0,25 0,21 -0,45 -0,13 -0,32 -0,61 -0,49 Mentalitte Garlaicba 0,50 0,51 0,44 0,51 0,17 0,24 0,40 -0,31 -0,14 -0,43 -0,09 3,72 Fziskais -0,04 0,16 -0,03 0,05 0,27 0,04 0,27 0,11 0,03 0,32 -0,11 0,68

Metaforizcija Priekstatu tlainba Simbolizcija Verbalizcija Abstrahana Refleksivitte Praksisks iemaas Dzves izturba Aizrautba Kontroles spjas Riskana Summa

0,28 0,17 0,00 0,06 -0,18 0,16 0,16 -0,27 -0,25 -0,18 -0,17 -0,79

0,22 0,56 0,51 0,38 0,61 0,59 0,29 -0,07 -0,05 -0,08 0,01 5,39

0,06 0,00 -0,36 0,00 0,01 -0,22 -0,16 0,43 0,31 0,32 0,31 0,22

*p<0,05 **p<0,01

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7. attls Kreativittes testa 7 skalas Kronbaha alfa =0,89 Figure 7 Creativity test score 7 Kronbachs alpha coefficient = 0.89
Korit kopg korelcija Metaforizcija 1 Priekstatu tlainba 1 Simbolizcija 1 Verbalizcija 1 Abstrahana 1 Refleksivitte 1 Praksisks iemaas 1 0,49 0,70 0,66 0,70 0,50 0,73 0,56 Kronbaha alfa, jautjumu dzot 0,89 0,88 0,88 0,88 0,89 0,88 0,88

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Simona Orinska. Esmu diplomta deju un kustbu terapeite, ieguvusi maistra grdus veselbas aprp (RSU, 2009) un mksl (LKA, 2005). obrd praktizju deju un kustbu terapiju VSIA BKUS Gaiezera brnu slimnc un individuli. Kop 2006. gada aktvi izzinu japu buto dejas izmantojumu deju un kustbu terapij, k ar praktizju buto k mksliniece. Esmu vairku multidisciplinru projektu, k ar dzejou krjuma Spogusoi (2002) autore. Intereses: ermea psihoterapija un neverblais tetris. Simona Orinska Latvijas Deju un kustbu terapijas asocicija Latvija

Buto dejas izmantoana deju un kustbu terapij jaunieiem personisko resursu apzinan
Kopsavilkums Ievads. Deju un kustbu terapij un buto dej atrodamas principilas ldzbas. Buto deja ir netradicionla plastisks ekspresijas forma, kas ierosina izptt jaunieiem aktulos identittes integrcijas jautjumus. Darba mris. Teortiski apzint buto dejas izmantoanas aspektus un izveidot metodi buto dejas izmantojumam deju un kustbu terapij jaunieiem. Materili un metodes. Zintnisko publikciju analze autores personisks pieredzes kontekst. Rezultti. Izveidota metode, apkopojot deju un kustbu terapijas un buto ldzbas, balstoties personiskaj pieredz, izmantojot B. Mkums kreatvo procesu modeli. Secinjumi. Metode piedv personis ko resursu, psihofizisko procesu, ermea tla, radouma apzinanos. Rezultti tiks izmantoti turpmkai metodes pilnveidei. Atslgas vrdi: deju un kustbu terapija, buto deja, jaunie i, personiskie resursi.

Butoh Dance IN Movement Therapy for Young Adults

Summary Introduction. The author of this theorethical analyses has studied and practiced butoh since 2001. In the last three years she has been giving classes on butoh in her studio and deve loping a method for young adults dance movement therapy. This experience has established a necessity to create a specific method. Dance movement therapy as a psycho-therapeutic or healing tool is rooted in the idea that the body and the mind are inseparable. Its basic premise is that body movement reflects in ner emotional states and that changes in movement behaviour can lead to changes in the psyche, thus promoting health and growth (Levy, 1988). Dance movement therapy works on different levels: physical, cognitive, emotional, social and spiritual. Butoh has a unique quality of body archaeology, digging out something buried deep in the body, which seems to be a unique if compared to the other dance styles (Kasai, 1999). Similarities can be found with dance movement therapy: both emphasize creative exploration of the body-mind interaction. The integration of identity and self-actualization are one of the
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most important issues for young adults. Together with movement activity, butoh provides a non- traditional, even paradoxical approach to advancing ones awareness of Me, creativity and integration of identity. That is why successful integration of the main principles of butoh within dance movement therapy for young adults is plausible. Aim of the study is to research the use of butoh and to develop a method for using butoh in dance movement therapy for young adults. Materials and methods. Analyses of scientific publications in the context of authors personal experience. Results. Comparison of butoh and dance movement therapy has been investigated by the Finnish dance movement therapist P. Pylvanainen. Both approaches share some fundamen tal similarities, like a variety of expression by movement and emotion are allowed, ignoring the traditional requirements of beauty, creating insight rather than the focus on the external move ment performance (P. Pylvanainen, 2006). P. Pylvanainen has recognised butoh movement epi sodes that can be identified as relating to dance movement therapys central meaning body image, which in authors interpretation was set in tri-partite model: 1) an image-properties is focused on the appearance and looks of the body; 2) a body-self or the experience focused on movement action with an affect and with personal association to relationships and own being; 3) a body-memory or movements which brought up past experiences, memories of body sensa tions, body based memories of past moments. As it is in dance movement therapy, butoh move ments could also be very simple (as walking), but it is done with special attention, awareness, presence and inner sight (Pylvanainen, 2006). Butoh dancer, choreographer and dance movement therapist T. Kasai establishes his butoh approach as an exploration of psycho-somatics. Butoh, as dance movement therapy, enab les people to express emotions that are socially thought to be unwelcome (anger, depres sion, sorrow, fear, etc.), occurring in such bodily reactions as spasm, falling down, unintentional jerks, facile or bodily distortion. Butoh gives an opportunity for forgotten and suppressed emo tions to come out from the layers of mind as to reach deep meditation (which is a relaxing and purifying experience for body and mind) (Kasai, 1999). A method for the use of butoh in dance movement therapy for young adults has been developed. Its theoretical ground is based on humanistic approach, phenomenology, analyt ic psychology and Zen. This method has been developed alongside the main concepts of the British dance movement therapist B. Meekums model for creative processesses, which are based on certain butoh techniques. The creative psycho-therapeutic process thus mirrors early mother-infant processes. The creative process is commonly considered to be cyclical with four stages: preparation (assessment, establishing safety, left brain activity), incubation (letting go of conscious control, not-knowingess, right brain activity), illumination (insights emerge, right to left brain activity), evaluation (grounding of insights in the world, left brain activity) (Had amard, 1954; Poincare, 1982). The same four-stage process is also a feature of dance movement therapy and the other arts therapies. It is doubtful that therapy ever stops at just one cycle, sometimes several in any one therapy session (Meekums, 2002). The main concepts of this method: 1. Preparation stage / Control of inertia (stopping and running, keeping balance, giving weight, body awareness). 2. Preparation stage / Emptiness (MA space between, MU total emptiness. Emp tiness as a beginning of totally new experience; previous experience is like left in brackets; mindfullness). 3. Incubation stage / Being in presence (creative relaxation, active imagination). 4. Incubation stage / Confrontation - Transformation - Abstraction (paradoxical, new,
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unexpected phenomena or forms acception or disaffirmation or negotiation; Me transforms into object, it becomes objectivated; alienated self-observation of the objectivated Me). 5. Illumination stage / Dynamics of consciousness towards object: body in the world (peripheral vision coherence of inner and outer reality; changes of perception; concen tration and laxity). 6. Illumination stage / Individual and group performance (use of choreography, creation, grounding of new experience). 7. Evaluation stage / Awareness of therapy process significance (verbalization). Conclusions. According to butoh aspects, the method could be successfully used with young adults who are motivated to explore physical and personal borders, body image, to increase bodily skills and emotional awareness, to solve interface difficulties, to develop concentration of attention, creativity and spontaneity, to raise the awareness of the inner resources. The results will be used both in further development of this method, as well as in the application of the method to continue dance movement therapy with young adults. It is possible that this method could also be used with adults and elderly people, but it would be necessary to make a thorough research for further improvement of this method and specification of the target group. Key words: dance movement therapy, butoh dance, young adults, inner resources. Ievads Raksta autore kop 2001. gada apguvusi un praktizjusi buto deju. Savukrt pdjos trs gadus pasniegusi buto deju, vadjusi buto dejas studiju jaunieiem ar deju un kustbu terapijas pieejm, kas nostiprinja nepiecieambu izveidot konkrtu metodiku. Deju un kustbu terapijas pamatnostdne ir t, ka ermenis un psihe ir savstarpji mijiedarbga sistma, kas nozm, ka izmaias ermen un kustbs ietekm emocionlo stvokli. terapijas forma radusies ASV 20. gs. 50. gadu beigs, integrjoties humnistiskajai, uz klientu centrtajai pieejai un psihoanaltiskajam virzienam. Pirmie deju un kustbu terapeiti (M. eiza, T. pa u.c.) strdja psihiatrijas klniks (Levy, 1998). Latvij deju un kustbu terapija ir definta k viena no mkslu terapijas specializcijm, kur klienti vai pacienti daudzveidgo veselbas un socilo problmu risinanai un prvaranai individuli vai grup terapeitisks vides un terapeitisko attiecbu kontekst izmanto deju un kustbu, lai ar radou jtu ekspresijas paldzbu panktu izmaias kustbu stil un nonktu pie izmaim emocionlaj stvokl un domanas veid, pie pilngkas fiziskas, emocionlas, socilas integrcijas (Latvijas Deju un kustbu terapijas asocicija, 2009). Buto dej, kas radusies japu kultr 20. gs. 50. gados, ldzgi k deju un kustbu terapij, tiek uzsvrta ermea un psihes mijiedarbbas radoa izpte. Buto deja uzskatma par kustbu mkslas, neverbl tetra formu, kas radusies, apvienojoties Austrumu un Rietumu mkslas, filozofijas, reliijas un psiholoijas virzieniem. Tie ir: Kabuki un No tetris, dzenbu disms, intoisms, cu mkslas, ukiyo-e gravras, ekspresionisms, sirrelisms, absurda tetris, psihoanalze, fenomenoloija u.c. Buto ietver ne vien fizisko aspektu, bet pau apzias stvokli. Buto tiek lietots jdziens Buto-tai, kas tulkojum no japu valodas nozm apzint un neapzint dihotomiju, k ar fizisko ermeni. Viena no uz ermeni orienttajm psiholoijas un psihoterapijas atzim ir t, ka ermenis atspoguo psihes neapzinto saturu. K.G. Jungs iev iesa arhetipa jdzienu, ko var pielgot ar buto skaidrojum. Buto dejotja izmaintais apzias stvoklis sniedz iespju tam kt par sava veida mediju, kas ar sava ermea starpniecbu iz saka ne vien savu, individulo, bet ar kolektvo bezapziu. Tdjdi dejotjs pietuvins savas btbas pamatam, atgrieoties pirmatnj pieredz (pat prenatl), it k saplst ar Universu, kas
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veicina psihes integrciju. Otrs btisks aspekts ir emptija, kas auj skattjam sajust (iespjams, neapzinti) buto dejotja izjtas un fizisks sajtas. Tas nozm, ka buto dejotju ietekm gan paa interiorie psihes aspekti, gan rjie aspekti (telpa, citas personas, skaa u.c.), un dejotja kustbu partitra ir o aspektu apvienojums rel darbb. Dejotjs atrodas nomoda sapu stvokl, kas sasaucas ar K.G. Junga definto aktvs iztles jdzienu (Kasai, 2000). Jaunieu vecumposm svargkie jautjumi ir identittes integrcija un paaktuali zcija. Personiskie resursi ietver prasmes, pabas, spjas, kas auj prvart dzves grtbas. Savukrt buto piedv netradicionlu, paradokslu pieeju un kustbu aktivittes, kas sekm personisko resursu apzinanos un identittes integrciju. Td buto dejas principus iespjams veiksmgi integrt deju un kustbu terapij jaunieiem. Ptniecisks iestrdes apstiprina minto apgalvojumu. Maistra darb Kreativittes resursu paaugstinanas iespjas ar buto dejas terapijas metodm jaunieiem (RSU, 2009, maistra darba vadtja M. Vidnere) raksta autore ptja buto dejas ietekmi uz kreativittes resursiem, kur k kreativittes komponentes tika apskattas intrapersonls un kinesttisks spjas. Kontrolgrupu un eksperimenta grupu veidoja vidjo mcbu iestu (10. 12. klase) jauniei. Rezultti uzrdja, ka tendenu lmen piekuve kreativittes resursiem eksperimenta grup bija uzlabojusies. Grupai, kas piedaljs nodarbbs, maingo rdtji kopum bija augstki k kontrolgrupai. Kinesttisks un intrapersonls spjas eksperimenta grup bija paaugstinjus un atirbas bija statistiski ticamas (p<0.05). Ptjuma rezultti liecina, ka buto dejas izmantojums deju un kustbu terapij pozitvi ietekm jaunieu kustbu variabilitti, spju diferenct savas emocijas, k ar apzinties kreativitti. Palaik tiek veikts kvalitatvs ptjums, kas apskata buto izmantojuma deju un kustbu terapij terapeitiskos efektus. Intervijas un refleksijas atspoguo dalbnieku spju apzinties savu ermea intelienci, iekjos resursus, uzlabot saskarsmi ar citiem, mazint iekjo spriedzi. Darba mris Teortiski apzint buto dejas izmantoanas aspektus un izveidot metodi buto dejas izmantojumam deju un kustbu terapij jaunieiem. Materili un metodes Zintnisko publikciju analze personisks pieredzes kontekst. Rezultti Buto un deju un kustbu terapijas ldzbas Buto, atirb no citiem dejas stiliem, piemt ermea arheoloijas aspekts, kas rosina atklt dzii apslpto ermen. Tas nozm, ka cits dejs eksist apzinta darbba (ritms, noteikta rakstura repetitvas kustbas), kamr buto balsts gan apzintaj, gan neapzintaj psi hes satur. Buto tulkojum no japu valodas, nozm deja, cits nosaukums stampjoo kju deja. Japniskais un pilnais nosaukums ir ankoku buto, kur an apzm tumsu, bet koku melns, ttad - tumsas deja (Kasai, 1999). is nosaukums tika lietots, lai pasvtrotu neapzint psihes satura nozmgumu. Buto ermenis ir uztverams k personiskais ermenis, citu ermenis un pasaules ermenis vienlaicgi. ermenis kst patiess tikai tad, kad izzd atirbas starp garu, prtu un pau ermeni. odien buto eksist ne vien k mkslas forma, bet ar tiek integrts deju un kustbu terapij (Fraleigh, 1999; Kasai, 1999, 2000, 2003). Buto un deju un kustbu terapijas ldzbas ptjusi somu deju un kustbu terapeite P. Pilvanainena (Pylvanainen), kura konstatjusi btiskas sakarbas. Abs pieejs tiek pieautas
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dadas, oti atirgas kustbas un emocijas, kustbu ekspresija; tiek ignorti tradicionlie skai stuma priekstati; tiek akcentta iekja izpte (Pylvanainen, 2006). P. Pilvanainena atzm, ka buto kustbu epizodes attiecinmas uz deju un kustbu terapijas pamatjdzienu - ermea tls, kas autores interpretcij sastv no trs dam: 1) tliem (image-properties) jeb ermea rjo izskatu, formu; 2) ermeni (body-self) jeb kustbm, kas izraisa personisks asocicijas attiecb uz savu esambu, interakciju, emocionalitti; 3) ermea atmiu (body-memory) jeb kustbm, kas izraisa pagtnes atmias, atsedz iepriekjo pieredzi. Ldzgi k deju terapij, buto kustbas var bt vienkras (piemram, ieana), tau ts tiek veiktas ar pau uzmanbu, apzintbu, tagadnes izjtu, iekjo skatienu. Autore atzm, ka faktori, kas buto kontekst ietekm kustbu un rezultt ermea tlu, ir: 1) trauksmes lmenis dzv un pa kustbu situcij; 2) emocionlo reakciju tolerance; 3) sensitivitte, uztverot ermea sajtas; 4) ermea tla kognitva izprat ne; 5) pieredze, kas rodas, kustoties vrgi, uzmangi (Pylvanainen, 2006). Buto saistbu ar ekspresionisma deju, k ar dzenbudisma filozofiju sav monogrfij apliecina buto ptniece un horeogrfe S. Fraleiga (S. Fraleigh, 1999). Buto dejotjs, deju un kustbu terapeits T. Kasai (Kasai) pamatojis savu pieeju. T. Kasai zintniskaj publikcij Buto dejas metode k psihosomatikas izptes veids atzm, ka buto dej tiek izmantotas divas me todes: M. Nogui (M. Noguchi) un T. Takeui (Takeuchi) pieejas, kas veidojus 20. gs. 70. ga dos Japan (Kasai, 1999). Metode paredz, ka buto, ldzgi k deju un kustbu terapij, var iz paust socili nevlamas emocijas (dusmas, depresvas izjtas, skumjas, bailes u.c.), kas izpauas tds ermea reakcijs k spazmas, kriana, neapzintas kustbas, trce, mmikas un ermea deformcijas. Tdjdi buto sniedz iespju atklt aizmirsts, nereti apspiests jtas, k ar sasniegt dzias meditcijas stvokli (kas ir apziu un ermeni relaksjoa un sakrtojoa norise). Buto dejai k psihosomatikas izptes metodei ir vairkas pazmes: 1) buto tehnika vrsta uz to, lai uztvertu un izprastu apzias un bezapzias reakcijas; 2) ierosints emocionls reakcijas dzik atklj ermea reakcijas; 3) izejot no sava stvoka un iespjm, klients var izvlties - harmonizt, regult vai nu fizisk vai emocionl lmea intensitti; 4) kustbu pieredze sniedz emocionlu atvieglojuma sajtu, kam ir dziedinos efekts (Kasai, 1999). Buto k deju un kustbu terapijas instruments. Buto k mkslinieciska ekspresija Buto izpt vartu iedalt divas galvens kategorijas: buto k terapeitisks process un buto k mkslinieciskas dejas ekspresija. Raksta autores pieredz ie virzieni atrodas mijattiecbs. Svargi noskaidrot, kdi aspekti atkljas: 1) vadot buto deju studiju ar deju un kustbu terapijas metodm, 2) praktizjot buto deju k skatuves mksliniecei. Strdjot buto studij ar deju un kustbu terapijas metodm, autore ir noformuljusi galveno principu buto tehnikas tiek izmantotas dalbnieku iekjo resursu atklanai, kreativittes un ermea inteliences veicinanai, praks izmantojot improvizcijas (dadu tehniku un elementu lietojums) un emocionls kongruences (atbilstba notiekoajam) princi pus. Gan dalbnieku refleksijas, gan autores personiskie novrojumi liecina, ka buto izmanto jams k kustbu novrojuma, robeu paplainanas (kreativitte), ermea rjs izteiksmbas apzinanas un saskarsmes prasmju uzlaboanas instruments. Buto var sekmt ermea atmias ierosas mehnismus, ermenisko, emocionlo bloku mazinanu un uzmanbas koncentranu. Buto skar ar eksistencilas, robesituciju tmas (dzimana, nve, dzves jga). Buto k mkslinieciska ekspresija var kalpot neapzints enerijas prveidei un trans formcijai tl. Notiekoaj oti svargs ir dejotja iekjais skatiens jeb attieksme, kltesamba un apzintba. Buto dej specifiskos psihiskos procesus (izmaints apzias stvoklis) ierosina fi ziskie parametri: perifrais, sapludintais skatiens, lna ermea kustba, kas mijas ar kontraverslu, paradokslu, grotesku, ekspresvu kustbu paterna maiu. Tdjdi traumatiska pieredze, depresvas izjtas, spes, zaudjumi utml. var transformties ermeniskos, mkslinieciskos tlos.
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Dejojot buto, it k eksist divi Es: viens ir tas, kas saplst ar skatuvisko tlu (jeb Es tieku kustints, Id princips), otrs ir tas, kas novro o procesu (jeb Es kustos, Ego princips). T vienmr ir apzinta rpus-realitte, apzinta pirmatnjba. Ir iespjams, ka ie abi principi saplst, un tad notiek abu pieredu integrcija, un tas ldzins Aristotea apraksttajam katarses momen tam, sava veida insaitam, paai dzvbas apzinans izjtai. Buto dejoanas proces apzi tiek saglabta atvrtba un miers, aujot uztvert k iekjos, t rjos impulsus. Tpc svarga ir iekj tehnika, kas apziu attra no iespaidiem un priekstatiem, padara to piepildtu ar tukumu. Tukuma stvoklis uztverams k skums kvalitatvi jaunai darbbai, kas neatrdtu stereotipus un jau sagatavotas shmas. Dejojot buto, ir jatsaks no iepriekjas pieredzes, t jnoliek aiz iekavm, viss notiekoais tiek radts tikai vienreiz, unikls un neatkrtojams. Tdjdi notiek savu personisko robeu paplainana, tau neizbgami veidojas jauns stereotips: buto dejoanas proces rodas un transformjas neskaitmas psihiskas vienbas, attsts psihisk plasticitte. Metodes teortiskais koncepts Metodes teortiskie priekstati balsts humnistiskaj pieej, fenomenoloijas filozofij, analtiskaj psiholoij un dzenbudisma nostdns. Metodi veido pamatjdzieni, kuri integrti britu deju un kustbu terapeites B. Mkums (B. Meekums) kreatvo procesu model un pamatoti ar buto dejas tehnikm (1. Tabula). B. Mkums uzsver, ka visi kreatvie akti, iekaujot horeogrfiju, zintni vai izpti, ir iedalmi ciklisk etru fu model, ko pamatojui Hadamards un Ponkar: sagatavoans, inkubcija, ilumincija un izvrtjums. is modelis attiecinms ar uz deju un kustbu terapiju (Meekums, 2002). Vien terapijas sesij var atkrtoties vairkas modea fzes, kas var attstties spirlveidgi. Kreatvs psihoterapijas process ataino agrnas mtes un brna attiecbas, mijiedar bojas apzintais un neapzintais, t ir labvlga vide splei un kreativittei (Meekums, 2002). Autore uzskata, ka B. Mkums modelis vislabk piemrojams metodes pamatjdzienu un tehniku sakrtoanai un teortisk modea izveidei, jo tas attiecas uz deju un kustbu terapijas procesu. Metodes pamatjdzieni un tehnikas: 1. Sagatavoans fze / Inerces kontrole: ermea apzinana T k ermenis atspoguo psihes procesus, tad subjekta reakcijas uz inerces kontroli ataino via spju maint uzmanbas fokusu, atrodot jaunu risinjumu esoaj situcij. Tehniski t ir kustbas apstdinana dad temporitm un kvalitatvi jaunas kustbas uzskana. Inerce saists ar ermea svaru, td uzmanba tiek pievrsta svara izptei, svara atdeves un ldzsvara vingrinjumiem. Ar atbrvot ermen vrojama inerce, ko var izptt, izmantojot t.s. manipulcijas tehnikas jeb atbrvota ermea izpti. Tas auj novrot spriedzi, ermeniskos blokus, izptt ermea struktru (kauli, muskui, loctavas utt.). Inerces kontrole apzm spju apzint ermea masas kustbu var bt organizta un neorganizta inerce. Organizta inerce saists ar sakrtotu, koncentrtu, neaubgu, tieu darbbas aktu rel laik Es tagad daru un esmu eit. is stvoklis apzm ermea darbbas kvalittes integrciju ar psihiskiem procesiem. Var novrot ar integrcijas trkumu subjekta darbba nav saistta ar relo laiku, inerce ir neorganizta, ermenis kusts it k cit realitt, bet apzia - cit. Btisks inerces kontroles mehnisms ir elpoana. Ts apzinana auj subjektam ietekmt ermeniskos un psihiskos procesus. Inerces kontroles tehnikas sniedz iespju subjek tam apzinties sava ermea iespjas, starppersonu saskarsmi, fizisks robeas, k ar pievrst uzmanbu ermea, domanas un emociju saistbai. 2. Sagatavoans fze / Tukuma jdziens Buto saistbu ar dzenbudisma filozofiju apstiprina buto ptniece un horeogrfe S. Fra leiga, kura raksta, ka deja un dzenbudisms ir uzskatmi gan par laicg, gan bezlaicg esenci,
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jo dejojot rodas tds apzias stvoklis, kas ir ldzvrtgs uz tagadni orienttajai dzenbudisma pieejai, tomr vienlaicgi dejotjs seko ar bezlaicgajam un bezgalgajam Dzen garam. Ar Dzen garu tiek saprasts cilvka gars, ticba gara iekjai trbai un dieviumam (, 1993). Dejoanas pieredz Ego saplst ar vidi un citiem dalbniekiem. Buto, tpat k Dzen, nerun par loiku, bet par personisko prdzvojumu, kur deja nozm nevis kustties, bet tikt kustintam (Fraleigh, 1999). Dzenbudisma nostdns, ko prmis buto, atrodami jdzieni MU jeb absoltais tukums, nekas un MA jeb tukuma telpa starp. Absoltais tukums eit izprotams k jaunas, kvalitatvas pieredzes skums, iepriekjs pieredzes atstana aiz iekavm, prta apzintba. stvoka sasnieganai iespjams izmantot dadas meditcijas tehnikas. Tukuma telpa starp t ir telpa, kas atrodas starp dadm ermea dam. Piemram, mutes dobuma telpa, pirkstu attlums vienam no otra. Subjekts novro, k uzmangi un vrgi kustoties, mains s attluma attiecbas starp dadm ermea dam, starp sevi un citiem dalbniekiem, starp sevi un telpu. Tas auj pievrst uzmanbu sava ermea kustbm un savdabbai, pauztveres izmaim, ermea tlam. 3. Inkubcijas fze / Esamba tagadn Nozmgs posms deju un kustbu terapij ir apzias kontroles mazinana, paverot iespjas izpausties neapzintajam un nezinmajam. Tas nozm auanos apzias plsmai, neminot piedzvoto pakaut loikai. Autentisk kustba ir viena no tehnikm, kas impuls os procesus. T ir pamatota K.G. Junga analtiskaj psiholoij, ko deju un kustbu terapij prstv M. Vaithausa, A. Havkinsa, D. odorova u.c. T saists ar jdzienu aktv iztle, kas nozm auanos saviem iekjiem impulsiem. Indivds, kustoties ar aizvrtm acm, pta savas kustbas, atkljot apzints un neapzints saiknes. Savukrt novrotjs apkopo savas izjtas, sajtas, tlus, kas rodas kustbas laik, un sniedz atgriezenisko saiti. Tdjdi veido jas kopjs tls, apvienojoties iekjai un rjai realittei, sasniedzot Patbu un atkljot pieeju kreativittes resursiem. Vizualizcijas, elpoanas tehnikas, meditcijas formas, apzias plsmu stimuljoas darbbas (rakstana, zmana, balss atbrvoana - aujoties iekjiem impulsiem) atvieglo piekuvi neapzintajam. 4. Inkubcijas fze / Konfrontcija - Transformcija - Abstrahana Buto un dzenbudismu saista potiskais, nelinerais un paradokslais aspekts. Dzenbud isma konos eksit princips, kur subjekts tiek konfrontts ar jaunu, paradokslu informciju. T piemram, ptjum Koanu meditcijas un dzenbudisma fenomenoloija tika skatti vairki aspekti: motivcija, insaitu pieredze un transformcija. Rezultt dalbniekiem uzlabojs koncentrans un emociju kontrole, stereotipu apzinans, kas sekmja jaunas attieksmes veidoanos gargu jautjumu kontekst (Grenard, 2008). Tdjdi konfrontcijas fakts subjektu stimul atrast sev jaunus resursus, lai pieemtu atirgo, skotnji nepieemamo realitti. Konfrontcija uzrda subjektam paa priekstatus ar paa subjekta dotiem instrumentiem. Tehnikas, kas rada konfrontcijas situciju, uzrda sub jekta gatavbu prvart iepriekjs robeas vai ar nespju atkpties no dro pamata, jauns pardbas noliegumu. Viena no buto tehnikm ir skeleta deja, kur tiek izmantota gan iekjo, gan rjo impulsu izraista ldzsvara zaudana (horizontlais, kriana), ldzsvara atjaunoana (vertikalitte, celans). tehnika auj subjektam vrst uzmanbu, kda ir uzticbai sev un citiem, paauans sajta, ermea apzinana (kritiena inerces kontrole, ldzsvara sajta). Viens no pamatprincipiem buto ir ermea objektivizcija, kur Es transformjas par objektu. Transformcijas un objektivizcijas proces subjekts paplaina Ego robeas, atsaks no priekstatiem (socils lomas, pareiza un nepareiza rcba, paierobeojumi). Sub jekts saplst ar objektu (priekmets, dzva btne utml.), minot atrast sev objekta kvalittes. Buto eksist daudz potisku tlu (smaidos kais, zivs tuksnes, skelets, putns u.c.),
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kuriem ir noteiktas fiziskas pozas. Transformcijas proces oti liela nozme ir sejas maskm (drakons, ku-ka, sauvis koks u.c.), kas paldz atteikties no paa radt Es. Ieemt poza un sejas maskas auj subjektam sajust fiziski jaunas sajtas, kas var rosint dzikas ermea atmias un ierosint emocionlas reakcijas. Abstrahana izprotama k objektivizt Es atsveints panovrojums no put na lidojuma. Tas nozm, ka subjektam ir iespja apzinties savus fiziskos, kognitvos un emocionlos procesus, sevi novrojot, bet vienlaicgi atrodoties darbb. Es kustgais un Es novrojoais paldz subjektam apzinties emociju, prta un fizisks aktivittes saistbu. Minto principu izmantojums auj paplaint pauztveres robeas, apzint ermea tlu. Rodas iespja sajust apslptas, neapzintas ermea atmias, kas ierosina emocionlas reakcijas. 5. Ilumincijas fze / Apzias virzba uz objektu: ermenis pasaul Sekojot fenomenoloijas nostdnm, apzia vienmr ir piepildta, t vienmr ir vrsta uz kaut ko (apzia ir intencionla). Buto piedv konkrtas tehnikas, kas sekm uztveres izmaias un paplaina robeas. Koncentrts skatiens pieauj apzias virzbu uz konkrtu objektu. Tas nozm, ka sub jekts objektu uzlko no distanctas pozcijas, atdalot sevi no objekta (Es Objekts). Ldz ar to subjekta uztveres lmenis saaurins, tas kst liners. Subjekta koncentrtaj skatien ob jekts tiek pakauts detalizcijai un fragmentcijai, nereti to atdalot no rvides vai projicjot uz to iekjo emocionlo saturu. Ldz ar to pastiprins draudi, ka rjs realittes uztvere var kt fragmentra un balstta tikai subjekta emocijs. Savukrt buto lietotais perifrais (atvrtais) skatiens sekm subjekta atraanos vienlaicgi iekj un rj realitt. Ldz ar to sevis un apkrtjs realittes uztveres iespjas paplains, ts kst daudzdimensionlas (vienlaicgi kst iespjams skatiens sev, uz ci tiem, pasaul). is stvoklis ir uzskatms par simbiotiskas saplsmes aktu Es Objekts Citi Pasaule lmen. Ldz ar to perifrais skatiens sekm vienota uztveres lauka iespju, aktivizjot apzias un bezapzias procesus. Buto tehnikas btiska komponente ir buto gaita, kas premta no No tetra tehnikm. Kustb tas nozm oti lnu, apzintu un jtgu virzanos telp t, it k sub jekts tiktu kustints (Id princips) nevis kusttos pats (Ego princips). Ln un apzint gaita, apvienojum ar perifro skatienu, ietekm fizioloiskus procesus, kas izmaina sub jekta apzias stvokli. Buto gaitas laik subjekts pievr uzmanbu sava ermea sajtm, domm, emocijm un telpai. is stvoklis pastiprina fizisko un emocionlo sensitivitti, aujot subjektam apzinties sevi fizisk, emocionl, kognitv un spiritul lmen. Tera peitam gaita var bt k diagnostikas instruments, kas auj novrot dalbnieku fizisks un emocionls reakcijas. 6. Ilumincijas fze / Individula un grupas performance Terapijas proces iegt pieredze grupas noslguma stadij tiek apkopota un apzinta, izmantojot horeogrfijas elementus. Katrs dalbnieks rada individulas improvizcijas, kas esencili atspoguo personiski iegto pieredzi, ieguvumus, vajadzbas. Kopgi tiek veidota kustbu performance, kur tiek izmantota katra dalbnieka jaunrade. Tdjdi iegt pieredze tiek apkopota simbolisk form. Terapeits ir aktvs dalbnieks aj proces. 7. Izvrtanas fze / Terapijas procesa nozmes apzinana Terapijas proces svarga daa ir verbalizcija, iegts pieredzes nostiprinana, kognitva apzinans. Ar ts paldzbu tiek apzinti tie procesi, kas notikui sesij. Deju un kustbu terapij saruna starp dalbniekiem noris sesijas skum un sesijas noslgum. T ir iespja apzinties savas sajtas, izjtas, iekjos mehnismus, dalties pieredz ar citiem, iegt grupas atbalstu un atgriezenisko saiti. Grupas procesa noslgum tiek atzmti personiskie un grupas ieguvumi, analizti personisks pieredzes aspekti.
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Secinjumi emot vr buto dejas teortiskos aspektus, metode vartu tikt izmantojama darb ar jaunieiem, kas ir motivti apzinties personiskos resursus, izptt savas fizisks un personisks robeas, ermea tlu, pilnveidot prasmi prvaldt ermeni un apzinties emocijas, risint sa skarsmes grtbas, attstt uzmanbas koncentranu, radoumu un spontanitti. Rezultti tiks izmantoti turpmkai metodes pilnveidoanai, k ar strdjot ar jaunieiem deju un kustbu terapij. Var pieemt, ka metode btu pielietojama ar vidja ve cuma un veckiem cilvkiem. Lai pilnveidotu un pamatotu metodi, k ar apzintu metodes adrestus, btu nepiecieami turpmki ptjumi, lai konstattu, kdus iekjos resursus, ermea atmias, sajtas un emocionls gradcijas atraisa buto process personisks pieredzes kontekst.
Literatras saraksts 1. Fraleigh, S.H. (1999) Dancing into Darkness. Butoh, Zen and Japan. University of Pitsburgh Press: Dance Books, p.272. 2. Fraleigh, S. H., Nakamura, T. (2006) Hijikata Tatsumi and Ohno Kazuo. New York, London: Routledge, p.178. 3. Grenard, J.L. (2008) The Phenomenology of Koan Meditation in Zen Buddhism. Journal of Phenomenological Psychology, Vol.39, Issue2, p.151.188. 4. Kasai, T. (1999) A Butoh Dance Method for Psychosomatic Exploration. A psychological paper of Memoir of Hokkaido Institute of Technology, p.309.316. 5. Kasai, T. (2000) A Note on Butoh Body. A psychological paper of Memoir of Hokkaido Institute of Technology, p.353.360. 6. Kasai, T. (2003) Perception in Butoh Dance. A co-authored paper with Kate Parsons, for Memoir of Hokkaido Institute of Technology, p.257.264. 7. Levy, F.J. (1988) Dance Movement Therapy. A Healing Art. Reston, Virginia: The American Alliance for Health, Physical Education, Recreation and Dance, p.1.16. 8. Meekums, B. (2002). Dance Movement Therapy. Creative Therapies in Practice. London: SAGE Publica tions, p.13.21. 9. Pylvanainen, P. (2006) The Tri-Partite Model of Body Image and Its Application to Experiences in Butoh. In: Koch, C.S. & Braununger, I., (Ed.) Advances in Dance Movement Therapy. Theoretical Perspectives and Findings. Berlin: Logos Verlag, p.40.51. 10. , ., , . (1993) -. : , c.26.27. Mg.art., Mg.ves.apr. deju un kustbu terapeite Simona Orinska Latvijas Deju un kustbu terapijas asocicija Adrese: Brvbas 66-25, Rga, LV-1011 Tlr. mob.: 29394500 E-pasts: simonaorinska@inbox.lv Foto: J.Deinats Fotocentrs

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Pielikums APPENDIX 1. tabula Metodes pamatjdzienu un tehniku integrcija B. Mkums (B. Meekums, 2002) kreatvo procesu cikliskaj model deju un kustbu terapij Table 1 Integration of the methods main concepts and techniques in B. Meekums (2002) cyclical model of creative process in dance movement therapy
1. SAGATAVOANS FZE (B. Mkums) Novrojums un izvrtana, droas un uztica mas vides izveide Kreiss smadzeu puslodes aktivitte Buto metodes pamatjdzieni (S. Orinska): 1) Inerces kontrole 2) Tukuma jdziena izpte Metodes tehnikas: Uzmanbas prslgana - ldzsvara, svara un inerces izpte Manipulcijas atbrvota ermea izpte Tukuma telpa ermen 4. IZVRTANAS FZE (B. Mkums) Insaitu nostiprinana Kreiss smadzeu puslodes aktivitte 2. INKUBCIJAS FZE (B. Mkums) Apzias kontroles mazinana, auans nezinmajam Labs smadzeu puslodes aktivitte

Buto metodes pamatjdzieni (S. Orinska): 7) Terapijas procesa nozmes apzinana Metodes tehnikas: Verbalizcija

Buto metodes pamatjdzieni (S. Orinska): 3) Esamba tagadn 4) Konfrontcija - Transformcija - Abstrahana Metodes tehnikas: Autentisk kustba Meditcijas, vizualizcijas un elpoanas tehnikas Balss atbrvoana, zmana, rakstana Skeleta deja kriana, auans negaidtam im pulsam Identifikcija ar tliem/objektiem. Sejas maskas. No putna lidojuma atsveints sevis vrojums

3. ILUMINCIJAS FZE (B. Mkums) Insaitu raans Labs un kreiss smadzeu puslodes aktivitte

Buto metodes pamatjdzieni (S. Orinska): 5) Apzias virzba uz objektu : ermenis pasaul 6) Individula un grupas performance Metodes tehnikas: Buto gaita - Es kustos un Es tieku kustints Perifrais skatiens iekjs un rjs realittes saistba Kustbu improvizcijas Horeogrfijas elementi 75

Guna Svence. Dr. psych. profesore, strd RPIVA kop 1994./95. stu diju gada. Ir vairku studiju programmu izveidotja psiholoij, vairku mcbu grmatu autore (Attstbas psiholoija, Pieauguo psiholoija, Pozitv psiholoija, Ievads politiskaj psiholoij, Ievads Latvijas psiholoijas vstur). Aizraujas ar ceoanu (Indija, Tibeta), mkslu (mkslas terapijas izgltba), reliiju un filozofiju (budisms). Vairk nek 11 gadus bijusi RPIVA Psiholoijas fakulttes dekne, sekmgi aizstvjusi psiholoijas studiju programmu akreditciju. Interese par kreativittes psiholoiju. Guna Svence Rgas Pedagoijas un izgltbas vadbas akadmija Latvija

Plsmas pieredzes jeb flow fenomena izpte sievieu mkslinieu naratvos

Kopsavilkums Ievads. Rakst tiek piedvts tulkot flow k plsmas pieredzi, kaut ar, tulkojot burtiski no angu valodas optimal experience (iksentmihali, 2009), nereti izmanto jdzienu optiml pieredze, tpc obrd Latvij nav viennozmga lmuma, k o jdzienu tulkot. Raksta autore izvljusies izmantot jdzienu plsmas pieredze, kas vispreczk raksturo jdziena saturu. Veiktaj ptjum RPIVA (Savicka, Svence, 2008) tika saldzints ASV pozitvs psiholoijas auto ra M. iksentmihali plsmas jeb flow konceptulais modelis ar Latvijas izlases doto narratvu satura vienbm, un ptjuma rezulttus apkopo is raksts. Darba mris. Saldzint Latvijas respondentu plsmas pieredzes izjtu raksturojos satura vienbas ar M. iksentmihali plsmas pieredzes teorijas satura vienbm. Materili un metodes. M. iksentmihali plsmas pieredzes konceptul modea analze, daji strukturtas intervijas un kontentanalze, diskursu analze. Rezultti. darba ietvaros pirmo reizi Latvij tiek analizts un saldzints iksentmihali fenomenoloisko ptjumu rezultt iegtais plsmas pieredzes (flow) astou satura vienbu raksturojoais modelis. Secinjumi. Radoas personbas plsmas izjtu visvairk izbauda ikdienas profesionlaj darbb, daudz retk cits aktivitts. Bet nejaui atlasti respondenti s pieredzes izjtu saista ar rpus darba nodarbm (piemram, mkslu, hobijiem). Atslgas vrdi: flow, plsmas pieredze.

Flow concepts content analysis in creative profession representative narratives

Summary Intoduction. There is research for compearing Latvian sample (n=13) with 8 concepts M. Csikszentmihalyi theory of optimal experience called flow. There 13 latvian wimin from creative social field (artists) have participated in this resarch. The term flow was first defined by Csikszentmihalyi (1977) as the holistic sensation that people feel when they act with total in volvement (p. 36). In theensuing definitions of flow, Csikszentmihalyi has mentioned additional
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aspects including the balancebetween challenges and skills (Csikszentmihalyi & Csikszentmih alyi, 1988), increased likelihood of increased likelihood of learning new skills (Csikszentmihalyi & LeFevre,1989), and being in control of ones own actions (Csikszentmihalyi, 1990). Next to Csikszentmihalyi and his colleagues, who continued developing the conceptualization of flow over time, other researchers started to become interested in flow and to give their own definitions. A comparison of the prevailing definitions reveals not only differences but also several similarities regarding the core elements of the flow experience. The first element that characterizes the flow experience is enjoyment (Bakker, 2004; Csikszentmihalyi, 1990; Hoffman & Novak, 1996; Trevino & Webster, 1992) or the fact that people feel happy about having had a flow experience. The second core characteristic is that people fully concentrate and are immersed in what they do. The subjective experience of time is distorted (i.e., time seems to fly), and they are so fully focused on what they do that they forget everything else around them (cf.Csikszentmihalyi, 1990). The third characteristic of flow is that people do what they do even at great cost, for the sheer sake of doing it (Csikszentmihalyi,1990, p. 3), or, in other words, they are intrinsically motivated. People who are motivated by the in trinsic aspects of their tasks want to continue them because they are fascinated by the tasks they perform and not because of an external reward (Csikszentmihalyi, 1997). If flow is to occur, it is essential that the individualbe thoroughly involved in something that is enjoy able and meaningful to him or herself (Csikszentmihalyi,1999). Thus, the term flow is used when all three elements are experienced simultaneously, implying that flow is an overarching construct. Moreover, within the conceptualization of flow, intrinsically motivated behavior is conducive to immediate goals, such as enjoyment, pleasure, and excitement (Csikszentmih alyi, 1997Thus, flow represents a multifaceted construct that is in line with a fairly broad no tion of occupational mental health (Warr, 1987) including not only affective aspects but also cognitive and motivational aspects. Flow theory is based on a symbiotic relationship between challenges and skills needed to meet those challenges. The flow experience is believed to oc cur when ones skills are neither overmatched nor underutilized to meet a given challenge. This balance of challenge and skill is fragile; when disrupted, apathy (i.e., low challenges, low skills), anxiety (i.e., high challenges, low skills), or relaxation (i.e., low challenges, high skills) are likely to be experienced (Csikszentmihalyi,1997). Based on flow theory, concen tration, interest and enjoyment in an activity must be experienced simultaneously in order for flow to occur (Csikszentmihalyi,1997). While our study combines these variables into an engagement composite score, each variable is an important component of flow theory and will be reviewed briefly. Concentration. Flow experiences are described as states of intense concentration or absolute absorption in an activity (Csikszentmihalyi, 1990). Interest. Interest in an activity is a fundamental aspect of flow experiences, setting the foundation for continuing motivation and subsequent learning. Researchers have argued that interest provides the basis for becoming engaged with a topic for its own sake (Deci & Ryan, 1987). Acting on intrinsic interest alone, individuals seize opportunities to learn, read, work with others, and gain feedback in a way that supports their curiosity and serves as a bridge to more complex tasks. Enjoyment. Flow activities, including intellectually demanding tasks, can also be en joyable and satisfying. They may provide a feeling of creative accomplishment and satisfaction. Such feelings may occur mainly in retrospect because all concentration is focused on the task during actual engagement (Csikszentmihalyi,1990). In any event, individuals who have devel oped their talent and creativity are those who continue to follow their sense of enjoyment in chosen activities (Csikszentmihalyi, 1996).
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Aim of the study. To compare Latvian representatives optimal experience flow sense characteristic content items with Csikszentmihalyis optimal experience flow theories content items. Materials and methods. The data acquisition qualitative method- interviews. analy sis of literatures, contentanalysis. The tasks of research to make partially structured inter views questions; to take interviews with representatives of creative professions and incidentally choose respondents about optimal emotional experience; to make contentanalysis of interviews; to compare Csikszentmihalyis model with results of research optimal experience flow con tent items. Results. In narrations of creative professions representatives are these kind of content items adequacy of skills for manageable activity; concentration on limited amount of impetus; clear purpose; immediate reflexive link; completely ridden with manageable activity; complete ly control of happen; confluence with manageable activity and changes of time of sense. Conclusions. Optimal experience flow 8 items content` items in Latvian focus group sample have resemblance with Csikszentmihalyis nowadays positive psychological theoretical cognitions about flow.
Items from contentanalisys with Latvian sample what are equal with Flow theory 1. Appropriate level of challenge for someon`s skills 2. Perceptions of challenge and relevance 3. Clear aims or goals 4. Feed-back is immediately 5. Convergence with activity 6. Full concentration to activity 7. Enjoyment with activity 8. Time feeling change

Table 1 Comparison with Flow theory concepts and Latvian sample Key words: flow, well being, optimal experience. Ievads M. Seligmana atzinums, ka M. iksentmihali apraksttais plsmas pieredzes fenomens ir nozmgkais pozitvs psiholoijas atkljums pdjos gados, glui dabiski rosina zintnisku interesi ar Latvij par novatorisk jdziena saturu un zintnisko iterpretciju psiholoij. Pirms M. iksentmihali ds jdziens plsma jeb flow netika lietots td nozm, k to iz manto msdienu pozitv psiholoija. Tuvu tam daos aspektos bija A. Maslova aprakstt virsotnes izjta jeb prdzvojums vai akmeoloij apraksttais akmes jeb plaukanas (ar virsotnes) prdzvojums laimgas dzves nodroinan. Ldz ar to is ptjums, ko veica RPIVA doctja G. Svence kop ar studenti I. Savicku, ir vrtjams k pirmais minjums jeb fokusptjums kvalitatvi, ne kvantitatvi adaptt o jdzienu latviski. Darba mris Mris ir saldzint Latvijas izlas iegts satura vienbas ar M. iksentmihali Flow teorijas satura vienbm.
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MATERILI UN METODES Ptjuma materili un izmantots metodes (interviju ar 13 Latvijas sievietm mksliniecm kontentanalze) va noskaidrot, kas taj ir ldzgs ar M. iksentmihali plsmas koncepciju, pc diem kritrijiem: 1) darbbas subjekta saplana ar veicamo darbbu, 2) pilnga situcijas kontrole jeb vadana, 3) izmaias sevis uztver iekjo procesu intensva apzinans un mobilizcija, 4) transcendento prdzvojumu pieredze, harmonijas izjta ar apkrtjo pasauli, 5) pieredzes autentiskums (tiei subjektvais prdzvojums motiv darbbai), 6) baudas jeb prieka un gandarjuma gana darbbas proces. Ptjum tika aptaujtas vairkas radoo profesiju prstves (tulkotja, aktrisereisore, rakstniece, dziedtja, fotogrfs un reklmas specilists) un 7 nejaui atlasti respon denti (automehniis, juriste, klientu menedere, celtnieks, skolniece, tirdzniecbas specilists un prtikas kvalittes speciliste). Respondentu vecums iekvs robes no 14 ldz 57 gad iem (5 vriei un 8 sievietes), izgltbas lmenis: augstk izgltba ir 6 cilvkiem; vidj - 6 cilvkiem un 1 (skolniecei) pamatskolas izgltba. Respondentu vecuma, izgltbas un dzimu mu atirgo amplitdu noteica M.Ciksentmihali (Csikszentmihalyi, 1990) izdartie secinjumi par plsmas pieredzes izjtas universlo dabu. Kvalitatv ptniecbas metode Kvalitatvs ptjuma metodes izvle va pievrsties ptjuma dalbnieku dzii subjektvajai prdzvojumu pasaulei, bez tam, cits ptjuma dizains neautu stenot ts iespjas, ko sniedz cie ptnieka un ptjuma dalbnieka sadarbba. Kvalitatvs ptniecbas pamatnostdnes va stenot induktvu pieeju ptniecbas problemtikai, fokusu uz konkrt fenomena izpratni, datus iegt verbl naratva form. At bildes uz jautjumiem: kda ir pieredze?, k to prdzvojt? tika iegtas no respondentu naratviem ststiem verbl form. Ptjuma proces tika noskaidrots, kdas kategorijas un jdzienus var saskatt respon dentu naratvos jeb ststu tekst, lai strukturtu plsmas pieredzi kategorijs un flow teorijas jdzienos, mekljot iespjamo universlo ldzbu ar M. iksentmihali teoriju. Ptjuma dizaina izvli liel mr noteica ar tas, ka akadmisks zintnes ietvaros ir vrojama arvien pieaugoa interese par izptes fenomenoloisko dizainu. No 13 dadiem kvalitatvo ptjumu veidiem 9 prstv fenomenoloisko virzienu (Tesch, 1990, citts pc Rubule, 2006). Kontentanalze Kvalitatvs analzes mris ir noteikt ststjuma nozmi, kas ir balstta satur. ptjuma ietvaros datu analze tika veikta ar kontentanalzes metodi. Skotnji iegtie dati respondentu verblie naratvi- tika prveidoti rakstveida tekstos ar mri secgi stenot analzes sous: sadalt respondenta ststjumu satura vienbs; nskaidrot satura vienbu jgu; stura vienbu grupana analtisks kategorijs; ktegoriju apvienoana ar mri izveidot plakus, abstraktkus jdzienus; ivietot jdzienus plak struktr, ar mri izskaidrot jdziena diapazonu, dabu, pardbu dinamiku. Analtisk indukcija Lai stenotu konkrt ptjuma mri - veikt M.iksentmihali konceptu saldzinjumu ar ptjuma ietvaros iegtajm Flow satura vienbm un izveidot plsmas pieredzes teortisko
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modeli, loiska ir kontentanalzes analtisks indukcijas stratijas procedras izmantoana, kas nodroina ptniecbas procesa precizitti. Analzes proces iegt teorija veido ptnieka jutgumu pret jdziena btbu un paldz prbaudt jdziena btbu jauns situcijs, noteikt t visprgumu gadjumos, kad teorija eksist pirms analzes. Tdjdi analtisks indukcijas procedra ir ideli piemrota im ptjumam, jo: 1. ptjuma problma aptuveni tika identificta projekta skum, kad tika noteikts izzias priekmets- iespjams pazmes plsmas pieredzei Latvijas respondentu ststjumos; 2. dati par plsmas pieredzes fenomenu tika vkti no problmas izptei piemrotiem indivdiem (radou profesiju prstvji un nejaui atlasti respondenti); 3. tika veikta rpga iegto datu izpte ar mri labi iepazt to saturu; 4. gts atzias va formult darba hipotzi par plsmas pieredzes fenomenu. Tas va izvirzt hipotzes: 1. plsmas pieredzi radoo profesiju prstvji izjt biek, un tas vartu bt saistts ar ikdienas profesionlo darbbu un darbbas veidu dadbu. 2. radoo profesiju prstvjiem un nejaui atlastiem respondentiem plsmas pieredzes intensitte neatiras spcgus un dzius s pieredzes izjtas prdzvojumus var atrast abu respondentu grupu ststjumos. Ir ar citi papildus secinjumi: piemram, ptjuma rezultt tika konstattas V.Kozlova (, , 2008) aprakstts radou profesiju prstvjiem raksturgs optimls pieredzes satura komponentes, kas nejaui atlastiem indivdiem netika konstattas izmaias sevis uztver, iekjo procesu intensva apzinans un mobilizcija un transcendento prdzvojumu pieredze. Daiem respondentiem vrojamas autotliskas personbas pazmes baudu gst no paa darbbas procesa, piemram, rakstniece raksta savus darbus bez mra tos publict, nes tos uz tualeti; fotogrfs neekspon savus darbus, bet krj tos kastts. Savukrt respondentatirdzniecbas darbinieka plsmas pieredzes izjtas naratvos ir saskatma s pieredzes cita nianse to izjt briesmu situcij un ekstremlos apstkos. Daudzos respondentu ststjumos izteikti redzama tendence, kas parda plsmas pieredzes izjtu jaunu, nezinmu situciju izraistu psihes fenomenu, kas liecina par cilvka centrlo virzbu uz transcendenci izieanu rpus savu zinanu, spju robem, vlmi apgt jaunas prasmes. Radoo profesiju prstvju ststjumos par plsmas pieredzi ir das satura vienbas: prasmju atbilstba veicamajai darbbai, koncentrans uz ierobeotu stimulu apjomu, skaidri mri, tltja atgriezenisk saite, pilnga premtba ar veicamo darbbu, pilnga notieko kontrole, saplana ar veicamo darbbu un laika izjtas izmaias. Tpc var apgalvot, ka aj fokusptjum Latvij plsmas pieredzes satura vienbm ir saturiska ldzba ar M. iksentmihali flow teorijas saturu. Plsmas pieredzes (Flow) teorijas radtja, ikgas Universittes profesora M. iksentmihali (Csikszentmihalyi, 1975) vrojumi par mkslinieku darbbas motivciju lika izdart secinjumus, ka motivcijas iemesls nav mekljams bezapzias dziumos, rjos stimulos, paaktualizcijas vajadzb, bet gan tie apzintu prdzvojumu sfr, kas rodas darbbas brd. K balva cilvkam ir pas baudjums. Prdzvojumu kopumu, ko cilvks piedzvo un kas vienlaicgi motiv t darbbu, neprtraukti veicinot subjekta vlmi prdzvojumu atjaunot un turpint neatkargi no rjiem pastiprintjiem, M. iksentmihali nosauca par autotlisko pieredzi. M. iksentmihali izvirzja mri aprakstt o pieredzi un noteikt ts veidoans mehnismus. Skotnjais materils tika iegts, aptaujjot apmram 200 cilvkus, kuriem, iespjams, bija autotliska pieredze mkslinieki, skulptori, alpnisti, dejotji, irurgi, aha spltji, basketbolisti, zintnieki u.c. Respondenti nereti runja par pau sajtu- plsmu, kur vii it k atrads, it k plda, zaudjot laika sajtu.
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Analizjot iegtos materilus, iksentmihali (Csikszentmihalyi, 1975) izveido ja universlu plsmas raksturojumu un ska izmantot vrdu Flow k terminu, kas nozm autotlisku pieredzi vispr. Vlk tiek izstrdta (Csikszentmihalyi, Larson, 1987; Massimini, Carli, 1998) paa Experience Sampling Metod (ESM) metode, kas auj iegt respondentu atbildes par ikdienas dzves darbbm, domm, izjtm. Izcilais krievu Transpersonls psiholoijas nozares prstvis S.Kozlovs (, 2008) norda uz plsmas prdzvojumu (Flow) ptjumu aktualitti: nepiecieamba teortiski izprast apzias radoo virsotu psiholoiskos un fenome no loiskos aspektus; nepiecieamba noteikt apstkus, kas auj indivdam produktvi stenot radoos proce sus; nepiecieamba izptt psiholoiskos stvokus, kas ir optimli dadu veidu darbbu veikan; nepiecieamba izptt Flow ietekmi uz darbbas produktivitti. Tau pozitvs psiholoijas ptjumi nav uzskatmi par elitriem td izpratn, ka to rezultti nodergi tikai indivdiem bez psiholoiskm problmm. Glui otrdi, daudzi autori (Duckworth, Steen, Seligman, 2008) norda uz to, ka cilvkiem ir svargi ne tikai atbrvoties no psiholoiskm problmm, bet ar gt iespjami lielu apmierintbu un prieku, vii vlas vairot savas spjas, nekoncentrjoties tikai uz trkumu novranu. Plsmas pieredze un radoas profesijas prstvji K liecina V.Kozlova (, , 2008) veiktie ptjumi, personbas radoo resursu stvokiem raksturgas praktiski visas M. iksentmihali defints plsmas pieredzes komponentes. Aprakstot savas plsmas pieredzes izjtas, respondenti tpat k M. iksentmihali aptaujtie indivdi, akcentja uzmanbu uz kdu no komponentm - afektvo (apmierinjuma izjta), motivcijas (vlme turpint darbbu), kognitvo (koncentrcijas pakpe). Tika konstattas citas identiskas M.iksentmihali plsmas pieredzes izjtu aprakstos pazmes: darbbas subjekta saplana ar veicamo darbbu; pilngas situcijas kontroles apzinans; izmaias sevis uztver, iekjo procesu intensva apzinans un mobilizcija; transcendento prdzvojumu pieredze, harmonijas izjta ar apkrtjo pasauli; pieredzes autentiskums (tiei subjektvais prdzvojums motiv darbbai); baudas gana darbbas proces. M.iksentmihali uzskata, ka radou profesiju prstvji biei ir autotliskas personbas (auto-no grieu valodas- patstvgs, telos no grieu valodas mris). Vi defin pau personbas veidu autotlisku personbu, kuras pamatiezme ir koncentrans uz darbba procesu, nevis darbbas mra sasnieganu. Autotliskm personbm raksturgs materilo vrtbu, komforta, slavas un varas maznozmgums. ie cilvki ir mazk atkargi no rjiem kairintjiem, kas citus nolemj garlaicgai bezjdzgas rutnas pilnai dzvei. Autotliskm personbm piemt patstvgums un neatkarba, tai pat laik izteikta iesaistans apkrtjs pasaules noriss. No citiem cilvkiem vii atiras ar izteiktu fizisks enerijas prpilnbu, nav premti ar sevi, tpc viiem ir vairk brvas psihisks enerijas, lai izzintu dzvi. das personbas interese par kdu darbbu nav pasva un apcerga, interesei ir raksturgs nesavtgums. Nepastv noteiktas metodes, kas autu noteikt, cik liel mr cilvks ir autotlisks, tau iksentmihaji uzskata, ka autotliskas personbas raksturo plsmas izjtas bieums. Veicot ptjumus ar saretu un komplictu aptaujas metodi (ar peideri tika doti signli responden tiem, kam vajadzja raksturot savas izjtas konkrtaj brd un pc tam veidot skas atskaites),
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tika iegti dati par indivdiem, kas 7 % sava laika apraksta k plsmas izjtu, bet citi das izjtas piedv mazk nek 10% sava laika. Tdjdi pirmie ir uzskatmi par autotliskm personbm. iksentmihali uzskaita btiskas pabas, kas raksturgas autotliskm personbm: liela fiziska enerija, spja koncentrt uzmanbu lietm, negaidot tltju atdevi, fokusans uz apkrtjs izzias procesu, nevis savm problmm, interese nav pasva, tai raksturga vlme rast risinjumu, veicamo darbbu dajs vai pilngs nesavtgums, tieksme aktvi iesaistties apkrtjs noriss. REZULTTI Fenomenoloisko ptjumu rezultt M.iksentmihali definja astoas plsmas izjtu raksturojoas komponentes (piedzvo vienu, daas vai visas vienlaicgi): 1. Prasmju atbilstba veicamai darbbai. Parasti Flow izjta rodas gadjumos, kad indivdam jpielieto maksimums savu prasmju, lai stenotu konkrtu mri. 2. Koncentrans uz ierobeotu stimulu apjomu. Spjai ilgstoi koncentrt uzmanbu ir paa nozme, jo vairumam respondentu piemita tiei vienojo paba. Respondenti apraksta plsmas stvokl esoo prta stvokli, kas neklst, bet ir fokusjies uz konkrto darbbu. Enerijas plsma ir vienmrga, ir pilnga komforta izjta. Vairumam respondentu ir raksturgi plsmas laik aizmirst par apkrtni, nereat uz rjiem stimuliem telefona vai durvju zvaniem u.tml. Darbojoties rj pasaule tiek atslgta, un biei da koncentrans intensitte saglabjas ilgstoi bez paas pieples. Beidzoties plsmas stvoklim, cilvks bez grtbm atgrieas rjo stimulu pasaul (Csikszentmihalyi, 1990). 3. Skaidri mri konkrta mra apzinans. Flow izraisto darbbu veikanas proces ir izteikta konkrtu, skaidru mru apzinans izjta, ja mri ir vairki tie tiek hierarhizti atbilstoi to sasnieganas nozmbai. Eso sasnieguma saldzinana ar mri sniedz tltju atgriezenisko saiti, nodroinot sasniegt novrtanu. Pie kam, vrtanas process ir automtisks, bez refleksijas. Indivds, kas atrodas Flow stvokl, neizjt aubas vai izvles grtbas. Katr darbbas brd indivds skaidri zina, kas darms tlk (Csikszentmihalyi & Csikszentmihalyi, 1995). 4. Tltja atgriezenisk saite. Atgriezenisk saite ir atkarga no veicams darbbas piemram, daudzi irurgi nepiekristu kt par terapeitiem tpc, ka terapeiti nesaem tltjus tieus un izteiktus signlus par izvlt rstanas veida pareizbu. Faktiski jebkura atgriezenisk reakcija, kas saistta ar mri, kura sasniegan indivds ieguldjis psihisko eneriju, rada baudas izjtu (Csikszentmihalyi, 1990). 5. Darbbas procesa norise pilng premtb ar konkrto darbbu, apzias neiesaistana ikdienas rps un uztraukumos. Koncentrans uz ierobeotu stimulu apjomu liek cilvkam aizmirst par ikdienas rpm un problmm, visa uzmanba tiek virzta uz veicamo darbbu. 6. Pilnga notieko kontrole. Plsmas stvoklim raksturga situcijas kontroles apzinans, nepastv uztraukums par kontroles izjtas zaudanu, indivds pilnb valda pr sevi, preczi pielieto savas zinanas un prasmes konkrtai situcijai. rjie neparedzamie, nejauie stimuli, kas nav saistti ar veicamo darbbu, neizraisa bganas reakciju. Tiei aktva kontroles apzinans, pastvga ts stenoana mrena riska, izaicinjuma situcijs, nevis pasva kontroles iespjambas apzinans, uzskatms par Flow kom ponenti un sniedz baudu. Kontroles izjtas prdzvojums var varit no vienkras prliecbas par pilngu notieko kontroli ldz pat pilngai visvarenbas izjtai. Kontrole
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var izpausties ar k pilnga prliecba par savas rcbas pareizbu (Csikszentmihalyi & Csikszentmihalyi, 1995). 7. Saplana ar veicamo darbbu- individualittes izmaias pc atraans plsmas stvokl. Darbojoties indivds it k aizmirst, zaud savu personbu, saplst ar veicamo darbbu. Enerija netiek trta rpm par savu Es, socils maskas uzturanai, pazd nepiecieamba atbilst noteiktiem rmjiem. Taj pat laik nezd realittes izjta, savukrt pastvg iekj sevis, savas uzvedbas, vrdu izmais indivds rkojas aizrautgi (Csikszentmihalyi & Csikszentmihalyi, 1995). 8. Laika sajtas izmaias. Respondenti ststa par atmias procesu darbbas prtraukanos. Cilvka atmias ilgums plsmas stvokl ir ierobeots, dakrt tas neprsniedz 30 sekundes. Biei vien plsm esos cilvks pilnb nerea uz citiem cilvkiem un nejt nogurumu. Tdjdi var runt par plsm esoa cilvka apzias izteiktu saaurinanos. Visas domas ir it k izduas veicamaj darb. Negatvs domas, sliktais noskaojums, pagtnes sargtinjumi un rpes par nkotni, kas citkrt liek par sevi mant, pilnb aizmirstas. Daudzi respondenti plsmas efektu saldzina ar psihoterapijas rezulttiem. Uzmanbas koncentrana dakrt pat izmainja apkrtjs pasaules uztveri un izraisja laika sajtas zudumu.
iksentmihali Flow teorijas ietvaros defints plsmas pieredzes (Flow) satura vienbas, kas atbilst Latvijas izlases ptjumam 1. Prasmju atbilstba veicamajai darbbai 2. Koncentrans uz ierobeotu stimulu apjomu 3. Skaidri mri 4. Tltja atgriezenisk saite 5. Pilnga premtba ar veicamo darbbu 6. Pilnga notieko kontrole 7. Saplana ar veicamo darbbu 8. Laika izjtas izmaias

1. tabula Kopsavilkums par Latvijas izlases satura vienbu atbilstbu Plsmas teorijai Table 1 Comparison with Flow theory concepts and Latvian sample SECINJUMI Apkopojot M.iksentmihali veikto ptjumu rezulttus, var secint, ka autotliskm personbm kopum piemt augstks koncentrcijas lmenis, vii gst lielku baudu, viiem piemt augstks pavrtjums, vii izprot savu patreizjo darbbu vrtbu nkotnes perspektv, tau laimes izjta ir zemka nek neautotliskm personbm. Tas nozm, ka autotliskas personbas nav apriori laimgi cilvki, tdjdi indivda laimes izjta nav objektvs via dzves kvalittes vrtjums.
Literatras saraksts 1. Bakker, A.B. (2004) Development and Validation of the Work-related Flow Inventory (WOLF). Manuscript submitted for publication. www.apa.org (13.12.2009) 2. Csikszentmihalyi, M. (1990) Flow: The Psychology of Optimal Experience. New York: Harper Collins. www. apa.org (26.11.2008) 3. Csikszentmihalyi, M. (1997) Finding Flow: The Psychology of Engagement with Everyday Life. www.psy chologytoday.com (16.07.2010) 83

4. Csikszentmihalyi, M. (2003) Good Business: Leadership, Flow and the Making of Meaning. London: Hodder and Stoughton, www.apa.org (12.06.2009.) 5. Csikszentmihalyi, M. & Csikszentmihalyi, I.S. (1995) Optimal Experience Psychological Studies of Flow in Consciousness. Cambridge University: Press, www.apa.org (13.12.2009) 6. Csikszentmihalyi, M., Rathunde, K., & Whalen, S. (1993) Talented Teenagers: The Roots of Success and Failure. New York: Cambridge University Press, www.apa.org (13.12.2009) 7. Douglas, E. (2008) Creativity and Flow Psychology. www.apa.org (26.112008.) 8. Ellis, G.E., Voelkl, J.E., & Morris, C. (1994) Measurement and Analysis Issuees with Explanation of Variance in Daily Experience Using the Flow Model. Journal of Leisure Research, No26, www.apa.org (30.08.2009) http://www.creativityatwork.com/articlesContent/Flow_eby.html (26.06.2008.) 9. Kvale, S. (1996) Interviews: An Introduction to Qualitative Research Interviewing. Thousand Oaks, Sage, www.oak.eats.ohiou.edu (16.07.2010.) 10. Lutz, R.J. & Guiry, M. (1994) Intense Consumption Experiences: Peaks, Performances, and Flows. Paper presented at the Winter Marketing Educators` Conference, 1994, St. Peterburg, www.apa.org (26.112008.) 11. Massimini, F., Carli, M. (1998) The Statistic Assessment of Flow in Daily Experience. Cambridge: University Press. www.oak.eats.ohiou.edu (16.07.2010.) 12. McKenna, K., Lee, S. (2008) A Love Affair with MUDs: Flow and Social Interaction in Multi-User Dungeons. www.oak.eats.ohiou.edu (16.07.2010.) 13. Rubule, I. (2005) Adolescences vecumposma eksistencili sematisk pieredze. Rga: Rgas Pedagoijas un izgltbas vadbas augstskola, nepublicts maistra darbs psiholoij. 14. , . . (2008) : . http://drupal/psychosfera. ru/?q=node/312 (16.07.2010) 15. , .. (2008) . www.miip.net Atrasts 03.03.2008. 16. , .., , . (2008) . http://www.yogavstrecha. ru (18.11.2009) 17. , .. (2008) . www.positive psychology.ru (12.08.2008.) 18. , . (2008) . www.koob.ru (05.06.2008.) Guna Svence Dr. psych., profesore Rgas Pedagoijas un izgltbas vadbas akadmija, Kreativittes zintniskais institts, Imantas 7. lnija 1, Tlr.: 67860672, e-pasts: guna.svence@rpiva.lv

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Jkabs Raipulis. Esmu entiis un pamat ptu dadu faktoru iedarbbu uz iedzimtbas informcijas glabtjm struktrm. Tau raugoties caur entikas prizmu, cenos analizt un izprast ar ci tas dzvs dabas pardbas un cilvku. T esmu noncis ar pie kreativittes entisks bzes mekljumiem. Atmodas laik darbojos politik. Vaasprieki lai saglabtu spju nepazaudt balsi, lasot lekci jas, dziedu lbieu ansambl Lvlist.

JKABS RAIPULIS Rgas Pedagoijas un izgltbas vadbas akadmija Latvija

KREATIVITTES IZPAUSMES BRNB UN PUSAUDA GADOS

Kopsavilkums Ievads. Lielkajam vairumam pirmsskolas brnu ir daudzas rados domanas pazmes. No agras brnbas ldz pieauguam vecumam ievrojami samazins kreatvo indivdu patsvars. Darba mris. Analizt brnu kreativittes izpausmes un izmaias auganas, attstbas un izgltbas procesos. Materils un metodes. Darb izmantoti ptjumu rezultti par brnu un pusaudu smadzeu attstbas likumsakarbm un kreativittes izpausmes katr attstbas posm. Veikta dadu autoru rezulttu saldzino analze. Rezultti. Kreativittes samazinans cloi ir smadzeu attstbas un nobrieanas rezultt notiekos izmaias, audzinana skol, kas nomc kreativitti un sabiedrbas pieprasjums. Secinjumi. Radouma veidoans un mazinans pamat ir bioloiskie, socilie un psiholoiskie faktori. Atslgas vrdi: Brnu kreativitte, brnu attstba, smadzeu attstba.

EXPRESSION OF CREATIVITY IN CHILHOOD AND ADOLESCENCE

SUMMARY Introduction. Indications of creativity usually manifest themselves already in early childhood. Children find unusual solutions to various problems, come up with manifold unusual ideas, and notice different associations that seem surprising to adults. Do these creative expres sions become a foundation for later creative thinking to develop? Or is it simply a result of im mature brain and lack of life experience and knowledge? In the course of time, up to coming of age, the proportion of creative thinking decreases to a considerable extent. Aim of the study is to analyse childrens expressions of creativity. Materials and methods. A comparative analysis of the results achieved by various authors has been carried out. Results. Creative qualities begin to appear when a child is only 3-5 years old. At the age of 5, almost 98% of children manifest creativity. Creativity begins to decrease at the age of 6. At the age of 10, 30% of all children are still creative; at the age of 15 only 12% of adoles cents are creative, whereas there are as little as 2% of all adults that still have explicit creative
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abilities. What are the causes for this phenomenon? Most creativity researchers believe that the development of creativity is determined by interaction of three factors: biological, psychologi cal and social. When a child is born, it has all neurons (nerve cells) ensuring the brain function for the rest of its life. At the age of 2, the size of a childs brain reaches 80% of the size of an adults brain. The size of the brain increases when glial cells that support neurons divide, when neural branches grow and branch and when they become covered by the myelin sheath. When a child grows, the left brain hemisphere becomes dominant. Preservation, increase or decrease of creativity largely depends on the specifics of the brain structure and function development. It is possible to develop creativity only according to the given morpho-physiological level of the brain development. There are two intensive periods in the development of creativity. The first, sensitive creativity period takes place when a child is 3-5 years old. Creativity expresses itself in the form of general creative capabilities that have no specialisation in relation to a particular field of human activity. A preschool childs thinking and ideas may appear without any limitation or canalisation and form an impression of a creative revelation. The world does not seem too comprehensible to a little child, and it is full of prob lems. Later on, only the creative admit that the world is full of problems. The second sensitive period related to creativity occurs during the age of adolescence and youth, starting from 13 to 20 years. During this period, specialised creativity forms on the basis of general creativity: ability to create in a particular field of human activity. Does school inhibit creativity? To some extent yes, under the contemporary educa tional system. The development of creativity occurs rather individually, and in a large group it may often go unnoticed especially because creative children frequently choose not to join common activities. By developing childs intellect that increases his adaptiveness creativity is inhibited exposing him to greater danger due to unorthodox solutions and activities. Children who carry out tasks accurately, learn school material and follow teachers instructions usually enjoy greater success in the schooling system. There is no doubt that within the boundaries of the described upbringing system children aiming at intellectual capabilities gain greater advan tages. However, those attempting to be creative in the learning process turn out to be losers, and therefore they often try to hinder their own activities. School and learning set boundaries, teach what is right and what is wrong, and thus restrict free improvisation. Fear of making mistakes holds back from searching the new and unusual. In course of evolution it has become genetical ly fixed that intensification of intellectual dominance takes place when a person grows. General intellectual abilities ensure high adaptiveness of a group of grown-up individuals. At the age of 6 with the rise of the importance of intellectual activities, creative expres sions become less frequent. The above may be linked to the decline of the role of unconscious ness and growth of critical reasoning in regulation of behaviour. In order for a child to develop as a creative personality, it is insufficient to remove the barrier of control set up by the reason. The structure of cognition needs to become different: a positive example of creative behaviour is necessary. What success stories do we know about developing creativity? Having summarised 308 study results related to attempts to raise creativity, Torrance (1987) arrived at a conclusion that in 70% of the cases the attempts were successful, that is, childrens creative abilities grew. But not always there was success. In one study where exercises for increasing preschool children creativity were used, the outcome was as follows. During the initial stage of creativity training, childrens level of creativity increased rapidly; however, when the training was continued, it decreased. One part of children showed an increase in creativity which remained on the attained level; another part of children continued to show a moderate growth of creativity throughout
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the entire experiment; for the remaining part - there were no changes observed or the level of creativity decreased. When creativity was stimulated, there came a moment when children grew neurotic or even aggressive and no longer wanted to do similar exercises. Obviously, it is the functional process system in an individuals brain that opposes to a higher creativity level due to the persons age as the brain is not ready for operations of a higher level. As regards the development and fostering of creativity, one should not forget about its dark side. One of the dark sides of creativity means a risk of having more health problems. Great creativity is connected to negative emotions, high sensitiveness, depression and other emotional or even mental disorders. It has been observed that actors, writers and poets experi ence mood swings 8-10 times more often than on average. The second problem that arises when creative abilities are developed lead to encouraging a person to exceed the limits once set. De struction, too, just like creation is a spontaneous, unmotivated and unselfish process. Creativity needs an example and ideology. Destruction means that the ideals have fallen apart as a result of the problems of civilisation. That, in its turn, leads to self-destruction and destruction of envi ronment. A person needs to have firm ethical and moral criteria and upbringing so that creative upbringing and education would not foster disposition to destruction. Conclusions. Creative qualities begin to appear when a child is only 3-5 years old, and most babies have them. In the course of time the number of creatively thinking and acting children decreases. Just like the development of creativity is determined by biological, psycho logical and social factors, decline, too, is determined by the same factors, which are: the laws of brain development in childhood, upbringing and social environment. Creativity has its dark sides that are connected with health problems and feeling of comfort. Creativity and destruction originate from the same source. Keywords: child creativity, child development, brain development. IEVADS Kre ati vi t tes pa z mes br niem iz pau as jau ag r br n b. 3 5 ga du ve cu m br ni pie iet ori i n li da du pro bl mu ri si n a nai, iz sa ka daudz ne pa ras tu ide ju, sa ska ta da das pie au gu a jiem pr stei dzo as aso ci ci jas. Ro das jau t jums, vai s kre at vs iz paus mes ir pa mats, uz ku ra at ts ts kre at v do m a na, pie ejas pro bl mm v l ka j dz v, vai ts ir ti kai br na ne pie tie ko i no brie du o sma dze u un ne pil n gs dz ves pie re dzes un zi n a nu tr kums par no ri u un pa r d bu li kum sa ka r bm, ku ras ir j ie v ro, lai sek m gi ie kau tos vi d un sa bied r b un sp tu dz vot adek v ti ts pra s bm un no tei ku miem. Ne re ti iz skan vie dok lis, ka vis i br ni ag r n ve cu m ir ar augs tu kre ati vi t ti, bet sko las un ve c ku ne iz prat ne par kre ati vi t ti to no kauj. Zi n ma pa tie s ba a j uz ska t ir, jo, ie kau jot br nus no teik ta stan dar ta iz gl t bas un audzi n a nas rm jos, kre ati vi t tei ne pie cie a m ne stan dar ta do m a na un uz ve d ba tiek ie ro be o ta (Westhof, 2009). To mr, acm re dzot, ir ar ob jek t vas, bio lo is ki no teik tas at ts t bas sa ka r bas un tie i sma dze u at ts t bas sa ka r bas, kas o ag r ns br n bas ra do u mu ie ro be o un ie vir za gul tn, kas no sa ka ga r gs ak ti vi t tes at bil sto i ve cu mam, t.i., no bez at bil d bas par sa vas r c bas un dar b bas se km uz at bil d bu par sa vas r c bas se km (Bal zac, 2006). Vie na no k dm, ku ra ir pa ma t ide jai, ka kre ati vi t ti no kauj audzi n a na, ir priek stats, ka kre ati vi t te ir vie na kom pak ta ga r gs dar b bas sf ra, ti kai ar da da l me a iz paus mm. To mr tas t nav. T ir sa lik ta, daudz kom po nen tu, ldz ar to ar ir ne ie sp ja mi to ap rak stt vie n di men si j k li ne ru pa r d bu (Claxton, et al., 2005; Run co, 2007). Br na kre ati vi t ti lie l m r no sa ka ar tas, ka a j ve cu m la bk at ts t ta un ak t va ir la b sma dze u pus lo de, jo br nam vis a ap kr t j pa sau le ir ne iz zi n ta, ne ap g ta. Sa sto po ties ar jaun u un ag rk ne bi ju u si tu ci ju vai uz de vu mu, vis pirms in for m ci jas ap str de no tiek la ba j
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sma dze u pus lo d. Tik ldz si tu ci ja vai uz de vums ir la bi ie pa zts un per so na to ap gu vu si pr lie ci no i, pro ce sa va d bu pr em krei s pus lo de. Pie m ram, va lo das at ts t b br n b ag r na j pos m, o ti no z m ga ir la b pus lo de. Br nam augot, la bs pus lo des no z me pa k pe nis ki sa ma zi ns, bet pie au gu a jiem jau ir ku vu si re la t vi ie ro be o ta. Sma dze ns no ri to ie di na mis kie pro ce si, jiem sma kas no tiek in di v dam m co ties sa vu pir mo va lo du, ir at bil sto i gal ve na dze u dar b bas prin ci piem la b pus lo de no dar bo jas ar jaun s in for m ci jas ap str di, bet krei sa j no tiek la bi ie pa z tu kog ni t vu fun kci ju uz kr a na. Ot rs va lo das m c a ns lai k dar b ba sma dze ns no tiek gan la ba j, gan krei sa j pus lo d (Gol dbergs, 2008). DAR BA MR IS Ana li zt br nu un pus au du kre ati vi t tes iz paus mes un iz mai as aug a nas, at ts t bas un iz gl t bas pro ce sos. MA TE RI LS UN ME TO DES Dar b iz man to ti p t ju mu re zul t ti par br nu un pus au du sma dze u at ts t bas li kum sa ka r bm un br nu uz ve d bu, iz zi as pro ce sa un kre ati vi t tes iz paus mm kat r at ts t bas pos m. Veik ta da du au to ru re zul t tu sa l dzi no ana l ze. RE ZUL T TI Br nu kre ati vi t te. Ana li z jot kre ati vi t tes at ts t bu on to e n z (in di vi du la j at ts t b), sva rgs ir jau t jums: kad pa r ds br nam pa bas, ku ras var uz ska tt par ra do u ma priek vs tne sm. Br nu kre ati vi t tes pt nie ki ir pr lie ci n ti, ka ra do u ma pa bas pa r ds br nam jau 3 5 ga du ve cu m. 5 ga du ve cu m gan drz 98% br nu ir ra do u ma iz paus mes. Br ni iz sa ka ne pa ras tas ori i n las do mas, sa ska ta sa ka r bas, kas pie au gu a jiem ne ie nk pr t. o lai ku ar zi nt nie ki uz ska ta par vis pie m ro t ko skt at ts tt un piln vei dot kre ati vi t ti. Acm re dzot, t pat k ci tu psi hes pa bu at ts t b, ar ke ati vi t tes at ts t b ir sen si t vie pe ri odi, ku ros o pa bu at ts t bai un iz paus mei ir vis op ti m l kie ap stk i. Psiho lo gi kon sta t vis maz di vus dus kre ati vi t tes at ts t bas sen si t vos pe ri odus. Pir mais ju t gais jeb uz m gais pe ri ods, ko sauc ar par pir m jo kre ati vi t tes pe ri odu, ir br nam 3 5 ga du ve cu m (Gab le, Hun ting, 2001). a j ve cu m kre ati vi t te iz pau as k vis p r js ra do s sp jas, kas ir ne spe ci ali z tas at tie c b pret no teik tu cil v ka dar b bas sf ru. a j lai k br nam ir rak stu r ga pie au gu as kre at vas per so n bas at da ri n a na. T, ie sp jams, ir gal ve nais kre ati vi t tes vei do a ns me h nisms. To mr j at z m, ka jau a j ve cu m da diem br niem ir da da kre at v po ten ce. Pc kre ati vi t tes iz teik tu ma br nus var sa da lt vai r ks gru ps. Ir br ni, kam jau 3 5 ga du ve cu m ir spil gti iz teikts ra do ums, br ni ar vi d ju un br ni ar ze mu o r d t ju. is sa da l jums sa gla b jas br nu gru pi s, ku rs tiek veik ti vin gri n ju mi, lai sti mu l tu pa aug sti n tu kre ati vi t ti. Da ai br nu kre ati vi t tes tre ni u s ku ma pos m kre ati vi t te strau ji pie aug, tad, tur pi not tre ni us, t kr tas (ap 40% no vis iem br niem), da ai (ap 21%) s ku m pie aug, tad sa gla b jas sa snieg ta j l me n. Ap 17% br nu m rens ra do u ma pie au gums tur pi ns vi su eks pe ri men ta lai ku, bet ap 20% br nu nav iz mai u vai kre ati vi t te pat kr tas. Eks pe ri men t li sti mu l jot ar spe ci liem vin gri n ju miem un ro ta m, ie st jas pe ri ods, kad br ni kst nei ro tis ki, pat ag re s vi un vairs ne v las no dar bo ties ar diem vin gri n ju miem. Acm re dzot aug st kam kre ati vi t tes l me nim pre to jas at tie c g in di v da at bil sto ve cu ma sma dze u fun kci on lo no ri u sis t ma, ku ra tad ir no vl nav ga ta va aug st ka l me a dar b bm (Tor ren ce, 1987;, 1995). T teik tas ro be as at tie c ga ve cu ma br nam, ku ras ne var pr kpt un ku ras ir in di vi du las un e n tis ki no teik tas.
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Br niem augot, kre at vi do m jo o un dar bo jo os pro cents kr tas. Ar vis op ti m l ka jos kre ati vi t tes s te no a ns ap stk os jau se u ga du ve cu m kre at vo br nu pro cents sa ma zi ns. 10 ga du ve cu m kre at vi ir vairs ti kai ap 30% br nu, 15 ga du vecum 12% pusaudu, bet pieauguiem cilvkiem izteikti rados spjas ir vairs tikai kdiem 2 %. Vai rums kre ati vi t tes pt nie ku ir vie nis pr tis, ka ra do u ma at ts t bu no sa ka trs fak to ru bio lo is ko, psiho lo is ko un so ci lo mij ie dar b ba (Dacey, Len non, 1998). K viens no fak to riem, kas no sa ka kre ati vi t tes po ten ci la iz mai as br na at ts t bas pro ce s, ir sma dze u at ts t ba, ku rai ir o ti in di vi du ls temps un at se vi u struk t ru un sav star p jo sa ka ru vei do a ns. a j ve cu m vl no tiek ar ie v ro ja mas mor fo fun kci on las gal vas sma dze u iz mai as (Gab le, Hun ting, 2001). Br na sma dze u at ts t ba. Br nam pie dzim stot ir jau vis i nei ro ni (ner vu nas), kas turp m ka j dz v no dro i ns sma dze u dar b bu. Ta u sma dze nes tur pi na augt un 2 ga du ve ca br na sma dze nes ir ap 80% no pie au gu sma dze u lie lu ma. Sma dze u iz m ru pa lie li n a ns jm gli no tiek, da lo ties nei ro nus ap tve ro a jas nm, augot un sa za ro jo ties nei ro nu at za ro ju miem un pr kl jo ties nei ro nu at za ro ju miem ar mie l na ap val ku. Pir ma jos 3 ga dos pc dzim a nas vei do jas un pa stip ri ns kon tak ti starp nei ro niem. ie kon tak ti vei do jas, kad sig n li tiek s t ti un sa em ti starp nei ro niem. Ak so ni s ta sig n lus un den dr ti sa em tos. s sa vie no ju mu vie tas sauc par si nap sm. Pir ma jos 3 dz ves ga dos nei ro nu skaits pa liek ne mai ngs, bet si nap u skaits pa lie li ns. Pc 3 ga diem si nap u vei do a ns temps pa l ni ns, ldz ap m ram 10 ga du ve cu m tas pie rimst. Pe ri od starp dzim a nu un 3 ga du ve cu mu ro das vai rk si nap u par to, cik ir ne pie cie ams. Ts si nap ses, ku ras tiek iz man to tas, kst par pa st v gu sma dze u kom po nen ti. Ts si nap ses, ku ras ne tiek bie i iz ma to tas, eli mi n jas (beidz pa st vt). T tad a j pro ce s sva r ga ir br na no dar bi n a na. Ja ms gri bam, lai brns at ts ts sek m gi, mums j sa g d daudz po zi t vu so ci lu un m c bu ie sp ju, kas si nap ses pa da rs par pa st v gm. Pe ri ods starp dzim a nu un 3 ga diem ir vi su at ts t bas, m c a ns ie ma u sek mju sen si t vais (ju t gais) pe ri ods. Sma dze nes uz em ap kr t jo pa sau li ar dzir des, re dzes, smar as, gar as un taus tes pa l dz bu (Ken neth, Heil man, 2005). Tas no z m, ka ma zu a so ci lo, emo ci on lo, iz zi as (kog ni t vo), fi zis ko un va lo das at ts t bu sti mu l mul ti sen so r pie re dze. a j pe ri od in ten s vi no tiek ar ner vu nu ga r at za ro ju ma ak so na mie li ni z ci ja. T s kas pc dzim a nas un tur pi ns ldz 20 un vai rk ga du ve cu mam. Mie li ni z ci jai ir sva r ga lo ma ner vu im pul su pr va d a nas t ru ma pa lie li n a n. Pie m ram, im pulss pa mie li ni z tiem ak so niem no vie nas sma dze u pus lo des uz ot ru aiziet 30 mi li se kun ds, pa ne mie li ni z tiem 150 ldz 300 mi li se kun ds (Fields 2008). Sma dze u mor fo lo is ki fun kci on la j at ts t b pir ma jos 8 9 br na dz ves ga dos no tiek in ten s v ka la bs sma dze u pus lo des mor fo lo is k un fun kci on l at ts t ba un ldz ar to ar la bs pus lo des do mi n a na. a j pe ri od ar ir iz teik t ka t lai n do m a na, emo ci on l ar re dzes ki nes t tis ko uz tve ri sais t t psi his k dar b ba. In di vi du la j at ts t b ner vu tk lu iz vei do a ns s kas la ba j sma dze u pus lo d. T tur pi ns ldz 7 8 ga du ve cu mam. a j lai k br nu uz tve re un ap m c a ns no tiek itin k la bs sma dze u pus lo des va d ta, un br na ap m c a na j veic ar t lu un vis pr gu sh mu pa l dz bu. Gal ve nais uz svars j liek uz er me a ko or di n ci jas at ts t a nu, uz mu zi k lo un kus t bu rit mu at ts t a nu, re dzes un sen so ro uz tve ri. Brns uz tver to at ce ras kop ai n. T k ai lai k krei s sma dze u pus lo de vl nav pie tie ko i no for m ju sies, s kot br nam m ct bur tus un rak st a nu, var tikt trau c ta la bs pus lo des ner vu tk lu iz vei do a nos un ne tiek iz man to ta emo ci on l saik ne un in for m ci jas uz tver a na kop ai n un kre ati vi t tes sa gla b a ns. P t ju mu da ti ar ap stip ri na, ka br niem 7 9 ga du ve cu m vl do mi n vi zu li t lai n do m a na, un la bs pus lo des ak ti vi t tes ir no tei co s vai rk ne k 80% br nu, krei ss - ti kai ap 10%. No 10 ldz 16 ga diem sko l nu skaits ar la b jo t lai ni do m jo o pie eju no kr tas ldz 60%, bet krei so ana l tis ki lo is ko - pat svars pie aug ldz 30% (Claxton, et al., 2005).
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T tad at ts tt kre ti vi t ti ir ie sp jams ti kai at bil sto i no teik ta jam mor fo zi olo is ka jam sma dze u at ts t bas l me nim. Ta u no ot ras pus es, t k fun kci jas ie tek m ar struk t ras, tad at tie c gu ap stk u un no dar b bu, kas vei ci na kre ati vi t ti, ie tek me var bt po zi t va, sti mu l jot ar at tie c gu struk t ru un fun kci ju at ts t bu. Katrs n ko ais at ts t bas pe ri ods bal sts uz ie priek jo, un, ja ta j nav re ali z tas s te no tas vis as e n tis ks po ten ces, tad ar n ka ma j pe ri od tas brem zs n ka mo po ten u re ali z a nos. Nav au bu, ka ts struk tu r ls un fun kci on ls iz mai as, kas no tiek gal vas sma dze ns br na aug a nas un at ts t bas lai k ir b tis kas vi a kre ati vi t tes at ts t b un iz paus ms (Heil man et al., 2003). In te re san tu in for m ci ju sniedz ie v ro ja mu cil v ku sma dze u struk t ru p t ju mi. Kad A.Ein tei nam bi ja 3 ga di, ve c ki vi u ve da pie pe di at ra uz kon sul t ci ju, jo vi ne ru n ja. T tad A.Ein tei nam bi ja at ts t bas dis lek si ja. Ie v ro ja mais krie vu e n ti is M.Lo ba ovs ne ru n ja pat ldz 7 ga du ve cu mam. Jau ag rk pt nie ki bi ja kon sta t ju i, ka sma dze u krei ss el ko a rie vas Brod ma na lau ka 39 bo j jums iz rai sa ie g tos ru n a nas at ts t bas trau c ju mus. Tie i sma dze u ra jo na iz mai as ar pt nie ki kon sta t ja A.Ein tei na sma dze ns. A.Ein tei nam at i r b no vai ru ma cil v ku bi ja ar pa lie li n tas un ne sa da l tas pau ra dai vas, kas no dro i na ak t v ku in for m ci jas ap mai u starp tm un ar la b kas ma te m tis ks un tel pis ks uz tve res sp jas. o ti ti cams, ka trau c ju mi Brod ma na lau ka 39 at ts t b kom pen s js ar ci tu sma dze u cen tru at ts t bu, kas vei ci na kre at vo do m a nu (Bal zac, 2006). Pa pla i no ties in for m ci jai par kon kr to g nu de ter mi n ta jm pa bm, sk uz kr ties in for m ci ja ar par tiem g niem, ku ru dar b ba ir aso ci ta ar ra do o ap d vi n t bu (Re uter, et al., 2006) un sma dze u struk tu r lo spe ci fi ku (Kalb fleish, 2004). Kre at vs un in te lek tu ls do m a nas at tie c bu at ts t ba. Br na ga r ga j dar b b mij ie dar bo jas di vi pro ce si: in te lek ta at ts t ba un kre ati vi t te. In te lek tu ls sp jas, in te lek ta piln vei do a ns, kas no tiek, ie pa zs tot ap kr t jo pa sau li, m co ties, at da ri not, pa lie li na br na adap ti vi t ti, sp ju la bk pie l go ties ap stk iem sa g dt sev lab v l gas si tu ci jas, iz vai r ties no bries mm. Br nam pa ma zm iz ejot no ve c ku ap r pes, ks tot pat st v gam, in te lek tu ls pa bas kst aiz vien ne pie cie a m kas. Sa vu krt iz teikts ra do ums glu i pre t ji br nu pa kauj lie l km ju mu un dar bries mm vi a ne stan dar ta ri si n b bu d stan dar ta si tu ci js. Acm re dzot evo l ci jas pro ce s in te lek ta do mi nan ces pa stip ri n a ns in di v dam augot, ir no stip ri n ta ar iz la si. Augs tu pie au gu u in di v du ko pas adap ti vi t ti no dro i na vis p r js in te lek tu ls sp jas (Ge ake, Dod son, 2005). Se u ga du ve cu m ra do s iz paus mes kr tas, ak tu ali z jo ties in te lek tu la jm sp jm. Tas, ie sp jams, ir sais tts ar bez ap zi as lo mas pa ma zi n a nos un kri tis ku ma un sa pr t gu ma pie au gu mu uz ve d bas re gu l a n. o pir mo kre ati vi t tes sen si t vo pe ri odu acm re dzot no sa ka at bil sto ais sma dze u at ts t bas posms, kad vl v ji fun kci on krei s sma dze u pus lo de, ku ra uz liek stin grus lo i kas ie ro be o ju mus v l ka jos br na at ts t bas pos mos. Pa stip ri no ties krei ss sma dze u pus lo des fun kci on la jai ak ti vi t tei, pa stip ri ns lo is k un kon kr t domana (Heil man et al., 2003; , 2005). Lai brns at ts t tos k ra do a per so n ba, ne pie tiek ar sa pr ta kon tro les bar je ras no em a nu. Ne pie cie ams, lai ap zi as struk t ra k tu ci t da: ne pie cie ams ra do as uz ve d bas po zi tvs pa raugs. a j kre ati vi t tes sen si t va j pe ri od ts vei do a nos sek m ar br na so ci ali z ci ja. Br nam pa sau le vl ir maz iz pro ta ma, pro bl mu pil na. V lk pa sau les pro ble m tis ku mu at zst ti kai kre at vie. Ot rais kre ati vi t tes sen si t vais pe ri ods ir pus au da un jaun ie a ve cu m no 13 ldz 20 ja ga diem. a j pe ri od uz vis p r js kre ati vi t tes pa ma ta vei do jas spe ci ali z t kre ati vi t te: sp bt ra do am no teik t cil v ka dar b bas sf r. a j pos m o ti sva r ga lo ma pro fe si on la jam pa rau gam, i me nes un vie nau du at bal stam. To mr gal ve nais ir ide ls ra do s per so n bas pa rau ga iz rau dz a ns, ku ru vi cen as at da ri nt. Ot r sen si t v f ze bei dzas ar pa a at da ri n a nas
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pro duk ci jas no lieg a nu un ar bi ju ide la no lieg a nu. In di vds vai nu aiz ka v jas at da ri n a nas f z vai ar pr iet uz ori i n lu ra d a nu. Acm re dzot evo l ci jas pro ce s in te lek ta do mi nan ces pa stip ri n a ns in di v dam augot, ir ar iz la si no stip ri n ta. Pie au gu u in di v du ko pas augs tu adap ti vi t ti no dro i na vis p r js in te lek tu ls sp jas. Ta u kds pro cents in di v du sa gla b kre ati vi t ti, jo cil v ku sa bied r b, ts at ts t bas gai t ko lek t va j iz la s, no teik tai in di v du gru pai at se vi u kre at vu in di v du ldz s pas t v a na ir iz de v ga, kaut ar is in di vds ir ne vi sai pie l gots re la jiem ek sis ten ces ap stk iem Vi ie tu bo j ag rk par ci tiem, ja sa bied r ba vi u ne aiz sar g tu un ne uz tu r tu. ds kre at vi do m jos in di vds ir no de rgs at tie c ga jai cil v ku gru pai un auj tai ie gt priek ro c bas pr ci tm gru pm, ku rs nav da kre at va in di v da. Sa vu krt, ja kre at vo in di v du pro cents kst p rk augsts, ar t dai gru pai kon ku r a nas sp ja pa ze mi ns. T d vei d cil v ces at ts t bas gai t no sta bi li z js e n tis ki no fik sts liet de r gais iz ci li kre at vo in di v du re la t vais dau dzums (Car rut hers, 2002). Vai sko la no kauj kre ati vi t ti? Mek l jot at bil di uz du jau t ju mu, ir j ap ska ta da di sko las un sko l na mij ie dar b bu as pek ti. Nav au bu, ka sko la, ku r ir o ti dog ma tis ka un sko l na ini ci at vu un ak ti vi t ti no m co a at mo sf ra, gr ti bs s te no tas kre at va jm po ten cm. Vai ir pa mats ce rt, ka sko l, kur kre at va jm po ten cm re ali z ties ne bs r u, vis i br ni pc ts beig a nas bs kre at vi? Ne bt n. Da iem jaun ie iem pc sko las tie m bs augsts ra do ums, bet da iem tas ne bs pa lie li n jies. T tad ne vis iem br niem ir vie n das kre at vs po ten ces. Vai kre at v audzi n a na pa aug sti ns ra do o po ten ci lu? Un at kal ir j sa ka, ka da ai br nu t pa aug sti ns kre ati vi t ti, bet da ai ne ie tek ms vai pat ra ds bla kus pro bl mas (Tor ren ce, 1987; Run co, 2007). Tur klt ne drkst aiz mirst, ka ir da das kre ati vi t tes iz paus mes: t var bt zi nt nes kre ati vi t te, mk slas kre ati vi t te, li te ra t ras kre ati vi t te u.c. un at ts tot vie nu, ms va ram no mkt ci tu, ku r var bt in di v dam ir lie l kas po ten ces. T tad kre ati vi t tes at ts t ba ir vi sai in di vi du la un lie l ko lek t v to ne vien mr var pa ma nt, it pa i vl t d, ka kre at vie br ni ne re ti ne ie kau jas ko p ga j dar b. Ana li z jot, vai sko la ie ro be o kre ati vi t tes iz pau a nos, zi n m m r va ram at bil dt j. At ts tot br nam in te lek tu, tiek no mkts ra do ums. Sko las sis t m la b kie pa n te ri ku mi ir tiem sko l niem, ku ri pre c zi iz pil da uz de vu mus, ap gst no teik to uz do to ma lu, un dar bo jas at bil sto i sko lo t ja no r d ju miem. d audzi n a nas sis t m ne ap au b mi priek ro ka ir br niem, kas uz sva ru liek uz in te lek tu un to at ts ta. Sa vu krt tie, kas cen as m c bu pro ce s dar bo ties kre at vi, pa liek zau d ta jos un t d cen as o sa vu ak ti vi t ti brem zt. T tad var bt sko las ne maz nav va ja dz gas? K.Ro bin sons sa ka, ka iz gl t ba kre ati vi t tei ir tik pat sva r ga k la st un rak stt pras me, bet pa trei z j sko lu sis t ma to ne no dro i na (Westhof, 2009). Pa trei z j sko lu sis t ma to no mc. V l da mies ie gt la bu at z mi, sko lns bai ds k d ties. Pro tams, k d ties ne no z m bt kre at vam, bet, ja vi bai ds k d ties, vi ne va rat iz da rt ko ori i n lu. Uz lie kot rm jus, ku ru pr kp a na skai ts slik ta, js tiek iz gl to ti au dis, ne au jot re ali z ties vi u kre ati vi t tes ka pa ci t tei. Ne ap au b mi, pirms sko las br na do m a na, ide jas var bez ie ro be o ju miem un vir z a nas pa r d ties un ra dt kre at vas at kls mes ie spai du. Sko la, m c a ns vi z no sprau ro be as, no sa ka, kas ir pa rei zi, kas ne pa rei zi, ldz ar to ie ro be o br vo im pro ci ju. Ie sp jams, ka ir pret ru na starp ap zi n gu zi n a nu ap g a nu un kre at vu dar bo a nos. Bai les no k dm ie ro be o jaun a, ne pa ras ta mek l a nu(Westhof, 2009). K dus re zul t tus dod kre at vs audzi n a nas sko la? Bie i tiek dis ku tts jau t jums par kre at vs audzi n a nas me to u iz man to a nas liet de r bu un efek ti vi t ti. Kre ati vi t tes pt nieks Tor rens (1987), ap ko po jot 308 p t ju mu re zul t tus par m i n ju miem pa aug sti nt kre ati u kre vi t ti, kon sta t ja, ka 70 % no tiem ir po zi t vi re zul t ti, t.i., audzk ati vi t te pa lie li n js. Ta u ne vis os ga d ju mos ti ka g ti pa n ku mi. Lai vei do tos kre ati vi t te, ir ne pie cie ams: lai ne b tu priek me tis ks ak ti vi t tes reg la men t ci jas t tad lai ne b tu uz ve d bu reg la men t jo pa rau ga;
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 b tu ra do s uz ve d bas pa raugs; ap stk u ra d a na ra do as uz ve d bas at ts t a nai un ag re s vas un des truk t vas uz ve d bas brem z a na; ra do as uz ve d bas so ci lais pa stip ri n jums; kre ati vi t te ir pa ba, kas ak tu ali z jas ti kai tad, kad to at auj vi de. Kre ati vi t tes vei do a ns ir ie sp ja ma tikai specili organizt vid (, 1995; Runco, 2007). Ja in te lek ta at ts t a ns ir vai rk vai ma zk li ne ra un uz kr ts zi n a nas pa lie li na gud r bu, tad kre ati vi t te ir ne li ne ra, tel pis ka, no tiek vai r ks di men si js, ho lis tis ka, un ts at ts t a na var ar ne dot gai d tos re zul t tus (Claxton, et al., 2005). Kre ati vi t tes nas pus es. Vai rums p t ju mu, kas vel t ti kre ati vi t tei, ir fo ku s ti uz ts po zi t vo pus i. Ta u ru n jot par kre ati vi t tes at ts t a nu, sti mu l a nu, ne drkst aiz mirst ar ar to sais t ts nas pus e. Vie na no kre ati vi t tes nas pus m ir sais t ta ar pa aug sti n tm ve se l bas pro bl mm. Augst a kre ati vi t te ir sais t ta ar ne ga t vm emo ci jm, vieg lu ie vai no ja m bu, de pre his km no si ju u.c emo ci on lm un pat psi vir zm (Schul dberg, 2001; Weinstein, Gra ves, 2002). Iz ci liem ak tie riem kre ati vi t te ir sais t ta de pre si ju un ci tiem afek t viem trau c ju miem. Ga ra st vok a trau c ju mi ak tie riem, rakst nie kiem un dzej nie kiem ir 8 10 rei zes bie k ne k vi d ji po pu l ci j (Aki no la, Men des, 2008). Vl gan nav skaidrs, vai o bla kus pa r d bu iz paus mes ir sais t tas ar kre ati vi t tes pa aug sti n a nu, to vei ci not, vai ar s no vir zes ir aso ci tas ar kre ati vi t ti vai pat to vei ci no as. Ie sp jams, ka gan viens, gan otrs pie mums ir sp k. Ot ra pro bl ma, at ts tot kre at vs pa bas, ir t, ka ar to ms vei ci nm iz ie a nu no ie priek no spraus ta jm ro be m. Ar pos t a na t pat k ra d a na ir ne mo ti vts, ne sa vtgs, spon tns pro cess, sa vas iek js b t bas iz paus me. s pa bas ir vie nas iz cel smes. Ra do u mam va jag pa rau ga, ideo lo i jas. Pos t a na ir ide lu sa bru kums k ci vi li z ci jas ne g ci ju iz paus me. T sa vu krt iz rai sa pa iz n ci n a ns un vi des iz n ci n a nas tiek smes (Ja mes et al., 1999; Clark, Ja mes 1999). Tur klt po pu l rais pie mums, ka viss jaun ais ir pro gre svs, ne bt ne at bilst pa tie s bai. Tas var bt ar ar glu i pre t ju efek tu. Kre at vais jau ni n jums ti kai lai ka gai t var tikt de rgs vai ne no vr tts k no liet de rgs. Lai kre at v audzi n a na un iz gl t ba ne k tu par pos t a nas tieks mju vei ci n t ju, ir j bt stin griem ti kas un mo r les kri t ri jiem un audzi n a nai. m vr t bm kr to ties, ar kre at v audzi n a na var vei ci nt pos to o un des truk t vo. Ne ap au b mi, ka, aka d mis ki ri si not pro bl mas, ir daudz ma z kas ie sp jas k d ties, bet tad ar ne bs spil gtu at kl ju mu. Acm re dzot aka d mis ka jai, in te lek tu la jai un kre at va jai ir pie ejai j bt no teik t ldz sva r gan audzi n a nas, gan iz gl t bas pro ce s McLa ren, 1993; Cropley et al., 2010). CI N SE JU MI Br niem ra do ums pa r ds jau ag ri 3 5 ga du ve cu m un tas ir vai ru mam ma zu u. Br niem pie au got, ra do i do m jo o un dar bo jo os br nu un pus au du pro cents sa ma zi ns. T pat k ra do u ma vei do a ns pa ma t ir bio lo is kais, so ci lais un psiho lo is kais fak tors, ar ts ma zi n a nos no sa ka ie pa i fak to ri, un tie ir sma dze u at ts t bas sa ka r bas br n b, audzi n a nas m js un sko l ie tek me un so ci l vi de. Ra do u mam ir ar nas pus es, sais t tas ar ve se l bas i sais t un lab sa j tas pro bl mm. Kre ati vi t te un pos to ums ir cie ti.
LITERATRAS SARAKSTS 1. Akinola, M., Mendes, W.B. (2008) The Dark Side of Creativity: Biological Vulnerablity and Negative Emotions Lead to Greater Artistic Creativity. Personality and Social Psychology Bullitin, Vol.34(12), p.16771686. 2. Balzac, F (2006) Exploring the Brains Role in Creativity. Neuropsychiatry Review, Vol.5, p.226232. 3. Carruthers, P. (2002) Human Creativity: its Evolution, its Cognitive Basis, and its Connections with Child hood Pretence. British Journal of Philosophy Science, Vol.53, p.125. 92

4. Clark, K., James, K. (1999) Justice and Positive and Negative Creativity. Creativity Research Journal, Vol.12(4), p.311321. 5. Claxton, A.F., Pannels, T.C., Rhoads, R.A. (2005) Developmental Trends in the Creativity of School-age Children. Creativity Research Journal, Vol.17(4), p.327335. 6. Cropley, D., Cropley, A., Kaufman, J., Runco, M. (2010) The Dark Side of Creativity. Cambridge: Cambridge University Press, p.350. 7. Dacey, J.S., Lennon, K.H. (1998) Understanding Creativity: The Interplay of Biological, Psychological, and Social Factors. San Francisco, CA: Jossey-Bass/Pfeiffer, 298p. 8. Fields, D. (2008) White Matter. Scientific American. March, 2008, p.4249. 9. Gable, S., Hunting, M. (2001) Nature, Nurture and Early Brain Development. MU Extension. University of Misuri-Columbia, p.16. 10. Geake, J.G., Dodson, C.S. (2005) Neuro-psychological Model on the Creative Intelligence of Gifted Chil dren. Giffted & Talanted International, Vol.20(1), p.416. 11. Goldbergs, E. (2009) Gudrbas paradokss. Rga: Nacionlais apgds, 247lpp. 12. Heilman, K.M., Nadeau, S.E., Beversdorf, C.D. (2003) Creative Innovation: Possible Brain Mechanisms. Neurocase, Vol.9, p.369379. 13. James, K., Clark, K., Cropanzano, R. (1999) Positive and Negative Creativity in Groups Institutions, and Or ganizations: A Model and Theoretical Extension. Creativity Research Journal, Vol.12(3), p.211227. 14. Kalbfleish, M.L. (2004) Functional Neural Anatomy of Talant. Anatomical Record Part B: New Anatomist. Vol.277(1), p.2136. 15. Kenneth, M.D., Heilman, M. (2005) Creativity and the Brain. Psychology Press. Taylor&Francis. New York. 203p. 16. McLaren, R. (1993) The Dark Side of Creativity. Creativity Research Journal, Vol.6, p.137144. 17. Reuter, M., Roth, S., Holve, K., Henning, J. (2006) Identification of first Candidate Gene for Creativity: a Pilot Study. Brain Research. Vol.1069, p.190197. 18. Runco, M. (2007) Creativity. Theories and Themes: Research, Development and Practics. Elsevier Academic Press, 492p. 19. Schuldberg, D. (2001) Six Subclinical Traits in Normal Creativity. Creativity Research Journal, Vol.13(1), p.516. 20. Torrence, E. P. (1987) Teaching for Creativity. In: Isaksen, S. (Ed) Frontiers of Creativity Research. (pp. 189 215). Buffalo, New York: Bearly Limited. 21. Weinstein, S., Graves, R. E. (2002) Are Creativity and Schizotypy Products of a Right Hemisphere Bias? Brain and Cognition. Vol.49(1), p.138151. 22. Westhof, Z. (2009) Do Schools kill Creativity. http://www.publetariat.com/think/do-schools-kill-creativityt. Retrieved: 25.08.2009. 23. , .. (1995) . : , 150c. 24. , . (2005) : . , 1, .7685. Asoc.prof. Dr.Biol. Jkabs Raipulis Rgas Pedagoijas un izgltbas vadbas akadmija Adrese: Vjavas 10/1-16, Rga, Lv-1035 Tlr.: 26176894 E-pasts: jekabs.raipulis@rpiva.lv

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Lga Roe. Esmu ieguvusi maistra grdu klniskaj psiholoij. Kreativittes ptniecba mani interes ar joprojm plau neizptto jautjumu loku. Radoums ir piemtos cilvka dabai, td nav aubu, ka jebkura cilvka radoo potencilu nepiecieams atklt un atraist. Taj pa laik nevajadztu zaudt tiskos orientierus atkljumu proces lai tas, ko radm, btu ne tikai oriinls un inovatvs, bet ar socili vrtgs un humns. Lai saglabtu o ldzsvaroto skatjumu, ldzs kreativittei studju teoloiju.

LGA ROE Rgas Pedagoijas un izgltbas vadbas akadmija Latvija

SKUMSKOLAS SKOLOTJU PRIEKSTATI PAR KREATIVITTES KONCEPTU UN KREATIVITTI IETEKMJOAJIEM FAKTORIEM

Kopsavilkums Ievads. Skolotju priekstati par kreativitti un to ietekmjoajiem faktoriem ir svargi, lai atpaztu skolnu radoo potencilu un veicintu t attstbu. Darba mris. Izptt skumskolas skolotju priekstatus par kreativittes konceptu un kreativittes attstbas lmeni ietekmjoajiem faktoriem. Materili un metodes. Zintnisks literatras teortisk analze, skolotju anketana par kreativittes konceptu, ts nozmi, faktoriem, atbilu kvalitatvi kvantitatv analze. Rezultti. Skolotju visbiek mintie kreativittes kritriji ir oriinalitte, novitte; jomas rados process un personba; faktori vide un iedzimtba. Secinjumi. Konstattas jomas, kurs ieteicams papildint skolotju zinanas par kreativitti. Atslgas vrdi: kreativitte, kreativittes komponenti, skolotju priekstati, skumskolas skolni

PRIMARY SCHOOL TEACHERS OPINION OF CREATIVITY CONCEPT AND ITS COMPONENTS

Summary Introduction. Providing possibilities for the development and freedom of students creative thinking is an essential feature of educational environment. Teachers opinion of cre ativity and readiness to accept creative manifestations can seriously influence students cre ativity and key elements of the creative process (Runco, Johnson, 2002). Therefore, research of Latvian teachers opinion of the creativity concept and the factors contributing to students creativity was carried out. Aim of the study is to explore primary teachers opinion of the creativity concept and of the factors contributing to the level of creativity development. Materials and methods. The concept of creativity, its components and level of cre ativity development were analysed (P. Torrance, R. Sternberg, T. Amabile, V. Druzhinin, A. Runco, A. Cropley, et al.). An inquiry with open-ended questions about the creativity concept
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and its factors, the 5-point Likert scale for evaluating the role of creativity in different fields of childs activity were used. Results. As a result of literature analysis five factor groups were outlined. 1. Biological factors. These factors include genetic factors, neuroanatomical structures of brain and its microphysical processes (Runco, 2007). 2. Intellectual abilities and knowledge. Divergent thinking is important: identification and restructuring of a problem, gathering infor mation, finding associations among distinct concepts, grouping elements into new combina tions, etc. High intellectual abilities do not guarantee high creativity, but, at least, medium intel lectual abilities are necessary for creativity (, 2009; , 2007). 3. Personality. Creativity researchers usually mention qualities like independency in judgments, self-esteem, preference for complexity, risk-taking, enthusiasm, persistence, openness, as well as flexibility of strategies and roles (Hoff, 2003; Kohanyi, 2005; Runco, 2004; , 2007). 4. Motivation. In ontogenesis creativity initially manifests at motivation-personality level, later at a productive (behavioural) level (, 2007; Runco, 1996). 5. Environment. Constructive creative activity requires circumstances of psychological safety and freedom either in family or school environment (Feldman, 1999; Harrington, Block and Block, 1987), but also challenges which facilitate the ability of a child to overcome difficulties and to develop independence (, 2009). Educational environment favourable for the development of creative potential is characterised by devoting time to creative thinking, rewarding creative ideas and products, encouraging reasonable risk, exploration of the environment, accepting mistakes (Starko, 2005; , 2009). The criteria according to which teachers defined creativity were originality (73,5 %), novelty (41,2 %), value was mentioned by 11,7 % of teachers. None of the teachers mentioned appropriateness or usefulness as criteria of creativity. The answers about creativity concept were analyzed qualitatively according to 4P conception personality, process, product and press. Two additional categories were added General and Inappropriate. Process and personality category were mentioned most often (67,6 % and 61,8 %). Creative process was described as the generation of new ideas, transformation of elements into new combinations, finding new ways and approaches, etc. The personality was described mostly within personal ity features (originality, courage, independence, openness, risk-taking), less by motivation and creative work experience. Press (environmental) aspects were described in 23,5 % of answers, a third part of them as a social context. As regards the creative product, it was interpreted ei ther as a real creative work, or as original and novel ideas, thoughts, solutions and approaches. A qualitative analysis of the described factors, which influence the development of childrens creativity, revealed six different factor groups: environment, creative skills and knowledge, personality features, motivation, cognitive abilities. The primary factors influencing creativity were environment at its different levels (97 %) and heredity (56 %). The environmental factors mostly represent family impact, psychological safety, creative example, teachers competence. 50 % of the respondents mentioned creative skills and knowledge, whereas 47 % - personal ity features and 41% - motivation and self-expression. Cognitive abilities as a creativity factor were mentioned only by 24 % of the teachers. Part of the teachers (35 %) showed a tendency to give unspecific, general answers. Almost half of the respondents tended to define creativity as applicable to any field or kind of activities, e.g., in science or arts. About 77 % of the respon dents tended to describe creativity from more than one aspect. Conclusions. The present study revealed that, in overall, the opinion of elementary school teachers about creativity partly conforms to the theoretical findings. The teachers acknowl edge creativity to be a very important factor that influences childs activity in different fields, which manifests more profoundly in childs games. They related creativity to originality, novelty,
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but not usefulness. Nevertheless, we would expect more teachers to mention two or more of these criteria, thus ensuring a multidimensional approach. Divergence (process) and personality aspect were dominating over the product. A positive tendency was that teachers opinion of the concept of the creative product transcended real creative work, adding ideas, solutions and approaches, too, which is especially important working with children in primary schools. The conceptions of creativity factors mostly involved external, a kind of personality-independent, factors such as environment and heredity, whereas motivation and, especially, cognitive skills were rarely men tioned. Although environment and inherited qualities form a basis for creativity development, the internal, personality factors should be stressed more when informing teachers about the creativity phenomenon. The unspecific answers of a part of the teachers lead us to a conclusion about the necessity to expand teachers knowledge about creativity. Key words: creativity concept, teachers opinion, creativity components, primary school students. Ievads Nozmgs izgltbas uzdevums ir nodroint skolnu rados domanas atraisanas un attstanas iespjas. Skolotju priekstati par kreativitti un to ietekmjoajiem faktori em, k ar gatavba akceptt ar radoumu saistts izpausmes var nozmgi ietekmt skolnu radoumu (Runco, Johnson, 2002), jo nosaka to, vai skolotjs sps atpazt skolnu radoo potencilu un veicint t izpausmes. Kreativittes komponentu apzinana veicina vispusgu iz pratni par brnu un pusaudu individulajm atirbm kreatvajs spjs un ts veicinoajiem vai bremzjoajiem faktoriem. Tdjdi ir btiski ptt Latvijas skolotju priekstatus par kreativittes jdziena nozmi un skolnu kreativitti nosakoos faktorus. Darba mris Izptt skumskolas skolotju priekstatus par kreativittes konceptu un skolnu kreativittes attstbu noteicoajiem faktoriem; saldzint rezulttus ar teortiskajm atzim un citu valstu ptjumu rezulttiem. Materili un metodes Literatras teortisk analze par kreativittes konceptu, kreativitti ietekmjoajiem faktoriem un radoas personbas pabm (. Vigotskis, P.Torenss, R.Sternbergs, T.Emebaila, V.Druiins, A. Ranko). Ptjuma empriskaj da skolotju priekstatu noskaidroanai tika izmantota anketa, kur iekauti 2 atvrtie jautjumi par kreativittes konceptu un kreativittes nozmes novrtjuma skala. Kreativittes koncepts Kreativitte attiecinma uz jebkuru darbbas jomu k produktvs un novatorisks realittes, tai skait sevis, prdzvoanas veids (Hoff, 2003), k spja radt jaunu, oriinlu produktu, kas atbilst dot uzdevuma (situcijas, mra) vajadzbm (Lubart, Guignard, 2004). Biei kreativitte tiek saistta ar diverents domanas jdzienu, kas uzskatms par kreatv potencila nevis aktuls kreativittes rdtju (Guilford, 1967). Kreativittes defincijas visbiek ietver tdus radouma kritrijus k novitte, oriinalitte, nodergums (atbilstba), turklt tie var bt dadi novrtti atkarb no t, vai tiek lietota personls kreativittes pie eja vai socil konteksta pieeja (Lubart, Guignard, 2004; Runco, 2004). A. Ranko atzm, ka
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attiecb uz brnu radoumu socil nozmguma jeb vrtguma kritrijs nebtu vrtjams k pirmirgs un ka kreativittes ptniecb primrajai interesei ir jbt par radoo potencilu, ne tik daudz par viennozmgu kreatvo sniegumu (Runco, 2003). Uzsverot kreativittes komplekso dabu, ts faktoru kopums tiek dvts par kreativittes komplektu vai sindromu. Jo plakas dimensijas tiek iekautas kreativittes koncept, jo lielkas iespjas preczi prognozt patiesi radou uzvedbu (Runco, 2004). Radoais potencils un aktul kreativitte ir noirami jdzieni, jo pirmais k universls rdtjs par indivda, jo pai brnu vecum, spju interprett pieredzi stenojas rel rado sniegum tad, ja ldzdarbojas citi nozmgi komponenti zinanu bze, motivcija, Ego-spks un citi faktori (Cropley, 2003; Runco, 2004; , 1967). A. Ranko norda, ka brniem svargks ir radoais process un personl kreativitte (t.i., lai brna radtais jauninjums btu novatvs attiecb pret via paa agrk radtiem produktiem, nevis plakas socils grupas kritrijiem). 4P pieeja kreativittes konceptam. Saska ar t saucamo 4P pieeju ir noiramas 4 kreativittes jomas atkarb no t, kds aspekts izvirzts ts koncepta centr: radoa personba, rados produkts, rados process vai vides raksturojumi (, 2009). Radoas personbas jom tiek pttas cilvka spjas, dotumi, personbas pabas, k ar motivcija. Rados process raksturo veidus, ceus, procesus, ar kuru paldzbu tiek veidots radoais produkts, piemram, oriinlu ideju eneranas cei, neparastu kombinciju veidoana vai jaunu ideju pievienoana jau esoajm zinanm. Radoa produkta joma akcent produkta novitti, oriinalitti saldzinjum ar jau radtajiem produktiem, t vrtbu un atbilstbu. Vides joma saistta ar to tuvks un tlks vides raksturojumu izpti, kuri atbalsta un veicina vai tiei otrdi - nomc rados spjas, jo kreativitti nevar izolt no ts socil konteksta un t, tpat k citas spjas, attsts mijiedarbb ar dadiem mikrovides un makrovides faktoriem (Sternberg, 2006). Saska ar 4P pieeju ptjuma empriskaj da tika veikta skolotju atbilu kvalitatv analze par kreativittes koncepta izpratni. Kreativittes komponenti (faktori) Kreativittes koncepcijs nozmgu vietu ieem kreativittes komponenti, dvti ar par faktoriem vai atribtiem, kas nosaka brna radouma attstbu. Tiek nodalti visprjie komponenti (piemram, visprjas mentls stratijas un heiristikas, kas pielietojamas viss rados darbbas joms), un tie, kas izpauas specifisk darbbas nozar un uzdevumos (Feist, 2004). R. Sternbergs apraksta seus savstarpji saisttus komponentus kreatvas darbbas stenoanai: intelekta spjas, zinanas, domanas stili, personba, motivcija un vide. Btiski, ka tie mijiedarbojas, papildinot un kompensjot viens otru, vai tiei otrdi kavjot kreatv potencila izpauanos, piemram, spcga iekj motivcija var kompenst rjs vides trkumus (Sternberg, 2006). Faktoru mijiedarbba paldz labk izprast brnu un pusaudu individuls atirbas kreatvajs spjs un sniegum. T. Emebaila izvirza trs kreativitti nosakoos komponentus spjas un dotbas kd nozar, specifisks rados darbbas prasmes un motivciju (Amabile, 1996). Sintezjot dads teorijs mintos komponentus, teortiskaj analz iedaljm piecus kreativittes faktorus jeb komponentus. 1. Bioloiskie faktori. Rados spjas neiedzimst gatav veid, bet gan k potences, dotumi, kas izpauas noteiktos apstkos un pc to stimulanas un attstanas (Raipulis, 1999; , 2007). Pie bioloiskajiem faktoriem tiek pieskaitti entiskie faktori, smadzeu neiroanatomisks struktras, to mikrofiziskie procesi, kam ir nozme rados domanas proces, nervu sistmas pabas (Runco, 2007). 2. Intelekta spjas un zinanas. Diverent domana ir nozmga tds rado akta funkcijs k problmas identificana un prstrukturana, ar problmu saistts informcijas
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ievkana, saistbas atraana starp dadiem jdzieniem, informcijas elementu prgrupana, lai jauns kombincijas noved pie jaunm idejm, dadu risinjumu enerana, spja atkpties no skotnjs idejas un meklt jaunus risinjuma ceus (Guilford, 1967; Runco, 2004; , 2009). Augstas intelekta spjas negarant kreativitti, tomr tai nepiecieams vismaz vidjs intelekta spju lmenis (, 2007). Savukrt zinanas ir informcijas, pieredzes ap joms, kas veido materilu, kur tiek izmantots informcijas apstrdes un transformcijas gait (, 2009). Kreatvkus problmrisinjumus paldz nodroint skolnu plas zinanu apjoms, rados domanas stratiju izmantoanas iemaas un pieredze kd darbbas jom (Sak, Maker, 2006). Rados darbbas zinanas un prasmes k kreativittes komponents rak sturo indivda talantus, iemaas un pieredzi konkrt darbbas jom, piemram, faktu zinanas par problemtisko fenomenu, tehnisks spjas veikt kdus procesus un mentls iztloans spjas (Amabile, 1996). 3. Personbas iezmes. Kreativittes ptnieki visbiek izce tdas radoas personbas pabas k neatkarba spriedumos, paciea, priekrokas doana saretiem uzdevumiem, nosliece riskt, iekj motivcija, entuziasms, tolerance pret nenoteiktbu, neatlaidba, atvrtba jaunai pieredzei, Ego-spks, k ar rcbas stratiju un lomu modeu elastbu un personbas spju prvart ierasts robeas (Hoff, 2003; Kohanyi, 2005; Runco, 2004; , 2007). Skolas vid radoi brni nereti izceas ar impulsivitti, izklaidbu, zemu pakontroli, uzdevumu risinanu oriinl veid, nevis saska ar instrukciju, grtbm ievrot disciplnu, td vii var sastapties ar skolotju neizpratni un atbalsta trkumu (Hoff, 2003). 4. Motivcija. Kreativitte k indivda spja un iezme ontoenz skotnji izpauas motivcijas-personbas lmen, vlk produktvaj (uzvedbas) lmen (, 2007; Runco, 1996). Patiesu radoas darbbas motivciju raksturo dzia un noturga interese, prieks, zintkre, gandarjums, pozitvs izaicinjums problmas priek. Kreatvki ir tie brni, kuru radoo darbbu nosaka iekj motivcija (Amabile, 1996). 5. Vide. imene ir oti nozmgs kreatvo spju attstbas faktors. No vienas puses, harmoniskas attiecbas vecku starp un vecku un brnu starp, vecku radoa personba k identifikcijas subjekts, imenes loceku intelektulo intereu kopba, vecku gatavba akceptt brna personbas un centienu neatkarbu un citi imenes raksturojumi tiek saistti ar radouma attstbu veicinou imenes vidi (Feldman, 1999; , 2007). Konstruktva kreatv darbba visdrzk attstsies psiholoisks drobas un psiholoisks brvbas apstkos (Harrington, Block and Block, 1987), tomr vienlaikus jatzm, ka radoumam optimlai imenes videi raksturgi izaicinjumi un sarejumi, ar kuriem brnam jtiek gal, jo ierobeojumi veicina brna grtbu prvaranas spjas un neatkarbu un tdjdi ar kreativitti (, 2009). imenes, skolas vai cita tuvk vide piedv brnam radoas darbbas paraugus. Konstatta sakarba starp kreatv potencila stenoanu pieaugu vecum un radoa parauga pieejambu imen (, , 2006). Ar skolotja personba var kalpot k paraugs un atbalsts brna radoajiem centieniem (Bebre, sten, 2009; , 2009). A. Starko rado potencila attstbai labvlgu izgltbas vidi raksturo di: lai ka atvlana radoajai domanai, radou ideju un produktu apbalvoana, saprtga riska iedroinana, kdu akceptana, dadu skatpunktu vizualizana, vides izpte, ierasto piemumu apaubana, dadu hipotu enerana u.c. (Starko, 2005). Skolotji, kas attsta kolektvo mcanos, stimul materila daudzpusgu izpti izmantoanai diverentaj doman, veicina domanas elastbu, neizdara prsteidzgus, kategoriskus spriedumus par skolniem, at balsta skolnu oriinls idejas, paldz skolniem prvart frustrciju un neveiksmes, tdjdi attsta ar skolotju radoumu (, 2009).
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Kreativittes attstba skumskolas vecum Brna attstbas gait kreatvs spjas pieaug ldz ar intelektulo, fizisko un personbas attstbu (, 1967; Hoff, 2003). Skumskolas vecum saglabjas rotaas nozme k rados darbbas btiska izpausme. Tomr, k liecina novrojumi, brnu kreativitte, kas izpauds k prieks eksperimentt un risint problmas neparastos veidos pirmsskolas vecum, skolas laik mazins, un t viet stjas tendence darboties vien, visprpieemt un no rpuses iemct veid. Kreatvs spjas sk mazinties, uzskot skolas gaitas, un atsk noturgu pieaugumu 10-11 gadu vecum (Cropley, 2003; Sak, Maker, 2006; Smith, Carlsson, 1985). K iemesli visbiek tiek minta socils vides un brnam nozmgu personu ietekme brna kreatv potencila nomkana ar aizliegumiem darboties vai atbalsta trkumu brna radoajai un sples darbbai, k ar novrtanas, pakritikas spju un konformisma attstans (Hoff, 2003; , 2007). E. Torenss uzskata, ka kreativittes kritums, uzskot skolas gaitas, ir nevis bioloisku faktoru nosacts, bet gan socils vides ietekmes rezultts (Torrance, 1983). Jaunkajos ptjumos kreativittes kritums ldz 10 gadu vecumam tomr tiek skaidrots ar ar smadzeu nobrieanas procesiem aj vecum brni kst sensitvki pret radto produktu konvencionlo un praktisko pielietojambu (Runco, 2007). Skolotju priekstati par kreativitti Jo vairk kreativittes dimensiju iekaujas koncepta izpratn, jo preczk iespjams atpazt skolnu radou uzvedbu, lai brna izpausmes un pabas, kas saisttas ar radoumu, netiktu ignortas vai pat sodtas (Runco, 2003). Igaunij veiktaj ptjum par skolotju priekstatiem par kreativittes konceptu secints, ka ts skaidrojums nereti ir vienpusgs, k ar, ka skolotji visbiek saista kreativitti ar jaunu ideju un produktu radanu, savukrt reti min ar kreativitti saisttos personbas aspektus (Luik, Kukemelk, Online). Savukrt ptjum Vels tikai puse skolotju minja diverenci, lai ar t ir fundamentls aspekts lielkaj da kreativittes definciju (Fryer, Collings, 1991). Diverent domana ir pai nozmga brnu kreativittes novrtan, jo aj vecum vl nevar runt par nozmgiem radoiem sasniegumiem produktivittes un socil novrtjuma zi, savukrt aktulas ir brna spjas enert idejas, neatkargi no t, vai ts realizjas relos radoos sasniegumos (Runco, 2004). Lielk daa skolotju radoumu uzskata par nozmgu indivda kvalitti, ko nepiecieams aktualizt mcbu proces un kuras veicinana ietilpst skolotja uzdevumos (Westby, Dawson, 1995). Vienlaikus ptjumos par skolotjam personiski simptiskkajiem skolniem nereti apraksttas pabas, kas ir pretjas radoas personbas pabm. Skolotji labprtk sadarbojas un atbalsta tos skolnus, kuriem raksturgs konformisms, autorittes neaubga akceptana (Cropley, 2003), savukrt radoiem skolniem nereti piemt pabas, ko vartu dvt par traucjom (Torrance, 1983). Atribcijas fenomens jeb stereotipizcija kreativittes atpazan var izpausties k skolotju tendence radous skolnus uzskatt par haotiskiem un nepiekpgiem vai ar identifict kreativitti ar augstm intelekta spjm un labm mcans prasmm, ttad ar idela skolna prototipu (Karwowski, Gralewski, Lebuda, Winiewska, 2007). Viens no t iemesliem vartu bt skolotju zinanu trkums par to, ka ietami nevlama uzvedba var bt saistta ar radoumu. Otrkrt, skolotji radoiem skolniem lielk mr nek kreativittes eksperti piedvja pabas, saisttas ar konformismu un sadarbbu, t.i., socili vlamu un klases disciplnai netraucjou uzvedbu (Westby, Daw son, 1995), tdjdi idela skolna pabas piedvjot radoam skolnam. Trekrt, tdi radou skolnu raksturojumi k netipisku, nestandarta asociciju veidoana, neparastas atbildes uz jautjumiem un jaunas pieejas problmu risinan var radt grtbas pedagogiem, kas nejtas komfortabli nestandarta un neparedzams situcijs (Runco, Johnson, 2002).
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Ptjuma dalbnieki 54 skumskolas skolotji no dadm Rgas skolm (92 % sievietes, 8 % vriei; vidjais vecums - 45 gadi, vidjais pieredzes ilgums darb par skolotju 20 gadi. Ptjuma procedra Skolotju priekstatu izpt tika izmantota anketa, kur ietverti: 1. atvrtie jautjumi Ko, jsuprt, nozm jdziens kreativitte? un Kdi faktori, jsuprt, nosaka to, cik rados ir skolns?; 2. kreativittes nozmes novrtjuma skala dads skolna darbbas joms (5 ballu Li kerta skal, kur 1 nenozmga un 5 oti nozmga.). Pc atbilu apkopoanas tika veikta atbilu kvalitatv un kvantitatv analze. Rezultti Kreativittes kritriji. Kreativittes koncepta atbilu analzes rezultti liecina, ka skolotju atbilds nordtais kreativittes kritrijs visbiek ir oriinalitte, ko minjui 73,5 % respondentu, novitte 41,2 %, savukrt vrtguma kritrijs mints 11,7 %. Noderguma kritrijs netika mints nevienu reizi. Kreativittes koncepts. Analzes gait, papildus saska ar 4P pieejas kategorijm: radoa personba (kognitvs kvalittes, personbas un emocionlie raksturojumi), rados produkts (novitte, vrtba, noderba); rados process (oriinls veids, k enert neparastas ide jas, veidot atirgas kombincijas vai pievienot jaunas idejas jau esoajm zinanm); vides kategorija (vides aspekti, kas veicina vai nomc rados spjas) (Sternberg, 2006), tika pievie notas vl divas kategorijas Visprgi un Neatbilstgi. Rezultti atspoguoti 1. attl.

1. attls Kreativittes koncept ietverto jomu % sadaljums skolotju sniegtajs atbilds Picture 1 % distribution of creativity fields as reflected in the creativity concept description by teachers Skolotju atbilds visbiek skarta radoa procesa joma (67,6 %) - aptaujtie skolotji radoumu apraksta radoa procesa aspekt: k jaunu, netradicionlu risinjumu ceus un pie ejas (43,5%), k iztli, intuciju, bezapzias procesu ietekmes rezulttu (30,4 %), k neparastu asociciju un kombinciju veidoanu (21,7 %), k jaunu, neparastu ideju enercijas procesu (17,4%), k esoo elementu transformanu un pielgoanu situcijai (8,7 %), sensitivitti pret apkrtjo vidi un problmm (4,3 %). ie ir nozmgi diverento domanu raksturojoi procesi.
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61,8 % skolotju kreativittes defincij ietvrui radoas personbas jomu. Taj kreativitte visbiek raksturota k personbas paba, piemram, drosme, neatkarba, atvrtba. Daai o atbilu raksturga augsta visprinjuma pakpe, piemram, raksturojot kreativitti ar oriinlas personbas jdzienu. Apmram puse atbilu radoas personbas jom raksturo fantzijas, sprieanas un oriinlas domanas spjas. daa skolotju minjui motivciju radoas personbas aspekt, savukrt 9,5 % - rados darbbas pieredzei. Radoa produkta jomu kreativittes definan izmantojui 47,1 % aptaujto skolotju, kuri, izmantojot tdus radoa produkta jomas raksturojumus k novatvs, oriinls, vrtgs, vii kreativitti attiecina uz radoiem darbiem (produktiem), idejm un domm, problmu risinjumiem un pieejm, piemram, Kreativitte nozm radt jaunu, vrtgu, paliekou risinjumu. T k skumskolas vecum primrais rado potencila atspoguojums ir ne vis nozmgs rados produkts, kura radanai nepiecieamas ilgstoi nostiprintas specifiskas pras mes un zinanas, bet gan rados domanas izpausmes, tad pozitvi vrtjams fakts, ka skolotji biek nek taustmu radoo produktu minjui idejas, domas un risinjumus. Vides kategorija ietverta 23,5 % skolotju atbilds. Taj minti kreativitti ietekmjoie faktori skolotja kompetences un atbalsta nozme (37,5 %), radoa parauga pieejambas, k ar psiholoisks drobas nozme (25 %). Socilais konteksts - sabiedrbas uzskati par to, kas ir oriinls un gatavba akceptt citdo - mints 37.5 % aj jom jeb 8.6 % atbilu attiecb pret prjm jomm. Piemram, Cilvka izcelans uz pelks masas fona vai Dart to, kas citiem iet absurds un neprts. Analizjot atbilu detaliztbu, secinjm, ka apmram daa skolotju sniegui oti visprjas, nespecifiskas atbildes, izmantojot visprgus formuljumus, vai ar visprgi formuljumi tika doti ldzs citiem, preczkiem definjumiem, piemram, Spjas izpausties vai paa spja, Individualittes iezme. Visprgas atbildes vartu raksturot atbilstoo skolotju maz diferenctus priekstatus par kreativitti, bet nevar izslgt ar citus faktorus. K neatbilstgas tika novrttas ts atbildes, kurs izteiktie priekstati neatbilda kreativittes fenomena raksturojumam msdienu teortiskaj un empriskaj literatr vai tika izcelts tikai viens to aspekts, kas nav raksturgkais (8.6 %). To raksturo tdas atbildes k Kreativitte ir spja labi aptvert pasniegto mcbu materilu vai Spja izdart loiskus spriedumus. 35,3 % respondentu definja kreativitti k attiecinmu uz dadm darbbas nozarm, jomm un veidiem, t.sk., ikdienas nodarbs un sadzv, savukrt 5,9 % respondentu nordja, ka kreativitte piemt katram cilvkam. Rezultti nedod pamatu secint, vai kreativittes universlo dabu neatzst ar citi respondenti, jo tie veid ds jautjums netika uzdots, tomr tie liecina, ka vis maz tredaa skolotju uzskata kreativitti par universlu cilvka darbbas fenomenu, kas izpauas dads darbbas joms, t.sk., mksl, zintn, ikdienas aktivitts un praktisks nodarbs. Kreativittes koncepta defincij ietverto kreativittes jomu skaita analze pardja, ka apmram ceturt daa skolotju (23,1 %) kreativittes konceptu interpret viena kreativittes aspekta (jomas) ietvaros, savukrt visbiek 38,5 % - kreativittes skaidrojum skolotji minja 2 jomas. Trs jomas kreativittes definjum bija ietvrui 23,1% skolotju, savukrt etras - 15,3 % skolotju. Kreativitti ietekmjoie faktori. Veicot skolotju atbilu kvalitatvo analzi jautjumam Kdi faktori, Jsuprt, nosaka to, cik rados ir skumskolas skolns?, ts tika ierindotas ses faktoru kategorijs: iedzimtba, vide, rados darbbas zinanas un prasmes, personbas pabas, motivcija un kognitvs spjas. % sadaljums par skolnu kreativitti ietekmjoo faktoru grupm skolotju priekstatos redzams 2. attl. Lielk daa skolotju bija minjui 4 kreativittes faktorus (min. 2, max. 8) Skolotju priekstatos vide ir primrais kreativitti ietekmjoais faktors. Dadus vides aspektus minjui 97 % skolotju (imeni 68 %, draugus, skolotju kompetenci 38 %,
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pieauguo atbalstu, psiholoisko drobu un brvbu 29%, materilos resursus, un rados darbbas paraugu 21 %, sabiedrbas attieksmi 14,7 %). Vidi visprg nozm bez papildus skaidrojumiem minjui 26 % skolotju.

2. attls Kreativitti ietekmjoo faktoru grupu % sadaljums skolotju sniegtajs atbilds Picture 2 % distribution of creativity factor groups as described by teachers Vismaz puse skolotju (56 %) uzskata, ka kreativitte ir atkarga no iedzimtm kvalittm, ka t ir iedzimta spja vai iedzimts talants radt kaut ko oriinlu un nebijuu. 95,4% atbilu aj faktor izteiktas visprg veid vai ar nedaudz to konkretizjot (piemram, iedzimta spja). di priekstati skolotjus var pamudint uzskatt, ka skolnam nepiemt radoais potencils gadjum, ja skolna darbb nav rji novrojamas izteiktas pieemts, stereotipisks radouma izpausmes, t.s. uzkrtos talants. No otras puses, du priekstatu pozitvais aspekts ir tas, ka skolotji apzins radouma komplekso dabu, kur mijiedarbojas iedzimtie un vides radtie faktori. Radouma k psihopatoloijas korelta vai blakusefekta izpratne skolotju vid nav raksturga, jo tikai viens no aptaujtajiem skolotjiem kreativitti raksturoja k iedzimtas novirzes vai sindromu, ttad ar psihiskm kvalittm, kas raksturojamas k rpus normas esoas. Prasmes un zinanas, t.sk. kd rados darbbas jom, minjusi puse skolotju (50%). Vairk nek puse no m atbildm saistta ar brnu darbbu rados darbbas un intereu pulcios, zinanm mksl, apmram tre daa ar izgltbu, t.sk., rados darbbas joms, vien gadjum minta brna paizgltoans. Personbas pabas k kreativittes faktors ietverts 47 % aptaujto skolotju atbilds. Visbiek mintas tdas pabas k aprba, drosme, atvrtba, esttiska uztvere, patstvba uz skatos un neatlaidba. Starp personbas pabm neviens skolotjs neminja tdas iezmes, kas raksturo emocionlu jtgumu un impulsivitti, kas biei var izpausties radou brnu uzvedb (Cropley, 2003). Motivciju k kreativittes faktoru pieminja 41 % skolotju, to raksturo tdas at bildes, kas ietvra brna mrtiecgu interesi radoi darboties (50 %), k ar paaktualizcijas un paizpausmes vajadzbu (50 %). Visbeidzot, kognitvs spjas k kreativittes faktoru kategoriju minja 24% skolotju.
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Skolotju priekstati par kreativittes nozmgumu Skolotju novrtjums par brnu radoo spju nozmi dads viu darbbas joms liecina par radouma nozmgs lomas atzanu. Viss piedvtajs 8 joms mcbu sasniegumi, mcbu motivcija, attiecbas ar vienaudiem, attiecbas ar pieauguajiem, emocionl labkljba, problmu risinana ikdien un rotaas - skolotji rados spjas uzskata par nozmgu vai oti nozmgu faktoru. Visvairk skolotju 92 % rados spjas atzinui k oti nozmgas brnu rotau darbb. Joma, kuru nedaudz vairk nek puse aptaujto skolotju (56,1 %) novrtjui k radouma oti nozmgi ietekmtu, ir problmu risinana ikdien, nedaudz mazk nek puse (46,3 %) skolotju dom, ka radoums ir oti nozmgs mcbu motivcij. Tdm jomm k mcbu sasniegumi, attiecbas ar vienaudiem, attiecbas ar pieauguajiem un emocionl labkljba lielkoties pieirts vrtjums nozmgas. Secinjumi Kreativittes kompleks daba nosaka vajadzbu formult un ptt o fenomenu pc iespjas daudzpusgi, taj skait implicto teoriju aspekt. Ptjums, kas veikts Rgas skumskolas skolotju vid, sniedz ieskatu viu priekstatos par kreativittes konceptu, ts faktoriem un nozmi dads skolnu darbbas joms. Absoltais vairums aptaujto skolotju atzina kreativittes nozmgo lomu dads skumskolas skolnu darbbas joms, jo pai rotau darbb. Skolotju priekstati par kreativittes kritrijiem lielkoties atbilda teortiskajm nostdnm tie ir oriinalitte, novitte, k ar vrtba, tomr noderguma (atbilstbas) kritrijs neietilpa skolotju priekstatos par kreatv snieguma kritrijiem, un ar vrtguma kritrijs mints saldzinoi reti, iespjams, tas saistts ar o kritriju mazku nozmi brnu radoaj darbb. Skolotju sniegtajos kreativittes koncepta aprakstos domin radoa procesa (diverences) un personbas jomas, bet visretk mints socilais konteksts. Tiei diverences aspektu veicinana ar atbilstom metodm un pieejm visvairk atbilst skolotju iespjm mcbu proces. Radoums personbas aspekt visbiek raksturots ar personbas pabm, bet reiz juzsver, ka aptaujtie skolotji kreativitti izprot drzk k visprgu personbas noslieci, kas izpauas dados veidos, dads darbbas nozars un indivda funkcionanas joms, nek ar pam spjm un apdvintbu saisttu fenomenu. Radoo produktu skolotji izprot gan k relu radoo darbu, gan k idejas, pieejas, risinjumus u.tml. Tas ir pozitvs faktors, raugoties no skolnu rado potencila atpazanas vajadzbas viedoka. Jsecina, ka diverences un personbas pabu nozmi kreativitt nepiecieams akcentt vairk. Skolotju priekstatos par skolnu kreativitti ietekmjoajiem faktoriem vrojama eksternlo faktoru (vide, iedzimtba) dominana, retk izcelta brna iekj motivcija, paaktualizcijas un paizpausmes vajadzba. Vides ietekmi uz brna radoumu skolotju priekstatos visbiek raksturo imenes, t.sk. pieauguo atbalsts radoai darbbai, psiholoisk droba un brvba, rados darbbas paraugs u.c., nkamaj viet ierindojoties skolas videi, t.sk., skolotju kompetencei, atbalstam, iedroinjumam kreativitt. Vides btisko nozmi metaforiski aprakstjis A. Druiins, saldzinot potencilo kreativitti ar gaismas jutgu emul siju, rado parauga atdarinanu - ar ekspozcijas procesu, savukrt vide ir t, kas veicina attla izgaismoanu un nostiprinanu, t.i., aktulo kreativitti (, 2007). Uzskatam par vides faktora dominanci k stipro pusi var mint to, ka radoumu ir iespjams attstt ar atbilstom pieejm un veicinou vidi. Savukrt uzskata vj puse ir risks pieemt, ka gadjumos, kad brns ncis no tipiskas vai nelabvlgas imenes vai ja nav novrojamas izteiktas radoas spjas kd jom, brnam nav radoo spju, jo nav novrojamas pieemts, stereotipisks radouma izpausmes, piemram, izteikts talants kd jom. Izpratne par kreativitti k vides un iedzimtbas faktoru mijiedarbbas rezulttu pau ldzsvarotu skatjumu starp ietekmjamiem
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un maz ietekmjamiem faktoriem. Lai ar skumskolas vecums ir pai nozmgs paizpausmes vajadzbas stenoanai, motivcijas aspektus minja tikai puse aptaujto skolotju. Viu uzskaitts radoas personbas pabas atbilda teortiu konstattajm, tomr starp tm netika minta impulsivitte un emocionlais jtgums, kas biei tiek saisttas ar radoumu (Cropley, 2003). Visretk tika mints intelekta spju faktors, kas vartu liecint par nepietiekamu informtbu par kreativittes kognitvajiem faktoriem. Jatzm, ka skolotju atbilds par kreativittes konceptu un to noteicoajiem faktoriem nereti iezmjs augsts visprguma lmenis, kas vartu liecint par nepietiekami diferenctiem priekstatiem un vajadzbu gt konkrtkas zinanas par kreativittes fenomenu. Vispusga kreativittes izpratne var paldzt skolotjiem veicint skolnu radoumu un mazint stereotipizciju. Piemram, akcentjot tikai vides faktorus, skolotjs nepamana skolna iekjs motivcijas vai paaktualizcijas vajadzbas potencili pozitvo ietekmi uz via radoumu. Attstt kreativitti nozm gan veicint atbilstoo kognitvo spju un personbas faktoru izaugsmi, gan mct rados domanas stratiju un tehniku izmantoanu jaunu ideju un problmrisinjumu meklan.
LITERATRAS SARAKSTS 1. Amabile, T.M. (1996) Creativity in context. Boulder, CO.: Westview Press, 336 pages. 2. Bebre, R., sten, I. (2009) Operas un baleta mkslinieku priekstati par nozmgiem brnbas faktoriem radoas personbas attstb. Zintnisko rakstu krjums Dairades psiholoija Latvij, sast. Bebre, R. Rga: Valters un Rapa, 262.271.lpp. 3. Cropley, A. (2003) Creativity in Education and Learning. A Guide for Teachers and Educators. London: Routledge, 208 pages 4. Feist, G. (2004) The Evolved Fluid Specificity of Human Creative Talent. In: Sternberg, R., Grigorenko, E., Singer, J. (Eds.) Creativity. From Potential to Realization. Washington: APA, p.5782. 5. Feldman, D.H. (1999) The Development of Creativity. In: Sternberg, R. (Ed.) Handbook of Creativity. Lon don: Cambridge University Press, p.169186. 6. Fryer, M., Collings, J.A. (1991) Teachers views about creativity. British Journal of Educational Psychology, Vol.61, p.207219. 7. Guilford, J.P. (1967) The Nature of Human Intelligence. New York: McGraw-Hill, 538 pages. 8. Harrington, D.M., Block, J.H., Block, J. (1987) Testing Aspects of Carl Rogers Theory of Creative Envi ronments: Child-rearing Antecedents of Creative Potential in Young Adolescents. Journal of Personality and Social Psychology, No52, p.851856. 9. Hoff, E.(2003) The Creative World of Middle childhood. Creativity, Imagination and Self-Image from Qualitative and Quantitative Perspectives. Lund: Lund University, p.232. 10. Karwowski, M., Gralewski, J., Lebuda, I., Winiewska, E. (2007) Creative Teaching of Creativity Teachers: Polish Perspective. Thinking Skills and Creativity, No2, p.1, 5761. 11. Kohanyi, A. (2005) Turning Inward Versus Turning Outward: A Retrospective Study of the Childhoods of Creative Writers Versus Journalists. Creativity Research Journal, Vol.17, p.4, 309320. 12. Lubart, T., Guignard, R. (2004) The generality-specificity of creativity: a multivariate approach. In: Sternberg, R., Grigorenko, E., Singer., J. (Eds.) Creativity. From Potential to Realization. Washington: APA, p.2130. 13. Luik, P., Kukemelk, H. (2009) Estonian Teachers Understanding of Creativity and Learning Strategies. http:// www.aare.edu.au/06pap/lui06145.pdf (05.09.2009) 14. Raipulis, J. (1999) Radoas personbas attstbas entiskie prieknoteikumi. Zintnisko rakstu krjums Radoa personba, Isjums, sast. Bebre, R. Rga: Vrti, 46.52.lpp. 15. Runco, M.A. (1996) Personal Creativity: Definition and Developmental Issues. Creativity from Childhood Through Adulthood. In: Runco, M.A. (Ed.) The Developmental Issues, No72. San Francisco: Jossey-Bass Publishers, p.330. 16. Runco, M.A. (2003) Education for Creative Potential. Scandinavian Journal of Education, No47, p.317 324. 17. Runco, M.A. (2004) Everyone has Creative Potential. In: Sternberg, R., Grigorenko, E., Singer, J. (Eds.) Creativity. From Potential to Realization. Washington: APA, p.2130. 104

18. Runco, M.A. (2007) Creativity. London: Elsevier Academic Press, 504 pages. 19. Runco, M.A., Johnson, D. J. (2002) Parents and Teachers Implicit Theories of Childrens Creativity: A Cross-Cultural Perspective. Creativity Research Journal, No14 (3&4), p.427438. 20. Sak, U., Maker, C. J. (2006) Developmental Variation in Childrens Creative Mathematical Thinking as a Function of Schooling, Age, and Knowledge. Creativity Research Journal, No18, p.3, 279291. 21. Smith, G.J., Carlsson, I. (1985) Creativity in Early and Middle School Years. International Journal of Behaviour Development, No8, p.329343. 22. Starko, A.J. (2005) Creativity in the Classroom: Schools of Curious Delight. New York: Lawrence Erlbaum, 342 pages. 23. Sternberg, R.J. (2006) The Nature of Creativity. Creativity Research Journal, No18, p.1, 8798. 24. Torrance, E.P. (1983) Creativity in the Classroom. Washington, DC: National Educational Association, 36 pages. 25. Westby, E.L., Dawson, V.L. (1995) Creativity: Asset or Burden in the Classroom? Creativity Research Journal, No8, p.110. 26. , .. (1967) . : , 93 c. (In Russian) 27. , .. (2007) . -: , c.213-244 (In Rus sian) 28. , . (2009) . : , 214. (In Russian) 29. , . ., , . . (2006) . : , .4148. (In Russian)

Mg.psych. Lga Roe Rgas Pedagoijas un izgltbas vadbas akadmija Kreativittes zintniskais institts Adrese: Imantas 7.lnija 1, Rga, LV-1083, Latvija Tlr.: (+371) 67275311 E-pasts: liga.roke@rpiva.lv

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Maija Zakrievska beigusi Latvijas Universitti, ieguvusi Dr. psych. un Rgas Stradia universitti, ieguvusi profesionlo maistra grdu veselbas aprp. Lektore un RPIVA Kreativittes zintnisk institta ptniece. Zintnisk darba tma ir Latvijas iedzvotju socilie priekstati par idelo politia tlu. Strd Alberta koled par lektori. Vaasprieki ceoana un sports.

Ivans Jnis Mihailovs ir ieguvis socilo zintu maistra grdu tiesbu zintns Latvijas Universitt un humanitro zintu maistra grdu mksls Latvijas Kultras akadmij. Palaik stud Rgas Stradia universittes Tiesbu zintu doktorantr. Zintnisk darba tma Tiesisk kultra. Strd par juristu un Rgas Stradia universittes pasniedzju. Vaasprieki grmatas, vasarnca. MAIJA ZAKRIEVSKA Alberta koleda Rgas Pedagoijas un izgltbas vadbas akadmija Latvija IVANS JNIS MIHAILOVS Rgas Stradia universitte Latvija

POLITIA TLA VEIDOANAS KRETIVITTES UN TISKIE ASPEKTI

Kopsavilkums Ievads. Lai sasniegtu savu auditoriju, politii izmanto kreatvus politia tla veidoanas risinjumus, kas dareiz prsniedz tikas robeas. Darba mris. Analizt ptjuma rezulttus par kreativittes un tiskiem aspektiem politia tla veidoan. Materili un metodes. Brvo asociciju metode. Aptauja, ar kuras paldzbu tika noskaidroti respondentu demogrfiskie rdtji. Rezultti. Visvairk Latvijas iedzvotji ir minjui asociciju godgs 654 reizes (13,8%). Secinjumi. Neraugoties uz to, ka politia tla veidoana ir kreatvs process, kura robeas dareiz ir visai nenoteiktas, Latvijas iedzvotji politii vlas redzt ar k tiskas rcbas paraugu godgu personbu, kas strd nevis sevis, bet tautas lab. Atslgas vrdi: politia tls, tla veidoana, kreativittes process, politisk tika.

DEVELOPMENT OF AN IMAGE OF A POLITICAL FIGURE: ASPECTS OF CREATIVITY AND ETHICS

SUMMARY Introduction. A deliberate attention paid by society and professionals representing dif ferent spheres towards the visible part of the behaviour of a political figure an image becomes
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more and more important. It determines communication, behaviour and style of the action in poli tics and in communication with society. It means that an image of a political figure as a specific element of political technologies is particularly formed. The formation of an image of a political figure is a creative process and different tools and strategies are used in its implementation to win a broader audience and to attract atten tion. Creativity in the formation of an image of a political figure is an ability to see things in a new pattern. Creativity also means originality, a skill to find something new or to invent, as well as a skill to adjust to new, uncustomary situations and the ability of spontaneous perception (Beinarovia, 2008, 92). In order to reach broader audience, an image of a political figure is transformed (re duced, construed) into an image of advertisement. I. uvajevs considers that political ethics includes several meanings. Political ethics is understood as the ethics of politics, respectively, it is either ethic or non-ethic. Here we speak about the realization of the notions, values, norms, principles in the activities of the politician and its evaluation. Thus, political ethics gains an additional meaning it is connected not only with the so called big politics, but also life politics implemented by the individuals, i.e. in rela tion to oneself and in relation to society and the world taken as a whole (uvajevs, 2007). S. Lasmane considers that being ethical is convenient for political figures; therefore, it is used in the formation of an image (Lasmane, 2002; Lasmane, 2007). Summarizing the above discussed views, it can be concluded that in order to attain ones aims and to attract audience, political figures could use and use creative approaches in the forma tion of an image, which sometimes surpasses or can surpass the adopted limits of ethics. This is also proved by the events in Latvian political practice, including, e.g. the discussions on the project of ethics guidelines for state administrative and municipality officials that took place in SeptemberOctober, 2009. It should be mentioned that foreign scientific publications also pay attention to the research of the interrelations between the aspects of creativity and ethics (e.g., Balkas). Aim of the study is to summarize and analyze the results of the study on the aspects of creativity and ethics in forming an image of a political figure. Materials and methods. The study used the method of free associations (Ree, Austers, 2003); a questionnaire to find out the demographic indicators of the respondents. Ini tially 1607 respondents were surveyed and 4727 associations were obtained to perform precise calculations of the sample with 1 % precision. Each respondent had to mention 3 associations in connection with the notion an ideal political figure and to continue the unfinished sentence A political figure is . Results. The data obtained in the study were processed qualitatively. Considering the obtained results, the associations the finished sentences A political figure is were grouped into 5 groups: positive, neutral definition, negative attitude, a servant of people; works for the sake of the nation (not for ones own benefit); others during the first stage of the study. Quantitative data processing was carried out in the next stage of the study. Altogether 1583 definitions were received, of which definitions 787 (49,7 %) expressed a positive, neutral attitude. For example, definitions which express a positive, neutral attitude are: a political figure is a person who represents the interests of people in the country and in the world; a person who is a responsible, competent representative of society interests; a person with an inherent under standing of social justice, a patriot of ones own country. Negative attitude was expressed in 495 definitions (31,3 %). For example, the definitions which expressed a negative attitude: a political figure is a person, whose post evokes most contra dictory associations, but whose image is not connected with high moral standards; a person who having gained power, loses any principles of ethics for ones own benefit and ones party, etc.
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A servant of people was mentioned in 96 definitions (6,1 %). Works for the sake of the nation (not for ones own benefit) was expressed in 153 defi nitions (9,7 %). For example, the following definitions: a political figure is a person, who thinks about the people not personal interests that could promote business, etc. Other views were given in 52 definitions (3,3 %). For example, the following defini tion: a political figure is Vaira Ve-Freiberga, etc. Altogether 4727 associations associated with the notion an ideal political figure were re ceived from the inhabitants of Latvia. A qualitative analysis and evaluation helped to divide all associa tions in 30 groups (Appendix). Then quantitative data processing of these results was performed. The respondents have mentioned the association honest 654 times (13, 8 %), which is the most frequent. A second most frequently mentioned association is clever, erudite, think ing, knowledgeable, etc. 556 times (11,8 %). A third most frequently mentioned association is linked to the expected activities and the desirable results 481 times (10,2 %). Using 2 test, achieved, that exit not connectedness between region, citizenship, sex and choice of ideal politician characteristics (p>0,05). Using 2 test, achieved, that exit not connectedness between residence, education, nationality, employment and choice of ideal poli tician characteristics (p<0,05). The study continues. The data will be obtained, which will allow construing an image of an ideal political figure that could be appropriate to the expectations of Latvias inhabitants. Conclusions. Despite the fact that the formation of an image of a political figure is a creative process, the inhabitants of Latvia wish to see a political figure as a model of ethic ac tion an honest personality, who works for the benefit of people, not for his own good. On the whole a positive and neutral attitude about an abstract (not Latvian) a political figure dominates in social representations of the society of Latvia. The evaluation of the received results allows the professionals of the political tech nologies to correct the processes of forming an image of a political figure using associations as points of takeoff. For researchers, in their turn, this is a possibility to start work on construing an image of an ideal political figure. The society of Latvia does not consider any particular rep resentative of the political elite to be an ideal political figure. The unethical action of a political figure is not supported, thus it allows expressing the assumption that the inhabitants of Latvia still connect the image of an ideal a political figure with a quest for the ideal and trust. Social representations of an ideal political figure attributes are quite different for vari ous groups of Latvian inhabitants (age, education, nationality, urban and rural inhabitants). Key words: image, political figure, creativity, political ethics. IEVADS Sabiedrbas un dadu nozaru profesionu apzinta uzmanba politia redzamajai uzvedbas un rcbas daai un rjam veidolam msdiens kst arvien nozmgka, tdjdi biei vien nosakot ar komunikciju, uzvedbas un rcbas stilu politik un komunikcij ar sabiedrbu. Tas nozm, ka pai tiek veidots tds specifisks politisko tehnoloiju elements k politia tls. Ldz ar to politisk komunikcija btb ir o abstrakto tlu komunikcija, efektvk pielgojot tos masu mediju vajadzbm un iedzvotju gaidm. Nav aubu, ka politika tpat k politia tla veidoana ir kreatvs process, kura stenoanai tiek pielietoti / piemroti dadi instrumenti un pamieni nolk iekarot arvien plaku auditoriju un piesaistt uzmanbu.
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Kreativitte politia tla veidoan t.sk. izpauas ar k spja ar izdomas un iztles paldzbu likt skatt lietas jaun veidol. Ar kreativitti tiek saprasta oriinalitte, prasme atrast ko jaunu vai to izgudrot, k ar prasme piemroties jaunm, neparastm situcijm un spontnas uztveres spjas (Beinarovia, 2008, 92.lpp.). Politia tla veidoan kreatvais process ietver mrtiecgu analzi, ideju enerciju iztl un kritisku izvrtjumu, ir ciei saistts ar domanu, iztli un jaunu ideju apzintu mrtiecgu eneranu un nekavjou to pielietojumu (Plseks, 1997). Ttad politia tls, tpat k jebkur cits tls, no vienas puses atspoguo rels politia pabas un, no otras puses uztvrju gaidms projekcijas. Lai sasniegtu plaku auditoriju, politia tls tiek prvrsts (reducts, konstruts) reklmas tl. Reklmas tls ir komunikcijas vizulais ldzeklis, kas uzsver vajadzgo esoo un nes jaunu informciju par reklamjamo produktu un palielina t noietu, jo msdienu komunikcijas praks pastv apgalvojums, ja reklma neveicina preces / pakalpojuma noietu, tad t nav cienga saukties par kreatvu. Politisko tehnoloiju pamatuzdevums ir nodroint, lai politii vartu sasniegt noteiktus rezulttus (ar maksimlo atdevi okt, palikt atmi, iegt vltju uzticbu un balsis, apliecint sa vus pankumus un sasniegumus utt.), tpc, veidojot kreatvas politisks reklmas, k ar konstrujot politia tlus, kst aktuls jautjums par atauta / aizliegta robem un iespjm tos prkpt. Pie tam, ja normatvajos aktos noteikto visprobligto robeu prkpan vismaz jbtbas lmen ir saistta ar valsts noteikto sankciju piemroanu un tiesbsargjoo iestu represvajm darbbm (sodi), tad konvencionlo tikas / tisko robeu neievroana biei vien var kt par akceptjamu rcbu (jo uzvartju tau nesoda), attaisnojot robeu prkpanu ar pau tisko idelo nenoteiktbu un uzskatu par vrtbm un iespjamo rcbu daudzveidbu (ulcs, 1936). Tdjdi politisks tikas saturu veido faktoru kopums, ar kuriem gan atseviiem iedzvotjiem, gan politiiem nkas rinties lmumu pieemanas vai politikas stenoanas proces. Politisk tika ir tisku spriedumu izteikana par politisko darbbu (Apine u.c., 1998, 98. lpp.). I. uvajevs raksta, ka politisk tika ir socils tikas sastvdaa, kaut ar pastv par to senk, vai ar tiek veidota ldztekus tai. Antk filozofija (tostarp tika) ir politiska, tikai pakpeniski norisins filozofijas specializcija, veidojoties disciplnai politisk tika, kas nereti tiek izdalta k patstvga disciplna ldzs citm tikas apaknozarm (ar socilajai). Politisk tika ietver vairkas nozmes. Politisk tika tiek izprasta k politikas tika, resp., ts tiskums vai netiskums. Runa ir par priekstatu, vrtbu, normu, principu stenoanu politiu darbb un ts izvrtanu. Tdjdi politisk tika iegst ar papildu nozmi t tiek saistta ne tikai ar t saukto lielo politiku, bet ar indivdu stenoto, pau realizto dzves politiku, t.i., gan saistb ar sevi, gan saistb ar sabiedrbu un pasauli kopum (uvajevs, 2007). S.Lasmane uzskata, ka tiskums ir izdevgs politiiem, tpc to izmanto tla veidoanai. K zinms, tiska rcba vie uzticanos, tpc ar tikas kodeksu izveidi vai godguma soljuma rituliem un citiem rjiem tiskiem atribtiem partiju, to lderu vai amatpersonu tlu izdaio sabiedrisko attiecbu profesioni. Bstami, ja tiskums ldzgi ves lapai izmantots banla un amorla domanas veida maskanai. Ar tas ir tikas uzdevums noirt patiesu vlmi lemt godgk, trk no vlmes uzveduma un simulcijas (Lasmane, 2002; Lasmane, 2007). Apkopojot augstk mintos viedokus, var secint, ka, lai sasniegtu savus mrus un piesaisttu auditoriju, politii izmanto / var izmantot kreatvus politia tla veidoanas risinjumus, kas dareiz prsniedz / var prsniegt pieemts tikas robeas. Minto aplieci na ar Latvijas politisks prakses notikumi, t.sk., piemram, 2009. gada septembr oktobr notikus diskusijas par tikas vadlniju projektu valsts prvaldes un pavaldbu amatpersonm. Kretivittes un tikas aspektu mijsakarbu izptei ir pievrsta uzmanba daudzos rvalstu zintniskajos izdevumos (Balkas, 2006).
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DARBA MRIS Apkopot un analizt ptjuma rezulttus par kreativittes un tiskiem aspektiem politia tla veidoan. MATERILI UN METODES Ptjum tika izmantota: Brvo asociciju metode (pc Ree, Austers, 2003). Ar s metodes paldzbu tika noskaidroti Latvijas iedzvotju socilie priekstati par idelo politia tlu un aptauja, ar kuras paldzbu tika noskaidroti respondentu demogrfiskie rdtji. Lai aprintu izlases apjomu, tika izmantota da formula (Goa, 2003, 334. lpp.)

Izmantojot o formulu, tika noskaidrots, ka 1606 ir minimlais nepiecieamais respon dentu skaits, lai pierdtu, cik % Latvijas iedzvotju ar precizitti 1% uzskata, ka politiim jbt godgam. Kopum ptjuma gait tika aptaujti 1607 respondenti un iegtas 4727 asocicijas, lai veiktu preczu izlases aprinu ar 1 % precizitti. Katram respondentam vajadzja nosaukt 3 asocicijas, kas rodas saistb ar jdzienu idelais politiis un turpint nepabeigtu teikumu Politiis ir..... REZULTTI Ptjum iegtie dati tika apstrdti kvalitatvi. Ievrojot saemtos rezulttus, ptjuma pirmaj posm Latvijas iedzvotju asocicijas papildintie teikumi Politiis ir.... tika gruptas 5 grups: pozitva, neitrla defincija; negatva attieksme; tautas kalps; darbojas tautas (ne sevis) lab; citi. Ptjuma nkamaj posm tika veikta minto grupu kvantitatva datu apstrde. Kopum tika saemtas 1583 defincijas, no kurm 787 defincijs (49,7 %) ir pausta pozitva, neitrla attieksme. Piemram, defincijas, kurs pausta pozitva, neitrla attieksme ir: politiis ir cilvks, kas prstv tautas intereses valst un pasaul; politiis ir cilvks, kas ir atbildgs, kompetents sabiedrbas intereu prstvis; politiis ir gudrs, diplomts, kas stratiski nosaka un vada valsts attstbu sabiedrbas labkljbas paaugstinanas interess; politiis ir ar iedzimtu socil taisnguma izpratni, savas zemes patriots u.c. Negatva attieksme tika pausta 495 (31,3%) defincijs. Piemram, defincijas, kurs pausta negatva attieksme: politiis ir tds, kas dom par savu labkljbu, tautas nkotne viam ir vienaldzga; politiis ir varaskrs palabuma mekltjs; politiis ir cilvks, kura amats Latvij izraisa vispretrungks asocicijas tau kura tls, nesaists ar augstiem morliem standartiem; politiis ir naudasmaiss; politiis ir divkosgs cilvks; politiis ir cilvks, kas ieguvis varu, zaud jebkdus tikas principus sevis un savas partijas lab u.c. Tautas kalps tika mints 96 (6,1 %) defincijs. Piemram, politiis ir tautas kalps. Darbojas tautas (ne sevis) lab tika pausts 153 (9,7 %) defincijs. Piemram, das defincijas ir: politiis ir cilvks, kas dom par tautu, nevis par savm personiskajm interesm, kas var sekmt biznesu; politiis ir cilvks, kas prstv tautu, bet msdiens tikai sevi; politiis ir cilvks, kas dom vairk par tautu, bet ne par sevi; politiis ir cilvks, kam rp tautas nkotne, nevis sava macia biezums u.c. Citi varianti tika minti 52 (3,3 %) defincijs. Piemram, das defincijas: politiis ir Putins; politiis ir Vaira Ve-Freiberga u.c.
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No Latvijas iedzvotjiem kop tika iegtas 4727 asocicijas, kas saists ar jdzienu idelais politiis. Kvalitatvi analizjot un izvrtjot tos, visas asocicijas tika daltas 30 grups (sk. 1. att.). Tad tika veikta o rezulttu kvantitatva datu apstrde. Visvairk Latvijas iedzvotji ir minjui asociciju godgs 654 reizes (13,8 %). tikas vrdnc jdziens gods ir defints k morls apzias jdziens un tikas kategorija. Tas parda cilvka attieksmi pret sevi un sabiedrbas attieksmi pret viu, saists ar cilvka konkrto sabiedrisko stvokli, via darbbas veidu un atztajiem via morlajiem nopelniem (tikas vrdnca, 1987., 87.). Savukrt jdziens godgums ir morla paba, kas atspoguo vienu no svargkajm tikumbas prasbm. Ietver patiesgumu, principialitti, uzticbu pieemtajm saistbm, subjektvu prliecintbu par sava veikuma pareizbu, savas rcbas motvu neslpanai no citiem. Godguma pretstats ir krpana, meli, zagana, vrda lauana, liekulba (tikas vrdnca, 1987., 86.). Ptjuma rezultti parda, ka otr biek mint vrdu grupa ir asocicijas: gudrs, erudts, domjos, zinos u.c. 556 reizes (11,8 %). Savukrt tre biek minta vrdu grupa ir asocicijas, kas saisttas ar sagaidmm darbbm un vlamiem rezulttiem 481 reizes (10,2%). Piemram, idels politiis: pilda savus soljumus; nezog; ir atbildgs par savu rcbu; nekorumpts; izved valsti no krzes; klauss tautu; spj ietekmt notikumu gaitu. Ptjuma rezultti ar parda to, ka Latvijas iedzvotjiem nav btisks idela politia imenes stvoklis. imenes nozme tiek minta tikai 7 reizes no visu 3650 iegto asociciju daudzuma (0,1%). Turpmk apraksttie rezulttu aprini tika veikti SPSS programm. Datu apstrdei tika lietots 2 tests, jo uzdevumos, kuros maingie lielumi doti nominlu vai rangu skal, sakarbu starp divu maingu lielumu ptan var lietot vai nu 2 testu (Teibe, 2001, 58 59.), vai Spirmena rangu korelciju (Teibe, 2001, 63 64.). 2 test tiek aprintas kontingences tabulas krustots viena maing katrs atbilu variants ar otr maing lieluma atbilu vari antu, piemram, idela politia paba godgs ar vecuma grupm 18 40, 41 65 utt. (sk. 2. tab. Idela politia pabu izvle atkarb no vecuma grupas). Tika aprints, cik biei tika izvlta idela politia paba godgs vecuma grupm 18 40, 41 65 utt. (% no skaita kolonns), cik% paba godgs ir no vism pabm, kuras izvljuies respondenti vecuma grup 18 40, 41 65 utt. (% no skaita kolonns), cik % tas ir no kopj pabu skaita (% no kopj skaita). Tika aprints ar sagaidmais skaits, ja pabu skaits kontingences tabul btu proporcionls gan rinds, gan kolonns (sagaidmais skaits) (skat. 2.att.). d situcij, ja pabu skaits kontingences tabul btu proporcionls, pilnb nepastv sakarba starp re spondentu vecumu un idela politia pabu izvli. Lai vartu lietot 2 testu, vism sagaidm skaita vrtbm jbt vismaz 5. Jo vairk grupu kontingences tabul jeb jo vairk atbilu vari antu maingajiem lielumiem, jo lielkas izredzes, ka kd grup sagaidmais skaits mazks par 5. Ja maingajiem lielumiem ir daudz atbilu variantu un ja kd grup sagaidmais skaits mazks par 5, tad piemrotk metode sakarbu izptei ir Spirmena rangu korelcija. Kontingences tabulas tika aprintas starp politia pabu izvli un visiem respon dentu demogrfiskajiem rdtjiem (vecumu, reionu utt.). Ts tika izmantotas aprakstoajai statistikai. Skaittas tika pabas. Katrs respondents varja izvlties ldz 3 pabm. Aprinos tika atmesta pabu grupa citas, jo t bija oti visprga. Tlk sakarbu izptei starp tiem maingajiem lielumiem, kam viss grups kontingences tabul sagaidmais skaits lielks par 5, tika lietots 2 tests. Turpret, ja sagaidmais skaits mazks par 5, tika lietota Spirmena rangu korelcija. Lietojot 2 testu, tika iegts, ka starp vecumu grups un idela politia pabu izvli pastv sakarba (p<0,01). Dadu vecumu grupu prstvji izvlas idel politia pabas atirg attiecb. Piemram, pabas gudrs, erudts, domjos, izpratne, zinos respondenti,
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kas vecki par 65 gadiem, izvlas 16,7 % no izvlto pabu skaita aj vecuma grup (29 no 174), savukrt respondenti vecuma grup 18 40 gadiem izvlas 27,9 % (476 no 1708). Vai ar, dadas pabas tiek izvltas atirg attiecb pa vecuma grupm. Piemram, vecuma grup 41 65 tiek izvlta paba darbbas un rezultti no iedzvotju puses 28,2 % no s pabas izvlt skaita (159 no 564). Savukrt aj vecuma grup paba izgltba, profesionalitte, kompetence 37,3 % no s pabas izvlt skaita (170 no 456). Lietojot 2 testu, tika iegts, ka starp idela politia pabu izvli un reionu nepastv sakarba (p>0,05). Dadu Latvijas reionu Respondenti izvlas idel politia pabas aptu veni viend attiecb (sk. 2. att., % no skaita rinds). Ierobeot apjoma d rakst tiek ievietota tikai viens attls (sk. 2. att.), kas ir k pa raugs iegto rezulttu atspoguoanai. Lietojot 2 testu, tika iegts, ka starp idela politia pabu izvli un dzimumu, reionu un pilsonbu nepastv sakarba (p>0,05). Lietojot 2 testu, tika iegts, ka starp idela politia pabu izvli un dzves vietu, izgltbu, nodarbintbu un tautbu pastv sakarba (p<0,05). Ptjums tiek turpints. Turpmk tiks apkopotas politiu anketas, k ar tiks veikta in tervija ar vienu politii, kur atbilda idel politia prasbm iegto fokusgrupu datu apstrdes rezultt. Vienlaikus tiks organiztas un vadtas fokusgrupas visos Latvijas reionos. Minto aktivitu rezultt tiks iegti dati, kas aus konstrut idela politia tlu, kas attiecgi maksimli vartu bt atbilstgs Latvijas iedzvotju gaidm. SECINJUMI Neraugoties uz to, ka politia tla veidoana ir kreatvs process, kura robeas politiskaj praks dareiz ir visai nenoteiktas, Latvijas iedzvotji politii vlas redzt ar k tiskas rcbas paraugu godgu personbu, kas strd nevis sevis, bet tautas lab. Kopum Latvijas sabiedrbas socilajos priekstatos par abstraktu (nevis Latvijas) politii domin pozitva un neitrla attieksme. Saemto rezulttu izvrtjums politisko tehnoloiju profesioniem auj korit politiu tlu veidoanas procesus, izmantojot asocicijas k atspriena punktus tla veidoanai. Savukrt ptniekiem t ir iespja uzskt darbu pie idela politia tla konstruanas. Latvijas sabiedrba par idelo politii neuzskata nevienu konkrtu politisks elites prstvi. Politia netisk rcba netiek atbalstta, aujot izteikt piemumu, ka idel politia tls Latvijas iedzvotju (preczk lielks daas Latvijas iedzvotju) priekstatos joprojm ir saistm ar idela mekljumu un uzticanos. Socilie priekstati par idel politia pabm ir atirgi Latvijas iedzvotjiem dados vecumposmos, cilvkiem ar dadu izgltbas lmeni; k ar cilvkiem, kuri dzvo pilsts un rpus tm, un dadu tautbu prstvjiem.
LITERATRAS SARAKSTS 1. Apine, I. u.c. (1998) Ievads politik. Rga: Zvaigzne ABC, 392lpp. 2. Balkas, E. (2006) Which One is More important in adverstising? Creativity or Ethics in Designs? With Case Study. Istanbul Ticaret niversitesi Sosyal Bilimler Dergisi, Yl5, Say9, Bahar 2006/1, p.6780. http:// www.iticu.edu.tr/kutuphane/dergi/s9/M01133.pdf (25.09.2009.) 3. Beinarovia, K. (2008) Korupcija k personbas kreativitti veicinos faktors. Zintnisko rakstu krjums Radoa personba, VIsjums, sastd. Bebre, R. Rga: SIA Jumi, 89.97.lpp. 4. Goa, Z. (2003) Statistika. Rga: Izgltbas soi, 334lpp. 5. tikas vadlnijas valsts prvaldes un pavaldbu amatpersonm, kuras iesaists politiskaj darbb. (10.10.2009.) http://www.mk.gov.lv/doc/2005/TMInf_140709_etikas_vadl.2768.doc 6. tikas vrdnca. (1987) Rga: Avots, 275lpp. 112

7. Politisk komunikcija, tika un kultra (2007) Latvijas Republikas 9.Saeimas vlanas. Red. Lasmane, S. Rga: LU Akadmiskais apgds, 314 lpp. 8. Plseks, P. (1997) Creativity, Innovation and Quality. Milwaukee, Wisconsin: ASQC Quality Press, p.555. 9. Ree, V., Austers, I. (2003) Socilie priekstati par zintni. Latvijas Universittes Raksti, 664. sjums. Psiholoija, 7.20.lpp. 10. Lasmane, S. (2002) tika un politisks darbbas patoloija. http://www.politika.lv/temas/7647/ Retrieved: 01.10.2009. 11. ulcs, L. (1936) Tiesbas k tikas minimums. Rga: Ppia un Upmaa grmatu un nou spiestuve, 102 lpp. 12. uvajevs, I. (2007) Politisk tika. http://www.tvnet.lv/izklaide/printArticle.php?id=496065 (01.10.2009.) 13. Teibe, U., Beris, U. (2001) Varbtbu teorijas un matemtisks statistikas elementi medicnas studentiem. Rga: AML / RSU, 88. lpp. Dr.psych., Mg.ves. apr. Maija Zakrievska Alberta Koleda RPIVA Kreativittes zintniskais institts Adrese: Skolas 22-5, Rga, LV-1010, Latvija Tlr. mob.: (+371) 29438435 E-pasts: m.zakrizevska@inbox.lv Mg.iur., Mg.art. Ivans Jnis Mihailovs Rgas Stradia universitte Adrese: Dzirciema iela 16, Rga, LV 1007, Latvija Tlr. mob.: (+371) 26146051 E-pasts: ivans.mihailovs@inbox.lv

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PIELIKUMS APPENDIX 1.attls Asocicijas, kas saists ar jdzienu idelais politiis Figure 1 Associations about ideal politician
1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. Nr p.k. Asocicijas Godgs Gudrs, erudts, domjos, izpratne, zinos Gaidms darbbas un rezultti no iedzvotju puses Izgltba, profesionalitte, kompetence Citas rakstura pabas Valsts, tautas intereu aizstvis Dadu politiu vrdi, uzvrdi Citi Atbildgs Harizmtisks, lderis Negatvi raksturojumi, pabas Enerisks, darbgs, strdgs, akls, gdgs Nav idelu, tds neeksist Komunikabls, saskarsme, diplomtija Patriotisms Taisngs, krtgs Vizulais izskats, vecums, dzimums, nacionalitte Uzticams Izlmgs, lmumu pieemana Patiess, atklts, ticams Nesavtgs Runas mka, orators Nevlamas darbbas Slava, reputcija, tika, morle Materilais stvoklis Vietas, kur ir politii Pieredze Piederba profesijai imeniskums Piederba partijai Bieums 654 556 481 393 309 255 223 192 170 157 131 127 119 110 102 100 97 83 73 70 63 49 48 46 35 29 28 16 7 4 3649 Procenti 13.8 11.8 10,2 8,3 6.5 5,4 4,7 4,1 3,6 3,3 2,8 2,7 2,5 2,3 2,2 2,1 2,1 1,8 1,5 1,5 1,3 1,0 1,0 1,0 0,7 0,6 0,6 0,3 0,1 0,1 100,0

Kop

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2.attls Idela politia pabu izvle atkarb no vecuma grupas Figure 2 An ideal politician attributes depending on the choice of age group
Idela politia pabas Gaidms darbbas un rezultti no iedzvotju puses Vecuma grupa Valsts, tautas intereu aizstvis Izgltba, profesionalitte, kompetence Gudrs, erudts, domjos, izpratne, zinos

Godgs

18-40 41-65 >65 Kop

Skaits Sagaidmais skaits % no skaita rinds % no skaita kolonns % no kopj skaita Skaits Sagaidmais skaits % no skaita rinds % no skaita kolonns % no kopj skaita Skaits Sagaidmais skaits % no skaita rinds % no skaita kolonns % no kopj skaita Skaits Sagaidmais skaits % no skaita rinds % no skaita kolonns % no kopj skaita

425 409,9 24,9% 65,0% 15,6% 188 202,3 22,3% 28,7% 6,9% 41 41,8 23,6% 6,3% 1,5% 654 654 24,0% 100,0% 24,0%

476 455 27,9% 65,6% 17,5% 221 224,6 26,2% 30,4% 8,1% 29 46,4 16,7% 4,0% 1,1% 726 726 26,6% 100,0% 26,6%

357 353,5 20,9% 63,3% 13,1% 159 174,5 18,9% 28,2% 5,8% 48 36 27,6% 8,5% 1,8% 564 564 20,7% 100,0% 20,7%

254 285,8 14,9% 55,7% 9,3% 170 141,1 20,2% 37,3% 6,2% 32 29,1 18,4% 7,0% 1,2% 456 456 16,7% 100,0% 16,7%

196 203,7 11,5% 60,3% 7,2% 105 100,5 12,5% 32,3% 3,9% 24 20,8 13,8% 7,4% 0,9% 325 325 11,9% 100,0% 11,9%

1708 1708,0 100,0% 62,7% 62,7% 843,0 843 100,0% 30,9% 30,9% 174 174,0 100,0% 6,4% 6,4% 2725 2725 100,0% 100,0% 100,0%

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Radoums izgltbas praks Creativity in Educational Practice

II
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Inese Freiberga. RPIVA Pirmsskolas pedagoijas katedras doctja, 20 darba gadus veltjusi pirmsskolas izgltbas skolotju sagatavoanai. Ptniecisk darba virzieni saistti ar brna personisks jgas veidoanos par apkrtjs pasaules norism, to izpausmm valod. Vairkus gadus darbojas k ptniece RPIVA Brnu valodas ptjumu centr un Valsts ptjuma programmas Letonika apakprogramm Vecuma grupu valodas patnbas Latvij: lingvistiskais, socilais un kultras aspekts. Brnba. INESE FREIBERGA Rgas Pedagoijas un izgltbas vadbas akadmija Latvija

PIRMSSKOLAS VECUMA BRNA PERSONISKS JGAS VEIDOANS PAR LITERATRU KREATVAIS ASPEKTS
Kopsavilkums Ievads. Mksla ietver un transl jgu, sekm personbas attstbu tad, ja brns to apgst personisks jgas lmen. Darba mris ir izzint literatras apguves modea produktivitti personisks jgas veidoan, atklt raksturgks iezmes brnu ststos, kas liecina par procesa radoo raksturu. Materili un metodes. Brnu ststu kontentanalze. Rezultti. Brni radoi sintez gto pieredzi un atklj personisko jgu teksta noriu interpretcij. Secinjumi. Personisks jgas veidoans kreatvais aspekts izpauas emocionl teksta uztver, pardbu, noriu un tlu nozmgko pabu izcelan, radot jaunu sietu vai sintezjot vien tl vairku tlu pabas, izsakot novrtjumu ststa personu rcbai, darbbai. Atslgas vrdi: personisk jga, interaktv lasana, naratv pieeja.

Creative Aspect of Personal Meaning Formation in Studying Literature at Senior Preschool Age
SUMMARY Introduction. Any information in childs personality development and his/her life ac tivity may only gain significance when it gets a personal meaning. The formation of a personal meaning is related to the interiorising of an objective reality subjectivizing the objective; as a result, an individual forms his/her own personal meaning of the surrounding worlds events, objects, oneself and others, which is always a creative process for an individual. In the Western psychological science, meaning is viewed an actual need, aim and objective of ones life, as an integration of individuals subjective experience into universal relationships. Meaning forma tion is scrutinized in several interrelated aspects. First, as a result of an interaction between the external world and the inner world of an individual, where meaning formation is related to consciousness, experiences, satisfaction of needs, self-determination, cognitive activity, life experience, learning, the consequences of ones activities, value orientation hierarchy. Second, the formation of meaning has a significant social and cultural dimension. According to Western
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psychologists, manifestations of meanings are related to individuals activity, aims, behavioural and action motives, individual feelings, desires and expressive manifestations, various symbol ic systems, including language. In terms of the activity theory, Russian psychologists highlight personal meaning both as a phenomenon, which provides a link between the consciousness and the reality, which is formed in the course of activity and manifests itself in motives, attitudes and implications of such activity, and also as the core of a personality. Art is mentioned as one of the opportunities for a subject to form personal meaning by a dialogue between the author and the recipient. Fiction bears a world image of a certain social culture and the author, who belongs to it, his personal meaning. One of the forms contributing to the formation of senior pre-schoolers personal meaning of a literary text and the related events of the outer world, is dialogic reading. It is an interactive process, where an adult reads or narrates a literary work to a small group of children. The essence of interactive reading is a reflection of a narrative, fairytale, etc., going from an individual reflection to the reflection in a group, thereby involving listening and discourse, which provides an opportunity for an individual opinion to deepen or transform, to become more conscious. It connotes with the degrees of art perception impression, insight and comprehension and the constructivism approach in pedagogy, which provides that a child construes his/her own personal meaning in the learning process during a personally significant activity and social interaction. Based on the aforesaid findings, the author works out a model of studying literature on the personal meaning level at senior preschool age. Aim of the study is to determine the productivity of a model of studying literature in the formation of personal meaning and to identify typical features in childrens narrations/ stories, which testify to the creative nature of the process. Materials and methods. The study involved 20 children of 5-6 years old. The au thor used a narrative approach content analysis of stories made up by children (Clandinin & Connely, 1990), the approach to reflexive story analysis (Nygren & Blom, 2001). The story analysis procedure was based on P.Ricoeurs (1976) interpretation theory initial familiariza tion with a text as a whole, its categorization by kinds of narrations with the aim of selecting such texts that express childs personal meaning, text structural analysis (construal) with the aim of revealing meaningful units, which testify to the formed personal meaning, detailed in terpretation of the text as a whole, evaluation of the results of all texts analysis in accordance with the aim of the study. Results. In order to get an idea of a text as a whole, all childrens narrations were di vided by types using simple codes: interpreting when it provides an explanation, expresses ones attitude, thereby revealing a personal meaning; plot-based when a story resembles a fairy tale since there are characters and events that reveal childs interpretation, his/her personal meaning. 75% (15 stories) were of an interpreting nature; 25% (5 stories) were plot-based. By structurally analysing each story with the aim of disclosing meaningful content units that reveal childs position, analysing and generalizing it by categories and terms, the author has found out that interpreting stories directly reveal childs attitude to and evaluation of a fiction character, phenomenon or event. In language terms, an evaluation, in most cases, is expressed using adjec tives and pronouns, as well as comparisons. In plot-based stories, childs personal meaning is comprised into the plot of the story an event and its causes, and characters actions, which are often explained to the audience by the child in the course of narration, as well as using words and phrases from literary works. In a plot-based story, the child brings together characters and events from several literary works, which shows creative processing of the perceived in search for personal meaning. Conclusions. Interactive reading, reflection in a group and processing of the data gained from various childs activities (drawing, modelling, dramatization, etc.) promote the
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enrichment, experiencing and comprehension of the received impressions, thereby making the process creative for a child, encouraging his/her creative potential and ensuring the forma tion of personal meaning not just of a literary text, but in a wider context of the real worlds events, phenomena and objects. The creative aspect of personal meaning formation in study ing literature at senior preschool age in childrens narrations manifests itself in: emotional text perception and reflection in dialogue with ones age group and adults; description of the most characteristic features of phenomena, events and characters using adjectives and pronouns (e.g., very, very beautiful; all was nice, it smelled so nice), as well as comparisons; inclusion of indi vidual episodes from a literary work into ones story, rewording phrases or individual expres sions of a literary work, thereby stressing their significance; integration of characters and events from various literary works into ones narration and creating a new plot or merging several characters features in one character, thereby enriching it; narrators evaluation of the actions or activities of the personages of ones story, narrators explanation (interpretation, which reveals the personal meaning). Key words: personal meaning, literature, interactive reading, narrative approach. Ievads Msdienu laikmetam raksturgs iezmes vrtbu fluktucija, informcijas eksplozija un masu kultra atstj ietekmi uz brna personbas attstbu jau pirmsskolas vecum. Msdienu brna pasaules aina, atzm krievu psiholoe V.Abramenkova (A, 2000), k nozmju, attieksmju, motvu un zinanu kopums par apkrtjo pasauli veidojas informatva buma apstkos - spcg masu informcijas ldzeku ietekm, dominjot tele-, video- un datora ekrnu vizulajiem tliem un liel mr deformtai vrtbu sistmai, ko tie populariz. Ja sav mikrovid brns neatrod noturgus orientierus vrtbu pasaul, tad masu kultra un pretrung informcijas straume jau no brnbas veido patrtja apziu, slp rado potencila atraisanos un dezorient brnu vrtbu pasaul - kav gargi bagtas iekjs pasaules veidoanos. Viena no iespjm, kas jau pirmsskolas vecum sekm visprcilvcisko vrtbu apguvi un rado potencila atraisanos, ir dadu mkslas veidu iepazana. K atzm V.Kincns (Kincns, 2003), mksla ir pasaules apgana un novrtana vienlaicgi, realittes atspoguoana un ts prvrana, saskarsme un audzinana, personbas izpausme un dareiz ideoloija, patnjs dzves modelis, ts dubultoana. Literatra ir viens no mkslas veidiem, ar kuriem brns nonk saskarsm jau pirmsskolas vecum. K vrda mkslai tai ir liela nozme pasaules apguv, aujot ieraudzt un iepazt pasauli ar valo das starpniecbu, tdjdi paceoties virs gtajiem jutekliskajiem priekstatiem, virs ikdienas pieredzes, vienlaikus gstot iespju tos apjgt jau augstk pakp. Balstoties uz britu filozo fa B.Rasela (Rasels, 2008) atzim par diviem izzias veidiem, kdos cilvks iepazst pasauli, dailiteratru var attiecint uz izziu pc apraksta, kas ietver sev zinanas par objekta, pardbas vai norises eksistanu, ko cilvks guvis pastarpint veid, uztverot priekstatus no dadiem informciju avotiem. Izzia pc apraksta nozmga galvenokrt tpc, ka t auj indivdam iziet rpus privts pieredzes robem. Latvieu brnu literatr jau kop ts attstbas skuma 19. gad simta vid aktuls bijis jautjums par to vrtbm, kas auj brnam ieraudzt, sajust un sadzirdt pasauli, saprast to un sevi pau k tai piedergu, atrast taj savu vietu. Dadie brnu literatras anri akcent tdas vrtbas k mjas un imeni, darbu un pienkumu, dabu un dzvbu, gudrbu un izzias prieku un vienlaikus rosina ar iztli (Stikne, 2005). Tomr ne vienmr literrais darbs izraisa brn emocijas un ierosina iztli ar tad, ja tas izvlts atbilstoi brna vecumposmam, un ne vienmr radus emocijas ir adekvtas tekst paustajai morlei. To apstiprina ar pedagoes D.Lieenieces (Lieeniece, 2004) ptjums par morles uztveri pasaks veckaj pirmssko las vecum, kas atklj, ka apmram puse no ptjum iesaisttajiem brniem neuztver pasak
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ietverto morli. Zintniece uzskata, ka to kav pasakas interpretcija esos personisks jgas lmen saistb ar savu pieredzi un uztveres patnbm. K cloni tam via min pedagoga un brnu darbbas daudzpriekmetiskumu un brna personisks jgas nerespektanu, kas neveicina mijdarbbu saskarsm, bet ir subjekta iedarbba uz objektu. Tas liek pievrsties jautjumam par personisks jgas veidoanos literatras apguv. Jebkura informcija brna personbas attstb un via dzvesdarbb nozmi iegst tikai tad, kad t ieguvusi personisko jgu, un tas piln mr attiecinms ar uz literatras apguvi. Personisks jgas veidoans tiek saistta ar objektvs stenbas interiorizciju objektv subjektivizanu, kuras rezultt indivds veido savu personi sko jgu par apkrtjs pasaules norism, objektiem, sevi un citiem. Mkslas uztveres proces autora un recipienta dialog notiek virzans no pasaules skatjuma recipienta apzi personisks jgas veidol uz autora personisko jgu un dialoga veidoanos starp recipienta un autora jgas pasaulm. Ja dialogs notiek, tad tam piemt potencils vai nu apstiprint recipienta esoo jgu, vai rosint jgas izmainanos. Tpc ms akcentjam domu, ka personisks jgas ieguve par literraj darb atspoguoto ir galvenais nosacjums tam, lai daidarbu brns apgtu taj ietver to vrtbu lmen. Tiei iegt personisk jga nosaka literatras iedarbbas efektivitti uz brna individualittes un personbas attstbu, steno mkslas funkcijas. Ja brns tekst nerod personisko jgu, tad literrais darbs, lai kdas visprcilvciskas vrtbas tas ar ietvertu, neks par personbas attstbas rosintju. atzia izvirza nozmgu jautjumu, proti: Kas sekm personisks jgas veidoanos literatras apguv pirmsskolas vecum? Kds ts apguves modelis personisks jgas lmen ir atbilstos pirmsskolas vecuma brnam? Filozofij skatjums uz jgu k cilvka un pasaules saikni ieem vienu no galvenajm vietm. Fenomenoloij jga tiek skatta k apzias intencionalittes un sintezt spjas rezultts un cilvka dzvespasaules pamats un saturs. Jga ir lietu un pardbu btba konkrtam indivdam, t veido un struktur via dzvespasauli (Huserls, 2002). Eksistencilisms akcent dzves jgu k cilvka btbas neatemamu iezmi (Heidegers, 1998). Jgu k kopsakarbas, kas savieno jg atsevius pieredzes elementus un iespaidus, k dvseles dzves kopsakaru, k apkrtjs pa saules noriu interpretciju uzsver dzves filozofija (Diltejs, 1927; mids, 2008), savukrt jgu k sapratni un pieredzi, ts izpausmes valod un citos semantiskos tekstos aplko hermeneitika (Gadamers, 1999), bet jga k simbolu saturs ir simbolisma filozofijas uzmanbas lok. Balstoties uz jgas btbas, enzes un izpausmju analzi filozofij un psiholoij, ms secinjm, ka: jga tiek interpretta k objektu, pardbu un noriu subjektva btba, nozmgums subjektam (Huserls, 2002; Heidegers, 1998; ., 1979), k indivda atseviu subjektvo pieredu integrcija kopsakarbs (mids, 2008; Atwood & Stolorov, 1984; 1951; , 1999); jgas veidoanos sekm prdzvojums (Huserls, 2002; Heidegers, 1998; (mids, 2008 u.c.), darbba un ts motvi ( .., 1994), konflikta un krzes situcijas starp esoo jgu un jauno informciju (, 1999; .., 2003), subjekta vrtborientcijas hierarhija (Royce & Powell, 1983), mijdarbba ar citu subjektu jgu pasaulm (socil mijdarbba), un subjekta personisko jgu determin socil jga (Atwood & Stolorov, 1984; .., 2003; (mids, 2008 u.c.); jga izpauas attieksms pret sevi, citiem un apkrtjs realittes objektiem, norism un pardbm, rcb, dads simboliskajs sistms, t.sk., valod. Personisk jga reprezentjas verbls nozms. Jgas verbalizcija nozms padara to par apjgtu un stabilu indivda iekjs pasaules komponentu. paa nozme ir naratvajm kopsakarbm jga piemt tam, ko var paststt, jo ststs savieno jgveidolos, kopsakarbs visatirgks norises un informciju. Nav btiski, vai runa ir par reliem vai izdomtiem notikumiem (mids, 2008).
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Iepriek mintos jgas veidoans faktorus literatras apguv pirmsskolas vecum iet ver dialoisk lasana (dialogic reading) viena no formm, kas sekm brna personisks jgas veidoanos par literro tekstu (Whitehurst u.c., 1988, Retter, 1989). Tas ir interaktvs process, kur pieauguais lasa vai ststa literro darbu nelielai brnu grupai. Interaktvs lasanas btba ir ststa, pasakas u.c. refleksija, kas virzs no individuls refleksijas uz refleksiju grup, tdjdi taj ietverta klausans un diskurss. Tas steno atziu, ka jgu nodroina ldzdalba, uzklausana, paldzana un iespja paust savu viedokli (mids, 2008). Dialogs starp brnu un pieauguo, brnu un brnu ir viens no humns pedagoijas un kultrvsturisks pieejas principiem informcijas prstrd un apjgan. Uz pieaugu un brna dialoga nozmbu un centrlo vietu literatras apguv nordjui Dikinsons, Smits (Dickinson& Smith, 1994), Veisiks, Bonds (Wasik & Bond, 2001), Kreins-Torensons un Deils (Chrain-Thorenson & Dale, 1999). Refleksija grup jeb diskurss auj katram brnam ne tikai izteikt savu viedokli, interpretjot tekstu, bet rosina to izmaint, un tas iespjams, saskaroties ar citu diskurs iesaistto vienaudu jgu pasaulm. Refleksija grup vienmr atklj dadas viedoku perspektvas un teksta atirgas interpretcijas, tdjdi sekmjot teksta paplaintas nozmes raanos diskusij iesaisttajiem. Viedoka izteikana vl nemaina esoo personisko jgu, tau katrs atseviais viedok lis var klaustjos izraist jaunas asocicijas, un, refleksjot citu viedokus, saldzinot tos ar savu, ieklausoties pieaugu jautjumos un mekljot atbildes uz tiem, risinot literr teksta piedvts problmsitucijas, iespjama katra grupas diskusij iesaistt brna personisks jgas veidoans un transformcija par jautjumiem, norism un pardbm, kas saisttas ar literro tekstu. Interaktvais literr teksta uztveres process sasaucas ar konstruktvisma pieeju pedagoij, kas ir uz izgltojamo centrta pieeja un akcent subjekta iepriekjs pieredzes aktualizanu, lai nodrointu jaunas jgpilnas pieredzes konstruanu, k ar aktvu subjekta darbbu un socilo mijiedarbbu mcans proces. Socilais konstruktvisms izvirza vairkas pakpes jgpilnas pieredzes konstruan re konstrukciju, dekonstrukciju un jaunkonstrukciju (Tia, 2005 u.c.). Klausoties tekstu un pc tam grupas refleksij to prstrdjot, tiek stenotas ldzgas pakpes: esos pieredzes rekonstrukcija notiek, klausoties tekstu, dekonstrukcija stenojas, iedziinoties teksta izraistajos individulajos prdzvojumos un apmainoties ar viedokiem diskusij. Citu viedoku iepazana, saldzinana ar savu pozciju un novrtana ir cloni esos jgas transformcijai. Jaunkonstrukcija, kurai impulss tiek dots diskusij, turpins dads brna aktivitts pc diskusijas mkslinieciskajs darbbs, rotas u.c., kad brv un daudzveidg darbb notiek uztvert apjgana - jgas bagtinans un izkristalizans. da pieeja literatras apguvei sasaucas ar ar mkslas uztveres pakpm: pirmskomunikatvo, komunikatvo un pckomunikatvo pakpi (, 1978, u.c.), kurs uzt vertais virzs no skotnja emocionla iespaida jeb prdzvojuma uz t apjganu un visprinanu. Gtos iespaidus prveido iztle, un emocijas kst apjgtas un visprintas, virzs no atseviiem emocionliem iespaidiem uz emocionlo domanu un no ts uz visprinjumu attstbas lmeni, kur integrjas, saplst emocionl un intelektul sfra ( 1968, 60). Pamatojoties uz gtajm atzim, ms izstrdjm literatras iepazanas modeli personisks jgas lmen pirmsskolas vecum. T struktru veido vairkas pakpes: ievirzes pakpe (ieinterestbas izraisana), rekonstrukcijas pakpe (esos pieredzes aktualizana klausans proces), dekonstrukcijas pakpe (citu viedoku iepazana, saldzinana ar savu viedokli, izvrtana diskusij) un jaunkonstrukcijas pakpe (jgas veidoans, bagtinans un transformans daudzveidgs aktivitts). Jatzm, ka starp pakpm nav stingri izteiktu robeu un ts savstarpji var ar prklties. Darba mris Izzint literatras apguves modea produktivitti personisks jgas veidoan un atklt raksturgks iezmes brnu ststos, kas liecina par procesa radoo raksturu.
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Materili un metodes Modea ietvaros atlasti literrie darbi par noteiktu tematu. aj rakst analizts mod elis par tematu Ziedonis klt!. T iepazan iekautas dadas aktivittes - vrojumi dab un tuvkaj apkrtn, iesaistot sajtu daudzveidbu; emocionls literro darbu uztveres pro cess par iepaztajm pardbm un norism., izmantojot V.Pldoa dzejous Pirmspavasara dziesmia brniem, bezied, Ziedoa idille, Ziedodziesma, F.Brdas dzejoli Zie donis, k ar citus literros darbus un tautasdziesmas, kas attlo dadas norises pavasar; uztvert prstrde prruns un mkslinieciskajs darbbs, kur viens no uzdevumiem bija sava ststa izdomana par ziedoni un t attloana zmjum. Ptjum piedaljs 20 5-6 ga dus veci brni. Personisks jgas izzinanai izmantota naratv pieeja brnu sacerto ststu kontentanalze, pamatojoties uz atzim, ka jga izpauas naratvajs kopsakarbs, uz naratvo metou pielietojumu ptjumiem (Clandinin, Connely, 1990) un pieeju refleksvo ststu analzei (Nygren, Blom, 2001). Ststu analzes norise tika balstta uz P.Rikra interpretcijas teoriju (Ricoeur, 1981) - visu tekstu skotnja iepazana kopum, to kategorizcija un ka tra teksta strukturla analze (izskaidroana) ar mri atklt jgpilnas vienbas, kas liecina par izveidojuos personisko jgu, visu tekstu analzes rezulttu interpretcija un izvrtjums kopum atbilstoi ptjuma mrim. Rezultti Lai gtu priekstatu par tekstu k veselumu, visi teksti tika iedalti ststu veidos, iz mantojot vienkrus kodus: interpretjos dots skaidrojums, pausta attieksme, tdjdi atkljot personisko jgu, sietisks- ststjumu var pieldzint pasakai, jo taj ir tli un no tikumi, kas atklj brna interpretciju, via personisko jgu. 75 % (15 ststi) ir interpretjoa rakstura, 25 % (5 ststi) sietiski. Pamatojoties uz P.Rikra (1981) atziu par interpretciju k dialektiku starp izskaidrojumu un izpratni, vispirms ms pievrsmies teksta k veseluma jgas noskaidroanai izprast teksta jgu. Tika lasti visi teksti un formultas atbildes uz jautjumu: kdu jgu par ziedoni izsaka ststi un kas par to liecina? Apkopojot visus ststus, iegtas at bildes. Ststos brni: skaidro ziedoa atnkanu jeb iestanos dab un norises ziedon; sniedz ziedoa raksturojumu; pau ziedoa vrtjumu. Lai iegtu preczku izpratnes veidu par jgas veidoanos modea ietvaros, ms pievrsmies ststjumu izskaidroanai katra ststjuma strukturl analz. Ts uzdevums bija noteikt jgpilnas saturisks vienbas, kas liecina par personisks jgas ieguvi. Analzes gait tika izdaltas jgpilnas vienbas - viens vrds, vairki vrdi, teikuma daas vai veseli teikumi, kas atklj izveidojuos personisko jgu. Izmantojot ststu analzei L.Nigrena un B.Bloma (Nygren, Blom, 2001) pieeju, kas akcent jgpilno vienbu izmantoanu matricas veidoan, tdjdi detaliztk un objektvk atkljot teksta semantiku nek skotnj lasana, katru jgpilno vienbu apzmjm ar kodu. Kodu izvli balstjm uz skotnj lasan iegtajm atbildm: galvenos tlus, pardbas apzmjm ar kas kods, to veikts darbbas un ci tas norises darbbas kods, to raksturojumu un novrtjumu kds kods. Kodanas proces iegts vienbas visprinjm kategorijs un jdzienos. Rezultt tika izveidota ma trica, kas detalizti atsedz un raksturo gan katra brna raduos individulo personisko jgu par ziedoni, gan kopskatu uz visiem brnu ststiem. Izdalts jgpilns vienbas horizontls attiecbs savstarpji kompiltas. Jgpilno vienbu un kodu matrica attlota 1.tabul, kur k piemrs atspoguoti 3 brnu ststi (skat. 1. tabulu).
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Horizontlajs ails matric doti konkrta brna ststa strukturls analzes rezultti, vertiklajs - uzskatmi redzam katra koda jeb jgpilns vienbas izpausmes visu brnu ststos. Jatzm, ka ne visos ststos dots ziedoa un citu noriu novrtjums. Apvienojot skotnj lasjum gts atbildes ar strukturls analzes gait iegtajiem datiem, iespjams sniegt pamatotku un izsmeoku interpretciju personisks jgas veidoans procesam dailiteratras apguv un akcentt ts radoo aspektu. Brni savos ststos: interpret ziedoa atnkanu jeb iestanos dab (atjj nakt, ieiet drz, pamostas) un norises ziedon, balstot ts uz konkrtu tlu darbbm, veicamajiem darbiem un uzde vumiem (ziedonis brauc pri pavai, un t sk ziedt; pasauc lietu, lai nav garlaicgi, spljas; apdvina kokus ar ziediem); iesaista dadus tlus gan no literrajiem darbiem (saule, taurenis, lietus), gan piedv savus tlus, lai interprettu norises pavasar; sniedz ziedoa raksturojumu, izmantojot raksturgks pazmes dab (puains, krsains, puu mtel un cepur), savu sajtu pieredzi, kas gta vrojumos, k ar pau ziedoa vrtjumu un pamato to (man patk vislabk, jo...); iesaista frzes, vrdus, vrdu savienojumus no literrajiem darbiem, lai akcenttu ststa jgu, tdjdi atsedzot savu personisko jgu par norism; interpret norises, tlu darbbas ziedon no sev nozmga socili emocionl aspekta (visi bija laimgi; visi draudzjs un spljs; visi draugi bija kop). Secinjumi Jgpilno vienbu visprinana kategorijs un jdzienos auj prliecinties par modea produktivitti, jo attieksmes un kopsakarbu izpratne liecina par personisko jgu. Interaktva lasana, refleksija grup un gt prstrde dads brna aktivitts (zman, veidoans, dramatizan utt.) sekm gto iespaidu bagtinanos, prdzvoanu un apjganu, tdjdi padarot o procesu radou brnam, rosinot via radoo potencilu un nodroinot personisks jgas veidoanos ne tikai par literro tekstu, bet jgas veidoanos jau plak kontekst par literraj tekst atspoguotajm apkrtjs pasaules norism, pardbu un objektiem realitt. Literatras apguves proces modea ietvaros brni radoi sintez gto pieredzi. Personisks jgas kreatvais aspekts literatras apguv pirmsskolas veckaj vecum brnu ststos izpauas: emocionl teksta uztver un refleksij dialog ar vienaudiem un pieauguo; pardbu, noriu un tlu nozmgko pabu izcelan, izmantojot pabas vrdus un apstka vrdus (piem., oti, oti skaists; viss jauki, oti jauki smaroja) un saldzinjumus; ietverot sav stst atsevias epizodes no literr darba, prfrzjot literr darba frzes vai atsevius izteikumus, tdjdi akcentjot to nozmgumu; integrjot stst tlus un notikumus no dadiem literrajiem darbiem, piedvjot sa vus tlus, radot jaunu sietu vai sintezjot vien tl vairku tlu pabas, tdjdi bagtinot tlu, kas sasaucas ar atziu, ka jga ir tam, ko var paststt, jo ststs savieno jgveidolos, simbolos visatirgks norises un informciju kopsakarbs, vai tie btu reli vai iztloti notikumi (mids, 2008); izsakot savu novrtjumu ststa personu rcbai, darbbai vai sniedzot savus paskaid rojumus (interpretcij atkljas personisk jga). Jatzm, ka personifikcija, kuru brni plai izmanto savos ststos, pamatojas uz literrajos darbos, sevii dzej, gto pieredzi. Dzej dabas pardbas un norises ieguvuas personifictu veidolu, tpc pasaprotami, ka brns personificti ts atspoguo ar sav stst.
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Ptjums stenots Eiropas socil fonda atbalsta Doktora studiju attstba Liepjas Universitt (vienoans Nr.2009/0127/1DP/1.1.2.1.2./09/IPIA/VIAA/018) ietvaros, k ar Valsts ptjuma programmas Letonika apakprogrammas Vecuma grupu valodas patnbas Latvij: lingvistiskais, socilais un kultras aspekts ietvaros. Literatras saraksts
1. Atwood, G.R., Stolorow, R.D. (1984) Structures of Subjectivity: Explorations in Psychoanalytic Phenomenology. Hillsdale: The Analytic Press, X, 132p. 2. Connelly, F., Michael, Clandinin, D. Jean. (1990) Stories of Experience and Narrative Inquiry. Educational Research, No19, p.214. 3. Crain-Thoreson, C., Dale, P. S. (1999) Enhancing Linguistic Performance: Parents and Teachers as Book reading Partners for Children with Language Delays. Topics in Early Chilldhood Special Education, No19, p.2839. 4. Dickinson, D.K. & Smith, M.W. (1994) Long-term Effects of Preschool Teachers Book Readings on Lowincome Childrens Vocabulary and Story Comrehension. Reading Research Quarterly, No29, p.104122. 5. Diltejs, V. (1927) Vsturisks pasaules uzbve gara zintns. Kentaurs XXI, 2007.gada aprlis, Nr.42., 4. 17.lpp., tulk. V.Bisenieks no: Diltey, W. (1927) Der Aufbau der Geschichtlichen Welt in der Geisteswissenschaften. Leipzig, Berlin: Verlag von B.G.Teubner, S.295303. 6. Gadamers, H.G. (1999) Patiesba un metode. Rga: Jumava, 506lpp. 7. Heidegers, M. (1998) Malkascei. Rga: Intelekts, 58.71.lpp. 8. Huserls, E. (2002) Fenomenoloija. Rga: FSI, 438lpp. 9. Kincns, V. (2003) Esttikas pamati. Rga: LU, Pedagoijas un psiholoijas fakultte, Tlotjas mkslas kat edra, 29.30.lpp. 10. Lieeniece, D. (2004) Brna un pedagoga vienpriekmeta darbba pasaku uztver. Starptautisks zintnisks konferences Teorija un prakse skolotju izgltb II rakstu krjums, Rga: RPIVA, 115.118.lpp. 11. Nygren, Lennart and Blom, Bjrn. (2001) Analysis of Short Reflective Narratives: a Method for the Study of Knowledge in Social Workers Action. Qualitative Research, No1, p.369384. 12. Rasels, B. (2008) Filosofijas problmas. Rga: Ja Rozes apgds, 53.lpp. 13. Retter, H. (1989) Beurteilung von Bilderbchern. Pdagogische Probleme und empirische Befunde, 1Band. Kallmeyersche Verlagsbuchhandlung GmbH, Seelze-Velber, 82S. 14. Ricoeur, P. (1981) What is a Text? Explanation and Understanding. In: Thompson, J.B. (ed.) Hermeneutics and the Human Sciences, Cambridge, MA: Cambridge University Press, p.145164. 15. Royce, J.R., Powell, A. (1983) Theory of Personality and Individual Differences: Factors, Systems and Processes. Englewood Cliffs, New Jork: Prentice-Hall, 304p. 16. Stikne, I. (2005) Vrtbu pasaule latvieu brnu literatr. Rga: RaKa, 191lpp. 17. mids, V. (2008) Laime. Tulk. uvajevs, I. Rga: Apgds Zvaigzne ABC, 36.64.lpp. 18. Tia I. (2005) Socilkultras mcans organizcijas sistma. Monogrfija. Rga, RaKa, 76.82.lpp. 19. Wasik, B.A., & Bond, M.A. (2001) Beyond the Pages of a Book: Interactive Book Reading and Languages Development in Preschool Classrooms. Journal of Educational Psychology, No93, p.243250. 20. Whitehurst, G. J., Falco, F. L., Lonigan, C. J., Fischel, J. E., DeBaryshe, B. D., Valdez-Menchaca M. C., et.al. (1988) Accelarating Language Development through Picture Book Reading. Developmental Psychology, No24, p.552559. 21. , .. (2002) : . : - , , .302319. 22. , .. (1999) , . .. : , 350. 23. , .. (1968) . : , c.60. 24. , .. (1979) . , c.14. , 2, c.313. 25. , .. (2003) . , , 2-, . : , 487c. 26. , . (1978) . : , c.224225. 125

Lektore Mg.paed Inese Freiberga Rgas Pedagoijas un izgltbas vadbas akadmija Liepjas Universittes doktorante zintnisk grda pretendente Adrese: Sloku iela 4, Kalngale, Carnikavas pag., Rgas rajons, LV-2163, Latvija Tlr.: (+371) 29169285 E-pasts: inesef8@inbox.lv

PIELIKUMS APPENDIX 1. tabula Jgpilno vienbu kodu, kategoriju un jdzienu piemri no brnu ststiem Table 1 Content units odes, categories and meanings in childrens narrations
Kas kods Ziedonis Ziedonis un saule Pavasaris ar ziedoni pienenes vizbultes beles visa pasaule Darbbu kods Ar zirgu brauca pri pavai un visas pues ska ziedt Satiks nolma, ka jver vrti va jauj belm un pum ziedt Satiks nolma paldzt plaukt pum un kokiem ziedja Kds kods Puains labs un smuks man patk vislabk Kategorijas Norises, pardbas interpretcija; emocionls pozitvs vrtjums Norises, pardbas interpretcija Norises, pardbas interpretcija; emocionls pozitvs vrtjums Jdzieni Kopsakarbas Attieksmes Kopsakarbas

Bija laimgi

Kopsakarbas Attieksmes

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Agita bele. Jau ilgus gadus interesjos par brnu un jaunieu attstbas procesu, integrjot interesi par sportu un mkslu ar aktvu, kreatvu attieksmes pozciju pret dzvi un pret apkrtjm norism. Iegto pieredzi ar gandarjumu sniedzu topoajiem skolotjiem un treneriem. Par savu lielko vaasprieku uzskatu daislidoanu, kur ik brdi sports un daile rod vienotu izpausmi mkslas tl muzikl uzvedum. Agrita Tauria. Zintnisks ptniecbas darbs ir saistts ar pirmsskolas vecuma brnu runas attstbas jautjumiem, brnu jaunrades darbbas sekmanas pedagoijas metodm un pamieniem. Sadarbb ar stu dentiem aktvi dalos pirmsskolas izgltbas iestu pieredzes materilu izvrtan, uzskatu, ka pirmsskol brniem ir jpiedv svtku pieredzes, radoas darbbas stenoanas iespjas. Pati labprt dziedu, splju klavieres, patk peldt un braukt ar velosipdu. AGITA BELE, Latvijas Sporta pedagoijas akadmija Latvija AGRITA TAURIA Rgas Pedagoijas un izgltbas vadbas akadmija Latvija

PASAKAS DRAMATIZCIJA PIRMSSKOLNA PERSONBAS RADOUMA ATTSTBAI

Kopsavilkums Ievads. Humn pedagoija atzst, ka brnam ir jbt tiesbm uz rados darbbas izpausmm. Darba mris - teortiski izvrtt un praktiski ptt pasaku dramatizcijas svtku paskumu nozmi vidj pirmsskolas vecuma brnu rados darbbas sekman. Materili un metodes. Literatras analze, anketana, praktisk pasaku dramatizcija un pedagoiskais novrojums. Rezultti. Aktva pasaku un dzejas iepazana rosina brna iztli, sekmjot brnu radoo aktivitti un samazinot reproducanas momentus. Secinjumi. Pasaku dramatizcijas svtki brniem veicina negaidtu pozitvu izjtu prdzvojumu, k ar sekm radoo darbbu, ar iztles paldzbu veidojot emocionli piestintus jaunus tlus uz iepriekjs pieredzes pamata. Atslgas vrdi: radoums, pasaku dramatizcija, pirmsskolas vecuma brni.

Personalitys Creativity Development Through Dramatization of Fairy Tales for Pre-Scool Children
SUMMARY Introduction. Today in every aspect of our life, whether it is science, culture, art, politics or pedagogy, a perspective personality is the one having creative potential and creative working ability. This is expressed in the abundance of new ideas and skills in demonstrating
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ways of improving various processes, means and methods in problem solving. In the context of developing creativity the most significant aim of education is creative activity, transforming relevant knowledge and skills, achieving the established goal. The principle of creative activity has a special meaning in todays Latvian educational system, too. The project A Creative Child Orienting on Cultural Value (2004 2006) sup ported by the EU Leonardo da Vinci program stresses that childs play time, positive sense of joy connected with the feeling of celebration, and promotion of creative practical situation solv ing are undervalued. One of such creative activities is the dramatization of fairy tales which is organized in the form of festivities. J. Rodari says that in childhood one learns to recognize the laws of nature and the world and this process is creative and joyful. In his work Grammar of Fantasy he says that a game can get boring to both a child and a parent if the toy is only given a technical role which soon becomes too obvious and depletes itself (Rodari, 2009). Aim of the study is to research fairy tale dramatization festivities in the development of pre-school childs (4-5 years old) creativity. Several tasks were put forward to achieve the aim: 1. To evaluate the essence of creative activities for pre-school children. 2. To analyse pedagogues and psychologists ideas about the use of fairy tales in creativity development. 3. To evaluate practically pedagogical working methods and means of actualizing fairy tale dramatization in developing an average preschool childs creativity. Materials and methods. 1. Analysis of pedagogical and psychological literature. 2. A questionnaire, practical work with children and pedagogical observation. Results. Creativity is an ability which can manifest itself in thinking, feelings, interrelations, specific ways of action. Important elements are originality, flexible thinking and fast idea creation. One of the best catalysts of creativity is fiction and fairy tales. Because a childs fairy tale world is full of amazing and supernatural occurrences, events in the fairy tale world are per ceived completely naturally. D. Liegeniece stresses that children are characterized by enormous emotionality and the ability to emotionally perceive the surrounding world (Liegeniece, 1999). The significance of childrens creative activities in pedagogy is also noted, because it directs a child to self-development. The possibility to do something extraordinary itself stimulates cre ative development (Freiberga, 2007). Research by I. Mikelsone (1997) confirms that creativity is a universal phenomenon which helps people to self-express in various forms and in various life situations can express among people of any profession. R. Bebre (2002) also notes the most significant characteristics of a creative personality. They are innovation, originality, non-conformism, courage, creative intuition, rich imagination, inspiration, wideness of psyche, and consciousness activity. When evaluating parents questionnaire results, it was stated that all parents support the assertion about fairy tale reading as a positive activity, but at the same time use it less and less as an educating instrument in childs experience because of fast life style pace, work load and tiredness at the end of a working day. It can be said that, in general, parents seldom read fairy tales to their children, gradually replacing them with the use of modern technologies. Reading a fairy tale as an evening ritual is observed only in 6 families. In 65% of the families fairy tales are seldom read, and there are families where they are never read. Pre-school pedagogues (9) admitted in the questionnaire that directing a child into the fairy tale world is very important for a pre-school institution, too. Pedagogues expressive and emotional telling and fairy tale action staging stimulate a childs emotional experiences and mental activity for creative actions. Pedagogues recognized puppet theatre, table theatre with toys, shadow theatre, five finger theatre and dramatization as the most effective ways of staging actions.
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When facilitating childrens creative activity three tasks were put forward: fairy tale dramatization; story writing and drawing; invention of new characters, drawing and moulding figures. Evaluating childrens creativity level after the first fairy tale dramatization it was noted that only two children created new characters in their stories. By the fairy tale analysis it could be concluded that the majority of children have reproductive imagination dominating (73.3%) which is based on fairy tale reading impressions. Continuing the work of fairy tale dramatiza tion you could already notice after 3 months that more and more new characters (25%) and plots (30%) appear in their fairy tales. Conclusions. Fairy tale dramatization festivities allow children enjoy positive emo tions and feelings through creative actions. With the help of imagination creative activities based on past experiences stimulate the creation of deep and emotionally saturated new char acters. However, it has to be taken into account that works of literature need to be based on the already existing childs experience, only then it will be able to create emotional experiences, the will to act and promote the childs way of thinking development from convergent to divergent. Key words: creativity, fairy tale dramatization, pre-school children.. IE VADS o dien jeb ku r m su dz ves dar b bas jo m vai t b tu zi nt ne, kul t ra, mk sla, po li ti ka vai pe da go i ja per spek t va n kot nes per so n ba ir t da, ku ra ir ap vel t ta ar ra do o po ten ci lu, ku rai ir kre at vs dar b bas sp jas. Ts iz pau as jaun u ide ju ba g t b un pras ms de mon strt da du pro ce su, l dzek u un me to u piln vei do a nas ie sp jas jeb ku ra jau t ju ma ri si n a n. Kre ati vi t tes at ts t a nas kon tek st iz gl t bas no z m g kais mr is snie dzas ne vis zi n a nu ap g a n, bet gan per so n bas ra do dar b b, pr vei do jot ak tu ls zi n a nas un pras mes at bil sto i iz vir z to mr u sa snieg a nas ie sp jm. Ra do ums iz pau as k ak t vas emo ci on ls at tiek smes un sp ju ko pums, kas auj at ts tt ra do as do mas, ide jas vai iz t les vei do lus (Rai pu lis, 2005). Ra do u ma no z m gums per so n bas at ts t b ti ka iz vr tts ar vs tu ris ki. To ap lie ci na kaut vai sen grie u mi to lo i j pie sauk ts m zas, ku ru ie tek me vei ci n ja mk sli nie ka pa n ku mus un zi nt nie ku at kl ju mus. Pras me bt ra do am tiek at zi n gi vr t ta ar ms die nu sa re ta j so ci la j vi d. Ra do s dar b bas prin ci pam ir pa a no z me ar ms die nu Lat vi jas iz gl t bas sis t m. ES Le onar do da Vin i prog ram mas at bal st t pro jek ta Ra dos brns kul t ras va d b (2004. 2006. g) p t ju ma at zi s tiek uz svrts, ka ra do a br na tie s bas ir cil vk tie s bas. Kat rai pro jek ta da lb val stij ana li z jot sa vu pie re dzi, b tis ki ir ap zi nt po zi t vus pie re dzes ri si n ju mus un ma zi nt ne pie tie ka mu, pro ble m tis ku si tu ci ju. Ak t vu at bal stu pro jek ta ie tva ros sa ma Stok hol mas pil s tas etr pa dsmit br nu un jaun ie u te t ri, ku ros tiek prak ti z ta t d v t br nu te t ra me to de. T ir me to de te t ris, ko ra d ju i br ni, ar br niem, ko r da br niem. Tie ir br ni, jaun ie i pa i, kas ir vi su no ti ku mu cen tr. Ar te at r lu im pro vi z ci ju, lo mu sp li un ro ta m vi i pa i ra da sa vas lu gas. E. Ole ni us pie d v ra do s dr mas me to di ie da lt etr s vien kr s si e ta im pro vi z ci js: 1. Bez pro emo ci jm; 2. Ar emo ci ju mai u; 3. Im vi z ci ja ar vr diem. 4. Dra ma ti z a na. Jaun ka j sko las un pirms sko las pos m tiek pie d v tas ro ta as, te at r la im pro vi z ci ja, kus t ba, pa u lu gas vai pa sa kas dra ma ti z jums (Pro jekts Iz gl t bas prog ram ma Ra dos brns kul t ras va d b, 2004 2006). Diem l j at zst, ka bie i vien br na ga r gs un fi zis ks at ts t bas no dro i n a na, pc ie sp jas ie v ro jot vi a in di vi du ali t ti, sp jas un in te re ses, prak s tiek re ali z ta o ti at i r g pie re dz. Ne pie tie ka mi tiek no vr t ta br na ro ta a ns, po zi t va, ar svt kiem sais t ta prie ka iz j ta un da du prak tis ko si tu ci ju ra do o ri si n ju mu sek m a na. Hu m n pe da go i ja pa ma to, ka br nam ir j bt tie s bm uz ra do s dar b bas iz paus mm, uz ie sp jm iz bau dt ar svt kiem
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un ne gai d tm po zi t vm iz prie cm sais t ts iz j tas, k ar gt pa ap zi u sek m jo u no vr t ju mu no pie au gu a jiem un vie nau diem. K at zst pro jek ta da lb nie ki no So mi jas K. M te ra, O. K sis to, rak stu ro jot hu m ns pe da go i jas ide jas, mij ie dar b ba gru p ir at ka r ga no at mo sf ras gru p. Ir sva r gi, ka sko lo tjs va da sa dar b bu gru p t, ka starp br niem iz vei do jas so li da ri t te un sir sn ba un ka at mo sf ra ir bez aiz sprie du miem un po zi t va. P rk sp c ga kon ku ren ces at mo sf ra ir kai t ga t pc, ka t no st da br nu in ter eu cen tr r jus fak to rus, aiz b dot prom iek jos fak to rus, kas ap l ko pa u sa tu ru (Pro jekts Iz gl t bas prog ram ma Ra dos brns kul t ras va d b). Vie na no to le ran tm ra do u mu sek m jo m ie sp jm ir pa sa ku dra ma ti z ci ja, kas tiek or ga ni z ta svt ku for m. Tai ar pie vr s mies p t ju ma ie tva ros. DAR BA MR IS Te or tis ki iz vr tt un prak tis ki p tt pa sa ku dra ma ti z ci jas svt ku pa s ku mu no ri s a nai. vi d j pirms sko las ve cu ma br nu ra do s dar b bas sek m Mr a sa snieg a n ti ka iz vir z ti vai r ki uz de vu mi: 1. Iz vr tt ra do as dar b bas b t bu pirms sko las ve cu ma br niem. 2. Ana li zt pe da go gu un psiho lo gu at zi as par pa sa ku iz man to a nu ra do s dar b bas sek m a nas as pek t. 3. Prak tis ki iz p tt pa sa ku dra ma ti z ci jas s te no a nas pe da go is k dar ba me to des un pa mie nus vi d j pirms sko las ve cu ma br nu ra do s dar b bas sek m a nai. MA TE RI LI UN ME TO DES Iz vir z t mr a sa snieg a nai ti ka em ti v r ES Le onar do da Vin i prog ram mas at bal st t pro jek ta Ra dos brns kul t ras va d b (2004. 2006.g.) ma te ri li un iz v l tas vai r kas p t a nas me to des: 1. Te or tis k pe da go is ks un psiho lo is ks li te ra t ras ana l ze. 2. Em p ris ks: an ke t a na; prak tis kais darbs ar br niem un pe da go is kais v ro jums. P t ju ma priek mets- ra do s dar b bas at ts t ba vi d j pirms sko las ve cu m. P t ju ma ob jekts- pa sa kas dra ma ti z ju ma svt ki pe da go is ka j pro ce s pirms sko l. Hi po t ze: Pa sa kas dra ma ti z jums sek ms ra do s dar b bas ak ti vi t ti, ja tiks: 1. ie v ro tas br na ve cum pos ma at ts t bas li kum sa ka r bas, in te re ses un pie re dze; 2. vei ci n ta br na emo ci on l pr dz vo ju ma vei do a ns ra do sa dar b b ar pie au gu o. P t ju ma b ze: R gas, X PI I, 60 br ni, vi u ve c ki un 9 pe da go gi. RE ZUL T TI Te or tis ks no std nes Vis spil gtk ra do u ma iz paus mes ir v ro ja mas pirms sko las ve cu ma pos m. Br ni ap kr t jo pa sau li ie pa zst caur se vi, sa vm emo ci jm, t d ir ne pie cie a ma tie i ai la s t ju ka te go ri jai do m ta li te ra t ra, ku ras sa turs iz ce as ar t lu spil gtu mu, ne ie sp ja m ie sp ja m bu un ba g tu fan t zi ju. Kre ati vi t te ir cil v ka ra do s sp jas, kas var iz paus ties do m a n, j ts, sa skar sm, at se vi os dar b bas vei dos, rak stu rot per so n bu ko pu m un / vai ts at se vi s pus es, dar b bas pro duk tus, to ra d a nas pro ce su. Sva r gi ele men ti ra do a cil v ka rak stu ro ju m ir ar elas t ga do m a na un veik l ba ide ju ra d a n, bet pats gal ve nais ir ori i na li t te (Beb re, 2002). Viens no la b ka jiem sek m t jiem, kas ro si na br nu ra do i do mt un fi lo zo ft, ir dai li te ra t ra un pa sa kas. Li te ra t ra auj br nam no kt t ls zem s, uz m ness un zem dens dz ls.
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Pa sa ks snieg tos j dzie nus brns iz prot t lu dar b b, do do ties d kai nos ce o ju mos pa li te ra t ras val st bu un pr va rot mil z gus r us da dos laik me tos. T k br na pa sa ku pa sau le ir pil na ar br nu miem un pr da bis km pa r d bm, tad no ti ku mi pa sa ku val st b tiek uz tver ti pil n gi da bis ki un sa pro ta mi. Br nam iz t le ir k spr ni, bet fan t zi ja ir vi a li do jums, kas sev ap krt vei do t du bez ga la skais tu un kr sai nu pa sau li, ku r vi j tas emo ci on li la bi un dro i. D. Lie e nie ce uz sver, ka br nus rak stu ro r kr t ga emo ci ona li t te, sp ja emo ci on li uz tvert ap kr t jo pa sau li. Ja vien tiek do tas t das ie sp jas, tad br n bas ie spai di ir vien rei z ji, spil gti un ne at kr to ja mi (Lie e nie ce, 1999). T pc br nam pa sa ku un ro ta u pa sau le tik aiz rau jo a. D. Ro da ri sa ka, ka br n b cil vks m cs pa zt cil v ku pa sau les un da bas li ku mus, un is pro cess ir ra dos un lksms (Ro da ri, 2009). Sa v dar b Fan t zi jas gra ma ti ka, vi sa ka, ka ro ta a var ap nikt gan br nam, gan pie au gu a jam, ja ro ta lie tai ie r da ti kai teh nis ku lo mu, kas vi sai drz kst p rk acm re dza ma un pa ti se vi iz sme. Ne pie cie a ma bie a de ko r ci ju mai a, ska tu vis ki efek ti, ab sur das si tu ci jas, un tad bs ar at kl ju mi (Ro da ri, 2009). O. Sven ne at z m, ka pa sa ka il g ku lai ku ir br niem m k ga r g no dar bo a ns. K pa sa ka, t pat brns ap vel ta vis as lie tas ar cil v cis km sp jm just, ru nt un stai gt. Br ni gais ne br nam, ne pa sa kai ne lie kas d vains. Tais ni ot r di: vi iem sa g d prie ku un ap mie ri n ju mu ne ik die ni no ti ku mu gai ta. Pa sa k, t pat k br na fan t zi j, no v ro ja ma tr a no ti ku mu mai a. Laiks un vie ta pa sa k ir ti kai bla kus lie tas, ku ras ne ko ne spj trau ct un ka vt (Sven ne,1930). Pa sa kas ar sa vu fan tas ti ku, jo kiem un ne pa ras tu mu pa i pie sais ta br nus un, ar fan t zi jas spr niem ap tve rot bez ga l gus pla u mus, tu vi na vis s k ks lie tas lie la jai pa sau lei, auj iz t lo ties un dar bo ties ra do i. Tas, ko brns un pa sa ka uz tver sa vos no v ro ju mos au u vi d, ir tik pat ti pisks k br na z m jums (Sven ne, 1930). I. Frei ber ga ak cen t br nu ra do s dar b bas no z m gu mu pe da go i j, jo t vir za br nu uz pa at ts t bu. Ra do u at ts t bu sti mu l ie sp ja veikt ne or di n ru un ne ie ro be o tu dar b bu. Br na ra do a dar b ba vien mr s kas ar sub jek t vi ap zi n tu pro bl mu, kas tiek mr tie c gi ri si n ta. Br na ra do o dar b bu rak stu ro vai r kas ie z mes t ir pr vei do jo a, mr tie c ga un pat st v ga dar b ba (Frei ber ga, 1997). Pirms sko las ve cu ma pos m ne pie cie ams sek mt br na Es ap zi as vei do a nos, kas bal st ta uz sa vas r c bas, dar b bas, j tu, vl mju un in ter eu ap zi n a nu un uz sp ju se vi iz paust ak t v dar nas un at b b. Br na per so n bas vei do a ns pro cess no rit vi des audzi n a ts t a nas ie tek m. Ra do a dar b ba br n b ir mak si m li sek m ja ma, jo tad t ir da bis ka. Ts re zul t t no ti ku si psi his k at ts t ba var bt par s ku mu augst a ra do s dar b bas po ten ci la iz vei dei (Sven ce,1998). I. Mi el so nes p t ju mi ap stip ri na, ka kre ati vi t te ir uni ver s la pa ba, kas pa ldz cil v kam pa iz teik ties da ds for ms un da ds dz ves si tu ci js var iz paus ties vi su pro fe si ju cil v kiem (Mi el so ne,1997). Kre ati vi t te ir vr t ja ma k ap d vi n t bas fak tors un tai ir sa l dzi no i ne at ka r ga iz paus me, kas re ti at spo gu o jas in te lek ta tes tos un aka d mis ka jos sa snie gu mos. Per so n bas ra do ais po ten ci ls iz pau as in te re s un jaun s ide js da ds dar b bas jo ms. Ar R. Beb re at z m b tis k ks ra do as per so n bas pa bas. Ts ir no va to risms, ori i na li t te, anti kon for misms, dros me, ra do a in tu ci ja, ba g ta fan t zi ja, ie dves ma, psi hes plas tis kums un t da virs ap zi as dar b ba, kas iz pau as jaun ra des dar b bas pro duk ti vi t ds no za rs: mk sl, teh ni k, zi nt n, pe da go i j u.c. (Beb re, 2002). I. Frei ber ga at sau cas uz D. Dzin te res teik to, ka br na at ts t b se vi a no z m ir tam, ku r br d un k ds for ms in te lek tu l dar b ba un ra do do m a na tiek ie sais t tas prak tis ka j dar b b. V r e ma ma ir gan br na dar b bas mo ti v ci ja, iz v l tie l dzek i un si tu at vie ap stk i, gan ar ra do s dar b bas kva li ta t vie l me i kre at vais, hei ris tis kais vai re pro duk t vais l me ro ini nis. Ja re pro duk t vo l me ni rak stu ci at vais tr kums un ne sp ja pat st v gi iz vir zt mr i, tad hei ris tis kais vai mek l jo ais l me nis iz pau as br nu cen tie nos mr u sa snieg a n pie lie tot jaun us pa mie nus. Ra do o l me ni ie z m br na ini ci at va, jaun u, ne tra di ci on lu s te no a nas pa mie nu mek l ju mi un pras mes ra do i re ali zt iz vir z to mr i (Frei ber ga, 2007).
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Ana li z jot br na ra do o iz t les dar b bu, L.Vi got skis no nk pie sva r ga se ci n ju ma, ka t ir tie i at ka r ga no cil v ka ie priek js dz ves pie re dzes ba g t bas un daudz vei d bas, jo pie re dze sniedz pa ma ta ma te ri lu fan t zi jas iz vei dei. Jo vai rk brns bs re dz jis, dzir d jis un pr dz vo jis, jo ba g tks bs vi a ra do ais po ten ci ls (Vi got skis, 1991). Ap l ko jot pa sa kas ie tek mi uz br nu ga r go at ts t bu, vis pirms jau tiek mi n ta br na ra do po ten ci la at rai s a na un at ts t a na. T priek no tei kums ir pa sa kas sp ja iz saukt br n emo ci on lu pr dz vo ju mu, kas ro si na ga r go ak ti vi t ti. Viens no br nu li te ra t ras uz de vu miem ir vei dot ak t vu at tiek smi pret ap kr t jo pa sau li un paust to sa v dar b b. Lai pa sa ka ak t vk iz sauk tu br n emo ci on lu pr dz vo ju mu, tai ir j ap mie ri na br na va ja dz bas un in te re ses un j at bilst br na sa snieg ta jam psi his ks at ts t bas l me nim. Tas sa vu krt no sa ka br nu li te ra t rai iz vir z ms spe ci fis ks ie z mes un pie m ro t k an ra iz v les ne pie cie a m bu. . Pi a uz sver, ka 3- 6 ga d gu br nu iz t le gal ve no krt ir re pro duk t va, un tas pa r ds ar vi u dar b b. Br ni at da ri na, imi t un at kr to. T pc sva r ga ir tie i t pe da go ga dar b ba, kas ro si n tu br nus mek lt jaun us, ne pa ras tus ri si n ju mus, re dzt jaun o ie priek la s ta j pa sa k. Pe da gogs var iz man tot da dus iz t les dar b bas pa mie nus, kas pa l dzs at rai s ties br nu fan t zi jai, iz t lei un vei ci ns ra do o dar b bu. os pa mie nus var iz man tot da ds si tu ci js un br nu ak ti vi t ts - v ro ju mos, pr ru ns, ro ta s, z m a n un ko l u vei do a n. Pe da go gam ir j at ce ras, ka pa sa kai ir j at bilst br na in te re sm un br na pie re dzei, ti kai tad t ra ds br n emo ci on lu pr dz vo ju mu un vl mi dar bo ties (Pi a, 2002). Br nu pie er a ns br num sts tiem tiek skaid ro ta ar br n bas fan t zi jm un spil gto iz t li, ku ras mo di na ak t vu in te re si par ap kr t jo pa sau li, ro si na iz zi as k ri un sprai gas dar bo a ns vl mi. Br nam it ne maz ne iet sva r ga no ti ku mu kop sa ka r ba, to pa ma to jums, lo is k se c ba. Vi u aiz rauj un prie ci na no ti ku mi, t li, kr sas un ska as. Sp l jo ties ar ro ta lie tm, sa ce rt pa sa kas t br nam ir pa vi sam da bis ka no dar bo a ns, jo pa sa ka nav ne kas cits k ro ta as tur pi n jums, at ts t ba. Br niem pa tk, ka pie au gu ie pie da ls vi u ro ta s, jo t d vei d tiek ie sais t ta br nam iz trk sto pie re dze un ko pu m tiek ar pa pla i n tas iz t les ie sp jas. sto K. Egans, ana li z jot br na so ci ali z ci jas pro ce su, pirms sko las ve cu m par vis at bil ko m c bu un so ci ali z ci jas for mu uz ska ta pa sa kas un sts tus, ku rus aici na iz man tot vis da d ko uz de vu mu sa snieg a n. Vi ap gal vo, ka pa sa k vai sts t ap m c bas s ku m br niem b tu vei do ja ma t da si tu ci ja, kur ir gai das, ne zi a vai k da ci ta pro bl ma. Pa sa kas bei gs b tu ne pie cie ams at ri si nt vis as pro bl mas un ap mie ri nt br nu emo ci on ls gai das (Egan, 1979). Em p ris k p t ju ma re zul t ti zul t Iz vr t jot pirms sko las vi d j ve cu ma br nu ve c ku (60) an ke t a nas re tus, ti ka kon sta tts, ka vis i ve c ki at bal sta ap gal vo ju mu par pa sa ku la s a nu k po zi t vu no dar bi, bet aiz vien re tk to iz man to k audzi no o mo men tu br na pie re dzes pa pil di n a nai, aiz bil di no ties ar dz ves rit ma sprai go tem pu, no slo go t bu dar b un no gu ru mu dar ba die nas bei gs. Ko pu m var teikt, ka ve c ki re ti br niem la sa pa sa kas, pa k pe nis ki to aiz st jot ar mo der no teh no lo i ju iz man to a nu. Pa sa kas la s a na k ie rasts va ka ra ri tu ls ir v ro jams ti kai 18 i me ns. 65% i me ns pa sa kas br niem tiek la s tas re ti, bet ir ar t das i me nes (5%), kur pa sa kas ne la sa ne maz. Ar pirms sko las pe da go gu (9) ap tau j ti ka at zts, ka pirms sko las ie st dei ir o ti no z m ga lo ma br nu ie vir z a nai pa sa ku pa sau l. Pe da go ga iz teik smgs, emo ci onls sts t jums un pa sa kas dar b bu in sce n jums ro si na br na emo ci on los pr dz vo ju mus un ga r go ak ti vi t ti ra do ai dar b bai. Par efek t g ka jiem li te r ro dar bu in sce n ju ma vei diem pe da go gi at zi na in sce n ju mus uz fla ne log r fa, gal da te t ri ar ro ta lie tm, ro kas le u te t ri, nu te t ri, pie cu pirk stu te t ri un dra ma ti z ju mu. In sce n ju mi pa da ra sts t ju mu dz vu, dar b gu un in tri jo u. Tas, ko brns dzird un redz, sa plst vie n ve se lu m ar dar b bu un k pi na br na emo ci jas un iz t li, t d vei d sek m jot ar pie re dz t ie kau a nu sa vs ik die nas dar b bas.
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Sek m jot br nu ra do o ak ti vi t ti, ti ka s te no tas das dar b bas: 1. pa sa ku dra ma ti z ci ja; 2. pa sa ku sa ce r a na un z m a na; 3. jaun u t lu iz do m a na, z m a na un vei do a na. Lai la bk va r tu s te not pa sa ku dra ma ti z ju mu, br niem ti ka pie d vts pa iem iz ga ta vot pa sa ku va ro iem pie de ro os priek me tus no kar to na, pa p ra un da bas ma te ri liem. Ti ka z m ti un vei do ti ar li te r rie t li. At kr to ti la sot, va r ja no v rot, ka br nu in te re se par pa sa ku bi ja pa lie li n ju sies, jo pa i bi ja pie da l ju ies ra do a j kr su dar bn c. T k vien kr s for ms no vien kr iem ma te ri liem vei do tie tr pu ele men ti vai ro ta lie tas ra da br niem ie sp ju at ts tt un pa dzi i nt sa vas ra do s sp jas, tad ti ka pie d vts dra ma ti zt iz la s to pa sa ku. Br ni priek li ku mu uz tv ra ar prie ku un at sau c bu. M su uz de vums ne bi ja mak si m li pre c zi at da ri nt li te r ro dm aut dar bu, bet gan im pro vi zt, pa r dt to t, k to ir uz tv ris brns, at kl jot se vi no da nm, pr vr ot dar b bu ra do ro ta . Kad viss bi ja sa ga ta vots un lo mas sa da l tas, tad m su sa ga ta vo to uz ve du mu va r ja v rot kai mi os eso s vi d js ve cu ma gru pas br ni. Pa sa ku pc pus die na bi ja iz de vu sies jau ka un sau lai na, br ni vl il gi prie c js par sa vm lo mm, fan t zi ju un ra do o mo men tu, ko de va pa sa kas dra ma ti z ci ja. o dra ma ti z ci ju va r tu no saukt par ro ta u. Ro ta jo ties brns m cs ie do m ts lo mas ap iz sk vie not lo is k si e t, si e tu sa ce rt, lai ro ta a ne tu. Im pro vi z a na, sa ce r a na, pie m ro ta ro ta as ma te ri la mek l a na, ie ju a ns t los vien lai c gi no dro i na iz t les, ra do s do m a nas un ra do as dar b bas at ts t bu at tie c ga j pirms sko las ve cu m. T d vei d ms ba g ti nm br nu pie re dzi, iz t li un vei ci nm ra do o mo men tu. Po zi t v emo ci on l pr dz vo ju ma fo n aici n jm br nus pat st v gi lus un pa r sa ce rt pa sa kas tur pi n ju mu, ie sais tot pa sa k ci tus t dot tos uz fla ne log r fa. Br nu dar bu vr t a n pe da go gu uz ma n ba ti ka pie vr sta uz jaun u t lu vei do a nu, jaun u si e ta ri si n ju mu iz vei di un re pro duk t vs dar b bas dau dzu mu. Iz vr t jot br na ra do s iz t les l me ni pc pirm pa sa ku dra ma ti z ju ma, ti ka no v rots, ka ti kai se iem br niem pa u sa ce r ta j pa sa k pa r d js jaun i t li. Pc pa sa ku ana l zes va r ja ta uz pa se ci nt, ka lie l kai da ai br nu do mi n re pro duk t v iz t le (73,3 %), kas bal st sa ku la s a nas ie spai diem. ai re pro duk t vai iz t lei vl ir maz no vi t tes un nav ra do as at tiek smes pret re pro duk t vo t lu l dzek iem un to ma te ri liem (skat. 1.at t lu). Pa sa ku un dze jas ie pa z a na ro si na br na iz t li, un tik pat no z m gi ir ar ap kr tnes no v ro ju mi, dar b ba, pie re dze un br na iz prat ne par lie tu un pa r d bu kop sa ka r bm. Tur pi not pa sa ku dra ma ti z ju ma dar b bu, pc trim m ne iem jau va r jm no v rot, ka br nu dar bos ar vien vai rk pa r ds jaun i pa sa ku t li (25 %) un jaun as si e ta l ni jas (28,3 %) (skat. 2. at t lu). Ar I. Frei ber gas veik ta j p t ju m par li te r rs jaun ra des ie z mm ve c ka j pirms sko las ve cu m tiek at z mts, ka pa sa ku si e ti at klj br nu va ja dz bas, prie kus, r pes un pro bl mas, mek l tm ri si n ju mu (Frei ber ga, 2007). Va ram pie krist, ka ar vi d j pirms sko las ve cu ma br niem ir vien kr k at klt pa sa kas si e ta lie l ko da u t lu ri si n ts sa ru ns ne k vei dot lo is ku, t lai nu, pat st v gu mo no lo gu (Frei ber ga, 2007). Ja brns ir iz bau d jis emo ci on lo pr dz vo ju mu, tas, sa vu krt, no dro i na sp c gu im pul su dar bo ties ak t vi un ra do i. Br ni, ku riem iz t le ir at ts t ju sies strau jk, spj pie d vt vai rk kre at vo ra do o mo men tu, vi iem ir rak stu r ga ini ci at va jaun u, ne tra di ci on lu pa sa ku ver si ju mek l ju mos. Ap ska tot br nu z m ju mus un vei do tos t lus, se ci nm, ka pa r ds ar vien vai rk jaun u t lu ar jaun iem vr diem un pa ve ras jaun as si e ta l ni jas, re pro du c a nas mo ments sa rk. Br nam augot un at ts to ties at ts ts ar iz t le, no re pro duk t vs t pr vei do jas gu rak par ra do u un br nu dar b ba ie gst mr tie c stu ru, brns pat st v gi ra da ar vien vai rk ide ju un tiek vei dots plns, k s ide jas s te not, pe da gogs a j pro ce s ir k ro si n tjs un br na at bal st tjs.
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SE CI N JU MI Bal sto ties uz au to ru at zi m par ra do u dar b bu, j at z m, ka li te r rie dar bi, se vi i pa sa kas, ir tie, kas dod da du si tu ci ju ne stan dar ta ri si n ju ma pie m rus, tie auj br nam at ts tt br na iz t li, fan t zi ju un ne or di n ri do mt. Uz de vu mi ar iz t lo a nos, dra ma ti z ju mu, sts tu pa pil di n a nu, da du pa ra dok su iz do m a nu ir j iz man to ak ti vi t ts, ko p gi sa dar bo jo ties ar nis ki at br nu. di uz de vu mi pa k pe ts ta ra do o do m a nu un vei ci na br na ra do o dar b bu. J at z m, ka jeb ku ras ra do s dar b bas pa ma t ir br na pie re dzes ak tu ali z a na un ie sais t a na jaun ma te ri la ap str d. Br nu iz t les un jaun ra des at ts t bas vei ci n a na pra sa pe da go ga sis te m tis ku dar bu sa dar b b ar br nu, vien lai c gi a j pro ce s no tiek ar j tu pa sau les bu ba g ti n a na, jaun u priek sta tu ra d a na, da du pras mju un ie ma u vei do a na, gri bas pa at ts t a na. Iz man to jot pa sa ku pe da go is ka j pro ce s pirms sko las pe da gogs ne ti kai pa pla i na br na pie re dzi pa s vi (br nam klau so ties, uz zi not, pa tu rot at mi ), bet, ra d dams ap stk us ro ta ai (ro ta lie tu at la se, mas kas), ro si na ak t vu, ra do u pie re dzes ap g a nu. Ie g tie re zul t ti auj se ci nt, ka pa sa ku dra ma ti z ci jas svt ki br niem auj iz bau dt ar svt kiem un ne gai d tm po zi t vm iz prie cm sais t ts iz j tas, k ar gt ra do as dar b bas ak ti vi ap zi z a nu un pa u sek m jo u no vr t ju mu no pie au gu a jiem un vie nau diem. Pa sa ku dra ma ti z ci jas svt ku ie tva ros tiek iz sp l tas la s to pa sa ku in ter pre t ci jas, pa sa km tiek ra d ti jaun i si e ti, tiek iz do m ti jaun i pa sa ku va ro i un vei do ti ar pa sa ku t liem sais t ti ra do ie dar bi. Ra do dar b ba uz ie priek js pie re dzes pa ma ta ar iz t les pa l dz bu sek m pa dzi i n tu un ra jam dar emo ci on li pie s ti n tu jaun u t lu ra d a nu. To mr j em v r, ka li te r bam ir j at bilst br na in te re sm un j bal sts uz jau eso o br na pie re dzi, ti kai tad tas va rs ra dt br n emo ci on lu pr dz vo ju mu, vl mi dar bo ties un sek ms br na do m a nas iz aug smi no kon ver en ts uz di ver en to. P t ju ma re zul t t ap stip ri n js hi po t ze, ka pa sa kas dra ma ti z jums sek ms ra do s dar b bas ak ti vi t ti pirms sko las vi d j ve cu ma br niem, ja tiks ie v ro tas br na ve cum pos ma at ts t bas li kum sa ka r bas, in te re ses un pie re dze un ja tiks vei ci n ta br na emo ci on l pr dz vo ju ma vei do a ns ra do sa dar b b ar pie au gu o. Pa sa kas uz tve res lai k ak t vi dar bo jas un at ts ts iz t le, un t tiek ap mie ri n tas br na tiek smes un vl mes, jo ar t lu un no ti ku mu pa l dz bu brns iz t les pa sau l iz dz vo to, ko vi am liedz re l dz ve. Iz t les t li iz sauc br n emo ci on lus pr dz vo ju mu un ro si na br na ak ti vi t ti, ku ras re zul t t se ko br na kon kr t ra do dar b ba.
LI TE RA T RAS SA RAKSTS 1. Bebre, R. (2002) Rados spjas. Kreativitte. Skolotjs, Nr.6. Rga, 6.11.lpp. 2. Egan, K. (1979) Educational Development. New York: QUP, p.873. 3. Freiberga, I. (1997) Literrie darbi k brnu rados aktivittes veicintji pirmsskolas vecum. Rga: Vrti, 84lpp. 4. Freiberga, I., Priede, L. (2007) Brns mcs izzint pasauli. Rga: SIA Izgltbas soi, 177lpp. 5. Lieeniece, D. (1999) Kopveseluma pieeja audzinan. Rga: RaKa, 261lpp. 6. Mielsone, I. (1997) Kreativittes sekmana pirmsskolas vecuma brnu patstvgaj mkslinieciskaj darbb. Skolotjs, Nr.1. Rga, 10.15.lpp. 7. Projekts Izgltbas programma Rados brns kultras vadb (2006) Sagatavotjas: Kline, J., Ielte, I., Stille-Dubkevia, B. Rga: Musica Baltica. 8. Rodari, D. (2009) Fantzijas gramatika. Rga: Zvaigzne ABC, 176lpp. 9. Pia, . (2002) Brna intelektul attstba. Rga: Ptergailis, 318lpp. 10. Raipulis, J. (2005) Radoo spju attstba. Psiholoijas Pasaule, Nr.8, 36.41.lpp. 11. Svence, G. (1998) Personbas attstbas psiholoija. Rga: RPIVA, 179lpp. 12. Svenne, O. (1930) Modernie audzinanas jautjumi. Rga: Auseka izdevums, 197lpp. 13. , ..(1991) . ocka: , c.11.41. 134

Profesore, Dr.paed., Mg.psych. Agita bele Latvijas sporta pedagoijas akadmija, Adrese: Brvbas iela 333, Rga, Latvija, LV-1006 Tlr.: 67543439, 29517996; fax.: 67543480. E-pasts: agitaabele@inbox.lv Asoc.prof. Dr.paed., Mg.psych. Agrita Tauria Rgas Peddagoijas un izgltbas vadbas akadmija, Adrese: Imantas 7.lnija 1, Rga, Latvija Tlr.: 67808010 Fakss: 67808034 E- pasts: rpzaust@tvnet.lv

Pielikums APPENDIX 1.attls Radouma izpausmes brnu sacertajs pasaks Picture 1 Creativity expressions in childrens created tales

2.attls Radoums brnu darbos Picture 2 Creativity in childrens works

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Juris Porozovs. Esmu beidzis Latvijas Universittes Bioloijas fakultti 1981. gad. Pc augstskolas beiganas strdju zintnisko darbu ptju elektrostatisk lauka ietekmi uz organismu. Kop 1997. gada strdju Rgas Pedagoijas un izgltbas vadbas akadmij. Manas zintnisks intereses ir saisttas ar neirofizioloiju un sporta fizioloiju. Vaasprieki ir trisms un sports, vasar - peldans. Esmu nodarbojies ar kalnu trismu. oti patk daba Latvijas lauki, mei, ezeri, jra. Dzintra Porozova. Esmu biologs, bioloijas un mijas pasniedzja, vides zinbu maistre. Strdju Rgas 90. vidusskol un mcu miju, bioloiju, veselbas mcbu un dabaszinbas. Cenos savos audzkos radt pozitvu attieksmi pret vidi, attstu vios savstarpju uzticanos, sadarbbu, mcu bt patiesiem pret sevi un citiem. Man patk daba, ceojumi, sportisks dzves veids. Mana stihija ir jra. Mkais dzvnieks mans baltais kucns Vincents.

Hermanis Beinskis. Esmu dzimis 1986. gad jauk Latvijas pilst Bausk, skolotjas un virsnieka imen. Brnbas gadi tika aizvadti dads pasaules valsts. 2005. gad absolvju Bauskas 2. vidusskolu un iestjos Rgas Pedagoijas un izgltbas vadbas augstskol Spor ta un pamatizgltbas bioloijas skolotjs studiju programm. 2009. gad pabeidzu augstskolu un kuvu par skolotju. Palaik turpinu izgltoties, apgstot ugunsdzsja - glbja profesiju. Man patk sports un darbs ar brniem. Juris Porozovs Rgas Pedagoijas un izgltbas vadbas akadmija Latvija Dzintra Porozova Rgas 90. vidusskola Latvija Hermanis Beinskis Bauskas pamatskola Latvija

Pedagoisks problmas darb ar hiperaktviem brniem

Kopsavilkums Ievads. Hiperaktivitte ar uzmanbas defictu ir svarga sabiedrbas veselbas problma. Darba mris. Noskaidrot skolotju un skolas psihologa uzskatus par darbu ar hiperaktviem brniem un skolnu vecku viedokli par pamatskolas skolnu uzvedbas patnbm. Materili un metodes. Ptjum tika veikta Bauskas un Rgas skolu pedagogu un skolnu vecku anketana, k ar Bauskas skolas psihologa intervija. Rezultti. Skolotji uzskata, ka darb ar hiperaktviem
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brniem nepiecieams izmantot dadas mcbu metodes. Daudzi vecki atzm, ka viu brniem piemt uzvedbas traucjumi. Secinjumi. Skolotji, k ar skolas psihologs uzsver, ka svargi ir sadarboties ar hiperaktviem brniem un veidot viiem pozitvu attieksmi pret mcbm. Atslgas vrdi: Hiperaktvi brni, pedagoisks problmas, skolotji, vecki.

The Pedagogical problems in the work with hyperactive children

Summary Introduction. A topical problem of our schools is teaching hyperactive children. These children have much energy, but their activities are not purposeful because of inability to pay attention. The initial symptoms of hyperactivity are weakness of self-regulation processes, inattention, impulsiveness and anxiety. These primary symptoms cause secondary symptoms: problems with self-estimation, excessive risky behaviour, difficulties in communication and in learning. Parents and teachers do not understand hyperactive children and often show their negative attitude to the behaviour of these children. That may arouse aggressive and antisocial behaviour. School may cause additional psychological problems to the children with hyper activity and attention deficiency. Reasons that induce hyperactivity may be different: hered ity, complications during pregnancy or birth, traumas and diseases during early childhood, the influence of unhealthy chemicals on food, allergens, neurological disorders, and psychosocial influence. Hyperactivity with attention deficiency is connected with decreased amount of neu rotransmitters: dopamine, norepinephrine and serotonin. It may cause disposition to depression. Children have disorders in the functions of forehead lobe as well. Hyperactive children have some similar features of character with creative children. Both of them may be of excitable temperaments and insufficient social skills. There is an opinion that hyperactive children are talented and creative. At the same time there are scientists who have not observed creativity of hyperactive children. Genetic researches indicate that hyperactivity and creativity belong to the same genetic system. The main treatment methods of hyperactive children are treatment with medication, psychotherapy, and pedagogical treatment methods. It is very important to help hyperactive children to develop ability to concentrate and purposefulness. Positive experience may give much benefit to hyperactive children. Aim of the study is to clear out the view of teachers about problems of hyperactive children and their opinion about the best methods and ways in the work with hyperactive chil dren; to clarify the outlook of parents about peculiarities of basic school children behaviour and to find out the opinion of school psychologists about work with hyperactive children. Materials and methods. The inquiry of Riga and Bauska schools teachers and par ents was performed. 26 teachers and 82 parents of basic school children were questioned. In order to clear out the opinion of school psychologists about the work with hyperactive children the interview with Bauska school psychologist was carried out. Results. The results of the investigation showed that 82% of questioned teachers admit that there are hyperactive children in their educated grades. 92% face problems in their work with hyperactive children and 96% consider that special attention must be paid to hyperactive children. When characterising hyperactive children, 97% of questioned teachers pointed out great activity of these children, 98% mentioned inattention, 78% - anxiety, 92% - absent-mindedness, 34% have observed childrens aggressive behaviour. The teachers point out that it is necessary to divide attention during work with hyperactive children, sometimes the consistency of lesson
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must be changed, the deficiency of time devoted to trainings arise. The questioned teachers mark that childrens ability to pay attention is short-term, so it is necessary to give different tasks dur ing a lesson. Only 4% of questioned teachers are sure that hyperactive children are creative, 23% mark that in some cases hyperactive children show creativity. The majority of questioned teach ers (69%) consider that it is necessary to cooperate both with parents, school support service and physicians working with hyperactive children, 23% of teachers have a view that it is necessary to cooperate with childrens parents, 8% thinks that it is necessary to cooperate with school support service. The questioned teachers suggest to use the following methods working with hyperac tive children: to give as many tasks during lessons as possible, to find enjoyable activities during free time, to form positive attitude to education, to cause interest to their occupation, to carry out discussions and individual work with hyperactive children. The inquiry of parents showed that 8% of parents hold a view that their children have typical features of hyperactivity, 11% thinks that their children have medium explicit features of hyperactivity, 34% has an opinion that their children have some features of hyperactivity, 47% thinks that their children are not hyperactive. The results of the inquiry of parents showed that many of them hold a view that their children have different behavioural disturbances: 23% of parents think that their children have elevated excitability, 17% considers that their children have typical impulsiveness, 11% thinks that their children have disturbances of social behaviour and 8% are of the opinion that their children have locomotive coordination disorders. The interview with school psychologist showed his opinion that it is necessary to understand hyperactive children and their behaviour, to be open and turned to cooperation with them. It is very important to teach hyperactive children to keep attention for a long time and to solve their communication problems. Conclusions. During training teachers often come into contact with hyperactive chil dren. Pedagogues have good understanding of the characteristic features and problems of hy peractive children. The majority of educators consider that it is necessary to cooperate with parents and specialists working with hyperactive children. Many of childrens parents have also comprehended the characteristic features of the behaviour of their children. The school psy chologist underlines the necessity of cooperation with hyperactive children and forming them positive attitude to studies. Key words: hyperactive children, pedagogical problems. Ievads Skols aktula problma ir hiperaktvo brnu mcana un audzinana. Vii veido socils uzvedbas riska grupu. Hiperaktvo brnu d ievrojami tiek ietekmta sabiedrba, jo cie indivda paciea un personbas veidoans, ir apgrtinta akadmisks izgltbas un amata apguve, imens biei ir stresa situcijas (Lindberga, Norte, 2001). Pc medicnisk vrtjuma hiperaktivittes ar uzmanbas defictu sindroms (HUDS) tiek aplkots k neirobioloisks traucjums, kura etoloijai un patoenzei ir kombints raksturs. Tomr dakrt par hiperaktviem uzskattie brni kst par talantgiem mksliniekiem vai zintniekiem. Tpc pastv ar tds viedoklis, ka hiperaktvie brni ir talantgi un kreatvi, tau viu dotumus un potences vecki un skola neprot atraist, un lielkoties vii nerealizjas par sabiedrb nozmgm personbm (Funk et al., 1993). Hiperaktvo brnu sastopamba sabiedrb ir samr augsta. Viu patsvars brnu vid sasniedz apmram 5% - 9%. Zniem hiperaktivitte ir novrojama ievrojami biek nek meitenm. Literatr ir minti dati, ka znu un meiteu attiecbas svrsts no 3-9 : 1 (Knlker, 2001). Tomr, apskatot hipoaktivitti zniem un meitenm, starpba nav tik liela, jo meitenm biek ir uzmanbas deficts bez hiperaktivittes, ko grtk pamant un uzskaitt statistik.
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Hiperaktvo brnu audzinana sagd daudz rpju veckiem, brnudrza audzintjiem un skolotjiem. Skolotji un vecki netiek gal ar hiperaktvajiem brniem, jo viiem ir radusies nepatika pret skolu. Hiperaktvie brni kst par antisocilas uzvedbas riska grupu (palleka, 2003). Hiperaktviem brniem ar uzmanbas defictu ir raksturga nespja ilgstoi koncentrt uzmanbu, prk liels kustgums, emocionla nenoturba, nespja izturt skolas remu un koncentrties uzdevumu veikanai, neprasme plnot savu dienu, nespja prvart neveiksmes, ppba un rupjba (Roge, Mlere, 2003). Daiem hiperaktvajiem brniem piemt impulsva agresivitte, tieksme nodart cieanas citiem vai sev persongi (Roja, 2005). Ptjumu rezultti parda, ka hiperktivitti raksturo gan primrs, gan sekundrs pazmes. Primrs pazmes ir prmrga aktivitte, viegla uzmanbas novrans, impulsivitte, uzbudinmba, vja kustbu koordincija. Sekundrs pazmes ir grtbas mcbs, agresva uzvedba, antisocila uzvedba, zema paapzia, zema paciea (Liepia, 1998). Hiperaktvie brni prasa vairk uzmanbas, rpju un mlestbas nek citi brni, vii tri apvainojas un izteiktk cie no sodiem, tos prdzvojot ar dadm ekspansvm reakcijm. Lai gan brni ar hiperaktivitti cie no zinmiem psihes traucjumiem, tomr o traucjumu intensittei noteicoais nav intelekts, bet socil vide un indivda psiholoisk brvba (Lindberga, 2005). Hiperaktivittes izpausmes dzves laik mains. Zdaia vecum hiperaktvie brni tiek raksturoti k kaprzi, viegli uzbudinmi, neaprinmi, viu vajadzbas ir grti apmierint. Izteikti uzvedbas traucjumi pards pirmsskolas vecum. Kustbu koordincijas trkuma d hiperaktvie brni ir neveikli. Tiem piemt ar bezbailgums un prmrga kustans, k ar pavira attieksme pret disciplnu. Pirmsskolas un jaunk skolas vecuma brni, k ar pusaudi izrda atirgas hiperaktivittes uzvedbas patnbas atbilstoi organisma visprjai attstbai ontoenz, kad psihisko procesu funkcijas pakpeniski pilnveidojas un ldz ar to mains ar uzvedbas traucjumu izpausmes (Zria, 2005). Hiperaktivittes raans iemesli var bt dadi. Tie var bt entiski cloi (jdom, ka cilvkam ir hiperaktivitti determinjoi gni), komplikcijas prenatlaj period un dzemdbu laik, traumas un slimbas agrnaj brnb, kaitgu misku vielu, alergnu un prtikas ietekme, neiroloiskie traucjumi (Roga, Mlere, 2003). Brnam hiperaktvas uzvedbas veidoanos var ietekmt ar dadi psihosocili faktori. Liela nozme hiperaktvo brnu personbas veidoans proces ir savstarpjm attiecbm imen. Nelabvlgas emocionls attstbas vid brnam var bt traucta pozitvu jtu veidoans pret apkrtni. K cloi hiperaktvas uzvedbas izpausmm var bt stresa situciju izraisti psihiski prdzvojumi, imenes harmonisku attiecbu izirana un citi satraukumu izraisoi faktori (Lindberga, Norte, 2001). K hiperaktvas uzvedbas psihosocilie cloi atzmti ar ilgstoa atraans slgta tipa iestds, k, piemram, brnu namos un prk ilgstoa televzijas prraiu skatans. Hiperaktivitte ar uzmanbas defictu ir saistta ar neiromediatoru - kateholamnu: dopamna, noradrenalna un serotonna samazintu daudzumu smadzens. Dabisk veid dopamna aktivitte pieaug k atbildes reakcija uz mentlu vai fizisku stimulciju. Tpc daudzi hiperaktvi brni labk spj koncentrt uzmanbu pc fiziskm aktivittm (Roja, 2005). Ptot indivdu ar uzmanbas defictu smadzeu vielmaiu, ir konstatts ar palnints glikozes metabolisma process. Iespjams, ka brniem ar uzmanbas deficta sindromu ir samazinta dopaminerisks sistmas aktivitte, tpc vii neapzinti mekl veidu k o aktivitti paaugstint. Tas notiek vai nu ar pozitvm darbbm lielku aktivitti, jaunradi, sacensbu, vai ar ar negatvu rcbu prspltu kustgumu, prgalvbu, azartsplm, narko tiku lietoanu. Kateholamnu trkums smadzens rada noslieci uz depresiju. Ir konstatts, ka daudziem hiperaktviem brniem ir raksturgas depresijas iezmes. Literatras dati liecina par neiromediatoru - dopamna un serotonna sistmas entisko saistbu gan ar psihiskajm novirzm, gan kreativitti (Reuter, Roth, et al., 2006). Hiperaktvo brnu ar uzmanbas
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defictu uzvedbai ir zinma ldzba ar tdu brnu uzvedbu, kam piemt izteikta kreativitte. Hiperaktvie brni, ldzgi k kreatvie brni biei rkojas spontni, nedomdami par sekm, vii ir oti jutgi pret dada veida kairinjumiem, un viiem mdz bt nosliece uz depresvu garastvokli. Gan hiperaktvie, gan ar kreatvie brni biei izmanto savu spilgto iztli, lai risintu dada veida problmas (Sang et al., 2002). Konstatts, ka hiperaktvie jauniei ir uzrdjui lielku tlainbu problmu skaidroan un izteikui vairk spontnu domu uzde vumu risinan (Cramond, 1992). Hiperaktvajiem brniem biek nek citiem brniem ir konstatts noteikts dopamna gna variants (DRD4). is gns nosaka uzvedbu, kas pastvgi liek meklt jaunus iespaidus. Brniem ar uzmanbas deficta sindromu sevii traucta ir lielo puslou garozas pieres daivas darbba, bet pieres daivai ir svarga loma cilvka plnu un nodomu veidoan, k ar apzints uzmanbas koncentran (, 2005). Ar magntisks rezonanses tomogrfijas paldzbu ir konstattas izmaias hiperaktvo brnu bazlajos ganglijos, kam ir svarga loma kustbu regulcij. Hiperaktvo brnu ar uzmanbas defictu rstan tiek izmantotas dadas me todes. Medikamentoz rstanas metode ir viena no visvairk pielietotajm hiperaktvo brnu rstanas metodm, tomr t viena pati nevienmr dod vlamos rezulttus. Par veiksmgku tiek uzskatta kombint medikamentoz un psihosocil terapija (Conners, Jett, 1999). Hiperaktvo brnu rstan tiek pielietota ar psihoterapija, izturans terapija, rotau terapija, imenes terapija, rstana ar psihomotoriskiem vingrinjumiem, autognais treni, dadas ditas, rstniecisk pedagoija, ergoterapija un citas metodes. Hiperaktvo brnu uzvedbas korekcij jpiedals gan paam brnam, gan pedagogiem, psihologiem, mediiem un individuli nepiecieamajiem ekspertiem: logopdiem, ortopdiem un citiem specilistiem (Medne, 2007). Hiperaktviem brniem ir oti svargi attstt spju koncentrt uzmanbu, jo ar ts paldzbu vii spj kontrolt savu kustbu aktivitti. Pastv uzskats, ka nepietiekami attsttais nervu sistmas kavanas mehnisms izsauc prmrgu uzbudinjumu, t radot brnam grtbas apspiest nevlams uzvedbas izpausmes. Impulsivittes samazinanai ir ieteikti tdi paskumi, k paldzt brnam iemcties gaidt, paldzt brnam plnot laiku (palleka, 2003). Lai paldztu hiperaktviem brniem, turklt saglabjot viu azartiskumu, zikrbu un izminanas kri, ir svargi iemct iem brniem disciplint paiem sevi. Veiksmga hiperaktvas uzvedbas korekcija ietver dau uzvedbas izpausmju pastiprinanu, bet citu pavjinanu. Hiperaktvo brnu uzvedbu ir iespjams uzlabot, attstot viiem mrtiecbu un uzmanbas noturgumu. Uzvedbas uzlaboanai btiski ir attstt brnu socils prasmes. Hiperaktvie brni savas dzves laik biei gst negatvu un frustrjou pieredzi. Jo retk vii piedzvo atzinbu, jo biek viu ikdienu pavada neveiksmes. is loks, kas laupa hiperaktviem brniem drosmi, ir jprrauj. Jo agrk konstat hiperaktvas uzvedbas iz pausmes, jo lielku atbalstu iespjams sniegt brnam. Pozitva pieredze vairo motivciju paveikt kaut ko nogurdinoku, un augoa paapzia paver ceu personbas attstbai (Medne, 2007). Jo biek hiperaktvam brnam izdodas redzt pozitvus rezulttus, jo vieglk viam turties pret izaicinjumiem, pieplties un atvairt vilanos. Darba mris Noskaidrot skolotju priekstatu par hiperaktvo brnu problmm, viu uzskatus par labkajm metodm un pamieniem darb ar hiperaktviem brniem. Izzint skolnu vecku viedokli par pamatskolas skolnu uzvedbas patnbm. Noskaidrot skolas psihologa uzskatus par darbu ar hiperaktviem brniem.
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Materili un metodes Ptjum veikta Bauskas un Rgas skolu pedagogu un skolnu vecku anketana. Anke tas jautjumi bija veidoti, lai noskaidrotu skolotju priekstatu par hiperaktvo brnu sastopambas bieumu skol un uzvedbas patnbm, labkajm metodm darb ar hiperaktviem brniem un svargkajiem paskumiem, kas btu jveic, lai risintu hiperaktvo brnu problmas. Pavisam anketti 26 skolotji un 82 pamatskolas skolnu vecki. Lai noskaidrotu psihologa domas par pedagoisko problmu risinjuma iespjm darb ar hiperaktviem brniem, veikta Bauskas skolas psihologa intervija. Rezultti Anketanas rezultti pardja, ka 82% aptaujto skolotju atzst, ka viu audzinmaj klas ir hiperaktvi brni. 92% aptaujto skolotju sav pedagoiskaj darb sastopas ar problmm, strdjot ar hiperaktviem brniem. 96% aptaujto skolotju uzskata, ka hiperaktvam brnam ir nepiecieams veltt pau uzmanba stundas laik. Skolotji atzm, ka strdjot ar hiperaktviem brniem jsadala uzmanba, dakrt jmaina stundas gaita, rodas mcbm paredzt laika deficts. Skolotji uzskata, ka darbs ar klasm, kurs ir hiperaktvie brni ir saretks un prasa lielku piepli. Vii norda, ka hiperaktvaiem brniem ir daudz enerijas, bet viiem piemt slaicga spja bt uzmangiem, ldz ar to rodas nepiecieamba stundas laik piedvt dadus uzdevumus. Atbildot uz jautjumu Kdas individuls patnbas Jsuprt piemt hiperaktviem brniem?, skolotji nosauc tdas patnbas k nenoturga uzmanba, aizmrba, brni tri zaud interesi par jauno nodarbbu, dinamiski maina darboans veidus, nepabeigui pamet ieskto darbu. Izvrtjot hiperaktvo brnu uzvedbu, skolotji atzm, ka t ir nenoturga, tai piemt haotiskums, impulsivitte, brniem ir prmrga kustbu aktivitte. Raksturojot hiperaktvos brnus, 97% aptaujto skolotju sastopas ar skolnu prmrgo aktivitti, 98% atzst, ka skolniem piemt neuzmanba, 78% norda, ka tiem ir nemiera sajta, bet 92%, ka tiem raksturgs izklaidgums. Savukrt 34% respondentu sastopas ar agresvu uzvedbu no skolnu puses. Tikai 4% aptaujto skolotju ir prliecinti, ka hiperaktviem brniem ir kreatvas domanas iezmes, tau 23% norda, ka zinm mr ts novrojamas. Lielk daa (69%) aptaujto pedagogu uz jautjumu Vai Js uzskatt, ka, strdjot ar hiperaktviem brniem, nepiecieams sadarboties ar veckiem, atbalsta dienestu, mediiem?, atbild, ka uzskata, ka ir nepiecieama sadarbba ar visiem iem dienestiem, 23% uzskata, ka sadarboties vajadztu tikai ar hiperaktvo brnu veckiem, bet 8% atzm, ka pietiek ar skolas atbalsta dienesta paldzbu (skat. 1.att.). Aptaujtie skolotji uzskata, ka ir oti svargi savlaicgi atklt hiperaktivitti, k ar laikus uzskt primro hiperaktivittes pazmju - prmrgas aktivittes, vieglas uzmanbas novranas, impulsivittes, uzbudinmbas korekciju, lai novrstu hiperaktivittes sekundro pazmju grtbas mcbs, agresvas uzvedbas, antisocilas uzvedbas, zemas paapzias un zemas pacieas veidoanos. Strdjot ar hiperaktviem brniem, skolotji priekroku dod tdm mcbu stundm, kuru laik biei tiek maintas mcbu metodes vai ir iespja skolniem piedvt papildus uzde vumus. 84% respondentu atzst par efektvu individulo darbu ar skolniem un 72% domu zirnekli. 60% respondentu piekrt, ka, strdjot ar hiperaktviem brniem, var pielietot prta vru un 78%, ka var izmantot grupu darbu. Vismazkais skolotju skaits priekroku dod frontlai metodei (40%) (skat. 2.att.).
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Aptaujtie skolotji iesaka izmantot dus pamienus, lai uzlabotu darbu ar hiperaktviem brniem: stundas laik hiperaktvos brnus pc iespjas vairk noslogot ar dada veida uzdevumiem; paldzt atrast brniem patkamu nodarboanos brvaj laik; sadarboties ar skolas atbalsta dienestu; sadarboties ar skolnu imenm; skolotjiem paiem vairk last literatru par darbu ar hiperaktviem brniem; stundas laik maint darba metodes; piedvt skolniem papildus uzdevumus un darbus; sadarboties ar skolniem, veidojot pozitvu attieks mi pret mcbm; izraist interesi par veicamo darbu; veikt prrunas un individulu darbu ar hiperaktviem brniem. Pamatskolas skolnu vecku anketanas rezultti pardja, ka 8% aptaujto vecku uzskata, ka viu brniem piemt izteikta hiperaktivitte, 11% vecku dom, ka viu brniem raksturga vidji izteikta hiperaktivitte, 34% vecku dom, ka viu brniem ir nedaudz izteikta hiperaktivitte, bet 47% aptaujto vecku uzskata, ka viu brniem nepiemt hiperaktivitte (skat. 3.att.). Iegtie rezultti parda, ka saldzinoi liels skaits vecku uzskata, ka viu brniem ir vairk vai mazk izteiktas hiperaktivittes pazmes. Skolnu vecku anketanas rezultti pardja, ka daudzi vecki uzskata, ka viu brniem piemt dadi uzvedbas traucjumi: 23% aptaujto vecku dom, ka viu brniem ir paaugstinta uzbudinmba. ie brni tri sadusmojas, viiem raksturgas krasas garastvoka maias, tie asi izjt kritiku. 17% aptaujto vecku atzm, ka viu brniem ir izteikta impulsivitte. ie brni run un rkojas neapdomgi, biei nerins ar risku, skrien neskatdamies apkrt. 14% aptaujto vecku atzm, ka viu brniem ir emocionlie traucjumi, kas izpauas k nedroba, samazinta pavrtbas apzia, brni neizjt dzvesprieku. 11% aptaujto skolnu vecku norda, ka viu brniem ir socils uzvedbas traucjumi. iem brniem ir maz draugu, viiem raksturga agresivitte gan pret cilvkiem, gan ar pret dzvniekiem. Viiem ir pazeminta paciea un biei vien sliktas sekmes mcbs. 8% aptaujto vecku atzm, ka viu brniem ir kustbu koordincijas traucjumi. ie brni ir neveikli, viu ermenis ir saspringts. Anketanas rezultti parda, ka lielam skaitam pamatskolas vecuma brnu raksturgi nepietiekami attstti paregulcijas procesi. Bauskas skolas psihologam intervijas laik par darbu ar hiperaktvajiem brniem tika uzdoti di jautjumi: Vai Jsuprt brnu hiperaktivitte trauc mcbu procesam? Kdas pedagoisks problmas rodas darb ar hiperaktviem brniem? Kdus risinjumus darb ar hiperaktviem brniem piedv psihologi? Atbildot uz jautjumu: Vai Jsuprt brnu hiperaktivitte trauc mcbu procesam? skolas psihologs izteica domu, ka brniem, kuriem ir diagnosticts HUDS, nav pilngi viendas slimbas izpausmes, un katram brnam ts mazliet atiras. Parasti brni ar HUDS ir ar aug stu intelekta pakpi, td viiem mcbu stundas var bt prk garlaicgas un mcbu temps prk lns. Tas rada vios nemieru un trauksmi, kas savukrt izpauas negatvas uzvedbas demonstran, pat bravr. Ir brni, kuri pai nespj piespiest sevi sakoncentrt uzmanbu, lai veiktu pat visniecgko uzdevumu, kas prasa piepli. Atbildot uz jautjumu: Kdas pedagoisks problmas rodas darb ar hiperaktviem brniem? psihologs norda, ka hiperaktvie brni cenas dart visu, lai pc iespjas vairk sev pievrstu gan brnu, gan skolotju uzmanbu. Vii labi prot manipult, cenas ieemt ldera lo mas klas. Parasti ie brni ar grtbm notur uzmanbu, nespj uzdevumu izpildt ldz galam, neklauss pedagoga teiktaj, ir paviri, biei haotiski, zaud savas mantas, nepievr uzmanbu skumiem utt. Td biei tas rada dusmas pedagogos. Savukrt, ja brnam ir interese par mcbu priekmetu un viam labi veicas, tad veidojas laba sadarbba ar priekmeta skolotju (tas atkargs ar no rakstura un personbu saderbas). Ja skolotjs spj ieinterest, uzklaust, motivt un paldzt brnam, tad problmm nevajadztu bt. oti daudz ir atkargs no pedagoga darba stila un
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metodm. Svargi, lai skolotjs ir konsekvents savs prasbs, jo hiperaktvie brni nepacie ne mazko netaisngumu ne pret sevi, ne citiem. Jrins ar to, ka iem brniem alla gribas gt kaut ko jaunu - gan pozitvu, gan negatvu. Saskarsm vii parasti cenas emt virsroku gan pr vienaudiem, gan pieauguajiem. Vii izrda savu bravrbu un prkumu pr citiem. Biei brni ar HUDS ieem negatv ldera lomu klas, jo prjie brni klas vius atstumj un nepieem. Atbildot uz jautjumu: Kdus risinjumus darb ar hiperaktviem brniem piedv psihologi? skolas psihologs norda, ka viena no metodm darb ar hiperaktviem brniem ir izvles metode, kad brnam tiek piedvti dadi rcbas varianti. Galvenais ir pieauguajam neuzspiest savu variantu, bet atbalstt brnu. oti svargi ir vairkas reizes ski un saprotami brnam izststt esoos noteikumus, k ar runt par sekm, kas notiks, ja noteikumus neievros. Jievro, ka tad, ja brns ir prkpis norunu, nepiecieams viu sodt. Intervija ar skolas psihologu pardja, ka darb ar hiperaktviem brniem oti svargi ir izprast paus brnus un viu uzvedbu, bt atkltam pret viiem un vrstam uz sadarbbu. No pieauguo puses nepiecieams izpildt solto, nemelot, neaut manipult ar savm jtm, neiziet uz cu ar brnu, bet ievrot stingras robeas. Strdjot ar hipektviem brniem, oti svargi ir paldzt viiem izkopt uzmanbu un atrisint saskarsmes problmas. Secinjumi Skolotji audzinanas un mcbu darb biei sastopas ar hiperaktviem brniem. Viiem ir labs priekstats par hiperaktvo brnu patnbm. Lielk daa aptaujto pedagogu uzskata, ka, strdjot ar hiperaktviem brniem, nepiecieams sadarboties ar veckiem, atbal sta dienestu un mediiem. Strdjot ar hiperaktviem brniem, skolotji dod priekroku tdm mcbu stundm, kuru laik biei tiek maintas mcbu metodes, atzst par efektvu individulo darbu ar skolniem un iesaka izmantot interaktvs mcanas metodes. Vii iesaka hiperaktvos brnus stundas laik pc iespjas vairk noslogot ar dada veida uzdevumiem un censties viiem izveidot pozitvu attieksmi pret skolu un mcbm. Lai gan darbs ar hiperaktvajiem brniem ir sarets, skolotji pievr lielu uzmanbu ai problmai. Saldzinoi liels skaits pamatskolas skolnu vecku saskata savu brnu uzvedb hiperaktvas uzvedbas iezmes. Daudzi brnu vecki uzskata, ka viu brniem piemt dadi uzvedbas traucjumi: paaugstinta uzbudinmba, impulsivitte, emocionlie traucjumi, socils uzvedbas traucjumi un kustbu koordincijas traucjumi. Skolas psihologs norda, ka darb ar hiperaktviem brniem oti svargi ir izprast paus brnus un viu uzvedbu, bt godgam un atkltam pret viiem un vrstam uz sadarbbu. Hiperaktviem brniem ir oti svargi paldzt izkopt uzmanbu, atrisint saskarsmes problmas un veidot pozitvu attieksmi pret skolu un sabiedrbu. To stenojot, brns jatbalsta, jdod izvles iespja, jieinteres rezultta sasniegan.
Literatras saraksts 1. Conners, K.C., Jett, J.L. (1999). Attention Deficit Hyperactivity Disorders. Adults and Children. The Latest Assesments and Tretment Strategies. Kansas City: Compact Clinicals, 117 p. 2. Cramond, B. (1995). The coincidence of attention deficit hyperactivity disorder and creativity. The national Research center on the gifted and talanted, 37 p. 3. Funk, J.B., Chessare, J.B., Weaver, M.T., Exley, A.R. (1993). Attention deficit hyperactivity disorder, creativ ity, and the efects of methylphenidate. Pediatrics. Vol. 91, pp. 816 819. 4. Knlker, U. (2001) Aufmerksamkeits Defizit / Hyperaktivitts Storungen. Fakten und Legenden, Prob leme und Lsungen. UNI-Med Verlag AG, Bremen-London-Boston, 233 p. 5. Liepia T. (1998). Hiperaktvo brnu uzmanbas attstbas pabas. Rga: Vrti, 45 lpp. 6. Lindenberga S. (2005). Hiperaktivittes sindroms (Pamatnostdnes). Doctus. Nr. 6., 34. 35. lpp. 143

7. Lindenberga S., Norte B. (2001). Uzmanbas deficta sindroms. Doctus. Nr. 2., 35. 36. lpp. 8. Medne D. (2007) K strdt ar hiperaktviem brniem. Rga: RaKa, 237 lpp. 9. Reuter, M., Roth, S., Holve, K., Henning, J. (2006). Identification of first candidate gene for creativity: a pilot study. Brain Res. Vol. 1069, pp. 190197. 10. Roge J., Mlere B. (2003). Citdi brni: K saprasties ar brniem, kuri neietilpst valdoo priekstatu rmjos. Rga: Jumava, 116 lpp. 11. Roja I. (2005). Brni ar uzmanbas defictu un hiperaktivittes sindromu (UDHS) un pretjiem uzvedbas traucjumiem (PUT). Medicine. Aprlis, 32. 33. lpp. 12. Sang, B., Yu, J., Zhang, Z., Yu, J. (2002). A comparative study of the creative thinking and academic adaptivity of ADHD and normal children. Psychol. Science. Vol.25, pp. 31 33. 13. palleka R. (2003). Paldzba maziem haotiiem. Rga: Nordik, 207 lpp. 14. Zria T. (2005). Hiperaktvo brnu attstbas patnbu raksturojums dados vecumposmos. Psiholoijas pa saule Nr. 6., 3. 9. lpp. 15. . . (2005). . : ; ; , 384 . Juris Porozovs Prof. Dr. biol., Rgas Pedagoijas un izgltbas vadbas akadmija Adrese: Imantas 7.lnija 1, Rga, LV-1083, Latvija Tel. +371 67808134 Fax. +371 67808034 e-pasts: juris.porozovs@rpiva.lv Dzintra Porozova Mg. sc. envir. Rgas 90. vidusskola Adrese: Ja Grestes iela 14, Rga, Latvija Tel. +371 67246868 Fakss +371 67246868 e-pasts: dzintraporozova@inbox.lv Hermanis Beinskis Skolotjs, Bauskas pamatskola Adrese: Rgas iela 32, Bauska, LV 3901 Tel. +371 63929844 Tax. +371 63929844 e-pasts: mercuha@inbox.lv

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Pielikums Appendix 1. attls Skolotju priekstats par sadarbbas nepiecieambu strdjot ar hiperaktviem brniem (% no aptaujto respondentu skaita grup) Figure 1 The conception of teachers about necessity of cooperation in the work with hyperactive children (in % from questioned respondents in group)

2. attls Metodes, kuras skolotji iesaka izmantot darb ar hiperaktviem brniem (% no aptaujto respondentu skaita grup) Figure 2 Methods which teachers recommend to use in the work with hyperactive children (in % from questioned respondents in group)

3. attls Pamatskolas brnu vecku uzskati par hiperaktivittes pazmju sastopambu viu brniem (% no aptaujto respondentu skaita grup) Figure 3 The opinion of basic school children parents about occurrence of hyperactivity features to their children (in % from questioned respondents in group)

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Zenta Anspoka. Strdjot ar studentiem un skolotjiem projektos un mizgltbas programms, esmu sapratusi, ka radouma kopanai vajadzgs spks, laiks un raksturs. Pati to cenos lolot (ne jau vienmr gan izdodas), mekljot nodarbes prtam un sirdij. Esmu gandarta, ja starp daudzajiem pienkumiem varu atrast laiku tetrim, krustvrdu mklm, tuvkiem un tlkiem ceojumiem, jogai, izbraukumiem ar riteiem pa maziem mea celiiem, nu jau kop ar mazdliem.

Solveiga Serkova. Mcot studentiem tik nopietnus un smagus stud iju priekmetus k augstko matemtiku un informtiku, cenos radt patkama prdzvojuma izjtu un ticbu par veicam uzdevuma pozitvu rezulttu. Paai vislielko prieku sagd pirmo pavasara ziedu pardans sav drzi un jaunu puu stdjumu plnoana. Mans spks nk no zemes un manas imenes. ZENTA ANSPOKA SOLVEIGA SERKOVA Rgas Pedagoijas un izgltbas vadbas akadmija Latvija

INFORMCIJAS VIZUALIZCIJA PEDAGOISKAJ PROCES CILVKIEM AR SPECILM VAJADZBM

Kopsavilkums Ievads. Informcijas uztverei msdiens izmanto informcijas tehnoloijas. Praks domin Ms PowerPoint programma. Darba mris. Analizt pedagoga prasmi izmantot Ms PowerPoint programmu, strdjot ar cilvkiem ar specilm vajadzbm. Materili un metodes. Teoriju un pedagoisks prakses analze. Rezultti. Programma auj integrt pedagoga un informcijas uztvrja intelektu, emocionlo, socilo pieredzi. Praks var spriest par adresanta un adresta sadarbbu informcijas publiskoanas laik, par informcijas uztveres, sapratnes un izpratnes lmeni. Secinjumi. Ms PowerPoint programma nodroina uzskatmbas un vrda vienotbas principu. T sintez atmi fiksto informciju sistmisks satura vienbs, saglabjot uztveres un satura veselumu. Atslgas vrdi. Cilvki ar specilm vajadzbm, vizulais un verblais tls, informcijas publiskoana, pedagoisk procesa likumsakarbas.

VISUALIZATION METHOD FOR PEOPLE WITH SPECIAL NEEDS

Summary Introduction. We live in the epoch of information and democratic changes where an important tendency is the awareness of oneself as a part of society and ones own personality.
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It concerns people with special needs, too. The role of contemporary education is not only to be a transmitter of knowledge, but also of values based on social and cultural factors. Teachers must think about teaching and learning strategies, tips, psychology and resources. One of the important resources and aids is information technologies. Information technologies and user programs are a necessary part of our everyday life and in the field of education. Questions are what is the quality of application, how determined, complete and creative this offer is used; whether pedagogues have enough knowledge and skills, which computer programs are the best, etc. It is supposed that visualization gives a huge pedagogical effect for people with special needs. Aim of the study is to explore the effectiveness of visualization to acquire PowerPoint program for people with special needs. Materials and methods. Analysis of literature in pedagogy and special pedagogy. Surveillance, debate, analysis of electronic presentations. Results. For the last ten years many teachers choose to hand over information with observation methods. They demonstrate experiments and use visual aids for it. The most popu lar among them is presentation. Presentation is a successful disconnection of teachers orator art, intellect and file. It can offer an immeasurable contribution in the establishment of primary conception, it helps to understand notions and regularity and to create emotional and positive atmosphere in the classroom. Emotional experience is not only self-reflection and self-esteem, not only a passive guess, but also a creative act affecting consciousness and can be a generator of students will and mental energy. Not only previous factors have to be noticed in the work with people with special needs, but type of dominant studying, too. Research on developing study skills mentions facts that about 50% of people have the domination of audiovisual canals, but much more people have orientation to media (they use computes) People who use media, use eyesight, hearing (Riis, 2002). Traditionally the beginning level of students cognition process is an explanation of a teacher. It creates preconditions for the perception of new information. The consolidation of knowledge and improving skills follow that. These sections of studying make their extrinsic structure. It is important to take note on the inner structure and the dynamics of studying for choosing best methods of enactment for each stage of the structure. If a teacher uses a PowerPoint presentation in this beginning period of the way, the attendant gains information from language and from visual slides. The secundar per ceptions which are reconstruct with mediation of language are based on preliminary knowledge and make the bridge between the known and the unknown, memory and imagi nation start to act. In slide show we can use the following principles: a logical placing of the material; a tieback between the stages of the chain, forming focal points; sense of the material and content is represented as a figurative and symbolic level. For people with special needs the following factors are important: evolution of human and history of previous education; accessible aids and possibility to use them; kind of disorder and level of its heaviness; emergence of disorder; combination with other disorders; being or nonbeing of social support (Demidova, 2007). Presentation which is disconnection of obviousness and word can realize two of prin ciples. Teacher has to add practical act. Teachers take into consideration that secondary percep tions are made with mediation of language, but reproduction of objects of reality makes them more concrete. Presentation will be effective if emotional and informative speech of teacher is supplemented with appropriate slides of presentation.
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Process of organization of studying for people with special needs allows to use a wide range of presentations because it provides unity principle of visualization and word. Conclusions. Visual presentations can be widely used in the process of education for people with special needs. They provide a unity principle of visualization and word and they respect important factors of peculiarity in studying. Key words: people with special needs, visual image, verbal image, appropriateness. Ievads Kop 17. gadsimta, kad viens no klasisks pedagoijas pamatlicjiem J.A. Ko menskis akcentja nepiecieambu izkopt acs un rokas veiklbu, vingrint spjas un attstt gargos spkus, izzias proces balstties uz sajtm un iztli, lai radtu iekjo prdzvojumu (Komenskis, 1992), pedagoiskaj proces neprtraukti risinm problmas par tdas pedagoisks vides radanu, kas rosintu cilvku aktvai izzias darbbai atbilstgi via spjm un vajadzbm, t veicinot intelektulo, emocionlo, tisko un esttisko vrtbu apgu vi. Msdiens pedagoiskaj proces nevaram atstt novrt nevienu cilvka spju aspektu, jo socilaj vid galvenais resursu veids ir cilvkresursi. Katram cilvkam neatkargi no via fizisks, emocionls vai socils attstbas lmea ir svargi apzinties nodergumu sev un sabiedrbai. Cilvkam piemt papielgoans nepiecieamba un darba spja, kuras kompo nenti ir fizisk, garg, profesionl gatavba, socil kompetence, apdvintba, kreativitte, intereses, attieksme, virzba u.c. (Garleja, 2007). T k dzvojam 21. gadsimt, nkas rinties ne tikai ar sabiedrbas globalizcijas, kultru integrcijas, pat akulturcijas procesiem, bet ar ar straujo informcijas tehnoloiju attstbu. Informcijas tehnoloijas un ar tm savienots lietotjprogrammas ir kuvuas par neatemamu msdienu sabiedrbas dzves sastvdau gan sadzvisk, gan socils sazias, gan, protams, ar izgltbas jom. Arvien aktulki kst jautjumi, kda ir o tehnoloiju lietojuma kvalitte, cik mrtiecgi, pilngi un radoi tiek izmantots informcijas tehnoloiju piedvjums, vai pedagoiskaj proces iesaisttajiem cilvkiem ir zinanas, k datorprogrammas var iz mantot savas profesionls darbbas mra sasnieganai u.c. Pdjos desmit gados pedagogi informcijas publiskoanai arvien biek izvlas iz mantot dadus uzskates ldzekus. Atbilstgi izgltbas jomai un mcbu satura specifikai tiek veikti eksperimentu, faktu u.c. demonstrjumi. Dominjoo vietu ai sakar ieem informcijas publiskoana, izmantojot Ms PowerPoint programmas rkus. T k prasme publiskot informciju, izmantojot Ms PowerPoint programmu, ir pedagoga spja radoi integrt savu un informcijas uztvrja intelektu, emocionlo un socilo pieredzi ar programmas datnes piedvtajm iespjm, tad tiei no t, cik veiksmga ir integrcija, daudzjd zi varam spriest par adresanta un adresta sadarbbu informcijas publiskoanas proces, adresta uztveres, sapratnes un izprat nes lmea kvalitti. pai svargi tas ir cilvkiem ar specilm vajadzbm, jo, jdom ne tikai par publiskojam satura kvalitti, bet ar par o cilvku fiziskajm spjm, emocionlo stvokli, mcties un dzvot konkrt kultrvid pieredzi u.c. Pedagoisks darbbas mris ar cilvkiem, kuriem ir specilas vajadzbas, ir veicint tdas personbas attstbu, kura pakpeniski mcs novrtt savu vietu socilaj vid un ar pati mekl iespjas iekauties sabiedrb. Darba mris Interprett mcans teorijas, kurs uzsvrta informcijas vizualizanas nozmba cilvkiem ar specilajm vajadzbm, un analizt emprisko pieredzi par Ms PowerPoint pro grammas radou lietojumu pedagoiskaj proces.
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Materili un metodes Visprteortisk metode zintnisks literatras analze un emprisks metodes: novroana, prrunas, elektronisko prezentciju analze. Rezultti Informcijas publiskoanu, izmantojot vizulo tlu, nosacti var uzskatt par mcbu metodi, un ts izmantoanai pastv dadas radoas iespjas. Tas atkargs ne tikai no izgltbas mra, satura, indivdu vajadzbm u.c. nosacjumiem, bet ar no pedagoga profesionls kom petences lmea (ogla, 2001; Ramsey, 2004; Rychen,Tiana, 2004). Lai cilvks btu aktvs pedagoisk procesa dalbnieks, liela vrba veltma via individulo vajadzbu un spju apmierinanai (Rychen,Tiana, 2004). Analizjot ts socils gru pas cilvku vajadzbas, kuriem dadu clou d pieirta invaliditte, atkljas plas specilo vajadzbu spektrs, kuru cloi visbiek ir dzirdes, redzes, kustbu, valodas, gargs attstbas traucjumi u.c. Tau ar iem cilvkiem dados dzves ciklos rodas vlme papildint savas zinanas un prasmes, ekonomisko faktoru d prkvalificties vai ar no jauna apgt kdu profesi ju u.tml. Citiem vrdiem sakot, cilvki ar specilm vajadzbm ir tiesgi stenot mizgltbu. Ar valsts noteikt mizgltbas politika, paredz tiesiski, organizatoriski, finansili nodroint atbalstu katra iedzvotja izgltbai, kas sekm via uzmbu, nodarbintbu un adaptcijas spjas, aktvu pilsonisku ldzdalbu un socilo iekauanos, persongo papilnveidi katr dzves posm viss dzves joms ma garum (Izgltbas attstbas pamatnostdnes 2007.2013. gadam, 2006). T k valsts attstbas politikas pamat ir cilvkcentrts Latvijas izaugsmes mod elis (Latvijas izaugsmes modelis: Cilvks pirmaj viet, 2007), tad indivdiem ar specilm vajadzbm svargi piedvt atbilstgu mizgltbas programmu klstu un to ar radoi stenot. Tas ir prieknosacjums tam, ka maksimli tiks respekttas viu spjas un vajadzbas. ds piedvjums izgltbas jom rada nepiecieambu pc atbildgiem, profesionliem pedagogiem, kuri ir ne tikai apguvui socilo, specilo pedagoiju, psiholoiju u.c. zintu likumsakarbas un prasmi ts izmantot praks, bet ar prot izmantot informcijas tehnoloijas. Lai ikviens indivds sptu paapliecinties maingaj socilaj vid, viam ir japgst prasme opert ar konkrtiem faktiem, tos ne tikai nodot citiem, bet prast interprett, paust savu persongo attieksmi pret tiem. T k msdiens neviena nozare nav statiska, bet gan, tiei otrdi, atro das neprtraukt attstb, tad svargk par konkrtiem faktiem ir piedvt daudzveidgus ldzekus to atraanai, sistematizanai, saldzinanai, visprinanai u.tml. (Coleman, Earley, 2005). Apkrtjs pasaules daudzveidbas uztveres un apjganas proces cilvks aktvi iz manto sajtu orgnus. Sajtas iesaists vienot uztveres proces. Uztveres rezultt apzi veidojas uztveres tli. Tie saglabjas atmi k priekstati un atspoguo stenbu tiei un konkrti (Zelmenis, 2000). Nevar neemt vr ar tos ptjumus, kas liecina, ka aptuveni 50% cilvku neatkargi no via attstbas lmea informcijas uztveres proces domin audiovizulais kanls. Pdj laik liels cilvku skaits ir uz medijiem orientts (sevii tas attiecas uz tiem, kuriem jau ir pieradums izmantot datoru). Uz medijiem orienttais cilvks izmanto redzi, dzirdi un datoru (Riis, 2002; Warschauer, 1996). ai sakar viens no pedagoga profesionls darbbas aspektiem ir prasme mrtiecgi vizualizt informciju, lai t kst par ldzekli patstvgai izzias darbbai. Atbilstgi teorijm par pedagoisk procesa rjs un iekjs struktras mijiedarbbu un dinamiku, biei pedagoga skaidrojums ir skolna vai studenta izzias procesa skuma posms,
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un tas rada prieknosacjumus jauns informcijas uztverei un apjganai. Tikai pc tam var sekot iegts pieredzes izpratne un atbilstgu prasmju izkopana personbai nozmg darbb, kas vienlaicgi veicina ar analtiski vrtjoas attieksmes veidoanos pret apkrtj pasaul notiekoo, paam pret sevi (Zelmenis, 2000; ogla, 2001). Izmantojot msdienu informcijas tehnoloijas, pastv iespjas os atveidojumus demonstrt ar pai sagatavotm datnm. Tas ne tikai atvieglo pedagoga darbu, bet ar rada iespjas informcijas publiskoanai izmantot daudzveidgus ldzekus - kartes, modeus, tabulas u.tml. un tos bagtint ar dinamiskm un mrorienttm prvrtbm. Informcijas publiskoana, izmantojot informcijas tehnoloijas, ir publisks uzstans veids, kur dadm cilvku grupm var piedvt faktus un idejas interesant, saisto un prliecino form, vi enlaikus izmantojot tekstu un attlu. Ja pedagogs izzias cea skum veiksmgi izmanto Ms PowerPoint programmas iespjas informcijas publiskoanai, tad informcijas uztvrjs vienlaicgi un veselum apgst gan verblo, gan slaidos vizualizto informciju. Ar valodas un attla paldzbu radtie priekstati ir balstti uz cilvka priekzinanm. Tie veido tiltu starp zinmo un nezinmo, aktvi sk darboties atmia un iztle un notiek jgpilna mcans (Cole man, Earley, 2005; Dukulis, 2006). T k informcijas publiskoanas proces ir gan informcijas prraidtjs (adresants), gan ts samjs (adrests), tad pastv divi savstarpji saistti mri. Ja adresanta mris ir informt, atgdint, motivt, pateikties u.c., tad adresta mris ir gt nodergu informciju, izirties par piedvjuma lietoanu, lietdergi pavadt lai u.c. Informcijas proces pastv dia logs starp adresantu un adrestu (lastju, skattju, klaustju), un tas veicina informcijas iz pratni, izzias aktivitti un savstarpju bagtinanos (Ramsey, 2004; Coleman, Earley, 2005; Dukulis, 2006). Veiksmgi sagatavotu demonstranai paredzto materilu ar pedagoiskaj proces var mrtiecgi izmantot indivda pozcijas, prliecbas un kompetenu veidoanai, pat ietekmanai, jo mcans ir cilvcisks uzvedbas prmaias, un ts rodas, apstrdjot pieredzi (Dukulis, 2006; Gudjons, 2007). Veidojot stimula un reakcijas kopsakarbas, var pankt signlu visprinanu. Lieto jot viena veida efektus un akcentus btiskkajiem fragmentiem informcijas publiskoanas proces, ts uztvrjs rea uz o signlu un izveidojas persongi nozmga attieksme pret o informciju. Indivds analiz, kas ir svargi, ko nepiecieams atcerties. Cilvks, vrojot apkrtni, interpret savus iespaidus, ener darbbas projektus un novrt to stenojumu. Starp modeli, kas ierosina uzvedbu un s uzvedbas stenoanu cilvk pastv svargi kognitvi pro cesi, kuros var saskatt dus savstarpji saisttus posmus: uzmanbas pievrana, iegaumana, reprodukcija un motivcija (Chapelle, 2001). Ja informcijas publiskoanas proces ievada slaid tiek demonstrts kdas darbbas secba vai modelis, tad tam tiek pievrsta uzmanba. Ja pedagogs o sldu atkrto vai demonstr tam ldzgu modeli, tad informcija jau tiek iegaumta. Informcijas tehnoloijas dod iespju gan vienu un to pau informciju vairkkrtgi demonstrt, gan regult tempu, maint komentrus, pielgojot uztvrju vajadzbm, radt apstkus, ka informciju var vrot un uzt vert ar patstvgi bez pedagoga iejaukans u.tml. Mcans proces notiek daudzpakpju informcijas prstrde. Vispirms informcija tiek ievadta, kodta, saglabjas slaicgaj atmi, un tikai pc tam notiek ts tlk virzans uz ilglaicgo atmiu, kas steno kdu mri vai motvu. Tai pa laik nevar neemt vr, ka, saldzinot cilvku un datoru, cilvka smadzenes ir procesu vadtjs un koordintjs, bet dators ir iekrta, kas darbojas jau pc ieprogrammta, tam nemainma algoritma (Chapelle, 2001). Lai izmantotu ldzbu starp cilvka smadzeu un procesora darbbu, informcijas publiskoanas sldu izveid svargi izmantot dus principus:
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 mcbu satura sistmiskums; saistba starp sistmas posmiem, veidojot saskares punktus; mcbu saturs atklts, izmantojot vizulos tlus un simbolus u.c. T k ptjuma mra grupa ir cilvki ar specilm vajadzbm, tad, domjot par to, k informcijas vizualizcija var ietekmt viu mcanos, nozmgi ir di faktori: cilvka attstbas un ldzinjs mcans pieredze, pieejamie palgldzeki un iespjas tos izmantot, funkcionl traucjuma veids un t saretbas pakpe, traucjuma pardans brdis, iespjam kombincija ar citiem traucjumiem, socil atbalsta iespjas (Demidova, 2007). Paldzot mcties cilvkiem ar specilm vajadzbm, dadi mcbu principi tiek realizti kopveselum, jo tikai is kopums nodroina izgltbas programmas mra un uzde vumu stenoanu, nosaka mrtiecgku mcbu metou un formu izvli. Pedagoiskaj proces cilvkiem ar specilm vajadzbm dominjoie ir uzskatmbas, praktisks darbbas un vrda vienotbas principi to mijiedarbb (Freimanis, 2007). Tas auj secint, ka informcijas publiskoana ar informcijas tehnoloiju paldzbu var nodroint uzskatmbas un vrda vienotbu praktisk darbb. K rda emprisk pieredze, izmantojot Ms PowerPoint programmu racionli un radoi, pedagogs pank lielku skolna vai studenta izzias darbbas aktivitti, jo verblo informciju konkretiz objektu atveidojumi vizuli. Saturiski bagtu un emocionli prdomtu pedagoga runu papildina atbilstgi sldi. Informcijas vizulais tls un verblie ldzeki sintez atmi fiksto informciju sistmisks satura vienbs, saglabjot uztveres un satura jgas veselumu (Coleman, Earley, 2005; Rychen,Tiana, 2004). Praks pastv dadas iespjas, kas informcijas publiskoanu padara saistou, daudzkrsainu un pieejamu atbilstgi vajadzbm. Emprisk ptjuma laik atkljs, ka pedagoiskaj proces ar cilvkiem ar specilajm vajadzbm svargi ir domt par slda izkrtojumu, svargk akcentanu, fona krsu un ts maiu, darbbu secgumu informcijas demonstranas laik, asociciju veidoanu, komentru saturu un formu, informcijas demonstranas vadbu u.c. Izvloties atirgus slaida izkrtojumus, var akcentt mcbu satur svargko un papildint to ar atbilstgiem objektiem: tekstu, zmjumiem, diagrammm, shmm, tabulm u.c. Tas auj informciju saldzint, pretstatt, grupt u.tml. Cilvkiem ar specilm vajadzbm tas nav mazsvargi, jo viiem ir dada uztveres pieredze un iespjas, domanas lmenis u.c. vajadzbas. Izmantojot Ms PowerPoint programmu, tiek nodrointa ar svargk akcentana: atsevias rindkopas krsas, lieluma vai formatjuma maia, atseviu vrdu uzsvars, objektu, vrdu pasvtrojumi, apvilkana ar zmtu figru, nordes ar automtisko formu u.c. Tas auj piesaistt uzmanbu tiei tai informcijai, kas btiska, lai stimultu ts uztveri, sapratni, izpratni un tlko izmantoanu. T k cilvkiem ar pam vajadzbm biei ir ar redzes, dzirdes u.c. traucjumi, tad demonstranai izmanto sldu fona krsu un ts maia pastiprina uzmanbu. Izvlt slaida krsa dod iespju akcentt informcijas saturu, izdalt svargko taj, grupt, saldzint, visprint un izmantot citas domanas opercijas informcijas uztveres, sapratnes un izpratnes laik. Empriskie ptjumi rda, ka cilvkiem ar specilm vajadzbm nav mazsvargi ar tas, kda ir darbbu secba informcijas demonstranas laik. Ms PowerPoint programma auj piesaistt informcijas uztvrja uzmanbu un pakpeniski izsekot piedvtajai informcijai, kt par aktvu ts uztvrju. Veidojot pamatobjektu, pievienojot maings slaida daas, nordot ar zmtajiem objekti em darbbu secbu, ja nepiecieams, uzkljot uz eso slaida jaunu pamatobjektu u.tml., informcijas
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uztveres process kst dinamisks, un cilvks taj aktvi iesaists. T k, publiskojot informciju ar PowerPoint programmu, noteicoais nav teksts, bet gan vizul informcija, tad vizulie tli pastiprina asocicijas un atvieglo tekst ietvert satura apguvi. Notiek ar asociatvs domanas stimulana. Pedagoiskaj proces ne mazk svargi ir vizulajai informcijai pievienotie komentri. Emprisk pieredze rda, ka cilvkiem ar specilm vajadzbm ir svargi ne tikai, kds ir komentra saturs, bet ar, kd form tas pievienots demonstranai paredztaj slaid, k is komentrs saskan ar to, ko pedagogs piedv informcijas publiskoanas laik. T k informcijas uztvere vienlaikus norit dads joms: kognitvaj, emocionlaj un lingvistiskaj zi, tad svargs ir pedagoga runas teksts. Runa nevar bt haotiska, spontna, liekvrdga un sareti konstruta. paa vrba jpievr leksmm, kas apzm sim bolus, kam dads kultrs ir atirga jga. Svargs ir ar runas temps, vrdu krjums no leksikostilistisk viedoka. Verblo informcijas pastiprinjumam noder skatiens, se jas izteiksme, kustbas, esti u.c. neverblie ldzeki. Cilvkiem ar specilm vajadzbm paredztajm instrukcijm, pamudinjumiem u.c. komentriem jbt maksimli precziem. Tos vienlaicgi nedrkst izteikt vairkus vai ar vienu un to pau komentru dados veidos, jo tas apgrtina uztveri, biei ie cilvki nespj dzirdto vai slaid lasto informciju saldzint, visprint u.tml. Cie saistb ar iepriek izteiktajiem apgalvojumiem par to, kdas iespjas pastv vizualizt un tdejdi paldzt vieglk uztvert informciju pedagoiskaj proces cilvkiem ar pam vajadzbm ir ar informcijas publiskoanas vadba. Informcijas publiskoanai iz mantotie tehniskie ldzeki piedv iespjas visiem pedagoisk procesa dalbniekiem maint ieprieknoteikto sldu secbu, atgriezties pie svargkajiem jautjumiem, saemt plaku informciju par apgstamo saturu u.c. (Dukulis, 2006). Tas spcina pedagoisk procesa dalbnieku izzias darbbas aktivitti, ldz ar to ar pozitvas emocionls vides veidoanos, dadu socilo prasmju apguvi un paapziu (Vidnere, 1999; Ramsey, 2004; Rychen,Tiana, 2004). Secinjumi Valsts mizgltbas politika, paredz, ka valsts pienkums ir tiesiski, organizatoriski, finansili nodroint atbalstu katra iedzvotja izgltbai, lai tdejdi sekmtu via uzmbu, nodarbintbu un adaptcijas spjas, aktvu pilsonisku ldzdalbu un socilo iekauanos, persongo papilnveidi dados dzves posmos ma garum. Ar cilvkiem ar specilm vajadzbm ir svargi apgt pieredzi, kas auj viiem atbilstgi spjm novrtt savu vietu socilaj vid un ar atrast iespjas iekauties sabiedrb. Viens no svargiem uzdevumiem pedagoiskaj proces cilvkiem ar specilm vajadzbm ir piedvt informciju, kas paldz apgt jaunu pieredzi un to izmantot konkrts situcijs, t veicinot personbas tlko attstbu. Msdienu pedagoiskaj arvien lielku vietu ieem ar informcijas tehnoloijas. Ts auj daudzveidgi publiskot informciju. No pedagoga profesionalittes ir atkargs, k un cik radoi vi spj integrt savu un informcijas uztvrju intelektu, emocionlo un socilo pieredzi un datnes tehnisks iespjas, nodroint izzias darbbas aktivitti, emocionlo un socilo vidi personbas attstbai atbilstgi vias spjm un vajadzbm. Informcijas vizualizana pedagoiskaj proces cilvkiem ar specilm vajadzbm nodroina uzskatmbas un vrda vienotbas principu un ir atbilstgka viu individulajm vajadzbm un spjm sintezt atmi fiksto informciju sistmisks satura vienbs, saglabjot uztveres un satura jgas veselumu.
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Literatras saraksts 1. Chapelle, C. (2001). Computer Application in second Language Acquisition Foundations for Teaching, Testing and Research. Iowa State University, The Pitt Building: Cambridge University Press. 2. Coleman, M., Earley, P. (2005) Leadership and Managament in Education. Oxford: Oxford University Press, 234p. 3. Demidova, G. (2007) Psiholoija iekaujoaj izgltb. Mcbu materils. ESF projekts Pedagogu profesionls pilnveides programmas Profesionls izgltbas pedagogu, kuri strd ar jaunieiem ar specilm vajadzbm, profesionl pilnveide satura un metodisk materila izstrde un mcbu materils bzes nodroinana. 4. Dukulis, I. (2006) Apgsim jauno Powerpoint! Rga: Biznesa augstskola Turba, 144lpp. 5. Freimanis, I. (2007) Ieskats specils skolas darb. Rga: RAKA. 271lpp. 6. Garleja, R. (2006) Cilvkpotencils socil vid. Rga: RaKa, 199lpp. 7. Gudjons, H. (2007) Pedagoijas pamatatzias. Rga: Zvaigzne ABC, 394lpp. 8. Izgltbas attstbas pamatnostdnes 2007.2013. gadam. http://www.izm.izm.gov.lv/.../izm_260906_izgl_ att_pamatnost_2007-2013.doc. (10.09.2009.) 9. Komenskis, J.A. (1992) Liel didaktika. Rga: Zvaigzne ABC, 229lpp. 10. Latvijas izaugsmes modelis: Cilvks pirmaj viet. http://www.saeima.lv/bi8/ lasa?dd=LM0815_0 (03.09.2009.) 11. Ramsey, P.G. (2004) Teaching and Learning in a Diverse World. New York: Teachers College Press, 274p. 12. Rychen, D.S., Tiana, A. (2004) Developing Competencies in Education: Some Lessons from International and National Experience. UNESCO: International Bureau of Education, 80 p. 13. Riis, J. (2002) Mcans spju attstana. Rga: Ptergailis, 57lpp. 14. Vidnere, M. (1999) Prdzvojumu pieredzes psiholoija. Teortisks un praktisks atzias. Rga: RaKa, 73lpp. 15. Zelmenis, V. (2000) Pedagoijas pamati. Rga: RAKA, 291lpp. 16. ogla, I. (2001) Didaktikas teortiskie pamati. Rga: RaKa, 275lpp. 17. Warschauer, M. (1996). Computer-Assisted Language Learning. Tokyo: Logos International. Prof. Dr.paed. Zenta Anspoka Rgas Pedagoijas un izgltbas vadbas akadmija Adrese: Imantas 7.lnija 1, Rga, LV-1083, Latvija Tlr.: +37129184091, E-pasts: zenta.anspoka@rpiva.lv Doc. Mg.sc.soc. Solveiga Serkova RPIVA doktorante Adrese: Imantas 7.lnija 1, Rga, LV-1083, Latvija Tlr.: +371 29412594 E-pasts: solveiga.serkova@siva.gov.lv

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Ilga Prudikova. Vairk nek desmit gadus pedagoij izman toju netradicionls mcbu metodes un, respektjot izgltojam ar attstbas traucjumiem piepli nkams personbas veidoan, cenos ievrot trs bauus: 1. Skaties uz brnu ! 2. Netrauc brnu ! 3. Paldzi brnam izdart to paam ! Praks prbaudtais auj apgalvot, ka izgltojamie ar attstbas traucjumiem sk apzinties savu nozmgumu un stenot savas iespjas. Vaasprieki: ceoana, ritebraukana, slpoana Ilga Prudikova Rzeknes Augstskola Latvija

Prasmju veidoana skolniem ar smagiem gargs attstbas traucjumiem specil interntpamatskol

Kopsavilkums Ievads. Specilo izgltbas vajadzbu kvalitatva nodroinana iekaujo vid Latvij ir viens no izgltbas politikas prioritriem virzieniem. Darba mris. Noskaidro, vai kvalitatva izgltba ir pieejama skolniem ar smagiem gargs attstbas traucjumiem. Materili un metodes. Zintnisks literatras teortisk analze. Datu iegan tiek izmantota kvantitatv un kvalitatv metode, lai iepaztos ar vecku viedokli. Rezultti. Izveidota specili sagatavota attstoa vide, kur tiek attsttas uz kreatvu darbbu orientjoas prasmes. Secinjumi. Virzans uz radoo darbbu ir iespjama tikai ar darbbas brvprtgu izpildi. Atslgas vrdi: specil izgltba, skolni ar smagiem gargs attstbas traucjumiem, M. Montesori pedagoija, uz kreatvu darbbu orientjos prasmes.

Skills modeling of the educatees of severe mental age disturbance at specialprimary boarding school
SUMMARY Introduction. In Latvia, serious attention is paid to the questions of incorporation education, because starting from the second half of the 20th century this kind of education has become an important branch of education development all over the world. An important notice is taken regarding the integration of educates of disturbance of development (including of se vere mental age disturbance) into the comprehensive schools, where the pedagogues, besides the knowledge of general children psychology, must obtain profound special pedagogy and psychology knowledge, in order to help the educatee of mental age disturbance to overcome the difficulties during the studying process and to succeed their integration and adaptation among their contemporaries. All the countries have difficult historical experience regarding the care of those citi zens who have disturbance in their physical as well as in their mental age.
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To implement into the practical life the approach regarding the accessibility of educa tion for each educatee that is also stated at the UNO Children Rights Convention, UNO Decla ration Regarding Education to Everybody, UNO Standard Terms Regarding People of Special Needs, is an important activity cared for by the state and the society. The development of new special education models is important, basing on the positive local and foreign experience and investigations. It has already been improved that also the men of low mentality, if regarding educated, are able to obtain many achievements of mankind, besides this process being reflexive. The development of new skills and acquirements has deep impression on the growth of a man. Aim of the study. To ascertain if a qualitative education is accessible to the educatee of severe mental age disturbance, as well as to which extent incorporative are the environment and the society. To ascertain what is the attitude of the pupils toward the attendance of the school. To ascertain the sills oriented to the creative work of the educatee of severe mental age disturbance. The aim of the interview is to get acquainted with the point of view of the parents regarding the behavior of the educatees of severe mental age disturbance, their reactions outside the school, because the parents have more prolonged experience of interrelation with their child and that can be of great help to the pedagogue in characterizing his development. Materials and methods. In the article, the investigations by special pedagogues and psychologists: S. Liepina, S. Rubinshtein, L.S. Vigotsky, R. Vigante, etc., are reflected regard ing the peculiarities if the cognition process of the educates of severe mental age disturbance. Having a good knowledge of the peculiarities of the development of the pupils of men tal age disturbance, the level of the education and taking into account the common characteris tics of the childrens age periods, it is possible to successively fulfill the educational process, as well as enable the development of these pupils and the correction of the drawbacks. The aims of the education reach far more than the acquirement of simple skills and is connected with the development of the personality al one whole. Anyway, it can be agreed that although these individuals have impressive damages into the general intellectual activities, they may have comparatively greater abilities in some areas than the others (Liepina, 2008). It is clear that all the pupils will never reach some certain aims, but it is not permissible to hinder the development progress process of the pupil. The point of view of the parents of the educatees of severe mental age disturbance is cleared up regarding the attitude against the attendance of the school. The data are obtained and investigated regarding the behavior, reactions outside the school of the educates of severe mental age disturbance. The qualitative method was used while obtaining the data. Results. The investigation is carried out at Riga Special Boarding Primary School, where the correction work in the classroom, within the work of studies and education, is passing into especially prepared developing environment. The child himself can choose the activities and make his own social contacts. The prepared environment can be pictured as a triangle (Picture Nr. 1) on one apex of which is the educatee, who is being respected as personality and individual with the character traits he has, the development peculiarities and the rhythm of the activities. The other apex is a specially prepared environment, that correspond to the needs of the educatee and allows him to obtain the total of objects and phenomena. The third apex is a specially prepared teacher whose role is to help to develop the capacities of the child. The questionnaire of the parents of eleven educatees of severe mental age disturbance was done with the aim to clear up if the educates are attending the school willingly Table Nr. 1. The summarized results indicate that 91 % of the respondents have positive attitude against the special boarding primary school.
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The point of view of the parents of the educates of severe mental age disturbance is cleared up regarding the childrens behavior, reactions outside the school. The individual interview is used in the present investigation where one of the conver sation participants is inquirer, the other answerer. Basing on the acquired information within the range of the investigation, the compre hension was acquired, as well as interesting indirect materials characterizing the researched persons - Table Nr. 2. Basing on the analysis of the data of the qualitative investigation, it can be judged that within the prepared environment the educates of severe mental age disturbance the skills ori ented on creative activities are developed. Conclusions. 1. In order to promote the skills development of the pupils of severe mental age disturbance, the understanding and satisfaction of his needs is required. They must be helped to get rid of the stress connected with the unknown, the need for the greater experience, that is de monstrative and concrete, must be satisfied, they must be helped to create the motivation in order these pupils to have the possibility to acquire new personality qualities 2. The environment suitable for the pupil must be created at modern special school, con taining rich material range in order to make the need for new impressions and to im prove the communication, to adapt the pupil to freedom and to obligations, which he learns to undertake himself. 3. If the environment also at home is promoting the activities, if there are close people who understand and help, then the pupil of severe mental age disturbance starts to be interested into the world. 4. The pedagogue or the parents must be only the helpers of the child at a certain moment and period of time. He must be well prepared because he fills the time of the child. The pedagogue organizes the child into the environment, different activity expressions. He must respect the wishes of the child because they promote the development of the child. The freedom and the ability to choose for the children of the development disturbance must be directed. 5. The skills orienting to creative activity in some spheres can be developed into the edu cates with severe mental age disturbances. Key words: severe mental age disturbances, Montesori pedagogical system, skills ori enting to creative activity. Ievads Skolnu ar smagiem gargs attstbas traucjumiem mcanas un audzinanas jga ir viu pc iespjas pilngka iekauana ne tikai skol, bet vis sabiedrb, iesaistana socil vid. Specilo izgltbas vajadzbu nodroinana iekaujo vid Latvij ir viens no izgltbas politikas prioritriem virzieniem, tas konkrtu uzdevumu veid iekauts Izgltbas attstbas pamatnostdns 2007.-2013.gadam. Vism valstm ir smaga vsturiska pieredze to pilsou aprp, kuriem ir traucjumi gan fiziskaj, gan gargaj attstb. Ldz ar prorientanos uz Rietumu vrtbm ar mri radt nosacjumus neatkrtojamas, uniklas individualittes attstbai, pareiz Latvijas izgltbas iestds iezmjas divas bstamas tendences: 1. baidoties nodart pri brna dabai ar mrtiecgi virztu audzinanu, brna aktivittm netiek izvirztas prasbas un ierobeojumi;
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2. nezinot, k radt brnam atbilstou mcbu vidi un k paldzt viam attstt motivciju, lai vi pats k ptnieks veidotu savu pieredzi, pedagogi biei atgrieas pie iepriekj perioda voluntrs pedagoijas (Lieeniece, 1999). Pedagogus un psihologus nodarbina jautjums kdas efektvkas metodikas izstrdt, lai vartu attstt un pilnveidot mcans spjas, k radt pareizus apstkus, lai apgtu attiecgas zinanas un prasmes. Interntpamatskolai odienas kultrsitucij, kad netiek apmierintas lielas skolnu vecku daas primrs vajadzbas, kad sabiedrb pards tikumiska rakstura problmas, ir jkst par brna personbas attstbas primro faktoru, jo biei imene nevar s funkcijas kvalitatvi veikt. eit ir t vide, kur brns dzvo pietuvintos imenes un skolas apstkos; t ir mcans vide, ko veido cilvki, lietas, fizisk vide, audzinanas ldzeki. Marijas Montesori idejas ir iekarojuas pasauli XX gadsimta skum un ar jauno pedagoijas mesiju tkstoiem cilvku tika iepazstinti jau 1913. gad (Strtis, 1932), kur iemcans balsts uz paa brna individulo darbu, brvbu, kuru vi izmanto organiztaj individulaj darb, brna spju koncentrt uzmanbu individulajam darbam. stenot praktiskaj dzv nostdni par izgltbas pieejambu katram izgltojamajam, kas ir ar noteikta ANO Brnu tiesbu konvencij, ANO Deklarcij par izgltbu ikvienam, ANO Standartu noteikumos par iespjm cilvkiem ar specilm vajadzbm ir svargs paskums, par ko rpjas valsts un sabiedrba. Svarga ir jaunu specils izgltbas modeu veidoana, balsto ties uz pau un rzemju pozitvo pieredzi un ptjumiem. Ir jau pierdjies, ka ar cilvki ar zemm prta spjm, ja vien tiek radti pareizi apstki un ir apgtas attiecgas zinanas un prasmes, attiecgi mcti, spj apgt daudzus civilizcijas sasniegumus, pie tam is process ir atgriezenisks; jaunu prasmju un iemau veidoanai ir liela ietekme uz cilvka attstbu. Nepiecieams rast tdu pieeju skolna mcanas procesam, lai zinanu un prasmju apguve prvrstos aizraujo izzias darbbas proces. Darba mris Noskaidrot, vai kvalitatva izgltba ir pieejama skolniem ar smagiem gargs attstbas traucjumiem, cik iekaujoa ir vide un sabiedrba, kda ir viu attieksme pret skolu. Noskaidrot, kdas ir skolnu ar smagiem gargs attstbas traucjumiem kreatvs darbbas prasmes. Inter vijas mris ir izptt vecku viedokli par skolnu ar smagiem gargs attstbas traucjumiem izturanos rpus skolas, jo veckiem ir ilgstokas saskarsmes pieredze ar savu brnu, un viu viedoklis var paldzt pedagogam plnot turpmko darbu. Materili un metodes Rakst atspoguoti specilo pedagogu un psihologu ptjumi par izzias procesa patnbm izgltojamajiem ar smagiem gargs attstbas traucjumiem. Noskaidrots izgltojamo ar smagiem gargs attstbas traucjumiem vecku viedoklis par izgltojamo attieksmi pret skolas apmekljumu, iegti un apstrdti dati par izgltojamo ar smagiem gargs attstbas traucjumiem izturanos, reakcijm rpus skolas. Datu iegan tika izmantota kvalitatv ptanas metode. 1. Skolnu ar smagiem gargs attstbas traucjumiem izzias procesa patnbas Izzias procesu izgltojamiem ar smagiem gargs attstbas traucjumiem ir ptjui daudzi specilie pedagogi un psihologi: S. Liepia, S. Rubinteins, L.S. Vigotskis, R. Vgante u.c. Garg atpalicba ir viens no smagkajiem cilvka attstbas traucjumiem, raugoties no socil aspekta. Jdziens garg atpalicba ietver sev oti daudz patoloijas veidu, kas
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galvenokrt izpauas izzias sfras nepietiekam attstb. Viiem ir jnodroina neprtraukta uzraudzba, jseko brnu sadzves organizcijai, jbt maksimlai uzmanbai katram gan mcbu proces, gan sanitri higinisko iemau veidoan (Vgante, 2007). Latvij par gargi atpalikuu uzskata brnu, kam psihisks darbbas ain centrlo raksturojumu ieem stabili, izteikti un neatgriezeniski intelektuls darbbas traucjumi, kas raduies organisku galvas smadzeu darbbas traucjumu rezultt (Liepia, 2008). Gargs attstbas traucjumi aptver visu psihi kopum; raksturga visu psihisko fun kciju nepietiekamba un intelektulo traucjumu hierarhija. Psihologs L. Vigotskis uzsver, ka augstko psihisko funkciju domanas, loisks atmias, valodas, iztles, gribas, paapzias nepietiekamba ir sekundras novirzes, kuras pado das korekcijas darbam (, 1983). Tas nenozm, ka ir iespjama bezgalga skolna ar gargs attstbas traucjumiem attstba, bet gan to, ka nevar nospraust robeas brna iespjm attstties. Psiholoe S. Liepia atzm, ka nozmgkais personbas komponents ir ts virzba (Liepia, 2008). Tas iekauj sev motvus, vajadzbas, intereses un izpauas personbas aktivitt. Psihologs S. Rubinteins uzsver domu, ka mcans, darba un citu darbbu motvi skolnam ir zinmi, kaut ar ne prk dzii, bet tie nav kuvui par via persongajiem motviem, kas izriet no via vajadzbm (, 1979). Skolniem ar gargs attstbas traucjumiem ne tikai pirmsskolas vecum, bet ar skolas vecum ir oti zems motvu apzintbas un savstarpjs saskaotbas lmenis, o audzku motvi parasti ir vienpusgi, pamatoti auri organisks vajadzbs (Liepia, 2008). S. Liepia apgalvo, ka o brnu attstba notiek pc tm pam likumbm k normla brna attstba, atirbas ir konstatjamas tikai psihisko noriu dinamik, attstbas temp un, dieml, ar gala rezulttos (Liepia, 2008). Skolni ar smagiem gargs attstbas traucjumiem, pc persongs pieredzes, lielkoties iekaujas apmcmo kategorij. Viu mcans temps ir lns, sapratnes lmenis ievrojami ierobeots. Fiziski vii ir neveikli, ar sliktu motoro koordinciju. Vii spj apgt paaprpes iemaas, adekvti kontaktt, spj mcties. Tomr jpiekrt, kaut ar iem indivdiem ir ievrojami traucjumi visprj intelektul darbb, viiem das joms var bt saldzinoi lielkas spjas nek citiem (Liepia, 2008). Skaidrs, ka visi skolni nekad nesasniegs noteiktus mrus, bet nedrkst bremzt skolna attstbas virzans procesu. 2. Iekaujos vides veidoana Specil izgltba rada iespjas un apstkus izgltojamajiem ar specilajm vajadzbm iegt savam veselbas stvoklim, spjm un attstbas lmenim atbilstou izgltbu jebkur izgltbas iestd, vienlaikus nodroinot izgltojamo pedagoiski psiholoisko un medicnisko korekciju, sagatavotbu darbam un dzvei sabiedrb (Visprjs izgltbas likums, 1999). Specils skolas pasaul (un ar Latvij) ir visprizgltojoo skolu sistmas daa, kas ar savu didaktisko un metodisko darba stilu ir atkargas no invalidittei specifisks diferencanas (Gudjons, 1998). Skols, kas steno tikai specils izgltbas programmas (specils izgltbas iestdes), posm no 1. ldz 12.klasei mcs 9063 skolni ar specilajm vajadzbm (3,61% no kopj izgltojamo skaita). Vl 1045 skolni ar specilajm vajadzbm mcs visprizgltojoo skolu specilajs klass (Izgltbas un zintnes ministrijas mjas lapa). Palaik Latvij ir 62 specils izgltbas iestdes, kur atirb no parastajm visprizgltojom iestdm ir korekcijas un rehabilitcijas nodarbbas, kdas parasts skolas biei vien nevar nodroint (Specil izgltbas centra mjas lapa).
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Rgas 1. specilaj interntpamatskol, klas, kur tiek izvlti sei skolni ar smagiem gargs attstbas traucjumiem mcbu un audzinanas darb, tiek izmantoti M. Montesori pedagoijas sistmas elementi. Korekcijas darbs klas norit gan mcbu, gan audzinanas dar ba ietvaros specili sagatavot attsto vid, kur brns pats var izvlties nodarbbas un veidot savus sabiedriskos kontaktus. Brni tiek iepazstinti ar galvenajiem M. Montesori praktisks dzves, sajtu, valodas un matemtikas vingrinjumiem, pc tam ar to variantiem (Prudikova, 2004). Visu darbbas veidu galvenais uzdevums ir izteikts M. Montesori pedagoijas pamatnostdn: Brns, ms to paldzsim veikt paam (Altermans, aure, 1995). Skolotjs orientjas ar uz audzku aktulo attstbas lmeni. Vi ir tas, kas nodroina izgltajamajam patstvgas un radoas mcans iespjas, rpjas, lai: nodarbba ir interesanta, pievilcga, bez spriedzes, ir nepiecieam drobas izjta, veicinta iztle, radouma brvba. piedvtie uzdevumi balsts uz labi apgtu un izprastu informciju, pirmie soi ir viegli, katram skolnam katr nodarbb vajadzgs ievrots pankums. Izveidoto vidi var attlot k trijstri (1. attls), kura vien virsotn ir skolns, kas tiek respektts k personba un indivds ar viam piemtom pabm, attstbas patnbm un darboans ritmu. Otra virsotne ir specili sagatavota vide, kas atbilst izgltojam vajadzbm un auj viam apgt lietu un pardbu kopumu. Tre virsotne ir specili sagatavots skolotjs, kura loma ir paldzt attstt brna dotumus. Ar savu praktisko iekrtojumu un miera atmosfru sagatavot vide sagd krtbas un nosvrtbas izjtu, kur skolni iegst pieredzi. Viam ir atauta liela brvba, kas balsts uz padisciplnu. ai videi ir japmierina skolna vajadzbas. Katram ir dota iespja eksperimentt un gt pieredzi praktisks dzves, sajtu, valodas, matemtikas, mkslas, mzikas pasaul. Skolni grib atkrtot to, ko zina. Sekmjama ir pozitva emocionla attieksme pret apgstamo mcbu saturu, sevi, apkrtni, krtbu darbbas vid (Hibnere, 2000). Ir pierdts, ka tda uzvedba rji apliecina viu kognitvo izaugsmi un parda, ka ir vajadzgas kognitvs spjas, lai stenotu sevi darbb (Elkind, 1967). Skolotjs ir palgs zinm brd un laik. Via loma jaunkajos mcanas un mcans ptjumos ir definta k mcbu paldzbas eksperti (Lernhilfeexperten) (Reusser, 1995). Skolnam brvba un spja izvlties ir jievirza, viam ir vajadzgs pastiprinjums, ko var dot pozitvs pieaugu atbalsts, kas sekm rj atbalsta prveidoanos par indivda darbbu (aktivitti) motivjoiem iekjiem faktoriem (Chance, 1993). Sagatavotais materils dod iespju saemt daudzpusgu un kvalitatvu paldzbu traucjumu korekcij. Rezultti Ptjums tiek veikts Rgas 1. specilaj interntpamatskol, kuram tiek izvlti sei skolnu ar smagiem gargs attstbas traucjumiem vecki. Nelielo respondentu skaitu noteica gan tas, ka ar Ministru kabineta 2005. gada 27. septembra noteikumiem Nr.735 un Rgas 1. specils interntpamatskolas nolikuma 4.6. punktu klass, kurs mcs izgltojamie ar smagiem gargs attstbas traucjumiem, noteikts ierobeots skolnu skaits (minimlais skolnu skaits ajs klass ir 4 brni, maksimlais - 6). Nelielo respondentu skaitu nosaka ar saretie un daudzveidgie traucjumi, kuru korekcija prasa lielu darbu, neatlaidbu, individulu pieeju un optimismu. Tika veikta vienpadsmit skolnu vecku aptauja ar mri noskaidrot, vai skolni labprt apmekl skolu (skat. 1. tabulu). Apkopotie rezultti liecina, ka pozitva attieksme pret specilo interntpamatskolu ir 91 % aptaujto vecku brniem.
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Veicot vecku interviju, tiek ievroti ptnieka tikas jautjumi: respondentu konfidencialitte, dalbnieka piekriana ptjumam. Skaidri tika izklstts ptjuma mris, k ar respondentiem tika lgta atauja viu atbildes pierakstt (Kroplijs, 2004). Ptjums tiek balstts uz humnisma, mrtiecguma, pctecguma un sistemtiskuma, teorijas un prakses vienotbas, individualizcijas un diferencicijas, socilo attieksmju veicinanas principiem. Jem vr, ka da brna intelekts funkcion savdk, mazk produktvi nek citiem brniem, aptaujt os brnus nevar, jo vii nav spjgi izteikt savas domas, tpc ptniekam btiski ir noskaidrot o brnu vecku viedokli, lai atkltu brnu darbbas patnbas cit vid, lai runtu par kvalitti k pilnveidi (Harvey, Green, 1993). pieeja uzsver tiei neprtraukts pilnveides, uzlabojumu aspektu. T centrjas idej, ka cilvka mentalittei kvalittes sasniegana ir btiska un ka pedagogs jebkur brd vislabk zina, kda ir maksiml iespjam kvalitte. T uzsver pedagoga pienkumu izmantot savu autonomiju un brvbu. Kvalittes k uzlabojumu pieejas trkums ir tas, ka to ir grti padart objektvu, tpc oti btiski ir vecku intervijas rezultti. Grtbas, ar ko sastopas o brnu vecki, daudzjd zi atiras no citu imeu ik dienas rpm. Jau da brna piedzimana rada lielu psiholoisku traumu un ar slodzi visiem imenes locekiem tas it k deform imeni, ts struktru. Vecku reakcijas ir oti dadas. ie vecki ir noslgti, maz kontaktjas, ir izvlgi sav saskarsm. Viiem ir samazints paziu loks, pat kontakti ar radiem. Vrojams augsts jtgums, viegla uzbudinmba k personbas raksturga patnba. Ttad visi ie novrojumi liecina par to, ka visiem veckiem, kuri audzina os seus skolnus ar smagiem gargs attstbas traucjumiem, ir personbas traucjumi. Pamatojoties uz iegto informciju, ptjuma ietvaros tika iegta izpratne, interesan ti netieie materili, kas raksturo brnus. Iegtais materils tika saldzints ar tiem sociliem apstkiem, izgltbu, imenes raksturu, dzves vietu, kas raksturo aptaujtos. Intervijas noritja pc strukturtiem, iepriek sastdtiem vienkriem jautjumiem, lai iedrointu veckus piedalties intervij. Respondentiem tika vaicts: k brns rea, kad ierauga mjs sveas lietas, k rea, kad mjs ierodas ciemii, k vi iesaists, kad gatavojat dienu, k izpauas neapmierintba, k izpauas prieks, k uzvedas kop ar imeni sabiedrisks viets, k pilda sev uztictos pienkumus, k pilda izvltos uzdevumus, ar ko veido kontaktus. Pielikum ir analizti viena skolna vecka mtes atbildes uz uzdotiem jautjumiem. Intervijas satura vienbas, kategorijas, jdzieni atspoguoti 2. tabul pielikum, kur var secint, ka izgltojam ar smagiem gargs attstbas traucjumiem darbb vrojamas uz kreatvu darbbu orientjos prasmes. Mints prasmes ir oti elementras, tomr liecina par radouma iezmm, piemram, veidojumi no sniega, dienu rotana, no redsa gabaliiem veidojot dadus ziedus, k ar savdabgi zmjumi un krsu izvle. Par kreatvu darbbu uzskatma o brnu vlme izrott dzvokli svtkos, ttad paiem radt skaisto apkrtj vid. Klausoties mziku vai skatoties tetra izrdi, emocijs un jts vii pau iekjo attieksmi, ar t ir radouma izpausme. Secinjumi 1. Lai veicintu skolna ar smagiem gargs attstbas traucjumiem prasmju attstbu, nepiecieama viu vajadzbu sapratne un apmierinana. Viiem ir jpaldz atbrvoties no ar nezinmo saistt stresa, japmierina vajadzba pc lielkas pieredzes, kas ir uzskatma un konkrta, jpaldz radt motivciju, lai iem skolniem btu iespja iegt jaunas personbas pabas. 2. Msdienu specil skol ir jnodroina skolnam atbilstoa vide ar bagtu materilu klstu, lai veidotu vajadzbu pc jauniem iespaidiem un pilnveidotu saskarsmi, radintu skolnu pie brvbas un saistbm, kuras vi mcs uzemties pats.
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3. Ja apkrtj vide ar mjs ir darbbu rosinoa, tuvinieki, kas saprot un paldz, tad skolns ar smagiem gargs attstbas traucjumiem sk par o pasauli interesties. 4. Pedagogam vai veckam ir jbt tikai brna palgam zinm brd un laik. Viam ir jbt labi sagatavotam, jo vi aizpilda brna laiku. Pedagogs organiz brnu vid, dads darbbas izpausms. Viam ir jrespekt brna vlmes, jo ts virza brna attstbu. Brniem ar attstbas traucjumiem brvba un spja izvlties ir jievirza. 5. Izgltojamie ar smagiem gargs attstbas traucjumiem das joms var attstt uz kreatvu darbbu orientjoas prasmes.
Literatras saraksts Altermans K., aure A. (1995) Brns, ms tev paldzsim to veikt paam! Rga: Izgltba, 93.lpp. Chance P. (1993) The Hidden treasures of Extrinsic Rewards//phi Delta Kappan N. 74. p. 200-207. Elkind D. (1967) Piaget and Montesori//Harvard Educational Review, Fall N37. p. 535 545. Gudjons H. (1998). Pedagoijas pamatatzias.Rga: Zvaigzne ABC, 397 lpp.. Harvey, L., Green, D. (1993). Defining Quality. Assessment and Evaluation in Higher Education, Vol 18 No.1, pp.9-35. 6. Hibnere V., Grasmane L. (2000) Brna vizul darbba. Rga: RaKa, 342.lpp. 7. Kroplijs A., Raevska M., (2004) Kvalitatvs ptniecbas metodes socilajs zintns. Rga: RaKa, 178 lpp. 8. Lieeniece D. (1999) Kopveseluma pieeja audzinan.Rga: RaKa, 262.lpp. 9. Liepia S. (2003) Specil psiholoija. Rga: RaKa, 312. lpp. 10. Liepia S. (2008) Specil psiholoija. Rga: RaKa, 397. lpp. 11. Prudikova I. (2004) Montesori pedagoija ikdien. Rga: RaKa, 180.lpp. 12. Reusser.K.(1995) Lehr- Lern- Kultur im Wandel: Zur Neuorientierung der kognitiven Lernforschung.//R. Dubs /R. Drig (eds): Dialog Wissenschaft und Praxis. St. Gallen: IWP, Universitt St. Gallen. 164-190. 13. Skujia, V. u. c.(2000) Pedagoijas terminu skaidrojo vrdnca. Rga: Apgds Zvaigzne ABC, 248. lpp. 14. Strtis J. (1932) Palgskola. Mazspjgo brnu skola. Rga: Esperanto, 68.lpp. 15. Vgante R.(2007) Izgltojamo ar smagiem gargs attstbas traucjumiem integranas iespjas. Starptautisks zintnisks konferences materili,Rzekne:RA izdevniecba, 148.- 152.lpp. 16. . .(1983) . ocka: ea, 174 c. 17. . . (1979) a . ocka: oee, 192 c. 18. Izgltbas attstbas pamatnostdnes 2007.-2013. g. www..izm.gov.lv/norma tivie-akti/politikas-plano sa na/1016.html - 44k 19. Izgltbas un Zintnes ministrijas mjas lapa www.izm.gov.lv 20. Ministru kabineta noteikumi www.likumi.lv/doc 21. Specil izgltbas centra mjas lapa http://vsic.gov.lv 1. 2. 3. 4. 5. Ilga Prudikova Mg. paed., Rzeknes Augstskola Atbrvoanas aleja 115, Rzekne Tlr.: 29102 257, e-pasts: ilga2@inbox.lv

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PielikumS APPENDIX 1. attls Izveidots vides modelis (Prudikova, 2009) Picture 1 The model of the created environment (Prudnikova 2009)
Izgltojamais

Vide

Skolotjs

1. tabula Izgltojamo attieksme pret skolas apmekljumu Table 1 The attitude of the educatees towards attending the school
Skolotjs Vecku skaits Pozitvi 10 Negatvi Atturjs 1

2. tabula Intervijas satura vienbas, kategorijas, jdzieni (Prudikova, 2009) Table 2 The content units, categories, conceptsof the interview (Prudnikova, 2009)
Satura vienbas Atnes to, ko paldzu Dodas ldzi uz veikalu, stumj iepirkumu grozu Ziem tra mjas priek sniegu, veido dvainus sniega bumbu tlus Vro, ko gatavoju vakaris, no redsiem izveido putes Mcs nosaukt gatavojamo dienu kompo nentus Klauss, kad skai lasu pasaku iltavas, uz papra zm iespaidgas suu acis Gaida, kad uzslavu, tad sasit plaukstas Zm labprt mju ar brvu roku, bazncu ar daudziem krsainiem torniem auj apgriezt nagus Labprt baro suni, nosauc dadas spalvu krsas Paliek viesistab, kad atnk ciemii, vro no attluma Klauss Bon Dovi dziesmas, dungo ldzi Kategorija Paldztja sindroms Vlme piedalties Iztle Vrgums, iztle Runanas prasmes, vlme piedalties Klausans prasmes, iztle

Jdziens Motivcija Personbas iezmes

Uz kreatvu darbbu orientjos prasmes Uz kreatvu darbbu orientjos prasmes Motivcija

Uz kreatvu darbbu orientjos prasmes Runas sapratne, tiekans pc uzslavas Motivcija Grafo motors prasmes, vrgums, Uz kreatvu darbbu plastiskums orientjos prasmes Atvrtba jaunajam Personbas iezmes Uzmanba, vrgums Uz kreatvu darbbu orientjos prasmes Interese par nezinmo Personbas iezmes Emociju izpausme Tieksme pc tuvbas Sadzves estetizcija Vajadzba pc lielkas pieredzes Bagtinans iespjas Uz kreatvu darbbu orientjos prasmes Personbas iezmes Uz kreatvu darbbu orientjos prasmes Personbas iezmes Uz kreatvu darbbu orientjos prasmes

Vakario ar prjiem imenes locekiem Piedals, kad rotjam Ziemassvtkiem mju, patk vt lapu vrtenes Tramvaj braucot skats pa logu Tetr izrdes laik skai nerun, bet dareiz oti skai elpo, pc tam imit 162

Daina Moeika. Zintnisk grda pretendente mijas didaktik, Lat vijas Universitte. Augstk izgltba (bioloijas, mijas, veselbas mcbas skolotja) iegta Daugavpils Pedagoiskaj Universitt. Studijas tika turpintas Latvijas Universitt, mijas fakultt. Papil dus akadmiskajm interesm dabaszintnisks izpratbas jom, patk ceot gan pa Latviju, gan ar pa tlkm valstm, pai saista silts aus trumu zemes. Jnis Gedrovics. Dr. chem. Strdjis LZA Neorganisks mijas institt (1972-1986), Republikniskaj skolotju kvalifikcijas celanas institt (1986-1991), Rgas 94.vidusskol (1990-1997). Kop 1998.g. doctjs Rgas Pedagoijas un izgltbas vadbas akadmij un Dabas un darba vides institta vadtjs (no 2008.g.). Pta dabaszintu didaktikas problmas, k ar darba vides jautjumus izgltbas iestds (pedagoisk ergonomika). Intereses: Ziemevalstu kultra. Dagnija Cdere. Latvijas Universitte. Beigusi Latvijas Universittes mijas fakultti (1970.g.), veic pedagoisko darbu LU mijas fakultt, docjot vairkus studiju kursus mijas un mijas didaktikas jom. mijas didaktikas centra vadtja. Ptniecisk darbba veltta mijas mcbu procesa izptei un pilnveidei. Piedals starptautisks konferencs par dabaszintu izgltbas problmm. Brvo laiku paras ti velta imenei, patk ceot. Vaasprieks drzkopba. DAINA MOEIKA Latvijas Universitte Latvija JNIS GEDROVICS Rgas Pedagoijas un izgltbas vadbas akadmija Latvija DAGNIJA CDERE Latvijas Universitte Latvija

TELPISKIE DOMU MODEI RADOUMA VEICINANAI MIJAS MCBS

Kopsavilkums Ievads. Msdienu skolni izjt mcbu motivcijas un intereses trkumu, nesaskata kopsakarbas starp zinanm un to praktisko pielietojumu dzv. Darba mris. Izptt telpiska domu modea izmantoanas iespjas radoas domanas attstan, mcoties miju. Materili un metodes. Tematisku kopsaistbu atraana un to radoa interpretcija, izmantojot telpisku domu modeli. Rezultti. Aprobcijas gait iegtas pozitvas atsauksmes no skolotjiem un skolniem. Telpiskais
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domu modelis paldz organizt skolnu radoo darbbu, kopsaistot atsevius tematus. Secinjumi. Mcbu process kst radoks, skolni labk izprot mijas nozmi, palielins izzias interese un mcbu stundu efektivitte. Atslgas vrdi: rado domana, telpiskais domu modelis, kopsaistbas, mijas mcbas.

SPATIAL MIND MODELS AS PROMOTERS OF CREATIVITY IN CHEMISTRY EDUCATION

Summary Introduction. Educational process in chemistry and science is oriented towards stu dents individual social usefulness in their future. The emphasis is on the necessity to activate students thinking potential and developing independent research skills. Therefore finding the teaching methods and approaches for improving the students life quality by developing think ing skills becomes crucial. Students are open and interested in the processes around them, how ever many of them perceive information as scattered and fragmentary. Despite the tendency in education process from recalling to information selection and using, many students still dont discern connections between theoretical knowledge and practical application in chemistry and lack learning motivation. Thus an understanding of the interlinked processes in nature is not de veloped. Knowledge without understanding has only formal and declarative nature, and do not correspond to the modern educational position. There are comparatively few teaching methods simultaneously promoting creative thinking and linking chemistry to practical life. The meth ods for developing students logical and creative thinking are the urgent need for increasing the quality of chemistry education according to contemporary pedagogical thought. Aim of the study is finding possibilities to apply the spatial mind model to develop creative thinking in learning chemistry. Materials and methods. The method is based on finding topic connections and their interpretation in class. Spatial mind model can be used for enhancing students knowledge, de veloping creative and spatial thinking and promoting cognitive interest. The model uses tetrahe dron (the simplest polyhedron), which is visually easily perceptible. In contrast with the cube, all connections among related topics can be shown simultaneously in a tetrahedron. Edges and planes are used for modelling interconnections. It is possible to operate with the model in two ways: IT or paper form. Example: Chemical transformations. Chemistry curriculum includes the skill of writing reaction equations. This is a problem for both students and the teacher. Using the spatial mind model, the usual chemical transformation chains can be replaced by connections among substances used in everyday life and familiar to the student. The created connections attract the students attention; encourage thoughts and discussions about the role of different substances in our lives. Thus the teacher helps organise the students creative activity in class and systematise their knowledge. Results. The method was tested in three schools in Latvia. The spatial mind model has been pilot-tested in lower secondary school. Independent science teachers (chemistry, biology, and physics) and teachers of geography, history, mathematics, and social science were invited to give their opinion on the method. The teachers were asked to evaluate the spatial mind model and possibilities to use it in teaching their respective science subjects. At the beginning of the discus sion most teachers were sceptical about the new method; later however they were surprised and mostly interested in the spatial mind model. Almost all questions were related to the mind model. It should be taken into account that the method was completely new to the teachers; it was the
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first time they saw the model. The teachers analysed the method first of all in the context of their teaching subject. The method was said to be less useful in mathematics and social sciences, ac cording to the panel of the different subject teachers. Some of the comments made by the teach ers were: The method is interesting. It could really promote the students interest in study topics. The model systemizes incoming information and forms connected knowledge. The model is nice, pleasant and friendly. The method can develop the students creativity and promote the formation of thematic connections. The method is good for science subjects. It was interesting for me; I think it is also inspirational for students. Some drawbacks of the method were also mentioned, such as I have to invest great effort to make the materials. When introducing the model, some students had difficulties to both think about chem istry topics and link their knowledge and experience with other subjects (physics, biology, etc.). However, later learning became creative, interesting and engaging, and at the same time deeper and more reasoned. Students start to think connectively; they do not concentrate only on plain memorising of chemical facts but start to learn about processes in nature from chemistry per spective. It should be mentioned that information filtration, selection and accepting is taking place in using the method. Teachers acknowledge that when using this method students start to learn chemistry with an interest. This teaching method can be used not only for enhance ment of interest but also for fixation of knowledge. In general teachers of chemistry evaluate method as an attractive, comprehensive way of teaching. It is possible to involve all students in the studying process, including those who have difficulties to learn. Overall, students like to work with this model, and that is the most important thing! Teachers indicate that the method helps to engage children in the subject; sometimes it even creates too great interest about a topic. The model helps to understand processes occurring in nature and around the student. Consequently using the model promotes teaching-learning process by actively finding those thematic connections that are focused on the students interests. The method positively influences education process and allows for students creative expression. Conclusions. The teaching method develops students creative and spatial thinking, promotes understanding connected topics and enhances the quality of the process of chemistry education in general. Diverse, creative and dynamic activity in class and thematic connection to the practical life enhances effective and meaningful learning. This method positively affects the study process in general and creates the necessary preconditions for creativity in students activities. The spatial mind model can be used not only for improving the students cognitive interest, but also for obtaining connective systemic knowledge, analyzing incoming informa tion, performing creative activities and developing the students understanding of nature as a cohesive whole in chemistry and other science subjects both in secondary and high school. Knowledge acquired in a creatively self-organized teaching/learning process develops the skill to use knowledge in irregular situations: the student is able to find, use and interpret the neces sary information. Key words: creative thinking, spatial mind model, connection, chemistry education. Ievads Mcbu process mij un cits dabaszintns atrodas nemitg mainb, tas mrtiecgi tiek saistts ar ikdienas dzvi, kstot modernks - orientts uz jaunieu individulo lietdergumu sabiedrb ar izteiktkm nkotnes perspektvm. 2009. gads ir pasludints par Eiropas radouma un inovciju gadu, kura laik paa uzmanba tiek veltta radouma un inovciju lomai izgltb, k ar skolotju iedroinanai lietot jaunas un dadas mcbu metodes. Msdienu pedagoiskaj situcij ir jem vr tas, ka, mcbu procesam attstoties un pilnveidojoties, ldz
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ar sociokulturlajm prmaim un tendencm pasaul mains ar mcbu procesa prioritrs nostdnes. Galvenokrt tiek akcentta nepiecieamba aktivizt skolnu domanas potencilu, attstt patstvgs ptniecisks prasmes. Ldz ar to svargs kst jautjums par metodm un pamieniem, kuri izmantojami mcbu proces, lai pilnveidotu skolnu domanas prasmes un uzlabotu viu dzves kvalitti (Rubene, 2008). Informcijas iegaumanas tendence mcbu proces arvien vairk tiek prorientta uz informcijas atlasi un lietoanu. Izgltbas uzdevums plak nozm nav tikai viengi informt, bet ar veidot skolnu prtu (Moore, 1915). Lai gan vsturiski izgltoans process galvenokrt tiek uzskatts par intelektuls informcijas nodoanu (Riis, 2002), arvien vairk uzmanbas pedagogi pievr ar skolnu motivcijai mcties un labvlgu savstarpjo attiecbu veidoanai. Mcans efektivitti mcbu stund liel mr nosaka ar pozitvs emocijas (Brophy, 2004), kas ir svargs prieknoteikums skolnu atmias uzlaboanai un domanas aktivizanai (Claxton, Edwards, Constantinou, 2006). Ieteicama ir daudzveidgu mcbu metou izmantoana, tdu, kas attsta skolnu izzias in teresi, veido sistmisku zinanu, prasmju un attieksmju kopumu, lai skolns, balstoties uz savu iepriekjo pieredzi, domtu radoi - tlaini, aizraujoi, atjautgi, veidojot asocicijas (Runco, 2004; Scott, Leritz, Mumford, 2004). Jaunu informciju vieglk izprast, ja to saista ar iepriek zinmo. Jauni un progresvi metodiskie risinjumi veicina interesantu un efektvu mcbu procesu gan skolniem, gan skolotjiem. Tomr mcbu darbam jbt ar atbilstoam katra skolna individualittei, emot vr to, ka cilvki atirgos veidos izzina pasauli. Ik viens brns pie dzimst ar radoumu (Runco, Chand, 1995), un skolotju un vecku uzdevums ir veidot atbilstous apstkus radoo spju pilnveidoanai, ievrojot ar skolnu dzimuma patnbas (Halpern, 2004). Jpiemin, ka dakrt jdzienu radoums izprot k spju radt jaunas idejas, iekaujot emocionlo attieksmju un spju kopumu, kas auj attstt radoas domas, idejas (Halpern, 2003; Fiers, 2005, 48), un jdzienu domt radoi lieto k sinonmus, lai gan tiem ir atirga nozme. Ar radoo domanu saprot augstko izzias funkciju un domanas procesa analzi, k ar cilvka spju manipult ar pieejamo informciju, pieemt lmumus un risint problmas, kuras var izmantot dzv (Welling, 2007; Hemlin, Allwood, Martin, 2008). mijas apgan, kur viena no galvenajm principilajm nostdnm ir izpratnes veidoans skolniem par vielm un to prvrtbm, ir btiski izmantot tdas mcbu metodes, kas veicina gan vielisks pasaules telpisko uztveri (Fasko, 2000; Schwartz, Holton, 2000), gan loisko domanu, kas kop veidotu asociatvas ldzbas ar dabu (Kim, 2006). Dieml mijas mcbs obrd ir maz tdu metou, kuras vienlaicgi gan veicina radoo domanu, gan sasaista to ar dabu un ts uzbvi, k ar ar praktisko dzvi. Darba mris Izptt telpisk domu modea izmantoanas iespjas radoas domanas attstan, mcoties miju. Materili un metodes Msu ieteikt mcbu metode mijas mcbu stundm pamatojas uz tematisku kopsaistbu atraanu un to radou interpretciju, un ai nolk ms piedvjam telpisku domu modeli, kas sekm izpratnes veidoanos, izmantojot saistbas un kopsakarbas starp atseviiem fenomeniem, kas raksturo apskatmo tematu. Telpiskajam domu modelim izvlta tetraedra vienkrk daudzskalda forma (1. att.). forma skolniem ir vizuli viegli uztverama, un t veido asociatvas ldzbas ar dabu (etri gadalaiki, etras debess puses utt.). Tetraedra autnes un plaknes tiek izmantotas kopsaistbu veidoanai. ds modelis paldz skolniem labk izprast
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pasauli k vienotu telpu, kas ir svarga dadu fiziklo un misko procesu pareizai izpratnei dab un cilvku praktiskaj dzv. Saldzinjum ar domanas attstanai izmantoto kubu tetraedra forma ir vieglk uz tverama un prskatmka, taj ir iespjams pardt kopsaistbas starp visiem saistb iekautajiem tematiem. Kubisk forma tieu, nepastarpintu kopsakarbu attloanai ir ierobeota. Svargs faktors ir prasmga domu modea vizualizana, ko var pankt ar datorgrafikas paldzbu vai, izgatavojot papra tetraedru (2. att.). Telpisk domu modea izmantoana vienlaicgi nodarbina un attsta abas smadzeu puslodes kreiso puslodi, kas atbild par loiskumu, analizanas spju, simbolisko domanu, un labo, kas atbild par radoumu, emocijm, izpratni, telpisko domanu. Mcbu stundas skum tiek aktualizts apgstamais temats. Skolotjs formul tematu un ieraksta to domu modea vid. Tetraedrs ir konkrt temata satura modelis. Kop ar skolotju skolni diskut, vienojas un izvirza etrus ar galveno tematu kopsaisttus tematus (apaktematus), kas ir svargkie galven temata satur. Tos uzraksta uz tetraedra virsotnm. Jpiemin, ka visiem saisttajiem tematiem, kas tiek izvietoti uz domu modea virsotnm, jbt tdiem, kas pc iespjas pilngk parda galven temata btbu. T tiek izveidota vienkra tematisk sistma. Katrs skolns izgatavo sev nelielu tetraedrisku modeli no papra, lai to iz mantotu par vizualizjou mcbu palgldzekli (2. att.). Piemrs: misks prvrtbas. Viena no problemtiskkm pamatprasmm, kuru skolniem nepiecieams apgt, ir misko reakciju viendojumu sastdana. Parasti skolni reakciju viendojumu sastdanu cenas apgt mehniski, balstoties uz misko simbolu apmainanu pc mijas likumiem, sti neizprotot, k un kpc attiecg reakcija notiek un kpc t vispr btu jmcs. Tpc misko reakciju viendojumi iet sareti, grti uzrakstmi, ar maz saskatmu praktisko lietderbu. Ieteikums: ierasto abstrakto misko prvrtbu viet izmantot reakcijas starp tdm vielm, kuras izmanto praktiskaj dzv un ttad skolnam jau btu daji zinmas. Tiek veido tas kopsaistbas starp vielm, kas piesaista skolnu uzmanbu, rosina radoi domt un, galve nais ts ir saisttas ar praktisko dzvi. Jo svargk tas ir tpc, ka praks rkrtgi reti izmanto kdu vienu konkrtu misko savienojumu, parasti ts ir vielu kompozcijas, kurs skolnam ir jprot saskatt individulus miskos savienojumus. Ieteicam stundas gaita: 1. Prrunas par vielu daudzveidbu cilvka apkrtn. 2. Atkrtojums par neorganisko vai organisko vielu iedaljumu. 3. Uz modea virsotnm tiek izvltas ts vielu klases, kuras piedalsies miskajs prvrtbs. Tetraedru ieteicams izveidot krsainu (3. att.). 4. Diskusija par izvlto vielu atraanos skolna ikdien. K un kur skolns var ts atrast, ar kdm mam sajust? Noslgum skolni un skolotjs vienojas par etrm vielm, pa vienai no katras vielu klases, kuras btu labk zinmas un saprotamas, lai jauno informciju btu vieglk izprast. Piemram, slsskbe (kua sul), ogleka dioksds (gzt minerlden), ntrija hidroksds (kanalizcijas tranas ldzekl) un ntrija hidrognkarbonts (dzeram soda) (4. att.). 5. misko reakciju viendojumu sastdana. Vispirms izvrt, kuras vielas savstarpji rea, tad preciz, kdos apstkos reakcijas notiek. Pc tam mekl atbildi uz jautjumu: Kpc daas vielas sav starp nerea? Vispirms iedomjoties relo situciju, kur vartu realizties misk reakcija, un pc tam, akcentjot konkrtas individulas vielas un to mijiedarbbu, raksta atbilstoo reakcijas viendojumu: 1. Dzeram soda cilvka ku: NaHCO3 + HCl ?
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2. Dzeram soda kanalizcijas caurul, ja taj ieliets tranas ldzeklis, kas satur srmu (NaOH): NaOH + NaHCO3 ? 3. Gze kanalizcijas caurul, kur ieliets tranas ldzeklis: CO2 + NaOH ? 4. Gztais dens ku: HCl + CO2 + H2O ? 5. Cilvks nejaui ir iedzris kanalizcijas tranas ldzekli (aj viet noteikti jrun ar par darba drobu un pirmo paldzbu!): HCl + NaOH ? Izmantojot telpisko domu modeli, ir iespjams vienlaicgi pardt vairk kopsaistbu atirb no plaknes metodm, piemram, domu kartes (Trochim, 2009). Rados domanas attstanai dados lmeos ieteicams kopsaistt tematus ne tikai vien plakn (3 sasaistes, piemram, oksdi, hidroksdi, skbes), kas btu vienkrkais kopsaistbu veidojums, bet ar vairks plakns (kop 4) vienlaicgi. Ir iespjams izmantot ar sasaistes (pavisam 6) starp tetra edra virsotnm, rosinot skolnus saldzint, analizt, sintezt un visprint par apskatmaj sistm iespjamo misko reakciju norisi. Piedvt mcbu metode tika prbaudta trs visprizgltojos Latvijas skols. Kopjais skolnu skaits 246, no tiem 8. klas 71, 9. klas 84, 10. klas 91 skolns. Lai gtu priekstatu par to, cik nozmga skolniem bija mcans, izmantojot telpisko domu mo deli, tika izmantota skolnu pirms-aptauja un pc-aptauja. Anket tika izmantoti 15 slgt tipa jautjumi, uz kuriem respondentiem jdot atbildes ar 4 kategoriju Likerta skalas paldzbu, tas ir, respondentam jizvlas viena no etrm atbildm, kas vispilngk izsaka via viedokli: nepiekrtu (kodts 1); drzk nepiekrtu (kodts 2); drzk piekrtu (kodts 3); piekrtu (kodts 4). Vism skolnu atbildm tika noteiktas vidjs vrtbas (1 M 4). Datu apstrdei izmantota SPSS programma, versija 17.0, ticambas lmenis =.05. Aprobcijas laik tika veiktas ar prrunas ar skolotjiem un skolniem. Rezultti Pirmie aprobcijas rezultti liecina, ka o metodi ir iespjams sekmgi izman tot mijas stunds. Visu klau skolni mijas stund izrda uzmanbu, ja, mcot kdu tematu, izmanto piemrus no ikdienas. Mekljot kopsaistbas starp dadiem tematiem, skolni fokus domas uz visdadkajm apkrtn notiekom pardbm un sastopamm lietm, k ar dadiem procesiem. Varijot domu modea tematisko saturu, var veicint to, ka skolni savas domas sakrto sistmiski un neatrauti no apkrtjs vides un ik dienas. Skolni sk domt kopsaistbs, nekoncentrjas tikai uz mijas faktu mehnisku iegaumanu, bet sk izprast un iepazt miju k dau no dabas, kur cilvki, taj skait, vii pai, dzvo. Izzias procesos tiek iesaistta gan loisk domana, gan emocijas, un tas pastarpinti veic ar audzinoo funkciju. Iegtajm zinanm ir vistiek ietekme ar uz attieksmju veidoanos. Ja stund tiek izvirzts mris izprast ikdien lietojams vielas un to prvrtbas k dabas komponentus un ja tiek akcentts skolna personisk nozmguma faktors, tad mijas mcbas kst interesantas. Skolotju vrtjums Aprobcij iesaistto mijas skolotju atsauksmes par metodi kopum ir pozitvas, par ko liecina skolotju vrtjums: Atraktva, visaptveroa metode. Ir iespjams iesaistt mcbu proces visus skolnus, ar tos, kuriem mijas mcbas padodas grtk. Brniem
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patk ar o modeli strdt, tas ar ir galvenais!. Skolotji norda ar, ka metode ...paldz brnus piesaistt mcbu priekmetam, rada lielku interesi par apgstamo tematu. Modelis labk paldz izprast procesus dab un notiekoo ap pau skolnu. mijas skolotji saskata metodes perspektvas ne tikai k kopsaistbu veidoan starp atseviiem apgstamajiem tematiem mij, bet ar starp dadiem dabaszintu mcbu priekmetiem (miju, bioloiju, fiziku). Nkoaj izptes posm ar citu mcbu priekmetu skolotji, izmantojot gan anketanu, gan diskusiju, tika aicinti izteikt savu viedokli par metodes iespjamo pielietoju mu savos mcbu priekmetos. K liecina izptes rezultti, tad mij metodes izmantoana tiek uzskatta par vispiemrotko. Bioloijas un fizikas skolotji uzskata, ka metode btu izman tojama, bet tikai, apgstot daus atsevius tematus. Matemtikas, socilo zinbu un vstures mcbu priekmetos metodi uzskata par mazk izmantojamu. Diskusijas skum atirgkas bija skolotju domas par tetraedrisk domu modea izvietojumu un tematisko kopsaistbu veidoanos. Jem vr ar tas, ka skolotji iepriek ar o metodi nebija iepazinuies un katrs skolotjs vispirms analizja metodi no sava mcbu priekmeta redzjuma. Kopum dadu priekmetu skolotji izteics par metodi atzingi. Skolnu vrtjums Lielk daa skolnu apgalvo, ka, izmantojot telpisko domu modeli, dadu mijas tematu apgana sk padoties vieglk, par ko liecina aptauju rezultti - pirms aprobcijas M1=2.55, pc aprobcijas M2=2.75 (t=-2.61, df=244, p<.05). Devto klau skolni uzska ta, ka telpisk domu modea izmantoana paldz saskatt kopsakarbas un mijas stunds iemcto izmantot, lai labk izprastu apkrtjo vidi (M.=3.30, t=-2.59, df=82, p<.001). Tas norda, ka telpiskais domu modelis ne vien paldz skolniem kopsaistt dadus tematus, bet ar rosina mijas stund domt kontekst ar ikdienas dzvi. Uz apgalvojumu mijas stundas laik es aktvi mcos apstiprinoi pirms-aptauj atbildja vien nedaudz vairk par pusi 10. klases skolnu ((M=2.73; t=-2.13, df=89, p<0.05). Mcbu stunds, kurs tiek izmantoti di modei, skolni aktvi iesaists diskusijs un dadu uzdevumu izpild (M= 3.59). Skolni stund strd produktvk, ja tiek izmantoti piemri, kas saistti ar skolnu ikdienas pieredzi. Statistiski nozmgas atirbas (attiecgi M1=1.90, M2=3.60; t=-2.37, df=89, p<.001) uzrdja 10. klases skolni jautjum mijas stunds es uz zinu par miskm vielm un procesiem, ko var pielietot praktiskaj dzv. Tematisks kopsaistbas rosina skolnus saskatt kopgo un atirgo, par to vairk ir prliecinti 8. klases skolni (M=3.30) nek 9.klases (M=3.10) un 10. klases (M.=3.11) skolni, lai gan statistiski nozmgas atirbas starp klau grupm netiek novrotas. Saldzinoi daudz 10. klases skolnu atzst, ka Telpisk modea izmantoana man paldz mcties (M=3.25), nedaudz mazk izteikts ds uzskats ir 8. klas (M=2.85; t=2.23, df=69, p<.05) un ar 9. klas (M=2.93; t=-1.41, df=81, p>.05). Tas liecina par to, ka skolniem ir svargi apgt prasmes, kas paldz sasniegt saldzinoi augstkus rezulttus mcbs. Dzimuma kontekst statistiski nozmgas atirbas netika novrotas. Prruns ar skolniem noskaidrojs, ka viu lielk daa atzst, ka mcans mij kuvusi interesantka, daudzveidgka un t rosina izzint vairk. K svargu faktoru skolni uzskata, ka temati, izmantojot jauno metodi, tiek aplkoti no dadiem aspektiem. Tomr dai skolni norda, ka uzskt mcties ar o metodi bijis grti, jo vajadzjis domt ne tikai par miju, bet ar prast kopsaistt savas zinanas un pieredzi ar citiem mcbu priekmetiem. Tau tiei ar to jau izpauas skolnu radoka pieeja mcbm, jo vairk tad, ja iesaistans mcbu proces ir aktva. Skolniem mcans kst saistoka un vienlaicgi ar dzika un prdomtka. Ttad mijas mcbu proces, izmantojot telpisko domu modeli, kopum tiek
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veicinta tematisko kopsaistbu veidoanas prasme, un tas mcanos pilnveido, vienlaicgi sekmjot skolnu interesi par mcbm. Secinjumi Metode attsta skolniem radoo un telpisko domanu, veicina kopsaistto tematu iz pratni, uzlabo mijas mcbu procesa kvalitti kopum. Daudzpusga, radoa, aktva darbba mcbu stund un tematisk sasaiste ar praktisko dzvi veicina lietdergu un jgpilnu mcanos. metode pozitvi iespaido mcbu procesu kopum un rada nepiecieamos prieknosacjumus skolnu darbbas radoai izpausmei. Telpisko domu modeli var izmantot ne tikai skolnu izzias intereses veicinanai, bet ar sistmisku zinanu ieganai, ienkos informcijas analizanai, radoo aktivitu veikanai un skolnu izpratnes veicinanai par dabu k par vienotu veselumu gan mij, gan citos dabaszintu mcbu priekmetos k pamatskol, t ar vidusskol. Zinanas, kas iegtas radoi paorganizt mcbu proces, attsta prasmi zinanas pielietot nestandarta situcijs praktiskaj dzv, skolns mcs patstvgi atrast vajadzgo informciju, lietot un interprett to.
Literatras saraksts 1. Brophy, J. (2004). Motivating students to learn. Mahwah, NJ: Erlbaum (2. ed.), 68. 2. Claxton, G., Edwards, L., & Constantinou, V. (2006). Cultivating creative mentalities: A framework for edu cation. Thinking Skills and Creativity, 1(1), 57-61. 3. Fasko, D. Jr. (2000). Education and Creativity. Creativity Research Journal, 13 (3 & 4), 317327. 4. Fiers, R. (2005). Mcsim brniem domt. Raka, Rga, 136 (219). 5. Halpern, D. F. (2003). Thought and Knowledge: An Introduction to Critical Thinking (4th Edition). Mahwah, NJ: Lawrence Erlbaum Associates, Inc. Publishers, 68-72. 6. Halpern, D. F. (2004). A cognitive-process taxonomy for sex differences in cognitive abilities. Current Direc tions in Psychological Science, 13 (4), 135-139. 7. Kim, K. (2006). Is creativity unidimensional or multidimensional? Analysis of Torrance Tests of Creative Thinking. Creativity Research Journal, 18(1), 251-259. 8. Moore, C. (1915). What is Education. New York, Ginn and Company, 157. 9. Riis, J. (2002). Mcans spju attstana. Rga: Raka, 17 (30). 10. Rubene, Z. (2008). Kritisk domana studiju proces. LU Akadmiskais apgds. 56 (223). 11. Runco, M. A. (2004). Divergent thinking, creativity, and giftedness. (Ed., R. Sternberg), Definitions and con ceptions of giftedness, pp. 47-62. 12. Runco, M. A., Chand, I. (1995). Cognition and creativity. Educational Psychology Review, 7, 243267. 13. Schwartz, D. L., Heiser, J. (2006). Spatial Representations and Imagery in Learning. Handbook of the Learn ing Sciences. K. Sawyer (Ed.), CambridgeUniversity Press, 283-298. Skatts internet 26.10.2009: http:// aaalab.stanford.edu/papers/Spatial_Representation_and_Learning.pdf. 14. Schwartz, D. L., Holton, D. (2000). Tool use and the effect of action on the imagination. Journal of Experi mental Psychology: Learning, Cognition, and Memory, 26, 1655-1665. 15. Scott, G., Leritz, L.E., Mumford, M.D. (2004). The Effectiveness of Creativity Training: A Quantitative Re view. Creativity Research Journal, 16, 4, 361 388. 16. Hemlin, S., Allwood, C.M., Martin, B.R. (2008). Creative Knowledge Environments. Creativity Research Journal, 20 (2), 196 210. 17. Trochim, W. M. K. (2009). Conceptualizing Training using concept mapping and pattern matching. Skatts internet 26.10.2009: http://www.conceptsystems.com/papers/whitepapers/conceptualizing_training.php 18. Welling, H. (2007). Four Mental Operations in Creative Cognition: The Importance of Abstraction. Creativ ity Research Journal, 19 (2&3), 163- 177. Skatts internet 26.10.2009: http://smap.ist.utl.pt/documentos/ abstraction.pdf

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Daina Moeika Mg. chem, Zintnisk grda pretendente mijas didaktik, Latvijas Universitte, mijas didaktikas centrs Kontaktadrese: mijas fakultte, Kr. Valdemra iela 48, Rga, Latvija, LV-1013 Tel. +37129898643; e-pasts: tuttii@inbox.lv Jnis Gedrovics Asoc. prof., Dr. chem. Rgas Pedagoijas un izgltbas vadbas akadmija, Informtikas un dabaszinbu katedra Kontaktadrese: Imantas 7. lnija Nr. 1, Rga, Latvija, LV-1083 Tel. +37167808120; +37129162147; e-pasts: janis.gedrovics@rpiva.lv Dagnija Cdere Asoc. prof., Dr. chem. Latvijas Universitte, mijas didaktikas centrs Kontaktadrese: mijas fakultte, Kr. Valdemra iela 48, Rga, Latvija, LV-1013 Tel. +37126850488; e-pasts: dagnija.cedere@lu.lv

PIELIKUMS APPENDIX 1. attls Telpisko domu modeu tetraedra (a) un kuba (b) saldzinjums Picture 1 Comparison of tetrahedron (a) and cubical (b) spatial mind model

pc Schwartz, Heiser (2006) a) b)

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2. attls Telpisk domu modea vizualizana Picture 2 Visualisation of spatial mind model

a) b) c) a) grafiskais domu modelis; a) graphical mind model; b) sagatave papra modelim; b) pattern for a model made from paper; c) domu modelis k vizulais palgldzeklis. c) model as visual supplementary aid in practical use. 3. attls misks prvrtbas starp neorganisko vielu klasm Picture 3 Chemical transformations among inorganic substance groups

4. attls Kopsaistba starp ikdien lietojamm vielm Picture 4 Connection between everyday substances

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anete Tauria. Esmu pedagoe un obrd studju Latvijas Univer sittes Vadbzintnes doktora studiju programm, izgltbas vadb. etri doktorantras gadi man deva jaunu skatjumu uz izgltbas pro cesiem Latvij, jo mums bija iespja studt un diskutt Eiropas vid. 2004. gad Latvijas Universitt ieguvu maistra grdu izgltbas zintn (Mg.sc.educ.) Disertcijas rakstana mobiliz visu manu brvo laiku, td nebu oti oriinla: pirmkrt, studijas, pc tam vaasprieki dab un drz. ANETE TAURIA Latvijas universitte Latvija

Jaunieu radouma kompetences izpte vidj izgltb

Kopsavilkums Ievads. Personas spjas, iemaas, prasmes un zinanas kopum defin k kompetences, kas novrojamas konkrtu darbbu kontekst. Darba mris. Autores izstrdtaj pavrtjum Tavu kompetenu karte jaunieiem ir iespja analizt savas kompetences. K nozmgk, kuru jauniei analizjui pavrtjum, ir radouma kompetence. Materili un metodes. Autores izstrdt Tava kompetenu karte ir kvalitatvs jaunieu kompetenu pavrtjums. Rezultti. Jauniei nkotn sevi redz k intelientas un radoas personbas. Secinjumi. Aplkojot jaunieu pavrtjuma rezulttus, visvairk jaunieu vlas attstt radouma kompetenci. Atslgas vrdi: kompetence, radouma kompetence, socili komunikatvo, metodisko, aktivittes un prmaiu kompetenu dimensijas, pavrtjums, Tavu kompetenu karte.

Study of youth creativity competences in education

Summary Introduction. Nowadays Europe experiences the transition to a society and economics which is based on the assessment of knowledge and peoples competences therefore knowledge society could also be called the society of competences. Thus the society values the highest the peoples ability to create and to use the knowledge effectively, smartly in the continuously chang ing circumstances and crisis situations, because we are developing into the learning society. The abilities, acquirements, skills and knowledge of every person taken together can be defined as competences; however, they are very hard to observe, therefore they should be looked upon only as a theoretical term within the framework of a specific competence theory that is related to further education. The term of competence is defined as a theoretical relative, and the understanding of competence is related only to the theory of further education. The new culture of learning in modern understanding determines that studies are self-organized by the person; they are oriented towards broader possibilities and are centered on the development of competences.
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Aim of the study. In the present circumstances of globalisation and crisis, the need to improve oneself is very topical in the youth education process at the secondary education level, ensuring the person the acquisition of competences in the study process, because the necessity of a qualitative education process has become urgent in the world. The self-evaluation circle of youth competences Your competence map developed by the author gives the youth the chance to value their current competences and plan which competences they should develop in future. One of the dimensions of the methodological competences is the competence of crea tivity, which the youth have analyzed in the form of a description in the self-evaluation. The competence of creativity ensures the ability to be creative, to create new material and mental values, to express original and interesting thoughts and to seek new approaches. Materials and methods. This method is based on a model, which is made from the dimensions of a socially communicative, methodological, activity and changes of the compe tence dimensions. Youth can evaluate these dimensions in self-evaluation to be and will be profile. The basis of authors developed competence assessment Your competence map is self-evaluation, in which the youth themselves analyze their skills, knowledge and abilities, which in the context of the 21st century education are defined as competences self organized and self-led mental and physical actions, therefore the inner observation of competences in such a self evaluation should be given vital role. The Your competence map developed by the author is a qualitative self-evaluation of youth competences in a visualization form and this method includes the competence selfevaluation in the form of a test and a visualized competence map in a round form. The author has developed this self-evaluation of competences, using a competence round presented in the research Das Kompetenzrad by Klaus North. Socially comunicative competences are defined as the youths ability to work coopera tively and communicatively, to work in groups. They deal with empathy. Methodological competences can be explained as the youths initiative to work men tally and physically to solve efficient and specific problems. Activity and change competences can be perceived as the desire of the youth to work actively and to be ready for changes. Results. The data about the socially communicative, methodological, activity and change dimensions of the self-evaluation was obtained by carrying out a youth survey in the form of a self-evaluation. The survey was performed in many secondary schools of Riga. All in all 130 students from Riga Secondary schools A, B, C and D were surveyed. The results of self-evaluation from 130 students showed that major competences are visible in every competence dimension, which the youth want to develop in the future. 98 students within the methodological competence dimension wanted to develop the ability of creativity, but in the knowledge management 94. As regards the activity and change dimension three abilities were equal: 60 respondents will develop innovation skill, the purposeful action ability and cognitive competences 53 respondents. The young people also put down their thoughts, for instance, a girl B admits: I will certainly develop my creativity by communicating with my peers, in different voluntary jobs and activities. The results showed that the youth see them selves as intelligent and creative persons in the future who will continue developing them selves through lifelong learning. Reading the self-evaluation results in the descriptive form, the author was convinced that the youth at the end of secondary education have considered seriously their future plans. Conclusions. 1. The society values the highest the peoples ability to create and to use the knowledge ef fectively, smartly in the continuously changing circumstances and crisis situations.
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2. The abilities, acquirements, skills and knowledge of every person taken together can be defined as competences; however, they should be looked upon only as a theoretical term and defined as a theoretical relative, and the understanding of competence is related only to the theory of further education. 3. The author in her study Youth academic achievements and the process of competence evaluation in secondary education in Latvia analysed the situation in secondary educa tion in Latvia, giving attention to how the youth can develop their competences. 4. The self-evaluation circle of youth competences Your competence map developed by the author gives the youth the chance to value their current competences and plan which competences they should develop in future. One of the dimensions of the methodologi cal competences is the competence of creativity. 5. The basis of this method is a model, which is made from the dimensions of socially com municative, methodological, activity and changes of competence dimensions. Youth can evaluate these dimensions in the self-evaluation to be and will be profile. 6. The results of self-evaluation from 130 respondents showed that in every competence dimension there are visible major competences, which the youth want to develop in the future. 7. 98 students within the methodological competence dimension wanted to develop the ability of creativity, but in the knowledge management 94. 8. The youth see themselves as intelligent and creative persons in the future who will con tinue developing themselves through lifelong learning. Key words: Competences, creativity competences, socially communicative, methodologi cal, activity and change competence dimensions, self evaluation, Your competence map. IEVADS Msdienu Eirop iezmjas preja uz sabiedrbu un ekonomiku, kuras pamatu veido zinanas un personu kompetenu novrtjums, td zinanu sabiedrbu var dvt ar par kompetenu sabiedrbu. 21.gadsimta sabiedrb zinanas nomaina ierasto izpratni par kapitlu, veidojot pamatu nkamajam organizcijas modelim informcijas sabiedrbai, jo odien kapitls bez zinanm strauji bankrot (Karntis, 2004). Td sabiedrb visaugstk tiek vrtta cilvku spja gudri, efektvi radt un izmantot zinanas pastvgi maingos apstkos un krzes situcijs, jo ms veidojamies par sabiedrbu, kas mcs. Izcilais ameriku menedmenta teortiis P. Drakers (Ederscheim, 2007) secina, ka msu sabiedrba obrd atrodas tur, kur notiek rpniecisks tautsaimniecbas prvrtba uz zintnisko tautsaimniecbu, uzsverot, ka aj gadsimt menedmentam jbt veidotam uz zinanu pamata. Katras personas spjas, iemaas, prasmes un zinanas kopum var defint k kompetences, tomr ts ir grti novrojamas, td aplkojamas k teortisks termins specifiskas, ar tlkizgltbu saisttas kompetenu teorijas ietvaros. Kompetences jdziens ir definjams k teortiski relatvs, un kompetenu izpratne (Erpenbeck, 2003b) ir saistta tikai ar tlkizgltbas teoriju. Latvij izpratne par kompetencm un kompetenu modeiem attsts lni un galvenokrt ekonomik lielko uzmumu cilvkkapitla vadb, kas ir saistta ar organizcijas kultru un vadbas stratiju. Zintnieks J. Erpenbeks (Erpenbeck, 2003b) kompetenu modeli jeb prasbu profilu nosauc par sistmu, kur defintas vajadzgs kompetences. Un aj kompetenu model ietvertas persongs un profesionls pabas, uzkrts zinanas, prasmes, pieredze, vrtbas, k ar personas attieksme. Jebkuru kompetenci, piemram, saskarsmes prasmi, vadtprasmi, uzmbu un iniciatvu, var aprakstt, izmantojot snieguma kritrijus, kas raksturo ts dados aspektus. Jaun mcans kultra msdienu izpratn nosaka, ka mcbas ir personas paorganiztas, orienttas uz plakm iespjm un centrtas uz kompetenu attstbu. Td kompetenu defincija ir loiska
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saistb ar to, ka jaunieu darbba mcbu proces ir pau organizta un vadta, jo klas mcbu stund pedagogs dod tikai ievirzi mcbu priekmet, nordot btisko, kas japgst. Viena no Mizgltbas memoranda idejm Inovcijas mcan un mcbs (Mizgltbas memorands, 2000) izvirza mri attstt efektvas mcbu un mcans metodes un kontekstus pastvgai mizgltbai, tpc jau obrd notiek preja uz citm mcbu sistmm. Mainoties izpratnei par mcans mriem, arvien vairk pievram uzmanbu tam, cik mums katram individuli piemrotas dads mcbu metodes un programmas. DARBA MRIS Darba mris ir, pielietojot autores izstrdto kompetenu pavrtjuma testu Tavu kompetenu karte, dot iespju jaunieiem novrtt savas socili komunikatvs, metodisks, aktivittes un prmaiu kompetences pareiz un plnot to pilnveidi nkotn. MATERILI UN METODES Autore ptjum Jaunieu mcbu sasniegumu un kompetenu novrtanas pro cesa vadba vidj izgltb Latvij analiz situciju vidj izgltb Latvij, pievrot uzmanbu tam, kdas ir jaunieu iespjas pilnveidot savas kompetences, kuras k prasba iestrdtas valsts visprjs vidjs izgltbas standart, bet attsttas un prbaudtas tiek oti nosacti. Autores izstrdtaj jaunieu kompetenu pavrtjuma apl Tavu kompetenu karte (4.tabula) jaunieiem ir iespja novrtt savas tagadjs kompetences un plnot nkotn attstms. K viena no metodisko kompetenu dimensijm ir radouma kompetence, kuru jauniei ir analizjui ar pavrtjum apraksta veid. Kompetenu izptes metodes pamat ir modelis, kuru veido socili komunikatvo, metodisko, aktivittes un prmaiu kompetenu dimensijas, kuras jauniei novrt pavrtjum ir- un jbt- profil. Atbilstoi izvirztajam mrim autore veica lietiu ptjumu, kuru klasific k izgltbas gadjuma ptjumu. Izstrdtajam jaunieu kompetenu novrtjumam Tavu kompetenu karte pamat ir pavrtjums, kur jauniei pai analiz savas zinanas, iemaas, spjas un prasmes, kuras 21. gadsimta izgltbas kontekst defin k kompetences paorganiztas un sevis vadtas gargas un fiziskas darbbas. Metodoloiski biei vien ir grti pilnb noirt kvantitatvos un kvalitatvos ptjumus, tpc autore izvljs kvalitatvu kompetenu ptjumu, kas auj atklt to btbu un kvalitti, saturu un to nozmes savstarpjs sakarbas. K kvalitatvu metodi var mint ar nestrukturtu novrojumu, aptauju, biogrfisko metodi. Zintnieks J. Erpenbeks atzm, ka kvantitatvie kompetenu ptjumi (piemram, aptauja, intervija, novrtjuma skala) kopum ir elementri un uzsver tikai rjs perspektvas (Erpenbeck, 2003). Autores izstrdt Tavu kompetenu karte ir kvalitatvs jaunieu kompetenu pavrtjums vizualizcijas form, un metode ietver kompetenu pavrtjumu test un vizualiztu kompetenu karti apa veid. Autore o kompetenu pavrtjumu izstrdjusi, izmantojot zintnieka Klausa Nor da ptjum Das Kompetenzrad prezentto kompetenu apli, kas vairk piemrots personla vadbai uzmumos, novrtjot ar profesionli metodisks kompetences, kas nav aktulas jaunieiem vidj izgltbas pakp. Zintnieks K. Nords J. Erpenbeka grmat Kompetenu mrjumu rokasgrmata (Erpenbeck, 2003b) norda, ka pat ar zintni nesaisttiem lietotjiem metode ir viegli apgstama un noder pietiekami specifiskiem praktiskiem nosacjumiem. K nozmgks kompetences jaunieu kompetenu pavrtjuma apl Tavu kompetenu karte ir akcenttas piecas socili komunikatvo kompetenu dimensijas; etras
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metodisko kompetenu dimensijas; trs aktivittes un prmaiu kompetenu dimensijas. Jaunieiem metodisks kompetences turpmk darbb ir jattsta k profesionli metodisks, jo ts nodroina karjeras attstbu, veicina analtisku un strukturtu domanu, spju risint problmas un saskatt kopsakarbas. Socili komunikatvs kompetences definjamas k jaunieu spja darboties kooperatvi un komunikatvi, spja darboties komand, viiem piemt emptija (Erpenbeck, 2007a). Jaunieu kompetenu pavrtjuma test Tavu kompetenu karte akcentts socili komunikatvo kompetenu dimensijas: sevis menedments spja realizt savas idejas, sevis apzia un novrtana; socil kompetence spja darboties komand, socils spjas; emocionl kompetence piemt emocionl stabilitte, spja savaldt dusmas, stresu; komunikcijas un sadarbbas spja izprot sazias situciju, prot taj iesaistties; valodas kompetence k verbl domanas spja, lieto sazias situcijai atbilstous valodas ldzekus. Socili komunikatvo kompetenu mrjumiem tiek piedvts apzmjums maz izteikti, izteikti, oti izteikti, jo o kompetenu dimensiju ir visgrtk novrot. Metodisks kompetences skaidrojamas k jaunieu iniciatva darboties gargi un fiziski, lai risintu lietias un konkrtas problmas. Lai novrttu metodisks kompetences, pieemams ir apzmjums zintjs vartjs eksperts. Vrtjot savu kompetenu lmeni, ie apzmjumi jsaista ar piemriem no jaunieu ikdienas darbbas mcbu proces un ar rpus t skolas dzv vai sabiedrb. Jaunieu kompetenu pavrtjum autore ir akcentjusi meto disko kompetenu dimensijas, jo profesionls kompetences jaunieiem vidusskol novrot ir grti nav iegta kvalifikcija un nav profesionls pieredzes: 1. prezentcijas spjas k darba tehniku iemaas; datoru un mediju kompetences (informcijas un sazias tehnoloiju prasmes IST) un modercijas (grupu darba vadbas) spjas; 2. domanas un analtisks spjas spja analizt, plnot un domt patstvgi, analtiski; 3. zinanu menedments spja apgt jaunas zinanas, spja mcties; 4. radouma spja spja bt radoam, spja radt jaunas materils un gargs vrtbas, izteikt oriinlas, interesantas domas, pieejas. Pc zintnieka V.Heises atzinuma (Erpenbeck, Heyse, 2007a) profesionli metodisks kompetences gan ir pieskaitmas vienai kategorijai, bet ts var konstatt ar atsevii: k metodisks kompetences zintnieks defin analtisko domanu, konceptulo spju, strukturlo domanu, spju saskatt kopsakarbas un prmaiu vadbu, spju patstvgi domt un nozmgkais radoumu un inovcijas spju. Savukrt k profesionls kompe tences zintnieks atzst profesionls zinanas, organizatorisks spjas, tirgus zinanas, k ar uzmjdarbbas domanu. Aktivittes un prmaiu kompetences uztveramas k jaunieu vlme un iniciatva dar boties aktvi un bt gatavam prmaim. Autores izstrdtaj jaunieu kompetenu pavrtjuma form akcenttas aktivittes un prmaiu kompetenu dimensijas: kognitvs kompetences raksturojamas ar visprjo, darbbas un praktisko intelienci; inovciju spja galvenokrt ir spja bt optimistam, aktvi darboties; mrtiecgas darbbas spja uztverama k spja veikt uz veiksmi orienttas darbbas. Dati par socili komunikatvo, metodisko, aktivittes un prmaiu kompetenu di mensiju pavrtjumu tika iegti, veicot jaunieu aptauju Tavu kompetenu karte. Aptauja notika vairku Rgas priekpilstu un viena rajona vidusskols,un tika aptaujti kopum Rgas A.,B.,C.,D. vidusskols 12. klau 130 skolni. Aplkojot jaunieu pavrtjuma rezulttus, katr no kompetenu dimensijm ir redzamas nozmgks kompetences, kuras jauniei plno attstt nkotn. Metodisko kompetenu dimensij (1. tabula) 98 jauniei vlas nkotn attstt radouma spju, savukrt zinanu menedmentu 94 jauniei. Piemram, skolniece D atzst: Vairk
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jlasa grmatas...Radoumu vartu attstt ar t.s. aizbganu. Jiet papildus kdos mkslas kursos, lai atbrvotu savu iekjo mieru, jo apkrtj sabiedrba nospie radoo garu. Socili komunikatvo kompetenu dimensij (2. tabula) 98 jauniei tagadnes profil k izteiktu vrt sevis menedmentu, un nkotn k oti izteiktu to vlas attstt ar tikpat jaunieu. Jauniei kompetenu novrtjuma noslgum rakstja ar savu pavrtjumu brv form, tdjdi autore ieguva jaunieu atzias un vrtjumu par izgltbas vidi un sabiedrbu. Skolniece B: Sav dzv vlos attstt visas kompetences, tikai dados lmeos citas profesionli, citas ne tik oti izteikti. Noteikti attstu savu radoumu un optimismu tlk izgltb, komunicjot ar saviem vienaudiem, ar darba pieredz, dados brvprtgos darbos, paskumos. Mcoties augstskol, man btu iespja piedalties apmaias programm, t attstot komunikciju un socilo kompetenci. Savukrt aktivittes un prmaiu dimensij (3. tabula) vienldz nozmgas nkotn pilnveidojamas ir visas trs spjas: inovciju spju nkotn attsts 60 jauniei, mrtiecgas darbbas spju un kognitvs kompetences 53/53 jauniei. Rezultti. Iegto rezulttu apkopojums liecina, ka jauniei nkotn plno sevi pilnveidot k intelientas un radoas personbas, tomr iespjas attstt radouma kompetenci jauniei rod rpus izgltbas procesa, iesaistoties neformls organizcijs, intereu izgltb un sabiedriskos paskumos. Pedagogi vidjs izgltbas posm nerada pietiekami daudz iespju jaunieiem pil nveidot savas kompetences kda mcbu priekmeta ietvaros t, lai ts vartu nkotn prezentt sabiedrb, profesionlaj darbb un privtaj dzv. Lasot jaunieu pavrtjumu brv form, autore prliecinjs, ka jauniei vidjs izgltbas noslgum oti nopietni ir prdomjui, ko vlas dart nkotn, k ar apzinti plno savu izaugsmi. Jauniei atklti raksta ar par to, ka nav prliecinti par savm zinanm, td baids ts atklti demonstrt, jo apkrtj sabiedrba var nesaprast un izsmiet. Jauniei pavrtjumos raksta par to, ka viiem ir grtbas komunict sabiedrb, nav prliecbas par sevi, pietrkst socili komunikatvo kompetenu, k ar nav attstta radouma kompetence. SECINJUMI 1. Msdienu sabiedrb ir pietiekami nozmga cilvku spja gudri, efektvi radt un iz mantot zinanas pastvgi maingos apstkos un krzes situcijs, td personas spjas, iemaas, prasmes un zinanas kopum definjamas k kompetences, tomr ts aplkojamas k teortisks termins un definjams k teortiski relatvs, kas saistts tikai ar tlkizgltbas teoriju. 2. Autore ptjum Jaunieu mcbu sasniegumu un kompetenu novrtanas procesa vadba vidj izgltb Latvij analiz situciju vidj izgltb Latvij un akcent to, ka jaunieiem btu jrada vairk iespju pilnveidot un novrtt savas socili komunikatvs, metodisks un aktivittes un prmaiu kompetences. 3. Kompetenu izptes metodes pamat ir modelis, kuru veido socili komunikatvo, metodisko, aktivittes un prmaiu kompetenu dimensijas, un ts jauniei novrt pavrtjum ir- un jbt- profil. Td veid analizjot Rgas A.,B.,C.,D. vidusskolu 12.klau 130 jaunieu pavrtjumos iegtos datus, katr no kompetenu dimensijm ir redzamas nozmgks, kuras jauniei identific obrd un plno attstt nkotn. 4. Autores izstrdtaj jaunieu kompetenu pavrtjuma apl Tavu kompetenu karte k viena no nozmgkajm metodisko kompetenu dimensijm ir radouma kompetence,
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kuru jauniei ir analizjui pavrtjum ar apraksta veid, tomr t vairk tiek attstta rpus izgltbas procesa, iesaistoties jaunatnes neformls organizcijs, intereu izgltb un piedaloties sabiedriskajos paskumos. 98 jauniei no 130 vlas nkotn radouma kom petenci attstt visaugstkaj - eksperta lmen.
LITERATRAS SARAKSTS 1. Bergson, H. Creative Evolution. (1944).In the Authorized Translation by Arthur Mitchell of Harvard Univer sity. New York.: The Modern Library, 454 lpp. 2. Ederscheim, E. H. (2007). Peter F. Druker Alles ber Management. Heideberg.: Redline Gmbh, 320 lpp. 3. Erpenbeck, J., Heyse V. (2007a). Die Kompetenzbiographie. Wege der Kompetenzentwicklung. Mnster.: Waxmann Verlag, 496 lpp. 4. Erpenbeck, J., Rosenstiel, von Lutz. (2003b). Handbuch Kompetenzmessung. Stuttgart.: Schffer-Poeschel Verlag, 641lpp. 5. Karntis, E. (2004). Informcijas sabiedrba-Latvijas iespjas un uzdroinans. Rga.: Ptergailis, 208 lpp. 6. Uzzint, saprast, pielietot. (2002). Dokumenti par mizgltbu pasaul, Eirop, Latvij. Rga.: LPIA, 80 lpp. 7. Mizgltbas Memorands. Memorandum ber Lebenslanges Lernen. Brssel, den 30.10.2000.SEK(2000) 1832. http://www.bologna-berlin2003.de/pdf/MemorandumDe.pdf anete Tauria Izgltbas zintu maistre (Mg.sc.educ.) Latvijas Universitte, Pedagoijas un psiholoijas fakultte, Vadbzintnes zintnisk grda kandidte Adrese: Brvbas gatve 399-27, Rga LV-1024 E-pasts: janettaurina@inbox.lv Tlr. +371 29476639

PIELIKUMS APPENDIX 1. tabula Table 1 Methodical competence dimensions of 130 scholars of 12. grade A., B., C., D. from secundary education schools from Riga

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2. tabula Table 2 Socially communicative competence dimensions of 130 scholars of 12. grade A., B., C., D. from secundary education schools from Riga

3. tabula Table 3 The activity and change competence dimensions of 130 scholars of 12. grade A.,B.,C.,D. from secundary education schools from Riga.

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4. tabula Table 4 Your competence map

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Franz Feiner. Born in 1953, studies in pedagogy and theology in Graz (Mag. theol.) and Salzburg (Dr. theol.); teacher for religion in second ary schools and schools for disabled pupils and teacher at the Catholic Pedagogic University College for Education (KPH Graz) in didactics and religion pedagogy; author and editor of several books and didac tic material for different school types; main issues in investigation and teaching: inclusive pedagogy, awareness of heterogeneity, ICT in peda gogy, basics and didactics of theological ethics. FRANZ FEINER Kirchliche Pdagogische Hochschule Graz der Dizese Graz-Seckau, Austria

RE-CREATION - CREATIVE Social, Moral and Religious Education and Personal Development A THREE-YEAR, EU-INTENSIVE-PROGRAM (IP) 2008 2010 IN GRAZ WITH 124 STUDENTS AND 59 PROFESSORS FROM EIGHT COUNTRIES
Abstract Introduction. God has created the world well, but we are far away from paradise: hunger versus abundance, alone versus together, natural - unnatural, etc. These contradictions demand often too much from both individual and society, we might feel powerless. Aim of the study is to work on these issues in a creative way in order to encourage participants to take part in and build a vision of a new heaven and a new earth. Materials and methods. The main kinds of creativity (painting, expressing with the body, making music, creative writing) were practiced in a communicative way. Results. One of the most positive results emerged from faceto-face-communication, as participants became familiar with each other and the aforementioned contradictions. Conclusions. Such creativity programs are necessary in the curricula of teacher education for giving Europe a soul. Key words: Creation, Re-Creation, creativity, vision, better world Introduction The big problems of the world are enormous challenges for individuals and mankind: in the southern part of our globe, the suffering from hunger and injustice is a structural sin (Pope Joan Paul II in the encylike sollicitudo rei socialis, 1988), while in the northern part of the globe, mankind lives in abundance. A second problem is that many people suffer from being alone and their desire of togetherness is one of their basic needs (Maslow, 1970). A third problem emerges as the strangeness, experience and desire of being familiar to ourselves and to others. A fourth big problem is that we do not live in harmony with nature. This is existential for the survival of the whole of mankind and the important question is How can we become a part of nature once more, like the Bible tells in the second story of creation, as man is taken from the soil? (Gen 2,7).
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Therefore, the Catholic University College for Education in Graz Institute for Reli gious Pedagogy and Catechism led the projects Re-creation I from April 13-27, 2008, ReCreation II from April 19 to May 1 in 2009, and with extended contents, Re-Creation III, from April 11-23, 2010. A requirement concerning content was based on the subject of creation and the ex perience of the threatened creation not just to dream of a new heaven and a new earth (cf. Apocalypse 21), but also to act creatively together with others. AIM OF THE STUDY The following aims were pursued: the promotion and support to deal with characterbuilding and religious pedagogical questions creatively; the connection of artistically creative approaches like music, dance, painting and poetry to themes central to ethics and religion; com mon creative activities and the development of approaches to the content areas of being alone being together, hunger - food in abundance, what is familiar to us what is strange to us and natural unnatural. Approaches to these themes were given in compact statements from specialists (Bib lical theology, theological ethics, didactics, art, political education). Otherwise, the work was almost completely done in workshops in which the members could choose according to their interests and skills. Each topic was also tackled through a Gestalt-pedagogical approach in a Biblical and personality-building way. Getting to know social projects was important for us in order to learn and get to know each other on the spot: projects of Africans living in Graz, the street journal Megaphon, the parish St. Andr with its social- and art projects (e.g. TagWerk), a project for employment for young people and a further project for handicapped and disabled people. A cross-national excursion led us to Roman, Gothic and Modern art in a region that has been reunited through open borders since December 2007, and belongs to two states (Austria and Slovenia). The 2009 excursion led us to encounter art in Hungary and, in 2010, Slovakia. Furthermore, the whole group and subgroups did creative and self-reflective work where personal approaches to the three topics were worked out using Howard Gardners multi ple intelligences. The mayors of Graz and Heiligenkreuz am Waasen invited the group members to appraise the political side of the social projects. The target groups were students of teacher and religious teacher training programs from Great Britain, Poland, Slovakia, Hungary, Slovenia and Austria: Forty students partici pated, including 29 students from abroad and 11 from Austria, while 21 teachers 13 teachers from partner universities and 8 from Graz took part in Re-Creation I (2008). In Re-Creation II (2009), 39 students, including 27 students from abroad and 12 from Austria worked with 19 teachers (10 from partner universities and 9 from Graz). In Re-Creation III (2010) the program was expanded to include participants from Serbia and Ukraine. A total of 45 students, including 37 students from abroad and 8 from Austria, and 19 teachers, including 11 from partner univer sities and 8 from Graz, took part in the 2010 program. MATERIALS AND METHODS The concept of the program was developed in the following steps: March 2006: the first application, which was not accepted. January 2007: weekend meeting between the partner universities in Graz to prearrange a new application and create a new working plan.
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 From March 2007 until the acceptance of the application: collection of materi als from the three topic areas in every participating institution (films, pictures, caricature, scientific articles, etc.) From the acceptance in July 2007 until the middle of January 2008: each teach er describes his / her article. September 2007 until December 2007: concept of the website, which went online in February 2008. The partners provided materials, and the concept was created through e-mail contact. January 2008: weekend meeting of the partner universities in Graz; with a de tailed plan being developed. We show the calendar of 2008; the plans of 2009 und 2010 were rather similar.
Day Activity Activity Activity Sun. April 13 2008 Getting to know each other - Hungarian Folk Dances (2008), 18.00 (Styrian Folk Dances [2009] and International Folk Dances [2010]) Youth and family hostel Idlhofgasse / Graz Mon. 4/14 10.00 11.30 Start of the project (together with ITAE and Focus on Europe) I. Schrettle Introduction in Re-Creation Kurt Zisler: Creation Re-Creation 12.00 13.00 Information about the three topics: Hunger and Abundance / Film We feed the world I. Schrettle Being Alone and Being Together / Film When the dust settles K. Zisler Being Foreign and Being Familiar / Film Anders-artig F. Feiner 14.30 17.30 Introduction of the work plans Structured exchange between groups A. Hunger and Abundance T. Schrettle B. Being Alone and Being Together J. Harg C. Strange and Familiar R. Pendl-Todorovic Forming the groups for the following days Hunger/ Abundance Alone/ Together Foreign / Familiar Tues. 4/15 A: Dance (Karin ErhartB: Painting Workshop (Bob C: Foreign / Familiar 9.00 11.45 Auner, Graz) Treadwell, Amanda Pockling in the Bible (Stanko ton, UK) Gerjolj, Ljubljana / F. Feiner, Graz) 12.30 City Hall (invitation of the Lord Mayor) 14.30 17.30 C: Painting Workshop (Bob A: Alone/ Together in the Bible B: Dance (Roswitha Treadwell, Amanda Pock (Stanko Gerjolj, Ljubljana / Pendl-Todorovic, Graz) lington, UK) Franz Feiner, Graz) Wed. 4/16 B: Hunger / Abundance in C: Dance (Karin Erhart-Auner, A: Painting Workshop 9.00 12.30 the Bible (Stanko Gerjolj, Graz) (Bob Treadwell, Aman Ljubljana/ Franz Feiner, da Pocklington, UK) Graz) Forming the two groups for the afternoon in the workshops. Learning about social projects and art projects: Wed. 4/16 Megaphon = street newspaper, sold by Africans St. Lukas, a place of inter-religious 14.00 17.30 and St. Andr Church as place of intercultural exchange and Chiala Afriqas = Project meeting and modern art. in Graz by local resident Africans. Thurs. 4/17 Whole group: Learning by experience (Stanko Gerjolj / Andreja Vidmer / Franz Feiner) 9 12.30 and Gestalt pedagogical methods in connection with the topics 14 17.30

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Fri. 4/18 9 12.30 and 14 17.30 Sat. 4/19 Departure: 8.00

D: Artistic workshop Alone Together: Laby rinth (Magorzata Stoklosa, Cieszyn)

E: Artistic workshop (textil) (Inge Pock Kurt Zisler) Graz:

Return: 21.00 Sun. 4/20

Getting to know people and regions in Styria: Trip to cultural destinations in Austrian and Slovenian part of Styria / Stajerska: Romanesque, gothique and modern religious art: Wernersdorf: Emmaus-Kapelle (Gerald Brettschuh Inge Pock) Martjanci gotique church with frescos of Johannes Aquila (14th century) Selo Romanesque round church with Romanesque frescos from two periods Jeruzalem Foundation of the Deutsche Ordensritter: wandering in the vineyards Different possibilities visiting specific museums self-study Integration in the own portfolio 20.00: P. Karl: The concept of the Meditation centre Haus der Stille Talking about the experiences of the day D Continuation E Continuation G Drama - Meeting with love, H Puppet show F: Work with drama, based (Edi Majaron / Agata on texts to the topics strange meeting with myself (Zuzana - familiar Gerlinde Paulik Jurcova / Frantiek Stanek) Freyer, Ljubljana) (D): Judith Pazonyi (E) (Vac) (Ruomberok, SK): Talk with Kunibert Geiger, a handicapped man, who suddenly got locked-in-syndrome alone / together F Continuation G Continuation H Continuation Videoconference Ruomberok Graz The gothique church of Heiligenkreuz am Waasen and the early baroque altar from the cathedral of Marburg / Maribor (Franz Feiner) Invitation by the Lord Mayor of Heiligenkreuz am Waasen: Presentation of the region Stiefingtal and the education centre F Continuation G Continuation H Continuation Departure to the KPH Graz Reflections in Workshop-Groups / Preparation of the presentation in the groups D / E / F / G / H Presentation at the KPH Graz: Exhibition, Film, Music, Dance, Puppet show Service / Thanksgiving Buffet Evaluation and planning of further work; incorporating the IP into each institutions cur rent program Departure

Mon. 4/21 9 12.30 and 14 17.30 Tues. 4/22 9 12.30 and 14 17.30 19.30 21.00 Wed. 4/23 9 12.30 and 14 15.30 15.30 17.00 18.00 19.00 Thurs. 4/24 9 12.30 13.30 Thurs. 4/24 14.30 17.30 Fri. 4/25 910.30 11.00 12.30 Sat. 4/26 9 12.30 Son. 4/27

Contributions of the partner universities All of the teachers from the partner universities were integrated in the workshops as leaders. Each teacher could bring in his/her special skills for the good of the program and its members. The colleagues from the Catholic University College Graz are spe cialists in art (body painting), museum pedagogy, professional competence in the presen tations about theological ethics, social ethics, didactics and Gestalt pedagogy, e.g. Kurt Zisler (artist, art educationalist, and educationalist for religious studies), Anton Schrettle (Bible theologian and expert in theological ethics), Joseph Harg (Bible theologian and expert in theological ethics), Roswitha Pendl-Todorovic (didactics, Gestalt educational ist), Inge Schrettle (political education), Inge Pock (art educationalist) and Franz Feiner were at work within their lectureship. In his special subjects, teaching science and di
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dactics, Franz Feiner pursues constructivist education concepts in which the attendants get essential impulses for self-education and thus become designers of their own line of education. Thus, the responsibility was not only taken on by the host, the Catholic University Col lege Graz, but by every partner university and teacher. The University of Ljubljana was represented by two faculties. The Theological Faculty is closely linked with the Slovenian Institute for Catholic Art Pedagogy through Stanko Gerijolj, who mainly tries to realize the concept of multiple intelligences by Howard Gardner, who he was trained by in the USA. The Slovenian partner university teacher Andreja Vidmar brought Gestalt pedagogical methods for building ones personality and identity. The Pedagogical Faculty of the University of Ljubljana has had experience in the field of puppet shows and theatre/drama pedagogy with Edi Majaron and Agate Freyer for many years. The Catholic Apor-Vilmos-University College in Vac (earlier in Zsambk), repre sented by Mrs. Gerlinde Paulik (professor of German as a foreign language) and Judith Pazonyi (professor of English and drama pedagogy), worked with methods of creative writing. This university has a chair for romology. Dealing with minorities plays an important role there. Ciesyzn, a branch of the Silesian University has a focus on art and art pedagogy: Mrs. Malgorzata Stoklosa wrote a dissertation on the Stimulation of creativity in art education; she worked together with Pjotr Stoklosa and Maria Stec on the topic Labyrinth. At the Catholic University Ruomberok, theatre and drama have had a very great tradition; there they apply ICT in teaching in an intensified way. Frantisek Stanek wrote his dissertation about the application of multimedia and Zuzana Jurcova is a Gestalt and dance instructor. They arranged the video conference, together with Branislav Kluska, an expert in Biblical-drama for the New Testament, and Viera Hubova, professor of dogmatics. The Newman College of Birmingham brings in a rich experience of dealing with other religious groups. At this university the theological department pursues a nondenominational ap proach, which opens up new perspectives for a lot of students. Robert Treadwell (art education alist) and Amanda Pocklington (art educationalist) brought in creative approaches, while Mrs. Margret Holland (Chaplain) led the interdenominational service together with Kurt Zisler. The College for Social Pedagogy of the Diocese Graz- Seckau brought in impulses from drum workshops, musical creations and dance with Mrs. Karin Erhart-Auner. Iryna Sekret from the University of Dnieprodzerzhinsk (Ukraine) had a lesson about creativity in teachers education in Ukraine. She investigated the connection between creativity and competences. She researches the benefit of using foreign languages for creativity. Innovative aspects An innovative aspect of the project Re-Creation was that the students and teachers lived and learned together, causing these roles to become more and more mixed up. Open teach ing and constructive education have become trends since the advent of the Internet, resulting in each learner becoming more and more the master-builder of himself (Maria Montessori). All teachers were learners, too, and the reflection of common experiences made all participants into learners and teachers. The art of learning (mathetic) was more strongly emphasized and reflected upon than the art of lecturing (didactics), which Hartmut von Hentig postulates as a trend for any kind of pedagogy in his publications. One evening, we had a conversation with Kunibert Geiger, who, together with his wife Rosemarie, told us about his locked-in-syndrome. This evening was one of the highlights of the whole intensive program.
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The two learning places were in Graz (city with considerable museums, European Cul tural Capital of 2003) and Haus der Stille (House of Silence), which is near Graz in nearly untouched nature. ICT-based learning was made concrete in a number of different ways, e.g. the web site http://www.kphgraz.at/recreation/ provides a great number of materials/texts in Microsoft Word and PDF, as well as PowerPoint presentations in German and English. The website had already been installed two months before the project so that current information was avail able before the project. During the course of the project, a video conference with the University Ruomberok occurred to present the work in progress. During the conference, results from workshops and initiated subject exchanges between the University in Slovakia and the project members were presented in English. Following the session, the University of Ruomberok, uploaded parts of the video conference regarding Bible study (New Testament) on the internet platform You tube and students had the task of writing comments. This was done as a modern and youthful approach of learning and studying. In future, the texts on this website will also be available in the languages of the participating countries besides English and German, which are Slovenian, Slovakian, Hun garian and Polish. RESULTS Interdisciplinary work occurred during Re-Creation and should be further empha sized during the training. The quality of teacher training is optimized by the concrete experi ence of learning in a community and by the mutual exchange of this project. To learn from the profound and scientifically sound skills of each person was especially helpful to view elementary issues. The personal encounter and work on a common project greatly benefited everyones personality. Access to the following basic qualifications was made easier. Foreign languages: a benefit concerning languages was given by the use of two work ing languages (English and German) and by the crash-course booklet handed out in the begin ning of the course, which was used frequently because it contained the most important forms of greeting and idioms. The booklet was very helpful in every day use; e.g., we greeted each other in the eight different languages in the morning and evening, and during the celebrations, we also prayed in the eight languages. Social skills: one of the major goals and strengths of Re-Creation was the use of com munication in its most original form to create a community (communio facere). The recogni tion of the acquired qualifications and training resulted in the granting of a certain amount of European Credits. Sustainability The encounter of the teachers and students from different countries, including newer EU- members, was one of the most important experiences whereby the topic strange - inti mate was concerned. During those 14 days, the students and teachers experienced a highpriority focus concerning peace policies. Feedback was very positive based on statements from the evaluation: It was great to work together with people from different countries; The idea of bringing countries together and to integrate within them is a very positive project; It is good to have so many different backgrounds and students from different cultures - this was the strength of Re-Creation.
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Art and creativity, which are a natural component of the teacher training programs at KPH Graz, have also been adopted as important by the partner universities. All members were able to collect didactic experience for their every day life at school. Europeanization is promoted by working together practically; through the necessity of using English or German, language skills also were improved. In the pedagogy of a united Europe, the connection between learning and physical exercise (cf. the newest publications of neuroscience) is going to become more and more im portant. The perceptions of art and culture and the creation of art as a process will help to give Europe a soul (Jaques Delors). Because of this, interdisciplinary and multidisciplinary approaches to the topic were im portant experiences, as were interlinking subjects and acquiring pedagogical and didactic skills. The aim is to initiate interdisciplinary work in the future of schools. Improvements occurred after feedback from experiences during Re-Creation I. A better realization of the different precondi tions, religions and denominations of the participants to give them the possibility of including their different symbols in ceremonies that were celebrated together, e.g., in Re-Creation II a Moslem participant was integrated very well, while in Re-Creation III, a participant presented her religion, the Sikh Religion. The balance between the art of teaching (didactics) and the art of learning (mathetic) created some tension with the potential for discussion. For Re-Creation II and III, the Haus der Stille was arranged as the perfect place for living and learning in the community. The religious sign of peace as an expression of Eu ropes multi-religious society (and the Markus Way) is a central component of the program. CONCLUSIONS The interdisciplinary approach and the realization of different content areas through creative methods were especially valuable to the project. Each workshop group presented their work in an appropriate way, either through dance, images, sculptures, a musical performance or written texts. The presentations were documented in picture, word and sound, and will be presented on the website. Each student made a personal portfolio with a description and reflection of the con tents and methods complete with images and sound bites focusing on a special area. The par ticipating students will use and continue to develop the new learning methods in their teaching. The key aspects of the activity strange - intimate and being alone - being together fulfill the necessity to pursue social-integrative approaches that help to overcome ethnic barriers and to be effective against racism. The issue hunger - abundance fits with the main ideas of political education and goes hand-in-hand with the decade of education for sustainable development and the worldwide aim in the Millennium Development Goals. The topic natural - unnatural is also existential for the future of the world. The shared database helps to exchange important documents and material; in this way, cultural exchange also advances. From the heritage of the Christian West, impulses for current questions in modern edu cation can arise; the creative powers of Christianity, but also of other denominations in the par ticular countries, should be used in our education processes. In this way, language and poetry, visual arts, music and singing and movement as a means of expression play an important role. It (Re-Creation) helped students to understand and begin to become aware of the importance of developing their ideas, views, ability to communicate and develop tolerance and understanding. It helped students to recognize the importance of their own creative actions and how these inform and define our view of the world. We were afforded the ability to confront
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and begin to break down barriers to personal and shared experience; to share common goals and ambitions with others and to recognize similarities despite our differences (Robert Treadwell, Birmingham, UK). All in all, the chance to learn through heterogeneity in the sense of inclusive education was seen as very valuable and much appreciated. The participants agreed that the financing by the European Commission was a very good investment. The tenor was, To finance bordercrossing education is a future-oriented investment.
References 1. Feiner, F. (2007). War in Jesu Denken und Handeln immer schon fr alle Platz? Zeitschrift fr Integrative Gestaltpdagogik und Seelsorge, 44, p. 3 4. 2. Feiner, F. (2008). Foreign and Familiar. Retrieved September 2009 from http://www.kphgraz.at/recreation/ material.html 3. Feiner, F.: Exkursion Wernersdorf, Martjanci, Selo, Jeruzalem. Retrieved September 2009 from http://www. kphgraz.at/recreation/material.html; 4. Geiger, K. / GeigerEssert, R. (2000). Das Leben neu lernen. Wie mein Krper Flgel bekam. Heiligenkreuz a. W.: Eigenverlag. 5. Gerjolj, St. (2006). iveti, delati, ljubiti. Celje: Mohorjeva druba. 6. Gerjolj, St. (2008). Herausforderungen fr eine Erziehung ohne Feindbilder. Retrieved September 2009 from http://www.kphgraz.at/recreation/material.html 7. Gerjolj, St. (2008). Creating Good Class Community as the Key to Successful Learning, Retrieved September 2009 from http://www.kphgraz.at/recreation/material.html 8. Gerjolj, St. (2008). Howard Gardners Theorie ber multiple Intelligenz und ihre praktische Applikation ein Weg des ganzheitlichen Lernens im Sinne der inklusiven Pdagogik, in: Knauder, H. & Feiner, F. & Schaupp, H. (Hg) (2008): Jede/r ist willkommen. Die inklusive Schule Theoretische Perspektiven und praktische Beispiele, Graz: Leykam, p. 79 92. 9. Gerjolj, St. (2009). Der Engel Rafael ein auerfamilirer Erzieher. Biblische Pdagogik als Antwort auf Lebensfragen. Mnchen: Don Bosco Verlag. 10. Harg, J. (2008). Allein gemeinsam. Retrieved September 2009 from http://www.kphgraz.at/recreation/mate rial.html 11. Knauder, H. / Feiner, F. / Schaupp, H. (Hg.) (2008). Jede/r ist willkommen! Die inklusive Schule Theoretische Perspektiven und praktische Beispiele. Graz: Leykam. 12. Maslow, A.H. (1970). Motivation and Personality. 2nd. ed. New York: Harper & Row. 13. Pendl-Todorovic, R. (2008). Strange Familiar. Retrieved September 2009 from http://www.kphgraz.at/rec reation/material.html 14. Pock, I. (2008). Alleine gemeinsam / Alone together. Oder: No man is an Island. Zeitschrift fr Integrative Gestaltpdagogik und Seelsorge, 50, Titelbild und 18 - 19. 15. Schrettle, A (2008). Hunger and Abundance. Retrieved September 2009 from http://www.kphgraz.at/recre ation/material.html 16. Schrettle, I. (2008). European Perspectives in Teacher Education. Retrieved September 2009 from http:// www.kphgraz.at/recreation/material.html 17. Schrettle, I. (2008). Hunger und berfluss / Hunger and Abundance. Retrieved September 2009 from http:// www.kphgraz.at/recreation/material.html 18. Stokosa, M.: Labyrinth. Retrieved September 2009 from http://www.kphgraz.at/recreation/material.html; 19. Zisler, K. (2008). Re-Creation. Retrieved September 2009 from http://www.kphgraz.at/recreation/material.html 20. Zisler, K. (2008). Allein und gemeinsam / Alone and Together. Retrieved September 2009 from http://www. kphgraz.at/recreation/material.html Franz Feiner Professor Dr. is teacher at the Kirchliche Pdagogische Hochschule (KPH) Graz, Langegasse 2, A 8010 Graz tel. +43/3134/2927, fax +43/3134/2927 email: franz.feiner@kphgraz.at 189

Nijole Petronele Vekiene. I got a doctor degree in education sciences in 1984 and earned my habilitation in 2007. I have been working as a researcher and a lecturer in different Lithuanian universities for more than twenty years. I have published four monographs, fourty academic articles and I have done a similar number of presentations in confer ences, as well as have been some research projects manager. My aca demic interests include: reflective learning and supervision. My hob bies are travelling, reading and listening to music. Sigita Sauleniene. I graduated from iauliai University in 1979 and became an art teacher. In 1997, I gained a Masters degree, in 2003 I became a doctor in Social Sciences (Educology), both are from Kau nas Technological University. My academic focus areas are pedagogi cal competencies, roles of an art teacher, active methods of teaching/ learning, creativity training methods, the development of competen cies for art teachers. My hobbies are ex-libris, painting on silk.

Reda atniene. I obtained a Bachelors degree from Vytautas Mag nus University in Kaunas, specializing on Art Criticism. Then I stud ied Theatre, focusing on contemporary theatre forms. I gained a doctor degree in Humanities. My main academic focus is multiculturalism, identity formation, youth culture and subcultures, urban culture, mod ern cultural phenonena in general. My hobbies are modern culture, literature, music, cinema, travelling.

NIJOL PETRONL VEKIEN Vytautas Magnus University Lithuania SIGITA SAULNIEN REDA ATNIEN Kaunas College Lithuania

INTERDISCIPLINARY COLLABORATION AS A SOURCE OF | CREATIVITY: CHILD DAY CARE CENTRE CASE

Abstract Introduction. The paper analyzes a complex character of two social professions, art teaching and social work, and the importance of creativity in realization of these multidimensional processes. Interdisciplinary collaboration among art teachers and social workers is viewed as a possible source of creativity. Aim of the study. To analyze interdisciplinary collaboration of
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future art teachers and social workers. To analyze the demands and possibilities for the development of interdisciplinary collaboration. Materials and methods. The study was based on the methodological concept of capital and theoretical framework; the methods applied in the study are qualitative and quantitative analysis, content analysis and interpretation. Results. Preconditions for interdisciplinary collaboration, which are understood as communication barriers in the field practice. Conclusions. The representatives of social professions have to develop the competence of creativity by learning to collaborate in an interdisciplinary team. Key words: creativity, interdisciplinary collaboration, art teacher, social worker. Introduction The paper analyzes the issue of complex characteristics of teaching art and social work as intensively developing social professions, which were re-established after the independence of Lithuania in 1990. The investigation of these problems began with the analysis of the role of teacher training and social work education for learning to collaborate in an intercultural/inter disciplinary team (Bruneviit, Vekien, 2003, Bruneviit et al., 2004). The peculiarities of interdisciplinary collaboration between the representatives of two different (by the concept of the object of studies and activity) social professions, an art teacher and a social worker, were also analyzed. This study focuses on the possibilities for overcoming the barriers stipulated by different professional cultures through the collaboration of future art teachers and social wor kers in the field practice. The paper is based on the results of the empirical analyses and understanding Child Day Care Centre (CDCC) as a learning environment for interdisciplinary competence. Meth odological concepts of the capital (emotional, human, social and cultural) were used for the analysis (Gendron, Bourdieu, 2004, Coleman, 2005). The empirical analyses were carried out on the basis of the theoretical approaches, such as social construction (Berger &Luckman, 1999), reflective learning (Kolb,1984), sustainable development (Brodner, 2009), management of educational changes (Fullan, 1993, Hargreaves, 2004) and transfer strategy as a strategy of learning to act in constantly changing situations (Patry, 1999). The dynamism, competitiveness, balanced growth and social cohesion of the know ledge-based EU economic system, emphasized in the Lisbon strategy, highlight the field of social studies. One of the essential challenges of a knowledge society is its multidisciplinary character, which requires life long learning (Bell, 2003, Lorenz, 1998). The concept of life long learning requires balancing the learning process and the social care process in the CDCC as an educational and social care organization (Hargreaves, 2004). The necessary condition of inter communication and mutual understanding of this phenomenon arises within this cultural-social medium. The complexity of social work and art teaching practice in CDCC requires interdiscip linary collaboration. The competencies of social creativity of teachers and social workers also need to be developed. The reality of knowledge society is the convergence of sciences, which can result in difficulties of intercommunication between representatives of different scientific fields. The formation of the relationship-based knowledge society accompanied by essential contradicti ons caused the pre-requisites for the change of social professions (Bell, 1999; Dominelli, 2004; Lorenz, 1998). The above mentioned contradiction causes tension and requires special collaboration of professionals to interpret the basic concepts of social work and art education clearly. Trans disciplinary networks, cooperation, coordination and collaboration between agencies and pro fessionals are a key strategy for discussing these concepts and trying to change the fragmented
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human services into an infrastructure which addresses the multiple needs of clients/learners in a more efficient way. Otherwise, there are no traditions of social work identity in the Lithuanian society, as well as multidisciplinary communication as the possibility to solve issues in the pro vision of social welfare (Eidukeviciute, Veckiene, 2004). This creates contradictions between the expectations for social professionals and has an effect on social work intervention and the teaching/learning process. Teamwork frequently remains a theoretical notion, which negatively affects the quality of art education and social services. Aim of the study The aims of the study are to analyze interdisciplinary collaboration of two student groups, future art teachers and social workers; to analyze the demands for teaching and social work practice, the required multidimen sional solutions and to define the possibilities for the development of interdisciplinary collaboration in the field practice as a source of social creativity. Materials and methods Change is the essential character of the 21st century. The consequences of changes can be observed in different areas of human life and activities. It is evident that a very wide variety of social groups in Lithuania are under threat of being excluded from the point of view of the main criteria: education, capital (income) and activity (career or employment) and may, therefore, face poverty (Veckien, Veckys, 2003). Analysis of change revealed the development of society, which is accompanied by essential contradictions and creates assumptions for the change of social professions (Bell 1999, Dominelli 2004). These changes are accompanied by shifting and increasing the requirements for a person, also the need and necessity for collabora tion. In this context, social work education and teacher training, which prepares people to work in the process of change. It becomes necessary to determine what are the learning strategies and the ways to put them into practice for a successful childs development. A child, according Lithuanian Constitution, is every person till the age of 18. A child is understood as the most vulnerable subject in context of social policy and psychosocial processes play a big role in the child development. Social environment is essential for the childs successful development. Professionals, who participate in the child development and protection processes, can understand differently what is and how to organise childs educa tion and well-being, what influences controversial decisions for family, teachers or social workers, how childs surrounding should be structured that it would support and stimulate childs development. In order to constrain conditions for childs successful development in order to evolve childs natural abilities prepared for independent life in the society, physical and psychosocial safety, material safety and structural safety must be secured. These aspects are important in organising teamwork of education and social services in governmental and nongovernmental organizations to protect childs rights and possibilities. Layder (1996) states that settings and contexts are in a large part made up of reproduced social relations and that means that social forms are reproduced over time because people generally replicate the habits, traditions, rules and stocks of knowledge that sustain the social forms. In other words, they continually put new life into the already established character of social forms that they enter into.
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In this article, one of the principles is that no matter what happened in the social life, the childs relationship with adults, parents and professionals are essential. There is always a dilem ma how the structure of child education and care should be formed. Reflected experience allows to avoid mistakes made in previous stages of the development, to elaborate new, more effective ways in order to adopt permanent changes in individual and social life. The research of Eidu keviciute(2002), Veckiene, Veckys (2003) showed that it is quite difficult to change behaviour, expectations and attitudes of all systems. The possibilities for the development and change can be proffesionalisation of NGO system in child care. According to Fox-Harding (1995), in the modern defence of birth family and parents rights perspective, the child in care should keep in touch with his/her parents. The role of a CDCC, as a child care and educational organization, is to be a link between parents and children, not an alternative for the family as a unit. Social capital is a core concept in the paper. Coleman (2005) states that social capital is created in the process of interdisciplinary collaboration when the relationships between peo ple change in order to facilitate activity. The social capital concept promotes viewing relation ships as teamwork resources and a team as social capital that complements human capital and facilitates creativity and/or more effective activity. Art teachers and social workers use different information. When these specialists exchange individual information resources, social capital is created in the process of constructive communication. The information used by every team member complements the common mental outfit thus facilitating the achievement of the set aims and increasing the common knowledge. According to Coleman (2005), information po tential characteristic of social relationships is an important form of social capital. Information provides the basis for capability. In this respect, relationships are valuable for the information they determine/provide. The perspectives of Bourdieu allow us to emphasize the meaning of interaction be tween children and students (future art teachers and social workers) within contextual specific itys. According to Bourdieus concept habitus, our past predominates over us, our present is not so important in comparison with a long period of the past. Our past determines how we view the present. The mental structures, which have been formed by the predominated moral norms and the system of values during socialisation, do not necessarily change in parallel and rapidly with the new, still forming social structures (Bourdieu, 1990). Cooperation within different European countries increases complexity within collabo rations. Multidisciplinarity develops international and global elements, which create multicul tural and contextual complexity. Cultural and economic globalization leads to changes in all spheres of human life: personal, social and cultural. In late modern times, societal changes deconstruct the traditions of small communities and the protective role of tradition. The differ ences between traditional and late modern societies become more evident when one relies on Durkheims (1984) insights, who states that in traditional societies collective work was valued, while in the late modernist period, especially the Western culture, individualism is on the top. The latter statements are strengthened by current youth subculture research (atnien, 2008, p. 32-36), the results of which show that even though small communities or subcultures are joined, the perception of identity is fragmented. Even subculture members are not willing to define themselves as the ones belonging to subculture, but prefer perceiving themselves as being a part of specific activities, which culturally can be attributed to a concrete subculture. According to Giddens (2000), in late modern culture, the issue of identity in the so ciety is one of the most problematic questions of a modern persons life. The individual feels abandoned and alone in the world where s/he lacks psychological support and the sense of security guaranteed by the former cultural environment where the sense of collectivity was preva lent. Contemporary culture is marked by the variety inspired by the discussed tendency towards
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individualism: multi-values, multi-experiences and multiculturalism. Multicultural knowledge and experience help us to meet the challenges of contemporary reality, deal with the ongoing change and control it. In the multicultural society, the question of dealing with the differences is raised: how to deal with different values and the variety of professional and cultural identities. In such conditions, identity becomes a relevant issue in the society of various social groups, which represent the subcultures of different tastes or values. The answer should implicate knowledge, the ability to identify such cultural differences and cultural integration by being able to integrate multicultural experience as a source of creativity in professional work, especially for a social worker or an art teacher. Communication between different cultural identities raises a question of having a competence to admit that one is different from another, but, simultaneously, equal. Students, future art teachers and social workers must be able to maintain their own cultural identity and personal individuality in their practice. They should develop the ability to analyze their models of perception, communication styles, increase their ability to recognize each others identities, try to be open- minded and to be able to deal with the children having different values. While having the competence of productive collaboration, the possibility to integrate multicultural experiences into the process of teaching/empowering arises, which is a source of creativity. Multicultural experience could be used as a source of creativity by art teachers, who already have technical instruments of abstract communication to encourage creativity in others through art, and social workers who are responsible for the social development of children. Creativity in the article is understood as the ability to act creatively in professional sphere and everyday life. Grakauskait-Karkockien states that creativity represents discovering some thing new (Grakauskait-Karkockien, 2003, 7), therefore, creativity is associated with the abil ity to understand new multicultural situations, recognize them and act using its resources. Transfer strategy, as a strategy of learning to act in constantly changing situations, may perform the role of integration of the complexes of contextual and procedural conditions in the creation of the environment for learning to intercommunicate. The application of the transfer strategy in the studies and field practice confirmed the possibilities for the creation of the learn ing environment in the way discussed in this paper. In general, we can state that in the medium of principles of intercultural/interdisciplinary collaboration and the paradigm of learning, the choice of the transfer strategy in professional studies may create preconditions for the develop ment of social creativity, which is relevant for the knowledge society. Qualitative and quantitative methods were used for analyzing interdisciplinary col laboration as a source of social creativity. Throughout the whole study, data analysis was per formed using content analysis and interpretation methods: 1. Analysing the preconditions for the changes in the curriculum oriented towards interdisci plinary collaboration on the basis of transfer theory, we performed the generalization and interpretation of the results of the qualitative and quantitative analysis of the aims of the curriculum of art teachers and social workers education and the analysis of graduation pa pers at Kaunas College and Vytautas Magnus University. Interpretation of the results was performed using Abramson and Rosenthals collaboration theory (Bruneviit, 2004). 2. In order to evaluate the preconditions for interdisciplinary collaboration, existing in practice, generalization of the investigations in practical art teachers and social work ers activity were performed. The interpretation highlighted insufficient understanding of the importance of the need for collaboration, as well as intercommunication barriers between the representatives of different professional cultures in CDCC (child education and social care organizations).
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RESULTS 1. Education of art teachers and social workers for interdisciplinary collaboration. The preconditions for the changes in the curriculum oriented towards interdisciplinary collaboration on the basis of the transfer theory were analyzed. In the first part of the paper, we present the analysis of the curriculum aims of art teachers and social workers education and the analysis of graduation papers at Kaunas College and at Vytautas Magnus University (bachelor and master papers). The interpretation of the results was performed by using Abram son and Rosenthals collaboration theory (Bruneviit, 2004). This theory emphasizes the importance of commonly understood problem, or the importance of agreement having common aims among the professionals of different fields in a team. The statement of this theory that is important for our study is that in order to improve art teachers and social workers collabora tion competence, the tasks and goals of the curriculum could be shared and connected to each other. As a result, mutual benefits and interdependence could develop as important aspects for an interdisciplinary collaboration. Social work in Lithuania is a new profession that has existed for merely 19 years. Its identity is still developing in the context of social risk and changing in the paradigm of social work in Europe, which adds intensity and complexity to this process. The profession of a teach er is based on a long-term education tradition and the corresponding social status. On the other hand, in the context of a new learning paradigm, this profession undergoes essential changes. In the XXI century, the emphasis on creativity, as a specifically important personal feature, allows stating about the productivity of synergy of these two professional activities. The curricula of the education of art teachers and social workers are characterized by a strong emphasis on the professional oneness. Such specificities in the curricula condition problems of interdisciplinary cooperation in practice and require a special adjustment of vi sions, aims and outcomes. For this reason, we tried to identify the main categories of aims of art teachers and social workers education. We searched for a lexical compound, which would allow identifying the categories that define interdisciplinary collaboration competence. This analysis was based on the idea that interdisciplinary teamwork in the Child Day Care Centre (CDCC) involves communication between the teacher, the social worker, and the learner/client and his/her relatives. The success fulness of the results of this communication is conditioned by the effectiveness and quality of the collaboration between all subjects/sides. The most frequent phrases in the formulations of these aims were the effectiveness of communication and cooperation, the communication process, principles, ways, and skills, professional ethics, relationships with colleagues, parents, learners, etc. This group of aims focuses on the basics of communication and learning to understand different professional cul tures. These aims are also oriented towards the development of the understanding of another professional culture, including the learners/clients culture. The second group consisted of the aims oriented towards the characteristics of per sonal behaviour, understanding of interpersonal relationships, identification of problems and analysis, as well as self-analysis. The most common lexical compounds were problem identification, analysis of ones own and others experience, relationships, behaviour of an individual, a group, and an organization, social roles, various factors that influence social behaviour, etc. These aims can be characterised by the development of knowledge, abilities and skills that may be transferred into the field of cooperation and learning. A smaller group of aims was oriented towards successful communication. The lexical compounds were: terminology (professional language), aspects of communication, elements of
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communication, situation analysis, etc. These are the aims that express the direct orientation towards intercommunication. In the formulations of social work curriculum aims, such lexical combinations can be met: to understand the levels of educational system; recognize the role of social worker in educational institution; know the basics of social educator activity; be able to reason activity in educational institutions by social work values. This creates the assumptions for the collaboration of an art teacher and a social worker. The most perspective feature in all three curricula is value orientation. The second important feature is that the axis of interdisciplinary collaboration may become the role of a learner/client, which is coming to light in all aims. In order to interpret the results, Walter and Petrs (Bruneviit, 2004) analytical mod el was used. This model defines nine main dimensions of interdisciplinary collaboration. In the graduation paper, the students carry out a study, combining the analysis of theo retical sources with the findings of the empirical study. The topics of the graduation papers may be evaluated as an indicator which reveals the preconditions for the collaboration between social workers and art teachers. When constructing the data analysis categories, the attention was focused on psycosocial aspects of child development. The results were interpreted and the conclusions were presented on the basis of the transfer theory. The analysis of the graduation papers showed that the students choose to apply the multidisciplinary approach. During the studies, the education and social development of a person is not limited to a narrow professional viewpoint and creates preconditions for the collaboration in an interdisciplinary team on the levels of competence improvement, values and knowledge. By choosing the topics for their graduation papers, social work students (bachelor and master) mainly focus on the problems from field practice in social work. This provides ad ditional possibilities for social work students to develop interdisciplinary cooperation compe tence while working together with other social professionals in the same organization (CDCC, for example). The analysis of the graduation papers at Kaunas College revealed the positive impact on art teachers competence by applying project method. It is a formal requirement for students practice and for graduation papers in Faculty of Art at Kaunas College. The goals of different projects, the variety of possibilities for the implementation of diverse environments allow the students to emphasize the importance of interdisciplinary collaboration and the expansion of activity spheres. The results of the analysis show that students have a broader understanding of their role as a teacher. Applying the project method during the practice in CDCC create the opportu nities for training effective communication, interdisciplinary collaboration and other personal and social skills. Obviously, both art and social work students are open for interdisciplinary cooperation. Again, these are not named in the curriculum as aims or tasks and are not foreseen in the results/outcomes of the studies. 2. Field practice as the precondition for the development of interdisciplinary collaboration. In this part, the interpretation of qualitative analysis was presented. The results of practical cases analysis revealed different knowledge about the same interventional situations. Different attitudes of the social professionals of social work organizations were presented. The interpretation highlighted insufficient understanding of the importance of the need for collabo ration, as well as intercommunication barriers between the representatives of different profes sional cultures in the child education and social care process. In order to evaluate the preconditions for interdisciplinary collaboration existing in prac tice, the generalization of investigations in teachers and social workers practical activity was performed. Regarding the theoretical approaches of social capital, sustainable work organization
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(Coleman, 2005, Kira, 2009, Brodner, 2009) and contextuality of social work and art education, it was important to evaluate the potentiality of CDCC as a learning environment for the develop ment of interdisciplinary collaboration competence. This part of the paper discusses several study cases that allow to identify the problems of interdisciplinary collaboration typical to Lithuanian practice and to reveal the variety of con crete collaboration experiences in the field of child education, social care and also CDCC. During 2003 2006, a series of studies (25 studies) were performed with the aim to evaluate communication in interdisciplinary groups or institutional networks that provide services to families and children. We concentrated on: a) individual needs of the child, b) the role of the family in ensuring the childs successful social development conditioned by health status, income of the family, and parents education level, c) interdisciplinary collaboration as a strategy for assistance to a multi-problematic family and child. The generalization of the study results revealed four main collaboration barriers. First, professionals of different fields understand assistance to a family and its priori ties differently, and their concrete actions could be entirely different, which may even aggravate the destruction that the family experiences. Second, state representatives and non-governmental organizations organize the provi sion of assistance to the family differently: the former provide it in accordance with certain well-established rules and procedures (pedagogues are also attributed to this group), while the latter pay much attention to the process (this group includes social workers at CDCC). Third, the coordinator of the teamwork is most frequently understood as a leader who has all the responsibility and power. Fourth, when an interdisciplinary team or an institutional network provides assistance to a family in a multi-problematic situation, in practice a question always arises: to whom does the result of the assistance process belong? Whose efforts are the most important and decisive? During this qualitative research, it appeared that no participant in the interdisciplinary team viewed the family as a partner (Vekien, Eidukeviit, 2005). Thus, one might assume that interdisciplinary collaboration in Lithuania is a novelty, it has not been realized in practice yet. CONCLUSIONS The analysis of the aims and outcomes of the art teachers and social workers educa tion curricula revealed the fragmentary character of the preconditions for collaboration when providing education and social services. This fragmentariness impedes the creation of condi tions for the development of the interdisciplinary collaboration competence. The empirical analysis of the interdisciplinary collaboration revealed the main bar riers: the professionals, working in different fields, understand and organize the provision of assistance to a family differently; the interdisciplinary cooperation is in its early development stage, as participants in the interdisciplinary team viewed the family as not a partner. Thus, one might assume that interdisciplinary cooperation in Lithuania is a novelty, mentioned in profes sional literature but it is not realized in practice. The generalization of the empirical data showed that the main obstacle in the develop ment of interdisciplinary collaboration is an insufficient education level and incongruity with modern requirements. However, the essential possibility for the development of collaboration emerged: the majority of the answers to the questionnaires indicated the willingness to learn from each other and to share experience. The generalization of the results of the presented studies allows to state that when formu lating the curricula aims of teachers and social workers education, it is very important to create
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the preconditions for the solutions of the interdisciplinary cooperation problems that emerged during the study. The main communication barriers are different approaches that do not allow teachers and social workers to find common value-based positions, as well as different knowledge and methods conditioned by different purposes of professional activity. These barriers can be the social workers efforts to search for the communication possibilities and to develop the future art teachers understanding about the role of a social worker in child development. The systematization of the results allows to identify three main principles of the devel opment of interdisciplinary collaboration: The first principle: the distribution of values and relationships between them; the im portance of this principle was revealed by the analysis of cases, which allowed to identify typical problems of interdisciplinary cooperation, arising in Lithuanian practice, and to search for the solution of the problems through the collaboration between art teachers and social workers in practical activity. The most promising feature of the aims is the value-based orientation, which provides the possibility to create the basics of collaboration in an interdisciplinary team. The second principle: a social worker guarantees the expression of interdisciplinary competence and overcoming the main miscommunication barrier. This conclusion is strength ened by the results of the analysis of social work graduation theses, where much attention is paid to the specialization of the profession of a social worker within the education system. The third principle is that the axis of interdisciplinary cooperation is the participation of the learner/client as a team member. During practice and during their studies, art teachers and social workers are oriented towards the learner/client. However, this orientation is limited to relationships: teacher-learner or social worker-client. The formation of the understanding that a learner/client is an equal team member may condition the development of interdisciplinary cooperation.
REFERENCES Bell, D. (2003). Kapitalizmo kultriniai prietaravimai. Vilnius: Alma littera. Berger, P. L., Luckmann, T. (1999). Socialins tikrovs konstravimas. Vilnius: Pradai. Bourdieu, P. (1994). Language and Symbolic Power. London: Cambridge. Brodner, P. (2009). Sustainability in Knowledge-based Companies. Creating SustainableWork Systems. Lon don and New York: Routledge. 5. Bruneviciute, R., Veckiene, N. (2004). Creation of the environment for learning to communicate in an inter cultural team. European Conference on Educational Research University Crete. 6. Coleman, J.S. (2005). Socialins teorijos pagrindai. Vilnius: Margi ratai. 7. Durkheim, E. (1984). The Division of Labour in Society. London: Macmillan. 8. Dominelli, L.(2004). Social Work:Theory and Practice for a Changing Proffesion. Cambridge: Polity Press. 9. Gendron, B. (2004). Why Emotional capital Matters in Education and in Labout Market? Toward and Op timal Expoitation of Human Capital and Knowledge Management. Les Cahiers de la Maison des Sciences Economiques, serie range, 113, p. 35-60. 10. Giddens, A. (2000). Modernyb ir asmens tapatumas. Vilnius: Pradai. 11. Grakauskait-Karkockien, D. (2003). Krybikumo psichologija. Vilnius: Logotipas. 12. Hargreaves, A. (2003). Teaching in the Knowledge Society, education in the age of insecurity. Open University Press. 13. Kira, M., Van Eijnatten, F.M. (2009). Sustained by Work: Individual and Social Sustainability in Work Organizations. Creating Sustainable Work Systems. London and New York: Routledge, p. 233-247. 14. Kolb, D., A. (1984). Experiential Learning. Experience as the Source of Learning and Development. Engle wood Cliffs, New Jersey: Prentice Hall. 15. Layder, D. (1996). New Strategies in Social Research. Cambridge: Polity Press. 16. Lorenz, W. (1998). Social Professions for a Social Europe // European Dimensions in Training and practice of Social Professions. Ostrava: University of Ostrava. 1. 2. 3. 4. 198

17. Patry, Jean-Luc (1999). Evaluation of Transfer in the Teaching Process: the Influence of the Specificity of the Situation. Profesinis rengimas, Nr.2. Kaunas: VDU, p.10-21. 18. atnien, R. (2008). Punk Subculture in Lithuania: Features of Identity. Kaunas; Vytauto Didiojo univer siteto leidykla. Doctoral dissertation. 19. Vekien, N., Eidukeviit, J. (2005). Inter-disciplinary Teams and Transdisciplinary Networks for Child and Family Inclusion: the Relevence of European Theory to Lithuanian Practice. Social Work with Families, Children and Young People in Europe, p. 51-169. 20. Vekien, N., Vekys, V. (2003). Social Exclusion in the Process of Transition: The Lithuanian Case. In M. Bochenska-Seweryn, J. Grotowska-Leder (eds.), Old and New Poverty in Post-Communist Europe: Challenges for Social Work. Krakow: Jagiellonian University. Prof. Dr. Nijol-Petronl Vekien, Department of Social Work Faculty of Social Welfare, Vytautas Magnus Universty K. Donelaiio 52-406, Kaunas LT44244, Lithuania Tel./fax. (+370) 37 327846, Tel. 327847 e-mail: N.Veckiene@sgf.vdu.lt Assoc. prof. Dr. Sigita Saulnien, J. Vienoinskis Faculty of Art Kaunas College, A.Mackeviiaus 27 Kaunas LT48240, Lithuania Tel./fax. (+370) 222348 e-mail: Sigita.Sauleniene@fc.kauko.lt Dr. Reda atnien, J. Vienoinskis Faculty of Art Kaunas College, A. Mackeviiaus 27 Kaunas LT48240, Lithuania Tel./fax. (+370) 222348 e-mail: reda.satuniene@gmail.com

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Olga Apse. Inhabitant of Kurzeme, doctoral student in the Pedagogy Programme at Liepaja University, and repeated winner of ESF schol arship. Teacher at Ventspils Secondary School No. 4. Length of ser vice: 15 years. Working as a teacher, I have come to a conclusion that teachers are both artists, and managers. They are artists, for their work is all about creation of personalities. They are managers, for they must know how to achieve as efficient decision-making as possible. I like quiet evenings with some great book, dramatic art, and leisure activi ties with my family. OLGA APSE Liepaja University Latvia

ASPECTS OF CREATIVITY IN EDUCATIONAL PROCESS OF INFORMATION AND COMMUNICATION TECHNOLOGIES FOR PEOPLE IN VARIOUS PHASES OF GERONTOLOGICAL AGE
Abstract Introduction.The Adult Education Centre under the auspices of municipal institution Ventspils Digital Center (VDC) was founded by the Ventspils City Council and since its development actively participates in lifelong education running different courses, including ICT courses for beginners attended by disabled people, the unemployed, children and youth, and elderly people. Aim of the study. Analysis of the creative activities of VDC in lifelong education sphere where people of old age acquire computer skills. Materials and methods. Tests and personality questionnaires were used to assess the creative learning process. Results. Training old people is not easy and teaching productivity in this case greatly depends on teachers professionalism and their choice of creative teaching methods. Conclusions. The creative approach allows one to take into account all major social, biological and psychological aspects of older people leading to the high performance of trainees. Key words: ICT, teaching people of old age, creative approach. INTRODUCTION ICT education for elderly people. The Adult Education Centre under the auspic es of municipal institution Ventspils Digital Center (hereinafter VDC) was founded by the Ventspils City Council. The process of lifelong education at VDC started after its develop ment. Every year many applicants acquire information and communication technology there. ICT courses for beginners are attended by disabled people, the unemployed, children and youth and elderly people. Lifelong education at Ventspils Digital Center has been success fully developing since 2005; about 1000 inhabitants raise their qualifications at VDC annu ally. Specialists try to provide equal opportunities to all members of community, regardless of their age, gender or previous education, place of residence, income level, ethnicity or physi cal capabilities. The courses are offered not only in official language, but also in Russian. Among course participants are educators, social workers, builders, etc. Courses are held in the regions of Ventspils and Talsi.
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Statistics show that members of socially disadvantaged and inactive groups (the unemployed, low-income residents, senior citizens, the disabled, etc.) do not possess good computer and ICT skills. They hardly ever use the internet. Moreover, members of these groups believe that it is very difficult to acquire ICT skills. Due to the above reasons, it is a very difficult task to achieve that the members of inactive groups start using ICT. Unfortu nately, the gap between humanity and modernity will only increase without giving studies a shot. As a result, social abruption will increase and the competitiveness of this particular group on labour market will reduce. It should be noted that elderly people demonstrate a genuine willingness to con tinue their education as well as to gain IT knowledge. Elderly people of the 21st century are active and energetic, however, many of them cannot boast with a huge potential of acquiring up-to-date knowledge. Socially active people of old age accept the existence of the digital abruption with the unwillingness or inability to use different technologies, thus they make all-out effort to develop their ICT skills, approaching to the use of the Internet and other ICT resources. Old age. The famous psychoanalyst Karl Jung notes the importance of preparing peo ple for a sophisticated period of their old age. In accordance with Carl Jung, the most important duty and necessity is to produce a holistic view about ones life and self-contemplation on the second and third stage of life (Jung, 2009). In addition to medical and biological issues of old age, the psyche and adjustment of individuality play the key role in the development of physiological features, which determine a wide range of human behavioral attributes in this period of life journey. Modern views of scientists on the psychological features of old age are that the mental potential of persons allows them to develop at this stage as well. At the same time, while ageing there is a decrease in mental possibilities with their refinement; involutional changes combine with the new progressive characteristics that in many respects allow people to build their own potential. In this respect, the success of human social-psychological development depends on each persons willful craving, as well as to what extent they act as creators and architects of their own life. An important factor of creative productivity at old age is the accumulation of prior knowledge and investigative skills. The decrease of mental activity for such individuals is not observed until the senior stage. For many elderly people the processes of lifelong education are playing a crucial role. They are willing to attend different courses (e.g. information and commu nications technology (hereinafter ICT) courses), study history, literature, culture and religion, as well as go on excursions to explore the world. The switch from active working life to other kinds of activities compensates the loss of control at work and in family. Experts refer such people to the optimal type of integrated personality or reorganizers (when one activity becomes difficult, they move to another) (, 2007). A second personality type of elderly people, named as defensive, is charac terized by a desire to delay ageing at the same time maintaining a high level of activity. A third passive personality type is characterized by adjustment of a passive-dependent role in the elderly age: search for help, limited communication with other people. A most compli cated personality type of elderly people is the so-called destructive type, which includes individuals suffering from lowering intelligence. A major problem of elderly people is a phe nomenon called loneliness physical, social and psychological conditions of a sequestered life with a painful sense of the growing gap between a person and surrounding people leading to self-isolation of elderly people. The study of features and types of personality helps to identify common patterns of old age.
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AIM OF THE STUDY The aim of the study is to analyse the creative approach of VDC teachers in lifelong education sphere where people of old age acquire computer skills. The author tries to prove the hypothesis that training people of old age is rather ineffective if the teacher does not take into account social, biological and psychological aspects of trainees and the success of senior train ing depends on teachers professionalism and their choice of creative teaching methods. MATERIALS AND METHODS The target audience of ICT courses is old age pensioners who have no knowledge and practice of using computer technology, as well as people of the same age category and per sons with disabilities who can demonstrate little experience in computer use and are willing to broaden their skills for successful use of the Internet, data retrieval, digital telephony, etc. Approximately 50% of all volunteers willing to attend computer courses at VDC are pensioners and pre-pension persons. More than 2/3 of them are woman (Fig. 1). 74% of elderly people attending ICT course at VDC during the entire training period were women and the re maining 26% were men (Fig. 2). Of course, the best way how not to forget information acquired during the course is to apply new skills and knowledge at work and home using a creative approach. The practice of creative thinking in cases when there is time to solve tricky problems (for example, teaching people of old age to use computer technologies) is of particular impor tance because their experience is related to real life. Therefore, to increase productivity, one needs to solve their problems creatively and use creative skills while dealing with daily tasks. Motivation is one of the most important features in communication with pensioners and pre-pension age persons: not only the motivation for stimulating an interest in the acquisi tion of new knowledge, but also the motivation for active application of the acquired knowl edge. Creatively encouraging willingness of old people to use ICT skills in everyday life, VDC specialists provide support to all people who have completed VDC courses giving them advice any time they come to VDC or by phone and e-mail. The main aspect of motivation for acquisition of ICT skills and application of knowl edge acquired during the ICT course is an opportunity to use computers and the Internet on the premises of VDC for free every day, setting a basis for self-education. To evaluate the creative process of learning, tests and personality questionnaires as the analysis of performance are frequently used. During the period from June to October 2009, a questionnaire of VDC visitors was designed, whose data helped to understand the interests of visitors, their desires and needs. 136 people of old age responded to it. The questionnaire con sisted of 21 questions and their results helped to identify priorities of course participants, their views on the process of learning at VDC; their assessment of teachers professionalism was also given. In addition, respondents provided critical view on the courses and described their future plans concerning the process of lifelong education. ECDL, European Computer Driving License. Recently, Latvia accepted an interna tional certificate confirming the working knowledge of ICT at the level quoted in the European Union and the United States. The European Computer Driving License (ECDL European Computer Driving License, also known as ICDL International Computer Driving License) is a global certification training program in the use of personal computer. It is known that today more than 6.5 million people in 166 countries around the world have passed this test. This fact makes the ECDL certification program one of the global standards of computer literacy.
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ECDL certificate is generally accepted as a standard for Europe and the United States of America, confirming that its owner is familiar with basic concepts of information technol ogy; s/he is able to use a personal computer and its basic applications. Currently more than 4.5 million people in 70% of the world have passed this test. The ECDL programme is implemented through a system of test centres, which are lo cated in schools, universities, training centres, organizations and lifelong education institutions, etc. Test centres are permitted to give and accept tests, as well as issue certificates and Skills Cards of international standard. Recently it became possible to pass ECDL tests in many Latvian lifelong education institutions. Ventspils Digital Centre also offers its visitors to take an ICT test. When people of old age are informed about ECDL test, their reaction is silence be cause they do not see a vital necessity in it. One of VDC programmes for improvement of ICT knowledge of employees, includ ing elderly people, after a full training course offers to obtain the ECDL eCitizen certification in essential computer and Internet use. This programme was developed under the aegis of the ECDL Foundation the leading international organization dealing with the development and implementation of unique qualification standards in ICT. The eCitizen test is for people who have never used computer, but are willing to join the world information community and learn how to use computer in their daily lives. The qual ity of knowledge obtained during the training course is assessed with the help of an independent test taken at the end of the course. After successful pass of the test, the candidate is awarded an international certificate or an eCitizen passport accepted in 70% of the world. Passing the ECDL exam at VDC is not a mandatory procedure, so people may refuse to pass it. However, 4 out of 18 representatives of old age successfully passed the eCitizen test, confirming the fact that they are smart enough to use computer in their daily lives. To get an ECDL certificate one has to spend certain amount of money; perhaps this is the principal reason for elderly peoples refusal. They point out that this certificate is designed for young people who someday might move to work in other EU countries or the United States. Elderly people do not refuse to work, they just do not entertain the notion of moving to another country. ECDL Foundation offers a range of ICT certifications for different levels of complex ity, which is very important for average users who have no need to demonstrate a high degree of ICT proficiency in their daily work. Despite this, pensioners and pre-pension age persons pay attention to any kind of stress which might affect their health. Unfortunately, exams often cause such kind of nervous tension. People of old age prefer to avoid the ECDL certification process due to following reasons: unwillingness to confront with a stressful situation; payment for participation in the certification process; there is no necessity to have an ECDL certificate. RESULTS Since each course participant had their own motivation and could not achieve their learn ing goals without basic computer skills, nor did they know anything about other ICT opportunities (in most cases the learning begins with no ICT knowledge), further course of learning depended on how creatively teacher will strengthen the motivation of trainees. Results of the survey show that elderly people have the following motives for participation in ICT courses at VDC: possibility to communicate with children and relatives living abroad; ability to use Internet Bank helps to save ones money and is more convenient;
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 ability to search for necessary information (news, literature, etc.); willingness to communicate with others; rational use of free time. It should be noted that there is a social necessity, as well as a genuine willingness to communicate with people of the same age group. People of old age do not miss classes, main tain relations with each other and are interested in continuing the process of their education. The best example of further transmission of information is through direct communi cation between course participants and other people (friends, relatives, neighbours, acquain tances) who proudly discuss acquired knowledge and changes in personal life with each other. Such stories encourage others to start believe in their own capabilities and to form a willingness to learn new information. A good example of creative approach in the process of lifelong education is the pro gramme Virtual Guide for the Whole Family (a project implemented by the Latvian Informa tion and Communications Technology Association in collaboration with Microsoft Latvia and education centres in such cities as Ventspils, Liepaja, Jelgava, etc.). The programme provides ICT training for beginners of three generations (children, parents and grandparents) as one audience. Program participants solidly supported each other in cohesive way, harmoniously complementing and exchanging already acquired skills. Implementation and conduction of these courses provides an opportunity for families to spend time together, helping to break the stereotype that work with computer is a waste of time. Such creative approaches often help to overcome the following barriers while working with people of old age: prompt fatigue while concentrating on the given material; different levels of training; authoritarian behaviour; health problems. Teachers emphasize the advantages of working with elderly people: perfect discipline; a genuine interest in learning; joy at attained goals; willingness to improve the acquired knowledge. ICT training of people from this particular social group certainly differs from training of other VDC visitors. Firstly, teachers must pay attention to the physical condition of visitors. As people of old age find it difficult to concentrate on the subject for long periods of time, teachers must find alternate (more efficient) approaches to course planning (if they really want to succeed at teaching). In this case, a few short sessions with breaks are better than an extremely long one. It should be taken into account that course participants have different levels of knowledge. This factor directly influences the course programme as well. It should be mentioned that in many respects successful progress depends on ones previously obtained knowledge of English. If course participants do not possess knowledge of the said foreign language, teachers should provide explanations of ICT terms. Secondly, the course must be planned in such manner as to convince participants that the skills and knowledge they acquire during the course are absolutely necessary for their fu ture. Teacher must continuously show what benefit trainees will get from acquisition of ICT skills. To be able to do this, teacher has to study the contents of the program in detail. In addition, effective discipline in the classroom does not only mean successful acqui sition of skills and knowledge, so each training session should end with a test. Teachers must
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make course participants interested in ICT to such an extent that, after the training is completed, they are still willing to continue self-learning or consider learning opportunities in future. VDC provides all people who have completed VDC courses an opportunity to use computers and the Internet on premises of VDC for free to strengthen their ICT skills. More over, experts of VDC provide support to all visitors giving them advice any time they need it. Of course, there are also other nuances, however, these examples are sufficient to prove that one has to be a knowledgeable specialist with professional skills and creative teach ing approach to be able to work with people of old age successfully. CONCLUSIONS Paying attention to the basic social, biological and psychological characteristics of old peoples life, VDC teachers have achieved significant progress on implementation of ICT train ing programmes for elderly people. During the study, the author formed an opinion that training of people of this particular social group becomes almost impossible if teachers do not take into account social, biological and psychological aspects of trainees. Success of seniors training depends on teachers profes sionalism and their choice of creative teaching methods. Course participants have highly appreciated both effectiveness of the available training programme and professionalism of teachers. 96% of the participants have expressed willingness to continue to improve their results; 52% have regularly used their e-mails, and 7% have returned to their daily work. The participants became convinced that everyone can learn to use computer and the Internet. Computer and ICT skills make our daily tasks easier, help to implement new ide as and diversify leisure. The results of the training confirm the assumption that course participants are willing to use the acquired knowledge only when they are doing activities they are interested in and/or have problems with, e.g. online communication with friends and relatives, use internet bank, independent search for necessary information on the Internet, etc. A review VDC received from one of elderly ICT course participants says, After the training, I received a gift from my children it was a computer. Now I can communicate with my relatives in Lithuania, Ireland, and the Ukraine. Children actively use computer in their daily life, and now I can advise them on how to use Internet bank. They never have time to study all thoroughly, but I have plenty of it... I can buy them discounted theatre and airline tickets. I believe it is necessary to keep your hand on pulse, and I have time and desire for it. I can be the first receiving the latest news.
REFERENCES 1. , . (2007). . , 1, . 47-53. 2. Jung, . (2009). Stages of Life. Retrieved October, 2009 from http://www.philosophicalsociety.com/Archives/ Carl%20 Jungs%20Stages%20of%20Life.htm Olga Apse Mg. sc. soc. Liepjas Universittes Pedagoijas programmas doktorante Zvaigu iela 34, Ventspils, Latvija Tlr. +371 27078390 e-pasts: olgaapse@inbox.lv

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APPENDIX Figure 1 Age structure of VDC visitors

Figure 2 The VDCs participants

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Ingna Lce. RPIVA atzmja savu 15. pastvanas gada dienu. Tas bija zinms atskaites punkts ar man dzv. RPIVA strdju no ts dibinanas pirmskumiem. RPIVA k strdju ar pirms tam taj esoaj Rgas skolotju institt un 2. pedagoiskaj skol. Atska toties uz iem gadiem, varu teikt: mana dzve un karjera ir bijusi oti veiksmga. du apgalvojumu saku td, ka visus os gadus man ir bijusi iespja bt ldzs oti gudriem, sirsngiem un optimistiski noskaotiem koliem. INGNA LCE Rgas Pedagoijas un izgltbas vadbas akadmija Latvija

RADOUMA NOZME PEDAGOGA KARJERAS ATTSTB

Kopsavilkums Ievads. Karjeras aktualitte Latvij pamatojas k uz karjeras teoriju apzinanu pedagoijas zintn, t uz socilekomomisko situciju valst. Darba mris. Raksta mris ir atklt un pamatot pedagoga karjeras un radouma mijsakarbas. Materili un metodes. Pamatojoties uz eksistencilisma atzim par radouma nozmi cilvka dzves veidoan, karjeras teoriju skatjumu uz karjeru k cilvka dzves veiksmm kopum, akmeoloijas un psiholoijas atzim par radoumu ir piedvti radoumu apliecinoie kritriji un rdtji. Rezultti. Izmantojot datu matemtiskaj apstrd korelcijas metodi, tiek apkopoti anketan iegtie dati. Secinjumos tiek apkopoti karjeras iespju un radouma mijsakarbas konstatjumi, k ar atspoguojas btiskkie ieteikumi radoumu veicinoa studiju procesa organizcijai skolotju izgltb. Atslgas vrdi: radoums, karjera.

Significance of Creativity in Educators Career Development

Summary Introduction. Currently dynamic development of all processes in society has been observed alongside speedy technology advancements. Informative sources, innovative ideas, the applied methods in practice, the acquired teaching-learning methods at higher educational establishments, which were regarded as innovative until long ago, are speedily becoming wellknown as well as inadequate for the new conditions and demands. The acquired professional qualification at a higher educational establishment is not in demand in the labour market. Edu cators also experience these changes as well. A question arises: why several teachers do not see any further career development and its perspective, while others do not lose jobs; moreover, find new opportunities at the same time? Aim of the study is to analyse the interaction of teachers career and creativity. Materials and methods. Analysis of literature. Questionnaire. Data processing method. Results. Based on the latest explanations of the concept of life career that this term involves a human professional, individual growth (Patton, McMahon, 1997), general, dynamic
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human development during the chief life pursuits (work, family and relaxation; human social activities, accomplishments during life career, persons endeavours and efforts to reach the status where he/she might satisfy personal needs and success in general, the interconnection between the development of a personality and professionalism (Toloceks,2005), creativity has been stated as the most essential career pre-condition in teachers profession as well as career. The significance of creativity was already accentualised in the ideas of existentialism in the 20th century. One of the most vital features in existentialism is the approach to human freedom to make choices in various situations. People are responsible for their own choice, actions and experi ences. Thus, a human develops into his/her own further developer/creator. In an ideal form existen tialism emphasises a human complete independence from the world and society. The fundamental importance of creativity is found in the viewpoints of existentialism not only in separate professional activities, for example, artistic, scientific, amateurish, etc., but in all ones life career. Current changes require personalitys creativity. At the beginning of the 20th century Berdyayev points out that creativity is often referred to culture whereas the essence of creativity is much broader. Creativity has become a pre-condition of success in our ever-changing world as well as a vital criterion of each personalitys professional activity. The latest research work by N.Visnakova and R.Bebre tend to treat creativity as a complex of individual as well as intel lectual peculiarities that characterise numerous personalities. Creativity is associated with a teachers ability to suggest innovative ideas, to solve them with non-traditional methods and activities. Moreover, the necessity of a constructive re sult should be stressed. In the article results on interconnection between teachers creativity and his/her possible career development has been analysed. Based on the definitions of creativity and personality markers (Bebre and Visnakova), the following essential criteria and their char acteristic markers about the development of an teachers life career have been acknowledged in the research paper: productive self-esteem (as the central component of a creative personal ity), features of a creative personality: organisation of a professional performance, results of a personal performance. In accordance with the worked out criteria and markers, 210 respondents did a ques tionnaire in order to carry out the necessary correlation between creativity and the development of life career. Analysing the obtained data using the correlation method, an interconnection between a teachers readiness to change, courage to meet the challenges and current creative professional performance were confirmed. Supposing that creativity is determined by inborn factors, as well as factors which have had a certain impact during life career, it can be stated that, during the teaching-learning process at a higher educational establishment, it is possible to promote future teachers creativity, to support students specific attitude, innovative ideas, as well as truly original ideas. In the article barriers to creativity are also analysed that are fostered unconsciously during the study process at the academy, as well as the ways to avoid them. As a rule, during the study process students are asked to do well-formulated tasks for seminars as well as work-shops that gradually promote students to find solutions and clarify answers. On the one hand, it is a traditional organisation of the study process; on the other hand, if it is carried out repeatedly and regularly, a barrier to creativity is being formed and facilitated. Fears of peer assessment can be mentioned as a factor that promotes a barrier to creativity. Any new activity is bound with the possibility of making mistakes and creating a result which is not accepted by everybody. It is observed during school years, e.g., in case the teacher is an only assessor of the study results, dependence on peer assessment is being gradually formed. Conclusions. The research approves the assumption that the interconnection of creativ ity and educators successful development of life career are interdependent as well as grounds the necessity of proper pre-conditions to be observed to further teachers lifelong learning.
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The fewer limitations in precisely set task-types, the more opportunities for students to figure out unusual, unexpected, original solutions in the presentation, many sidedness of the explored content, as well as original interpretation of ideas. Showing and creating awareness of personal development, accentualising self-assess ment as the most essential, the most significant stimulus of activities, at the same time assessing students considering long-term results and the analysis of errors instead of counting errors as suming errors as further activity type-tasks; errors should not be taken into account to lower the assessment but to assist students to get rid of fears and making mistakes which are one of the toughest barrier to a creative performance. Making use of manoeuvring principle while analysing a pedagogical situation, e.g., to overcome obstacles, compromising, heading criss-cross, choice of alternative routes etc. Key words: life career, creativity. Ievads Pdj laik, ldz ar tehnoloiju straujo attstbu vrojama visu sabiedrb notiekoo procesu strauja attstba. Informatvais materils, jauns idejas, praks pielietojams, augstskol apgts darba metodes, kas pavisam nesen tika pieemtas k inovatvas, oti tri kst visprzinmas un dakrt jaunajiem apstkiem un prasbm nepiemrotas. Nereti izgltbas iestd iegt profesionl kvalifikcija kst darba tirg nepieprasta. obrd ms piedzvojam laiku, kad d situcij nonk ar pedagogi. Tradicionli pedagoga profesija tika uzskatta par profesiju visam mam. Liela daa skolotju ir pilnb identificjuies ar savu profesionlo darbbu un neredz citas profesionls perspektvas. Lai nezaudtu dzves jgu aj maingaj pasaul, nepiecieami kst ar paam neprtraukti mainties, rast jaunus mrus savai dzvei, radt jaunas idejas. Ldz ar to aktuls kst jautjums par personisks karjeras organizciju. Raksts izstrdts projekta Doktora studiju attstba Liepjas Universitt (vienoans Nr. 2009/0127/1DP/1.1.2.1.2./09/IPIA/ VIAA/018) ietvaros. Darba mris: analizt pedagoga karjeras un radouma mijsakarbu. DARBA MRIS Raksta mris ir atklt un pamatot pedagoga karjeras un radouma mijsakarbas. Materili un metodes Vsturiski analizjot karjeras jdzienu var atrast dadus skaidrojumus. T, 19. gs. karjeru skaidro k ceu uz dzves, darba pankumiem, noteiktu stvokli sabiedrb, trus pankumus augstu amatu un apbalvojumu ieguv. 20. gs skum k cilvka virzanos uz rjiem pankumiem, izdevguma, slavu, godu, k ar uz personisko labkljbu. 20. gs beigs karjeras fenomens kst par ptjuma objektu dads humanitrs zintns. jdziena izprat ne paplains. Tiek nordts, ka karjera nav attiecinma tikai uz cilvka profesionlo pieredzi, ieemamo amatu vai laika periodu, kur cilvks veic kdu profesionlu darbbu. Ldz 20. gs 90. gadiem karjera tiek skatta k noteikti dzves posmi, kas saists ar profesionlo darbbu (Toloek, 2005). Jaunkie jdziena skaidrojumi aj termin ietver cilvka profesionlo individulo izaugsmi visa ma garum (lifecareer) (Patton, McMahon, 1997), visprju, dinamisku cilvka attstbu galvenajs dzves darbbs (darbs, imene, atpta); cilvka socilo aktivitti,
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visas dzves pankumus, cilvka centienus sasniegt to stvokli, kur vi vartu apmierint personisks vajadzbas, dzves veiksmes vispr, cilvka personbas un profesionls attstbas mijsakarbas (Toloek, 2005). Ldzgi ar Brovns aprakstot profesionlo karjeru uzsver procesu, kas ietver visu cilvka dzvi, skot ar gatavbu izvlties un pau izvli, starp oti daudzm profesijm izvloties sev piemrotko (Brown, 1990). Tdjdi, aprakstot profesionlo karjeru tiek akcentts, ka tas nav kds atsevis notikums (augstka amata ieemana), bet profesionl karjera sev ietver visu cilvka dzvi (Wolfe, Kolb, 1980), neprtrauktu lmumu pieemanu. Ciei tiek saistti jdzieni profesionl karjera un personbas attstba, uzsverot, ka personbas vajadzbas un attstbu ietekmjoi apstki mijiedarbojoties rada profesionlo karjeru (Patton, McMahon, 1997). Karjeras veiksmgai attstbai tiek izvirzti di pamatprincipi: Neprtrauktbas princips, Apzintbas princips (dzves jgas, profesionls darbbas nozmbas un socils nozmbas atraana un apzinana), Ldzsvarotbas princips (individul darbba / komandas darbba), Manevrtbas princips (rlu prvarana, kompromisi, virzans zigzag, alternatvu marrutu izvle u.tml.), Ekonomiskuma princips (spku sadalana visai dzvei), Unikalittes un prezentcijas princips (mka demonstrt savas darbbas rezulttus.) (Toloek 2005). Toloeka piedvtajos pamatprincipos radouma nozme atspoguojas tiei manevrtbas princip, kas pai aktuls ir bra situcij Latvijas skolotjiem, kas, zaudjot darbu skol, ir spiesti rast jaunas idejas savai tlkai karjerai un unikalittes princips, kas prasa apzint un realizt savas rados idejas. Analizjot filozofisks pieejas, kas nosaka pamatojumu karjeras organizcijas vajadzbm un saturam, ms visupirms atrodam pamatojumu jau 20.gs skum eksistencilisma atzis. Eksistencilisms uzsver cilvka, atirb no priekmetiem un citm dzvm btnm, iespju savu btbu brvi veidot. Galven eksistencilisma kategorija ir brvba, kas reiz cilvk rada trauksmi par savu izvu ietekmi uz personisko likteni. Vienlaikus tiek uzsvrta cilvka neatkrtojamba, individuli neatkrtojamie prdzvojumi. Eksistencilisms atzst cilvka eksistences btbu un nozmbu, cilvka absolto brvbu. Cilvks eksist, un vi ir tds, kds vi vlas bt, tds, kdu vi sevi veido (Klis, Kle, 1998). Nozmgu vietu eksistencilism aizem nostdne par cilvka brvbas problmu, kas sev ietver personbas izvli dads situcijs. Cilvks kst atbildgs par katru savu izvli. Ldz ar to cilvks kst par sevis veidotju. Idel veid eksistencilisms uzsver cilvka pilngu neatkarbu no sabiedrbas. Tiei eksistencilisma uzskatos ms atrodam radouma nozmes pamatojumu ne tikai kds atsevis profesionls darbbs (mksliniecisks, zintnisks, amatniecisks u.tml), bet visas savas dzves veidoan. Prmaias prasa personbas radoumu. Berdjajevs jau 20. gs. skum norda, ka biei radoumu attiecina tikai uz kultru, tomr, radouma jdziens ir daudz plaks. Seko apgalvojums par to, ka tikai radoums attaisno cilvku: es neuzstdu jautjumu par radouma attaisnoanu. Radoumam nav nepiecieams attaisnojums, tas attaisno cilvku, t ir antropod iceja (, 1990). Ar Sartrs apgalvo, ka cilvks ir tds kdu vi pats sevi veido. Cilvks vienkri eksist, un vi ir ne tikai tds, kdu sevi iedomjas, bet tds, kds vi grib kt. (, 1989). Tdejdi eksistencilisma uzskatos tiek uzsvrta cilvka ne tikai brv griba, bet ar atbildba par sevis veidoanu. Sartrs dod padomu nkotnes veidoan:.. js esat brvi, izvlaties, tas ir radiet (, 1989). Vl vairk Sartrs raksta: stenba bs tda, kdu to
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noteiks pats cilvks... Vispirms man ir jpieem lmums, bet pc tam jdarbojas, vadoties pc vecas formulas: Nav vajadzbas cert, lai kaut ko uzsktu (, 1989). Sartrs aicina uz relu darbbu, atbilstoi savm iecerm, pretstat sapoanai vai paldzbas gaidanai no kdiem augstkiem spkiem, liktea vai tamldzgi. Vienlaikus, ar nordot uz nepiecieambu izvrtt rels iespjas un veikt ts darbbas, kas patiesi atbilst indivda pieredzei, dzves apstkiem u.tt. Runjot par cilvka subjekta btbu un saistot to ar humnismu, Sartrs norda, ka tas nenozm gremdanos paam sev, bet cilvks var sevi realizt ja mekl mrus rpus sevis, lai no tiktu kda konkrta paveidoans. Tomr nkotnes apzinana, plnoana, savas neatkargs dzves organizcija nav viegla situcij, kur vienlaikus ar brvbas piedvjumu un cilvka absolti brvs gribas atzanu cilvki zaudjot normas, visprpieemtas pamatvrtbas kst nepasargti, vientui. Cilvks ir iemests pasaul. Vi ir viens. Eksistencilistu izpratn tas nozm, ka vi ir nolemts brvbai, ko viam nespj atemt pat vaas un cietums. brvba pirmm krtm izteic tdu apzias situciju, kad kuvis skaidrs, ka principili zuduas visas par absoltm uzskatts normas un vrtbas. Cilvka priek paveras draudos tukums,,,nekas. Viam ir jrada sava pasaule. Bt brvam nozm radt. (Kle, Klis, 1998). Tdejdi, radoums ir kuvis par veiksmes nosacjumu msu maingaj pasaul, k ar par ikvienam nepiecieamu personbas un profesionls darbbas kritriju. Msdienu ptjumos (Viakova, Bebre) tiek uzsvrta tendence skatt kreativitti k indivda personisko un intelektulo patnbu kompleksu, kas piemt daudzm personbm. Radoama nozmbu profesionlo virsotu sasniegan akcent 20.gs. otraj pus kar jeras teorijas ietekm jaunizveidot zintnes nozare akmeoloija. Akmeoloija pta cilvka attstbas likumsakarbas ce uz dzves, bet galvenokrt profesionlo sasniegumu virsotni. N. Viakova, kas radjusi un pamatojusi akmeoloij atseviu nozari- kreatv akmeoloija, runjot par profesionalitti saka, ka profesionalitte izpauas izgltbas un profesionls pieredzes caurvt individulaj neatkrtojamb. (Viakova, 1999). N. Viakova gan apgalvo, ka Pats kreativittes jdziens vl ir nepietiekami defints. (Viakova, 1999). Kreativittes jdzienu daudzpusgi analizjot, pamatojoties uz dadu autoru raksturojumiem savu apkopojou definjumu ir piedvjis R..Holmens kreativitte sev ietver uztvrumu sakausjumu, kas tiek realizts jauns sakarbs (Makkallars), spju atrast jaunas sakarbas (Kjubi), jaunu attiecbu raanos (Roders), jaunu sacerjumu raanos (Merejs), prieknoteikumus uzzint un veikt jaunas lietas (Lassuels), prta darbbu, kas rada jaunas atklsmes (errs), pieredzes transformanu jauns organizcijs (Teilors), jaunu zinanu konstelciju iztli (Gizilns) (Holmens, 1967). Msu ptjum k visaptveros un kreativttes btbu pilnb atkljos tika izman tots Latvijas zintnieces R.Bebres piedvtais kreativittes jdziena definjums, kas ldzgi k akmeoloij uzsver personbas procesa un rezultta aspektu kreativittes diagnostican: Kreativitte (ko latviskoti vartu saukt par radoumu) aplkojama no trim aspektiem: k personbas (individualittes) paba, k process un k produkts. K personbas pabai tai ir raksturga oriinalitte, novatorisms, antikonformisms, drosme u.c. K procesu to rak sturo radoa intucija, bagta fantzija, diverent domana, iedvesma, psihes plastiskums, zemapzias un virsapzias darbba. Radou produktu dads nozars (mksl, zintn, tehnik u.c.) raksturo novatorisms un sabiedriskais nozmgums.(Bebre, 2003). Tdejdi ar radoumu ms saprotam cilvka spju piedvt oriinlas idejas, realizt ts ar nestandarta metodm, darbbu. Pie kam, jatzm dai rcbai nepiecieamo konstruktvo rezulttu. Pedagoga profesionlaj darbb nenoliedzami svargs ir domanas trums un oriinalitte, spja atrast negaidtus risinjumus dadm situcijm bagta iztle, humora izjta, jaunu oriinlu ideju, k ar mcbu ldzeku radana. Iepriekmintie raksturojumi kalpo ar k kritriji radoumam. Rodas jautjums - kd vieni pedagogi, kuru profesionl darbba prasa radoumu, neredz savai
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karjeras attstbai perspektvas, bet citi nezaud darbu vai atrod jaunas iespjas? Vai tie ir tikai labvlgki vai mazk labvlgi apstki? Msu ptjum tika izvirzts uzdevums noskaidrot vai pastv mijsakarbas starp pedagoga radoumu un via karjeras attstbas iespjm. Balstoties uz kreativittes definjumos (Viakova, Bebre) piedvtajiem per sonbas rdtjiem, sav ptjum par pedagoga karjeras attstbu k nozmgus izvirzjm sekojous kritrijus un tos raksturojous rdtjus: 1. Produktva paapzia (k radoas individualittes centrlais komponents) Personisks vrtbas apzinana personiskos un socilos aspektos Dinamitte un neprtrauktba ar mri nestereotipiski izpausties 2. Kreatvas personbas pabas novatorisms antikomformisms drosme 3. Profesionls darbbas organizcija radoa intuitva 4. Personisks darbbas rezultts Novatorisms Sabiedriskais nozmgums REZULTTI Atbilstoi izstrdtajiem kritrijiem un rdtjiem, respondentiem tika piedvts atbildt uz anketas jautjumiem, kuru saturs deva iespju veikt zinmu korelciju starp radoumu un karjeras attstbu. Atbildes tika saemtas no 210 respondentiem. Anketas jautjumos tika ietverti jautjumi par respondentu drobas izjtu tlk profesionl darbb, k ar gatavbu prmaim. Otra jautjumu grupa sev ietvra jautjumus, kas va, atbilstoi pieemtajiem radouma kritrijiem noskaidrot radouma izpausmes re spondentu pareizj profesionlaj darbb un ts rezulttos. Apstrdjot anketu datus, ts tika sagruptas atbilstoi respondentu atbildei par savu attieksmi pret nkotnes profesionls attstbas iespjm:162 respondenti apliecinja nedrobu par savu profesionlo nkotni, 48 re spondenti izteica apgalvojumus: Par savu profesionlo darbbu nkotn esmu dros/a un Par savu profesionlo darbbu nkotn nebaidos, jo esmu gatavs/a prmaim. Pc iegto rezulttu analzes tika konstatts, ka pastv saikne starp nkotnes karjeras attstbas iespju apzinanu un radouma izpausmm pareizj profesionlaj darbb. No 48 respondentiem, kuri ir droi un pat gatavi prmaim nkotn, 39 konstatjm saikni starp drobas izjtu nkotn, radou darbbu pareizj profesionlaj darbb (pc korelcijas koeficienta 0,54) un ldz im paradtiem dada veida materiliem (pc korelcijas koeficienta 0,80).)Nelielais respon dentu skaits vl nedod iespju kategoriskiem apgalvojumiem, tomr apstiprina zinmas ten dences radouma un karjeras mijsakarbm. Ar analizjot respondentu anketas, kurs nordta nedroba par nkotni, apliecinja, ka iem respondentiem mazk raksturga radoa darbba un to apliecinoie darbbas rezultti. Pieemot, ka radoumu nosaka ne tikai iedzimti, bet ar dzves laik ietekmjoi fak tori, uzskatm, ka augstskolas pedagoiskaj proces ir iespjams nkam pedagoga radoumu veicint, atbalstot studentu individualittes izpausmes, piedvts jauns idejas, oriinlos uz skatus. N.Viakova uzsver, ka izgltbas ieguves procesu jskata ne tikai k rezulttu ieguves procesu, bet pai k tda procesa vadbu, kura gait attsts personbas radoais potencils un kreativitte kopum. (Viakova, 1999) Par svargu kst uzdevums sasaistt racionlismu,
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tradicionls pedagoisks metodes, vispratztas pedagoisks darbbas likumbas un stu dentu piedvts idejas, jaunus risinjumus, k ar savas personisks attstbas netradicionls perspektvas. P.Torrens kreativitti skaidro k jtgumu uz problmm, kas saistts ar zinanu trkumu, grtbu identificanu, piemumu un hipotu formulanas procesu (Torrens, 1964). Studiju proces tradicionli studentiem tiek piedvti oti preczi formulti uzdevumi seminriem, praktiskajm nodarbbm, kas pamazm veicina studentos vajadzbu pc skaidrbas, preczas izpratnes par veicam uzdevuma robem. No vienas puses t ir tradicionla prasba studiju procesa organizcijai, no otras puses tikai d, regulr un vairkkrtg darbb tiek veicinta vienas no kreativittes barjerm veidoans. Pedagoisk eksperiment studentiem tika piedvti atseviu seminru temati studiju kurs Skolas pedagoija bez precza vei camo uzdevumu un prasbu apraksta. No 47 studentiem, 15 vrss pie pasniedzja pc papildus skaidrojuma un izrdja neapmierintbu un nedrobu gatavojoties seminriem. Jo preczk ir formulti uzdevumi, jo konkrtk nordtas veicam uzdevuma robeas, jo vairk ierobeota pau studentu rado darbba. Studentiem jau skolas mcbu proces gtaj pieredz ir izstrdjusies vajadzba pc konkrtbas, nepilnga informcija par veicamo uzdevumu, par gaidmajiem apstkiem, vrtanas kritrijiem utt. izraisa neapmierintbu. Tomr tiei da rcba trauc radouma attstbai, kas liel mr saistta ar ar gatavbu riskt. Jo mazk ierobeojumu preczi formultos uzdevumos, jo lielka iespjamba, ka studenti piedvs jaunus, negaidtus, oriinlus risinjumus gts pieredzes prezentcij, izzinm materila daudzveidb, savu oriinlo ideju interpretcij. N. Viakova, analizjot kreativitti priekmetiski procesul skatjum norda uz sekojoiem darbbas posmiem: problmas, raans, inkubcija, intuitvi lmumi, idejas formana, verifikcija. (Viakova, 1999). Pie kam, k pats nozmgkais tiek uzsvrts tiei intuitvais posms. K vienu no kreativittes barjerm var mint bailes no citvrtjuma. Jebkur jaun darbb pastv iespjamba kdties, radt rezulttu, kas var tikt nepieemts. Jau skol, ja mcbu darbbas rezulttu vrtjum tiek izmantots tikai skolotja vrtjums, pamazm veidojas atkarba no citvrtjuma. Td oti btiski ir augstskolas studiju proces regulri organizt panovrtjumu. Tdejdi rdot un radot izpratni par personisko attstbu, akcentjot panovrtjumu k btiskko, nozmgko darbbas stimulu. Vienlaikus ar doctjiem vrtjot studentus, izmantojot preczus vrtanas kritrijus, balstoties uz sasniegumu uzskai ti un kdu analzi, bet ne uz kdu uzskaiti, aizmirstot nordes uz sasniegumiem, pieemot kdas k tlks darbbas uzdevumus, nevis iemeslus k d ir zemks novrtjums, ir iespja pamazm atradint studentus no bailm no kdans, kas ir viena no lielkajm rados darbbas barjerm. Analizjot kreatvas personbas jaunveidojumus, nordot uz Es pieredz es apzinans nozmi N.Viakova uzver, ka .. Es apzinana rada vajadzbu pc pozitva novrtjuma, Personba cenas saglabt pozitvo apkrtjo novrtjumu. (Viakova, 1999) Studiju proces balstoties uz sasniegumu uzskaiti topoie pedagogi tiek rosinti uz uzdrkstanos, tdejdi ar uz radou paizpausmi k teortisko atziu interpretcij, t ar praktisk pedagoisk darbb praks. Secinjumi Karjeras veiksmgas attstbas prognozan nozmgi ir personbas radoumu apliecinoie kritriji: Produktva paapzia (k radoas individualittes centrlais komponents); personisks vrtbas apzinana personiskos un socilos aspektos; kreatvas personbas pabas (novatorisms, antikomformisms, drosme); radoa, intuitva profesionls darbbas organizcija; novatorismu un sabiedrisko nozmbu apliecinos personisks darbbas rezultts Ptjums apliecina saikni starp veiksmgas karjeras iespjm un radouma izpausmm
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pedagogu profesionlaj darbb radoumu veicino studiju proces nepiecieams ievrot sekojous nosacjumus: Jo mazk ierobeojumu preczi formultos uzdevumos, jo lielka iespjamba, ka stu denti piedvs jaunus, negaidtus, oriinlus risinjumus gts pieredzes prezentcij, izzinm materila daudzveidb, savu oriinlo ideju interpretcij. Rdot un radot izpratni par personisko attstbu, akcentjot panovrtjumu k btiskko, nozmgko darbbas stimulu, vienlaikus ar doctjiem vrtjot studentus, balstoties uz sasniegumu uzskaiti un kdu analzi, bet ne uz kdu uzskaiti, pieemot kdas k tlks darbbas uzdevumus, nevis iemeslus k d ir zemks novrtjums, ir iespja pamazm atradint studentus no bailm no kdans, kas ir viena no lielkajm rados darbbas barjerm. Manevrtbas principa izmantoana pedagoisko situciju analz (ru prvarana, kompromisi, virzans zigzag, alternatvu marrutu izvle u.tml.)
LITERATRAS SARAKSTS 1. Bebre R.(2003) Skolotju kreativittes ptjumi Latvij // Starpt. rec. zin. r. krj. Radoa personba, III, R., RaKa, 11. 18. lpp. 2. Bebre, R., (2009) Kreativitte un skolotja personba. http://www.lvasa.lv/bebre.php (24.09.2009.) 3. Brown, D. (1990) Summary, Comparison, and Critique of the Major Theories. In: Brown, D. & Brooks, L. (Eds.) Career Choice and Development: Applying Contemporary Theories to Practice, 2nd Edition. San Fran cisco: Jossey Bass, p.338363. 4. Hallmann, R.J. (1967) The Necessary and Conditions of Creativity. Creativity: its Educational Implications. New York- L.: Sidney, p.120125. 5. Kle, M., Klis, R. (1998) Filosofija. Rga: Zvaigzne ABC, 400.409.lpp. 6. Patton, W., & McMahon, M. (1997) Career Development in Practice: A Systems Theory Perspective. Sydney, Australia: New Hobsons Press, p.235. 7. Torrance, E.P.(1964) Education and Creativity. In: Taylor, C.W. (Ed.) Creativity: Progress and Potential, No4. SanFrancisco Toronto L.: McGraw Hill.,p.-173-183 8. Wolfe, D.M.,&Kolb, D.A. (1980) Career Development, Personal Growth, and Experimental Learning. In: Springer, J.W.(Ed.) Issues in Career and Human Resource Development. Madison, WI: American Society for Training and Development, p.111. 9. , .. (1990) ( ). : , 336. 10. , . (1998) . : c.40105. 11. , .. (1989) . : , .319 344. 12. , .. (2005) . : , c.334434.

Lektore Mg.paed. Ingna Lce Rgas Pedagoijas un izgltbas vadbas akadmija Liepjas Universittes doktorante Adrese: Imantas 7.lnija 1, Rga, LV-1083, Latvija Tlr. mob.: 29409375 E-pasts: inguna.lace@rpiva.lv

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Geert Franzenburg (1962), Studies in Religion (Diploma), Adult Education (M.A./PhD) and Archive Sciences (Diploma), adult ed ucator and lecturer in Munster, seminars about biographical working in Munster (WWU) and Riga (LU/RPIVA), books and articles about Biographical Working and Spiritual Education; responsible for Ger man Latvian network DRAUDZIBA. Hobbies: music and literature.

Geert Franzenburg University of Muenster Germany

Creativity training and lifelong learning

Abstract Introduction. Lifelong learning is a key for coping, creativity and self-actualization. Aim of the study. Find out contents and methods of adult education that consider biographical creativity. Materials and methods. Evaluation of adult teachers and learners experiences with creative attitudes in the learning process (evaluation of education programs and sampling feedback of professionals and participants by interviews and questionnaires). Results. Sharing experiences and constructive feedback assist teachers and learners (as individuals and as a group) in implementing creative attitudes. Conclusion. Biographical adult education programs improve individual creativity and facilitate learning organizations. Key words: adult education, biography, creativity, lifelong learning. INTRODUCTION Research into creativity and adult education (see references) demonstrates that cre ativity is a concept surrounded by a number of beliefs and misconceptions. People believe it is limited to only a few; it declines seriously with age; and it is associated primarily with unique ness or innovation or artists (Kerka, 1999, introduction). The following study, based on the research of Edelson (1999), Kerka (1999) and others, tries to correct such misconceptions. It analyses the importance of creative coping strategies, experience and self-actualization for lifelong learning in the field of religious education with the focus on the interaction between individuals and their environment. The Domain-Individual-Field-Interaction (DIFI) model of Csikszentmihalyi demon strates the interaction between individuals, who use a set of symbolic rules or procedures to develop new ideas within their domain of creativity, surrounded by a supporting system (field) (Csikszentmihalyi, 1996). This system of individual, domain and field is also to be found in educational contexts (Cohn, 1975). 1. Facilitating creative development of individuals For Csikszentmihalyi (1996) this creative and interactive system performs optimal ly, when a new idea or work is recognized by the field for inclusion into the domain. There fore, facilitating creative development of individuals by education means to let people follow
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certain models of creative attitude to maintain personal curiosity, motivation and ability to persevere over time. In the case of religious adult education models of creative attitude can be found either in religious texts (e.g. Joseph as a model of dream-strategies, Moses as a model of fundamental trust in new environments) or in history (e.g. Augustine, Luther, Zenta Maurina as models of the liberating effect of trust and believe). Therefore, religious adult education programs often put stress on topics like coping strategies of Moses or learning from Joseph, how to find new solutions, although the text is only an impulse. These themes recognize the specific creative attitude of adults, who use methods of synthesis, reflection, and wisdom, while the creativity of young people is associated with novelty and innovation (Adams-Price, 1998; Kerka, 1999). By using reflecting and experience-oriented methods in adult education teachers (as facilitators) can assist adult learners in their use of the whole brain and help them integrate the different kinds of cognitive, social, emotional, spiritual and practical intelligence (Kerka, 1999). Literary or historical models furthermore demonstrate the meaning of quality in life and of creative ways to strengthen it by following values and coping strategies (Adams-Price, 1998; Albert, 1996, McCormick and Plugge, 1997). They show models of interaction between individuals, their social environment (family, peergroup, institution), their role and cultural attitudes, and let them use as creative impulses to recognize the meaning of organization and setting in the process of adult education (Gardner, 1993; Powell, 1994). 2. Facilitating the development of (learning) organizations and groups Assisting people in developing their creative skills depends on the creative environ ment (field) as a kind of third educator (after content and teacher). If the peer group accepts a proposed addition, it becomes part of the domain (resource of acquired knowledge) and avail able for use by other individuals (Csikszentmihalyi, 1996). This systemic point of view is the organisational aspect of education. Like human resource manage ment, adult education has to organize the different partners in the educational process, to integrate their abilities and to fa cilitate their development as a learning system (Senge, 1990). In an appropriate environment people have to find and shape their life perception, and to communicate these experiences through creative expression of any kind (Powell, 1994). Creativity should therefore be promot ed within an organizational setting with its internal and external stimuli. Even in advanced age, new attitudes are created by new experiences during adult education programs. Important fac tors to enhance creativity in adult and continuing education are: fostering motivation by public recognition (Csikszentmihalyi, 1996; Gardner, 1993), promoting self - efficacy by behavioural feedback, observation of others and monitoring ones own performance and by collective ef ficacy (Bandura, 1986). 3. Adult education - the circumstances During the last decades of adult education learning of adults became in many situa tions different from education offered by teaching-organizations. This view of lifelong learning of adults encompasses not only intentional - institution organized and autodidactic - learning, but also partly intentional and unintentional learning that occurs simultaneously with activities not primarily aimed at learning (e.g. travelling), life situations that force learning (e.g. accidents), and learning that results from various unidentifiable life-events (e.g. aging) (Reischmann, 1999, 4). Therefore, life-oriented issues like spirituality, biography-management and art became more im portant. Reischmann underlines an other trend in adult education: General, person-enriching, and society-oriented contents are decreasing, while usable contents and fun-orientation are increasing. The method of lecturing to an audience is decreasing, while activity- and interaction-oriented
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me thods are increasing (Reischmann, 1999, 15). Regarding the relationship between adult edu cation and lifelong learning, the EU formulates in general terms the implications (Memorandum on Lifelong Learning, 2000): All learning throughout life that serves the improvement of knowledge, qualifications and competencies within a personal, civic, social or vocational perspective. (quoted in Knoll, 2005). 4. Religious adult education Courses offered by churches go beyond religious instruction. This stems historically from the situation after World War II in West Germany, when, intentionally open to the needs of a pluralistic society, churches sought to promote a new sense of responsibility in and for the world. The educational work of the churches came to be understood as an opportunity for every one willing to explore socially relevant issues, and engage in an open dialogue (Reischmann, 1999, 10). In its focus on personal and biography oriented topics, religious adult education can be characterized as an alternative to the process of professionalism and market-orientation of adult education in the last decades (Reischmann, 1999; Tietgens, 1994; DIE, 1998); for the Third Sector of education (after school and university/job) the aspect of community (sharing experiences, developing projects) and of (new) experiences (made during excursions, concern ing the person or the group communication) becomes more important than promoting knowl edge and skills for qualification (as in the other sectors). The participation in general adult education (e.g., health or hobby topics, languages) doubled from 16% in 1979 to 31% in 1997 and vocational adult education grew from 10% in 1979 to 30% in 1997 (Reischmann, 1999: 6); similar increase can be noticed in religious (church) education. While, however, after the age of 50, participation declines in vocation al education, this group increases in religious (church) education. In both fields of education people with an advanced standard of secondary education are much more likely to take up continuing education than those with a less advanced standard (Lohmar/Eckart, 2009: 204; cf. Reischmann, 1999; Bundesministerium, 1996/98; DIE, 1998; Kuwan, 1999). The adult education process combines the biographical approach with the historical background (work, environment, conditions, support and challenges). Because there are dif ferent paths and patterns to greatness (Csikszentmihalyi, 1996), creativity in one sphere can influence other dimensions (Gardner, 1993) and also enhance self-efficacy (Bandura, 1986). Because with age an increase in crystallized intelligence and integrative or convergent thinking is noticed, the adult experience of a decrease in divergent thinking and of the ability to gener ate a quantity of novel ideas has to be considered not as a decline, but as a qualitative change in the creative process (Sasser-Coen, 1993). In order to help people of any age to develop their creative potential, to lead more enriched and rewarding lives, and to make productive and meaningful contributions in the workplace, community, and civil society, teachers and learners try to make the organizational climate able to encourage assertion of ideas and not make people afraid to fail (Amabile 1996; Powell 1994). These observations from creativity and adult education research (importance of en vironment, life-experience, informal learning, biographical models and of a systemic point of view) are the background of the following special research on the biographical aspect of reli gious education. AIM OF THE STUDY In order to find out contents and methods of adult education that consider creative cop ing- and self-management attitudes, it is important not only to evaluate the personality traits of
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creative individuals (in contrast to non-creative people; Amabile, 1996), but to consider the social and environmental factors that influence creativity and make it obvious as the confluence of cog nitive processes, knowledge, thinking style, personality, motivation, experience and environment over the life span (Kerka, 1999 (chapter 1), following Adams-Price, 1998; Sasser-Coen, 1993). By evaluation of contents and methods of religious education and of teacher- and learner-feedback, it can be exemplarily demonstrated that an appropriate atmosphere and the opportunity to share feedback in a constructive way enhance creative attitudes in biographical situations (decision-making, communication, coping with challenges). MATERIALS AND METHODS The following evaluation of adult teachers and learners experiences with biographi cal creativity in the learning process (creative attitude in coping strategies and in life-man agement by sharing experiences, using rituals and other methods) took place from November 2008 until February 2009 in the church district of Muenster and was an evaluation of education programs (of parishes) and a feedback-sampling of professionals and participants by interviews (10 teachers (7 women and 3 men, from 50 to 70 years old) and anonymous questionnaires (in 10 courses with together 250 participants). RESULTS 1. Evaluation of programs The educational programs (of 5 parishes) show courses offered in the following main areas: parent and family education and school issues, philosophy and religion, literature and art, health, home economics, creativity and leisure time activities. In the year 2008 there were taught 49 courses with 1581 hours in the church district in Muenster. The courses taught in the church district in Muenster 2008 can be distinguished into the following topics: culture - tech nique (10 courses - 470 hours), child education (9 courses- 342 hours), religious education, religions/theology (7 courses- 210 hours), language (7 courses - 143 hours), literature/art/ tra dition (3 courses - 88 hours), social problems (3 courses - 76 hours), biographical challenges/ life-course (3 courses - 68 hours), biographical qualifications (2 courses - 61hours), one world problems (1 course - 34 hours), international communi cation, multicultural society (1 course27 hours), self-management (1 course - 27 hours), society, politics, economy (1 course - 18 hours), social problems (1 course - 17 hours). In many courses (not only IT) the use of computer and internet is standard. Evaluated from a biographical oriented point of view the survey underlines that as pects of life-challenges for individuals and organisations (self-educational and political/social topics) are important issues of creative coping strategies and techniques of life-management. As mentioned in the following feedback evaluation, educational topics, combined with biographical aspects, are more attractive than without, and enhance motivation. 2. Evaluations of teacher experiences In short 30 minute interviews (in closed (a) and open (b) form) the teachers gave an swers to the following questions: 1a: How long do you teach in life, how long monthly/weekly? 1b: What are your teaching experiences? 2a: What is your qualification for teaching? 2b: How do you use and improve your qualifications?
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3a: What kind of courses do you teach preferably? 3b: How would you characterize your educational concept? 4a: Do you evaluate your courses? 4b: Why is a feedback from the participants important for you (or why not?)? The answers: 1: 70% of the teachers are teaching more than 20 years (50% more than 30) and have great experience (many opportunities for teaching (with children, pupils and (after retirement) adults; mentoring (30%)). Comparing it with their former teaching experiences, they prefer working with adults of similar age (because of common interests and expe riences) (90%). 2: 80% of the teachers have academic background (school, parish, university) and 50% use any opportunity to optimize their competences (via Internet, books, supervision). 3: 80% are teaching the courses that they prefer (literature, language, religious or po litical themes), because of their qualification or private interest (40% both). 70% characterize their concept as person- and experience-centred, 30% prefer a direct (lecture-) style. For all teachers sharing of opinions and experiences in the group is important (for 60% more than providing knowledge and skills). 4: For 70% feedback (as an evaluation of concept and style and as a kind of transparen cy) is so important that they organize it, others receive it accidentally. According to their per son- and group- or process-oriented style 80% consider the participants wishes and suggestions (40% more, 40% less intensive). 3. Evaluation of questionnaires The feedback of participants in religious education seminars was evaluated by anony mous course questionnaires (courses about language, literature, IT, political themes: 240 par ticipants, who could after finishing the course, mark (with x in the O) their answer to the fol lowing closed questions): a) How are you satisfied with: very good good normal bad very bad 1. the whole course/seminar? 2. the contents? 3. the teaching methods? 4. the setting/atmosphere? 5. the group-members? b) How important was for your satisfaction: very important normal not important 1. the contents? 2. the methods? 3. the teaching person? 4. the setting/atmosphere? 5. the group-process How important was the experience for your personal life? The evaluation That about 80% of the participants (70% women, 60% over 60 years old) filled out the questionnaires demonstrates the personal importance of giving feedback. Nevertheless, they preferred the moderate style (none extreme answer), which could either underline a good atmosphere in the course or a ritualized system of feedback; both, however, did not disturb
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the educational process. The main focus for evaluation was on the question, which education al aspect was of more influence on this common satisfaction. A second question was whether this experience was more a result of perception (a) or of reflection (b). a) 80% of the answers marked the good/normal fields; 20% bad for the setting (cold). More (70%) good than normal marks could be found in 3 (method) and 4 (atmo sphere), while contents (75%) and group (55%) had more normal marks. Concerning the method and setting, the opportunity for common and autonomous learning and the atmosphere of acceptance and constructive feedback was mentioned addi tionally (50%). b) The reflecting task (importance) had similar results (contents and group normal, oth ers important, no extremes). That methods and the person of the teacher received similar feed back (important) underline, that the participants experienced an authentic educational style. The last (open) question was answered by 60%, who underlined that they made the experience (like in former courses) of better communication, more self-esteem, new ideas (for projects) and (perhaps) contacts (partners) to realize them. Evaluation of programs, teacher-interviews and participant-questionnaire underline the results of creativity and educational research (introduction) that contents and methods of adult education consider biographical creativity (creative coping- and self-management at titudes) by recognizing the social and environmental factors for creativity (Csikszentmihalyi, 1996; Gardner, 1993; Bandura, 1986). Teachers and learners prefer an atmosphere of accep tance, experiences with learning and teaching, constructive feedback that enhances motiva tion and curiosity for new ideas, and opportunities to share experiences as motivating person-, group- and process-oriented methods. One example to transfer this evaluation into practice is the following course (teaching and learning by heart - theory and practice of spiritual education) which is taught via Internet (rpi-virtuell); recognizing the interest of teachers and learners to use modern and innovative media. Integrating the chances of virtual (autonomous learning with a mentor as facilitator) and face-to-face-communication (supervision of case-problems) enhances biographical creativity in the process of lifelong learning, and recognizes the results of the evaluation (common learn ing in an autonomous way): although the course is limited by one semester, it invites to develop own projects, which can fill almost a life-span, and includes supervision and coaching meet ings. The curriculum follows the program of biographical creativity, which consists of the following steps during the process (way) of self-paced and mentored learning: Starting with the background (anthropological, biographical, religious and psycho logical approach of the concept) the participants find out creative coping strategies and com munication techniques for their future projects. Together with the methods of effective and creative research and presentation, they help to optimize their own teaching (presenting-) and learning skills by reminding them of their abilities and resources, and by facilitating the process to develop them in a creative way (by creating own projects as their domain). Because this special creativity has to do with ones own spirituality, reflection about spiritual theory and practice is the second step in the learning process (course), which enhances the personal way to create projects (by reflecting about rituals, symbols, metaphoric narratives and their function within ones own biography). The following steps in the learning-process of the course are: hermeneutics (as contact and process), didactics (as a holistic approach with the experience as a key), and communi cation (as a process of sharing experiences and as a way of making mutual experiences). When passing these single steps of self-paced study, combined with discussion (fo rum, chat), research and presenting (with comments from their peers (field) in every single
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stage), the participants become able to formulate their own project (domain) in the areas of study, teaching, management (HRM) and counselling. They can develop mentoring projects, intergenerational work, forms of super- and intervision in different contexts (literary, artificial or religious/philosophical aspects of learning, teaching and counselling or creative job-training methods). At the end, the participants present their project, share constructive feedback with the virtual and real course-community, and receive a certificate of participation as reward. CONCLUSIONS Contents and methods of religious education can be characterized as a model for the importance of supporting feedback, life-experience, informal learning, biographical meaning, and of a systemic point of view in order to enhance creative attitudes. Religious adult educa tion demonstrates that aspects of life-challenges for individuals and organisations are important issues of creative coping strategies and techniques of life-management. It also underlines that educational topics, combined with biographical aspects, enhance intrinsic motivation and curi osity by avoiding controlling behaviour (Amabile, 1996; Powell, 1994). Religious adult educa tion facilitates risk taking and allows free choice in task engagement like developing projects. Assisted by a special (lifelong) supervision and mentoring program and by the use of internet, distance learning, and self organized studies (teaching and learning by heart), it facilitates an atmosphere of acceptance and open minded (virtual) communication, where the learner be comes the architect of himself (Rogers, 1969) by creative work and mutual coaching. As a kind of free and informal learning (after the stages of qualification) (religious) adult education has the chance to enhance creativity, to promote self-efficacy, to develop personal expertise, to give free time for ideas, to facilitate a personalized environment (for play and experimentation) and constructive feedback. Therefore, it can become an additive one for the individual and for mative for organizations and for the society at large as a prime vehicle for enriching in multiple dimensions (Edelson, 1999).
References 1. Adams-Price, C. E. (ed.) (1998). Creativity and Successful Aging. New York: Springer. 2. Albert, R. S. (1996). Some Reasons Why Childhood Creativity Often Fails to Make It Past Puberty into the Real World. In M.A. Runco (ed.) Creativity from Childhood through Adulthood. New Directions for Child Development. No. 72. San Francisco: Jossey-Bass, p. 43-56. 3. Amabile, T. M. (1996). Creativity in Context. Boulder, CO: Westview Press. 4. Bandura, A. (1986). Social Foundations of Thought and Action: A Social Cognitive Theory. Englewood Cliffs, NJ: Prentice-Hall. 5. Bundesministerium fr Bildung, Wissenschaft, Forschung und Technologie (ed.) (1996). Berichtssystem Weiterbildung VI. Integrierter Gesamtbericht zur Weiterbildungssituation in Deutschland. Bonn: BMBF. 6. Bundesministerium fr Bildung und Forschung (Ed.) (1998). Grund- und Strukturdaten 1998/99. Bonn: BMBF. 7. Csikszentmihalyi, M. (1996). Creativity: Flow and the Psychology of Discovery and Invention. New York: HarperCollins. 8. Cohn, R. (1975). Von der Psychoanalyse zur Themenzentrierten Interaktion. Stuttgart: Klett-Cotta. 9. Creativity in Later Life. Theme Issue. GENERATIONS 15, no. 2, p. 4-70. 10. DIE Deutsches Institut fr Erwachsenenbildung (1998). Volkshochschulstatistik Arbeitsjahr 1997. Frankfurt: DIE. 11. Edelson, P. J. (1999). Creativity and Adult Education. In P. J. Edelson and P. Malone (eds.). Enhancing Creativity in Adult and Continuing Education. Innovative Approaches, Methods, and Ideas. (New Directions for Adult and Continuing Education, no. 81), San Francisco: Jossey-Bass, p. 3-14. 12. Gardner, H. (1993). Multiple Intelligences: The Theory in Practice. New York: Basic Books. 221

13. Keegan, R. T. (1996). Creativity from Childhood to Adulthood: A Difference of Degree and Not of Kind. In M. A. Runco (ed.). Creativity from Childhood Through Adulthood. New Directions for Child Development, No. 72. San Francisco: Jossey-Bass, p. 57-66. 14. Kerka, S. (1999). Creativity in Adulthood. ERIC Digest No. 204 ERIC Clearinghouse on Adult Career and Vocational Education Columbus OH. From http://209.85.129.132/search?q= cache:xYmP2BGR-rAJ:www. ericdigests.org/19994/creativity.htm (14.10.2009). 15. Knoll, J.H. (2005). Adult Education Continuing Education International Dimensions Or: What are the General Characteristics and the Common Core of Adult and Continuing Edu cation? Adult Education and Development 64/2005. Bonn: IZZ/DVV. www.iizdvv.de/index.php?article_id =252 &clang.(14.10.2009) 16. Kuwan, H. (1999). Berichtssystem Weiterbildung VII. Erste Ergebnisse der Reprsentativbefragung zur Weiterbildungssituation in den alten und neuen Bundeslndern.. Bonn: BMBF. 17. Lohmar, B., Eckhardt, T. (eds.) (2009). The Education System in the Federal Republic of Germany 2007. A description of the responsibilities, structures and developments in education policy for the exchange of information in Europe (excerpt), Bonn: KMK. 18. McCormick, D. J., Plugge, C. D. (1997). If I Am an Artist, Whats Wrong with My Picture? In Deeply Rooted Branching Out, 1972-1997. Annual AEE International Conference Proceedings. Boulder, CO: As sociation for Experiential Education. 19. Powell, M. C. (1994). On Creativity and Social Change. Journal of Creative Behaviour 28, no.1, p.21-32. 20. Reischmann, J. (1999). Adult Education in Germany: Roots, Status, Mainstreams, Changes. Internet Publi cation http://www.uni-bamberg.de/fileadmin/andragogik/08/andragogik/AEinGrmy.htm. (Version November 11, 1999) (14.10.2009). 21. Rogers, C. (1969). Freedom to Learn: A View of What Education Might Become. Columbus, Ohio: Charles E. Merrill Publishing Company. 22. Runco, M. A. (1996) Personal Creativity. In M. A. Runco (Ed.). Creativity from Childhood to Adulthood. New Directions for Child Development, no. 72. San Francisco: Jossey-Bass, p. 3-30. 23. Sasser-Coen, J. R. (1993). Qualitative Changes in Creativity in the Second Half of Life. Journal of Creative Behaviour 27, no. 1, p. 18-27. 24. Senge, P. M. (1990). The Fifth Discipline: The Art and Practice of the Learning Organization. New York: Currency Doubleday. 25. Tietgens, H. (1994). Geschichte der Erwachsenenbildung. In R. Tippel (ed.). Handbuch der Erwachsenenbildung/Weiterbildung. Opladen: Leske + Budrich, p. 23-39. 26. Titmus, C. (1989). Lifelong Education for Adults: An International Handbook. Oxford: Pergamon Press. Geert Franzenburg PhD, lecturer and adult educator, University of Muenster and Ev. Kirchenkreis Muenster, Department of Adult Education, An der Apostelkirche 1-3, D-48143 Muenster, Germany Phone: 49251/5102817, gfranzen@kk-ekvw.de

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Staislava Marsone. Dzimusi 1960. gada 23. septembr, Liel vircav. 1984. gad beigusi LVU VFF, kop 1998. gada vstures maistre, no 2010. gada Dr. paed. Ldz 1999. gadam strdjusi par vstures skolotju un direktora vietnieci audzinanas darb, kop 2000. gada RPIVA. Ptnieciskaj darb aktulas socils audzinanas un pedagoijas vstures tmas. Veidojusies pieredze pedagogu tlkizgltb, kuru pilnveido dalba ESF projektos. Intereses: ceoana, telpaugi.

STAISLAVA MARSONE Rgas Pedagoijas un izgltbas vadbas akadmija Latvija

JAUNS SKOLAS PEDAGOGI PAR SKOLNU RADOUMA VEICINANU (LATVIJA, 20. GS. 20. 30. GADI)
Kopsavilkums Ievads. 20. gs. skum Latvij kuva populras reformpedagoij balstts jauns skolas idejas. Darba mris. Raksturot jauns skolas koncepcijas galvens tendences saistb ar skolnu radouma veicinanu 20. gadsimta 20. 30. gadu Latvijas pedagoij. Materili un metodes. Teortisko bzi veido 20. gadsimta 20. 30. gadu pedagoisks periodikas un LVVA fondu materili. Atbilstoi ptms problmas specifikai, k galven metode tiek izmantota hermeneitika. Rezultti. Rakst tiek vrttas galvens teortisks nostdnes, un apkopota praktisk pieredze skolnu izzias aktivitti veicinou mcbu metou realizan. Secinjumi. Jauns skolas konceptuls nostdnes veicinja skolnu izzias aktivitti un radoumu rosinou darba formu izmantoanu pedagoiskaj proces. Atslgas vrdi: reformpedagojja, izzias aktivitte, mcbu metodes

NEW SCHOOL TEACHERS FOSTER STUDENTS CREATIVITY (LATVIA (1920s 1930s)

SUMMARY Introduction. In the pedagogical literature the concept of social pedagogy appeared and became popular at the beginning of the 20th century due to rapid changes in society; moreover, there was certain evidence that each individuals development was closely linked with the developmental trends in society. In pedagogical theory social pedagogy has often been identified with social up bringing, i.e. it was associated as a direction of upbringing that sticks to the existing methods but it changes the ways of its performance as well as enhances the role of the content: for instance, joint upbringing efforts of the family and school, promotion of cognitive activities, that foster social de velopment. The new school ideas based into progressive education has become popular. The article opens pedagogic discourse, evaluates main theoretical statements, there has been summarized expe rience of teaching methods and forms in the development of students cognitive activities.
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Aim of the study is to describe ideas of the new school based into the progressive educational concept and practice of the formation of students creativity in the pedagogy of the 20-30s of the 20th century in Latvia. Materials and methods. In order to carry out the research of this issue 2 groups of sources were selected: Latvian State History Archive (further called LSHA) materials as well as pedagogical periodicals of the 20s and 30s of the 20th century in Latvia. The hermeneutics method has been used according the topic of research (the history of pedagogy). Results. The 1919 the law on education fostered attempts for new ways in the formation of a national school system. The previous unitary school system modelled on tsarist Russia system was liquidated. The latest pedagogical methods and approaches were popularized by such books and periodicals as Izgltbas ministrijas meneraksts, Audzintjs, Msu Nkotne, Tautas audzinana, Skola un zintne, etc. A special attention was focused on school system in Ger many, Waldorf pedagogy, and Dalton Plan. School educates students in accordance with some of precepts of the Dalton Plan developed by Helen Parkhurst, Ovide Decroly School and Monte sori method. Books by recognized and acknowledged authors on pedagogy and psychology such as Georg Kerschensteiner, Ellen Kayu, Paul Natorp, John Dewey were widely read. The new school was formed thoroughly considering and assessing theory, experiences and practices of the Western European (German, Austrian, Swiss, British) education systems, as well as those of the United States and Russia. Some modern pedagogical approaches giving up strict grading and lesson system, the introduction of creativity encouraging teaching methods, wide application of social, economic and cultural environment (guided excursions, museums) aroused heated discus sions. These ideas were supported by J. Greste and L. Lancmanis. The concept of students selfgoverning (autonomy) and team work were also discussed, assessing the theory and practices of these methods in schools of the USA, Germany, Britain, Estonia and Russia. These precepts were discussed by teachers who supported democratic approach (M. Liepa, L. Taivans, R. Liepi), as well as by representatives of the national school, particularly A. Dauge. He accentuated the basic principles in the formation and education of a harmonious personality: humanism, activity a child should be taught to do research and study independently, individual approach the development of innate abilities and qualities of every child. It must be admitted that there is a common understanding of the tasks in social pedagogy in order to reach general aims and targets between the current concept, as well as the pedagogical ideas of the 20s and 30s of the 20th century in the environment of Latvian educators which encour age us to turn to the exploration of the experience of social upbringing in the independent state of Latvia. It should be admitted that political affiliation of the teachers not always corresponded to their pedagogic views. Quite often teachers of different political affiliation voiced the same or similar pedagogic concepts. The 1920s and 1930s pedagogic ideas were in line with the demand of a new democracy of the state for an active, independent personality, able of self-realization. Within the context of progressive education, the new school of the new state accumulated experience. Conclusions. At the beginning of the 20th century pedagogical ideas highly appreciated mutual collaboration between the school and society; even more, it is one of the most significant tasks as it impacts the development of an all-rounded, socially active, loyal to the fatherland, a creative personality. The pedagogical and social importance of this issue is approved not only by outstanding educators who participate in the discussion (e.g., A. Dauge, K. Deken, K. Obshtein, M. Shtals and P. Dreimanis), but also by well-known social and culture representatives, e.g. L. Berzins, A. Spekke, K. Gopper. In accordance with the acknowledgements of humane pedagogy, practical ways and directions of collaboration have been evaluated. The estimation of historical experience is reflected in current educators viewpoints that emphasise the role of traditional values in society,
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a sense of belonging, ways and forms of mutual collaboration or interconnection to facilitate the development of personalitys social aspect. 1. Latvian teachers were well acquainted with the development of pedagogic thought in the world and were able to discuss the compliance of progressive education with the principles of humanistic pedagogy. 2. The majority of Latvian teachers focused on the importance of work manual, intel lectual, creative in the teaching process as it corresponded both to the needs of the new democracy and local educational traditions. 3. Participation in international conferences, exhibitions, exchange visits and lectures helped to accumulate experience and encouraged application of cognitive methods. Fol lowing the encouraging achievements of German and Austrian teachers in education, the movement of teachers-innovators started in Latvia. Although the movement was not widely supported either by teachers themselves or the public at large, it could still be asserted that the new school is rooted in humanistic pedagogy. Key words: progressive education, cognitive activity, teaching methods. Ievads Gadsimtiem ilgaj sabiedrbas attstbas gait pedagoisk doma un izgltbas prakse (sko la) ir bijusi ciei saisttas ar sabiedrbas vajadzbm, atspoguojusi sabiedrbas pieprasjumu. Tomr vsturisk pieredze apliecina B. Rassela viedokli, ka skolas sistma ir samr konservatva, t parasti stingri balsts prbaudt pieredz, td prmaias un ar tm saistts progresvs idejas sastopas ar zinmu pretestbu (Russel,1993,20). Vl jo vairk aktivizjoties prmaim sabiedrb, skola ir tendta no tm norobeoties, nosldzoties sav iekj organizcij. Ar 18. gadsimta Apgaismbas idejas, kstot arvien populrkas Eiropas izgltbu baudjus sabiedrbas vid, maz ietekmja skolas realitti mcbu formas un metodes, skolnu un skolotju savstarpjs attiecbas. Skolu dzv btiskas prmaias aizsks ar 19. gadsimta otro pusi, kad, izveidojoties pasaules tirgum, oti strauji attstjs zintne teortiskos atkljumus arvien ciek saistot ar to praktisko pielietoju mu. Zintnei kstot utilitrkai, t kuva par sabiedrisks dzves neatemamu sastvdau. dos apstkos iekalanas skola vairs nespja apmierint ne indivda, ne sabiedrbas vajadzbas. Skolu reformas nepiecieamba kuva par vienu no centrlajiem sabiedrisks un pedagoisks diskusijas jautjumiem. Pres rakstja par krzi izgltb, tika pieprastas radiklas reformas. K vecs skolas raksturgks iezmes tika mintas mcans tikai no grmatm, mehniska iekalana bez izpratnes, zinanu nesaistana ar relo dzvi, stingri reglamenttas attiecbas starp skolotjiem un skolniem. To, ka vecs, dogmatisks skolas mcbu veids un sastingus, rutint audzinana vairs neatbilda sabiedrbas prasbm, apzinjs ar latvieu pedagogi. A.Dauge di raksturo tlaika skolu: Msu skolas ldz im bija iestdes, kurs pirm krt mcjs un kurs ilg patstvg mehnisk darb ieguva zinmas veiklbas. oti maz mr skols ldz im guva zinanas patstvgi mekljot un ptot, un oti maz strdjot radou darbu (Dauge, 1924,230). Pirmais pasaules kar (1914 1918) ne tikai sagrva pasaules tirgus attstbu kavjoos Eiropas politiskos remus, bet pavra iespju straujm politiskajm, saimnieciskajm un socilajm prmaim. ie prmaiu procesi skra ar Latvijas teritoriju, kur, sagrstot Krievi jas imprijai, 1918. gada 18. novembr pirmo reizi tautas vstur Latvija ieguva valstisko patstvbu. Tikpat btiski k izveidot jaunu saimniecisko un politisko sistmu, bija radt valsts izgltbas un audzinanas koncepciju. Visus dados pedagoijas teorijas virzienus kopum ska apzmt ar vrdu reformpedagoija, ar to saprotot sabiedrisku kustbu par izgltbas demokratizciju laikposm no 19. gadsimta 90. ldz 20. gadsimta 30. gadiem. Pedagoiskaj literatr jdzienam reformpedagoija k sinonmu lieto alternatv izgltba, alternatv
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skola, jaun skola, reformskola, progresv kustba izgltb. Latvijas pedagoiskaj literatr biek sastopamais apzmjums ir jaun skola(estere, 2005). Reformpedagoijas nostdnes saistjs ar jaunu, brnu radoo aktivitti veicinou, darba organizcijas formu un metou iedzvinanu skolu praks. DARBA MRIS Raksturot jauns skolas koncepcijas galvens tendences saistb ar skolnu radouma veicinanu 20.gadsimta 20. 30. gadu Latvijas pedagoij. MATERILI UN METODES Ptjuma mra sasnieganai tika izvltas divas avotu grupas Latvijas Valsts vstures arhva (turpmk LVVA) fondu materili un 20.gadsimta 20. 30. gadu Latvijas sabiedriski pedagoisk periodika. Atbilstoi ptms problmas specifikai k galven metode tiek izman tota hermeneitika. Rezultti Nodibinoties neatkargai Latvijas valstij, tika likvidta izgltbas sistmas unifikcija pc Krievijas parauga. 1919. gad pieemtais izgltbas likums rosinja meklt jaunus ceus nacionls skolas izveidei. Pasaules jaunks pedagoisks atzias Latvij popularizja periodis kie izdevumi un grmatas: urnli Izgltbas ministrijas Mneraksts, Audzintjs, Msu Nkotne, rakstu krjumi Tautas audzinana, Skola un zintne u.c. ajos izdevumos paa uzmanba veltta darba skolai Vcij, rakstts par valdorfpedagoiju, Daltonas plnu, Ovda Dekroli skolu, Montesori metodi. Latvijas pedagogi tika iepazstinti ar pasaules pedagoijas un psiholoijas izcilkajiem prstvjiem: G. Kerhenteineru, E. Keiju, P. Natorpu, D. Djiju. Prese publicja plau domu apmaiu, asas polemikas par Latvijas skolu reformanu. Par pedagoijas jautjumiem izteics tdi ievrojami kultras un zintnes darbinieki k dzejnieks Rainis, filozofe un literte Z. Mauria, filozofijas profesors T.Celms, komponists J. Medi, vsturnieks un diplomts profesors A. Spekke, vsturnieks profesors R.Vipers. Jauns skolas idejas tika apspriestas Latvijas skolotju profesionlajs organizcijs, no kurm ievrojamks Latvijas nacionl skolotju savienba (biedri L. Ausjs, A. Dauge, A. Vis, L. Adamovis, M. tls, P. Dreimanis u.c.) un Latvijas skolotju savienba (biedri J. Greste, K. Dens, P. Kla, L. Taivns, R. Liepi u.c.). Kopum atbalstot skolas refor mas nepiecieambu, Latvijas nacionls skolotju savienbas nostja bija piesardzgka pret radikliem jauninjumiem: Ms nedrkstam dzvot tikai tradcijs, bet tpat ms nedrkstam dzvot jauninanas tieksms nacionli noskaoto pedagogu viedokli pauda A. Dauge (Dauge, 1927,44). Abu profesionlo organizciju prstvju un to atbalsttju starp izvrss aktva diskusija, izkristalizjot galvens jauns skolas idejas: k savienot socilo un individulo audzinanu, brvbu un disciplnu, k dadot mcbu saturu, tuvinot to relajai dzvei un aktivizt mcbu procesu, izmantojot dadas formas un metodes, k demokratizt skolnu un skolotju attiecbas, ar cieu izturoties pret brna personbu (estere, 2005). Lai ar pedagogi bija vienoti uzskat, ka skolai jatbilst demokrtiskas sabiedrbas vajadzbm, Latvijas skolotju savienba bija radiklk noskaota, aizstvja jaunu ideju un metou ievieanu izgltb, mcbu procesa demokratizciju, kas virkn publikciju tika piedvtas sabiedrbas diskusijai: E. Ptersons, M. tls, M. Celms analizja H. Gaudiga un G. Kerenteinera uzskatus par fizisks un gargs aktivittes vienotbu, kritizjot G. Kerenteinera
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vienpusgo skatjumu par darba ietekmi uz personbu. Latvijas pedagogu kopjo viedokli pauda E. Ptersons, secinot, ka, lai darbam pieirtu personisko nozmbu ar sabiedrbas vajadzbu kontekst, tam jkst par visa mcbu procesa vienojou elementu, savukrt, izdalot k atseviu mcbu priekmetu, tas nedrkst zaudt intelektulo ievirzi radoumu (Ptersons, 1926). Ar R. Zeidels un M. tls uzsvra, ka ir btiski nodalt darba mcbu k principu un darba mcbu k priekmetu (Zeidels, 1922,41). Kaut ar Pirm pasaules kara izraistais monarhiju sabrukums virknei Eiropas valstu radja Latvijai ldzgu situciju, Latvijas pedagogi visvairk sadarbojas ar Vcijas koliem. Noteicos bija valodu zinanas un kopgs izgltbas tradcijas. Tomr jauns skolas ideja veidojs vrtjot ar citu Rietumeiropas valstu (Austrijas, veices, Anglijas) un Amerikas, k ar Krievi jas teortisks nostdnes un praktisko pieredzi. Latvijas pedagogi ne tikai mcjs no pasaules pieredzes, bet ar pai iesaistjs starptautiskajs aktivitts biedrbs, apvienbs, kongresos. T Latvijas valsts vstures arhva (LVVA) fondos atrodami prskati par Latvijas pedagogu dalbu Piektaj starptautiskaj jauns audzinanas konferenc Helsinger (Dnija) 1929. gad, Vispa saules pedagoisko biedrbu savienbas kongres env, Jauns audzinanas savienba (New Education Fellowschip) pasaules kongres Nic 1932. gad, Starptautiskaj tautas audzinanas kongres Parz un Montesori kongres Kopenhgen 1937. gad. Dokumenti apliecina Latvijas pedagogu centienus nepazaudt humnpedagoisko ievirzi, realizjot socili orienttos jauns skolas principus. T atskait par dalbu Jauns audzinanas savienbas kongres tiek izvrttas individul un socil vienotbas idejas, izvirzot galvenos audzinanas uzdevumus: radt izpratni par socilajiem procesiem, jattsta izzias aktivitte un spriedumu patstvba (jattsta prts, domu izmaias brvba), jveicina rado aktivitte (brna personbas paizteikans), jizkopj gribas pabas, veicinot brna socil rakstura veidoanos (soda, baiu disciplnas viet jizkopj persong iniciatva un pienkuma apzia), jsekm demokrtijas vrtbs balsttu kopdzves un kopdarbbas prasmju izkopana (kopdarbba starp visiem kolektva locekiem iespjams tikai tad, ja audzintjs un audzki viendi prats cient patstvgu raksturu un neatkargu spriedumu vrtbu). Minto uzdevumu praktiskajai iedzvinanai aktvi pievrss izgltbas ministra Raia izveidot Latvijas Skolu reformas komisija. Ts virsvadba tika uzticta demokrtiski noskaotajam Skolu virsvaldes direktoram R.Liepiam. Komisij aktvi darbojs Jelgavas 2. vidusskolas skolotjs un Valsts Centrl pedagoisk institta pasniedzjs J. Greste, Rgas 6.pamatskolas przinis Z. Lancmanis, urnla Msu Nkotne redaktors M. Liepa, C. Seris, L. Taivans. Noteikumos par jaunizveidots Latvijas skolu reformas komisijas pienkumiem, uzsvrta nepiecieamba apkopot vietjo un rvalstu teortisko un praktisko pieredzi, visu, kas atbilst uzstdtiem skolas audzinanas uzdevumiem un btu piemrots audzinanas uzdevumu veikanai msu apstkos (LVVA, 1632.f.,2.apr.,23.l.,7.lp.). Par izvirzto jautjumu pedagoisko nozmbu liecina fakts, ka komisijas sdes notika gandrz ik dienas, un jau 24.septembr (protokols Nr. 3) tika formulti cikli, kas ietvra galvens skolas reformas problmas, starp kurm btisku vietu iema brnu izzias intereses un radouma aktivizana (LVVA, 1632.f.,2.apr.,136.l., 41.lp.). Daa pedagogu uzskatja, ka izvirztie uzdevumi vispilnvrtgk realizsies pamatskol ievieot apvienoto mcbu. 1927. 19.oktobr Lat vijas skolu reformas komisijas ietvaros organiztaj diskusij J.Greste iepazstinja ar rzemju pieredzi, kur pirmsskol uzvar Montesori metodes, bet jaunkajs pamatskolas klass iesakojas apvienot metode (LVVA, 1632.f.,2.apr., 136.l., 9.lp.). Ar P.Dreimanis rakst Pamatskolas pro grammas aizstvja domu, ka pirmajos skolas gados nepiecieama tikai viena mcba dzimtenes, jeb apkrtnes mcba, kuras apguv brni var izmantot sav un imenes pieredz apgts zinanas un praktisks iemaas, turpinot dart pazstamas un saprotamas lietas, kuras veic viu vecki un kas ir btiskas apkrtnes saimnieciskaj dzv. Svargi, k d persongi nozmg darbb veidojas
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emocionl piederba apkrtjai videi, izpratne un atbildba par ts attstbu un vajadzbm. Brns tiek rosints saskatt savas un sev tuvs norises visas sabiedrbas kontekst, virzot izziu no atsevi uz visprgo. Tdejdi ar visprgais sabiedriskie procesi, iegst personisko nozmbu un veicina pozitvu attieksmju nostiprinanos: viu (brnu) apzi tautas kulturelie sasniegumi ir ciei saistti, tpat k ikdieni dzv; tpc brni neapzingi pieskaras ai dzvei, mcs to izprast un veidot pc zintniskiem atzinumiem... tdas zinanas apvieno skolnus ar savu tautu vien saim un ierauj vius dzves veidoan(Dreimanis,1926). is virziens ieguva popularitti ar skolotju vid. Jau 1922.gad piecs viets Talsu apri, Liepj, Rg, Priekuos, Latgal, tiek organizti skolotju vasaras kursi dabaszintns un apkrtnes mcb (LVVA, 1632.f., 2.apr., 130.l., 3.lp.) Periodik sastopamie aicinjumi pieteikties ajos kursos, dokumentos reistrt sarakste starp kursu organiztjiem un potencilajiem dalbniekiem, skolotju mintju kustba apliecina interesi par o savam laikam progresvo metodi. Spraigas diskusijas izraisja skolotju, demokrtijas piekritju, vlme atteikties no stin gras klau un stundu sistmas mcbu proces. Metodes, kuras pieva plau un daudzpusgu vietjs sabiedrisks, saimniecisks un kultrvides izmantoanu - mcbu ekskursijas, muze jus, aktvi aizstvja Z.Lancmanis, vrot uzmanbu uz apkrtnes kultras dzves materilu izmantoanu skolas audzinanas un mcanas darbb un J.Greste, kur bija prliecints, ka ekskursijas, skot ar skolas durvju prieku, un beidzot ar rpncm, iestdm, muzejiem utt. un mcbu ldzeku izgatavoana ir formas, kurs visvairk vartu izpausties rado aktivitte (LVVA, 1632.f.,2.apr.,136.l., 41.lp.). Periodik tika apkopota un seminros popularizta veices un Vcijas skols apgt pieredze mcbu ldzeku un uzskates materilu izgatavoan un pielietojum. Pedagogi uzskatja, ka brniem, iesaistoties savas vides aprkoan, tiek veicinta tikumiski tiska attieksme pret darbu; redzot darba personisko un sabiedrisko nozmbu, paaugstins pavrtjums, bet, izga tavojot uzskates materilus, tiek veicints izzias process un radoums. Tomr lielai pedagogu daai par minto pieeju bija neskaidrbas un iebildumi. Galvenais pretarguments da me tode nesekm zinanu apguvi, uzskatja M.Celms, nordot, ka, radinot izzias patstvb, var ciest zinanas (Celms, 1925). Ar virkne citu pedagogu pauda baas par sabiedrbas kopj intelektul lmea pazeminanos, kas var rasties neprdomtu reformu rezultt, piekrtot L.Ausja uzskatam, ka izpratne par gatavbu dzvei biei vienkroti tiek saprasta k gatavba sevis uzturanai izceot tikai tos personbas aspektus un individuls spjas, kas atbilstu sabiedrbas pieprastu amatu apganai un savas eksistences nodroinanai. Tau uzdevums ir daudz plaks: to spju attstba, kas ir nepiecieamas ikvien dzves nozar, ikvien darb, ikvienam cilvkam (Ausjs, 1926,96). o viedokli netiei atbalstja ar A.Dauge, uzskatot, ka ir jvingrina visas spjas un prasmes, ar ts, kurs nav btisku rezulttu, bet kuras dzv var bt nepiecieamas, tdejdi radot iespju orientties dzves situcijs un veidot patstvgu, aktvu indivda un dzves attiecbu pamatu. Ja indivds tiek gatavots kdai konkrtai dzves funkcijai, neizkopjot prasmes vispusgm, dinamiskm dzves attiecbm, vi maingajos sabiedrbas procesos var palikt rpus m attiecbm, nespjot piemroties prmaim. Tdjdi A.Dauge akcentja daudzu autoru atziu par individul un socil saskaoanas nepiecieambu, kas novestu pie aktivittes un padarbbas, un, ievrojot humanittes principu, sasniegtu mri: ..nevis izskolot labu profesionli, bet izaudzint pilngu cilvku (Dauge, 1927,197). Jauns skolas ideju kontekst k pedagoisk procesa visaptveroa pieeja tika vrtta kopdarbba, nozmgu vietu in proces ierdot klasei. K jau mints, pauot Latvijas skolotju savienbas prstvto viedokli, M.Liepa, L.Taivans, R. Liepi uzsvra, ka, reformjot skolu, klases kopas princips auj ieviest kopdarbbas formas, organizjot mcbu procesu (ekskursijas, lietdergais kopdarbs, mcbu ldzeku pagatavoana utt.). Pedagogu viedokos kopdarbba tikusi vrtta ar
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citos aspektos. O. Svenne (Svenne, 1924), A. Brods (Brods, 1922) un J. Salmgrieze (Salmgrieze, 1930) pauda prliecbu, ka tiei morl ldzatbildba par kolektvu un iespja strdt pie savas un savu biedru audzinanas, ir viens no visspcgkajiem faktoriem lai veidotos patstvba, atbildba, disciplintba, mrtiecba un tiktu nostiprinti indivda socilie pamati radoai dzvei un pilsoni skai atbildbai (Brods, 1922,376). Savukrt, M. Prle uzsvra, ka klases aktivittes veicinanai nepiecieamas katra indivda spilgtas izpausmes (Prle, 1930,330), pievienojoties A. Dauges uz skatam, ka klase tpat k imene ir pas socils veidojums, kas neizsldz individula darba formas, pai uzsverot skolnu paprvaldes organizcijas iespjas gan kolektv, gan individul radouma attstan. Jpiebilst, ka Latvijas pedagogi aktvi diskutja par skolnu kopdarbbas un paprvaldes idejm, vrtjot ASV, Vcijas, Anglijas, Igaunijas un ar Krievijas skolu teortisks atzias un prak tisko pieredzi paprvaldes darba metou izmantoan. Jauns skolas koncepcij par sadarbbas pamatu bija jkst partnerattiecbm, kas balsttos savstarpj cie un kopjo mru izpratn, kas neierobeotu personbas attstbas brvbu un unikalitti, veicinot radoumu. Pedagogi bija vienisprtis, ka iziros prieknoteikums ir skolotju izgltotba un izpratne par demokratizcijas procesiem. Pievienojoties atziai, ka katr cilvk ir jau iedzimtas socils tieksmes, A. Dauge uzsvra, ka pedagoijas uzdevums tiei in jom ir pai pateicgs, jaunaj cilvk tikpat stipri k vlme bt atztam k personbai ir ar tieksme tikt citu saprastam, vlme dzvot un darboties kop, kas izpauas indivda socil instinkta tieksm grupties. Skolas vide o dabisko tieksmi var mrtiecgi organizt un vadt ar skolnu paapkalpoans un paprvaldes organizciju. s dar ba formas izmantojamas ldztekus vai mijiedarbb ar mcbu procesu. To, ka skolotja persong ieinterestba un profesionls zinanas ir iziroas, lai kopdarbbas formas nektu par ribu, bet sasniegtu audzinoo mri, neierobeojot indivda unikls attstbas izpausmes, raksturo piemri no skolotju praktiu pieredzes. Pedagogs R.Vti, analizjot savu pieredzi Rgas pilstas 4.patnj pamatskol, k pats atzm skol ar grti audzinmo brnu materilu uzsver, ka ds skols pavaldbas varbt ir vl nozmgkas nek parastajs skols, jo dod brniem iespju saprast, ka vii kaut ko var pai, un pai iemct sadzvot ar citiem, kas tiei saists ar ar paa brna egocentriski orienttajm vajadzbm. Respektjot klases skolnu individuls iespjas un socilo pieredzi, paprvaldes organizanas pirmaj posm skolotjs ir veidojis grupias, kas sadarbojas elementr lmen, paldzot citiem brniem organizt darbu klas. Uzkrjoties pieredzei un attstoties socilajm prasmm, klas tiek izveidoti krtbas pulcii, kas ietver jau zinmus organizatoriskus un izpildvaras elementus. K pau sasniegumu pedagogs atzm, ka vien klas tikusi izveidota sta pavaldba, atirb no krtbas pulciiem, kas ir ierobeotki savs funkcijs (Vti, 1933). Mintais piemrs apliecina, ka skolnu paprvaldes elementi neizsldz individulu, radou pieeju ar kolektvi orienttajs audzinanas darba forms. Vienlaikus jpiebilst, ka daa Latvijas pedagogu samr piesardzgi izturjs pret paprvalu pieredzes nekritisku popularizanu, atzstot skolnu paprvaldi tikai k savstarpjs sadarbbas un talantu izpausmes skolu, bet ne k sabiedriski parlamentru struktru. ds fakts var liecint, ka vidusskol reformai bija zinmas atirbas prioritts nek pamatskol. C. Seris refert Pedagoiskie mekljumi Latvijas vidusskols konstatjis, ka skolnu pavaldbas sastopamas tikai nedaudzs latvieu vidusskols (piem., Rgas pilstas 3. vsk. un Rgas pilstas 4. vsk.) un skolni piedals tikai tajs pedagoisks padomes sds, kurs tiek apskatta skolnu organizciju (pulcii, kooperatvi, virtuve) un trcgo skolnu apgdes lietas (LVVA, 3016. f., 1. apr., 60. l., 22. 23. lp.). Neraugoties uz paprvaldes attstoo uzdevumu izpratnes atirbm, LVVA do kumenti liecina par mrtiecgu paprvaldes darba principu iedzvinanu skolas pedagoiskaj proces. Latvijas skolotju savienbas 23. delegtu konferenc 1931.gada 31. mart par skolnu pavaldbm referjis F. Osis, uzsverot, ka skolnu paprvaldes darbba aptver skolas krtbu, sportu, izpriecas, saimniecbas, disciplnas, papaldzbas u.c., un, saemot pedagoisks pa domes piekrianu, ar rpusskolas aktivittes (koku dstanu, piemias vietu aprpi, paskumus
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ar citm skolm). Paredzts, ka skolnu paprvaldes veidojamas viss skols, piemrojot ts darbbas apjomus brnu attstbai(LVVA, 1632. f., 2. apr., 1272. l., 138 lpp.). Pedagoisko ideju izvrtjum iezmjusies atirba radouma attstbas izpratn daa pedagogu radoumu prsvar saista tikai ar intelektulo attstbu. Savukrt daa pedagogu pievrss reformpedagoijas idejm par individul un socil harmonizanu personbas vispusg attstb. Tiei pamatskols jauno ideju ietekm veidojs paa skolotju eksperimenttju grupa, kas ska saukties par skolotjiem mintjiem (ar izmintjiem). Atbildbu par skolotju mintju darbbu uzms Latvijas skolotju savienba. Lai koordintu un vadtu mintju darbbu, Lat vijas skolotju savienbas pakautb izveidoja pedagoisko biroju, kura sastv ievlja J.Gresti, J.Straubergu, Z.Lancmani, K.damsonu, J.Mestu. Skolotju mintju darbbas organizan liela loma bija J. Grestem. Via muzejnieka darbba bija vrsta galvenokrt uz to, lai atdzvintu mcbas ar uzskates ievieanu. Vroties pret dogmatismu, rutnu un iekalanu, kas palikusi mcbs vl no cara laika skolu prakses, vi aicinja izmantot moderns pedagoijas atzias, btiski mai not mcbu raksturu. No pirms skolotju mintju apspriedes materiliem redzams, ka tie galvenokrt izmantojui atsevias metodes: refertu, mcbu ekskursijas, projektus, Daltonas plna elementus, k ar atsevius pamienus un ldzekus, nolk aktivizt skolnu padarbbu mcbs (Staris, si, 2007). Skolotju mintju kustba pai aktivizjs laik, kad izgltbas ministra posten bija Rainis. Ts darbba galvenokrt bija vrsta uz to, lai stenotu skolu reformu, aktiviztu skols mcbas un audzinanu, izvrstu skolnu padarbbu un attsttu viu spjas. Un, kaut ar 1928. gad, kad par izgltbas ministru kuva konservatvi noskaotais A.Tentelis, komisija piema lmumu praktiskus sous skolu reform turpmk nespert, prmaias saglabja jauns skolas pa matprincipus. Vl 1931. gada Skolotju Savienbas atskait par Pedagoisk biroja darbbu mints, ka Pedagoiskaj biroj reistrto jauns skolas piekritju un mintju skaits prsniedz 300 perso nas un sastv ne tikai no skolotjiem, bet ar no rakstniekiem, rstiem, bibliotekriem. Biroja sekciju skaits bija 23 Rg, bet provinc darba apvienbas pastvja Liepj, Madon, Ventspil, Bausk (LVVA, 3016. f., 1.apr., 20. l., 16. lp.). Raksturgi, ka moderns pedagoisks atzias ai laik saistja ne tikai skolotju mintju uzmanbu. Ts apsprieda un par tm diskutja dadu uzskatu pedagogi, ar tie, kuri tiei neiestjs par mintju kustbu. T, piemram, A. Dauge rakst Par lietiu un romantisku pedagoiju, uzsvra, ka harmoniski attsttas personbas veidoanos nosaka trs pamatprincipi: humanittes princips, padarbbas un aktivittes princips, saska ar kuru jpieradina brns patstvgi meklt un ptt, mcbu individualizanas princips, kas paredz katra audzka iedzimto pabu tieksmju un dotumu atzanu un izkopanu (Dauge, 1927, 202). eit jatgdina A. Stara un V. sia teiktais, ka pedagogu politiskie uzskati ne vienmr noteica viu pausto pedagoisko atziu saturu un virzbu. Nereti pedagogi ar atirgiem politiska jiem uzskatiem pauda ldzgas vai viendas atzias, ja ts atbilda to profesionlajai prliecbai. Secinjumi 20. gadsimta 20. 30. gadu pedagoijas idejas atspoguoja sabiedrbas pieprasjumu pc socili aktvas, patstvgas un radoas personbas, kura sptu parealizties jaunajs sabiedriskajs attiecbs. Reformpedagoijas ideju kontekst veidojs ar Latvijas jauns sko las pieredze: 1. Neraugoties uz valstisks pieredzes un demokrtijas tradciju trkumu, Latvijas peda gogi labi przinja pedagoijas ideju attstbu pasaul, spjot pilnvrtgi iesaistties
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teortiskaj diskusij par reformpedagoijas ideju atbilstbu humnpedagoijas pamat principiem. pai populras kuva idejas par personbas socils un individuls attstbas vienotbu k pamatnosacjumu personbas brvai, radoai attstbai. 2. Latvijas pedagogu vairkuma atbalstu guva darba skolas idejas. Darba fizisk, intelektul un rado vrtba k izgltbas sistmas pamatprincips visvairk atbilda jauns demokrtijas vajadzbm un vietjm audzinanas tradcijm. 3. Iesaistans starptautisks noriss konferencs, izstds, pieredzes braucienos, pedagoiskajos lasjumos pilnveidoja pedagogu praktisko pieredzi, rosinot izmantot jaunas, izzias aktivitti veicinoas darba formas un metodes. Apgstot Vcijas un Aus trijas pieredzi, ar Latvij attstjs skolotju mintju kustba. Kaut ar t neguva vairkuma tieu atbalstu, tomr ir pamats apgalvot, ka jauns skolas konceptuls nostdnes balstjs demokrtijai raksturgajs humnpedagoijas idejs, veicinot socili orienttas, brvas, radoas personbas attstbu.
LITERATRAS SARAKSTS Apraksti par skolotju biedrbu darbu. LVVA, 1632.f., 2.apr., 1272.l., 173.lp. IM apsprieu protokoli Nr.1-3. 1922.gada aprlis maijs. LVVA, 1632.f., 2.apr., 130.l., 3.lp. Noteikumi par Latvijas skolu reformas komisijas pienkumiem. LVVA, 1632.f., 2.apr., 23.l., 7.lp. Latvijas skolu reformas komisijas protokolu grmatas. 18.09.1927.21.03.1928. LVVA, 1632. f., 2. apr., 136.l. 41.lp. 5. Sarakste ar Baltijas valstu un starptautiskajm pedagogu biedrbm. LVVA, 3016.f., 1.apr., 60.l. 23.lp. 6. Skolotju savienbas 1931.1932. gada Atskaite par Pedagoisk biroja darbbu 1931. gad. LVVA, 3016.f.,1.apr., 20.l.16.lp. 7. Ausjs, L. (1926) Skola un Dzve. Tautas audzinana, 3.sjums, Rga: Valters un Rapa, 83.lpp. 8. Brods, A. (1926) Karaktera attstba. Izgltbas Ministrijas Mneraksts, Nr.4, 381.lpp. 9. Celms, M (1925) Par vai pret darba skolu. Msu Nkotne, Nr.7, 196.201.lpp. 10. Dauge, A.(1927) Audzintja jdziens un btba. Audzintjs, Nr.2, 44.lpp. 11. Dauge, A. (1927) Par lietiu un romantisku pieeju pedagoij. Audzintjs, Nr.9, 197.204.lpp. 12. Dauge, A. (1924) Skolas ideja. Izgltbas Ministrijas Mneraksts, Nr.9, 225.237.lpp. 13. Dreimanis, P. (1926) Pamatskolas programmas. Audzintjs, Nr.1.8, 14.lpp. 14. estere, I. (2005) Pedagoijas vsture: skola, skolotjs, skolns. Rga: Zvaigzne ABC, 75.76.lpp. 15. Prle, M. (1930) Sabiedrisk audzinana. Msu Nkotne, Nr.11/12, 330.lpp. 16. Ptersons, E. (1926) Socils audzinanas elementi msu dzves problmu gaism. Izgltbas Ministrijas Mneraksts, Nr.8, 106.120.lpp. 17. Russel, B. (1993) Education and the Social Order. New York : Simon and Schuster p.20.23. 18. Salmgrieze, J. (1930) K es tkoju veidot sabiedrisko audzinanu sav klas? Msu Nkotne, Nr. 1, 5. 10.lpp. 19. Staris, A., si, V. (2007) Izgltbas un pedagoijas ideju attstba Latvij ldz 1900.gadam. Rga: RaKa, 57.lpp. 20. Svenne, O. (1924) Zocils audzinanas problmi. Msu Nkotne, Nr.11/12, 321.327.lpp. 21. Vti, J. (1933) Ce uz skolnu pavaldbm. Msu Nkotne, Nr.5, 358.370.lpp. 22. Zeidels, R. (1922) Darba skolas principi. Msu Nkotne, Nr.2, 38.43.lpp. 1. 2. 3. 4.

Lektore Dr.paed. Staislava Marsone Rgas Pedagoijas un izgltbas vadbas akadmija Visprgs pedagoijas katedra Adrese: Imantas 7.lnija 1, Rga, LV-1083 Tlr. mob.: 29634483 E-pasts: stanislava.marsone@rpiva.lv 231

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Literrs dairades psiholoija Psychology of Literary Art

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Rosella Tomassoni, graduated in Languages, Literatures and Psychology, Full Professor in General Psychology and Psychology of Arts and Literature. She is the Head of the Human and Social Science Department and a member of the Academic Senate at the University of Cassino (Italy). She is also a member of the IAEA (International Association for Empirical Aesthetics), the IAAP (International Association for Applied Psychology), the AIP (Italian Associa tion of Psychology), and a full member of the Russian Academy of Human Sciences. She took part in many national and international congresses, edited a few books and more than two hundred papers in different languages: Rus sian, French, German, English, Hungarian. She organized a few international symposia in Cassino publishing the proceedings as an editor. Since 2000 she is a coordinator of the Ph.D. course in Psychology of Emotions and Artistic Creativity and of Master degree in Techniques of Creativity.

Geny Di Palo graduated in Foreign languages and literature at I.U.O of Naples, a Ph.D. student in Psychology of Emotion and Artistic Cre ativity at the University of Cassino. She teaches the English language and literature at the Technology High School. She has published a few papers about the psychology of creativity and literature. She is work ing on psychological analysis of Sndor Mrais novels. ROSELLA TOMASSONI GENY DI PALO Department of Human and Social Sciences University of Cassino Italy

HOMESICKNESS: A CREATIVE VARIABLE IN SNDOR MRAI

Abstract Introduction. Sndor Mrai is the author of many novels, diaries and essays. The origin of his creativity may be found in his countinuos sense of unsatisfaction. Aim of the study. The work aims at showing the matrix of Mrais creativity which can be found either in his travelling or in exile. Materials and methods. Analysis of some novels in relation to the authors biography and some theories about depressive mood and creativity. Results. The study offers an example of how creativity - and a consequent prolific literary production - is the result of a deep homesickness which is felt by Mrai either at home or during the exile. Conclusions. In Mrai the exile is an interior experience and gives a hint to the process of elaboration which finds its best expression in his literary writing. Key words: creativity, homesickness, literary production, exile. Introduction Homesickness is a deep affective phenomenon; in Mrai it is present in different moments of his life and his writing and creates contradictory upsetting reactions. As it is
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remarkable while reading his works, Mrai feels homesickness not only when he is in exile in the States, but also when he is still at home, in his home-country. Probably he intensifies this feeling by a continuous travelling, going far from Hungary in order to be back, try ing to stop the rapid changing of the world. His emotional drives give life to images and characters who, just like the author, are in a never-ending migration outside and inside, in search of an inner identity. AIM OF THE STUDY The work aims at showing the matrix of Mrais creativity which can be found either in his travelling or in exile. Materials and methods Through a psychological analysis of his novels we have traced a reconstruction of Mrais emotions, the ones that have been a support of his artistic creativity. Moreover, the ma terials used have been Mrais novels, those written before 1948 and the ones written during his emigration. A particular attention has been given to the analysis of his diary, just to observe the trend of his creativity in years different from an emotive point of view. In particular, theories about creativity in exile have been taken into account to compare Mrais creative behaviour and the one of many other modern writers in exile. Results The majority of Mrais characters are always in escape, preferring to leave a reality which is no longer suitable. An example from one of his novels (Mrai, 2008) is Tibor, Erzs bets dear friend, who is among the numerous ones leaving Hungary in shreds because of the losing Nazis and the coming Bolsheviks. Tibor has gone away for anger, while Erzsbts father, although still in his home-country, has found his way of leaving Hungary in a sort of complete silence, in an internal migration. He is hidden in a dark cellar, walled up together with other Hungarian Jews waiting for the Bolsheviks liberation. In Mrai the wish of escaping is as strong as his attachment to his land; both the drives come out in years of great social turmoil, when the comfortable middle-class habits are going to be swept away by the Nazi rage and by the Soviet dominance: in this historical and social context the will of escaping clashes with the feeling of love for an exhausted home-country. In this authors case, the first form of homesickness is experimented in his home-coun try; its a nostalgia for all the middle-class values which have been dissipated. So he is forced to accept that the lost space cannot be found again as one should live in a dimension which exists no longer. In his diary in 1933-1934 Mrai writes: In Hungary one can live only in an interior migration. Completely turned into oneself, in ones work. A migration in my work. In this nostalgia every libidinal drive gets far from reality to enter an interior space where nei ther the present nor the future can survive: the only interior surviving strength is that of the memory. As it often happens, although unconsciously one gets to idealize the past not only through a memorial recovery of the people who were parts of our past, but above all through the figuration of the places we lived in. In Egy polgr vallomsai (Mrai, 2003), written when Mrai was just thirty-five and when the prospective exile was still far, the writer often refers to the places of his childhood and describes in details every physic corner where the bourgeois values were strictly rooted. During his childhood and youth, the no-human environment represents an alternative
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neutral area where all the difficulties interact. Actually, in reminding the times of his youth, Mrai evokes a photographical image which contains the representation of the middle-class furniture, taste and life-style and in the meanwhile he makes a book as a linking-object to his homesickness. The images of his familys personal library, full of ancient books with leather covers, remain deeply inside of the author and are continually rebuilt in his memory, even during his times abroad. He feels the crises of the middle class world and values just in consideration of the fact that culture is losing its worth because of the upsetting political events. He writes in Fld, fld! (Mrai, 2005): In the Upper Hungary and Transylvania, in the lands snatched out of the Country, there was an intellectual class to which [] a good Hungarian book was a vital need. The books give him a sort of therapeutic possession; they are always present in difficult situations and become even a possible means to know the foreigner. Always in Fld, fld!, de scribing the period when the Soviet presence starts to impose itself gradually, in that spreading sense of anguish and waiting, Mrai, just like many others Hungarians, tries to understand what the Soviet dominance may carry out. He tries to do it by searching a contact with Russian sol diers through a probable cultural conversation with them, talking about those writers who have made the Russian literature internationally known: I tried to sound out my guests knowledge through Tolstoj and Dostoevskij till the Russian writers works of the immediate past or present. I was surprised about what little the Soviets knew of their great literature (Mrai, 2005). So Mrai writes and gives his first symptomatic sign of despise towards that power which is going to show itself completely. In the tragedy that is to come, to Mrai the culture remains the focus point, an emotion al positive pole, the element which succeeds in renewing that home-country love, that interior turmoil which, despite traumas and delusions, makes him feel Hungarian endlessly. The books become points of interior deviations, they are always represented in images, and they are often humanized as it happens in another of his novels, Szabaduls (Mrai, 2008). As Mrai writes, during the siege of Budapest the young Erzsbet tries to save his fathers books and papers as if in the physical and moral devastation all around they were the only proofs of the mankinds ex istence. Libraries are destroyed in the bombing and the ripped books on the road are compared to the abandoned corpses in the sheets. In the new social reality modelling itself on the Soviet canons, Mrai does not find any longer the validity of his role. From hence the need of leaving: Quitter pour ne pas perdre (Ayouch Boda, 1999), going away to leave things the way they were, going away to love more ones own home country, to find it again and to reinforce ones own life as a subject. In every emigrants mind the memorial recovery becomes a pivot point to build up a reassuring but deceptive fancy which not only makes him dream that if he had been at home, he would have been better, but also makes him wish the way back home by projecting every kind of psychic involvements in the future. If the past and the future may have a meaning, the present instead reality modelling itself on the Soviet canons; there is no possibility of copying, there is no will. In the nostalgic memory the reassuring fancy of a return is carried out. In the same way the long peregrination abroad generates in Mrai that typical anxiety of a temporary emigrant who always dreams to go back home and each times he goes back, he finds it has already changed. Each return is a disillusion; the Hungarian world in which Mrai believes is crumbling and he feels the need to save it inside him. Unlike other emigrants, Mrai in exile has a strong rancour and hate towards his homecountry that did not have the moral strength to oppose itself (Mrai, 2008) to the historical and social circumstances. With this sort of poisoned homesickness, he cannot rely on that part of emotional positive charge coming from the distance, from the home-country. Once he has definitely decided to leave Hungary, he never plans the dream of getting back; this self-imposed
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condition blocks every possibility to access any sort of emotional recharges coming from the memorial recovery of home-country fancy. Because of negative drives towards a reality he is forced to leave, Mrai does not enjoy the pleasure of the homesickness; he tastes just the bitter side. Besides that, in exile he feels the survivors guilt which prevents him to be delighted by a nostalgic regression. The traumatic circumstances which cause the exile generate anxiety of annihilation and narcissistic rage. All the aggressiveness generated by an imposed or self-imposed exile is rarely tamed by the reverie of the past time or of the country; on the contrary this rage gets to contaminate even the positive memories which are before the traumatic event. The left place is such hated as it is no longer desired or idealized. It is the interior dimension to be smashed to smithereens; all the earlier positive mental representations are set into an intra-psychic exile too. Nevertheless, despite the initial hate, unlike the other exiled people, Mrai does not acquire any emotional force to copy to the new environment. He despises the new society which is not considered better than the left one, a reality in which he does not find any human warmth as there are no hints to his Hungary. In his diary in 1964 he writes: No novels or works, although written in the respect of high intellectual standards, have found voice in America in this century. [...] The truth is that the best efforts of Hungarian minds in our century have been made silent, intentionally and suc cessfully, in America. Mrai does not feel at ease in America and he with make any effort to live the new land as an exile, but he chooses an interior isolation where he finds that part of the Self with memories and emotions lived in his home-country. He concentrates himself on his mourning elaboration through a process which could last a whole life without being complete (Pollock, 1989). In this kind of process the physical possession of a linking object becomes a relevant component. In Mrais case the link is with the book, the culture. The writer never detaches from his books whose pages become daily reading, constant consolation. He looks for writers who had an active political role, like the statist and writer Szcsenyi; he is anchored to Aranys poems as objects which link him to the Hungarian land. After a lot of years spent in exile, he writes in his diary: Hungarian poems every night. A bit of reading of the history of literature. The Hungarian literature has done an extraordinary working in every age (Mrai, 2009). Reading and writing are forms of compensation for Mrai who is above all in interior migration and the homesickness is just the sign of that process of mourning elaboration which gives life to that interior space in which one could migrate. Usually creativity is associated with positive psychological situations, with divergent thought, with a great mental opening and a capability of adapting to the external world (Deci, 1987). Some theories and searches have revealed the complexity of the creative experience which is related to different existential forces, to phenomena of different kinds and even to mourning moments, nos talgic memories and to death thought. Moreover, according to a recent study (Routledge, 2008), the worries of existential type, even guided towards dark thoughts, can improve a creative behaviour if the negativity does not involve the single individuality, but refers to a collective dimension and becomes a means of communication with the external world, a way to keep alive the possibility of identification with a group. Therefore, the creative potentialities increase and reinforce themselves if the social implications survive, with strong values of common life. To Mrai the social identification with a group never dies because of his strong feeling of national identity. As matter of fact, his literary production continues to be huge even during his travelling in Europe and in exile because his perception of being an active part of the Hungarian culture is still strong even when he is far from Hungary. His writing of novels is not strictly linked to personally private interests: the writer always looks outside, in particular towards Hungary, and
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he sadly lives the painful changes of values during the Soviet regime. The pressing idea of mortality, of what Clay Routledge calls mortality salience, becomes the variable which increases the crea tive potentiality when there is an identification with an external group and constitutes an element of defence and protection from any negative thought of death. The psychological floridity which is present in Mrais production in Hungary, continues to be, although in a different riper way because the writer feels the need of belonging to a group just like he feels the social need of writing not for himself but for the community, the Hungarian ones. Susan Rubin Suleiman, in the introduction to her book Exile and Creativity: Sign posts, Travelers, Outsiders, Backward Glances (1998), asks herself if the exile involves the distance from the source of creativity or on the contrary it is a stimulus towards the creativity. An answer to this question is given by Mrai himself in his novel Fld, fld!: in an age that denies freedom and truth to the writer, the exile doesnt represent only a danger but a possibil ity too. So it is necessary going into exile spontaneously because only in this way one can say the truth without which the writer has no meaning. [] Emigrating is a hard proof but in the meanwhile a source of energy (Mrai, 2005). As a matter of fact, during his exile, writing becomes a pleasure of functional nature (Ferrari, 1994), the precious container of intense interior conflicts of resistance and defense against that loved Hungarian reality which has changed against his will. Mrai passes through a life-path made of personal affective losses, collapses of the val ues he has formed in, war events and exile frustrations; all that can be elaborated only by releasing strength of writing, by a renewed creativity. As Umberto Galimberti (1994) asserts When the heart swings between the past and the present, the near and the far, it is always the past, the far to abduct the soul in order not to devour it but to restore it at the source, the auroral source which gives life to a new day. As matter of fact there is creativity just after the dark of the night... Conclusions Two are the striking points which can be considered the matrix of Mrais creativity. The first one is linked to his continuous wandering. His ever changing place through Europe makes the reality be seen with a changeable viewpoint which is the basis of every new creative production. In watching outside from different corners, Mrai recovers his interior strength. He succeeds in watching the whole and the details, discovering the very painful as pects and always finding attractive points of that deep patriotic affectivity. The point of view changes even when he looks at himself who appears as a nostalgic exile sometimes and other times as an undaunted challenger of the ruling political values. In exile he has apossibility of looking at his Hungary from the distance and of getting back, not physically, but through his writing and reading in Hungarian language; in the mean while he observes the foreign reality from the inside, feels repelling drives and appreciates that possibility of being a free writer. The second point has a more intimist tone and refers to the writers great sensitiveness and to his incapability of adapting, to the sense of rebellion towards the social political situation of the particular historical moment; that is why he feels as an eternal revolutionary writer in his will of being a preserver of the middle class values. He never gives up, but in a silent suffering he acquires the nostalgic tones of the one who has lost the group he belonged to. From his pain he gives voice to deep reflections following ones each others in the pages of his novels. In the years of the exile, thanks to that delicious distance (Kristiva,1991), Mrai continues writing endlessly, with spontaneity and creativity, putting a part of the self inside the novels, a part of those painful experiences which made him feel alone, for
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eigner and stranger to that reality without values. And so, just like Ferrari supports, the artistic creation works the natural miracle of a transubstantiation of the object dying in the reality in order to live in the space of art, no less real physically (Ferrari, 1994). Therefore, Mrais creativity comes out not only by his wandering, but also from the in terior turmoil due to the separation. The writer looks for himself during his travelling and through the writing and the creation of characters he could find a part of himself. In his moving the journey becomes part of his self and his existence. It is about movement and reflection at the same time. From the conjunction of these two moments arises his writing, the limpid revelation of the Ego who is trying to get rid of the Super-Ego and succeeds in it through the soul peregrination. During one of his journey in Switzerland, he reflects on his continuous changing of place: I remembered the day when, boasting, I had asserted that the true meaning of the jour ney wasnt in the destination but in the journey itself. But now, after the enclosure imposed by the history, Ive said to myself that the important thing is neither the change of place, nor the point of arrival, nor the moment when the train leaves nor the destination but only what moves inside of us during the journey (Mrai, 2005).
References 1. Ayouch Boda, A., (1999). La nostalgie, exil: Nostalgies = Nostalgia and exile Evolution psychiatrique, vol. 64, 2, p. 271-279. 2. Deci, E.L., & Ryan, R.M. (1987). The Support of Autonomy and the Control of Behavior. Journal of Personality and Social Psychology, 53, p. 10241037. 3. Ferrari, S. (1994). Scrittura come riparazione. BCM Laterza- Bari. 4. Galimberti, U. (1994). Parole nomadi. Milano: Feltrinelli Editore . 5. Kristiva, J. (1991). Stranger to Ourselves. Columbia University Press. 6. Mrai, S. (2003). Confessioni di un borghese (Egy polgr vallomsai) Milano: Adelphi Edizioni. 7. Mrai, S. (2005). Terra! Terra! (Fld, fld!). Milano: Adelphi Edizioni. 8. Mrai, S. (2008). Liberazione(Szabaduls). Milano: Adelphi Edizioni. 9. Mrai, S.(2009). Lultimo dono. Diari 1984-1989. Milano: Adelphi Edizioni. 10. Pollock, G. (1989). On Migration Voluntary and Coerced. Annals of Psychoanalysis, 17, p. 145-619. 11. Routledge, C., Arndt J. (2008). The Life and Death of Creativity: the Effect of Mortality Salience on Self Versus Social Directed Creative Expression. Springer Science+Business Media LLC. 12. Susan Rubin Suleiman Exile and Creativity: Signposts, Travelers, Outsiders, Backward Glances (1998) Rosella Tomassoni Full Professor of Psychology of Arts and Literatures Director of the Department of Human and Social Sciences Faculty of Letters and Philosophy at the University of Cassino (FR) Italy Department of Human and Social Sciences Phone:+39.0776.2993823, Fax:+39.0776.2993434 e-mail: tomassoni@unicas.it Geny Di Palo Ph doctorate in Psychology of. Emotion and Creativity Department of Human and Social Sciences University of Cassino (FR) Italy Via Mazzaroppi 03043 Cassino (FR) - Italy Phone:+39.0776.2993823 Fax:+39.0776.2993434 e-mail: genydp@alice.it 239

Eugenia Treglia. I was born on February 9, 1978, in Formia, a small town near Rome. I am a psychologist (graduated from the University of Rome) and I am doing a PhD in Psychology of Emotion and Cre ativity at the University of Cassino. I like to read and listen to classical music. My favourite sport is tennis.

EUGENIA TREGLIA University of Cassino Italy

A SHORT PSYCHOLOGICAL ANALYSIS OF THE REFUSAL BY FRANZ KAFKA

Abstract Introduction. The article proposes a psychological analysis of Kafkas tale. The aim of the study is to underline the psychological determinants emerging from the tale and relate them to the personality of the artist. Materials and method. The material used is the tale The Refusal. The methodology is based on the study of the authors biography, his works and, in particular, the work considered in our analysis, taking into account even the metaphors and the symbols present in it. Results. From the deep analysis of The Refusal what stands out is the lack of human solidarity in Kafkas world, an endogenous paresis of the man, a human incapability of reacting, the difficulty in establishing a relationship with the world and the impossibility to be understood by the other. Conclusions. Kafkas literary work reveals darker sides of his personality. The author seems to be in a never-ending search of light, but he remains in a mental labyrinth without finding a way out. Key words: psychology of literature. Introduction Before proceeding with the analysis of the text, it seems appropriate to make some clarification of theoretical concepts that ground our interpretations of creative products. We believe that an artwork comes from the contribution of conscious and unconscious aspects of the artists mind. In other words, the Ego of an author is present and drives the creative pro cess, but sometimes many unconscious subcortical elements can spin out of Ego control and pour into the artwork (Fusco, Tomassoni, 1982). Even the Kafkaesque creativity suffers from a labyrinthine interweaving of logical and unconscious elements. They arise principally through a particular language that characterise the Kafkaesque narrative, containing elements described with great realism and rationality, but, nevertheless, difficult to be understood from a logical point of view. Therefore, this language can be considered a way to achieve a synthesis between the Ego and
the unconscious elements. It is also possible that the Ego of the author, in order to absorb traumatic elements that emerge at the level of consciousness, implements mechanisms of defence that distort the meaning of the deep contents of the mind. In any case, Kafka is a man whose intimate reflections of some personal life 240

experiences are remarkable. He has the ability to create in his works that tension and curiosity leading to the endless search of the self and the other. Kafka interprets the negative side, that is what a barrier is for the man and hinders the path, disappoints the hope by the mortification of the reason. Kafkas language is also autobiographical as the contents which the conscious mind ignores are poured inside. The irony, another essential component has no maieutic function, but it is for its own sake. The grotesque, too, is a present dimension, but smoothes the basic anguished tone and has no comical implication. The attempt of epiphany does not happen and Kafka remains in a labyrinth without finding a way out. Finally, Kafka has considered the hell inside and outside of him, but, nevertheless, he is at the never-ending search of light. Materials and methods The material used in this work is the tale The Refusal in the collection the Tales. The methodology is based on the study of Kafkas biography and of the cultural environment where his personality grew and formed. The analysis is conducted through polysemous research systems aimed
at identifying and defining the psychological aspects involved in the process of imagination for the creation of his characters and for decoding psychological symbols, metaphors and figurative elements, to clarify the overall meaning. A detailed study of the authors works is undertaken and, in particular, a direct compari

son with the tale The Refusal is examined. Results

The atmosphere of uncertainty and doubt seems to be the beginning of the tale, with a hint to the incommensurable distances and to science fiction recalling the famous landscapes of that infinite China which is very often the main character of one of the authors mental categories: indefinite indefinable. It starts with a hint to a small village whose details are not given; it is just speci fied that it is far from the border and that probably none of the inhabitants has ever reached it. Here another essential category of Kafkas creativity intervenes: the fancy. This category is stressed because, in Kafka, there are no certainties; precise information is the great absent (Bartoli, 2007). It recalls Infinite by Leopardi with E il naufragar m dolce in questo mare. Between the little village and the border one should pass across desert highlands but also wide fertile zones. One gets tired in imaging a part of the travel and more than a part cannot be imagined at all . The anonymous, whose condition of concrete paresis will be revealed through the narration, makes an effort to fill the distance between him and the barrier thanks to fancy. After this merely fantastic effort, he already feels a sense of tiredness whose meaning is that even the attempt of filling the emptiness by fancy is tiring. That is the dimension of inaction which is its only real connotation. In a tone of the fables the author asserts that along the path there are also great towns which appear in a confusing dimension of megalopolis, are unknown and cannot be crossed and are an obstacle, intentionally introduced as impassable. That is the first reason why the anonymous accepts, as usual without reactions, his condition of resigned immobility. Soon another condition comes. It is recurrent in Kafkas mathematics: the distance from the capital. To Kafka the capital is not only the centre of a certain country, but above all a point of unde termined reference from which institutions, laws, rules come. They are not only far and faded, but always unintelligible (Fusco, Tomassoni, 1995).
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After that there is another constant: the news always arrives late and indefinite and almost exclusively it refers to eventual wars at the borderlines of the capital, that is the neuralgic centre of the power, almost nothing arrives. That is true only for the petit bour geois, that acephalous crowd which constitutes the very great part of the population, while the privileged ones (who are anonymous and undefined, too) receive precise news in relatively short times or at least they pretend to receive them. In Kafka, the reality and the fiction are the same. The important thing is a clear distance between a few elite officials and an inert mass of minute people. We have the impression to hear the words of the Great Inquisitor of Seville in The Karamazovs by Dostoyevsky. Here starts one of the labyrinthine tale in which the au thors Ego translates images, figurations and fancies coming from the unconscious and leading to talk about destroyed capitals, which were rebuilt and destroyed again in a set of events from which the little anonymous teller is completely excluded. The passage aims at underlining, as in the Dubliners by Joyce, the endogenous paresis of the Fellah who is totally independent from the regent Pharaoh (still today the Egyptian Fellah feels the effect of the economic con ditions and the social changes in his country very little). This is a temperament peculiarity just like a Russian ability to suffer to which Pasternak refers in Doctor Zhivago. It is a sort of connective tissue which builds and influences a personality regardless of the social-economic, environmental mutations one lives in. Moreover, for our study, we could even underline that the inhabitants of the little village are satisfied although in a confusing way, just like the Russian muzhiks (for example Jakov in Rashids Violin by Anton Chekhov), and, of course, they are resigned to their situation. This is the meaning of the sentence The higher official came from the capital, the average ones at least from outside and the humbler ones from our line and we were satisfied. At this point a character, who is anonymous too and whose juridical position is not specified, enters and represents a reference. The supreme official is the head collector of taxes and had the rank of colonel and so he is called. The anonymous vaguely knows him and does not perceive possible changes as the colonel himself had to stop his career because he had reached the highest rank reachable in the little village. This fact underlines the meaningless not only of the village, but also of the whole story. Moreover, the mental dimension of these particular muzhiks could not conceive a superior authority than the colonels one. Worth of noting is the figuration of the head with a pipe in the mouth (nearly a symbol of vague sexual reverberations) on a wide veranda where there are clothes to dry. The linen stresses the meaning of squalor belonging to the little village and perhaps it means that wherever there are dirty clothes to be washed. An anguished whish of communicating (made difficult by the railing bars, a meta phor of social barriers) is the leaning out of the upper-class children towards the children on the square. A sense of irony does not lack but above all the age makes the children, according to Rousseau (2003) too, be able of real feelings and capable of playing and communicating). In teresting is also the situation when the children quarrel in the square for a process of mimesis. This scene reveals the spontaneity which is still present considered the age. Then we notice the colonel again who the head collector is not by chance and we have a typical Kafkas situation as the colonel has never shown documents testifying his specific rank. Just like the colonel in the film La tregua from the novel Se questo un uomo by Primo Levi. The fact has been accepted and none has doubt that the dynasty of colonels is an integrant part of the social tissue whose meaninglessness is shared by the colonel himself. The author underlines this social-psychological dimension with words: the colonel is not different from us. But here the tone of the narration changes and to the usurpation of all the goods, to an unquestioned authoritarianism a hard pitiless note is added. In front of any supplication,
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of any request the colonel becomes a wall. The word humanitas or human solidarity is not part of Kafkas world where the men, who do not suffer a metamorphosis and are not meta phorical subjects, always remain puppets (Fusco, Tomassoni, 2008). Behind him there is nothing, there is still hate, but as for an intuition some voices whisper, but probably it is just an illusion because he is the end of all, at least for us. One should see him in certain banquets. With refined irony, the character becomes a sort of laic divinity (that recalls Kurtz in Heart of Darkness by Conrad, 1968), whose apodictic will is an unquestionable supreme law. Against him a light muttering is not heard by anyone. This categorical assertion, which is nearly grotesque if we consider the character, is followed by a scene which unifies comical and dramatic tones in a dimension which can be defined confusing even because of the impos sibility of distinguishing any individuality in the mass. A supplication should be presented to the colonel and on the veranda there is lined up not a real delegation, but an anonymous crowd that is acephalous and in theory guided by a smith. To us an interesting thing is the fact that the delegation cannot be distinguished by the crowd climbing on the railing to assist at the scene with a clear mental dimension of heretism (Galimberti, 2006) and nearly a quarter of the veranda is reserved to the colonel surrounded by soldiers. In the film Nellanno del Signore, the Romans reserve balconies to assist at an execution, an event which breaks the Taedium of a dull everyday life. We could think about a caution against possible attacks, but in Kafkas world where, like the murder in Kafkas The Process, becomes a murder-suicide, it is not about an abdomi nal terror but an undistinguishable atavic uncertain fear, so it is not possible that someone could get out of ones own paresis to do any action and above all an aggressive action (Fusco, Tomassoni, 2008). About the soldiers, as usual, Kafka describes them as an anonymous unknowable unshaped mass with very similar somatic features reminding a crowd of clones (ante lit teram) or homozygote twins. Of course, probably with the aim of making them a flock without a soul, half sheep and half wolf, there are some precise elements they share like teeth and eyes. From a psychoanalytic point of view (Freud, 1989) the teeth, which dominate on the facial features by filling the mouth too much, are a symbolic figuration either of aggressive ness or ironic expression of undetermined hunger or moreover an animal trend to stimulate something or to show the clear dominance of animal destructive potentialities rather than any sort of real human thought. To the teeth feature we could add a lightening of the little almond eyes (reminding the Gurka polireme in the old British Hong Kong) which seem threatening as usual, sine materia. Moreover, the soldiers speak an incomprehensible language (if we could define it so, as in Kafka a real articulate language is often absent) and they cannot understand the language spoken there. The soldiers double nature, which is grotesque and scaring, is underlined by the boys behaviour towards them. On the one side, they make laugh, on the other side, they provoke fear to make them escape. But in the adults what remains is just an undetermined fright, so that from both side there is incomprehension and incommunicability. But they become unbearable even with their simple presence and when they enter a place; they remain there without any plausible reason till the place empties of all clients. We could imagine a police mission, but as it is usual in Kafkas labyrinthine world this hypothesis is completely unjustified (Fusco, Tomassoni, 1994). Probably it is about just an unhealthy will of annoying with a presence which is instinctively known as unpleasant. Anyway, in order to define the soldiers personality, we should consider more the instinctual level than the rational one. Perhaps Kafka wanted to underline how a lot of puppet under
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human skin have the only possibility to be unuseful and annoying to themselves and the oth ers, too. Not by chance their presence only determines silence. Lets go back to the colonel: As in every solemn occasion he stood straight and in his hands forward he kept the long poles of bamboos. It is an old tradition meaning that... in this way he supports the law and the same the law supports him. The figuration of authority is clear and it is equally clear the sexual symbolism coming from the long poles of bamboos which rationally become a metaphor (Galimberti, 2006) of the law or of something so defined. Here, once again, we enter a tragic-comical dimension so that none, and above all none of the one delegated to talk, has the heart to do it. What starts here is a strenuous search of another speaker (that recalls one of Chekhovs tales in which an orator, who is doing a funeral sermon over a living person, as soon as he has chosen a wrong person, calmly continues his sermon changing just the name) and, in an atmo sphere which is once again confusing, messengers are sent in different directions. To us worth of noting is the way the colonel waits for any speaker. In all this time the colonel stood steady, only the chest was moving under the breathing. He had no difficulties in breathing; he breathed in a very visible way, as for example the frogs breath, except for the fact that they always do it while for him it was something out of ordinary. The narration becomes grotesque again and the comparison with frogs seems extreme ly effective. It reminds Aesops fable when a frog imitating an ox bursts out. In this case, the colonel, who overcomes the comic dimension, simultaneously and intentionally reveals his state of irritation which, in Kafkas typical style, makes him like a frog. A frog which, instead of reign ing on a pond, reigns on a stagnant crowd that is made of inconsistent meaninglessness he is also made of. Kafka brilliantly describes how the colonel succeeds in dominating using a complex non-verbal language which gives him the proportion of Re Travicello, who, at the right time, is able to change himself into a grass snake. Except for the metaphoric meaning, we can notice a para-oniric thought: frog Re Travicello grass snake can stay together without troubles. Finally, he has the heart, the speaker starts his speech, the tone is extremely humble and every effort is to move the audience, the request is very little: the exemption from taxation for one year and the possibility of having wood to build at a low price. At the end of the hearty peroration, either the speaker or the crowd around him re mains bowed in front of this fetish of authoritarianism that stood on like his soldiers; it is clear the authors intention of showing how the man, or rather the muzhik, does not reject any humiliation in order to survive in a world where the concept of human solidarity does not exist and where the omnipotent puppets have their authority only of the total incapability of the flock to react to a tyrant who, mean, can be cruel and pitiless and who has no juridical validation. In the African jungle we have seen a lot of fetish, which were hand made and with the aim of provoking fear by the frightening features of masks which many caimans get their authority from. According to Dreyer, this happens even in our civil Cartesian world, although in a different way. Time stops and all, including the children, are waiting for the decision the pseudo-di vinity is going to take. As predictable, the supplication is refused. Les Cahiers de Doliance which the French people presented to their King and were ignored more than refused. But what seems interesting to us is the audiences reaction: an intense undeniable sense of relief which pervades everyone and has different meanings: the end of waiting which is more anguished than a negative reply; the confirmation of the necessity of accepting a superior mans will; physically the recovered possibility of moving and escaping from a place which is only a seat of disillusionment and fears.
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A typical Kafkas man complementary masochist component cannot be excluded. The colonels reaction is really important; soon after his heretic self-exaltation he goes limp like a cardboard hero, becoming one of us. In a certain way it reminds the moms back in Isak Borgs dream, when as soon as he touches him he falls down in pieces (Bergman, 1976). Moreover, he suffers from the exasperate effort of appearing a pseudo-divinity, remaining exhausted, that is to say worn-out, (like a frog changed into an ox) with an immediate abandon of the pole, symbol of sexual strength and aggressiveness. In these conditions of collapse he falls down on an armchair, literally, and puts the pipe in mouth. It is clear, all Kafkas irony, not only about the specific subject but about the authoritarianism in general which becomes just a reaction to a basic silliness the character, and in general the human being, is structured by (Fusco, Tomas soni, 2005). In general, the pipe may be considered a sort of talisman; from a psychological point of view, as a particular mechanism of defence, it is a way back to the oral phase (Freud, 1989) and somehow as a symbolic nipple to get attached to and get the strength from. The short narration is ending and the anonymous talks about certain rare cases in which a little supplication is accepted. But in these cases the colonel, who remains on his clay pedestal, does it on his own responsibility, that is to say, as a person with his own authority rather than as a representative of the government. Cute is the sentence in which there is stressed a distinction between the colonel and the government which is not completely understood. As usual, there is no clarity and perhaps the author wants to underline that none can make a cognitive investigation on the real juridical position of the head or better none is interested in, above all because of the inertia. That recalls the sentences of the Great Inquisitor of Seville and the scene of Jesus, first hailed by the crowd and then arrested without the least protest on the order of a person who derives his authority from Jesus himself. In any case a positive answer is usually very rare but an important thing is the fact of feeling a need of being in front of the head and asking him a supplication. In psychological terms we could talk about a dimension of selvage, in which, al though useless, the supplication should be asked because, like in the Penal Colony (Kafka, 1976), the mechanism works out regularly. And every time one gets back, being although not really happy and supported, at least not too much tired and disappointed. It is about a particular mental dimension, an aberrant homeostasis (Galimberti, 2006) about a nucleus made of nothing. It is like Macbeths nothing about which - the anonymous himself asserts - none asks questions or is curious. And this is true for the most of population and in particular for the adults who are concretely resigned to steadiness. But, according to Kafkas style, there is a brief final consideration. Of course, as we have observed, there is a category that is not satisfied; more or less they are young people from seventeen to twenty. So they are young people who can barely understand the extent of the most insignificant idea, fancy that of a revolutionary idea. And just among them the discontent creeps into and winds in. About the boys age in an article entitled La materia bianca nel cervello by Douglas Fields in the scientific review of May 2008, in which it is proved the white substance intervening in the cognitive processes and the cells myelinization starts in the posterior part of the encephalon to reach the prosencephalon, the seat of the superior mental process. As it often happens, the artist precedes a scientific discovery and Kafkas assertion, although exaggerated, can be justified as a lot of young people cannot accept a revolutionary idea as it is too complex and needful of a complete structuring. In the assertion the exaggeration is that they are not able to understand even something insignificant. The matter is subtle and intentionally ambiguous. The young people between sev enteen and twenty years could not understand concretely an organically structured idea; for
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this reason, in a condition of uncompleted cerebral ripening, the prosencephalon can be in a condition of discomfort which an indefinite discounted creeps in. Probably the author wants to remain in a not clearly defined dimension and, independently of those scientific discoveries, underlines a psychic disease which probably will finish with the definition, or more probably, the disappearance of the age progress. The tale ends with a question what is about the discontent? The doubt, which is not methodological but Hamlet-like, remains the favourite category of that enigma that is Kafkas man. Conclusions From the deep analysis of The Refusal, what stands out is the following. An endogen paresis of the man and therefore a sort of connective tissue which builds up and influences the personality. The impossibility of being understood or understanding the other. Human solidarity which is totally absent in Kafkas world. He does not reject any mortification in a world where omnipotent puppets assert their authority just thanks to human incapability of reacting. The relevance and the effectiveness of animistic and figurative aspects. The difficulty in establishing a relationship with the world around and finding a mean ing to everyday life.
References Bartoli, G. (2007). La psicologia della creativit artistica e scientifica. Milano: Franco Angeli. Bergman, I. (1976). Quattro film. Torino:Einaudi. Conrad, J. (1968). Romanzi e racconti brevi. Milano: Mursia Doestoevskij, F. (1964). I fratelli Karamazov. Milano: Mursia. Fusco, A., Tomassoni, R. (2008). Studi di psicologia letteraria, filmica ed arte figurativa. Milano: Franco Angeli. Fusco, A., Tomassoni, R. (1995). I racconti di Kafka. Un analisi psicologica. Milano: Franco Angeli Fusco, A., Tomassoni, R. (2008). Creativit nella psicologia letteraria, drammatica e filmica. Milano: Franco Angeli. Fusco, A., Tomassoni, R. (1982). Una proposta di metodologia psicologica per la lettura di testi letterari. In Ricerche di Psicologia, VI, 21. Milano: Franco Angeli. 9. Fusco, A., Tomassoni, R. (2005). Psicologia e comunicazione letteraria. Milano: Franco Angeli. 10. Freud, S. (1989). Opere. Torino: Boringhieri. 11. Gagnon, A. G. (2001). Psycologie Clinique. Quebec: Gaetan Morain Editeur. 12. Galimberti, U. (2006). Dizionario di psicologia. Novara: De Agostini. 13. Joyce, J. (1988). Gente di Dublino,Vicenza: Mondadori. 14. Harr - Lamb Mecacci. Piccolo dizionario enciclopedico di psicologia. Bari: La terza. 15. Kafka, F. (1976). Racconti. Milano: Mondadori. 16. Kast, V. (2002). La dinamica dei simboli. Roma: Edizioni Magi. 17. Pasternak, B. (1963). Il Dottor Zivago. Milano: Feltrinelli. 18. Rousseau, J. (2003). Emilio. Milano, Feltrinelli. 1. 2. 3. 4. 5. 6. 7. 8. Eugenia Treglia Ph doctorate in Psychology of Emotion and Creativity Department of Human and Social Sciences University of Cassino (FR) Italy Via Mazzaroppi 03043 Cassino (FR) Italy Phone: +39.0776.2993823. Fax: +39.0776.2993434 E-mail: yugintreglia@libero.it 246

Rosella Tomassoni, graduated in Languages, Literatures and Psychology, Full Professor in General Psychology and Psychology of Arts and Literature. She is the Head of the Human and Social Science Department and a member of the Academic Senate at the University of Cassino (Italy). She is also a member of the IAEA (International Association for Empirical Aesthetics), the IAAP (International Association for Applied Psychology), the AIP (Italian Associa tion of Psychology), and a full member of the Russian Academy of Human Sciences. She took part in many national and international congresses, edited a few books and more than two hundred papers in different languages: Rus sian, French, German, English, Hungarian. She organized a few international symposia in Cassino publishing the proceedings as an editor. Since 2000 she is a coordinator of the Ph.D. course in Psychology of Emotions and Artistic Creativity and of Master degree in Techniques of Creativity.

Antonio Fusco, graduated in Medicine, and Letters and Philosophy. Dean of the faculty, head of the department, member of the Academic Senate at the University of Cassino (Italy). He is Honorary Professor at the University of Lima (Per) and a full member of the Russian Acad emy of Human Sciences, Emeritus Professor at the University of Crete, FAMU Academy adviser in Prague. He has published works on the psychology of literature in Italian, English, French, Russian, Hungarian and Arabic languages (about three hundred papers and many volumes). He has organized more than twelve international congresses in Cassino since 1985. He has covered politic loads as mondial IAEA Vice-Presi dent, OMNI Vice-President (Maternity and Childhood National Opera) and psychological adviser of the Italian Health Ministry. He has also published volumes of poems translated and edited in Russia. Daniela de Bellis. I was born in Cologne (Germany) on April 10, 1975, and I live in Cassino. I graduated in foreign languages and literature and now I am a second year PhD student in Psychology of Emotion and in Artistic Creativity. My research interests are in the areas of hu man emotions and its psychological manifestations, focusing on Ger man literary production. My favourite hobbies can range from music to arts and to sports. ROSELLA TOMASSONI ANTONIO FUSCO DANIELA DE BELLIS Department of Human and Social Sciences University of Cassino. Italy

PSYCHOLOGICAL HINTS ABOUT ORAGE BY JOHAN AUGUST STRINDBERG

Abstract Introduction. Strindberg outlines a whole world of sufferings, conflicts and anguished but vain wishes of peace. Aim of the study. Showing that silence is meant as the incapability of
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communication, till to the exclusion of the verbal language. Materials and methods. The material used is the drama Orage. The method is based on the study of the authors biography, his works and, in particular, the work considered in our analysis, taking into account even the metaphors and the symbols present in it. Results. Oblivion might give a relative psychic serenity instead of sufferings and helplessness. Conclusions. In life there are neither winners nor losers. The dominant psychic category, at least at the whole level, is the resignation, the renounce and the wish of oblivion. Therefore, this condition is translated in a psychic death. Key-words: resignation, wish of oblivion, communicative impossibility, silence. Introduction Before proceeding with the analysis of the text we should give the reader some explanation about our approach to creative literary product. The views expressed in this essay are based on the belief that the work of art arises from the contribution of conscious and unconscious aspects for a fact irrepressible psychic dynamic and, therefore, any great author in his work expresses the totality of his mental powers. In other words, we believe that the Ego of the artist is present and often the protagonist of a literary work, but we also support that many unconscious subcortical elements can spin out of Ego control and pour in the artwork, expressing emotions and instances of the mind as a whole. The method employed is not intended as a decoding in psychoanalytic pure key, but rather a clarification of the motives of the characters and the psychological dynamic of the author (Fusco, Tomassoni, 1982). The following analysis of the work of Strindberg will therefore be centered on the content expressed consciously or unconsciously by the artist in his work, especially on the characters considered as living creatures worthy of an investigation that clarifies the structure of personality and unconscious motivations and unconscious of their actions within the work. Of course it was also considered the context in which the Ego of the author has developed and the possible influences on his art. Strindberg in particular outlines a whole world of sufferings, con flicts and anguished but vain wishes of peace. As for any other artist, Strindbergs creativity is influenced not only by the complex paideia it is formed in (with family and society first) but even by the particular environment in which the Artist grows up and reaches his own maturity (Arieti, 1990). The contact with the reality, the perception of it and the personal elaboration of the world around it is partially a function of the individual personality, partially a result of a set of external factors which may become determining to know and create. On this line we insert Strindbergs intellectualistic work which, from its roots, draws its strength; the expressive way is inspired. Materials and methods The material used is the drama Orage by August Strindberg. The method is based on the study of the authors biography and of the environment he grew in; it is an accurate research of all his works and, in particular, of the work considered in our analysis. Finally, the metaphors and the symbols present in this work are taken into account. Results In few words Strindberg defines his dramas fundamental characteristic: The confectioner: Do you know how this house is called? The house of silence.
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It is the silence of passions, feelings and even physical silence, but actually under this si lence, like under the seemingly quiet flowing of a great river (see, for example, the Rio of Amazons) there is a whole world of sufferings, conflicts, anguished but vain whish of peace and even a set of curtains which hide secrets of each man living as an unknown individual all life long. Somehow, this theme recalls Pirandellos problematic in his different works. Le Frre: it is not much considered on the corners of the streets. But the confectioner an swers in a concrete effective way. Nevertheless a lot of dramas have happened there. This is peculiar to the authors world in which the silence is actually the impossibil ity of communicating and translating into words the dramatic events which underline the short human path (Fusco, Tomassoni, 2008). The meaning is very near to the homonymous drama by Bergman: Silence. Le Frre asks, Who lives on the first floor? and the confectioner, with an ambiguous language, full of misunderstandings, leaves the question without a real answer. That reminds Kafkas language. Actually, the author refers to pink little curtains without specifying whether they are light ened or not, whether they are pink coloured or just touched by a red light. This is the first vagueness. Certainly it is just known that the old tenant is dead; since a month from his death some people, who are never visible, who never go out and whose name is unknown, have moved there. About them one could only say that they are unknown people who move themselves through a cognitive fog wrap ping and hiding the life mysteries. The confectioners sentence ends with a question Why do you ask me that? And the answer shows how the interlocutors psychic dimension - which is oriented through the life dramatic sense (his own one and the others one) activates fantastic interpreta tions answering not to the reality but to the ways they are understood. As matter of fact, the red curtains acquire a certain meaning reminding blood and, behind them, bloody facts happen which actually point out only a perceptive destruction due to the subjects psychic condition. In the same line we can consider the drawing of a palm having the aspect of a nailed whip which would have its own specific function in a bloody drama, but actually it is only an innocent ornament on the window whose image is distorted by the receivers cognitive categories. Obviously, the picture would be complete and less surrealist if one could see some char acters too. The confectioners answer (he has seen a lot of them but only late at night) aims at in creasing the sense of confusion which makes a flat as a mysterious house reminding Edgar Allan Poes sets (1985). It reminds The House of Usher. At the question if they are men or women, the confectioner specifies that there are women and men or at least he believes so. These are very important words as they reinforce the confusion which, behind the red curtains, hides one of the so many places where the human life may have its own tragedies in the indifference which is wrapped and removed by Silence. In the dining room Monsieur lights a cigar and communicates to his brother that he will be downstairs as soon as Louise finishes sewing a button on his glove. Then a short dialogue be tween the two brothers follows; they talk about a possible stroll in town and specify that Monsieur has spent the whole season at home talking to the confectioner only. At this point a speech with a lot of psychological implications is inserted. Monsieur asserts that he has never gone out during the summer. The clear nights impress me, perhaps they are beautiful in the country-side but in town we have the impression that they are against the nature till being rather upsetting. It is enough the lightening of the street lamps to make me feel safer and have my evening walking. That tires me and so I can sleep better (addressing to Louise, a beautiful young waitress) thank you baby. Leave the windows open, there are no mosquitoes, Im coming. A little later he gets out and mails a letter in a box, then he sits next to his brother. The question he asks himself is the reason why the clear nights (in Sweden during the summer, at a certain latitude, the nights are often very clear. About that see a
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similar situation in Saint Peterburgh and the white nights in Dostoevskij) can be so beautiful in the countryside while in town they can acquire an aspect which may be unnatural or even upsetting. We can only assume some hypothesis. In the country side the wide horizon can fade the faint light tone, changing it into visions and pleasant nuances, while in town the vision of the houses, which are one next to the other (see the imperturbable face of the houses mentioned by Joyce in Dubliners, 1988), and the contextual vision of so many roads, whose beginning is visible but not their end, can determine a sense of loss which is similar to the one mentioned in the film Novecento (The legend of 1900) whose main character - who will die on the same ship where he was born - tries to get off in New York and gives up because he sees no end of all those unknown streets scaring him. Because of an exalted fancy, the vision of houses and streets, which are undefined in their shape, may acquire a fancy, and partially unreal, aspect determining a certain confusional unease for the mind. Probably the absence of houses in the countryside involves the lack of tenants and therefore of men. In consideration of the example of the House of Silence, which is full of mysteries and pains, extended according to the author- to the human presence in general, the preference of coun tryside without houses rather than the town may be justified. Anyway the two hypotheses have a particular importance for a person whose only aim is the peace meant as a sort of Nirvana, a mental emptiness freeing from the traumas of the thought. (About it see the refusal in thinking attributed to men by Russell, Dostoevskij, Pasteur, Bergman, Strindberg himself and many others. Russell asserts that more than thinking men prefer dying. Tolstoj just says: Only the ones who seldom think may be happy). Immediately later, with tenderness, Monsieur addresses to Louise and, after having taken his gloves, he prays her to leave the windows open. Probably because his mind too, closed in a claus trophobia (Galimberti, 2006) of memories, may have a reference in that nature outside the window which represents a breathing physically and mentally.(Even Gregorio Samsa in The Metamorphosis by Kafka, 1975, prefers having the window open even if in front of him there is just a hospital, a very unpleasant image for a man.) At this point Monsieur mails a letter and then he sits on a bench next to his brother. The lat ter asks him why during the summer he has never been to the countryside; the answer is interesting and worth of noting. At first the subject underlines that he has become sedentary but immediately he adds that however he feels linked to his flat. The already mentioned sense of claustrophobia marries with an antithetic sensation of protection which, although it is a real constriction, gives him a sense of safety and peace. He says: He feels safe and that recalls Evelyn by Joyce, 1988. But, above all, the invisible ounces linking him to his house are the memories he cant get rid of. (In particular either his love for his wife or the stronger one for his daughter is neither re moved nor repressed effectively). What seems odd is the sensation in seeing ones own house as a strangers one and, above all, the impression that inside there could be someone living and walking just there. Probably it is about a sort of splitting as outside, together with his brother, Monsieur is different from the doubled one who, present or not in his own house, wanders around (that is to say without a particular distinction between himself and the other just like it happens in the phe nomenon of the double), besides in a light confusional condition in the desert house. What follows is the bitter statement that for ten years he has been going around without any aim in his den=flat. And when his brother asks him, Ten years already?, he thinks about Marianne showing how in his mind his wifes presence is still a fact.
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Actually she has chosen the furniture, she has made her house the way it is and what she has put there is still present as a symbolic chain which Monsieur cant get free from. Then there is the specification that he and the confectioner are the oldest tenants and both of them have borne and still bear the burden of the life itself, without considering illnesses or behavioural anomalies such as alcoholism or other particular vices. What Monsieur and the confectioner have in common are not particular psychic traumas or physical defects but the same lack of energy, a paresys like the one in the Dubliners(Joyce, 1988), a whish of oblivion and empty peace in which the thought of death may be inserted. In this sense there is just a hint to unknown, fancy tenants who are real people and have come by a wedding carriages and have gone away on funeral carriages. The interval between the wedding and the death is only silence. On this line of faint lights, half tones, half said words there is also an anonymous, unknown man who has died for typhus. (That reminds Dantes Purgatory). About him only his funeral is de scribed, in particular the fact that the coffin has gone out first followed by the widow and the children and at last (the reason is not specified) even by the furniture. Perhaps the author wants to catch the at tention on the easiness by which a flat lived by a whole family can become suddenly empty without any sort of exasperated tragedy. Moreover it seems that the dead man sweeps away not only his life (totally ignored by the other men) but even all that he has succeeded in building or rather he has believed to build dur ing his years. Finally, what emerges is just an element, the sense of meaninglessness and silence (Fusco, Tomassoni, 2008). (That will happen when Monsieur too leaves this house of silence). Although in the house now there are other tenants, as usual they remain unknown and perhaps not only for their fault but for a precise will of ignoring them by Monsieur who clearly says to be not interested in knowing them, being involved in their affairs and concludes with these words, I aim at getting older in peace. When his brother observes that it is time to get ready for the great voyage as the contract is expiring, Monsieur answers that he has already started to prepare his luggage and that, although all the disadvantages and traumas caused by the loneliness, the true freedom is reached only when none asks you anything and one gets free to go, come, think, act, eat and sleep according to ones own will. We cannot avoid to observe that in this situation rather than freedom we could talk of veg etative life, of vivir disviviendo (according to the famous Spanish sentence) and that for Monsieur it is not about a goal to reach but a surrender to a failed conclusion (failed or presumed so). That is why, in order to escape the surrender and be back to life somehow although in a narrow limited way he himself will say to Louise, Fermez les Fentres et baissez les storse, que les souvenires dorment on puix. lautomne je quitterai la maison du silence. We can observe that, although paradoxically silent, since the last part what is (symboli cally) lightened like ignis fatuus in Goethe (1982) - is a path in which the oblivion (far from the house) could give a relative psychic serenity in the place of sufferings and surrender to immobility and paresis. Conclusions The psychological analysis of this work outlines: The silence is meant as the impossibility of communication till to exclusion of the verbal language. In life there are no winners no losers.
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The prevailing psychic category, at least at a mass level, is the resignation together with a whish of oblivion. Psychic death. The silence is meant as loneliness, where the consciousness - and therefore the com munication - is lost and becomes an illusion.
References 1. Andreani Dentici, O. (2001). Intelligenza e Creativit. Roma: Carocci. 2. Arieti, S. (1990). Creativit. La sintesi magica. Roma: Il Pensiero Scientifico. 3. Arcuri, L., Boca, S. (1991). Cognizione sociale ed emozione. In Magri, T., Mancini, F. Emozione e conoscenza. Roma: Editori Riuniti. 4. Batacchi, M.W., Renna, M., Suslow, T. (1995). Emozioni e linguaggio. Roma: NIS. 5. Broadbent, D.E. (1958). Perception and Communication. London: Pergamon Press. 6. Fusco, A., Tomassoni, R. (2008). Studi di psicologia letteraria, filmica ed arte figurativa. Milano: Franco Angeli. 7. Fusco, A., Tomassoni, R. (2008). Creativit nella psicologia letteraria, drammatica e filmica. Milano: Franco Angeli. 8. Fusco, A., Tomassoni, R.(1982). Una proposta di metodologia psicologica per la lettura di testi letterari. In Ricerche di Psicologia, VI, 21, Milano: Franco Angeli. 9. Fusco, A., Tomassoni, R. (2005). Psicologia e comunicazione letteraria. Milano: Franco Angeli. 10. Gagnon, A. G. (2001). Psycologie Clinique. Quebec: Gaetan Morain Editeur. 11. Galimberti, U. (2006). Dizionario di psicologia. Novara: De Agostini. 12. Dante, A. (1986). Divina Commedia. Milano: Mondadori. 13. Dostoevskji, F. M. (2007). Diario di uno scrittore. Milano: Bompiani. 14. Goethe, W. (1982). Faust. Torino: Einaudi. 15. Harr - Lamb Mecacci. Piccolo dizionario enciclopedico di psicologia. Bari: Laterza. 16. Kafka, F. (1975). Racconti. Milano: Mondadori. 17. Joyce, J. (1988). Gente di Dublino. Vicenza: Mondadori. 18. Poe, E, A. (1985). La casa degli Usher. Milano: Mondadori. 19. Strindberg, A. (1994). Romanzi e racconti. Milano: Mondadori. 20. Zanuttini, L., Zavagno, D. (2002). La mente allo specchio. Ricerche di psicologia per larte. Udine: Forum. Rosella Tomassoni Full Professor of Psychology of Arts and Literatures Director of the Department of Human and Social Sciences Faculty of Letters and Philosophy at the University of Cassino (FR) Italy Department of Human and Social Sciences Phone:+39.0776.2993823. Fax:+39.0776.2993434 Antonio Fusco Full Professor of Psychology of Arts and Literatures Dean of the Faculty of Letters and Philosophy at the University of Cassino Faculty of Letters and Philosophy at the University of Cassino (FR) Italy Department of Human and Social Sciences Phone:+39.0776.2993823. Fax:+39.0776.2993434 Daniela De Bellis Ph doctorate in Psychology of Emotion and Creativity Faculty of Letters and Philosophy at the University of Cassino (FR) Italy Department of Human and Social Sciences Phone:+39.0776.2993823. Fax:+39.0776.2993434 252

Gustavs Elers. Dzimis 1972. gad Rg. Pc filozofijas un socioloijas studijm LU Vstures un filozofijas fakultt, ko pabeidzu 1998. gad, ievrojami paplainju un padziinju kvalifikciju datorzinbs, psiholoij, matemtikas pielietojum ekonomik un ptjumu datu apstrd. No 2004. gada decembra strdju RPIVA Informtikas un dabaszinbu katedr lektora amat. Vaasprieki: ritebraukana, teniss, peldana, kross.

GUSTAVS ELERS Rgas Pedagoijas un izgltbas vadbas akadmija Latvija

ANTK SKEPTICISMA MANTOJUMS BRVAI SPRIEANAI

Kopsavilkums Ievads. Skepticisma virziena prstvji gnozeoloij noliedz jebkuru zinanu droticambu. Darba mris. Izcelt antk skepticisma prstvju veikto teortisko konstrukciju atspkojumu aktualitti. Materili un metodes. Formls loikas likumi, Seksta Empria antko filozofiju aptveroie darbi. Rezultti. Nevienas zinanas nav droticamas, jo to veidojoos jdzienus nevar defint, nedz, tos izmantojot, ko pamatot, neaizejot apl, bezgalb vai patvagi apstjoties. Secinjumi. Skeptii pierda, ka jebkura viedoka pamatojumu var atspkot, vrot pret to loiskus argumentus. Atslgas vrdi. Pamatoana, skepticisms, loika.

THE HERITAGE OF ANCIENT SKEPTICISM FOR FREE REASONING

Summary Introduction. The term skepticism comes from a Greek word skepsis, which refers to a trend in gnoseology meaning that we cannot obtain certain knowledge about the world as it is. The famous and prolific ancient skeptic Sextus Empiricus (II c. BC) describes the word skeptic (from the Greek verb meaning to examine carefully) as an investigator, a zetetic. Ancient skepticism has many affinities to other ancient philosophies. Even the Aristote lian rhetorical tradition emphasizes the power of persuasive speech rather than argument ability to establish what is true. Democritus maintained that bastard knowledge gained through the senses exists only by convention. Platos dialogues contained arguments pro and contra, and cast doubt on everyday opinions. Diogenes of Sinopec dismisses any philosophical speculation. Epictetus in sists that philosophers spend too much time on theory (Ancient Skepticism, 2008; , 1975). The movements that constitute ancient skepticism began with Pyrrho (365-275 BC). The main Pyrrhos question was about happiness, which consists of three parts. 1) What is the nature of things? 2) What is our attitude towards them? 3) What are the results of such attitude? Pyrrho declared that things are equally indifferent, immeasurable and inhabitable, i.e. akatalpsia. For this reason neither our senses nor our opinions tell us truth. Therefore, for this reason
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we should not put our trust in them, but should be without opinion, uncommitted and unwaver ing, saying concerning each individual thing that it no more is than is not, or both is and is not, or neither is nor is not, i.e. epoch. As the outcomes for those, who actually adopt this attitude, comes freedom from disturbance and pleasure, i.e. ataraksa (Ancient Skepticism, 2008). Aenesidemus most important arguments are the ten modes (or tropes) which Sextus attributes to the older skeptics. These ten ways of arguing create antitheses and promote the suspension of judgment, epoch, by contrasting: the opposing perceptions and views of the world which characterize different species, different individuals, different sense organs, differ ent circumstances, different positions, distances and places, mixtures, due to different quantities and structures, relativity of all things, constancy or rarity of occurrence, different ways of life, laws, myths and dogmatic suppositions. Aim of the study is to show the rejection of theoretical constructions made by antique skeptics that has not lost its topicality. Materials and methods. The rules of formal logic, the works of Sextus Empiricus, which encompass the basic ideas and main achievements of ancient philosophies. Results. Sextus Empiricus, as an extreme skeptic, declares, that none of the two ex treme opposite judgments (a is b and a is not b) is trustworthy. It means that a skeptic must find an opposite judgment. The two judgments possess equal power, no way out, aporie. How to be skeptical: 1) claim for a criterion: 2) insist that the criterion and its evidence are mutual or the criterion is proven endless; 3) insist that one thing is a norm and a fact, there is a violation of norms and facts distinction, if one points to some norms; 4) if there is a violation of norms and facts, then by using the aporie of the bald: adding (or pulling out) one hair and so on, there is no certain limit to be or not to be bald, one can say that every fact can be coordinated with an appropriate norm; 5) if norms and facts are distinct, then by using the same aporie of the bald: one can argue, that one can manipulate with its limits; 6) if something seems not refutable, we can refute it later. Usually continuing investigation, people change the meanings of our terms, to fit bet ter, but skeptics do not allow to do that, so the terms are either correct and useless or fit the thing, but are contradictive and cannot be applicable at the same time. Sextus denies induction, because the full is not possible, but the partial is insufficient. The defining of the terms is made impossible, because one has to define terms, used in the definition, and there is no starting point. The cause does not exist, because it cannot be distin guished from the consequences before and it does not exist after. The signs cannot designate abstract objects by themselves, they are arbitrary, subjective. Argumentation against geometrians. It appears that the line consists of points, planes of lines, solids of planes, then points are expanded, lines are broad and planes are thick. By the defi nition, if points are not expanded, lines are not broad, planes are not thick, then they will shrink in one point, but this does not happen, and consequently, judgments about them are suspended. Arguments against Gods: (schematic, using balds aprorie). The sea is a God, the son of sea and river (another river) is a God, then every river is a God, then every brook and spring is a God, but they are not. So the sea is not a God and we cannot say anything about Gods. It is even quite predictable, what Sextus will conclude, there is almost the same argu mentation, which can be called tedious. There are several weak skeptical arguments, e.g., incomplete distinction saying a is neither a cause of c not of b, therefore we must suspend the judgment. He does not take into an account that a can be a combination of causes, which even cannot be reduced to the sum of its parts. The number is greater than it is, so the judgment has to be suspended. But by doing so Sextus takes parts of that number several times, which is not correct.
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Talking about all skeptical arguments, we do not maintain, that they are right, be cause we say, that they are disproving themselves by saying that being together with things, which they describe, like purifying medicine, which is eliminated together with bodys liquids (, 1975). If one said, that he is not consequent because he has not refuted all achievements of scientists then one can have an answer, that it was not his purpose. The purpose was to remove the grounds and the rest will fall down. Holding onto the appearances, we live without beliefs but in accordance with the ordi nary regimen of life, since we cannot be wholly inactive. And this regimen of life seems to be fourfold: one part has to do with the guidance of nature physis, another with the compulsion of the path (feelings, affections of the soul), the third with the handing down of laws and customs, and the fourth with instructions in arts and crafts techn. By Natures guidance we are naturally capable of sensation and thought; compulsion of the path is that by which hunger drives us to food and thirst makes us drink; the handing down of customs and laws is that by which we accept that piety in the conduct of life is good and impiety bad; and instruction in arts and crafts is that by which we are not inactive in whichever of these we acquire (, 1975). Conclusions. After denying the basic ideas, for life according to appearances accord ing to laws, and customs remain: simple associations, contradistinction of mutually exclusive qualities, judgments according to analogy, not far reaching judgments about causes. Skeptics can avoid fanaticism, lies, and large scale potentially dangerous undertakings. Key words: grounds, skepticism, logic. IEVADS Termins skepticisms radies no sengrieu vrda skepse, un apzm virzienu gnozeoloij, kas konsekventi steno principu, ka nevienas zinanas nav droticamas. o virzienu var rakstu rot ar ar grieu valodas vrdiem: skeptikos ptos, aplkojos, skeptomai skatties, lkoties, izdart sldzienus, spriest, iepriek prdomt, paredzt. Filozofus skeptius mdz dvt ar par aportiiem (no aporetikos tas kur, atsaks no sprieduma), settiiem (no setetikos uz ptanu sliecgs, rpgs, izptei iesvtts ptnieks) (, 1975; Tauri,1990). Skepticisma iezmes antkaj filozofij ir bijuas ar pirms antko skeptiu skolas noformans. Demokrts apgalvoja, ka zinanas par sajtamo ir konvencionlas un nestas, ka sti ir atomi un tukums. Jpiemin ar Platona dialogi ar argumentu pretstatanu un ikdi enas viedoku apaubanu, Aristotea darbi retorik, kuros pierdts, ka klaustjus vairk ie spaido runas prliecinoais spks, nevis pai argumenti. Sinopes Diogens noliedza filozofisks spekulcijas, Epiktets apgalvoja, ka filozofi par daudz laika velta teorijai (Ancient Skepticism, 2008; , 1975). Tas, ka skepticismam ir raksturgas nihilisma iezmes, ir pilngi skaidrs. Bet is ni hilisms attiecas tikai uz filozofiskiem pierdjumiem un filozofiskm teorijm. Skeptii no liedz to, ka patiesba jau btu atrasta un pat noliedz ts eksistanu, ja par patiesbu uzskatms nepretrungu spriedumu kopums, kas rasts vienu reizi uz visiem laikiem. ,,Ms sekojam nostdnm, kas saska ar pardbu norda mums uz nepiecieambu dzvot t, k mums vljui tvi, saska ar likumiem, citu cilvku nordjumiem un pc paa izjtas (, 1976). Vajag dzvot saska ar dzves pardbm, t.i., pc t, k iet, nevis k ir stenb, jo k ir stenb, mums nav zinms. ietambas sfra skeptiiem ir tik plaa, ka t noteikti sev ietver visu dzvi un visu pasauli. Var pat dzvot saska ar saviem persongajiem prdzvojumiem. Citiem vrdiem, var gan dzvot, gan domt k vien tk. Protams, tas nav loiski nepiecieami un ar filozofiju tam nav nekda sakara.
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Nevar tau teikt, ka ria lnija attiecas tikai uz rii, bet neattiecas uz papru, uz kura t uzvilkta, jo neuzvilkts riis vispr nav riis. Bet nevar ar teikt, ka ria lnija attiecas tikai uz papru, fonu, bet ne uz pau rii, jo tad iznks riis bez ria lnijas. Acmredzot ria lnija ir tas, kur sakrt riis un fons, uz kura tas uzvilkts, ttad neriis. Tpat ar esamba, ja t patiesi atiras no neesambas, tad starp tm ir kda robea, kura nav ne esamba, ne neesamba. Lk, par o neitrlo vai irrelo esambu run skeptii. Tas, protams, netrauc viiem dzvot t, k vii grib. Skeptiis priecjas un cie tpat k visi prjie cilvki. Ms nedomjam, ka skeptiis nepazst grtbas, vi cie grtbas piespiedu krt; ms atzstam, ka vi dareiz cie no auk stuma, slpm un tamldzgm lietm (, 1976). Visi cilvki vrt savus prdzvojumus k labus vai sliktus un dom, ka tas, ko vii prdzvo, patiem eksist. Skeptiis dos gadjumos ir vienaldzgs pret visu un pilngi neko nevrt ne lab, ne slikt nozm. Seksts savos darbos biei lieto dus izteikumus: ne vairk (k), neizteikans, varbt, iespjams, pieaujams, atsakos no sprieduma, es neko nenosaku,,,viss ir nenoteikts viss ir neuztverams,,,es nevaru satvert (aptvert),,es neuzsveru, katram spri edumam pret stv ldzvrtgs un tamldzgi ,,Par visiem skeptiskajiem izteikumiem runjot, iepriek jatzst, ka ms nebt ne apgalvojam, ka tie ir pareizi, jo sakm, ka tie apg pai sevi, bdami kop ar lietm, ko tie apraksta, ldzgi tam, k attros zles ne tikai atbrvo miesu no sulm, bet tiek izvadtas kop ar tm (, 1976). Pirrons (360. 275. g. p. m. .), skepticisma k teortiskas uzskatu sistmas aizscjs, pats neko nerakstja. Via formultos galvenos skeptisk domanas veida principus (isosthenia, akatalpsia, epoh, ataraksa) pierakstja via skolnieks Timons. Pirrons atzina izostniju (sk. zemk) ar attiecb uz saviem spriedumiem. Vi neapaubja, ka medu ms sajtam saldu, bet apaubja to, ka medus tds ir pats par sevi. Pirrona uzmanbas centr bija jautjums par laimi. Tas ir sadalms trs das. 1) kda ir pasaules lietu daba? 2) kdai vajadztu bt msu attieksmei pret tm? 3) kas izriet no s msu attieksmes? Pirmais jautjums attiecas uz fizikas teortisko pamatu. Antkaj pasaul fizikas priekmets bija viss esoais kopum, atskaitot no t cilvcisko subjektu. Uz o jautjumu visiem skeptiiem ir viena atbilde: jebkuras lietas esamba un ldz ar to ts pastvana ir nenoteikta, nevar ne apgalvot, ne ar noliegt, ka lieta pastv tiei tda, bet ne citda (akatalepsija). Cilvks nevar izzint lietu btbu. Otrais jautjums aptver cilvka izzias procesu un loikas teortisko pamatu. Ja li etu esamba paliek nenoteikta, tad neatliek nekas cits k atturties no spriedumiem (epoh apstans, aizture, prtraukana), kuros kaut kas tiktu apgalvots vai noliegts. Treais jautjums aptver cilvka rcbu un via iekjo gargo dzvi. Atturoties no sprie duma par lietm, kdas ts pastv paas par sevi, var iegt nesatricinmu dvseles mieru, nesatrauktbu un laimgu dzvi (ataraksija). Visus trs principus un ldz ar to ar filozofijas sastvdaas vien vesel apvieno izostnijas princips pretju spriedumu un priekstatu ekvivalence, ldzvrtba. K nkamais no filozofiem, kas devis ievrojamu ieguldjumu skepticisma attstan antkaj pasaul, jmin Enesidms. Enesidms dzvoja Aleksandrij 1. gs. p.m... Galvenais darbs astoas Pironisko prspriedumu grmatas. Vi pats sevi par skeptii neuzskatja, skepse viam bija ce uz Hraklta mcbu par paas lietu dabas pretrungumu, plstambu. Viam pieder 10 tropi (pamieni) spriean par izziu vispr, 8 iebildumi pret tiem, kuri savas mcbas kaut kd veid pamato un 5 iebildumi pret cloa jdzienu.
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Enesidms uzrda teortisks grtbas, kas saistmas ar cloa jdzienu, bet cloni k tdu nenoliedz. Enesidma tropos eso sajtu un juteklisko uztvrumu kritika neskar iespju izzint paus subjekta subjektvos stvokus un nenoliedz lietu eksistenci rpus msu apzias. T tikai apauba to, ka msu sajtas un uztvere pareizi, un vai vispr, parda objektvo stenbu. Aicinot atteikties no visda veida apgalvojumiem, skeptii tomr bija oti ltticgi. Vii piera argumenta statusu apaubmiem atzinumiem un uzticjs izdomjumiem. Piemram, pirm Enesidma tropa argumentcija balsts uz apgalvojumu, ka sajtu atirbas dadm dzvm btnm un to sajtu orgnu uzbve ir atkarga no to raans veidiem. Piekrtot tam, ka dzvas btnes var rasties dzimumce, Enesidms rakstja, ka ts var rasties ar, piemram, no saskbua vna (skudras), no zemes vai dm (vardes), no kpostiem (kpuri), no dzvnieku maitm (bites), no zeiem (vaboles). Un tas tika atstts bez pamatojuma. Pazstamkais no jauns (tres) Platona Akadmijas prstvjiem Karneds (2. gs. p.m..) pilnveidoja un izdalja trs varbtguma pakpes Arkiselja (otrs vidjs Akadmijas vadtja) patiesbas kritrij praktiskaj veiksm. Arkiseljs bija viens no pirmajiem filozofi jas vstur, kur izvirzja du kritriju. Pie praktisks veiksmes k kritrija vartu pieturties, ja saglab tzi par pasaules lietu plstambu, kroplgumu, varbtju pastvanu, kas raksturga Platona mcbai, un noliedz lietu absoltu pastvanu. Pirmais patiesbas kritrijs ir praktiskais vienkri iespjami apgalvojumi, k ar subjektva prliecba, kas nav dzik pamatota. Piemram, nauda var bt un/vai ist viltota. Otrais kritrijs loiskais: ir atirams varbtgais no neiespjam, priekstatos un liets cenoties ieviest nepretrunbu. Piemram, pc dam pazmm redzams, ka nauda ir viltota. Treais prak tiski loiskais: spriedums vispusgi prbaudts, atzts par sakargu un nepretrungu. Piemram, mrt naudas blvumu un, saldzinot ar paraugiem, atzt, ka tdu redzam pirmo reizi, un visdrzk tas ir viltojums. Bet o patiesbas kritriju patiesuma vrtba vienmr ir zemka par viens. Pirroniei kritizja Karneda iespjambu skalu, k ar apstiprinjuma un nolieguma dogmatisko lietojumu. Seksts raksta, ka veids, kd akadmii skaidro labo un auno, proti, k iespjamus principus, neder, lai vartu dzvot un darboties nevis ar iespjamm un varbtjm lietm, cilvkiem un notikumiem, bet ar tdiem, kdi tie mums pards.,,Ms nesakm, ka tas ir labs vai slikts t, lai uzskattu par varbtju to, ko ms sakm, bet, neizsakot spriedumu, sekojam dzvei, lai nebtu bezdarbgi (, 1976). Ttad skeptii grib dzvot un domt, sas karties gan ar labo, gan auno, vii tikai atsaks izteikties par to pc btbas un pat no varbtbas viedoka. Galvenais ir tas, ka ms priekstatam lietas k eksistjoas, nevis k varbtjas. Nkoais nozmgais posms antk skepticisma attstb saistts ar Agripas (1. 2. gs.) un jaunko skeptiu vrdiem. Vii vrss pret formli loiskajiem ptjumiem, kurus veica dogmatii. Agripas un jaunko skeptiu tropi: 1) sprieot par lietu btbu, to visprgajm pabm subjekts biei nonk neatrisinmi pretrunu lok (cilvks ir gan dzvs, gan nedzvs, jo via matus var griezt nost, tie nav jutgi), td nevar noteikt lietas paas par sevi; 2) absolta pierdjuma neiespjamba tas aiziet bezgalb; 3) cilvka priekstatu savstarpj atkarba un subjektva attieksme pret lietm padara spriedumus par relatviem; 4) lai izvairtos no tiekans bezgalb dogmatii kaut ko pieem bez pamata (ar 20. gadsimt Ludvigs Vitgenteins darb, kas izdots ar nosaukumu Par droticambu 342. rindkop raksta: tas, ka daas lietas patiesi nav apaubmas, piedergs msu zintnisko ptjumu loikai (, 1992); 5) tze un pierdjums izriet viens no otra aplis pierdjum. Agripa, balstoties uz iekjm pretrunm atsevios spriedumos un pierdjumu sistms, grauj induktvos un deduktvos pierdjumus. Seksts Empriis dzvoja msu ras otr gadsimta otraj pus vai pdj ceturtda ldz tre gadsimta skumam. Vi rakstja grieiski un bija Hrodota skolnieks. Seksts Empriis ir viengais no skeptiiem, kura sacerjumi ldz msu dienm saglabjuies diezgan liel apjom. Vi apkopo skepticisma 600 gadus ilgo attstbu antkaj pasaul (skot ar Pirronu). Via
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darbi ir visnobriedukais un sistemtiskkais gadsimtiem ilgs skeptiu darbbas rezultts un nenoliedzami svargs avots antks filozofijas vstur. Vi ir pilngi abstrakts domtjs, kuru interes vien kritizjamo teoriju loisks sakarbas un konsekvences. o teoriju citas puses un vl jo vairk, to autoru biogrfijas patnbas viu neinteres nemaz. Seksta darbu divsjumu izdevum ( , 1975/1976) ietilpst divi via darbi:,,Pret matemtiiem (jsaprot visprgi zintniekiem), (11 grmatas) un,,Trs Pirronisko tu grmatas. Pdj darba pirmaj grmat vi parda skepticisma vietu citu filozofijas sistmu starp, priekstatos par pasauli un ts izzinmbu, defin skepses jdzienu, ts skotni, skeptiskos sprieanas pamienus un izteikumus, kas norda uz prta skeptisko stvokli. Filozofisks skolas vi iedalja pc t, cik liel mr ts atzst patiesbas atraanu: patiesbu atraduos (peripateitius, stoius, epikrieus) vi nosauc par dogmatiiem. Otro grmatu, kura pamat veltta loikas problmm, Seksts sk ar skepses un dogmatisks filozofijas samrojambas un nesavienojambas konstatciju (par to ir ar pirmaj grmat), kas pavrtu iespju skeptiim kritizt/analizt dogmatiu mcbas, izklsta filozo fijas iedaljumu loik, fizik un tik, iztirz visprgu filozofisko kritriju iespjambu, si izsaks par zmi, patiesbu, pierdjumu, siloismiem, indukciju, defincijm, sadalanu, veselo un dau, inti un dzimtu. Otr grmata beidzas ar sofistikas interpretciju. Tre grmata veltta fizikas un tikas problmm. eit ietilpst prspriedumi par darbgajm skotnm, t.i. dieviem, par cloa jdzienu, par materilajm skotnm, ermeiem, to uztverambu un sajaukanos, par kustbu preju, samazinanos un palielinanos, pielikanu un atemanu, prvietoanos, par veselo un dau, par raanos un iznkanu, par uzturanos, par vietu, par laiku un par skaitli. Filozofijas tiskaj da Seksts izskata filozofu jdzienus par labo, auno un vienaldzgo, par to, vai kaut kas no mintajiem eksist no dabas. Kas ir t.s. dzvesmksla, vai t eksist un k to izprot dadi filozofi, k to izprot dads zems un tauts? Vai cilvks var iegt vai iemcties dzvesmkslu? Vai eksist ts skolotjs un mceklis, meistars un nesapraa? Vai eksist kds apmcbas veids? Vai dzvesmksla nes kdu labumu tam, kuram t pieder? Un beidzot kpc skeptiis dareiz izsaka apaubmus spriedumus, kuriem ir maza/vja ticamba? To var uzlkot ne tikai k nopietna ptjuma galavrdu, bet ar k veiklu propagan das pamienu sav darb pieauto loisko kdu attaisnoanai. Tzes ir raksttas jau pirms gar traktta,,Pret matemtiiem, kur atkrtojas Tu argumenti, gan vairk izvrsti un bagtinti ar dogmatiu mcbu prststu un piemriem, k ar argumentiem (grmatm) pret gramatiiem, rtoriem, eometriem, aritmtiiem, astrologiem, muzikantiem. DARBA MRIS Izcelt antk skepticisma prstvju veikto teortisko konstrukciju atspkojumu aktualitti. MATERILI UN METODES Formls loikas likumi, spriedumu veidoanas pamieni, Seksta Empria antko filozofiju aptveroie darbi. REZULTTI Galjs skepticisms, kura tipisks prstvis ir Seksts, apgalvo, ka no diviem pretjiem spriedu miem (a ir b un a nav b) neviens nav droticams. Tas nozm, ka skeptiim katram sprie dumam
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jatrod pretjais, kas ar to veido aporiju (bezizejas stvokli), un ja tda nav, tad tds ir jizgudro tda ir skepticisma mksla. Skepticisma mksla vai mksla bt skeptiskam nozm: 1) pieprast kritriju; 2) nordt uz to, ka kritrijs un t pierdjums ir saistti savstarpj pierdmb, vai kritrijs tiek pamatots bezgalgi; 3) pierdt, ka ir prkpts, divdesmit gadsimta zintnes filozofijas terminus lieto jot, normu un faktu dulisms, ja kdas normas tiek nordtas; 4) ja ir prkpts normu un faktu dulisms, tad, izmantojot plikgalvja aporiju (matemtisks indukcijas paradokss: n+1 secgi pieskaitot 1 nekad neiegsim neko kvalitatvi atirgu no n, tas pats attiecas uz n1), varam sact, ka katru faktu varam saskaot ar normu, kas tam atbilst; 5) ja pieemam, ka normu un faktu dulisms nav prkpts, tad izmantojot to pau plikgalvja aporiju, padarm o normu par neefektvu, spekuljot uz ts pielietojuma robeu stiepjambu; 6) ja kaut ko vl nevar atspkot, tad jpagaida. Ptjuma gait izmainot terminu nozmes, ptnieks uzreiz nokst cit sfr, kur ir iespjams atrisint pirms sfras problmas un pretrunas, kuras bija neatrisinmas pirmaj sfr. Ldzgi darbojas veselais saprts (, 1986). Seksts ptnieku, kuram ir tri teortiskas ambcijas, nelai r no pirms sfras, tdjdi pankot via lietoto terminu izmantoanas teortisks grtbas: tos nevar lietot, paliekot korektuma robes, bet bez tiem ar nevar iztikt praktisko vajadzbu apmierinanai, rpus kurm vi neatzst nekdas citas. Ttad termini neeksist, jo tie ir tuki, pretrungi un bez pielietojuma. Jau iepriek var paredzt secinjumus, pie kdiem Seksts nonks, td last viu ir diezgan garlaicgi. Via atspkojuma shma vienmr ir nekustga un vienveidga. Seksta argumentanas shma sastv no 3 elementiem: otrais ir pirm noliegums (Sek sta sistmisms balsts uz pretrunas likumu), tad nk treais, kas ir loiski neatkargs no abiem pirmajiem. Lieta nedz eksist, nedz neeksist, ttad ir jatturas no sprieduma par to. Ja viam ir zinms, ka a ir/mdz bt/rodas no b vai c, tad vi pierda, ka a nav/nemdz bt/nerodas ne no b, ne no c. A.Losevs raksta, ka eit Seksts pieauj divas fundamentlas loiskas kdas. 1) Ja patiesi a nav ne b, ne c, tad tas nenozm, ka vl nav citu alternatvu, piemram, a ir b+c. Ja a nav ne b, ne c, ne abu summa, tad netiek emts vr, ka a var bt kda augstka vienba, kuru nevar reduct uz summu. 2) Ne auga saknes, ne stumbrs, ne lapas nav pats augs, un ar kop sa likti tie vl neveido pau augu ( 1975). Td veid varbt var iegt kdu mkslgu augu. Seksts ar virkni argumentu apauba formlo iespju izzint patiesbu. Lk, pats ievrojamkais: Aristotea kategoriskais siloisms ir aplis pierdjum, jo liel premisa, pateic oties kurai sldziens tiek pierdts, pati var tikt pamatota tikai pilnas indukcijas ce. Indukcija sev ietver ar tzi, kas ir siloisma sldziens. Stoiu nosacjuma siloisma aplis: ja ir diena, tad ir gais; bet k ms zinm, ka ir diena no t, ka r ir gais. Papildus pamatojumi veido vai nu apli, vai aiziet bezgalb. Ldzg veid nav iespjams kaut k pilngs apraksts, jo pilngam aprakstam jietver ar paam sevi, tas nav pabeidzams (Ivins, 1990). dus iebildumus vartu apiet, laik vai funkcionli noirot apzmjamo un apzmjoo objektu kopas un neaujot tm prklties. Induktvos sldzienus Seksts noliedz, jo pilnga indukcija ir neiespjama, bet daja ir nepietiekama. Jdzienu definana ir neatrisinms uzdevums, jo jdefin ar tie jdzieni, ar kuru paldzbu notiek definana. Seksta iebildumi pret cloa jdzienu. Tas nevar eksistt, jo: a) pirms sekm nevar runt par cloni, jo nav t, attiecb pret ko clonis btu clonis, t.i., seku; b) vienlaicgi ar seku pardanos ar nevar runt par cloni, jo tad tas nav atirams no tm, c) pc tam, kad sekas iestjus, nevar runt par cloni, jo t ir nejdzba, pretrungs jdziens. Seksts kritiz ar zmju teoriju, uz kuru stoii un epikriei balstja savas mcbas par sldzienu. Vii iedalja zmes hipomnesiskajs (atmi atsaucoajs) un endeitiskajs vai indikatvajs (nordos uz acm neredzamm lietm). Hipomnesisks zmes attiecas uz
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apzias saturu. Apzi esoais asocijas ar citu, t.i., ja viena lieta tika prdzvota kop ar otru, pardoties pirmajai, atmi pards ar otr (piemram, rta ir brces zme). Skeptii atzst du zmju esambu, bet uzskata ts par subjektvm, dadiem indivdiem atirgm, atkargm no iepriekjs pieredzes. Indikatvs zmes nekad netiek uztvertas kop ar to, ko ts apzm (nordjums uz neiespjambu pamatot jebkdas dabisks interpretcijas, kuras it k reprezent kaut kdas visprgas likumsakarbas vai mrinstrumentu rdjumus. Ttad ts paas par sevi apzm noteiktas lietas. Bet tdas zmes, saska ar skeptiu viedokli, nav domjamas. K Seksts noliedz pamatjdzienus? Pamatjdziens k kdas implikcijas antecedents konsekventa aplambas d ir nepatiess, un saistot, to ar citu spriedumu di, tas implikcij pilda aplam konsekventa funkciju. Lk, piemrs: argumenti pret dzvesmkslu. Ja dzvesmksla eksist, tad t rodama vai nu no dabas, vai to iemcoties un apgstot. T nerodas ne no dabas, ne iemcoties (tas tiek pierdts iepriek). Ttad, dzvesmksla neeksist. Ja dogmatiiem, runjot par dzvesmkslu, ir vrts svingi raukt uzacis, tad dzves mksla eksist. Dogmatiiem, runjot par dzvesmkslu, nav vrts svingi raukt uzacis. Argumenti pret eometriem. Ja lnijas sastv no punktiem, plaknes no lnijm, telpiski ermei no plaknm, tad punkti ir izplatti, lnijm piemt platums, plaknm biezums (to ms konstatjam, analizjot esoas pardbas). Pc defincijas, kas nav acmredzama, bet domjama, punkti nav izplatti, lnijm nav platuma un plaknm nav biezuma. Lnija nesastv no punktiem, lnijas neveido plaknes, un plaknes neveido telpiskus ermeus. Ja punkti nav izplatti, lnijm nav platuma un plaknm biezuma, tad visi punkti, lnijas un plaknes saplst vien, jo tie nav dalmi. Ne punkti, ne lnijas, ne plaknes nesaplst vien. Punkti ir izplatti, lnijm ir platums un plaknm biezums. Par punktu izplatbu, lniju platumu, plaku biezumu jatturas no sprieduma. Argumentcij pret aritmtiiem Seksts pieauj treo formli loisko kdu. T ir neatauta (bet oti dabiska) papildu nozmes pieirana skotnjiem terminiem un papildus nozmes pretstatana pamatnozmei, ja skaitus apzm ar attiecgu punktiu skaitu. Ja skaitlis 15 nav lielks pats par sevi, tad t sastvdau summa nav lielka par 15. skaita sastvdau summa ir lielka par skaitli 15. Skaitlis 15 ir lielks pats par sevi. Ja skaitlis ir lielks par sevi, tad tas ir pretrungs. Ja skaitlis ir pretrungs, tad par to ir jatturas no sprieduma. Saprotams, ka teiktais attiecas uz jebkuru skaitli (0 un irracionlos skaitus tad vl nelie toja). K tas nkas, ka skaitlis 15 ir lielks pats par sevi? Ms to varam saskaitt no skaitiem 5, 4, 6, kas savukrt sastv no 3 un 2, 3 un 1, 3 un 3. Tiktl viss btu krtb, bet Seksts iet vl dzik, teikdams, ka katrs no mintajiem 3 vl savukrt sastv no 1 un 2, ttad kop iegstam 1+1+1+1+1+1+1+1+1+1+1+1+1+1+1+1+1+1+1+1=18, kas ir lielks par 15. Vi nedrkstja jaukt kop vien izteiksm divu (bija iespjams ar vairku) pakpju summas. Pret dieviem Seksts bez visiem prjiem argumentiem (kas aizem 24 lpp.) izmanto ar Karneda argumentu, kas balsts uz plikgalvja aporiju: ja Zevs ir dievs, tad ar Poseidons, via brlis ir dievs. Ja Poseidons ir dievs, tad Ahlojs (lielk upe Grieij, mtisk tradcija uzskata to par Okena un Tfijas dlu) ir dievs. Ja Ahlojs, tad ar Nla, ja Nla, tad ar katra upe. Ja katra upe ir dievs, tad ar avoti ir dievi. Ja avoti, tad ar strauti. Bet strauti nav dievi, ttad Zevs nav dievs. Ja tie btu dievi, tad ar Zevs btu dievs. Ttad dievu nav. Ja kds teiktu, ka Seksts nav konsekvents, jo nav atspkojis visus atsevio zintu un zintnieku veikumus visos skumos, tad saemtu atbildi, ka tds nav via mris. Mris ir tikai novkt balstus (zintu jeb visaptveroas izzias teortisko instrumentu pamatjdzienus, to saistanas un pierdanas veidus, vlamos gala stvokus), lai prjais pats sagztos. Pc pamatjdzienu nolieganas, dzvei saska ar pardbu paliek vienkrks asocicijas, savstarpji izsldzou kvalitu pretstatana, spriedumi pc analoijas, netlejoi
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spriedumi par clonbu. Tdjdi skeptii var izvairties no fantisma, meliem, liela mroga potencili bstamiem paskumiem. SECINJUMI Zintnes un filozofijas aizskumu Eirop parasti mekl Senaj Grieij. Zintnes un sabiedrbas attstbu ldz im brdim uztur tur attstjies rosgais ptanas gars. Ptanas, aplkoanas, prdomanas, sprieanas, paredzanas prclums grieu valod ir skeptomai. Skepticisma virziens gnozeoloij jebkuras zinanas uzskata par tdm, kuras nav droticamas. Seksts Empriis: Jebkuram spriedumam stv pret ldzvrtgs. Skeptii pierda, ka jebkura viedoka pamatojumu var atspkot, vrot pret to loiskus argumentus. Tas vius nekav dzvot t, k vljui tvi, saska ar likumiem, citu cilvku nordjumiem un pc paa izjtas visas dzves garum. Vismaz dai skeptiu veiktie teortisko konstrukciju atspkojumi nav zaudjui aktualitti.
LITERATRAS SARAKSTS 1. Ivins A. (1991) Dzelain loika. Rga: Zintne, 124 lpp. 2. Ivins A. (1990) Pareizas domanas mksla. Rga: Zintne, 138 lpp. 3. Tauri G. (1990) Skepticisma raans un attstba. Zin. rakstu krj. Domas par antko filozofiju. / sast. M.Kle, E.Vbers Rga: AVOTS, 174183lpp. 4. . (1992) . , Nr. 2. , 67 120 . 5. . . (1975) . . . 1. : , 399 . 5 58. . 6. (1975) . .1., : , 399 . 7. (1976) . . 2., : , 421 . 8. . (1986) . : , 544 . 9. Ancient Skepticism (2008) http://plato.stanford.edu/entries/skepticism-ancient/ (04.11.2009). Gustavs Elers Lektors, Mg. sc. soc. Rgas Pedagoijas un izgltbas vadbas akadmija, Informtikas un dabaszinbu katedra, Rga, Imantas 7. Lnija 1. LV-1083 Rga, Juglas 41 44, pasta indekss: LV-1064, 26728568, e-pasts: elers@inbox.lv

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Radoais process mksl Creative Process in Art

IV
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Iveta Brzia (1955) dzimusi Rg, absolvjusi Daugavpils universitti, RPIVA Mzikas pedagoijas maistrantru. Strdju 30 gadus par mzikas skolotju vien darba viet un 10 ga dus biju direktora vietniece audzinanas darb. Vadu kori un voklo ansambli. Patk saule, jra, vj un airana. Vasar jrmal ar mlestbu kopju savas pues. Splju basketbolu. Labprt apmeklju koncertus un tetra pirmizrdes. Brv laik kop ar imeni ceojam. Maruta Sle (1950.30.12.) dzimusi Brbel, mcjusies Rgas 49. vidusskol, Jzepa Media mzikas vidusskol (klavieru klase pie R. Mihelsones), Lietuvas Valsts Vias konservatorij (klavieru klase pie G. Radvilaites). Tad Daugavpils Universittes maistrantra un LU doktorantra (zintnisk vadtja A. Krze). Izjtu dziu pateicbu savm skolotjm. Aizraujos ar dzimtu vsturi. Brv laik kolekcionju zintnisko literatru, notis, dlijas un gladiolas. Iveta Brzia Maruta Sle Rgas Pedagoijas un izgltbas vadbas akadmija Latvija

PUSAUDU EMOCIONL ATTSTBA MZIKAS APGUVES PROCES

Kopsavilkums Ievads. Pusaudu vecumposma attstbas likumsakarbas izpauas emocijs, kuras iespjams pusaudiem izprast un patstvgi korit mzikas apguves proces. Teortisko atziu izzinanas, saldzinanas un aktualizanas proces iespjams izstrdt ieteikumus mzikas skolotjiem pusaudu emocionlo stvoku korekcijai. Darba mris. Noskaidrot pusaudu emocionlo attstbu muzicanas proces un izstrdt ieteikumus iespjamajm pusaudu emocionlo stvoku korekcijm. Materili un metodes. Pedagoisks un psiholoisks literatras analze, pavrtjuma metode. Rezultti. Mrtiecgi organizt pedagoisko situciju veidoanas proces tiek sekmta pusaudu patstvga savu emociju apzinans un savu emociju pavrtjums. Secinjumi.Uz teortisko atziu bzes veiktais empriskais ptjums apliecinja, ka, veicot savu emociju apzinanos, rezultt iespjama darbbas korekcija. Atslgas vrdi: Emocijas. Mzikas apguves process.

Emotional Development of Adolescents in Music Education

SUMMARY Introduction. The characteristic features of the development in adolescence are mani fested in emotions which are possible to understand and correct in the process of music education
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On the basis of theoretical findings it is possible to elaborate recommendations for teachers of music to correct adolescent emotions. Nowadays, more and more European countries, setting educational goals, pay atten tion not only to the content of the educational process, but more to its results and personal de velopment of an individuality, including his/her emotional development. Music has a huge potential for the promotion of intellectual abilities. Being involved in music activities even at elementary levels helps developing higher mental capacities. This developing power of music appears gradually through activities in different spheres of life. Latvian psychologists I. Plotnieks, J. Birzkops, Dz. Meikne and others researched this topic. I. Plotnieks was of the opinion that it is very important to promote the need for self-education. This process is connected with self-evaluation, strong and active wish for forming a personality. He studied the relations between emotions and skills. Independence is connected with emotions. Music psychologist V. Konechni studied emotional education in the development of a personality. He worked out the Prototypical EmotionalEpisode Model and Aesthetic Trinity Theory on emotional conditions. There is a hypothesis of interaction between music and emotional development. Music can create emotions if it is connected with cognition, memories and associations from real life. Music influences mood, behavior, and physical movements. Many bodily systems are involved in this process and they operate simultaneously. There are correlations among emotional, pseu do-emotional and unemotional responses to music. There exist numerous musical means, with the help of which it is possible to express and describe emotional events and processes that are empowered during listening to music. Composers, musicians and listeners are aware of the behavior connected with main emotional conditions. Sounds which are organized as music can create manifold responses in listeners, and the majority of them are distinctly unemotional or pseudo-emotional. It is possible to define the factors, which create emotional experience. The highest reaction to music (thrill) is very individual; it is difficult to anticipate this emotional response because it is influenced by many social, everyday, emotional moments of our lives, especially for people in their teenager period. There exist differences in emotional development between girls and boys. It is ob served in Riga Yugla Secondary School. These differences should be respected during music lessons in order to satisfy the necessity for self-expression in adolescence. It is important for teenagers to feel success, safety and freedom. Emotional development is also connected with autonomy. Emotions created by music are connected with individual experience. Aim of the study is to analyze research findings on adolescent emotions in music and elaborate suggestions for possible corrections of adolescent emotional conditions. Materials and methods. Analysis of pedagogical and psychological literature, bio graphic method, summary of experience. Results. The teenagers wrote letters how they understood and reacted to music. They described how music gave them the feeling of safety, positive emotions, helped to relax and gave energy so necessary for doing work and for studying, and sometimes music even helped them to concentrate and solve their problems. There was no great difference between girls` and boys` answers, but the girls accepted classical music more often than the boys. The boys pre ferred rock, but they listened to different kinds of music depending on the situation and mood. Analyzing the letters, a conclusion was drawn in teenager period the emotional understanding of music has already been formed. Understanding emotions determines behavior in the teenager period. The students were given a questionnaire to evaluate their ability to understand their own and their classmates`
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emotions. The questionnaire shows changes in behavior, better understanding of the surround ing peoples emotions, as well as their own emotions. These are changes in the control of emo tions. They showed a possibility to empower emotional development during music lessons. In the process of organizing intentional pedagogical situations the improvement and realization of adolescent emotions is promoted. Conclusions. It is possible to promote emotional development during music lessons by combining listening to music to previous life experience of teenagers; by choosing a reper toire according to the interests of teenagers. The study demonstrated that the development of adolescent emotions is promoted due to awareness. Key words: emotions, music education, adolescent development. IEVADS Aizvien vairk Eiropas valstis, izvirzot visprjos izgltbas sistmas mrus, atsaucas uz mcans rezulttiem. Uzsvars tiek likts uz mcans rezulttu formulanu, lai veidotos pusaudu pieredze, nevis uz mcbu priekmetu saturu, kas ietilpst mcbu programm. Skaid ru un piemrotu mcans rezulttu noteikana kalpo k dergs skolu darbbas organizanas princips. Akcents tiek likts uz mcans rezulttiem, kurus var raksturot ne tik daudz no t, ko pusaudzis atceras un prot, cik no katra pusauda individuls attstbas aspektiem. Tai skait emocionls attstbas. Pusaudu vecumposma attstbas likumsakarbas izpauas emocijs, kuras iespjams pusaudiem izprast un patstvgi korit mzikas apguves proces. Teortisko atziu izzinanas, saldzinanas un aktualizanas proces iespjams izstrdt ieteikumus mzikas skolotjiem pusaudu emocionlo stvoku korekcijai Teortiski Latvij tiek daudz runts par emocionlo attstbu (Meikne, 1998), bet konstatjam, ka konkrtu ptjumu aj jom Latvij nav pietiekoi. Teortisko bzi veido Lat vijas psihologu I. Plotnieka (Plotnieks,1975), Dz. Meiknes ptjumi (Meikne, 1998). DARBA MRIS Noskaidrot pusaudu emocionlo attstbu muzicanas proces un izstrdt ieteiku mus iespjamajm pusaudu emocionlo stvoku korekcijm. MATERILI UN METODES Tiek veikta rvalstu un Latvijas pedagoijas un psiholoijas zintnieku atziu par pusaudu emocionlo stvoku raksturojumu izzinana un analze. Latvieu psihologs I. Plotnieks ir izvirzjis domu par pusaudu paaudzinanu un emocionlo audzinanu: Msdienu pedagoijas svargs uzdevums ir attstt izzias intereses, iz veidot paaudzinanas vajadzbu (Plotnieks, 1975, 47). Paaudzinanas procesu I. Plotnieks sas kata sevis iepazan, vlm sevi pilnveidot un, galvenais, veidot sevi. I. Plotnieks atklja ar emociju un spju attstbas sakarbu, pamatoja pedagoiskos ldzekus pusaudu emociju un jtu saudzgai kopanai un attstbai mcbu un audzinanas darb. Tdjdi psihologa ptjumos patstvba tiek saistta ar emocijm. Pedagoijas zintu doktors J. I. Birzkops atzst, ka muzicana kop ar citiem mkslas terapijas veidiem ir niju kalve (Birzkops, 1999, 10). Tiei muzicana piedv vislabko iespju augstko domanas prasmju attstbai jau ar pirmajiem soiem. Ikviena no daudzu cilvku
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neapjaustm muzicanas patnbm ir t, ka, muzicjot pat elementr lmen, funkcion visas augstks domanas prasmes. To apstiprina oti daudzi specilisti un norda: Ko ms nelie tojam, to zaudjam (Birzkops, 1999, 13). d aspekt tiek pieteikta muzicana k darbba pusaudu emocionls attstbas sekman. J. Birzkops atzst, ka domanu pardt nevar, bet domanas prasmes vairk ldzins prasmei labi splt klavieres (Birzkops, 1999, 20). Mzikas iespaidgais intelektulo spju attsttjspks ne teortiski, ne praktiski nav uzreiz pamanms (Birzkops, 1999). ie procesi norisins pilngi klusi un rji nemanmi, bet saistti ar pusaudu attstbu darbb. Darbbas aktivitti nosaka stimuli, un viens no tdiem ir iespja darboties muzicanas jom. Psiholoes Dz. Meiknes atzia par brvas sadarbbas un sazias veidoans psiholoisko pamatu ir pai nozmga: Personba ir orientta nevis uz pavlm, bet uz izvli. Tad paveras plaums domm, jtm, attsts aktivitte, uzmba, iniciatva. da personba pret saskarsmes partneri izturas k pret sev ldzgu. Tas ir pamats tolerancei (Meikne, 1998, 93). Saistb ar msu ptjuma priekmetu tiek akcenttas izvles iespjas pusaudu emocionlo reakciju aspekt. rzems ptjumus d aspekt veicis mzikas psihologs V. Koneni. Vi prezent ptjumu par emociju izraisanu mzik. Autors piedv Prototypical Emotion-Episode Model turpmk PEEM un Aesthetic Trinity Theory turpmk ATT, kur paustas atzias par to, ka saviojums, esttisk bijba, ko parasti pavada trsas, vartu bt vispatieskie un dzikie ar mziku saisttie emocionlie stvoki (Koneni, 2008). Tiek izvirzts hipottisks piemums, ka pastv mzik pausto emociju un dabisko emocionlo stvoku mijsakarba. Prasba pc eksistencils drobas atir pozitvs emocijas no bailm, bet ir viena kopuma daas: esttisk reakcija apvieno trsas ar prieku, turpret trsas tiek prdzvotas ar tad, kad ir bstamas situcijas. Katr gadjum ermea fizioloisk reakcija tiek uzskatta par emocionl prdzvojuma augstko lmeni. 1.attls
Notikums (piemram, aizvainojums, apspiests mris) no socil vai asocil rj avota, vai agrk noti kuma attloana caur izziu Uztvere/ Interpretcija Atribcijas procesi, ieskai tot normatvu novrtjumu persongaj un kultras kontekst Uzbudinjums Ierosme + vai x Sejas muskulatra + vai x rjie un iekjie centr tieces signli Emociju apzmana Iekjo stimulu prraudzana: iekjo un rjo (noti kums) stimulu integrcija; uzvedbas rezulttu novrtjums Uzvedba 1 (piemram, agresija) Uzvedba 2 ... Uzvedba n

Atbildes uzvedba

Prototypical Emotion-Episode Model (Koneni, 2008) Picture 1 Prototypical Emotion-Episode Model (Konechni 2008) Veidojot PEEM modeli, autors uzskatja, ka emocijas var bt dinamiskas un atgriezeni skas, ar fizioloiskiem, mmikas un motorikas komponentiem. Emociju papildus pabas ir to asums un to augsts fizioloisks un psiholoisks lmenis. Saviojums, kas izpauas k ermea trsas, pavada esttisko reakciju Esttisk reakcija iekauj sev gan prieku, gan skumjas kop ar saviojuma stvokli.
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Lai mzika vartu radt emocijas, ts ietekmei jbt savienotai ar izziu caur atmim un asocicijm, kas attiecas uz rels pasaules notikumiem (Koneni, 2008). Mzikas psihologs V. Koneni atzst, ka ir tie un pastarpint mzikas iedarbba uz garastvokli, kustbm, uzvedbu, piemram, kjas piesiana. Sejas izteiksmi un fizioloisks atbildes var paas par sevi izraist atmias un asocicijas un td veid radt emocijas (Koneni, 2008, 115).

2. attls Attiecbas starp dadm emocionlajm, pseidoemocionlajm un bez emociju atbildm uz mziku (Koneni, 2008) Picture 2 Relations among different emotional, pseudoemotional and unemotional responses to music (Konechni 2008) Pastv iespaidgs muziklo ldzeku daudzums, ar kuru paldzbu var izteikt un attlot nemuziklus, emocijm pilnus notikumus un procesus. Skaas, kas ir organiztas k mzika, var izraist pamatu daudzveidgm klaustju atbildm, kuru vairums ir skaidri neemocionli vai pseidoemocionli. Saviojums dareiz ar kamolu kakl, asarm vai trsm mdz bt neaizmirstamkais un dzikais ar mziku saisttais subjektvais stvoklis. Saviojums ir rets stvoklis, un jo retks tpc, ka klausans vide ir t, kas paldz mzikai bt augstk lmen un pacelt atbildes reakciju ldz esttiskai bijbai, esttiskai reakcijai. Prieks, skumjas, dusmas un bailes pards, atbildot uz mziku. Fizioloisks atbildes, ieskaitot kjas piesianu, dejoanu, svilpoanu ldzi mzikai, trsas eit tiek uzskattas k pseidoemocionlas atbildes. Asaras tiek uzskattas par saviojuma stvoka gadjuma rakstura aspektu. Ir ar nordts, ka esttisk reakcija, saviojums un pamatemocijas var pardties un vairum gadjumu t ar notiek bez mzikas ietekmes. Ttad zintniskos nolkos var noteikt faktorus, kas ietekm emocionlo prdzvojumu mzikas iespaid. Tomr prakse liecina, ka reakcija uz mziku, k drebui jeb trsas, ir individula. Uzdrkstamies apgalvot, ka to paanalzes rezultt grti prognozt, jo emocionls reakcijas ietekm daudzi socili, sadzviski, emocionli momenti jebkuram no mums, pai pusaudu vecumposm.

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3. attls Emociju izpausmes mzik (Koneni, 2008) Picture 3 Expressions of emotions in music (Konechni 2008)
Emocijas Dusmas Bailes Prieks Skumjas Akustiskais skanjums tra runa/temps, augsta balss intensitte/skaas lmenis, oti augsts frekvences lmenis, trs dziedanas skums/skaas taka. tra runa/temps, zema balss intensitte/skaas lmenis (izemot paniskas bailes), oti zems frekvences lmenis. tra runa/temps, vidji augsta balss intensitte/skaas lmenis, vidji augsts frekvences lmenis. Lna runa/temps, zema balss intensitte/skaas lmenis, zems frekvences lmenis.

Mzikas mcbu proces, saglabjot emocionalitti, nepiecieama ar zintniski racionla pieeja, lai pusaudi skaidrk izprastu mzikas teorijas jdzienus, skadarba uzbves principus, dziesmas melodisko veidojumu. Mzikas stundas elementi pamatskolas klass ir: mzikas klausans, muzicana (skanoo estu vai instrumentls pavadjums, ritma vingrinjumi, dziedana pc dzirdes un / vai pc notm, Praktiski tiek izvrtta rel situcija Juglas pamatskol no 5. ldz 9. klasei. Secinm, ka eksist emocionls attstbas atirbas zniem un meitenm. Mzikas stunds nepiecieama o atirbu respektana, lai apmierintu pusaudu aktuls vajadzbas pc paizteikans, sas niegumiem, drobas un brvbas sadarbb. Emprisks ptjums: pusaudu emociju atpazanas veicinana. Mris veicint pusaudu izpratni par savu un citu emocijm mzik. Ptjum piedaljs 160 pusaudi no 11 ldz 16 gadiem. Uzdevums rakstsim vstuli sev par to, kdas emocijas un vai vispr msos izraisa mzika. Tabul tiek salikts pusaudu viedoku apkopojums, nemainot pusaudu rakstbas stilu. 4. attls Emocijas mzik Picture 4 Emotions in music

Meitenes Emocijas ir pozitvas. Aizmirstu visu apkrt esoo. Mziku klausos pc garastvoka. Kad esmu bdga, klausos kaut ko jestru. Biei dziedu ldzi. Emocijas skaidrot klasisk mzik ir grtk. Klasika ir oti bagta. Patk aikovskis. Bahs neaizrauj it nemaz. Klasisk mzika ir paliekoa vrtba, bet mainga emociju zi. Paldz relaksties, nomierinties, iejusties, iedziinties darb. Klausos zmjot. Izjtu ritmu, atkarb no dzies mas. Dziesmas temps nosaka darba trumu. Jtoties labi, klausoties mziku, prieks vairojas. Mzikas no mierina, uzmundrina, liek justies daudz labk. Katram gadalaikam, svtkiem ir sava mzika. Klausos visus stilus. Mirkos, kad cilvks grib palikt vienatn, no mzikas neatsakos. Mzika sniedz patvrumu. Ritms uzmundrina. Mzika ir daa no katra cilvka dzves.

Zni Klausos uzmundrinou mziku, kas noskao mani, piemram, sporta splm. Iegstu pozitvu devu sa vam garastvoklim. Bros, kad vlos atslbinties vai prdomt dzvi, izvlos orestra vai klavieru mziku. Klaviersple paldz sakopot savas domas un noskaoties darbam, jo tiei da mzika atslbina nervu nas. Klasiku klausoties var iemigt. Smag mzika ar orestri. Tdas nav daudz un iznk meklt, viss atkargs no noskaojuma. Viena un t pati mzika der gan jautram, gan skumjam noskaojumam. tri skadarbi rosina prieku. Izjtu riebumu pret tagadjo meinstrma mziku, kas skan klubos un radio. Tra sinttika. Bez jgas. Emocionlk ir ello un vijo les mzika, tie ir mani mkie instrumenti. 269

Mzika auj atbrvoties, noder meditcijai, relaksties. Dziesmas klausos no 21. gadsimta. Vokl mzika ro sina dejot ldzi. Patk reps, jo aktualiz dadus notiku mus pusaudu dzv.

Saistu ar konkrt bra emocijm. Patk klausties sevis izvltu mziku, nepatk mzika lielveikal. Ja dziesma nepatk, t var izraist negatvas emocijas un negatvi ietekmt garastvokli. No Latvijas mziiem man patk tikai retie. rzemju mziku klausos prsvar. Reps man patk vislabk. Lab noskaojum to klau Smagie gabali nepatk, tie pasliktina garastvokli. sos vienmr. Komponisti t parda savas emocijas. Mzika var apnikt piemram Ziemsvtku dziesmas, Mzika paldz rast emocionlas atbildes uz bra kuras sk skant radio mnesi pirms svtkiem. problmm. Prsvar klausos rzemju mziku, lab garastvokl Prsvar klausos roku, bet pa reizei ar klasisko mziku klausos klavieru mziku, kas liekas paciljoa. Patk un citus stilus. Jo patk dadba. Roks aizved mani cit hip hops. Klausos diezgan biei.Patk mzika ar pasaul, atraktvs bungu un itru skaas raisa man roznti. Klausos ar mcoties, jo vieglk noskaoties prieku. Ts ir emocionli visbagtks. Spju atslgties mcbm. Braucot klausos klasisko mziku, kas izved no prjs pasaules un baudt. Noder relakscijai, lai no realittes. laiks paskrietu trk. Mzika izraisa visdadks emocijas no laimes ldz Klausos roku no sedesmitajiem ldz devidesmitajiem asarm. Lai to panktu, svarga ne tikai melodija, bet gadiem. mzika jau ir izgjusi no popularittes. T ar dziesmas vrdi. Labi izpildtji ir svargi. Klasisk man izraisa eneriju un man gribas dart trakas lietas. mzik doms esmu agrkajos laikos pils ar lustrm Es to klausos vienmr, kad ir brvs brdis. Klasisko mziku neizprotu. un dejm. Klasika ir un nepazuds.

Konstatjam, ka nav lielas atirbas starp znu un meiteu viedokiem Meitenes gan vairk atzst klasisko mziku, zni roku. Konstatjam, ka mzikas emocionl izpratne pusaudiem ir jau izveidojusies. Emocijas, ko izraisa mzika, tiek saisttas ar individulo dzves pieredzi un ts izraistajm emocijm. Pilnveidojas emociju atpazana un izpratne. Lai rosintu pusaudus iepazt un vrtt savus emocionlos stvokus, tdjdi sekmjot citu emocionlo stvoku izpratni, tika veikts ptjums pc izvirzt kritrija izpratne par savm un citu emocijm. Tika izvirzti pavrtjuma kritriji un rdtji. Pusaudi veica pavrtjumu, kur iegtos datus apkopojm tabul. 5. attls Pavrtjuma vrtanas kritriji un rdtji Picture 5 Assessment indices and criteria
Emociju izpratne Izpratne par savm un citu emocijm Vienmr cenos izprast savas un citu emocijas Dareiz cenos izprast savas un citu emocijas Reti cenos izprast savas un citu emocijas

6. attls. Emociju izpratnes pavrtjums septembr un decembr Picture 6 Emotion control in September and December

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Tdjdi tika rosinta pusaudu savu emocionlo stvoku izpratne saistb ar citu emocionlajm izpausmm. REZULTTI Ptjuma rezultt tika aktualizta pusaudu uzmanba uz savu un citu emociju atpazanai saistb ar mzikas klausanos. Emociju pavrtjums sekm emocionls darbbas korekcijas, k ar citu emocionlo stvoku izpratne sekm saskarsmi un sadarbbu mzikas apguves proces. SECINJUMI Pedagoijas un psiholoijas zintnieku atziu ptjuma rezultt secinm, ka pusaudu emocionlo attstbu iespjams sekmt mzikas apguves proces. Emprisk ptjum apstiprins teortiskie piemumi, ka mzik iespjama emociju atpazana saistb ar savu emociju izpratni. Pc pusaudu pavrtjuma, izvirzot vrtanas kritrijus, pusaudu savu emociju atpazana notiek mijsakarb ar citu emocionlo stvoku atpazanu un tdjdi ar izpratni. Mzikas klausans proces tiek sekmta emocionls atsaucbas attstba.
Literatras saraksts 1. 2. 3. 4. Birzkops, J. I. (1999) Muzicana labk intelektulo spju attsttja. Rga: Zvaigzne ABC, 63 lpp. Meikne, Dz. (1998) Psiholoija mums paiem. Rga: RaKa, 166 lpp. Plotnieks, I. (1975) Prrunas par paaudzinanu. Rga: LVU, 47 lpp. Konechni, V. (2008) Does music induce emotion? A theoretical and methodological analysis. Psychology of Aesthetics, Creativity, and Arts. American Psychological Association. Vol. 2, No.2, 115 129 p.

Maruta Sle Profesore, Dr. paed. Rgas Pedagoijas un izgltbas vadbas akadmija Adrese: Imantas 7 lnija, Rga, LV-1083 Mob.tlr. (+371) 29523789 Epasts: maruta.sile@rpiva.lv Iveta Brzia Skolotja, Mg. paed. Rgas Juglas vidusskola Adrese Visvala 7 dz. 5 Mob.tlr. (+371) 26433477 E-pasts: berzina_iveta@inbox.lv

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Ginta Ptersone. Rgas Pedagoijas un izgltbas vadbas akadmijas un Emla Drzia mzikas vidusskolas ritmikas pedagoe. Studjusi Jzepa Vtola Latvijas Mzikas akadmij, papildinjusies Vnes Mzikas un izpildtjmkslas universittes Mzikas un kustbu pedagoijas institt (2007). Babtes jaukt kora Atskaa diriente, Rgas 266. PII muzikl audzintja. Izdota pasaka dzej Pasaka par Pustukti - mrausti un Vjamilzi. Vaasprieki: atraans pie da bas, dzejoana, ceoana un aktva atpta. GINTA PTERSONE Rgas Pedagoijas un izgltbas vadbas akadmija Latvija

Ritmikas mcbu metodes izmantoanas pieredze Eirop un Latvij radoas personbas attstbas veicinanai
Kopsavilkums Ievads. Raksta autore analiz ritmikas mcbu metodes vsturisko izveidoanos un ts nozmgumu radoas personbas veidoans proces. Darba mris. Aktualizt ritmikas mcbu metodi un ts vsturisko izveidi k radoas personbas attstbas veicintju. Materili un metodes. Teortisks metodes vsturisks un pedagoisks literatras studijas. Emprisks metodes pedagoisks pieredzes analze Rgas Pedagoijas un izgltbas vadbas akadmij. Rezultti. Ritmika, kur mzika, kustba un improvizcija izriet un papildina viena otru nedalm vienb, pai veicina kreatvu un daudzpusgu personbas attstbu. Ne viss Latvijas skols pielieto ritmikas metodi tai atbilstoi. Secinjumi. Ritmikas mcbu metode attsta radou personbu veselum, un tpc ar Latvij vlams ieviest ritmiku k patstvgu mcbu stundu kvalifictu pedagogu vadb, k tas ir daudzviet Eirop. Atslgas vrdi: ritmika, ritmiski-muzikl audzinana, mzikas un kustbu pedagoija.

EURhythmicS Teaching EXPERIENCE in Europe and Latvia for THE Development OF A Creative Individuality
SUMMARY Introduction. Eurhythmics is an approach to music education more than a hundred years old, founded by Emil Jacque-Dalcroze. This method utilizes the expression of physical movement and musical rhythms to reinforce the concepts which affect the students perfor mance and retention of musical basics. In 1916 in his book Teaching Rhythmics Dalcroze describes a new approach where a person is presented through himself to himself. Gradually simple didactic practical movement trainings developed into artistic explorations, concerts and participation in various festivals. In 1911 Dalcroze established an arts school the Hollered school. In another half a year 127 similar schools are established in 15 states all over the world. In 1915 Dalcroze establishes Rhythmics institute in Geneva, which developed into the world
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centre of rhythmics. In 1992 an international organization FIER La Fdration Internationale des Enseignants de Rythmique (the International Federation of Eurhythmics Teachers) was founded. It is an association which gathers Eurhythmics teachers, (the majority of whom teach according to the principles of Jaques-Dalcroze), and people throughout the world interested in Eurhythmics. In 2011 Geneva will be the venue of the 35th Eurhythmics congress. Dalcrozes method is based on the unity of music and movement, a connection of the body and the spirit, fostering the development both of both the holistic personality and the creation of more pro found artistic experience. In Latvia eurhythmics as a teaching method and a subject was introduced in Latvian conservatoire in 1920 by A. Amane-Sietisone, Dalcrozes student. B. Vgnere worked at the Phonology institute using the eurhythmics approach. In 1949 E. Jrcuma introduced eurhyth mics at E. Drzi music school and developed eurhythmics methodology for Forms 1-4 and for a preparatory age group. It has become a methodological basis for next generations. Beside E. Jrcuma, S. Apine in Riga Secondary School No. 6 and M. Avotia in Riga Pedagogical School worked using this method. Yet in the Soviet period eurhythmics remained an elite method. Only during the time of the third awakening eurhythmics became popular throughout Latvia. Accord ing to general education standards, eurhythmics is not included among compulsory subjects, and the inclusion of the subject into syllabi or optional classes depends on the choice of a head master and administration. Most often eurhythmics classes are organized as dance classes with some rhythmic elements. Music textbooks offer many valuable exercises, but in most cases they are accomplished without standing up from the desk. Thus, the integration of music and movement is accomplished partly. The qualification of eurhythmics teachers differs greatly. At higher educational establishments eurhythmics is taught only at the basis of profile courses last ing one-two semesters. There are also self-training methods and further education. As a result the content of teaching eurhythmics as a subject differs greatly. Nevertheless, creative teachers develop their own programs, tests, innovative pedagogical methods and approaches. Yet many teachers lack skills and needed approaches. The aim of the study is to attract attention to the implementation of eurhythmics methods in Latvia schools, to develop study programs for the teachers of eurhythmics, to of fer integrated studies of music, art of movement and improvisation, further implementation of eurhythmics didactics and methodology into practice. Materials and methods. The analysis of the literature and teaching experience. Results. Assessing the average situation of eurhythmics in Latvia schools, we can divide all the schools into the following groups. 1. The schools teaching eurhythmics according to the main idea of this training method. 2. The schools considering eurhythmics as a subject, but teaching it only partly. 3. The schools where eurhythmics is included into the syllabus, but its content is not im plemented according to the main task of the subject. 4. Eurhythmics as a subject is not included into the syllabus, but a music teacher involves the rhythmic elements into music lessons very skilfully. 5. Eurhythmics as a subject is not included into the syllabus and a music teacher superfi cially teaches eurhythmics in music lessons and does not implement the elements of the eurhythmic approach. Conclusions. Eurhythmics should be introduced into the general education curriculum, as it develops a holistic feeling of rhythm, comprehension of music, movement coordination, cognitive abilities and creative imagination. Eurhythmics is an approach to music education taught by play with the help of music, movement, language and by various games addressing learners in a simple, whole and diverse way. Such lessons develop and enrich people of any age,
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maintain bodily and mental health, and foster creativity. In Latvia no professional academic eurhythmics teacher training program at the higher education level is developed yet. At RPIVA eurhythmics is implemented at a profile course extent during two semesters providing basic knowledge on rhythm, metre, skills to analyze by ear music compositions, training coordination abilities, attention, speed of reaction, musical hearing, memory, developing creative imagina tion and its expression by movement improvisation, revealing how to pass knowledge to learn ers of various age groups. Nevertheless, the training compressed in terms of teaching period is left without any consolidation stage. To arrange eurhythmics in Latvia education context and to approximate it to the European practice, it is necessary to develop a higher professional study program Music and Movement Pedagogy or Eurhythmics in Latvia. Key words: holistic personality, music and movement pedagogy, eurhythmics, eu rhythmics teaching method. Ievads Ritmikas mcbu metode ir jau vairk nek 100 gadus veca, un ts dzimanas preczu gada skaitli ir grti nosaukt, jo ts izveidotjs Dalkrozs (1865-1950) splanos ar ritmu savs mzikas teorijas stunds envas konservatorij ska ieviest pamazm, ldz t intuitvu pedagoisku mekljumu rezultt attstjs par veselu kompleksu apmcbas sistmu. Strddams envas konservatorij par harmonijas un kompozcijas pedagogu, vi daudzkrt sastaps ar studentiem, kuri nespja izpaust savas mksliniecisks spjas nevis muziklu dotbu trkuma d, bet gan tpc, ka nespja fiziski atraisties un atvrties muzicanai. Dalkroza eurika notika pavisam nejaui, kad vi ar ce sastapto studentu, jautri alodami, devs vien virzien un mesj aks ska rotaties ar sooanas trumu. Students nevilus piemrojs sava skolotja gaitai. Sou dunoa un lietus pakana skanja k savdabga mzika, kuras ietekm sarunas veds vl interesantkas un dzikas, un tas atraisja un atbrvoja ne tikai saspringtos muskuus, bet ar spju radoi domt un preczi iz teikties. Kustb atbrvotais ermenis kuva k sklis, kur caur katru nervu nu un muskuu iedru uzsca sev gan sou ritmisko, gan dabas troku veidoto muziklo elpojumu. Sa vas 1916.gad izdots mcbu grmatas priekvrd Dalkrozs raksta: Pirms desmit ga diem, kad es ritmisku vingrinjumu ce nokuvu pie jauniem audzinanas pamieniem, protams, vl pilnb neapzinjos atkljuma rezulttu, kur sastv no t, ka btb cilvks caur sevi pats sev tiek uzdvints Es ieraudzju nepiecieambu attstt ne tikai skolna dzirdi, bet padart to mkslai saprotamu praktiski vl pirms teorijas mcanas. Ievrojot labos pankumus pie pieauguajiem, pie sevis nodomju, cik gan labi ie mani dzirdes attstbas vingrinjumi vartu darboties ar pie brniem. Brni visu uztver vl svaigi, viu smadzenes nav nosprostotas ar kaut kdiem prtojumiem un piemumiem par pamatlietu krtbu, kas oti biei kav msu vispersoniskko atvranos. Es atvru kursus brniem, un man uzreiz kuva skaidrs, ka nepietiek attstt tikai dzirdi, lai brni iemctos mziku atklt un iemlt, bet apmcb jpielieto kustba. Jutekliski visiedarbgkais mzikas elements ir ritms. (1916). 1910. gad lielrpnieki V. un H. Dorni piedvja finansilu atbalstu specilas rit mikas skolas celtniecbai Hellerav, Drzdenes pievrt, kura 1911. gad ar uzska savu darbbu. Dalkroza idejas vja trum izplatjs vis pasaul, un drz vien jau bija 127 das skolas 15 valsts, tostarp, ar Krievij un Amerik. Dalkrozs Pirm pasaules kara laik bija iesaistjies pacifistu kustb, protestjot pret Reimsas katedrles bombardanu, k rezultt viam tika aizliegta iebraukana Vcij. Vi vairs nevarja turpint darbu sav Helleravas skol un nodibinja Ritmikas instittu env, bet trsdesmitajos gados nacistiskaj Vcij
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via populr ritmisk vingroana k mies un gar harmoniskas personbas veidoanas pa mats tika pielietota nacionlsocilistu un jaunkareivju nometns vl krietni pirms Otr pa saules kara skuma. Dalkroza vrda popularitte briem pilngi neadekvti tika saistta ar iem riea tla veidoanas ldzekiem. Pilngi paradoksli, bet iespjams, ka tpc Dalkroza slava pc Otr pasaules kara bija nedaudz pieklususi gan austrumos, gan rietumos. Toties via audzki jau vairks paaudzs kopa ritmisks audzinanas metodi tikpat neatlaidgi. 1915. gad Dalkrozs atvra Ritmikas instittu env, kas joprojm ir Dalkroza muzikli ritmisks audzinanas metodes jeb Ritmikas centrs pasaul. obrd s metodes skolu tkls iestiep jas pilngi visos kontinentos, ieskaitot ziju, friku, Austrliju un Dienvidameriku. 1992. gad Helleravas simpozij sadarbb ar envas Dalkroza instittu nodibinjs starptautisk organizcija FIER / The FEDERATION INTERNATIONALE des ENSEIGNANTS de RYTHMIQUE Starptautisk ritmisks audzinanas federcija /, kas kopj un attsta Dalkroza metodi vis pasaul. (Ptersone, 2007). 2007. gad env notika jau 34. starptautiskais rit mikas kongress, bet 2009. gad Vnes Mzikas un izpildtjmkslas universittes Mzikas un kustbu pedagoijas institts, atzmjot Vnes Ritmikas studiju 50 gadus, organizja Eiropas Ritmikas kongresu. 2011. gad paredzts nkoais FIER organiztais kongress env un 2012. gad Eiropas Ritmikas kongress Bern. Dalkroza metodes izplatbas trums un jau gadsimtu ilg noturba apstiprina ts nodergumu un aktualitti. 1916. gad Dalkroza izdotaj mcbu grmat RITMIKA / Methode Jaques-Dalcroze Die Rhythmik / titullap ir nordts, ka t ir mcba par ritmisku un metrisku instinktu, plastiskas harmonijas izjtas, kustbu ldzsvara attstanu un stjas noregulanu. Dalkrozs neprtraukti attstja savu metodiku un izdeva veselu virkni dadu mcbu materilu, kurus vlk apvienoja ses das, kas kopum ar veidoja DALKROZA ME TODI RITMA UN SKAKRTISKS IZJTAS, K AR DZIRDES VEIDOANAS ATTSTBAI. 1. daa: Ritmisk vingroana. Ritmika (2 sjumos). 2. daa: Nou sistmas studijas. 3. daa: Tou veidoana un tou veidi, frzjums un skau nokrsas (3 sjumos). 4. daa: Intervli un akordi. 5. daa: Improvizcija un klavieru pavadjums. 6. daa: Iedzvint plastika (2 sjumos). Dalkroza metodes pamat ir mzikas un kustbas vienotba, ermea un gara saplsme, kas veicina ne tikai personbas visprju attstbu, bet ar padziintka mkslinieciska ldzprdzvojuma radanu ne tikai klausoties mziku, bet ar vrojot tlotjmkslas darbus un iedziinoties literraj dairad. Dalkrozs uzsver: stam pedagogam btu jbt ne tikai cilvka dvseles un ermea przintjam, bet vienlaicgi ar mksliniekam. Pilntiesgam pilsonim pc izieanas no skolas vajadztu ne tikai dzvot normlu dzvi, bet ar spt sniegt dzvei pret savu persongo izjtu. Viam vajadztu ne tikai paam dzvot du izjtm bagtu dzvi, bet piln mr dot iespju dalties ar to ar citiem.....Audzinan btu jdom, par to, lai intelektul un fizisk attstba ietu roku rok, un es pastvu uz to, ka Ritmika piedv du dubulti labvlgu ietekmi (Dalcrose, 1916).
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Dalkrozs kustbu pamienus eksperimentli pielietoja ar mri labk izprast atskaojamo mzikas materilu: saprast un izjust muzikl skadarba izteiksmes ldzekus: melodiju, ritmu, tempu, dinamiku, mzikas raksturu u.c. Mzikas iespaid inicit kustba atraisa tlainbu un improvizcijas prieku, kas ir kreativittes pamats. Pc tam citos, rji statiskos darbbas procesos notiek atgriezenisk saite: caur ermea neiromuskulrs darbbas rezultt iegto prdzvojumu un atraisto tlainbu smadzenes turpina analizt jebkuru procesu daudz visaptverok, emocionlk un dzik. Vstul Annai Amanei Sietisonei Dalkrozs ir uzsvris, ka Ritmika nav tikai rja daiuma, izturans un elegances skola, ka t nav ar deju skola un ts nolks nav tikai mct soot un estikult noteikt taktsmr, t neiedvesmojas ne no kdas plastikas un ar neuzskata mziku par vienkru pavadjumu rjiem esttiskiem efektiem; - t ir audzku iekjs izgltbas spontns izpaudums, kur atspoguojas gan katra temperaments, gan katra spja o temperamentu izsmalcinti un disciplinti pakaut mzikai, kur savukrt sastopas viu jtas, tieksmes pc idel un fantzijas spki. Lai tas t vartu notikt, vispirms jmcs o mziku atvrt un taj iedziinties ldz pamatiem. Ritmikas mris ir nodibint tieus un tuvus sakarus starp ermeni un gara dzvi, ldztekus audzinot nervu sistmu un gribu (Dalcrose, 1916). Darba mris Darba mris ir aktualizt ritmikas mcbu metodes vsturisko izveidi un ts relo pielietojumu praks k radoas personbas attstbas veicintju. Ar o refertu vlos piesaistt uzmanbu ritmikas metodes pielietojuma problmm Latvijas skols, k ar nepiecieambai veidot ritmikas pedagogu studiju programmas, kurs tiktu piedvta integrta mzikas, kustbu mkslas un improvizcijas apguve, ritmikas didaktika un metodika atbilstoi Eiropas vadoajm Ritmikas augstskolm. Materili un metodes 1920.gad Jzepa Vtola jaunizveidotaj Latvijas konservatorij ritmika bija viens no svargkajiem mcbu priekmetiem, un to vadja Dalkroza audzkne, izcilo dziedtju P.Jurjna, P.Saksa u.c. koncertmeistare A. Amane-Sietisone (1888 1952). Pirms Latvijas brvvalsts laik dibinjs vairkas privts mzikas un ritma skolas. B. Vgnere (1903 1990), atgriezusies ar imeni no Maskavas, kur guvusi izgltbu Maskavas ritma institt (kas tika izveidots pc Dalkroza skolas parauga 1912. g.), piedaljs tva E. Vgnera (1850 1933) Fonoloijas institta darb k kustbu pedagoe, vlk ar pati izveidoja savu skolu (Ezermale, 1999). E. Jrcuma (1911 2008), studjusi pie Dalkroza skolnieces M. Vigmanes, 1949. gad ritmiku ieviesa jaunizveidotaj Emla Drzia mzikas skol un sastdja ritmikas metodikas un praktisku vingrinjumu krjumus mzikas skolu sagatavoanas un 1. 4. klau audzkiem. Veidojs dadas skolas un atzari ne tikai Latvij, bet ar vis pasaul, un tds ar bija Dalk roza aicinjums: pieiet via metodei radoi. Gan M. Montesori (1870 1952), gan Krlis Orfs (1895 1982) savm sistmm par pamatu ma Dalkroza ideju par improvizcijas spju attstanu k kreativittes pamatu, kas izpauds gan kustb, gan elementr muzican. Dalk rozs veidoja ar lielus kustbu uzvedumus un ar tiem uzstjs dados festivlos vis Eirop. Dalkrozu var daji uzskatt par modern baleta tvu, jo tiei skot ar via idejm: brvi kus toties atskaots mzikas ritm un instinktvi paaujoties uz savu neiromuskulro izpausmi, spontni veidojas visprsteidzoks un netradicionlks horeogrfijas. Tikpat nozmgi ir ar tas, ka via idejas ir pamat gan mzikas, gan dejas un kustbu terapij (Witoschynskyi, 2006). Lai mkslinieciskais rezultts btu emocionli piestints un patiess, svarga ir ermea un gara saplsme, ko ms jebkur patiesb ar gaidm, vrojot jebkdu mksliniecisku procesu.
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Tomr pckara Latvij ritmika bija un palika tikai k elitrs mcbu priekmets. 70. gados tas tiek ieviests Rgas 6. vidusskol mzikas novirziena klau audzkiem, un to vada skolotja S. Apine. Ritmikai garkas tradcijas ir ar RPIVAS priektec: Rgas Pedagoijas skol, kur to ilgus gadus vadja M. Avotia, kas ir vairku ritmikas grmatu autore un ir rakstjusi pro mocijas darbu par ritmiku (Avotia, 1998). Runjot par ritmikas celmlauiem Latvij, jizce L. Jrcumas devums. Via ir izveidojusi Ritmikas vingrinjumu krjumu 2 das un turpina savas mtes E. Jrcumas ieskto. L. Jrcuma ritmiku mca Latvijas Mzikas akadmijas studentiem un vada Ritmoplastikas pulciu Skolnu pil (Jrcuma, 2000). Padomju gados, neskatoties uz lielajiem ritmikas fantiiem un entuziastiem, bet aplkojot sistmu kopum, jsaka, ka t aptvra tikai oti nelielu audzku skaitu. K modes kliedziens t ska pardties tikai, skot ar tres atmodas laikiem, 90. gadu skum. Ritmika attsta radoi darbojoos un brvi domjou personbu. Pc Latvijas visprjs izgltbas standartiem ritmika nav ietverta obligto mcbu priekmetu skait, un ts atraans mcbu pln ir vairk vai mazk katras skolas iekj izvle. bra situcija ir tda, ka skolas o mcbu priekmetu gan ievie, bet t saturs tiek stenots oti dadi. Ritmika neizsldz deju, un deja neizsldz ritmiku. Ja deju pedagogs to przina, tad vi var veiksmgi apvienot s abas sfras, un mzikas skolotjs mzikas mcb, turpinot gan teortiski, gan praktiski pilnveidot izpratni par metroritmu, nostiprina ritmikas stund gts iemaas. Tdejdi tiek stenots integrts mcbu process un iegts pras mes un iemaas kst vl dzikas. Gan I. Vilkrses un I. erpinskas, gan Laimas Las manes integrtajai 1. 4. klau apmcbas sistmai Ar gudru ziu... veidotajm mzikas mcbu grmatm varam veltt daudz atzingu vrdu par dado ritma vingrinjumu ievieanu katr mzikas stund. Tomr t ir tikai ritmikas elementu izmantoana. Mcot ritmiku Rgas Pedagoijas un izgltbas vadbas akadmijas profesionlajs bakalaura studiju programms Deju un ritmikas skolotjs un Mzikas skolotjs pilna un nepilna laika studentiem, ar jau praktizjoiem pedagogiem, esam nonkui pie atzias, ka skols stenot ritmikas priekmeta saturs ir oti dads, toties radoam pedagogam ir iespja paam veidot savu programmu un izmint jaunas pedagoiskas metodes un pamienus. Tomr daudziem pedagogiem pietrkst prasmes un vajadzgo iemau. Rezultti Izvrtjot kopjo ritmikas situciju Latvijas skols, var iedalt: 1. Skolas, kurs notiek ritmikas stundas atbilstoi s mcbu metodes pamatidejai. 2. Skolas, kurs ritmika skaits k mcbu priekmets, bet tas tiek stenots tikai daji. 3. Skolas, kurs ritmika ir stundu pln, bet ts saturs netiek: stenots atbilstoi mcbu priekmeta pamatuzdevumam. 4. Ritmikas mcbu priekmeta mcbu pln nav, bet mzikas skolotjs mzikas stunds oti prasmgi izmanto ritmikas elementus. 5. Ritmikas mcbu priekmeta mcbu pln nav, un mzikas skolotjs paviri veic ritma mcbu mzikas stunds un neizmanto pasaul atzts ritmisks audzinanas metodes elementus. Secinjumi Pedagogs mzikas teortiis J. Joffe uzsver kompleksas metroritma apguves sistmas veidoanas nepiecieambu (Joffe, 1991). Vi norda uz dadu ievrojamu teortiu izvirztm atzim:
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Klaustjs tikai tad prdzvo ritmu, ja vi kst par t ldzautoru (B.Teplovs). Ritmam jkst par patstvgu elementu (Dalkrozs). Ritmiskums jau pats par sevi sniedz zinmu apmierinjuma sajtu, bet ritmiska dezorganizcija rada negatvas emocijas (Levi). Msdienu situcij ritmika btu ievieama visprjs izgltbas stundu pln, jo t attsta ritma izjtu, mzikas rakstura izpratni un brnu spju to attlot kustbs, radoo iztli, muziklo atmiu, orientanos telp un grup, tru kustbu uztveri un reakciju, kustbu koordinciju (Jrcuma, 2000). Ritmiski muzikl audzinana ir rotaveida mcans ar mzikas, kustbas, valo das un dadiem sples materilu ldzekiem, kas uzrun brnus vienkri, viengabalaini un daudzpusgi (Witoschynskyi, 2006). Ritmikas metode tiek plai pielietota Polij. Tur viss mzikas augstskols ir atsevia Ritmikas nodaa, un t atrodas programmu piramdas pa virsotn, to nozmbas zi pieldzinot simfonisk orestra dirientu un komponistu programmai. Visos Polijas brnudrzos muzikl nodarbba notiek k ritmikas stunda. Latvijas pirmskolas iestu muzikls audzintjas ar lie to dadus ritmikas pamienus, bet tiem atvltais laiks vartu bt lielks. Poznaas Mzikas akadmijas ritmikas pedagogi veikui saldzinous ptjumos par ritmikas ietekmi visprj attstb. Tiem, kuri ar ritmiku nenodarbojas, attstbas rdtji ir krietni zemki. K galve nais kritrijs ir augsts radouma lmenis un koordinciju spju paaugstinans (Ptersone, 2007). Ritmikas gala produkts ir radoa paizpausme, kas tiek stenota ar kustbas, mzikas un emocionls atsaucbas vienotbas rezultt atrastu tlu, sietu un asociciju kopumu un spju to vienreizj veid stenot mksliniecisk prieknesum. Ritmik attstt kreativitte tiek prnesta ar uz citm darbbas jomm un caur izkopto sensomotoriku veicina matemtisko spju paaugstinanos un spju pieemt netradicionlus lmumus. Konkrti empriskie ptjumi Latvijas skols btu vl veicami. Latvij profesionla akadmiska Ritmikas skolotju apmcbas programma otraj augstks izgltbas lmen vl nav izveidota. RPIVA ritmikas nodarbbas stenojas pro filkursa apjom, kas notiek divu semestru ietvaros. Pabeidzot ritmikas kursu, tiek iegtas pamatzinanas ritma un metra mcb, iegta prasme pc dzirdes analizt mzikas skadarbus un to formu, trentas koordincijas spjas, uzmanba, reakcijas trums, muzikl dzirde un atmia, attstta rado iztle un ts izpaudums kustbu improvizcij, k ar apgta me tode, k to tlk iemct dadu vecuma posmu auditorijai. Lai cik godprtgi abas puses ar neiesaisttos aj proces, tomr apmcba laika zi sank saspiesta un sasteigta un tai trkst nostiprinanas posma. Pie diem nosacjumiem ir neiespjami sagaidt, lai ritmikas pedagogs sptu prvaldt klavieru vai cita instrumenta spli un improvizciju, przintu stjas izkopanu un dadas kustbu tehnikas, sptu bt vienldz spilgts gan ermenisk izpausm, gan ar mzia interpreta lom, par ritmisks audzinanas metodes zintnisku izptes procesu nemaz nerunjot. Maz ir mcbu literatras latvieu valod, kur btu iztirztas ritmikas mcanas metodes un didaktika atbilstoi msdienu apstkiem. Prsvar ir tikai praktisku vingrinjumu krjumi. Nepiecieams attstt empriskus ptjumus par to, cik lielu iespaidu tiei ritmikas metode atstj uz izzias procesa attstbu, uzmanbas noturbu, atmiu, koordincijas spjm, iekauanos socilaj vid un kreativittes veicinanu. Lai sakrtotu ritmikas nozari Latvijas izgltbas kontekst un to tuvintu Eiropas prak sei, ar Latvij nepiecieams izstrdt augstko profesionlo studiju programmu Mzikas un kustbu pedagoija jeb Ritmika / Eurhythmik.

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Literatras saraksts 1. Avotia, M. (1998) Muzicana k labk intelektulo spju attsttja. Rga: Liesma, 77lpp. 2. Birzkops J. (1999) Ritmika laiku lokos. Maistra diplomreferts, vad. doc. I.Saulte. Rga: JVLMA, 53lpp. 3. Dalcrose, E.J. (1916) Die Rhytmik, 1Band. Lausanna: Verlag von JOBIN & Cie, bei Breitkopf & Hartel, Leipzig, 64S. 4. Dalcrose, E. J. (1916) Die Rhytmik, 2 Band. Lausanna: Verlag von JOBIN & Cie bei Breitkopf & Hartel, Leipzig, 116S. 5. Ezermale, G. (1999) Ritmika skumskol. Rga: Zvaigzne ABC, 152lpp. 6. Jrcuma, L. (2000) Vingrinjumi ritmik, 1.daa. Rga: Raka, 127lpp. 7. Joffe, J. (1991).Dzirdes laikmra komponenta attstba un Muzikls dzirdes attstbas cei. Rga: Zvaigzne, 58.78.lpp. 8. Ptersone, G.(2007) E.aka-Dalkroza ptjums Ritmika; t turpinjums un iedzvinjums praks. Maistra diplomreferts, vad. Mg.pead. doc. Laima Lasmane. Rga: JVLMA, 95lpp. 9. Witoschynskyj, E., Schindler, G.,Schneider, M. (2006) Erziehung durch Musik und Bewegung. Wien: OeBV Paedagogischer Verlag GmbH, 108S.

Lektore, Mg.art. Ginta Ptersone Rgas Pedagoijas un izgltbas vadbas akadmija Adrese: Rgas iela 15-53, Pii, Babtes pagasts, Babtes novads, LV-2107 Tlr. +371 29100755 E-pasts: gintapetersone@inbox.lv

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Dzintra Erliha. 2007. gad esmu absolvjusi JVLMA maistrantru, prof. Ara Zandmaa klavieru klasi. Sav pianistes darbb nozmgu vietu atvlu 20. / 21. gadsimta latvieu un franu mzikai esmu spljusi to solokoncertos gan Latvij, gan rzems. Kop 2007. gada studju JVLMA doktorantr; promocijas darba tma Lcijas Gartas kamermzika: vsturiskais konteksts un vieta atskaotjmksl (vadtja Dr. art. Baiba Jaunslaviete). Vaasprieki gleznoana un ceoana. DZINTRA ERLIHA Jzepa Vtola Latvijas Mzikas akadmija Latvija

LCIJAS GARTAS SOLODZIESMU INTERPRETCIJA 20. / 21.GADSIMTA ATSKAOTJMKSLAS TENDENU KONTEKST

Kopsavilkums Ievads. Lcijas Gartas solodziesmu atskaojuma vsture aptver gandrz 90 gadu. Taj spilgti atkljas daudzu ievrojamu interpretu rados personbas. Darba mris. Raksturot galvens tendences L. Gartas solodziesmu interpretcij. Materili un metodes. Izmantoti L. Gartas solodziesmu nou materili, skau ieraksti, mzikas kritikas atsauksmes un zintnisk literatra. Darba metodes: nou teksta un skau ierakstu analze, k ar literatras studijas. Rezultti. Ptjums bagtina priekstatus par latvieu dziedtju personbm un latvieu atskaotjmkslas evolciju. Secinjumi. Iezmtas vairkas pctecbas lnijas latvieu vokls mkslas vstur. Atslgas vrdi: Lcija Garta, solodziesmas, interpretcija

Interpretation of Lcija Garta vocal miniatures in context of main performing arts during 20./21. century
SUMMARY Introduction. One of the brightest expressions of creative individuality in music of all eras has been the performing arts within its borders not only the composers, but also in terprets personalities are revealed. Especially rich material for comparison is given by music, to which interpreters of several generations have turned in the course of many decades. Such music was created also by Lcija Garta (1902 1977), the first outstanding Latvian woman composer, a bright representative of national romantism. Aim of the study is to characterise the main tendencies in the interpretation of solo songs by L.Garta in order to encourage comprehension of potential performers and other inter ested about them and about several essential aspects in the history of Latvian performing arts. Materials and methods. Among the range of materials used in the article there are published music sheets of Lcija Garta and unpublished manuscripts of songs, sound record ings, references of music reviewers and theoretical literature.
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The main methods: study of literature sources, analysis of music text and sound recordings of Gartas solo songs. The first part of the article includes a historical survey about the performance of L.Gartas vocal chamber music starting with the first generation of interpreters (20s30s of the 20th century) till contemporary artists. The second part of the article offers a comparative analysis of different interpretations. Recordings of Lcija Garta herself (piano) and Milda Brehmane-tengele (soprano) have a characteristic rubato principle and relaxed even improvisational attitude towards a musical text. It manifests first of all in piano introductions created by L.Garta, but afterwards also in the singing of the soloist M.Brehmane-tengele, where she, encouraged by an accompanist, often includes significant pauses and fermatas. In performance of the artists of the following generations we can observe two tenden cies. The first one in its broad sense is represented by the artists of a romantic trend who prefer a free manner of interpretation, rich in spontatuous turns (singers Ingus Ptersons Meitn, manu meitent, Aivars Krancmanis Tautai). The other style I will conditionally define as academic. It has a characteristically strictly followed musical text of notation, a very precise treatment of rhythm and different strikes, levelled, not so contrasting dynamic; rubato, moreover mini mal, limited to only tempo digressions, which the composer herself offers in the musical text (singer Krlis Zari and pianist Inta Villerua Meitn, manu meitent, Lieti; singer Anda Martina; pianist Dzintra Erliha). The differences between the two styles of performance are determined not only by the characteristics of creative personalities, but also by the influence of performing school Russian (romantic rubato) or French (academic style). Comparing the choice of tempi in performance of artists of different generations, it is possible to note a general tendency: contemporary artists mostly choose faster tempi than L. Garta herself and her partner M. Brehmane-tengele. It is proved, for example, by the com parison of performances of Aij dziesmia by singers M.Brehmane-tengele (1957) and A. Martina (2009). In many cases still the variety of tempi is influenced not only by generation differences, but also the creative temperament of the artist. For example, both representatives of romantic rubato style I. Ptersons and A. Krancmanis create digressions from the text in diametrically opposed ways. I. Ptersons singing has a characteristic tendency to pronounced accelerando (Mans sapni), which reflects the temperament and ardour of his creative handwriting. Where as A.Krancmanis singing has a characteristic slow tempo. Similarly to M.Brehmane- tengele, he loves to linger by separate intonations, reaching almost the pathos of orator. Results. For the first time L.Gartas vocal chamber music is reviewed in connection with the processes in performing arts in the period from the 20s of the 20th century till the beginning of the 21st century. It also enriches the impression about personalities of Latvian singers of different generations interpreters of her music and the tendencies of evolution of Latvian performing arts in general. Committing the survey, it was also possible to separate noteworthy differences in the treatment of aspects of L. Gartas musical language (rubato principle, tempo, dynamic). Comparing them a future interpreter will be able to choose easily the closest to his/her personality. Conclusions. The fulfilled analysis of interpretations allows to conclude that in the interpretation of Lcija Garta vocal chamber music now for the course of almost ninety years several lines of succession are drawn. The tradition of Milda Brehmane-tengele is continued in many ways by a young singer Baiba Bere similarly to that artist she has a remarkably large voice range, therefore, she has taken up the songs of the most diverse directions and moods starting with large scale Svt mla till a softly intimate Vakara
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blzm. Aivars Krancmanis and Krijnis Norvelis include in their repertoire patriotic, pow erfully large scale songs (Tautai, Ziemcieu tauta, Vtra). On this account, they can be considered the followers of dolfs Kaktis tradition. Ingus Ptersons follows the line of Pauls Sakss and Mariss Vtra: he brightly interprets L.Gartas intimate, emotionally nu anced songs with many rubato and delicately detailed composers remarks (Meitn, manu meitent, Mans sapni, Brna sirds). The development lines drawn here in many ways characterise succession in Latvian vocal art in general, not only in the treatment of L. Gartas music works. The influence of Russian and French performing school is reflected not only in the grasp of L. Gartas vocal music, but also in all Latvian performing arts. Thus conclusions drawn in the article hopefully might become a rewarding matter which would encourage larger all-embracing research of Latvian performing arts. Key words: Lcija Garta, solo songs, creative personalities, romantic style, rubato principle, academic performing style. IE VADS Vie na no ra do s in di vi du ali t tes spil gt ka jm iz paus mm vi su laik me tu m zi k ir bi ju si at ska o tj mk sla. Ts ie tva ros at kl jas ne vien pa a kom po z ci jas au to ra, bet ar in ter pre tu per so n bas vi u psiho lo is ks pat n bas, dz ves pie re dze, es t tis kie uz ska ti. Jo pa i ba g t gu vie lu sa l dzi n ju mam dod to ska ra u m zi ka, ku rai dau dzu ga du gai t pie vr su ies da du pa au du in ter pre ti. Tie i t da kom po nis te ir L ci ja Ga r ta (19021977) pirm ie v ro ja m lat vie u sie vie te kom po nis te, spil gta na ci on l ro man tis ma pr st ve. L.Ga r tas v rie n g kais darbs kan t te Dievs, Ta va ze me deg! (1943) gu vis jau starp tau tis ku at zi n bu. Ta u ce u uz kan t tes m zi kas va lo du dau dz j d zi ga ta vo ju as vi as so lo dzies mas. To at ska o ju ma vs tu re snie dzas no 20. gad sim ta 20.ga diem ldz pat ms die nm. Sa l dzi not, k L. Ga r tas dzies mas in ter pre t pa gt nes un ta gad nes dzie d t ji, va ram gt dzi ku priek sta tu ne vien par vi u ra do a jm per so n bm, bet ar par ten den cm da du laik me tu at ska o tj mk sl. DAR BA MR IS Rak stu rot gal ve ns ten den ces L. Ga r tas so lo dzies mu in ter pre t ci j, lai ro si n tu po ten ci lo at ska o t ju un ci tu in te re sen tu iz prat ni par tm un vien lai kus arpar vai r kiem b tis kiem as pek tiem lat vie u at ska o tj mk slas vs tu r. MATERILI UN METODES Ptjum izmantoto materilu klst ir Lcijas Gartas solodziesmu nou izdevumi un nepublicto dziesmu manuskripti, skau ieraksti, mzikas recenzentu atsauksmes un zintnisk literatra. Galvens darba metodes: literatras avotu studijas, L. Gartas solodziesmu nou teksta un skau ierakstu analze. 20.gs. 20. 30.gadi un 40. gadu pirm puse Pirmo L. Gartas vokls kamermzikas interpretu paaudzi prstv Pauls Sakss, Milda Brehmane-tengele, Mariss Vtra, Herta Lse un dolfs Kakti, epizodiski pards ar Kra Na, Zelmas Gothardes-Bergkindes u. c. dziedtju vrdi. Kat ram no iem mk sli nie kiem L.Ga r tas m zi kas in ter pre t ci j bi ja sa va ni a. Pie m ram, ba sam dol fam Kak ti am vel t tas gal ve no krt pla as, sp c gas un dra ma tis kas kom po z ci jas.
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Tie i .Kak ti ie v ro jams sa va lai ka oper dzie do nis bie i at ska o jis ts L.Ga r tas dzies mas, ku rs kom po nis te pr kpj ka mer sti la ie tva rus un tu vi ns or es tr li v rie n gai iz teik smei, tos tarp ar pat ri otis kas ie vir zes dar bus (Tau tai, Nes kr ts sau les sp ku, lat vi u. c.) lie la v rie na un de dz bas caur aus tus, bez traus li li ris km ni an sm. Glu i ci t das bi ja te no ram P. Sak sam uz ti c ts dzies mas No vi a s ti ie pa zi nu li ris k dzie d ju ma skais tu mu, un vi a iz pil d jums ar balss vieg lo pl du mu un smal ko ni an s ju mu ku va man par ide lu. Sak mu pa tei c bu pa r d par ma nu li ris ko dzies mu dzim a nu, lie ci na sam es kom po nis te (Stum bre, 1969). Ci ta te no ra, M. Vt ras, re per tu rs ap tv ra gan L.Ga r tas li ris ks, gan dra ma tis ks dzies mas, un vi a dzie d jums iz c ls ar kom po nis tes ra do a jai b t bai tu vu ro man tis ku aiz rau t bu. Tas pats ve cais, in te li en tais un tem pe ra men t gais Vt ra, k du to pa zi nm ag rk un ie pa z sim Oe gi na en sk, t M.Vt ras pie da l a nos L.Ga r tas 1929. ga da kom po z ci ju va ka r rak stu ro m zi kas kri ti is J. C ru lis, 1929). lis (C ru To mr k vis no z m g k un ilg lai c g k L. Ga r tas sa dar b bas par tne re j min sop rns M. Breh ma ne-ten ge le. Vi as at ska o ta jm dzies mm rak stu r ga daudz vei d ga t lai n am pli t da un teh nis ka sa re t ba; dzie do nes balss uni k lais ma te ri ls un pla ais di apa zons ro si n jis L.Ga r tu vel tt vi ai vis da d ks te ma ti kas dar bus dzies mas ar da bas (M ness lai va, Lie ti), br n bas mo t viem (Aij dzies mi a), m las li ri ku, tos tarp ar ar aus trum nie cis ku ko lo r tu (Da ne mas dzies ma). M.Breh ge le dzie d ju si gan L.Ga r tas li ris ks, gan ma ne-ten dra ma tis ks dzies mas ldz s . Kak ti am vi a vo k la j ka mer m zi k ie ne sa kaut ko no ope ras an ra. Tem pe ra ments un ne sa mie ri n m ba bi ja ts pa bas, kas iz c la vi u ci tu vi d, at ce ras pa ti kom po nis te (Stum bre, 1969). s dzie d t jas pa o lo mu L.Ga r tas dz v ap lie ci na ar k da vi as vs tu le, kas s t ta 1962. ga da 16. jan v r un gla b jas M. An der so nes va d ta j M.Breh ma nes-ten ge les pri vt mu ze j: M , dr g Mil di a. Tu jau pa te to, var bt, ne no di, par cik dau dzu, dau dzu dzies mu jau dzim a nu man Tev j pa tei cas: kaut ar Tavs vrds nav uz vi sm vi m, [..] dzies mas ska n ju mu es mu vien mr iek ji dzir d ju si t du, k tas vien rei z ji pat n j iz teik sm ir ska n jis Ta v bal s. Laik pos m ldz 40. ga du vi dum L.Ga r tas so lo dzies mu po pu la ri t ti dau dz j d zi vei ci n ja pa as kom po nis tes ak t v at ska o tj dar b ba: ko p ar dzie d t jiem vi a re gu l ri or ga ni z ja kon cer tus gan R g, gan r pus ts un pa ti sp l ja kla vier pa va d ju mus; lie l k da a so lo dzies mu pirm at ska o ta L.Ga r tas kom po z ci ju va ka ros (1926, 1928, 1929, 1933, 1943). Pre ses pub li k ci jas lie ci na, ka klau s t ju at sau c ba bi ju si o ti lie la. Re cen zents M. Brms 1933. ga d laik rak st Lat vi jas Ka rei vis no r da, ka L.Ga r tas kon cer ti sp ju i sais tt pat lie l ku uz ma n bu ne k pie re dzes ba g tu meis ta ru vei kums: [..] lat vju kom po nis tei pa r d t at zi n ba pr snie dza vi sus tos kon ser v to ri j pie re dz tos su mi n ju mus, ko se nk tik veik li pra ta or ga ni zt starp tau tis kie rek l mu spe ci. Ne maz ne pr sp l u, ja teik u, ka tik daudz zie du bal vas, ko pa snie dza Ga r tai, nav pie dz vo ju i pat da i m su m zi kas ko ri fe ji sa vs ju bi le js, bet gal ve nais ir t sir sn ba un sa js ma, ko pr pil d tais nams vel t ja lat vju kom po nis tei (Brms, 1933). In te re se par L. Ga r tas vo k lo ka mer m zi ku ne bi ja no pla ku si ar prdesmit ga dus v lk. Cil v ki st v ja di vs tri js rin ds ap krt z lei, at mi s par pc ka ra ga dos (1945 1946) r ko ta jiem L. Ga r tas un M. Breh ma nes-ten ge les (18931981) dzies mu va ka riem kon ser va to ri j lie ci na M. Breh ma nes-ten ge les pri vt mu ze ja va d t ja M. An der so ne. J pie bilst, ka ie kon cer ti bi ja p d jie, ku ros pa ti L. Ga r ta pie da l js k pi anis te kon cert meis ta re m a turp m ka jos ga dos vi a mu zi c ja vairs ti kai au r k i me nes vai drau gu lo k. L. Ga r tas kla vier sp li ko pu m var rak stu rot k aiz rau t gu, ie z m gu ar sp c gm, v rie n gm kul mi n ci jm, mk sli nie ce ldz in js ne vis vien kr ai kla vier pa va d t jai, bet so lis tei. Pro tams, ldz ar to ar dzie d ju mam bi ja j bt o ti iz teik sm gam, jo ci t di pi anis tes sp le to no mk tu. Acm re dzot nav ne jau ba, ka L.Ga r ta al la sa dar bo js ti kai ar pa iem spil gt ka jiem, emo ci on l ka jiem dzie d t jiem (jau mi n ta jiem
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M. Breh ma ni-ten ge li, . Kak ti u, M. Vt ru u. c.), ku ru per so n bas spks un deg sme lie lis ki vie no js ar pa as L. Ga r tas aiz rau t go mu zi c a nu. Pa dom ju oku p ci jas lai k L.Ga r tas m zi ka Lat vi j ska n ja re tk. Vie na no no z m g ka jm kom po nis tes so lo dzies mu sf rm re li is kas ie vir zes dzies mas, ar dau dzas pat ri otis ks dzies mas, kas sa vu laik ta pu as ar pa dom ju va rai ne v la mo au to ru A. Eg l a un L. Breik a dze ju kon cert pro gram ms ne drk st ja pa r d ties. Trim das mu zi ko logs un kom po nists L. Ap kalns rak sta: Par vis r tas brie du ma ga du vei ku miem oku p ta j Lat vi j kop trs des iem iem L. Ga mit ga diem ne drkst pat ru nt, kur nu vl rak stt. Lie l ko da u vi as no z m g ko kom po z ci ju ne drkst, pro tams, at ska ot, jo tm ir pat ri otisks un re li isks rak sturs. Par L.Ga r tu maz ru n ja ar trim d. Tie, kas sa ska t ja L.Ga r tas no z mi lat vie u m zi k, klu s ja, lai ne sa g d tu mk sli nie cei lie kas gr t bas oku p ta j R g (Ap kalns, 1977). Ta u tie i pat ri otis k un re li is k sa tu ra dzies mas L. Ga r tas vo k la j dai ra d ie z m no z m gu ni u gan m zi kas sa tu ra, gan ska sta zi . u rak T d j di pc ka ra ga du klau s t ju pa au dzei zd daudz no L. Ga r tas b t bas iz prat nes. a j lai k L. Ga r tas m zi kas in ter pre tu lo k ie kau jas sop rns . Hei ne-Vg ne re, v lk ar te no ri J. Z bers, K. Za ri, L. Dai ne, I. Tik nu se u. c. dzie d t ji; kon cert meis ta ru vi d ir V. C ru le, I. Vil le ru a, M. Sku ja u. c. Ar pc pa dom ju pe ri od L. Ga r tas vo k l ka mer m zi ka kon cert z ls skan sa m r re ti. Kas ir s pa r d bas c lo i? Zi n m m r tas skaid ro jams ar iz do to no u ma te ri lu tr ku mu pla kam in te re sen tu lo kam jo pro jm pie eja ma vien M. Sku jas vl pa dom ju lai k vei do t iz la se Dzies mas bal sij un kla vie rm (R ga: Lies ma, 1982), ku r ie tver ta sa m r ne lie la da a L. Ga r tas dzies mu (14 no pr i par 200dzies mm). Vir kne dzies mu, kas 20. gad sim ta 20. 30. ga dos iz do tas pa vie nai, ms die ns jau ir biblio gr fis ki re tu mi. Lie l k da a dzies mu jo pro jm gla b jas rok rak stos Lat vi jas Na ci on la j bib li ot k vai da dos ar h vos. L. Ga r tas so lo dzies mu ap ko po a na un iz do a na jaun kr ju m ar zi nt nis kiem ko men t riem b tu no z mgs n kot nes uz de vums. To mr ar ms die ns ir vai r ki dzie d t ji, kas spil gti in ter pre t L. Ga r tas vo k lo ka mer m zi ku vi u vi d sop r ni M. Ko va ev ska un A. Mar ti na, me co sop rns B. Ber e, te nors I. P ter sons, ba ri tons A. Kran cma nis un bass K. Nor ve lis. Vis i vi i, iz e mot M.Ko va ev sku un K.Nor vi li, at ska o ja L.Ga r tas dzies mas ar 2009. ga da 21. mai ja kon cer t Ma za j il d un o brd str d pie jaun a CD L ci jas Ga r tas ka mer m zi ka, kas nks kla j 2010. ga da s ku m. L.Ga r tas smal k, daudz aut ai n un psiho lo is ki sa re t m zi ka iem dzie d t jiem ir tu va un dv se lei rad nie c ga, ta u katrs at klj ta j k du ci tu aut ni. Lai to pa r d tu, tur pi n ju m snieg ta da du in ter pre t ci ju sa l dzi no a ana l ze. No vie nas pus es, t ie tver trs uni k lus ie ska o ju mus (Aij dzies mi a, M ness lai va, Lie ti), kas gla b jas Lat vi jas Ra di o ar h v: tos 1957.ga d vei ku as pa ti L. Ga r ta (kla vie res) un M. Breh ma ne-ten ge le (balss). No ot ras pus es, ap l ko u vai r ku turp m ko pa au du mk sli nie ku ie ska o ju mus. Sa l dzi not M. Breh ma nes-ten ge les un L. Ga r tas kop mu zi c a nu ar ms die nu mk sli nie ku snie gu mu, va ram no da lt vai r kus jau t ju mu lo kus. Pir mais no tiem at tiek sme pret no u tek stu. Br va un ra do a sa va no u tek sta in ter pre t ci ja ir b tis ka L.Ga r tas pi anis ma sti la ie z me. Ts pa ma t ir kom po nis tes no slie ce uz im pro vi z ci ju, kas jau kop br n bas, k va ram la st s mk sli nie ces at mi s (Stum bre, 1969), bi ju si vi ai tu va no dar be. Ru ba to prin cips ir o ti rak stu rgs M. Breh ma nes-ten ge les un L.Ga r tas an sam blim vi ss tri js abu ie ska o ta js dzies ms. Tas iz pau as vis pirms jau pi anis tes vei do ta jos kla vie ru ie va dos, bet pc tam ar so lis tes dzie d ju m, ku r vi a, pa va d t jas at bal st ta, bie i ie kauj daudz no z m gas pau zes un fer m tas. Ar tm iz cel tas gan sa tu ris ki no z m gas tek sta ni an ses, gan for mas un t lai ns at ts t bas ro be ir tnes. Pie m ram, dzies m Lie ti dzie do ne ie z m kul mi n ci ju (36. t.), ar tek st ne no r d tu fer m tu uz mir kli
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ap tu rot m zi kas pl du mu. Sa vu krt dzies m M ness lai va so lis te ar il gu ap st ju uz ska as mi be mol (5.tak t no bei gm) pa svt ro iz ska as no z m bu. Ja sa l dzi nm M. Breh ma nes-ten ge les un L. Ga r tas ie ska o ju mus ar tiem, ko vei do ju i n ka mo pa au du m zi i, va ram kon sta tt di vas ten den ces. Pir mo pr stv, pla no z m, ro man tis kas ie vir zes at ska o tj mk sli nie ki, kas priek ro ku dod br vai, spon t niem pa vr sie niem ba g tai in ter pre t ci jas ma nie rei. No ms die nu dzie d t jiem eit pa i iz ce ams te nors I. P ter sons, kas to po a j CD L ci jas Ga r tas ka mer m zi ka ie ska o jis L. Ga r tas dzies mas Mei tn, ma nu mei te nt un Mans sap ni: vi a mu zi c a nas stils iz ce as ar ru ba to un pla m, aiz rau t gm kul mi n ci jm, l dz gi k M. Breh ma nei-ten ge lei un L. Ga r tai. Otrs ms die nu dzie d tjs, kas lab prt lie to ru ba to, ir ba ri tons A. Kran cma nis, kur to po a j CD L ci jas Ga r tas ka mer m zi ka ie ska o jis pat ri otis ko un rei z ne mier pil no, pc da m ver si jm, sa vu laik Saei mas de pu t tiem vel t to dzies mu Tau tai (1932; teksts D li, kas dzim te nes lik te us va stk par se vi Lat vi dt, aug ju st dt..). Vi a pie d v t ver si ja ir o ti sav da b ga, dek la ma to ris ki ba g ta: lai pa lie li n tu at se vi u tek st paus to do mu sva ru, A. Kran cma nis ar iz teik sm gm pau zm sa da l jis dzies mu s k kos pos mos un t d j di sa snie dzis te ju vai ora to ra ru nai l dz gu pa to su. No kla vier pa va d t jiem, kam se vi i tuvs im pro vi za to ris kais ru ba to prin cips, var at z mt P. Pla ki di, kur ko p ar sop r nu M. Ko va ev sku 2004. ga d Lat vi jas Ra di o ie ska o jis dzies mu M ness lai va. Ot ru at ska o ju lu no sa c ti ap z m u k aka d m is k o. Tam rak stu r ga stin gr ma sti ka se ko a na no u tek stam, o ti pre czs rit ma un da du tri hu trak t jums, iz l dzi n ta, ne tik kontra stai na di na mi ka; ru ba to, tur klt mi ni mls, ap ro be o jas ti kai ar tem pa at k pm, ku ras no u tek st pie d v pa ti kom po nis te. No ve c ks pa au dzes mk sli nie kiem du at ska o ju ma ma nie ri pr stv te nors K. Za ri, kur 1971.ga d ko p ar pi anis ti I. Vil le ru u ie ska o jis L.Ga r tas dzies mas Kal n k pjs, Mei tn, ma nu mei te nt, Gr t br d, Lie ti un Draugs. No ms die sli nie kiem te j min dzie d t jas to po CD L ci jas Ga r tas ka mer m zi ka nu mk ie ska o t jas, me co sop rns B. Ber e un sop rns A. Mar ti na. Pa ti a jos ie ska o ju mos sp l ju kla vier pa va d ju mu, ko ar vei do ju no sa c ti aka d mis k sti l. Kat rai no ie priek rak stu ro ta jm in ter pre t ci jas ma nie rm ir sa vi plu si un m nu si. Aka d mis k sti la ie tva ros ne daudz ma zi ns L.Ga r tas m zi kai tik b tis k spon ta ni t te, im pro vi za to ris kas br v bas gars un emo ci on l aiz rau t ba. Ta u, no ot ras pus es, ru ba to mu zi c a na rei zm ap draud cen tie nus vei dot vien ga ba lai nu, ne sa drum sta lo tu for mu it pa i tas at tie cas uz l n tem p, me di ta t v rak stu r ie tu r tm dzies mm (Draugs, Sv t m la), ku rs pa pil dus pau zes un fer m tas var ra dt pr lie ku sta tis ku ie spai du. J at zst ar, ka im pro vi za to ris ki br va mu zi c a nas ma nie re ap draud an sam ba sa lie d t bu, jo ne vien mr starp dzie d t ju un kla vier pa va d t ju pa stv tik ide la sa ska a k starp M.Breh ma ni-ten ge li un L.Ga r tu ar per so nis ka j dz v sirds drau dze nm: ti kai sp ja uz tvert par tne ra ie ce ri jau no pus vr da, no tik ko jau a mm z mm aus vei dot ri te nu to, ac ce le ran do u. c. at k pes no pa mat tem pa. Ldz s mk sli nie ku ra do s per so n bas pat n bm ro man tis k vai aka d mis k sti la iz v li no sa ka vl otrs fak tors, pro ti, saik ne ar to vai ci tu iz pil d tj sko lu. Ro man tis ki br vais at ska o ju ma stils vai rk at spo gu o Lat vi j tra d ci jm ba g ts krie vu sko las ie tek mi. To ap lie ci na ar pa as L. Ga r tas paus tais, at ce ro ties sa vu sa dar b bu ar M.Breh ma ni-ten ge li: M su dzie d t ju priek ne sums tu vks krie vu sko las vo k la jai mk slai. Ar M.Breh ma nes-ten ge les iz pil d jums ar kat ra vr da no z mes iz cel a nu un pr dz vo ju mu bi ja rak stu rgs krie vu vo k la jai sko lai (Stum bre, 1969). Tur pre t aka d mis kais stils sak o jas fran u at ska o tj sko las tra d ci js, ku rm rak stu r ga stin gra se ko a na kom po nis ta re mar km un rit ma pre ci zi t te. Es ne v los, lai ma nu m zi ku in ter pre t tu, pie tiek, ka to sp l (, 1982), ar iem vr diem viens no 20. gad sim ta fran u kla vier m zi kas spil gt ka jiem pr stv jiem, kom po nists M. Ra vels, ir gri b jis uz svrt: lie l ka no z me vi a m zi kas at ska o ju m ir no u tek sta pre ci zi t tei, ne vis t br vam trak t ju mam (in ter pre t ci jai). Saik ni
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ar fran u sko lu ap lie ci na, pie m ram, aka d mis k sti la pr st ve pi anis te In ta Vil le ru a: pret sta t M. Breh ma nes-ten ge les un L. Ga r tas br va jam snie gu mam vi as un dzie d t ja Kr a Za ri a vei do t dzies mas Lie ti ver si ja ir rit mis ki o ti pre c za; jo pa i at i r ba ie z m jas kul mi n ci j. Te vie t at g di nt, ka 1963. 1969.ga d I.Vil le ru a Lat vi jas Valsts kon ser va to ri j ap gu vu si kla vier pa va d ju mu pie H. Brau na pi anis ta, kur 20. gad sim ta 30. ga du bei gs pa pil di n jies Pa r z un Lat vi jas pi anis ma vs tu r dau dz j d zi re pre zen t franu pianisma tradcijas. No dzie d t jiem L. Ga r tas m zi kas in ter pre tiem ti pis ka fran u sko las pr st ve ir A. Mar ti na, kas iz gl to ju sies Pa r z, S. Rah ma i no va kon ser va to ri j. Vi as snie gums dzies ms M nes n c, Mans sap ni un Aij dzies mi a iz ce as ar smal ki ni an s tu tri hu pre ci zi t ti; tas at i ras, pie m ram, no M.Breh ma nes-ten ge les br v trak t ju ma, ko tur klt vl ba g ti na no ts ne pa re dzts gli san do. J pie bilst, ka abu o mk sli nie u in ter pre t ci ja ar tem br li iz gais mo glu i da das L.Ga r tas m zi kas aut nes: M.Breh ma nes-ten ge les dzie d jums ir eks pre s vi kupls, su lgs, ka mr A. Mar ti nas ka mer sti l ie tu rts, dzidrs, ak va re lisks. At i r bas iz pau as ar di na mi kas plk sn M.Breh ma nes-ten ge les dzie d ju mam rak stu r ga pla a di na mi kas am pli t da, ku r daudz ga l j bu (dzie d t ja ne vai rs ne no pla a, sp c ga ska n ju ma, ne lie ga, traus la pp), tur pre t A.Mar ti nas di na mi kas am pli t da ir au ra, klu si n ta, to mr o ti iz teik sm ga ar sa vm smal ka jm pus an sm it pa i spil gti s ie z mes to u ni pa r ds dzies m M nes n c, kur vi a ro ta jas ar pp un ppp ni an sm. Sa l dzi not tem pa iz v li da du pa au du mk sli nie ku snie gu m, var at z mt k du vis p r ju ten den ci: ms die nu m zi i lie l ko ties iz v las tr kus tem pus ne k pa ti L. Ga r ta un vi as par tne re M. Breh ma ne-ten ge le. To ap lie ci na, pie m ram, Aij dzies mi as di vas ver si jas: M. Breh ma nes-ten ge les un L. Ga r tas va ri ants, k ar A.Mar ti nas un Dz. Er li has trak t jums. Ar a j ga d ju m abm iz v lm ir savs pa ma to jums. L n k tem p ro das ie sp ja il gk pa ka v ties pie at se vi m in to n ci jm vai har mo nis ka jm kr sm: klau so ties M.Breh ma nes-ten ge les ne stei dz go ie ska o ju mu, iet, ka te ju vai ap st jies lai ka ri t jums, un tas auj pil n b ie grem d ties p a dzies mas ie mi dzi no a j no ska . A.Mar ti na tur pre t vai rk uz ma n bas vel t ne vis dzies mas tek sta ie mi dzi no a jam, bet aina vis ka jam as pek tam, da bas sau lrie ta, me u un lau ku t lo ju mam. Tas, ie sp jams, ar no sa ka rai t ka tem pa iz v li un l dze n ku pl du mu: nav M.Breh ma nes-ten ge les dzie d ju mam rak stu r go fer m tu, ik fr ze ap tver ne vis vie nu, bet di vas tak tis. To mr emo ci on l in ten si t te a j ie ska o ju m ir ma z ka. L dz gas tem pu at i r bas iz pau as dzies mas M ness lai va ie rak st. Dau dzos ga d ju mos to mr tem pu da d bu ie tek m ne vien pa au du at i r bas, bet ar mk sli nie ka ra do ais tem pe ra ments. Pie m ram, in te re san ti sa l dzi nt di vus ms die nu dzie d t jus A. Kran cma ni un I. P ter so nu. Abi vi i ir ro man tis k ru ba to pr stv ji, ta u at k pes no tem pa vei do di amet r li pre t ji. I.P ter so na dzie d ju mam jau no pir ma jm tak tm, bet jo pa i kul mi n ci j, rak stu r ga tiek sme uz iz teik tu ac ce le ran do; ldz ar to pa va d t jam j bt pa i v r gam, lai tik tr tem p re ali z tu vis as kom po nis tes no r d ts ni an ses. Pie m ru vi d ir Mans sap ni, Br na sir dij un Mei tn, ma nu mei te nt (to po ais CD L ci jas Ga r tas ka mer m zi ka). ds at ska o ju ma veids, ba gts ar ne gai d tiem, im pul s viem iz r vie niem, at spo gu o I. P ter so na ra do a jam rok rak stam vis pr pie m to o tem pe ra men tu un de dz bu. Sa vu krt A. Kran cma a dzie d ju mam, glu i pre t ji, rak stu rgs lns temps: l dz gi k M.Breh ma ne-ten ge le, vi ml pa ka v ties pie at se vi m in to n ci jm un kul mi n ci jas, glu i pre t ji I.P ter so nam, iz ce ar pa l ni n ju mu (dzies mas Tau tai, Dzim te ne pa va sa r: to po ais CD L ci jas Ga r tas ka mer m zi ka). ds in ter pre t ci jas veids gan var ap drau dt for mas vien ga ba lai n bu, bet tai pat lai k lie lis ki iz ce vis as tek sta ni an ses, sa tu ra no z m bu un v rie nu. J pie z m, ka abi ie mk sli nie ki ar iz v las da da ti pa dzies mas: I.P ter sons dzied gal ve no krt smal ki ni an s ts L.Ga r tas dzies mas, m las li ri ku, ka mr A.Kran cma nis kom po nis tes pat ri otis ks dzies mas, kur dzim te nes t ma bie i pa r ds saik n ar da bas mo t viem.
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RE ZUL T TI Veik t p t ju ma b tis k kie re zul t ti: pir mo reiz L. Ga r tas vo k l ka mer m zi ka ap l ko ta saik n ar at ska o tj mk slas pro ce siem laik pos m no 20. gad sim ta 20. ga diem ldz 21. gad sim ta s ku mam; tas ba g ti na priek sta tu ar par da du pa au du lat vie u dzie d t ju vi as m zi kas in ter pre tu per so n bm; lai ar L.Ga r tas so lo dzies mas ap l ko tas gal ve no krt in ter pre t ci jas as pek t, to mr g ts at zi as rak stu ro ar pa as kom po nis tes ra do o b t ta ni t ti, emo ci on lo bu ts spon deg smi, aiz rau t bu; vei cot p t ju mu, iz de vies kon sta tt ar z m g ks at i r bas at se vi u m zi kas va lo das as pek tu (ru ba to prin ci pa, no u tek sta, tem pa, di na mi kas) trak t ju m; sa l dzi not to plu sus un m nu sus, n kot nes in ter prets va rs vieg lk iz v l ties sa vai ra do a jai per so n bai tu v ko. SE CI N JU MI In ter pre t ci ju ana l ze auj se ci nt, ka L. Ga r tas vo k ls ka mer m zi kas at ska o ju m nu jau tur pat vai 90 ga du gai t ie z m jas vai r kas pc te c bas l ni jas. M. Breh ma nes-ten ge les tra d ci jas dau dz j d zi tur pi na jaun dzie d t ja B. Ber e: abas s mk sli nie ces ap vel t tas ar iz ci li pla u balss am pli t du, t pc pie vr su s vis da d ks ie vir zes un no ska as dzies mm s kot no pla i v rie n gs Sv ts m las ldz pat klu si in t ma jai Va ka ra blz m. A. Kran c ma nis un K. Nor ve lis lab prt ie kauj re per tu r L.Ga r tas pat ri otis ks, spk pil ni v rie n gs dzies mas (Tau tai, Ziem cie u tau ta, Vt ra) ai zi vi us var uz ska tt par . Kak ti a tra d ci ju tur pi n t jiem. I. P ter sons tur pi na P. Sak sa un M. Vt ras l ni ju: vi pa i spil gti in ter pre t L.Ga r tas in t ms, emo ci on li ni an s ts dzies mas ar ru ba to un smal ki de ta li z tm kom po nis tes re mar km (Mei tn, ma nu mei te nt, Br na sirds, Mans sap ni). eit ie z m ts at ts t bas l ni jas dau dz j d zi rak stu ro pc te c bu ne ti kai L.Ga r tas ska dar bu trak t ju m, bet lat vie u vo k la j mk sl ko pu m. Ar ie priek iz tir z t krie vu un fran u iz pil d tj sko las ie tek me at spo gu o jas ne vien L. Ga r tas vo k ls m zi kas tv ru m, bet vi s lat vie u at ska o tj mk sl. T d j di rak st paus ts at zi as, do m jams, va r tu kt par pa tei c gu vie lu, kas nkotn rosintu ar plakus interpretcijas vstures ptjumus.
LITERATRAS SARAKSTS 1. Apkalns, L. (1977) Lcija Garta. Latvju Mzika, Nr.9, 820.829.lpp. 2. Brms, M. (1933) Ar Lcijas Gartas trausli trauksmaino, mkslinieciski radoo darbu [..]. Latvijas Kareivis, Nr. 74, 1933.gada 31.marts, 4. lpp. 3. Kloti, A. (2002) Lcijai Gartai 100. Mzikas Saule, Nr.3., 10.12.lpp. 4. Stumbre, S. (1969) Zvaigznes un zeme. Rga: Liesma, 201 lpp. 5. Vtoli, J. (1939) Mzikas vsture. Rga: Grmatu Draugs, 608 lpp. 6. , . (1982) . .3. : , 286 c. Mg.art. Dzintra Erliha Jzepa Vtola Latvijas Mzikas akadmija Adrese: Krija Barona 1, Rga, LV-1050, Latvija Tlr.: +371 29590838 E-pasts: dzintra.erliha@inbox.lv

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Laima Mrniece. Esmu Rgas Pedagoijas un izgltbas vadbas augstskolas Mzikas un deju pedagoijas katedras asocit profe sore. Mana zintnisk darbba saistta ar Latvijas komponistu un atskaotjmkslinieku rados darbbas, ar mzikas pedagoijas un msdienu mzikas kultras noriu mijiedarbbas un mijsakarbu izpti. Vaasprieki bt jras tuvum, pastaigas pa meu, apvienotas ar soanu, un aizrautga detektvromnu lasana aktvas slinkoanas bros. Laima Mrniece Rgas Pedagoijas un izgltbas vadbas akadmija Kreativittes zintniskais institts Latvija

Kreativitte k vrtba atskaotjmkslinieka profesionlaj darbb

Kopsavilkums Ievads. Atskaotjmkslinieka profesionl darbba ir neprtraukts rados process, paapliecinans un mksliniecisks patiesbas mekljumu ce. Darba mris. Atklt atskaotjmkslinieka profesionls darbbas radoumu un t btiskkos nosacjumus. Materili un metodes. Teortisko nostdu analze. Rezultti. paas spjas un talants raksturo katru izcilu radou personbu. Talants mzik ir daudzslu hierarhiska struktra kur, ldzs specilm spjm pastv plas psihisku pabu un kvalitu kopums. Secinjumi. Atskaotjmkslinieka profesionls darbbas radoumu nosaka daudzveidgu iedzimtu un attstbas faktoru noteikts talants Atslgas vrdi: Atskaotjmkslinieka profesionl darbba, spjas un talants, radoa muzikalitte, mzikas izpildjuma virsuzdevums.

Creativity as a Value in the Music Performers Professional Activity

Summary Introduction. Creativity is regarded to be a skill to create something new instead of reproducing the old. Most often prominent personalities in art possess such creative potential that they cannot help creating values which help them form a different world outlook, feel dif ferently, and think differently (Weisberg, 2006; Carvalno, 2009). In psychology a skill to create in the field of art is defined as talent. It is linked with a skill to create, to generate original, untraditional artistic ideas. Yet, talent on its own does not guarantee out standing results as it is only a potential opportunity (Simonton, 1999; Vilsons, 2001; Feist, 1999). Talent in music is a complicated structure of subsequent components and one of its most essential secrets is high motivation. Talent forces a musician, i.e. a performer, to keep rehearsing a dozen versions of performing in order to find an ideal one. Thus, a performer approves a scientific
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notion that the desire to dedicate oneself to ones profession is proportional to the performers creative content, it means it is proportional to creative musicianship. The last one in its turn is a pre-condition for bringing about enthusiasm in professional development, which results in achiev ing the revelation of the coded emotional truth in a piece of music (Kirnarskaja, 2004). Aim of the study is to explore professional creativity in performing a piece of music, as well as its pre-conditions. Materials and methods. Analysis of the literature, as well as a structured interview of 60 Latvian performers has been carried out; their performing quality was analysed. Results. Research of creative personalities and their professional work has been as sociated with such notions as skill, ability and talent; the latter obtained different clarifications in psychology. Talent in music is defined as a complex, multi-level hierarchical structure that is asso ciated with specific skills such as: music hearing, memory, rhythm, the psychological moment, etc. It is also associated with creative fantasy, imagination, emotions, empathy, sensitive world outlook, and the appreciation of beauty (Feist, 1999; Simonton, 1999). The research is based on the theoretical approach that talent is not linked to abilities, and it is not their highest grade, but there is another integrative and multi-component psycho logical feature, which implies the operational part, i.e. abilities/skills, its creative part, i.e. a gift from God, as well as the emotional part, i.e. motivation and other related components. Simontons viewpoint is closer to real life as he outlines that talent is not a high level of gift. Moreover, in order to succeed professionally, not only geniuses, but also talented people can perform a creative action (Simonton, 1999). There is no definite answer to the sources of music gift and music abilities. It is assumed that the fundamentals of a gift are a dialectic unity of biological (i.e. abilities), social (i.e. environ mental), and parent factors which depend on personality activity in the professional field. Music psychologists highlight the abilities that are necessary for a particular kind of music activity. Any performer needs self-control, in other words, the performers ability to influence the audience. The artistic talent is of great importance in the artistic career; to manage unexpected situations before the concert or on stage, as well as the double sense of insight, i.e. the ability to create and to con trol, tolerance and determination to go on working in case of a flop, particularly in case of a soloist performing together with the orchestra (Feist, 1999; Carvalno, 2009; Kirnarskaja, 2004). The origin of talent is still unresolved. In diverse periods of history different view points on talent as an inborn factor existed. Nowadays, like in the 19th century, the prevailing viewpoint in psychology of abilities and talent is not linked with the amount of personal, parent, and educators efforts. Talent and abilities are inborn; for example, the outstanding performer Arvids Klisans considers that his creative activity is a gift of God. All music performers creative biographies support an inborn theory of abilities and talent. At the same time several research works reveal certain regularities, i.e. prominent per formers do not have roots in musically inclined family background as composers do; their talent most often comes from a talented father whose ambitions to become a professional musician were not realised. Inborn qualities of a talent may appear after several generations; however, excellent performers biographies are scarcely researched. Conclusions. The following pre-conditions should be the basis of professional per formers creative activities 1) talent as an inborn quality, highly developed level of abilities; 2) talent as a specific gift, an ability to play a particular music instrument; 3) talent as tense daily efforts and striving for creative self-actualisation that, in its turn, depends on professional creative musicianship;
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4) music expressiveness, as well as individual interpretation approves the performers level of accomplishments. Key words: performers professional actions, creative musicianship. Ievads Kreativitte zintniskajos ptjumos dvta par cilvka spju nevis reproduct veco, bet pastvgi radt ko jaunu. Visbiek mksl spilgtas personbas ir kreatvu potenu prpilnas, radot vrtbas, kas paldz citdi redzt, just un domt, jo mksla ar vistiek sekm cilvka vlmi sevi prspt, tiekties pc idela dzv un profesionlaj darbb (Weisberg, 2006; Carvalno, 2009). Personbas pa spja radoi darboties mksl psiholoijas zintn apzmta ar jdzienu talants. T ir spja radt, enert spilgtas, nestandarta un dzias mkslinieciskas idejas. Tomr talants pats nekalpo par garantiju izciliem rezulttiem jaunrad, jo talants mksl ir tikai potencila iespja sasniegt augstas virsotnes sav radoaj darbb (Simonton, 1999; , 2001; Feist,1999). Talants mzik ir sevii sareta pakrtotu komponentu struktra, kur viens no btiskkajiem faktoriem ir pai augsta motivcija. Talants liek mziim atskaotjam mint desmitiem skanjuma variantus, lai atrastu viaprt idelko, t apliecinot zintnieku atziu, ka vlme nodoties savai profesijai ir proporcionla talanta kreatvajam potencilam, kreatvai muzikalittei. Pdj savukrt ir nosacjums aizrautbai vis profesionls darbbas gait, kas izcila atskaotjmkslinieka gadjum vainagojas ikreiz ar mzikas izpildjuma virsuzdevuma mzikas skadarb iekodt emocionl patiesguma stenoanu (, 2004). Darba mris Ptjuma mris ir izzint un atklt atskaotjmkslinieka profesionls darbbas radoumu un t btiskkos nosacjumus Materili un metodes Zintnisks literatra un strukturtu interviju ar 60 Latvijas atskaotjmksliniekiem kvalitatva analze. Rezultti Sentence mksl talantgs tikai tas, kuram tic atskaotjmkslas kontekst iegst pau nozmbu, jo ts prstvju jaunrade dzimst mzikas iespaid, kas pirmkrt satur skadarba autora, komponista dvseles stvoku radtos tlus un noskaas, un tikai no atskaotja radouma, talanta lieluma, no via konkrt mzikas skadarba interpretcijas izteiksmbas bs atkargs, cik daudz klaustji gs no skanos mzikas daiuma un patiesbas. Ldz ar to, atskaotjmkslinieka rados darbbas novrtjumam ir tikai viens kritrijs via sple, via spja aizraut ar savm jtm un mkslinieciskm idejm citus. T ir via profesijas raksturgk talanta patnba, un, jo lielks talants, jo vairk t ieraugma (, 2001; , 2004; Mrniece, 2009). ptjuma kreativittes subjekts ir darbietilpga darbbas veida atskaotjmkslas prstvji: instrumentlisti solisti un orestra mkslinieki, kuru profesionl darbba noteikusi msu mzikas kultras augsto statusu un atpazstambu Eirop un pasaul. Daudzi par atskaites punktu spriedumos par kreativitti k vrtbu atskaotjmkslinieka profesionlaj darbb uz skata izcilk Latvijas meradznieka Arvda Klina radoo biogrfiju.
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Katras spilgtas radoas personbas profesionls darbbas izpt biek mintie jdzieni ir spjas un talants, no kuriem pdjais psiholoijas zintn guvis samr visprintus skaidro jumus. T tradicionlaj psiholoij talants defints gan k spju augsts attstbas lmenis, kas radies uz sevii augstu cilvku spju savienojumu pamata, gan k tdu augsti attstta lmea spju summa, kas priet jaun kvalitte. Tpat atzts, ka spja un talants ir tuvi, bet ne identiski jdzieni, ka talants ir tik sarets un specifisks personbas psihisko pabu savienojums, ka atsevias izoltas spjas nevar traktt k kvalitti analogu talantam (Rei, 2009). Vienlaikus msdiens pastv teortiska nostdne, ka spjas nav ldzvrtgas talan tam, ka talants nerodas no spjm un nav to augstk pakpe. Talants taj defints k cita, integratva un daudzkomponentu psiholoiska paba, kas ietver sev k operatvo dau (spjas) t kreatvo (apdvintbu) un emocionlo dau (motivciju un citus pavadous kom ponentus) (, 2004). Netradicionls ir ameriku psihologa D. Simontona paustais viedoklis, ka talants ir sevii augsts apdvintbas lmenis un, lai gtu pankumus profesij, nav obligts, jo jebkurai jaunradei ir nepiecieami ne tikai niji, bet ar vienkri spjgi cilvki (Simontons, 1999). Abs mintajs nostdns bez spjm atklts vl otrs btisks talanta struktras kom ponents apdvintba. Tomr, lai izzintu spilgti mkslinieciska, pai mzikas talanta lie lumu, nepiecieama visu to veidojoo komponentu izpte. Td akcentjama psihologu atzia, ka visas personbas psihisks pabas nosaka gan socili faktori, gan iedzimts anatomiski fizioloisks organisma patnbas. Citiem vrdiem dotbas ir cilvka spju un apdvintbas dabiskie prieknoteikumi, kas gan nenosaka to automtisku attstbu, bet tikai iezm nkotnes perspektvas. Ldzs nervu sistmas un smadzeu struktras patnbm atskatjmksl, un konkrti visu pamo instrumentu, un jo pai grtk metla pam instrumenta meraga spl t labskanbu un toa pao skaistumu oti btiski ietekm tiei atskaotja dabas dotais lpu veidojums. Apdvintba savukrt dvjama par spju iespju, kam ir visdadks izpausmes pakpes, k rado un mksliniecisk apdvintba vai apdvintba mzik. Pdj tiek definta ar k individuli psiholoisku patnbu komplekss jeb muzikalitte, kuras viena no izpausmm ir emocionl jeb emocionli esttisk muzikalitte. Izcili talantgiem mziiem t atkljas viiem piemto pa mzikas emocionl uztver un mlestb pret mziku (Rei, 2009; , 2001; , 2001). Pai mzii jtgumu, ldzprdzvoanas spjas, mlestbu pret mziku identific ar mlestbu pret savu darbu, vienlaikus atzstot to par rkrtgi svargu atskaotjmkslinieka apdvintbas izpausmi. Psiholoijas zintn tomr ldz pat msu dienm nav dota viennozmga, izsmeoa atbilde uz jautjumu kds ir iemesls seviai muziklai apdvintbai un kdi cloi nosaka muzikls spjas. Tiek pieemts, ka spju pamat ir bioloisku (dotbas) un socilu (vide un audzinana) faktoru vienotba, ko nosaka paas personbas aktivitte, cilvka profesionl darbba. Mzikas psiholoij konstatts, ka pastv spjas, kas nepiecieamas konkrtam mzikas darbbas veidam, un ikvienam koncertjoam atskaotjmksliniekam ts vispirms ir pasavaldba, jeb izpildtja griba un prasme pakaut savai gribai auditoriju. Tikpat nozmgi via mkslinieciskajai karjerai ir gan mkslinieciskais talants jeb spja tikt gal ar jebkuru nejaubu pirms koncerta vai uz skatuves, gan dubult redze spja radt un kontrolt, pai solistam spljot kop ar orestri, gan pacietba un neatlaidba turpint strdt, ja gadjusies neveiksme (Feist, 1999; Carvalno, 2009; , 2004). Viennozmgu skaidrojumu trkst ar par spju tipiem un veidiem. K jau atzmts, ta lants mzik ir defints k pai sareta, pakrtota daudzlmeu hierarhiska struktra, kur bez specilm spjm (muzikl dzirde, atmia, mzikas ritma izjta, psihomotorika u.c.) ietilpst vl
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citi svargi komponenti - radoa fantzija, iztle, emocionl apdvintba, jtga apkrtjs pa saules uztvere, skaistuma izjta. Kopum tas ir plas un daudzveidgs psihisku pabu un kvalitu spektrs, no kurm lielkais vairums iziet rpus tri profesionlu parametru robem. Citviet, turpret, iepriek mints specils spjas dvtas par visprjm, bet par specilm tiek atzts viss anatomis ki fizioloiskais dabas dotumu komplekss, pat fizisks spjas. Savukrt XX gs. beigs spju, talanta un dotbu teorija nonk pie sldziena, ka visprju spju nav, bet ir tikai specils spjas, kas nosaka cilvka tieksmi uz konkrtu darbbu (, 2001; , 2004). Atirgi tpat ir psihologu noteiktie talanta struktras modei, kas atklj viedokus par ts komponentu savstarpjo korelciju. Viens no tiem, t saucamais aditvais modelis pieauj, ka atsevia spilgta talanta komponenta esamba var aizstt iztrkstoos komponentus (, 2003). Savukrt D. Simontons izvirza multiplikatvu modeli, kur noteikts, ka, ja kaut viens talanta komponents ldzins nullei, tad visi prjie zaud jebkdu vrtbu. o iespju, ka talants satur visas cilvka psihisks pabas un kvalittes, autors pats attiecina viengi uz reti sastopamiem nijiem. Vienlaikus zintnieks piedv ar citu, dzvei tuvku modeli, kur talanta struktr izvirzti atsevii oti btiski komponenti, pc kuriem ldzins visi prjie, ar noteikumu, ka pirmajiem ir jbt 100 %, bet prjiem var bt pieticgka esambas pakpe (Simonton, 1999). Spju un talanta psiholoij paa problma vienmr bijusi to izcelsme, par ko dados lai kmetos pausti atirgi uzskati. 18. gadsimt, atsaucoties uz J.S. Baha radoo biogrfiju, tiek atzts, ka talants un spjas ir attstmi un pilnveidojami ar darbu, savukrt 19. gadsimta zintnieki uzskata, ka tos nosaka viengi iedzimtba. 20. gadsimta ptjumos pamat uzsvrts, ka talants un spjas ir audzka un pedagoga dotbu noteikts, bet jau 20. gadsimta beigs akcentts cilvka ieguldtais darbs un griba. odien psiholoij valda uzskats, ka muzikls spjas tiek nek citas attiecas uz bioloiju un entiku, jo mzika, ts nodarbbas pards agrk par citm nodarbm, un to apguve var notikt spontni vai nevilus, bez specili izgltojoiem instittiem (K, 2004). ptjuma ietvaros konstatta ar A. Klina kolu un bijuo studentu atzia par via iedzimtajm dotbm gan pao lpu veidojumu, kas pirmkrt ir pamat neatkrtojamam via meraga skanjuma tembram, dziedoajam tonim, gan absolti dabisku, nesamkslotu mzikas uztveri un fenomenlu intuciju. Intervto mziu atskaotju rados biogrfijas apliecina, ka izcili atskaotji parasti nenk no tik visaptverom muziklm imenm k komponisti. Viu talants visbiek ir mantots no apdvinta tva ar nestenotu muziklo talantu vai nerealiztu sapni kt par profesionlu mzii, kas vienlaikus norda ar uz mzikas iespaidu brnb un agrnas mcbas nozmbu talanta esamb un attstb (Sloboda, Howl, 1991). Vienlaikus mzikas psiholoij atklts, ka parasti dzimt apdvintba uzkrjas, un talanta mantojuma pazmes var pardties ar pc vairkm paaudzm. Dieml to ne vienmr iespjams atklt, jo izcilu atskaotjmkslinieku biogrfijas vsturiski tikuas un tiek mazk un daudz nepilngk pttas, tpc liecbas par viu radiniekiem (izemot veckus) visbiek trkst. Maznozmguma d ts vispr netiek piefikstas, jo vl nesen pagtn atskaotjmkslai k patstvgai sabiedrbas kultras daai zintnieku ptjumos ir ierdta samr niecga vieta, un atskaotjmkslinieka personba tajos skarta vien garmejot (Simonton, 1999; K, 2004; Mrniece, 2009). Spilgts o likumsakarbu apstiprinjums rodams A. Klina dzimtas vstur un via dzves stst. Taj iedziinoties, ptjuma autorei ncies konstatt, ka oti maz vai gandrz nekdas zias nav atrodams ne tikai laikmetu putintajos bazncu un citos arhvos, bet ar cilvku atmis, kas uzkrj informciju par persongs dzves notikumiem. Jkabpils rajona un Rgas laikrakstos gan rodami talantgajam mziim un via imenei veltti apcerjumi, bet tajos nereti sastopama bezatbildga ppana vai neapzinta dezinformcija. Td jsecina, ka savu pao talantu A. Klins acm redzot mantojis no tva E. Klina, tla Slijas nostra laukstrdnieka, kur
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visu mu aizvadjis, vaddams lauku ptju orestrus, pats spldams vairkus no t instru mentiem, un ar saviem dliem no agras brnbas iemcjis tos apgt. Spilgti talantgs ir ar Arvda jaunkais brlis J. Klins, savulaik spokais Latvijas Nacionl simfonisk orestra trompetists, un dzimtas muzikalitte dzii un plai turpins tiei via imen. Pamat ikviena spilgta atskaotjmkslinieka rado biogrfija, via profesionl darbba apstiprina likumsakarbu, ka cilvkam nepiemt neviena spja, kas nebtu atkarga no personbas visprjas virzbas, kas savukrt ir ts mksliniecisks kreativittes noteikta (Weisberg, 2006). Personbas attstba un jaunrade, pastvot paralli, parasti ilgst cilvka ma garum, un, lai atrastu mzik ts vrtbu, atskaotjmksliniekam visu savu dzvi ir jpieliek lielas ples, lai maksimli attsttu savs spjas. Secinjumi Atskaotjmkslinieka profesionls darbbas radouma pamat izvirzmi di galve nie nosacjumi: talants k komplictas, specifiskas, konkrta instrumenta splei nepiecieamas, uz dotbu pamata attsttas spjas; talants k ikdien sasprindzints darbs, nenogurstoi radoa paapliecinjuma centieni, ko savukrt nosaka profesionlam mziim piemto rado muzikalitte. atskaotjmkslinieka izcilus sasniegumus jeb talanta lielumu apliecina mzikas izpildjuma izteiksmba un individulas atirbas interpretcij.
Literatras saraksts 1. Feist, G.J. (1999). The Influence of Personality on Artistic and Scientific Creativity. In R.J. Sternberg (Ed.) Handbook of Creativity.Cambridge: Cambridge University Press, pp. 273. 296. 2. Mrniece L. (2009). Koncertdarbbas faktors atskaotjmkslinieka personbas izaugsm. Zin.r.krj. Radoa personba VII, sastd. R.Bebre. Rga: Kreativittes zintniskais institts, 106. -113.lpp. 3. Rei, S. M. (2009). Talent. Encyclopedia of Giftedness, Creativing and Talent, University of Cansas, vol. 2, pp. 863. - 868 4. Simonton, D.K. (1999). Talent and its development: An an emergenic and epigenetic model. Psychological Review, 106, 3, pp. 435. 457. 5. Sloboda, J.A. and Howl, M.J.A. (1991). Biographical precursots of music exellence. Psuchology of Music, 19, pp. 3. 21. 6. Weisberg, R.W. (2006). Creativity: understanding innovation in problem solving science, invention, and the arts. Hoboken, N.J. : John Wiley & Sons, 622 p. 7. . (2001). : . . . ... : , . 383. 8. .. (2004). . . : XXXI , . 496. 9. .. (2001). . . : . . 299. 10. .. (2003). . : . .377. Asoc.prof. Dr.paed. Laima Mrniece Rgas Pedagoijas un izgltbas vadbas akadmija Kreativittes zintnisk institta ptniece Adrese: Rga, Meldru iela 28 82 Tlr. mob.: 26710735. E-pasts: laima_murniece@btv.lv

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Sandra Vtola, RPIVA profesionls bakalaura studiju program mas Deju un ritmikas skolotjs direktore, lektore. TDA Dancis horeogrfe repetitore. Absolvjusi Rgas Horeogrfijas vidusskolu. Papildinjusi repetitores izgltbu Maskav ar praktizanos Lielaj tetr. Beigusi LKA Moderns dejas horeogrfijas kursu. RPIVA iegu vusi profesionlo maistra grdu skolvadb. Vaasprieki: Ceoana, krustvrdu mklu risinana.

SANDRA VTOLA Rgas Pedagoijas un izgltbas vadbas akadmija Latvija

KREATIVITTE INDIVIDUL STILA VEICINANAI DEJAS INTERPRETCIJ

Kopsavilkums Ievads. Dejas interpretcija ir process, kura rezultta savdabgums atkargs no izpildtja kreativittes. Dejas mksl personbas radoums un ar to saistt individul stila izkopana ir pas darbbas veids, kas pakauts psihes procesiem iztlei, fantzijai, radoai domanai. Darba mris. Uz teortisk un emprisk ptjuma bzes analizt kreativittes nozmi individul stila veicinanai dejas interpretcij. Materili un metodes. Teortisk metode psiholoij, pedagoij, dejas mksl pausto atziu analze. Emprisk studiju proces gt pedagoisks pieredzes analze Rgas Pedagoijas un izgltbas vadbas akadmij. Secinjumi. Dejas interpretcij izpauas izpildtja individulais stils, ja t attstbas veicinanai izmanto kreativitti, stimuljot iztli, fantziju, radoo domanu. Atslgas vrdi: Kreativitte, individulais stils, dejas mksla, interpretcija, iztle, fantzija, radoa domana.

The Role of Creativity in the Development of an Individual Style in Dance Interpretation

Summary Introduction. Dance involves two major types of creative activity: creation of the dance, and dance performance the interpretation. The outcome of the dance a work of art - largely depends on the dancers interpretation. Interpretation is imitation and repre sentation which is not only repetitive copying, but the ability to demonstrate understand ing (Gadamers, 1999). Hermeneutics is a classical discipline concerned with the art of understanding, which up until the 20th century was limited only to the explanation of literary texts. Contemporary hermeneutics, focusing on an object of interpretation see it as ambiguous and open to numerous possible interpretations.
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Dance interpretation is the process whereby uniqueness depends on the performers creativity. Psychologist, Dr Rita Bebre looks at creativity from three different aspects: as a characteristic of personality, as a process, and as a product in different sectors (art, science, technology, etc.) (Bebre, 1997). Dance interpretation is a product of an individuals creative mental activity, where the dancer uses particular knowledge to create a new dance interpretation. Interpretation of the dance and perfection of the related individual style is a unique activity that promotes understanding, the search for meaning, creation of personal attitudes and their expression, where major importance is placed upon psychological processes: imagination, fantasy, creative thinking. Aim of the study. To analyze the role of creativity in the development of an individual style in dance interpretation through theoretical and empirical research. Materials and methods. The theoretical approach analysis of the psychology, phi losophy, pedagogy, the art of the dance. Empirical a study of the process of teaching experi ence gained from an analysis of Riga Teacher Training and Management Academy. Results. The concept of creativity (Lat - creatio - creation) has a number of meanings which are often used as synonyms - creativity, productivity, lateral thinking. Creativity, like intelligence, morals and physical development is an essential component of personality. It rep resents the highest level of human activity. Creativity is one of the indicators of human freedom (Garleja, 2003). Creativity changes alongside the overall development of the personality, which results from changes in cognitive processes and the accumulation of experience. The essence and phenomena of the development of individual style is revealed through cognitive traits, activities and content. Individuality revolves around each persons specific tal ents (Alijevs, 1999). Personal style differentiates feature of human activity. Style represents the unity of human life and activity (Karpova, 1994). Creative personal expression of individual style is characterized by people working in the field of art. Dance as a process and as a product, can only be realized if both the author and the performer creatively collaborate on equal terms. The language of dance is similar to parts of a mosaic, providing information that can be connected together in many different ways. Each new person added creates synergy through their own individual contribution. Accessing the language of dance is the basis for a dancers ability to express the au thors encoded message. Dance interpretation is primarily dependent on the ability to learn the technical aspects of the performance. Historically, classical dance is considered to be the basis for dance in general, of which the first and foremost task is to develop the professional skills of the dancers. In addition to physical performance, the dancer must know the musical composi tion, the choreography and the overall image of the individual dance drama, as well as being able to focus on theatrical stage design, costume art, all of which are subject to certain historical genre and style. Individual dance interpretation is an essential ingredient which demonstrates a performers professionalism. Creativity develops individual style where fantasy, imagination and creative thinking are crucial components. Style (Ital stilus style or mode of expression) in dance is explained as a sustainable means of expression, a range of techniques to promote imagination (Press, 1989). Dance composition is the creation of a comprehensive work of art which includes all of the components of dance: the language of dance, musical composition, image drama, etc. However, dance composition is not only the staging of the dance. It also includes the ability to perform the composition and to teach it to the dancers. Performers contribute their own creativ ity directly to dance composition and interpretation. A man is unable to act creatively without developing imagination, and emphasising the link between imagination and its source - the objective reality on which it impact (Vygotsky,
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1968). Psychology considers imagination to be a cognitive process similar to sensation, percep tion, thinking, and memory. Fantasy is a creative, free and conscious mental activity. Fantasy creates objects which are richer than reality (Students, 1998). Fantasy colours human personality and develops thinking. Creative thinking includes both imagination and fantasy. M. Nelke provides char acteristics of lateral thinking, which are based on the research findings of E. De Bono; it is playfully associational and multi-directional, it accepts contradictions and invents new methods, and provides many original solutions. (Nelke, 2003). Creative activity is lateral thinking - idea generation. Working with the students - future dance teachers - it is important not to limit their lateral thinking, but to encourage search, experiments, finding new ways to create dance, teach and perform. Artistic professionalism can only be obtained through creative activity, not merely by the execution of enforced rules. A work of art acquires significant long-lasting value only if the artist/creator or the interpreter unveils his own flair and individual style which in turn engages viewers emotionally. Conclusions. Creativity, as one of the major components in the formation of individual style in creating dance as a work of art, and its interpretation, is an interesting if little-studied prob lem in the art of dance. This article explains the concept of creativity, and provides an explanation for the concept of individual style and its role in the art of dance. It analyses the components of creativity: imagination, fantasy, and the role of creative thinking in staging and interpreting dance. The theories of pedagogy, psychology, philosophy and dance arts reveal that the creator and per former of the dance need to be both artistically professional and physically prepared. Developing the imagination, fantasy and creative thinking, dance performers the in terpreters must develop their individual style, which favorably promotes the art of dance and allows the public to evaluate the message encoded in the dance. Key words: Creativity, individual style, interpretation, imagination, fantasy, cre ative thinking. Ievads Msdienu cilvka eksistenci, spju paapliecinties ietekm sabiedrbas sistmu ekonomisko, tiesisko, politisko, kultras u.c. izmaias, kas aktualiz jaunu skatjumu prasbai pc indivda radoas darbbas rado rakstura, jo radoums ir attiecinms uz indivda darbbas kvalitti. Cilvka radoums var izpausties daudzveidgs un atirgs darbbs ikvien profesij, tomr visbiek to saista ar mkslas sfru. Cilvku vienu no otra atir individualitte savstarpji neatkrtojamu pazmju ko pums, kas piemt konkrtam indivdam. Termins stils tulkojum no latu valodas nozm rakstbas manieri, izklsta veidu un vsturiski t lietoanas tradcija saistta ar filozofiju un filoloiju. Msdiens sastopama termina lietoanas daudzveidba, attiecinot uz runas, literro, aprba, laikmeta, vadbas, sagatavoanas, domanas, mksliniecisko stilu utt. Modernaj zintn termins ieguvis starpnozaru jdziena nozmi. Visstabilks zintnisks tradcijas stila lietoan ir lingvistik, mkslas zintn, esttik, psiholoij. Stils vienmr ir saistts ar izteikti aktvu, apzintu vai neapzintu cilvka paatklsmi uz ru (Karpova, 1994). Individulais stils ir personbas pazme, ts instrumentls raksturojums, kas vrtjams relaj personbas darbb. Dej un ts interpretcij izpildtja individulais stils var izpausties, ja tiek atraistas via rados spjas, izmantojot cilvcisko un mksliniecisko potencilu. Starp daudzm mkslm, kurs izpauas personbas rado darbba, mkslinieciski radoo spju veidoans, dejas mkslai ir paa vieta. Dejas mksla ietver divus nozmgus
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rados darbbas veidus: dejas radanu (horeogrfa rado darbba) un dejas izpildjumu (izpildtjmkslinieka jeb interprettja rado darbba). Deja k mkslas darbs savu dzvi sk, nonkot pie izpildtjiem dejotjiem, kuru uzdevums ir dejas autora vstjumu nodot tlk skattjiem. Ikviena kustba, ko horeogrfs ir radjis, kurai tas ir devis noteiktu ievirzi, iegst savu papildus nozmi un jgu dejotja izpildjum. Tas nozm, ka dejas iznkums mkslas darbs liel mr ir atkargs no dejotja interpretcijas. Interpretcija k atdarinana un attloana ir ne tikai kopjoa atkrtoana, bet ar btbas izzia, ts sapraana; t ir nevis vienkri atkrtoana, bet gan [rup] izdabana. Sapraana jsaprot k daa no jgas norises, kur veidojas un stenojas visu izteikumu gan mkslas, gan visu prjo tradjumu jga (Ga damers, 1999). Klasisk disciplna, kas nodarbojas ar sapraanas mkslu, ir hermeneitika, kas ldz 20. gadsimtam bija attiecinma tikai uz literru tekstu skaidrojumu. Msdienu hermenei tika, pievroties interpretjamajam objektam t vsturiskaj, socilaj un kultras kontekst, uzlko to k daudznozmgu, interpretcijas iespju zi atvrtu, nenoslgtu. Dejas interpretcija ir process, kas, tiecoties pc stenbas, ts apjausmas, tiek veikts izpildtja persongo uzskatu un loikas ietekm. Interpretcijas savdabgums ir atkargs no izpildtja kreativittes. Psiholoijas zintu doktore R. Bebre piedv vrda kreativitte lat visko analogu radoums un aplko to no trim aspektiem: k personbas (individualittes) pabu, kam raksturga oriinalitte, novatorisms, antikonformisms, drosme u.c., k procesu, ko raksturo radoa intucija, bagta fantzija, diverent domana, iedvesma, psihes plastis kums, zemapzias un virsapzias darbba un k produktu dads nozars (mksl, zintn, tehnik u.c.), ko raksturo novatorisms un sabiedriskais nozmgums (Bebre, 2003). Jebkura mkslas darba vrtba atkljas darbb, kur izpauas saistba ar personbas vajadzbm, interesm, ievirzm. Dejas interpretcija ir indivda rados gargs aktivittes produkts, kur atraisot prtu, emocijas un kustbu kopg savas individualittes btbas izpausm, dejotjs pielieto konkrtas zinanas un veido jaunu dejas traktjumu. Ikvienu individualitti vispilngk pau tiei tda darbbas veida izvles (apzintas vai neapzintas) rezultts, k ietekm veidojas indivda stils. Atrast savu stilu dej ir oti sarets uzdevums, jo ikviens dejotjs ir spiests apgt horeogrfa radts dejas dados stilos un pielgot tos savm spjm un varanai. Dejas interpretcija un ar to saistt individul stila izkopana ir pas darbbas veids, kas sekm sapraanu, darbbas jgas mekljumus, persongs attieksmes veidoanu un izteikanu, kur liela nozme ir psihes procesiem: iztlei, fantzijai, radoai domanai. Darba mris Uz teortisk un emprisk ptjuma bzes analizt kreativittes nozmi individul stila veidoanai dejas interpretcij. Mra sasnieganai tiek izvirzti uzdevumi: 1. analizt kreativittes un individul stila jdzienu filozofij, pedagoij, dejas mksl, 2. ptt kreativittes un to veidojoo faktoru ietekmi individul stila veicinanai dejas interpretcij. Materili un metodes Rakst izmantota teortisk un emprisk ptanas metode. Rezultti Jdzienam kreativitte (no latu val. creatio radana) ir vairki termini, kas biei tiek lietoti k sinonmi jaunrade, produktivitte, netradicionalitte, laterl domana u.c.
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Kreativitte tpat k intelekts, tikumba, fizisk attstba ir personbas btiska vrtba. Cilvka radoums kreativitte, kas izpauas radoas darbbas rado rakstur, ir viena no saretkajm pabm, kas sev ietver daudzu spju summu: radou intuciju, bagtu fantziju, diverento domanu, iedvesmu, psihes plastiskumu, zemapzias un virsapzias darbbu (Bebre 2003). Kreativitte raksturo cilvka darbbas augstko lmeni: spju radt socili nozmgu rezulttu, spju ar imagincijas paldzbu tvert lietas jaun skatjum, fleksibilitt. Kreativitte ir viens no rdtjiem cilvka brvbas apziai: spjai atbrvoties no stereotipiem, agrk atztm, pieemtm domanas struktrm, spjai uztvert, analizt jaunu informciju, bt atvrtam prsteigumiem, sakarbm, koncentrties nevis uz rezulttu, bet pau procesu (Garleja, 2003). Kreativitte ir universla paba, kura virza cilvku uz vism paizteikans formm, neatkargi no profesionls ievirzes. Starp kreatvo darbbu un personbu ir savstarpja mijiedarbba: personba izpauas darbb, un savukrt darbb veidojas personba. Kreativitte mains ldz ar visprjo personbas attstbu, kas notiek kognitvo procesu izmaiu rezultta, k ar notiekot pieredzes uzkranai. Ikviens cilvks zinm pakp ir rados un savas kreativittes apzinans ir via dzvesdarbbas jgas apliecinjums. K individualitte cilvks atiras no prjiem ar savu vienreizbu, ko vislabk rak sturo via vajadzbas, kas vistiek nodroina personbas virzbu un attstbu. Ameriku psi hologs A. Maslovs (1908 - 1970) XX gadsimta piecdesmitajos gados izstrd savu priekstatu par personbas attstbas vajadzbu struktru, kur augstkais lmenis paaktualizcija (spju attstba), tiek stenots personbas paizpausm jeb rado potencila izmantoan. Tas paredz, ka personba ir izveidojusies, cilvks ir noncis saska ar sevi un viegli realiz savu potencilu, ir rados. Cilvka attstba un personbas pilnveide saistta ar rado darbb iegtu daudzveidgas paizpausmes pieredzi. Pedagogs, profesors A. Dauge (1868 1937) akcentjis radoas darbbas nozmi, kura dod iespjas kaut ko atklt un izteikt ar cilvka paa gudrbu un patstvgu fantzijas darbbu, ar ko tiek izceltas jaunas gargas vrtbas (Dauge, 1925). Rados spjas attsts, mekljot un atrodot risinjumus praktiskm problmm, atkljot kopsakarbas, ptot pasauli, sevi un citus cilvkus. Cilvka darbba piedod via intencionalittei (domanas akta un priekmeta saistbai) formu, tdjdi objektvi atkljot via paa btbu, via btiskos aspektus (Karpova, 1994). Personbas attstbas individul stila btba un fenomenoloija atkljas izzias darbbas patnbs, dzvesdarbbas pamatforms un satur. Atrast paam sevi sev pa ir viens no cilvka papilnveides ceiem, ts prieknosacjums (Marks, 1991). Kreatv jeb rado darbba psiholoij tiek skaidrota k darbba, kuras rezultt personba darina kaut ko individuli izteiktu (Kalja Gasparovia, 1999 2000). Tiei rado darbb atkljas cilvka individualitte, jo ikvienam cilvkam piemt sava specifiska apdvintba, savs personbas vienreizgums un neatkrtojamba. Katra indivda specifisk apdvintba ir centrs, ap kuru integrjas t individualitte (Alijevs, 1999). Individul stila btba ir atirgs, diferencjos cilvka darbbas iezmes, kuras ir via k personbas pabu determintas. sto stila btbu baro subjekts, t daba un patnbas. Stils ir kaut kdu cilvka dzves un darbbas pardbu raksturga (tipiska) vienotba (Karpova, 1994). Lai panktu personbas individulo pabu atbilstbu ts vai citas izpildms darbbas prasbm, cilvks, apzinti vai intuitvi, izmanto psiholoisku ldzeku sistmu, kas pieauj iespju vienas un ts paas personbas pabm iz pausties atirg stil. paa vieta radoas personbas individul stila izpausmei rado darbb ir mkslas jom strdjoiem cilvkiem. Ikviena darboans mzikas, dejas, tetra virzien auj izzint sevi rado darbb, izteikt vrtjumu par redzto, sev prdzvoto (pona, 2006). Mkslas vrtba katram cilvkam ir jatrod paam. Dejas mkslas izzia rosina intelektulo attstbu,
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persongi nozmg emocionl prdzvojum uztverot, analizjot, izprotot. Deja k mkslas darbs ir ldzeklis, lai izteiktu cilvkos raduos domu, jtu un ideju emocijas. Deja k process un produkts stenojas dejas autora horeogrfa un dejotja izpildtja jeb interprettja ldztiesg rado darbb (1. attls). Radoais process aktvs iedzvinanas darbba paras ti ir saistts ar neprtrauktu informcijas apmaiu, t.i., kustbu idejs un impulsos gan uz, gan no horeogrfa un dejotjiem. Dejas radan ts valoda un tlainba ir viena no visspcgk izmantojamiem instrumentiem horeogrfam un via dejotjiem, kuras kvalitte ietver pilngi visus prieknesuma aspektus: iekaujot fizioloisko un psiholoisko pieredzi. Dejas valoda ir ldzga mozakai no informcijas dam, kuras var tikt savienotas kop dados veidos un kuras katrs cilvks pievienojot, papildina ar kaut ko individuli nozmgu. Piekuve dejas valodai, ts iepazana, apgana un lietoana ir pamats dejotja spjai paust autora iekodto vstjumu, pie tam izpildtja individul stila izpausmm, ko ietekm kreativitte, ir btiska nozme dejas interpretcij. Interpretcijas btba ir skaidrojums, satu ra atklana; mkslas darba rados izpildjums, kura pamat ir darba izpildtja individula izpratne; formlu objektu satura definana. Interpretcija attiecas nevis uz domto, bet uz apslpt un atkljam jgu. Dejotja talants ir sareta, savstarpji saisttu daudzlmeu hierarhiska struktra, kur blakus specilm spjm (atbilstom ermea fiziskajm dotbm, kuras neierobeo via izpildjumu, atmiai, ritma izjtai u.c.) ieem vietu tdi nozmgi komponenti k rado fantzija, iztle, emocionl apdvintba, smalka apkrtjs pasaules uztvere, skaistuma izjta u.c. Dejas interpretcijas izpildjums, pirmkrt, ir atkargs no dejotja spjm apgt dejas tehnis ko izpildjumu, kas raksturgs katram dejas anram, stilam vai virzienam izstrdtajai kustbu apguves sistmai, kura ir izveidota un pielgota cilvka ermea spjm un varanai. Vsturiski par dejas mkslas pamatu tiek uzskatta klasisk deja, kuras primrais un galvenais uzdevums ir dejotju profesionlo dotbu attstana. Profesionli tehnisks meistarbas trkums biei vien ierobeo dejotja fizisko izpildjumu, kas kst par iemeslu tlkai nespjai gan iestudt deju, gan ar to interprett. s problmas risinjums rodams dejotja ikdienas treni, kur dejas valoda (soi, roku kustbas, esti) tiek apgta sistemtiski izstrdtos vingrinjumos. Tas paldz piln veidot ermeni, disciplin to, padara kustgu un skaistu, prvrot par paklausgu instrumentu, kas pakaujas dejas autora un paa izpildtja gribai. Dejotji, katru dienu izpildot un atkrtojot kdu vingrinjumu, iemcs, k to veikt labk, ldz ar to tehnisks dejas prasmes pieaug. Vii kst stiprki, lokanki, veiklki. Turpmkais laika patri iem vingrinjumiem samazins, uzmanba tiek veltta individul stila attstanai. Paralli fiziskajam izpildjumam, lai sptu paust dejas autora ieceri, dejotjam ir jprzina mzikas skadarbs, horeogrfijas darba kopj un individul dejas tla dramaturija, k ar jorientjas skatuves scenogrfij, kostmu mksl, kas pakauti noteikta vsturisk gad simta anram, stilam vai virzienam. Lai visus mintos komponentus vartu pilnvrtgi izmantot dejas interpretcij, visbtiskkais ir dejotja izpildjuma individulais stils, kas liecina par via k mkslinieka profesionlo meistarbu. Individul stila btba ir to atirgo, diferencjoo cilvka darbbas iezmju kopums, kuras ir via k personbas pabu determintas (Karpo va, 1994). Individul stila veidoanos attsta kreativitte radoums, kur btiska nozme ir fantzijai, iztlei, radoai domanai. Stils (itu val. stilus maniere vai izteiksmes veids) dej tiek skaidrots k noturgu izteiksmes ldzeku, pamienu kopums tlainbas veicinanai (Press, 1989). Dejas izpildtja spja ar imagincijas (iztles, izdomas) paldzbu aptvert lietas jaun skatjum, via oriinalitte, prasme apgt, atrast kaut ko jaunu, izgudrot, piemroties jaunm, neparastm situcijm, nosaka dejotja k interprettja lmeni. Ievadot topoos deju skolotjus profesionlaj darbb, ir japzins, ka viu zinanas, prasmes un spjas k profesionl kompetence izpauas gan dejas iestudan, gan ts
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interpretcij. Svargi jau studiju proces veidot izpratni par praktisko nodarbbu sabalanstbu starp ermea fizisko dotbu attstbu, vingrinanu, nostiprinanu un radoas darbbas iespjm, kas attsta mksliniecisko profesionalitti: spju atraist fantziju, iztli, veicint domanu, k rezultt notiek individul stila meklana un veidoans. Deju skolotjam jizprot mkslas darba radanas materils, mksliniecisks formas un ldzeki. Dejas mkslinieciski psiholoiskais kodols atkljas, izejot rpus konkrtas nozmes tliem, t btba ietver sev ne tikai nozmi, bet ar simbolus, prdzvojumus, emocijas u.c., kas balsts noteikts situcijs un kontekstos. Par izpildtja mksliniecisko individualitti, sava individul stila kltbtni liecina prasme iejusties tl personificties (Dorfmans, 1997). Topoo deju skolotju prasmi iejusties dados dejas tlos, nodroina vsturisko deju un cittautu deju apguve. Izmantojot savas zinanas, atbrvojot iztli un fantziju, vii iejtas dadu gadsimtu un tautu paras, rakstur, veidojot attiecgu izpratni par laikmetu un nciju, ko ar savu individulo pieeju, stilu interpret dej. Visnozmgk jauno deju skolotju studiju procesa sastvdaa ir dejas kompozcija. T ir visaptveroa dejas mkslas darba veidoana, kas iekauj visu dejas komponentu izmantoanu: dejas valodu, muziklo skadarbu, tla dramaturiju u.c. Dejas kompozcija k studiju priekmets nav tikai dejas iestudana. T ietver ar prasmi izveidoto kompozciju izpildt paam un iemct to dejotjiem. Tiei dejas kompozcijas tapanas proces, ts gala produkta stenoan de jas interpretcij, studenti topoie deju skolotji var auties savai kreativittei radoumam, atbrvot radoo domanu ar fantzijas, iztles paldzbu un veidot savu individulo stilu. Gan dejas iestudtja autora, gan izpildtja dejas interprettja kreatv darbba skotnji ir iecere, kas rodas k tls, tlaina asocicija uz psihisks enerijas pamata ar emocionlu nokrsu. Ts realizcijas proces autors un dejotjs pielieto savu individulo iztli un fantziju, kas izpauas k dejas autora individul stila izpratne, pieemana un prveidoana dejas interprettja individulaj stil. Rezultt rodas dejas interpretcija skattjiem objektvi uztverams mkslas darbs. Tdjdi dejas interpretcij oti btiska ir kreativitte un ts kompo nentes: iztle, fantzija, radoa domana. Iztle ir izzias process, kura gait uz iepriekjo uztvrumu un pieredzes pamata apzi rodas jauni tli (Meikne, 1998). Iztli var ierosint vizuli ar attlu, krsu vai formu, k ar ar vrdu paldzbu, to var veicint ar skau paldzbu (klausoties mziku vai skaas dab). evs Vigotskis akcent, ka cilvks nespj praktiski radoi darboties, neattstot iztli, uzsverot saikni starp iztli un ts avotu objektvo realitti, kas to ietekm: iztl raduies tli ir veidoti no realittes elementiem, ko cilvks iepazinis; iztli vada ar svea pieredze; jtas iedarbojas uz iztli un iztle uz jtm; iztles produkts var realizties konkrts liets (Vigotskis, 1968). Radoi darbojoties dejas kompozcij, jtot pedagogu atbalstu un iedroinou vadbu, visi mintie aspekti atraisa studentu iztli un paldz ikvienam izpaust savu individualitti dejas mksl. Emocijas ir ne mazk svargs impulss k doma (Vigotskis, 1926). Pedagoga uzdevums nodarbbu laik ir veicint pozitvs emocijas, kas veicina vlmi darboties un izpausties. Savukrt fantzij izpauas radoa, brva un apzinta psihisk darbba. Fantzija apzi veido tlus, kas, saldzinot ar stenbas priekstatiem, slpj sev lielku dadbu un vispusbu. Fantzija iekrso cilvka personbu, attsta domanu. Radoa domana ietver gan iztli, gan fantziju. M. Nelke, balstoties uz E. De Bono atzim radoas domanas izpt, izveidojis laterls domanas jaunu iespju meklanas raksturojumu: rotagi asociatva; daudzos virzienos; novirzs no tmas; heterogna/ neviendabga, pieem pretrunas; izgudro jaunas metodes; trauc kritiski iebildumi; daudzi oriinli risinjumi; diverjoa domana (Nelke, 2003). Kreatv darbba ir cilvka laterl
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domana ideju enerana. Radoa domana ir svargkais prieknosacjums radoai darbbai, kur izpauas cilvka individualitte. Strdjot ar studentiem topoajiem deju skolotjiem, svargi ir neapslpt laterlo domanu. aut meklt, eksperimentt, atrast jaunus pamienus dejas izveid, mcan un izpildjum, pat ja tas pedagogam neiet pareizkais veids. Mksliniecisko profesionalitti var iegt tikai kreatvas darbbas rezultt, nevis uzspies tu noteikumu izpild. Mkslas darbs iegst paliekou nozmgu vrtbu, ja mkslinieks radtjs vai interprettjs ir atkljis taj savu btbu, individulo stilu, kas emocionli fascin skattju. Secinjumi Kreativitte k viena no btiskkajm individul stila veidoans komponentm dejas mkslas darba radanai un t interpretcijai, ir interesanta un maz ptta problma dejas mksl. Rakst ir izskaidrots jdziens kreativitte, kas aplkojams no trs aspektiem: k personbas (individualittes) pabu raksturojums, k process un k produkts dads nozars (mksl, zintn, tehnik u.c.). Dots jdziena individulais stils skaidrojums un t nozme de jas mksl. Analizta kreativittes komponentu: iztles, fantzijas, radoas domanas nozme un izpratne dejas iestudanas un ts interpretcijas proces, k ar raksturota studentu topoo deju skolotju kreativittes veicinanas iespja individul stila veidoan. Izmantoto teoriju pedagoij, psiholoij, dejas mksl, teorijs par kreatvo darbbu un personbas attstbas sakarbu, kur kreativitte tiek skatta k atslga indivda paizpausmei un nosaka individul stila kltbtni rado darb, atziu kontekst ir konstatts, ka dejas mkslas darba radtjam un atveidotjam interprettjam ir svargi bt ne tikai profesionli fiziski sagatavotiem, bet ar mkslinieciski profesionliem radoiem. Attstot iztli, fantziju, radoo domanu dejas izpildtjiem interprettjiem pai nozmgi ir veidot savu individulo stilu, kas veicina dejas mkslas darba spilgtku atklsmi, aujot dejas mkslas darb iekodto vstjumu nodot publiskam vrtjumam.
Literatras saraksts 1. Alijevs, R. (1999) Vidusskolnu jaunrade mcbs. Rga: RaKa, 274lpp. 2. Bebre, R. (2003) Skolotju kreativittes ptjumi Latvij. Zintnisko rakstu krjums Radoa personba, III sjums. Rga: Kreativittes centrs, 11.lpp. 3. Dauge, A. (1925) Mksla un audzinana. Rga: Valters un Rapa,168 lpp. 4. (Gadamers, H.G. (1999) Patiesba un metode. Rga: apgds Jumava, 508lpp. 5. Garleja, R. (2003) Darbs, organizcija un psiholoija. Rga: RaKa, 200lpp. 6. International Dictionary of Modern Dance (1998). London: St. James Press, 158p. 7. Kalja-Gasparovia, D. (19992000) Vizul mksla vrtba studentu kreativittes attstb. Zintnisko rak stu krjums Radoa personba, Isjums. Rga: Vrti, 130.136.lpp. 8. Karpova, . (1994) Personba un individulais stils. Rga: LU, 291lpp. 9. Marks, A. (1991) Paam sev. Rga: Zvaigzne, 166lpp. 10. Meikne, Dz. (1998) Psiholoija mums paiem. Rga: RaKa, 166lpp. 11. Nelke, M. (2003) Kreativittes metodes radoo spju attstanai. Rga: BALTA eko, 126lpp. 12. Students, J.A. (1998) Visprg paidagoija. Rga: RaKa, 224lpp. 13. pona, A. (2006) Audzinanas process teorij un praks. Rga: RaKa, 57., 111., 117.lpp. 14. , .. (1926) . : , 348. 15. , .. (1968) . . . , . : , 575. 16. , . (1997) . : , 424.

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Mg.sc.soc. lektore Sandra Vtola Rgas Pedagoijas un izgltbas vadbas akadmija RPIVA 3.kursa doktorante Adrese: Imantas 7.lnija 1, LV-1083 Tlr. mob.: 29665246 Fakss: 7808034 E-pasts: sandra.vitola@rpiva.lv

pielikums APPENDIX 1. attls Deju k mkslas darbu veidojoie komponenti Figure 1 Dance as Art work forming components Skattjs Spectator Mkslas darbs Deja Art work - Dance Dejas interpretcija Dance interpretation Dejas izpildtjs interprettjs Dancer - interpreter Tehnisk izpildjuma profesionalitte Professionalism of technical performance Dejas kompozcija Dance composition Dejas autors horeogrfs Dance author choreographer

Mksliniecisk profesionalitte Artistic professionalism

Individulais stils Individual style Kreativitte radoums Creativity Iztle Imagination

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Fantzija Fantasy

Radoa domana Creative thinking

Mris aka dzimis 1976. gad Varaknos. Brnba un skolas gadi pavadti Ataien, pie skolas Marijas ezera krast. Kop studiju uzskanas 1998. gad dzvoju Daugavpil. Brvaj laik patk bt kaut kur ce, vislabprtk izmantojot avio satiksmi, ar prieku paldzu veckiem lauku darbos. Viena no pdjo 13 gadu neatemamm sastvdam ir darboans Daugavpils novada tetra trup Treais variants. Mans aicinjums ir kaut ko neprtraukti radt, ko realizju savos glezniecbas, grafikas un tekstila darbos. Aleksandra ahova dzimusi 1948. gad Krslavas rajon. Brnba aizritjusi dzimtaj Dagd. Daugavpils universitt strdju kop 1994. gada. oti mlu savu darbu, jo tas ciei saistts ar zintni, pedagoisko un radoo procesu. Visi studenti ir talantgi un radoi. Studentu vide tas ir avots, kas man dod iedvesmu, jaunus spkus un paldz pilnveidoties profesionlaj un mkslas jom. Brvaj laik gleznoju akvareus. Manu radoo darbbu vienmr atbal sta mana imene un tuvkie cilvki, par ko es oti pateicos. MRIS AKA ALEKSANDRA AHOVA Daugavpils Universitte Latvija

MKSLAS STUDENTU RADOS MCBU DARBBAS ATTSTBA

Kopsavilkums Ievads. Mkslas studiju programmu studentu rado mcbu darbba mksl paredz radou mcbu uzdevumu un radou patstvgo darbu veikanu. Darba mris. Noteikt mkslas studiju programms studjoo rados mcbu darbbas attstbas lmeus, kritrijus un radtjus un konstatt ts attstbas dinamiku. Materili un metodes.Ttie novroana, vrtana, konstatjoais eksperiments. Rezultti. Noteikta mkslas studentu rados mcbu darbbas attstba un pamatoti ts attstbas lmei, kritriji un radtji. Secinjumi. Mkslas studentu rado mcbu darbba izpauas daudzu patstvgu oriinlu radoo ideju mekljumos, ar tiem sekojou kvalitatvu un detalizti izstrdtu idejas realizciju. Atslgas vrdi: rado darbba, mkslas programmu studenti, rados mcbu darbbas attstba.

The Development of Art Students Creative Study Activity.

SUMMARY Introduction. The tendencies of the 21st century determine the goals of professional high er art education: to provide a qualitative process for art studies training professional specialists in
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art artists, designers, art teachers, etc. With the development of new up-to-date technologies in art, the growth of their role, and integration into European society, a wider spectrum of professional higher education study programmes of art is available, their prestige grows, but the acquisition of these programmes becomes more complicated. The creative activity of those who study in art programmes is one of the most impor tant stages in the sphere of perfecting students education. Its major objective, established for every Latvian higher art educational establishment or study programme, is to educate a harmo niously developed, socially active and creative personality, who will have both adequate knowl edge and skills in art and skills for self-development and self-education within the context of sustainable education. The topicality of the research lies in the fact that levels, criteria and indicators of the development of a creative activity for higher art education have not yet been developed, and the findings of this and other research could be later used to stimulate the development of crea tive activity of students in art study programmes. The quality and results of students creative activity depend on the developmental level of students creative activity. The direction of the research was formulated on the basis of the analysis of scientific literature and the experience obtained by the lecturers of Daugavpils University, Faculty of Music and Arts: it is necessary to develop and theoretically substantiate a model of art study process for promoting the develop ment of creative activity of students in the art study programme. The study process in art takes place in two ways, and as a result of creative activity two different kinds of art work emerge: the first kind - works of art which have been created according to a definite plan. The students plan everything in their mind beforehand, and envisage how and what should be done to achieve the implementation of their ideas; the second kind works of art that appear as if of their own, independently of the artists will. These works come as a sudden revelation, little thought is given to planning or regularities, the work appears as if on its own. For students in the art study programmes both kinds of creative activity are important in their study process. Because, if in the first case they acquire professional skills in creating a work of art in an academic way, in the second case they gain an understanding of how a creative work of art emerges. Thus, after summarizing the current scientific viewpoints on the problem and taking the theoretical and practical research as the basis, the creative activity of the students will further be called a creative study activity. Aim of the study is to determine levels, criteria and indicators of the development of creative study activity of art students and to establish the dynamics of the development of a creative study activity. Materials and methods. Analysis of the research on pedagogy, psychology, philosophy and art pedagogy; questionnaire surveys of university students and lecturers, art secondary school pupils and art teachers; observation and analysis of students creative study activity; establishing experiment; the statistic methods of the experiment data processing in SPSS programme. Results. The development peculiarities of a creative study activity of students in the art study programmes have been explored; the definition of a creative study activity for students in the art study programmes has been provided and scientifically substantiated; the pedagogical factors of the development of a creative activity of students in the professional higher education art study programmes have been systematized and determined; levels, criteria and indicators of a creative study activity of students in the art programmes have been established. On the basis of the results obtained in the research, higher education art study pro grammes implemented at the Faculty of Music and Arts in Daugavpils University were re structured and supplemented, thus shifting the emphasis from education bachelor studies to art bachelor studies, which are oriented towards the development of students creative activity. In
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the professional art bachelor study programmes, the stress is laid on professional and practical trend in students education. This is done by applying an individual approach during the process of teaching a concrete optional art bachelor course (specialization), which allows the students to be constantly creative in the work by employing various techniques, up-to-date equipment and art materials, and ensures access to theoretical and practical information. The established levels, criteria and indicators of creative study activity of students in the profes sional art bachelor study programmes allow to determine the dynamics of the development of students creative study activity. Conclusions. The development of a creative study activity of students in the art study programmes takes place concurrently with the growth of knowledge, skills and the increase in the degree of students independence in their creative study activity. According to the estab lished criteria and their indicators, the level of the development of a creative study activity rises when it is purposefully organized, following the professional and practical line in art studies and taking an individual approach, introducing various art techniques and stimulating indepen dent creative activity. The research data show that there exists a correlation between levels of a creative study activity of students, therefore the following connections have been established: students of the experimental group have a higher level of the development of creative study activity, but weaker links between the criteria, while those in the control group have a lower level of the development of creative study activity, but stronger links between criteria. Key words: creative study activity, art students. IEVADS 21. gadsimta tendences nosaka profesionls augstks mkslas izgltbas mri, kas paredz kvalitatva mkslas studiju procesa nodroinjumu, sagatavojot profesionlus mkslas specilistus: mksliniekus, dizainerus, mkslas pedagogus, u.c. Rodoties jaunm un modernm mkslas tehnoloijm un pieaugot to nozmei, integrjoties Eiropas sabiedrb, mkslas izgltb pards plaks profesionls augstks izgltbas mkslas studiju programmu spektrs, paaugstins to prestis, bet kst saretka to apguve. Mkslas studiju programms studjoo rado darbba ir viena no svargkajiem pos miem studentu izgltbas pilnveides jom. Ts pamatuzdevums, kas ir noteikts katrai Latvijas augstks izgltbas mkslas studiju iestdei vai mkslas studiju programmai, ir veidot harmoniski attsttu, socili aktvu un radou personbu, kura ir apveltta gan ar atbilstom mkslas zinanm un prasmm, gan spjm paattstties un paizgltoties ilgtspjgas izgltbas kontekst, un k ap galvo V. Kandinskis, mkslinieks ir trskri atbildgs par savu darbu saldzinjum ar citu profes iju prstvjiem. Pirmkrt, viam ir jatdod atpaka tam doto talantu, otrkrt, via rcba, domas un jtas veido gargo gaisotni, un, darot to, ts var vai nu o gaisotni padart labku vai, glui otrdi, saindt to, trekrt, rcba, domas un jtas savukrt kalpo k materils mkslinieka dairadei, un ar ts starpniecbu atkrtoti ietekm gargo gaisotni (, 1989). Mkslas studiju programms studjoiem jprot radoi atrisint neordinrus mkslas uzdevumus, kuriem nav analogu pagtn, un savlaicgi jprot reat uz sabiedrb notiekoajm izmaim, taj pat laik przinot ar to, kas ir cilvces mgs vrtbas. Ptjuma tmas aktualitti veido apstklis, ka ldz im augstkaj mkslas izgltb nav izstrdti rados darbbas attstbas lmei, kritriji un rdtji, pc kuriem vadoties btu iespjams noteikt rados darbbas attstbas dinamiku, lai rosintu mkslas studiju programmu studentu rados darbbas attstbu. No mkslas studiju programmu studentu rados darbbas attstbas lmea ir atkarga studentu rados darbbas procesa kvalitte un rezultts.
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DARBA MRIS Noteikt mkslas studiju programmu studjoo rados mcbu darbbas attstbas lmeus, kritrijus un rdtjus un konstatt rados mcbu darbbas attstbas dinamiku. MATERILI UN METODES Raksta materils balsts uz veiktajiem ptjumiem par studentu rados mcbu darbbas attstbu laika posm no 2001. gada ldz 2009. gadam ar Daugavpils Universittes mkslas studiju programmu studjoiem un pedagogiem, k ar atsevios ptjuma posmos izmantoti cits Latvijas un rvalstu augstskols iegtie dati. Ptjuma sagatavoan pielietota: pedagoisks, psiholoisks, filozofisks un mkslas pedagoijas zintnisko ptjumu, monogrfiju un promocijas darbu, mkslas metodisks literatras analze; augstskolas studentu un doctju anketana; studentu rados mcbu darbbas tie novroana un analze; konstatjoais eksperiments; eksperimenta datu apstrdes statistisks metodes SPSS programm. REZULTTI Pdjo 50 gadu laik daudzi rvalstu zintnieki, ar latvieu pedagogi un psihologi, veltjui lielu uzmanbu un ptjui personbas rado potencila veidoans un personbas rados darbbas attstbas problmas. Rado darbba t ir personbas nepiecieambas realizcija un radoo mekljumu optimlais process (, 1999: 572). K uzskata Z. ehlova (2002: 30), rado darbba ir process, kas pats sevi stimul un ko var raksturot k tieksmi realizt sevi un ar savu objektivitti pasniegt sevi objektv pasaul. Savu patnbu d rado darbba ir cilvka paapliecinans, parealizcijas, panoteik ans un paattstbas optimla sfra, jo t ir brva darbba. Cilvka rados darbbas rezultt tiek radtas kvalitatvi jaunas, oriinlas materils un gargs vrtbas vai idejas gleznas, skadarbi, izrdes, izstdes, dzeja, proza u.c. (Bebre, 1997: 34; Chaplin, 1985: 110; Mace & Ward, 2002: 187). Darboties radoi var jebkur cilvks, jspj tikai atklt personbas radoo potencilu un jprot to aktivizt (Tan, 2004: 287; Varzim, 2005: 113). Mkslas studiju programmu pamatuzdevums studiju proces ir mkslas studentu profesionls kvalifikcijas lmea paaugstinana; studiju programma akcent ne tikai akadmisko uzdevumu veikanas nepiecieambu, bet ar studentu rados aktivittes nozmgumu. Ts paredz topoo mkslas specilistu iesaistanos un darboanos mkslas projektos: izstds, konkursos, radoajs darbncs u.c. Tas nozm, ka studiju process mksl norit divjdi, un rados darbbas rezultt rodas divu atirgu veidu mkslas darbi (Rene, 1999: 73): Pirmais veids tie ir mkslas darbi, kas radti pc noteikta plna. Mkslas program mas students jau iepriek visu izplno savs doms, kas un k tiks darts, lai sasniegtu iecerto. Otrais veids darbi, kuri rodas it k pai no sevis, it k neatkargi no mkslinieka gribas. Darbi top pk apjaut, mazk tiek domts par darba tapanas plnu, likumsakarbm, tas rodas it k pats no sevis. Mkslas studiju programmu studjoajiem studiju proces ir svargi ie abi rados darbbas veidi, jo, ja pirmaj gadjum tiek apgtas profesionls prasmes un attieksmes, notiek akadmiski veidota mkslas darba radana, tad otraj gadjum studenti gst apjausmu, k rodas rados mkslas darbs. Tpc, apkopojot pastvoos zintniskos uzskatus un balstoties
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uz teortiskajiem un praktiskajiem ptjumiem, mkslas studiju programmu studjoo rado darbba turpmk tiks saukta par radoo mcbu darbbu. Balstoties uz zintnisks literatras studijm (, 1988: 50; , 1996: 204; Reiter-Palmon, Mumford & Threlfall, 1998: 194; Norlander, 2000-2001: 329; , 2002: 16; Groborz & Necka, 2003: 189; , 2003: 28-30; u.c.), ekspertu (56 respondentu) vie dokli, ar kuru ldzdalbu tika noteikti rados darbbas attstbas kritriji: patstvba (68 %), elastba (66 %), ideju realizcijas kvalitte (54 %), oriinalitte (51 %) tika detalizti izstrdta radoa ideja (49 %) (ahova, aka, 2009: 89; ahova, Volonte, aka & Haw, 2006: 159) un formulta rados mcbu darbbas defincija. T ir darbbas veids, kuras rezultt tiek radtas kvalitatvi jaunas gargas vrtbas, kurm nepiecieami subjektvie (zinanas, prasmes un rados spjas) un objektvie (socilie, materilie) nosacjumi. Mkslas studiju programmu studentu rado mcbu darbba izpauas daudzu patstvgu oriinlu radoo ideju mekljumos, ar tiem sekojou kvalitatvu un detalizti izstrdtu idejas realizciju (aka, 2009: 10). Analizjot pedagoiski psiholoisko literatru (, 1991: 66; M, 1995: 105; -, 1995: 175; Hibnere, 1998: 32; Howe, 1999: 432; K, 1999: 298; Svence, 1999: 127; , 2000: 135; Alijevs, 1999: 29; Csikszentmihalyi, 1999: 314; Jurgena, 2001: 80; ehlova, 2002: 30; , 2002: 39; Lubart & Georgsdottir, 2004: 41 u.c.) pasnie dzot atirgus mcbu priekmetus skol un mkslas skol, docjot mkslas studiju program mu studentiem dadus mkslas studiju kursus Daugavpils universitt, izdarts secinjums, ka rado mcbu darbba attsts visos cilvka dzves vecumposmos, skot no agras brnbas, kuru saucam par skotnjo posmu, kam pctecgi seko: sagatavojoais (pamatskolas skolni - no 1. ldz 4. klasei), attstoais (pamatskolas skolni no 5. ldz 9. klasei), nostiprinoais (vidusskolas skolni), pilnveidojoais (mkslas studiju programmu augstskolas studenti) un kreatvais posms (mkslas specilisti). Katrs rados darbbas posms ir pamats nkamajam posmam, kas veido prieknoteikumus prejai no rados darbbas zemk posma uz augstko. Ja kds no posmiem izpaliek, var palninties vai apstties rados darbbas attstba (Slahova, Volonte, Cacka & Savvina, 2007: 147). emot vr, ka studentu radoo darbbu ms definjm k radoo mcbu darbbu piln veides posm, piedvjam savu skatjumu, nosakot piecus rados mcbu darbbas attstbas lmeus, kuri aprobti zintniskajs publikcijs un prezentcijs, uzstjoties zintniskajs konferencs (Slahova, Cacka & Volonte, 2005; Slahova, Volonte, Cacka & Savvina, 2007): reproduktv rado mcbu darbba; rados mcbu darbbas interpretana; imitjo rado mcbu darbba; rados mcbu darbbas prveidoana; kreatv darbba. Mkslas studiju programmu studentu rados mcbu darbbas intensitte pilnveides posm pakpeniski attsts un dinamiski priet no viena lmea uz nkamo, produktvku un saretku, kuru di namiku ietekm atirgi pedagoiskie faktori. Rado darbba ietver noteiktu radoo procesu, kas attsts pc noteiktas shmas pa stadijm (Smagula, 1990: 47; , 1996: 21; Fontana, 1998: 115; Sili, 1999: 344; , 1999: 208; , 1999: 539; Blinkena, 2000: 78; Lubart, 2000-2001: 295; , 2002: 32; Mace & Ward, 2002: 182; Akmekalna, 2003: 103; Groborz & Necka, 2003: 183; Sawyer, 2006: 58): 1. Idejas aizskums radoais skums (sagatavoanas stadija); 2. Informcijas apkopoana un ideju veidoana rados informcijas lauks (inkubcijas stadija); 3. Ideju apkopoana jaun model radoais virzbas process (sapraanas stadija); 4. Tehniku izvle radoas tehnoloijas (apzintas darbbas stadija); 5. Idejas realizana un prbaudana radoais rezultts (darba pabeiganas un prbaudes stadija) (ahova, aka, 2009: 91).
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Radoais skums (sagatavoanas stadija), nosaka iepriekju problmas analzi, ide jas definanu. Mksla ieskas, kad ideja vl joprojm ir ts nenoteiktb (Hegel, 1998: 102). Sagatavoans ierosina apzintu darbbu, atlasot materilus. Mkslas darbbas skums biei var notikt samr ilgi pirms pie t uzskanas, jo mksliniecisks idejas ir pakautas attstbai visu mkslas darbu radanas proces. Radoas informcijas lauka stadij (inkubcija) cilvks apzinti var strdt pie citu problmu risinanas vai vienkri atslbinties, atpoties no s problmas. Zemapzi viedoki turpina iedarboties uz problmu, nodroinot daudz ideju asocicijas vai kombincijas. Mkslas darba ideja var ar mainties visa rado procesa laik. Rado virzbas procesa (sapraana) stadij daudzsoloa ideja apraujas ldz apzintai sapraanai, kur notiek risinjums. Kad ideja ir atrasta, piefiksta, apzinta un iesdusies mkslinieka apzi, skas savdabgs pievilkans process ai idejai ar visdadkajm zinanm un prasmm. posma laik mkslas darbi var bt pakauti zinmm izmaim, skotnjs ide jas korianai. aj stadij mkslinieks mekl un nosaka sava darba izpildanas tehniku. Radoas tehnoloijas (apzinta darbba) stadij iepriek apstiprint ideja tiek prak tiski stenota. Darbb tiek izminta un prbaudta ts jga, nosakot, vai tiem risinjums ir kaut kas jauns, vai tas paplaina studenta individuls un profesionls izpausmes, un vai is risinjums ir pieemams iepriek izvirztajiem uzdevumiem. Rado rezultta (darba pabeigana un prbaude) augstkaj stadij nepiecieams oti daudz informcijas, kura tiek pasniegta nevis nepilng veid, bet veidota t, lai o informciju vartu izmantot k efektvu instrumentu. Tiei nosldzoaj stadij tiek veikta pdj prbaude un mkslas darba nozmbas vrtana, kuru laik autors nolemj vai nu pabeigt darbu, vai veikt tam korekcijas, vai uzskt jaunu darbu, stenojot izdomto ideju. Izstrdtajai shmai ir daudz pamatpatnbu. Viena no ts galvenajm patnbm, ka shma nodroina rado procesa aprakstu no skotnjs stadijas. Tas notiek, skot ar mkslas darba idejas apdomanu un nosldzas ar mkslas darba pabeiganu. Shma demonstr, ka mkslas studiju programmu radoais potencils pilnveidojas visa rado procesa laik. Rado procesa shma atspoguo rados mcbu darbbas attstbas objektvos likumus un nodroina t elastgo raksturu. Shma var bt izmantota ne tikai darb ar mkslas studiju programmu studen tiem, bet ar ar citu, piemram, mzikas, kultras virzienu studiju programmu studentiem. Mkslas studiju programmu studentu rados mcbu darbbas attstba tiek raksturota k sistemtisks un mrtiecgs savstarpji saistts doctja un studenta darbs. Doctja darbba virzta uz mkslas studiju kursa satura izstrdi un atbilstos mcbu metodikas izmantoanu, kas attsta studentu interesi par radou mcbu darbbu. Studentiem, aktvi un daudzpusgi patstvgi darbojoties radoi, pieaug viu radoais potencils. Lai mkslas studentu radoo mcbu darbbu attsttu veiksmgk, jem vr studenta mkslas sagatavotbas lmenis un viu spjas radoi darboties. Ptjums (Reiter-Palmon, Mumford & Threlfall, 1998; Alijevs, 1999; Sternberg & Grigore nko, 2000 2001; , 2004; Kokina, Davidova, 2006: 132 133; Davidova, Boikova, 2007: 99 103; u.c.) paredz noteikt, kuram lmenim atbilst studentu rado mcbu darbba, ko iespjams raksturot ar kritrijiem. Veikt studentu rados mcbu darbbas attstbas konstatjo ptjuma rezultti, pedagoisk pieredze, sarunas ar doctjiem un metodiiem va noteikt rdtjus pieci em atlastajiem kritrijiem (patstvba radoaj darbb, fleksibilitte, idejas realizcijas kvalitte, oriinalitte un detalizti izstrdta rado ideja (izpildjums))(aka, ahova, 2009: 118 129). Izstrdtie kritriji un rdtji tika izmantoti empriskaj ptjum, nosakot Daugavpils universittes mkslas studiju programmu studentu rados mcbu darbbas attstbas dinamiku. Ptjums par mkslas studiju programmu eksperimentls grupas studentu rados m cbu darbbas attstbu notika mkslas studiju proces, izmantojot dus pedagoiskos faktorus:
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mkslas studiju profesionli praktisk ievirze; individul pieeja; dadu mkslas tehniku ievieana; patstvgs rados darbbas stimulana. Konstatjo eksperiment (aka, 2009: 19 22) veikts iegto datu apraksts un to interpretcija, izmantojot neparametrisko Wilkoksona un Mann-Whitney U kritrija metodiku SPSS programm, k ar veikts kvalitatvais ptjums, balstoties uz atseviu eksperimentls grupas studentu tieaj novrojum iegto datu analzi. Apkopojot datus, gan eksperimentlaj, gan kontrolgrup ir novrojama rados mcbu darbbas dinamika: eksperimentlaj grup dinamika ir mrenka, ko izskaidro tas, ka rados mcbu darbbas attstbas lmenis ekperimentls grupas studentiem ptjuma vidusposm jau bija btiski augstks nek kontrolgrup. Savukrt, kontrolgrup vrojama pretja situcija: rados mcbu darbbas attstbas lmea dinamika ir straujka, pateicoties studentu pctecgai izaugsmei un profesionlo prasmju un zinanu pieaugumam studiju noslgum, ko btiski ietekmja ar specili radt mkslas rado vide eksperimentlas grupas studiju procesa nodroinanai. Ptjuma histogrammas pardja, ka veidojas das sakarbas: eksperimentlai grupai katra atsevia rados mcbu darbbas kritrija dinamikas attstbas lmenis ir augstks, bet novrojamas vjas saiknes starp kritrijiem, savukrt, kontrolgrup ir zemks rados mcbu darbbas attstbas lmenis, bet spcgkas saiknes starp kritrijiem. SECINJUMI Mkslas bakalaura studiju programmu studentu rado mcbu darbba mksl paredz radou mcbu uzdevumu un radou patstvgo darbu veikanu, kam nepiecieami subjektvie (zinanas, prasmes un rados spjas) un objektvie (socilie, materilie) nosacjumi. Mkslas studiju programmu studentu rado mcbu darbba izpauas daudzu patstvgu oriinlu radoo ideju mekljumos, ar tiem sekojou kvalitatvu un detalizti izstrdtu idejas realizciju. Mkslas studiju programmu studentu rados mcbu darbbas attstba tiek raksturota k sistemtisku un mrtiecgu savstarpji saisttu doctja un studenta darbu. Doctja darbba virzta uz mkslas studiju kursa satura izstrdi un atbilstos mcbu metodikas izmantoanu, kas attsta studentu interesi par radou mcbu darbbu. Studentiem, aktvi un daudzpusgi patstvgi darbojoties radoi, pieaug viu radoais potencils. Rados mcbu darbbas attstb ir svargi pedagoiskie faktori: mkslas studi ju profesionli praktisk ievirze; individul pieeja; dadu mkslinieciski tehnisko pamienu ievieana; patstvgs rados darbbas stimulana. Rados mcbu darbbas attstbas dinamika pa lmeiem ir nosakma pc diem kritrijiem: patstvba radoaj darbb, fleksibilitte, idejas realizcijas kvalitte, oriinalitte un detalizti izstrdta rado ideja, un to radtjiem.
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7. aka, M. (2009) Studentu rados darbbas attstba mkslas studiju proces. Promocijas darba kopsavil kums pedagoijas doktora zintnisk grda ieganai pedagoijas zintnes nozar mkslas pedagoijas apaknozar. Daugavpils: Daugavpils Universittes Akadmiskais apgds Saule, 55lpp. 8. aka, M., ahova, A. (2009) Development of Creative Study Activity of Students in the Professional Higher Education Art Bachelor Study Programme. 6.starptautisks zintnisks konferences Cilvks. Krsa. Daba. Mzika zintnisko rakstu krjums, 2009. gada 5.10. maijs, Daugavpils: Daugavpils Universittes Akadmiskais apgds Saule, 118.128.lpp 9. ehlova, Z. (2002) Izzias aktivitte mcbs. Rga: RaKa, 136lpp. 10. Davidova, J. & Boikova, I. (2007) Evaluation of Students Individual Performance in a Music Secondary School. Problems in Music Pedagogy, Volume1, p.94110. 11. Fontana, D. (1988) Psychology for Teachers, 2nd edition, Hong Kong, 368p. 12. Groborz, M. & Necka, E. (2003) Creativity and Cognitive Control: Explorations of Generation and Evaluation Skills. Creativity Research Journal, Vol.15, No2/3, p.183197. 13. Hegel, G.W.F. (1998) Philosophy of Fine Art. In: Preziosi, D. (Ed.) The Art of Art History: A Critical Anthology, p.97109. 14. Hibnere, V. (1998) Brna vizul darbba, 1.daa. Pedagoisk psiholoija. Rga: RaKa, 198lpp. 15. Howe, M.J.A. (1999) Prodigies and Creativity. In: Sternberg, R.J. (Ed). Handbook of Creativity. Cambridg: Cambridge University Press, p.392430. 16. Jurgena, I. (2001) Visprg pedagoija. Rga: SIA Izgltbas soi, 131lpp. 17. Kokina, I. & Davidova, J. (2006) Intellectual Giftedness Criteria and Indicators: Latvian Teachers Wiew. Journal of Teacher Education and Training, Vol.6, p.116133. 18. Lubart, T. I. & Georgsdottir, A. (2004) Creativity: Developmental and Cross-Cultural Issues. In: Lau, S., Nui, A.N.N. & Ng, G.Y.C. (Eds.) Creativity: When East Meets East. World Scientific Publishing, Co. Pte. Ltd., p.2354. 19. Lubart, T.I. (2000-2001) Models of the Creative Process: Past, Present and Future. Creativity Research Journal, Vol.13, No3/4, p.295308. 20. Mace, M.A. & Ward, T. (2002) Modeling the Creative Process: A Grounded Theory Analysis of Creativity in the Domain of Art Making. Creativity Research Journal, Vol.14, No2, p.179192. 21. Norlander, T. (2000-2001) Conceptual Convergence in Creativity: Incubation and Brain Disease State. Creativity Research Journal, Vol.13, No3/4, p.329333. 22. Reiter-Palmon, R., Mumford, M.D. & Threlfall, K.V. (1998) Solving Everyday Problems Creatively: The Role of Problem Construction and Personality Type. Creativity Research Journal, Vol.11, No3, p.187197. 23. Ree, V. (1999) Psiholoija. Personbas psiholoisks teorijas. Rga: Zvaigzne ABC, 175lpp. 24. Sawyer, K.R. (2006) Explaining Creativity. The Science of Human Innovation. Oxford: Oxford University Press, 354p. 25. Sili, E.I. (1999) Lielo patiesbu mekljumi. Rga: Jumava, 512lpp. 26. Slahova, A., Savvina, J., Cacka, M. & Volonte, I. (2007) Creative Activity in Conception of Sustainable Develop ment Education. International Journal of Sustainability in Higher Education. Vol.8, No2. United Kindom: Emerald Group Publishing Limited, p.142154. 27. Smagula, H.J. (1990) Creative and Visual Thinking. Creative drawing. Printed in China. p.192203. 28. Sternberg R.J. & Grigorenko, E.L. (2000-2001) Guilfords Structure of Intellect Model and Model of Cre ativity: Contributions and Limitations. Creativity Research Journal, Vol.13, No3/4, p.309316. 29. Svence, G. (1999) Attstbas psiholoija. Mcbu ldzeklis. Rga: Zvaigzne ABC, 159lpp. 30. ahova, A., aka, M. &Volonte, I. (2005) Creative Interest and Creative Activity in Art Education. Scholar Research Journal The Spaces of Creation, No2, p.9298. 31. ahova, A., aka, M. (2009) Development of Creative Activity of Prospective Visual Art Teachers. In: Pip ere, A. (Ed.) Journal of Teacher Education for Sustainability, Vol.11. DU: Institute of Sustainable Education, p.8696. 32. ahova, A., Volonte, I., aka, M. & Haw, R.B.H. (2006) Evaluation Aspects of Creative Process. In: Pipere, A. (Ed.) Education and Sustainable Developmant: First Steps Toward Changes, Vol.1, Daugavpils: Daugavpils Saule, p.149167. 33. Tan, A.-G. (2004) Singapures Creativity Education: A framework of Fostering Constructive Creativity. In: Lau, S., Nui, A.N.N. & Ng, G.Y.C. (Eds.) Creativity: When East Meets East. World Scientific publishing, Co. Pte. Ltd., p.277304. 34. Varzim, M. (2005) Creativity Stimulus for Human Development. Krybos Erdves. The Spaces of Creation, No2, p.110115. 310

35. , . . (1988) . : , 238c. 36. , . . (2004) . . -: , 176. 37. , . (1999) . : . . , .., : , c.191241. 38. , .. (1991) . . : , 93c. 39. , .. (2000) . . . -: , 464c. 40. , . (1989) . : , 68c. 41. , .. (1996) . : , 344 . 42. , .. (1999) . : , 304c. 43. , . (2002) : . (. .) : , 143. 44. -, .., , .. (1995) . : , 144c. 45. , . (1995) . . (. .) : , 156 c. 46. , . . (1999) . : , . , .. : , c.511568. 47. , . . (1999) . : , . , .. : , c.569593. 48. , .. (2003) . -: , 96c. 49. , . . (1996) a . , . , . : , c.176220. Docents Dr.paed. Mris aka Daugavpils Universitte Adrese: Saules iela 1/3, Daugavpils, LV5400 Tlr./fakss: 65424633 E-pasts: maris.cacka@du.lv Profesore Dr.paed. Aleksandra ahova Daugavpils Universitte Adrese: Saules iela 1/3, Daugavpils, LV5400, Tlr./fakss: 65424633, E-pasts: aleksandra.slahova@du.lv

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Dagnija Vigule. Rgas Pedagoijas izgltbas un vadbas akadmijas Pedagoijas fakulttes Pirmsskolas pedagoijas katedras lektore, Rgas pirmskolas izgltbas iestdes Annele metodie. Vaasprieki: Lasana k process, leu darinana no dadiem materiliem, kas ir ne tikai rados, bet ar filozofisks process.

DAGNIJA VIGULE Rgas Pedagoijas un izgltbas vadbas akadmija Latvija

Jautrbas nekad nevar bt par daudz, jo via vienmr nk no laba; turpretim bdas var bt bezgalgas, jo ts nk no auna. /Kants/

Rotalieta brna prieka avots un rados darbbas sekmtja

Kopsavilkums Ievads. Brna galven un visnozmgk darbba brnb ir rotaans, kas ir komplicta psihofiziska pardba, un t gan vsturiski, gan filozofiski ir saistta ar rotalietu. Darba mris. Teortiski un praktiski ptt rotalietu k brna prieka avotu un rados darbbas sekmtju, atklt un aktualizt galvens problmas. Materili un metodes. Galvenokrt izmantota literatras avotu saldzino analze, sarunas ar brniem. Rezultti. Ne vienmr plas jaunu, skaistu, rpnieciski gatavotu rotalietu klsts apmierina brna darboans un radanas prieku. Secinjumi. Apkrtjs vides radtiem iespaidiem un prdzvojumiem ir btiska loma pirmsskolas vecuma brna iekjo shmu, vrtbu sistmas veidoans un attstbas proces, kas savukrt veicina produktvs domanas, radouma veidoanos. Atslgas vrdi: Rotalieta, prieks, radoa darbba.

Toys as facilitators of childs joy and creatiVE activity

SUMMARY Introduction. Play is the main and the most important activity during childhood which is a complicated psycho physiological phenomenon and is historically and philosophically relevant to a toy. A toy facilitates childs holistic development, satisfies his/her natural wish to be active, to explore the surroundings and to develop, because playing means the clearest selfdevelopment (Gadamers, 1999). Aim of the study is to explore the toy as a source of the childs joy and as a facilitator of creative activity, to discover and to update the main problems.
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Materials and methods. A comparative analysis of literature, talk with children. Results. The first five years, when childs behavior is getting more stable and selfesteem, emotional conception or attitude to life is developing, are very important in the devel opment of a personality (Adlers, 2001). It can develop as a sad, somber, depressive or light, joyful, lively child (Dle, 1994). It is a natural need for a pre-school child to have merriment games, which create joy (Svenne, 1930, McNeal, 1999). Joy is the experience of thrilled, stimulating and pleasant feelings, strong emotions, intellectual enjoyment, cognitive processes (Izards, 1999, Birkerts, 1939), which becomes apparent in a smile, motor movements, activities and play. It arises spontaneously when a pleasant external impression is added to a good physical condition (Students, 1935). Childs self-realization and self-expression is realized learning new skills, abilities and overcoming obstacles. A child experiences joy understanding its possibilities, success and ac complishments (Schutz, 1967). The child has a skill to be creative, reshape materials, not limiting itself. This activity can be characterized by a skill to understand things from another point of view, to create, to invent, to discover, to adapt to new unusual situations (Picka, 1999, Dauge, 1920). Childs will and imagination makes a toy to act in a way the child has invented and together with it the child can create the world which is around him/her. The adult should not disturb this process by his/her reprimands, instructions, but help a child to organize his/her experiments. Childs creativity is facilitated by broadening childs theoretical and practical experience. However, observations show another picture. An adult often tries to provide everything. It can disturb both the childs intentions and the skill to act creatively. A toy way to a child traditionally begins from a shelf in a store. Comparatively early a child becomes a consumer of a product a toy. Parents become buyers. Consumers behavior is determined by the decision to buy goods or services (Kotler, 1984). However, a child is still an immature consumer whose main driving force is his/her psychological fickleness (Demirdjian, 2004). Parents should know when choosing a toy that a child as a consumer focuses its atten tion to one of toys features which is exact, the most evident, and not always essential. A child is unable to refuse from the desired object (Mischel, 1999). Not always a wide choice of new, beautiful, industrially made toys satisfies a childs joy of doing and creation. Play is aroused by inner conditions of psyche, motivation, value orientation which leads to the results of productive thinking, discoveries, new ideas or views (Picka, 1990). Precise shapes of industrially made toys are harmful not only for the develop ment of aesthetic sense, but they also prevent development of fantasy and exclude elements of creativity (teiners, 1997, Dauge, 1920) and creative problem solving. In order to cause a true joy, it is necessary to remember that joy is different from sat isfaction and it is not possible to cause joy by exact things, activities, and events. A toy causes joy if a child can find any connection with its experience, surroundings. Conclusions. We can conclude, that the impressions and experiences created by the surroundings have an essential role in the development of childs inner schemes and values, which facilitate the development of productive thinking and creativity; repressive, sanctimonious, prejudiced environment which offers a small number of posi tive experience, intervention in the childs play intentions, fantasies exhausts mental energy and limits self-realization; adult activity becomes a stimulus for childs activity, acting together is a valuable edu cational tool which allows to understand child s surprisingly rich inner world;
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 a key to life joy is an active joy because joy is not only a pleasant experience, but also overcoming obstacles; a child acting with toys reflects not only situations observed in social life, but also gets inspiration for creativity, imagination, fantasy, and, as a result, psychical development. Key words: toys, childs enjoyment, creative activities. Ievads Viens no audzinanas galvenajiem uzdevumiem ir attstt radoo eneriju, kas mt katr brn. Radoums ir process, bez kura nav iespjama pilnvrtga cilvka dzve, bet radt var tikai dzvespriecgs un dzvi mlos cilvks (Dauge, 1920). Prasme priecties ir viena no radou personbu raksturojom pabm. Pirmsskolas vecum radoums izpauas ne tikai brna mkslinieciskaj darbb, bet ar via spriedumos, secinjumos, vrdu darinjumos, attiecbs un rota, kas ir visu mkslu pirmskums. Tikai mksla un rotaa dod iespju valdt pr savu apkrtni un reiz gt brvbu sev, savm jtm un afektiem (Svenne, 1930). Cilvka darbba ir priekmetiska, ar brna darboans, rotaans, kas ir galven un nozmgk darbba brnb, notiek ar materils dabas objektiem rotalietm. Rotalieta vien laikus ir gan produkts, darinjums ar savu noteiktu formu, kuru veidojis mkslinieks, gan ar brna darbbas ierosintja. T paldz brnam izzint pasauli, ts likumsakarbas, stenot iztli un fantziju, atbrvoties no vides radto iespaidu prdzvojumiem, paust savu radoumu un gt prieku. Problma slpjas apstkl, ka audzinan ms prk maz uzsveram aktvo prieku, prk ierobeojam brna padarbbu un nostdm viu pasva vrotja lom. Ldz ar to msdienu cilvkam zd spja priecties un izpratne par prieka kultru, mums trkst dzves prieka, trkst gai sen dzves veida, ms dzvi nemlam, mums nav ticbas ne sev, ne savai nkotnei (Svenne, 1930). Tau latvieu tautas pedagoij neparasti liela vieta ierdta priecga prta tikumam (Anspaks, 2003). Darba mris Teortiski un praktiski ptt rotalietu k brna prieka avotu un rados darbbas sekmtju, atklt un aktualizt galvens problmas. Materili un metodes Galvenokrt izmantota literatras avotu saldzino analze, sarunas ar brniem. Rezultti Personbas veidoans proces nozmgi ir tiei pirmie pieci dzves gadi, kuru laik brna izturans mehanizjas un veidojas dzves izjta, pasajta, emocionl koncepcija, jeb attieksme pret dzvi (Adlers, 2001). Daudzveidgu prdzvojumu ietekm dzves izjta iegst pozitvu vai negatvu ievirzi, atkarb no t, vai darbba, ko veic indivds un iedarbba, kurai vi tiek pakauts, ir pozitva vai negatva attiecb pret via vajadzbm, interesm (Rubinteins, 1984). Prdzvojuma pieredze ietekm ne tikai brna smadzeu attstbu, bet var maint ar emocionls uzvedbas mo deli (Goulmens, 2001) un ietekmt turpmks pieredzes interpretciju. T var veidoties skumga, drma, depresva vai gaia, priecga, spirgta un atraista (Dle, 1994). Ptjumi atklj, ka pozitvs emocionlais stvoklis veicina: emptiju un altruismu, paaugstina kognitvo procesu produktivitti (tai skait, radou problmu risinanu),
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 cilvka pavrtjumu, ticbu sev, jaunu zinanu apguvi (Izards, 1999). Pirmsskolas vecuma brna dzvesprieka pamatu veido mas, priecgas audzintju se jas, oriinlas personbas, kurs tas labkais ir via pri kstoais darba prieks (Dauge, 1925), mlestbas pilna gaisotne un patkama apkrtne. aj vecum brnam ir dabiska vajadzba pc jautrbas rotam, splm un izklaides, kas rada prieku (Svenne, 1930, McNeal, 1999). emo cija vienmr ir subjektva, jo daji saistta ar iedzimtbu, td grti ptma, tomr ts kvalitatvs pabas ir nemaingas. Prieks ir paciljou, ierosinou un patkamu jtu prdzvojums, spcga emocija, intelektula bauda, kognitvs process (Izards, 1999, Birkerts, 1939), kas izpauas smaid, smieklos, motors kustbs, darbbs un rota. Tas rodas spontni, kad labam fiziskajam stvoklim pievienojas patkams rjs iespaids, kas modina interesi (Students, 1935). Interesi var raksturot k ilgstou prieku, kas saista pie kda priekmeta vai rotalietas, un vlmi ar to darboties tlk (Ptersons, 1931). Pirm brna interese par rotalietu saistta gan ar funkcionlm, gan intencionlm interesm, un to attstba pirmsskolas vecum norit paralli (Students, 1935). Brnam primri ir noskaidrot, kda ir rotalietas funkcionalitte un cik liel mr t atbilst via vajadzbm. T vispirms tiek izmantota, lai izzintu priekmetu pabas, krsu, lie lumu, formu, izpttu to atsevis daas un saldzintu ar stiem priekmetiem. Rotalieta paldz brnam kt par aktvu ptnieku pasaules likumsakarbu izzi, atrast jgpilnbu un mrtiecbu fiziskaj vid (Dlgrns, epanskis, 2007) un dod iespju mcties paam atbilstoi savm vajadzbm, nevis rji noteikta iemesla d. Apgstot jaunas prasmes, iemaas, prvarot grtbas, notiek brna parealizcija un paizteikans, un brns izbauda prieka emociju, kas rodas apzi noties savas iespjas, pankumus un sasniegumus (Schutz, 1967). Tomr brns darbojas, rotajas nevis, lai gtu prieku, bet td, ka rotalieta saista via uzmanbu, raisa interesi, aizrauj un ap mierina t rotatieksmi, darboans, veidoanas un radanas tieksmes (Birkerts, 1923). Var teikt, ka rotalietu saret pasaule brna dzv veic vairkas nozmgas funkcijas. T ir izpriecas, izklaides un prieka priekmets, kas dod iespju brnam ne tik daudz prieku redzt, cik paam bt aktvam t mekltjam un radtjam. Vienlaikus ro talieta ir brna psihisks attstbas ldzeklis, kas paldz apgt noteiktas prasmes un sagatavoties dzvei. T sekm brna attstbu veselum, apmierina dabisko vlmi darboties, izzint pasauli un apzinties savas iespjas, attstt sevi, jo splans nozm vistrko sevis paattstanu (Gadamers, 1999). Bez tam rotalieta auj izjust neatkarbu un bt brvam no pieaugu kontroles, aizliegumiem, ierobeojumiem, noteikumu un instrukciju ievroanas. T izpauas brna pirmie patstvgs gribas impulsi, un izjta ks par prieka avotu un veido pozitvu attieksmi gan pret sevi, gan pasauli. Radoumu veicina pozitvas emocijas, bet ne represva, svtulga, aizspriedumaina vide, kas piedv nelielu skaitu pozitvu prdzvojumu, kur nav iespjams apgt jaunas prasmes un iemaas. Brnam piemt apbrnojama spja bt radoam, ja vien vi var darboties vid, kas neiztuko gargo eneriju, neierobeo parealizciju, un via rcb ir materili, kuriem pieirt vlamo formu. pai saistoi brniem iet materili, kas pakaujas via fantzijai, kas jeb kuru priekmetu var prvrst par rotalietu saplsuu balonu par lelles cepurti, kociu par automanu. du darboanos, tpat k radou darbbu, var raksturot k spju ar iztles paldzbu aptvert lietas jaun skatjum, ar gribas un fantzijas, k galveno radanas faktoru, paldzbu radt, izgudrot, atklt vai paust kaut ko jaunu, piemroties jaunm, neparastm situcijm (Picka, 1999, Dauge, 1920). Brna griba un iztle liek rotalietai darboties t, k to iecerjis brns, un kop ar to brns var izsplt to pasauli, kuru vi redz sev apkrt. o brna spju domt netradicionli pieauguajam btu jatbalsta un jveicina. Sadzves priekmeti, nepilngas, viegli prveidojamas, paa brna atrastas vai pagatavotas rotalietas ir pedagoiski vis nozmgs, uzskata P. Birkerts (1923). Ar skolotja un rakstniece A. re, kura sav pedagoiskaj darbb balstjs uz 20. gadsimta skuma populrajm pedagoiskajm strvm, pai atzmja roku darbu un vecku un brna sadarbbu rotalietu gatavoanas proces.
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Via piedvja no vienkriem, sadzv viegli pieejamiem materiliem kop ar brnu veidot in teresantus priekmetus, rotalietas, kas rosintu brna iztli, radoumu, fantzijas attstbu, dotu iespju brnam strdt un pasargtu no garlaicbas (Kae, 2001). Darboans un saskarsme ar sev miem un nozmgiem cilvkiem, kas atklj materilu daudzveidgs izmantoanas iespjas, iekaujot ts visdadkajos rotau sietos, brnam: veido izpratni par darba kultru, veicina noteiktu zinanu un prasmju apguvi, kas nepiecieamas praktiskaj dzv, attsta patstvbu, padarbbu. Rado aktivitte ir process, kura laik notiek dadu materilu izpte, eksperimentana ar tiem un atkljumu veikana. To var saukt ar par ptniecbu, kuras laik brns mekl un atklj jaunus veidus, k izteikt to, ko vi redz, un jaunus pamienus, k izmantot materilus. Pieauguajam aj proces nevajadztu iejaukties ar aizrdjumiem, nordjumiem, bet gan vrot, kdus materilus brns izvlas, kdus uzdevumus izvirza, kdas darbbas ar tiem veic, kdi ir via pankumi. Paldzot brnam organizt via minjumus, paplainot brna teortisko un praktisko pieredzi, tiek veicinta brna jaunrade. Balstoties uz teortisks literatras analzi, saldzinot Latvijas brvvalsts pedagogu, psihologu atzias, kuras veidojus, saplstot Rietumu ptjumiem ar latvieu nacionlo dzves skatjumu, ar msdienu autoru atzim, izkristalizjs uzskati par rotalietu k brna rado potencila veicintju. Tomr praks vrotais liecina par pretjo. Nereti, cenoties nodroint brnu ar visu nepiecieamo, pieauguais iedomtos priekmetus rotalietas nomaina ar stm rotalietm. Tas var izjaukt gan brna rotau ieceri, gan slpt spju radoi darboties. Msdienu materilajs vrtbs balsttj sabiedrb rotalietas ce pie brna tradicionli skas no veikala plaukta. Samr agri brns kst par produkta rotalietas patrtju, bet vecki par pircjiem. Patrtja uzvedbu nosaka lmums iegdties preci vai pakalpojumu atbilstoi psiholoiskajm, fizioloiskajm un gargajm vajadzbm (Kotler, 1984). Tau brns ir vl nenobriedis patrtjs, kura galvenais uzvedbas dzinulis ir via psiholoisk nepastvba (Demirdjian, 2004). Veckiem, izvloties rotalietu, btu jem vr, ka brnu k patrtju rakstu ro uzmanbas fokusana uz vienu konkrtu, uzkrtou, redzamko, bet ne vienmr btiskko rotalietas pabu un nespja atteikties no sava iekrot objekta (Mischel, 1999). Nespjot pretoties brna lgumam, via argumenttajm un loiskajm prasbm, rotalieta tiek pirkta, lai iepriecintu brnu, izpatiktu via kaprzm, untumiem. Td veid brn tiek veicints egoisms, izklaidba, neuzmanba. Vecku un brnu kopgs saruns bti rpgi jizvrt ik vienas rotalietas nepiecieamba. Tas paldztu izvairties no nevajadzgu, monotonu, stereo tipisku, rotadarbbu bremzjou rotalietu iegdes. Ne vienmr plas jaunu, skaistu, rpnieciski gatavotu rotalietu klsts apmierina brna darboans un radanas prieku. Rotadarbbu, tpat k radou darbbu, nevar vadt, to izsauc psihes iekjie stvoki, darbbas motivcija, vrtbu orientcija, kas noved pie produktvas domanas rezulttiem, atkljumiem, jaunm idejm vai skatjumiem (Picka,1990). Bez tam pastv uzskats, ka rpnieciski gatavoto rotalietu matemtiski pareizs formas kropo ne tikai brna esttisko izjtu, bet kav ar fantzijas attstbu un izsldz jaunradanas elementus (teiners, 1997, Dauge, 1920), radou problmu risinanu. Lai rotalieta patiesi iepriecintu brnu, jatceras, ka prieku, atirb no apmierinjuma, nav iespjam izsaukt ar kdm noteiktm lietm, darbbm, notikumiem. Pieauguajam mkslas darbs izraisa prieku vien tad, ja mkslas darb vi atklj saikni ar dzvi. Tpat ar brnam rotalieta rada prieku, ja vi var atrast taj saikni ar savu dzves pieredzi. Ja rotalieta nodroina o saikni, brnam ir iespja darboties ar to, kas saistts ar via dzvi, apkrtni un pieredzi, brn rodas darboans prieks un ldz ar to ar radanas prieks.
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Secinjumi Izvrtjot un saldzinot Latvijas brvvalsts un msdienu autoru atzias par prieka izjtu, kas ir savdabga cilvka un pasaules vienotba, un ts nozmi cilvka dzv, varam secint, ka: 1. apkrtjs vides radtiem iespaidiem un prdzvojumiem ir btiska loma pirmsskolas vecuma brna iekjo shmu, vrtbu sistmas, veidoans un attstbas proces, kas savukrt veicina produktvs domanas, radouma veidoanos; 2. represva, svtulga, aizspriedumaina vide, kas piedv nelielu skaitu pozitvu prdzvojumu, iejaukans brna rotau iecers, fantzijs, iztuko gargo eneriju un ierobeo parealizciju; 3. pieaugu darbba kst par brna darbbas ierosintju, kopga darboans ir vrtgs audzinanas ldzeklis, kas auj iepazt un izprast brna prsteidzoi bagto iekjo pasauli; 4. aktv priek slpjas dzves prieka atslga, jo prieks nav tikai patkami prdzvojumi, bet ar grtbu prvarana; 5. brns darbojoties ar rotalietm, atspoguo ne tikai sadzv vrots situcijas, bet rod ierosmi jaunradei, iztlojoties, fantazjot, radoi darbojoties, un o darbbu rezultt notikus psihisk attstba var bt par aizskumu rados darbbas potencila izveidei.
Literatras saraksts 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. Adlers, . (2001) Individulpsiholoija skol. Rga: Zvaigzne ABC, 176.lpp. Birkerts, P. (1923) Pedagoisk psiholoija. Jelgava: 132.lpp. Birkerts, P. (1939) Latvju tautas esttika. Rga: 469.lpp. Dle, A. (1994) Cilvka un gara kultra. Rga: Uguns, 176.lpp. Dlgrns, L., epanskis, A. (2007) Brvdabas pedagoija. Linpingas Universittes Brvdabas un vides centrs, 37.lpp. Dauge, A. (1920) Brns jaunradanas darb. Maskava: Tautas izgltbas komisarita mazkuma tautbas nodaa, 417.lpp. Dauge, A. (1925) Mksla un audzinanu Rakstu virkne. Rga: Valters un Rapa, 165.lpp. Demirdjian, Z.S. (2004) A Pavilion for the Pioneers of Consumer Behavior. Research Paper, California State Uni versity: Long Beach, p.8. Gadamers, H.G. (1999) Patiesba un metode. Rga: Jumava, 110.lpp. Gaulmens, D. (2001) Tava emocionl intelience. Rga: Jumava, 328.lpp. Kae, B. (2001) Latvieu skolotji rakstnieki. Rga: RaKa, 219.lpp. Kotler, P. (1984) Marketing Management (Analysis, Planning and Control). USA: Prentice-Hall, Inc., p.130 Lieeniece, D. (1999) Kopveseluma pieeja audzinan. Rga: RaKa, 262.lpp. McNeal, J.U. (1999) The Kids Market-Myths and Realities. USA: Paramount Market Publishing, p.1620. Mischel, W., Ebbeson, E.B. (1970) Attention in Delay of Gratification. Journal of Personality and Social Psychology, Vol.16, p.330 Ptersons, E. (1931) Visprg didaktika. Rga: Gulbis, 17.lpp. Picka, N. (1990) Paidagoisk psiholoija. elne: Selgas apgds, 165.lpp. Schutz, W. (1967) Joy: Expanding humanawareness. New York: Grove Press, p.15. Students, J.A. (1935) Brna, pusauda, jauniea psicholoija. Rga: Autora izdevums, 200.201.lpp. Svenne, O. (1930) Modernie audzinanas jautjumi. Rga: Valters un Rapa, 7177.lpp. teiners, R. (1997) Brna audzinana. Rga: RaKa, 81.lpp. teiners, R. (2000) Visprj cilvkmcba k pedagoijas pamats. Rga: RaKa, 158.lpp. , .. (1999) . -: c.146189. , .. (1984) . . . . , .., , ... : , c.152157.

Lektore Mg.paed. Dagnija Vigule Rgas Pedagoijas izgltbas un vadbas akadmija Adrese: Imantas 7.lnija 1, Rga, Latvija, LV-1083 Tlr.: (+371) 29134066. E-pasts: pirmsskola@rpiva.lv 317

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Kreativitte valodu apguv Creativity in Language Acquisition

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Adriana Biedro. I live and work in Supsk a city in the north of Poland near the Baltic sea. I teach Second Language Acquisition and Introduction to Linguistics to English philology students at the Eng lish Philology Department of the Pomeranian Academy in Supsk. My research interests embrace individual differences in SLA, in particu lar foreign language abilities. I love travelling to remote regions and learning about other cultures, and enjoy long walks by the seashore.

ADRIANA BIEDRO Pomeranian Academy in Supsk English Philology Department Poland

CREATIVE ABILITIES IN HIGHLY ABLE FOREIGN LANGUAGE LEARNERS1

Abstract Introduction. According to Sternbergs Triarchic Theory of Human Intelligence, creativity, which helps to cope with novelty, is of key importance in foreign language learning success. Aim of the study is to present the phenomenon of creative abilities in highly able foreign language learners. Materials and methods. The analysis of openness to experience trait, creative personality trait, language learner strategies and artistic interests in 44 highly able foreign language learners. Results. The subjects display creative abilities in art and learner strategy development. Their creative personality and openness scores are above average. Conclusions. It is hypothesized that the factor of creativity contributes to foreign language learning success. Key words: creativity, highly able foreign language learners. Introduction Foreign language aptitude in Sternbergs Triarchic Theory of Human Intelligence High abilities are of interest to contemporary psychology and second language acqui sition researchers. It is worth mentioning that research into special abilities and intelligence is often inspired by social needs and expectations regarding practical utilization of the results. An important indicator of high abilities are distinguished achievements; however, they do not define precisely the potential of a talented individual (Skowski, 2004). In contemporary literature, foreign language aptitude (FLA) is retheorised as a dynamic concept; that is, it is submitted to an evolutionary development in interaction with the environ ment (Sternberg & Grigorenko, 2000), and it is thought that it can be taught (Sternberg, 2002). Abilities contributing to aptitude have their effects in interactions in foreign language situations (Corno et al., 2002; Grigorenko et al., 2000; Robinson, 2002, 2007; Snow et al., 1996). The orientation underlying contemporary research is that language aptitude is not a monolithic, but a differentiated concept, and that there are multiple aptitudes for learning a lan
1 Preparation of this research project was supported by the Polish Ministry of Science and Higher Educa tion in 2009 and 2010.

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guage (Grigorenko et al., 2000; Robinson, 2002; Sternberg, 2002). Sternberg, a persistent op ponent of the traditional, psychometric notion of intelligence and specific abilities (1985, 1990, 1997, 1998, 2002), proposed a Triarchic Theory of Human Intelligence. To some extent it is similar to Gardners theory of Multiple Intelligences (1983), but it proposes that there are three particularly important aspects of abilities: analytic abilities used in analyzing, judging, compar ing, and contrasting; creative abilities used in creating, inventing and discovering, and practical abilities used practically to implement our knowledge. This theory, as the author claims, might be useful as a basis for matching abilities, instruction, and assessment. Another important implication of Sternbergs theory is that abilities are forms of de veloping expertise (1998). In developing creative expertise such factors as pursuing paths of in quiry that others have ignored, taking intellectual risks, and persevering in the face of obstacles might be significant. The hypothesis that abilities are not limited only to cognitive factors is reflected in many psychological and second language acquisition (SLA) theories of abilities (cf. Ceci, 1996; Corno et al., 2002; Perkins, 1995; Renzulli, 1986, Robinson 2007; Skowski, 2004; Snow et al., 1996). Sternberg transferred his Triarchic Theory, also called the Theory of Successful Intelligence (2002), into the SLA domain. Creative intelligence encompasses the ability to cope with novelty. Therefore, it is of special importance in learning a foreign language, which involves divergent thinking and a substantial amount of coping with novelty. An important assump tion of Sternbergs theory is that knowledge of the first language can be utilized in learning a foreign language. Learning of subsequent languages draws on linguistic meta-knowledge that is transferred from one language to another. Creative ability involved in learning a foreign language or in adapting to a foreign culture is different from the types of creativity employed in other domains. Sternberg (2002) proposes that creativity extends beyond the intellectual do main. Sources of individual differences in creative thinking include knowledge, thinking styles, personality, motivation, and the environment. That means that, apart from cognitive factors, personality and social aspects should be taken into account in FLA research. Highly able foreign language learners So far, little research addressing highly able foreign language learners has been conducted, and there has been little investigation of personality factors in this group in general. Moreover, the criteria of choice of case studies presented in the literature are to some extent inconsistent (cf. Ioup et al., 1994; Morgan et al., 2007; Obler, 1989; Sawyer & Ranta, 2001; Schneiderman & Desmarais, 1988; Skehan, 1998). According to Fein & Obler (1988), the performance of a talented individual is outstanding in one of two ways: either it is outstanding by comparison to the performance of others in society, or it is outstand ing for the individual in question. This definition is similar to a more contemporary one proposed by Arancibia et al. (2008), who define talented individuals as those who display significantly superior ability in comparison with peers of similar demographic characteris tics. Individuals placed within the top 10 % (Arancibia et al., 2008), or 5% (Selinker, 1972) of the normal curve are considered talented. Definitions of giftedness also vary to include terms such as bright, able, more able, highly able, gifted, and talented, denoting degrees of exceptionality. Notions of gifted, able and highly able are used interchangeably (Hartas et al., 2008; Hewston et al., 2005). In the view of Schneiderman & Desmarais (1988), linguistic talent is defined as an exceptional ability to achieve native-like competence in a foreign language after puberty. This definition is consistent with Skehans position that exceptional foreign language learners master a foreign language relatively quickly, after puberty, and to a native-like level (1998).
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There are many cognitive factors and personality traits which are involved in for eign language learning aptitude, for example, excellent memory, high intelligence, motivation, self-efficacy, openness to experience, and efficient learning strategies (Biedro & Szczepaniak, 2009; Drnyei, 2005). These factors can be approached from the perspective of creativity. Spe cial emphasis is placed on intelligence: It is clear that intelligence is a prerequisite for creativ ity (Sternberg, 2001, 361). Also, the psychological trait of openness to experience is related to creativity. Open ness, which is connected with originality and flexibility, and which expresses an appreciation for art, emotion, adventure, unusual ideas, imagination, curiosity, and an enthusiasm for variety of experience, seems to be a common factor defining both linguistically apt learners and cre ative individuals. High scorers in respect of this trait are imaginative, curious, flexible, novelty seeking, untraditional, and interested in art. Low scorers are practical, conservative, conven tional, and down-to-earth (Corno et al., 2002; Drnyei, 2005; McCrae & Costa, 2003). Learning strategies defined as activities consciously chosen by learners for the pur pose of regulating their own language learning (Griffiths, 2008) seem to require a reasonable amount of creativity from the learner who has to find his/her own ways of dealing with new linguistic material. According to Hsiao and Oxford (2002), they are of crucial importance as tools for active and conscious learning, promoting proficiency, autonomy, and self-regulation. Learning strategies, when efficient, facilitate the process of foreign language acquisition and increase proficiency. Research over the last decade has confirmed that successful foreign language learners use more efficient, complex and varied learning strategies. Moreover, they are able to adapt their strategy use to the requirements of a situation, teacher or task (Drodzia-Szelest, 2008). In a longitudinal study Griffiths (2008) discovered that higher level learners use a number of language learning strategies, for example: metacognitive strategies, strategies to expand their vocabulary, strategies to expand their knowledge of grammar, strategies involving the use of resources, and strategies involving all language skills (ibid., p. 92). It may therefore be argued that it is the quality and appropriateness of strategy use that counts, not the quantity of strate gies (Drnyei, 2005). Aims of the study The study is part of larger-scale research into cognitive and personality factors in high ly able foreign language learners. The purpose of the study was to investigate three factors that might indicate creative abilities in highly able foreign language learners (HAFLL). The per sonality trait of openness to experience and the creative personality measure were to establish whether the examined subjects are intellectually open, flexible and unconventional, rather than traditional, down-to-earth, and unimaginative. The inquiry about learning strategies aimed at verifying whether the subjects are creative in developing and employing their own learning strategies. The third research aspect referred to the artistic interests of the subjects. They were asked about their artistic and creative hobbies, talents, as well as achievements in these do mains. Therefore, three research hypotheses were formulated: 1. HAFLLs openness to experience and creative personality scale scores are above average; 2. HAFLL reveal creativity with regards to strategy development; 3. HAFLL demonstrate artistic interests and talents.

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Materials and methods Instruments Wechsler Adult Intelligence Scale - WAIS-R (PL) - a Polish adaptation by Brzezinski et al. (1996). It consists of six verbal subtests: information, digit span, vocabulary, arithmetic, comprehension, similarities, and five performance subtests: picture completion, picture arrange ment, block design, object assembly, digit symbol coding. A general intelligence quotient, as well as verbal and performance scale quotients are obtained. Modern Language Aptitude Test MLAT (Carroll & Sapon, 2002). This is a language aptitude test designed to diagnose the rate of progress in a foreign language. The MLAT is a test entirely in English suitable for native and near-native speakers of English. It is considered a useful tool for predicting success in foreign language learning (Skehan, 1998). It measures aptitude traits by 5 part scores: memory (part I, II, V), phonetics (II), vocabulary (III), and grammar (IV). Language Ability Test (Test Zdolnoci Jzykowych TZJ) by Wojtowicz (2006). The test was constructed to diagnose foreign language abilities. It includes 3 scales: discourse, vocabu lary and grammar. Motivation and Strategies Questionnaire (MSQ) (Ehrman, 1996). This tool consists of three parts: aptitude and motivation, learning and teaching techniques and personal learning techniques. For the purpose of this study only learning/ teaching preferences were analyzed. The Revised NEO-FFI Personality Inventory (Costa & McCrae) - a Polish adaptation by Zawadzki et al. (1998) is a psychological personality inventory; a 60-question measure of the Five Factor Model: extraversion, agreeableness, conscientiousness, neuroticism and open ness. There are 12 statements per factor answered on a 5-point scale. The subject can score from 0 to 4 points for each answer, and for some questions the scoring order is reversed. The raw results range from 0 to 48 points per scale. The raw results are converted into stens. For the purpose of the study only the factor of openness was taken into account. Adjective Check List ACL (Gough & Heilbrun), a Polish adaptation by Juros et al. (1987), is an instrument that operationalizes the concept of psychological need. The ACL con sists of 300 adjectives. A respondent marks all adjectives that describe him/her and leaves blank those, which are not self-descriptive. The ACL can be scored for 37 scales in five catego ries, including modus operandi scales, need scales, topical scales, transactional analysis scales, and origence-intellectence scales. For the purpose of this study only the origence-intellectence scales were analyzed. These scales measure creative personality, defined as the desire to do and think differently from the norm and a talent for originality. It consists of four scales assessing the balance between preferences for affective-emotional (origence) and rational-realistic (intel lectence) moods of functioning. Subjects The subjects were 44 talented multilingual foreign language learners examined with regard to their cognitive abilities and personality characteristics. The subjects were mainly phi lology students and post-graduates from Polish universities. Six were doctoral students. There were 31 females and 13 males in the group. Subjects ages varied from 21 to 35 (28 average). They were either nominated by their teachers or encouraged by co-workers or class-mates to participate. The level of proficiency of the sample in at least one foreign language was advanced (C1/C2). All the participants were highly advanced in English. Fourteen (32%) were highly advanced in one foreign language, 19 (43%) in two languages, 8 (18%) in three, 2 (4%) in four,
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and 1(2%) in five languages. If they spoke more than two foreign languages, their level of pro ficiency in the additional languages was usually communicative (A2/B1+). The number of lan guages they were learning varied from 1 to 11 (4.5 average), and included European and nonEuropean languages. European languages included: English, German, French, Italian, Swedish, Danish, Norwegian, Spanish, Portuguese, Irish, Welsh, Russian, Hungarian, Romanian, Croa tian, and Latin. Non-European languages were: Chinese, Japanese, Tibetan, Hindi, Turkish, Arabic, Mongolian, Korean, and Hebrew, among others. Altogether, the group consisted of 3 (7%) bilinguals, 13(29%) trilinguals, 9 (20%) quadrilinguals, and 10 (23%) pentalinguals; 9 (20%) participants spoke more than 5 languages, the highest number being 11 languages. All the achievements were formally confirmed by official documents: certificates acknowledged in Poland and diplomas from universities in the case of advanced level of a language. Only participants whose score placed them within at least the 95th percentile in the MLAT, and who gained at least 80 % in the TZJ, were accepted for the research. Procedure The research took place from February 2008 to June 2009. It was conducted over 2 days and consisted of one intelligence test, two aptitude tests, two personality tests, and one motivation and strategy test. The psychological tests were conducted by a professional psy chologist, to comply with the criteria of credibility and validity, as well as formal requirements. The aptitude and motivation and strategy tests were conducted by an English language teacher. The learners were also questioned about their general learning preferences, strategies for learn ing vocabulary, and artistic interests. Results For the purpose of the study the following quantitative data are presented: the MLAT and the TZJ scores; general IQ; verbal IQ; performance IQ; and openness to experience and creative personality scores. Besides that, qualitative data embracing learning strategies and artistic interests are provided. Language aptitude and intelligence Only participants whose general MLAT score placed them within at least the 95th per centile were accepted for the research. The raw results are provided, since there are no norms for particular subscales. The minimum score was 149; the maximum score was 178; the mean: 160.5; standard deviation: 8.75. The minimum score for TZJ was 34; the maximum: 43; the mean: 40.5; standard deviation: 2.32. On the basis of the aptitude tests results, it was concluded that the participants are highly able in the field of foreign language learning. Significantly higher scores are noticed for verbal than for performance intelligence in the sample. The mean general IQ score was 125, which is high, whereas the mean verbal IQ was 130, which is very high. Table 1 presents descriptive statistics for the sample. Openness to experience Openness to experience raw scores are converted into a ten-point standardized scale. The sten scale has a mean of 5. Scores within the range of 4-7 on the sten scale are considered to be average, while sten scales of 1-3 and 8-10 can be treated as low or high. Therefore, the sample mean score indicates a minimally above average openness to experi ence factor (table 1).
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Creative personality In the ACL test, the scores within the range of 40-60 on the percentile scale are treated as average, and 50 is the mean score. It can be observed that the researched sample is, again, a little above average on the creative personality scale (CPS), and on the A2 - high origence, high intellectence scale (table 1). These results suggest versatility, unconventionality, and individu ality in the researched sample. Learner strategies All of the participants declared preferences as far as a method of teaching / learning is concerned. In a multiple choice format, the participants were given 4 options. Fifteen partici pants chose a teacher-centered classroom in which an expert teacher provides his/her learners with exercises, tests, and rules in a clear order. Ten participants opted for an independent form of education a classroom where a student is allowed to work independently, developing his/ her own rules and consulting the teacher when necessary. Eighteen participants decided that the best approach for them is communicative. In such a class, students interact frequently with each other, explore possibilities and practice the language. No-one chose a passive participation classroom, which allows a student to sit and watch quietly. It is worth mentioning that a teachercentered classroom was an option chosen by undergraduate students (10), whereas independent participation was mainly a preference of post-graduates (9). This confirms the assumption that a need for independence results from maturity and awareness, which characterize older and more experienced foreign language learners. For the purpose of the study, the learners were also asked what method of learning they like best. This question was asked before filling out the questionnaires; so the participants were able to freely express their preferences. The answers provided by them embraced all possible methods, tasks, situations and tools (a communicative classroom, self-study, self-talk, reading, writing, TV, the internet, computer programs, games, etc.), but as many as 12 participants in dicated immersion, or contact with a native speaker, as the most effective means of acquiring language proficiency. In fact, 26 participants had spent more than a year abroad, and a majority of them considered living abroad an efficient method of acquiring a foreign language. The participants were also asked to describe their vocabulary learning strategies. All of them declared that they use both contextualized and decontextualised strategies. Among de contextualised methods, the most popular were memorization strategies, embracing rote memo rization and repetition (16 learners), and associative mnemonic strategies (associations with a word in the native language, or a visual image) (12 learners). Most (23 learners) chose con textualized vocabulary learning strategies; that is, making up sentences with a word (10 learn ers), creative writing, creative story-telling, extensive reading, watching films and programs, computer-assisted learning, learning from native speakers, and dictionary work. Many of the participants declared that they use complex and advanced strategies of learn ing. An example of such a description by Julia (a female, age 21, mathematics student, 4 languages) is as follows: I usually start with a list of words and the translation of all of them (including cases and plural forms). In the short run such a list can be simply memorized, but I try to avoid this. Id rather make up sentences or texts including the words. Reading texts abundant in new words (for example in textbooks) is very efficient. Another helpful method is to write a longer essay on a topic connected with the words I have to learn. In this way I have to use them in my work. Artistic interests Artistic interests, hobbies, activities and talents were declared by 33 participants. Most of them are interested in music or painting. Nineteen people play, or used to play, a musical
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instrument; 6 of these graduated from a music school (3 12 years of study). Two people pride themselves on a vocal talent, 6 like and practice dancing, and 5 believe that they are talented in painting or drawing. Theater and acting is a hobby of 2 participants, 2 people write short stories, and 1 is interested in photography, 1 in cooking, and 1 in playing and designing linguistic board games. All of the participants declare they are interested in the history, culture and literature of the target language country. This is especially emphasized by Oriental philology (Chinese and Japanese) students. Conclusions After the analysis of both quantitative and qualitative data, it might be concluded that gifted foreign language learners display a moderately high level of creativity. The openness to experience dimension in the NEO-FFI test, as well as the creative personality scales in the ACL are slightly above average in the researched sample. That means that HAFLL can be practical, keeping a balance between conservative values and a fascination with the new, but also being individualistic and unconventional. Hence, hypothesis one is partly confirmed. As far as hy pothesis two is concerned, the inquiry about learning strategies revealed that, given a choice, the subjects would prefer a learning environment requiring personal engagement, rather than relying entirely on a teacher. They opt for independent study, immersion, and communication. Their learning strategies are miscellaneous, flexible, and often contain an element of creativity, such as writing sentences, stories, or using visualization. These preferences confirm hypothesis two. The richness and variety of interests, hobbies and talents in the field of art fully confirm hypothesis three. Most of the HAFLL are interested in art, culture and literature; what is more, they practice playing an instrument, sing, dance, draw, paint, or pursue some other creative hobby. In some cases, the number of hobbies and interests is as impressive as the number of spoken languages. It may therefore be argued that, apart from high academic intelligence and language aptitude, the factor of creativity contributes to foreign language learning success.
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39. Wojtowicz, M. (2006). Test Zdolnoci Jzykowych (TZJ). Warszawa, Pracownia Testw Psychologicznych PTP 40. Zawadzki, B., Strelau J., Szczepaniak P., liwiska M. (1998). Test Osobowoci NEO FFI. Podrcznik. War szawa: Pracownia Testw Psychologicznych PTP. Adriana Biedro Assistant professor, doctor, Pomeranian Academy in Supsk, English Philology Department, Poland, Sowackiego 20/38, 76-200, Supsk, Poland Phone: 0048 508259056 adrianabiedron@wp.pl

APPENDIX Table 1 Descriptive statistics for the HAFLL

MLAT1 MLAT2 MLAT3 MLAT4 MLAT5 MLAT G discourse vocabulary grammar TZJ G IQ verbal IQ perform IQ general NEO_O ACL_CPS ACL_A1 ACL_A2 ACL_A3 ACL_A4

mean minimum maximum 41.090 28.000 43.000 28.272 25.000 30.000 38.022 29.000 47.000 30.909 19.000 38.000 22.227 13.000 24.000 160.522 149.000 178.000 9.750 8.000 10.000 17.340 15.000 18.000 13.431 11.000 15.000 40.522 34.000 43.000 129.818 112.000 145.000 118.636 96.000 137.000 125.431 108.000 139.000 6.159 2.000 9.000 54.886 42.000 78.000 47.136 33.000 70.000 56.068 37.000 80.000 42.613 23.000 66.000 48.750 29.000 72.000

SD 2.900 1.590 4.943 4.553 2.429 8.753 0.488 1.010 1.318 2.317 8.218 9.714 7.692 1.627 8.272 9.118 11.081 9.206 11.058

Note: MLAT1, MLAT2, MLAT3, MLAT4, MLAT5=subscales of the MLAT; MLAT G=MLAT general result; discourse, vocabulary, grammar=subscales of TZJ; TZJ G=TZJ general result; IQ verbal=verbal intelligence; IQ perform=performance intelligence; IQ general=general intelligence quotient; NEO_O=openness to experience; ACL_CPS=creative personality; A1=high origence, low intellectence; A2=high origence, high intellectence; A3=low origence, low intellectence; A4=low origence, high intellectence

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Miroslaw Pawlak. I am Professor of Applied Linguistics at the Eng lish Department, Adam Mickiewicz University, Pozna, Poland. My areas of interest are grammar instruction, classroom discourse, learn er autonomy, learning strategies, individual learner differences and teaching pronunciation. My recent publications include The place of form-focused instruction in the foreign language classroom (2006) and edited collections on learner autonomy, European language poli cies, form-focused instruction and individual learner differences. MIROSAW PAWLAK Adam Mickiewicz University, Pozna Poland

THE IMPORTANCE OF CREATIVITY IN LEARNING AND TEACHING FOREIGN LANGUAGE GRAMMAR

Abstract Introduction. The paper explores creativity in foreign language learning, understood as the use of grammar learning strategies (GLS). Aim of the study. The study aimed to examine the use of GLS representing implicit learning with focus on form, explicit inductive learning and explicit deductive learning. Materials and methods. The data were collected from 142 English Department students by means of a questionnaire containing Likert-scale and open-ended items. Results. The results suggest that students tend to use traditional GLS, which reflects the way they are taught. Conclusions. Fostering creativity requires teachers to employ techniques allowing the use of specific structures in communication and to conduct strategy training. Key words: grammar learning, grammar teaching, creativity, grammar learning strategies. Introduction As Drnyei (2005, 202) makes plain in his book on individual learner differences in second language acquisition, creativity is [] one of those grand psychological constructs that both professionals and laypeople seem to understand but no one can unambiguously de fine. The main reason for this appears to be that differences in this respect are the outcome of a combination of cognitive, affective and social variables, such as intelligence, cognitive style, personality, motivation or the overall context in which an individual may be placed (see Stern berg 2002). Suffice it to say at this point that the capacity for finding new solutions, referred to as creative intelligence, constitutes, alongside analytical and practical intelligence, a crucial aspect of Sternbergs (1988, 2002) theory of successful intelligence. It is also included in the big five model of personality (Cooper 2002; McCrae and Costa 2003), where it contributes to the openness to experience dimension, and its significance can be observed at the different stages of what Drnyei and Otto (1998) and later Drnyei (2001) describe as the motivational process consisting of choice motivation, executive motivation and motivational retrospection. Despite such difficulties, more or less precise definitions of the construct of creativity obviously exist, with the Websters Encyclopedic Unabridged Dictionary of the English Language describing the state of being creative as resulting from originality of thought, expression, etc. (1989,
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341), the Oxford Dictionary and Thesaurus opting for the phrase inventive and imaginative (1996, 330), and the most recent edition of the Longman Dictionary of Contemporary English characterizing it as the ability to use your imagination to produce new ideas, make things, etc. (2009, 396). A more scientific and also much more detailed definition has been proposed by Feldhousen and Westby (2003, 95) who write that creativity is the production of ideas, problem solutions, plans, works of art, musical compositions, sculptures, dance routines, poems, novels, essays, designs, theories, or devices that at the lowest level are new and of value to the creator and at the highest level are recognized, embraced, honored, or valued by all or large segments of society. Between the lowest and highest levels is a continuum of more or less recognized and useful creative productions, but always the production is new, novel, or unique relative to some definable context. Such attempts notwithstanding, a clear-cut, precise and universally accepted definition is still unavailable as a point of reference in educational psychology, with the effect that much of the research conducted to date has lacked the necessary rigor and produced con flicting results (Plucker et al., 2004). When it comes to operationalizing and measuring creativ ity, the available tests usually tap into both quantitative and qualitative aspects of performance, as is the case with the Torrance Tests of Creative Thinking, where individuals are scored for the originality, flexibility and fluency of their responses, all of which contribute to an examinees creative profile (Runco, 2003, 2004). In recent years the relevance of creativity has also been acknowledged by second language acquisition theorists and researchers, and tentative links have been established be tween the degree to which learners are creative and their target language performance. For one thing, levels of creative thinking are likely to differ as a function of classroom activities, with mundane and repetitive exercises tending to stifle it and open-ended tasks resulting in its augmentation (Runco, 2004). This consideration provides support for present-day second and foreign language pedagogy since it places a premium on learner-centered, interaction-based communicative tasks, encourages the use of learning strategies and fosters learner autonomy. At the same time, however, there are bound to exist considerable individual differences with respect to the capacity for creative thinking, with the effect that some learners may prove to be more successful in dealing with communicative tasks than others and thus caution should be exercised when choosing instructional activities for a given group of students (Drnyei, 2005). The importance of creative intelligence in learning foreign languages is also stressed by Sternberg (2002, 27) who points out that learning a new language [] always involves coping with relative novelty, making the point that such novelty manifests itself not only at the level of the target language code, but also with respect to sociolinguistic and pragmatic conventions. Even though empirical investigations of the relationship between creativity and target language attainment are still few and far between, the available empirical evidence does suggest that the two variables are indeed related to each other to some degree. One example is the pioneering research project conducted by Ott (1998) who found statistically significant positive correlations between the scores on five subtasks adapted from the Torrance Test of Creative Thinking (i.e. consequences, unusual uses, common problems, cat egories and associations) and the participants grades in English, with the aggregate score accounting for about 40% of the variance in achievement. In another study, undertaken by Albert and Kormos (2004), the participants were requested to complete an oral narrative task, which was evaluated on a variety of measures (i.e. quantity of talk, complexity, accuracy, lexical variety and narrative structure) and subsequently to fill out a standardized creativity test developed for Hungarian students (Barkczi and Ztnyi, 1981) which consists of five tasks (i.e. a warm-up, unusual uses, distant associations, drawing pictures and completing abstract shapes), each being scored for fluency, flexibility and originality. It was found that
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although some aspects of creativity did correlate with some measures of task performance, the relationships were not very strong explaining from 10% to 16% of the variance, and the aggregate creativity score was not related to the task variables under investigation. Also per tinent are the results of a study carried out by Albert (2006) who explored the relationship of creativity, measured by means of the standardized test mentioned above, to proficiency, operationalized as scores on two proficiency tests (a variation of TOEFL and a C-test), and a language aptitude test standardized for Hungarian learners (Ott and Nikolov, 2003). No statistically significant correlations were found between various facets of learner creativity and proficiency, which stands in contrast to the outcomes of the previous research projects. On the other hand, creative fluency and flexibility proved to be negatively related to phonetic coding ability, which provides some evidence that at least some aspects of the constructs may be in fact distinct. The present paper aims to relate the concept of creativity to learning and teach ing foreign language grammar. More precisely, it seeks to determine the extent to which the actions taken by learners with an eye to mastering this language subsystem can be described as creative and to explore the ways in which their teachers can foster creativity in this area by employing more varied ways of introducing and practicing grammatical structures. For the purposes of the study reported below, then, creativity is operationalized as: (1) the frequency with which students draw upon grammar learning strategies (GLS), defined as [] deliberate thoughts and actions students employ for learning and getting better control over the use of grammatical structures (Cohen and Pinilla-Herrera, 2009, 64), (2) the diversity of their repertoire of strategic devices of this kind, (3) the extent to which the strategies are reflective of the cutting-edge trends in second language acquisition theory and research, as well as (4) learners ability to successfully apply GLS chains and clusters in dealing with the intricacies of target language grammar. Even a cursory look at the relevant literature shows that this area has been conspicuously neglected by experts in the field of language learning strategies as only a handful of studies have targeted the use of GLS, often as an aspect of the overall strategic profile of a particular group of learners, and so far few attempts have been made to explore its relationship to proficiency or other individual and contextual variables (Anderson, 2005; Oxford, Rang Lee and Park, 2007; Pawlak, 2008, 2009). The importance of GLS was emphasized in the good language learner studies of the 1970s and 1980s (e.g. Rubin, 1975) and a number of such devices were iden tified in research which provided a basis for influential taxonomies of strategies proposed by OMalley and Chamot (1990) or Oxford (1990). In both cases, however, they remained largely hidden from view, being included in the broader category of cognitive strategies. As regards more recent empirical investigations, Drodzia-Szelest (1997) reported that Polish secondary school students mainly used rather unoriginal cognitive GLS such as deduction, an outcome which she attributed to the predominant mode of instruction, Pawlak (2008, 2009) found a very similar pattern in the case of English Department students, pointing to the fact that their responses often do not reflect reality, whereas Tilfarliolu (2005) failed to find a relationship between the frequency of reported grammar learning strategy use and success in language learning. The paucity and inconclusiveness of available empirical evidence provides a justification for more extensive research in the area of GLS, a position that is evident in Andersons (2005, 766) observation that what is greatly lacking in the research are studies that specifically target the identification of learning strategies that L2 learners use to learn grammar and to understand the elements of grammar. This is exactly what this paper is intended to do, equating the quantity and quality of the application of GLS with creativity in the learning and teaching of grammatical structures.
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Aim of the study The study reported in the present paper sought to investigate advanced learners cre ativity in learning foreign language grammar, understood as the application of grammar learn ing strategies. To be more specific, the research project focused on the following issues: (1) the reported quantity of GLS use, (2) the quality of grammar learning strategies most often employed by learners, with respect to their diversity, type and degree of clustering, and (3) the relationship between GLS use and the instructional practices employed by teachers. Materials and methods In view of the fact that few attempts have been made so far to classify grammar learn ing strategies and no separate data collection tools have been developed to investigate their use, the point of reference in the present study is the descriptive scheme proposed by Oxford, Rang Lee and Park (2007) which attempts to relate GLS use to the main instructional approaches adopted by teachers. Accordingly, they divide grammar learning strategies into those that are characteristic of implicit L2 learning that includes focus on form (i.e. attention to linguistic features occurs during communicative activities, mainly in response to problems encountered by learners), explicit inductive L2 learning (i.e. learners are overtly instructed to attend to tar get language forms and discover rules and patterns by themselves), and explicit deductive L2 learning (i.e. rules are presented to learners who are requested to employ them in examples). While frequent use of such strategic devices in and of itself can be viewed as manifestation of creative behavior, it should be made clear that the GLS falling into the last category, such as paying attention to rules, memorizing how structures change their form or applying newly learnt generalizations in sentences are perhaps the most traditional and rather unoriginal. By contrast, it is reasonable to assume that inductive learning requires somewhat more creativity, particularly when students draw upon such strategic devices as keeping and organizing a note book containing examples of grammatical constructions, use note cards or attempt to discover rules in cooperation with peers. This evaluation also applies to implicit learning with focus on form in which communicative and structural elements are combined, as evidenced by the use of such GLS as noticing structures that are highlighted or frequently occur in a text, compar ing ones production with that of more proficient target language users, or reconstructing texts read by the teacher. In addition, irrespective of the specific category, the application of strategic devices can be considered to be more creative if it is accompanied by a number of other GLS, all of which make up a logical sequence of mutually supportive actions and thoughts, typically referred to as strategy chains (e.g. previewing a lesson, noting down new language forms, dis covering rules on the basis of language data, applying them in sentences and then scheduling grammar reviews). It was this descriptive scheme that was employed to design a questionnaire intended to obtain information about the use of grammar learning strategies used by 142 first, second and third year Polish English Department students enrolled in a BA program, who represent ed the B2, C1 or even C2 levels and had received at least some rudimentary training in issues related to language acquisition and use as well as foreign language pedagogy. The survey consisted of two parts which aimed to glean factual, attitudinal and behavioural information concerning the participants and their use of GLS. The first part comprised open-ended and closed questions in which the respondents were requested to provide such information as the length of their experience in learning English, self-evaluation of their grammatical ability and the grades they had actually received, their opinions about the importance of grammar, and,
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what is of particular relevance for the subsequent discussion, their favorite ways of learn ing and practicing grammatical structures. The second part focused on the use of specific GLS and consisted of three groups of Likert-scale items corresponding to strategic devices representing the three categories mentioned above. In this case, the subjects were requested to indicate on a five-point scale the degree to which a given statement was true about them, where 1 indicated that it did not apply to them at all and 5 that it perfectly reflected their ac tions and thoughts. The questionnaires were distributed during regularly scheduled classes and the subjects could take as long as they wished to fill them out, with the entire procedure usually not exceeding 25 minutes. The data collected by means of the questionnaire were subjected to a combination of quantitative and qualitative analysis. The former involved cal culating the occurrences of specific responses, tabulating means and standard deviations as well as establishing levels of statistical significance with the use of the non-parametric, two tailed Mann-Whitney test, whereas the latter consisted in identifying recurring patterns and evaluating the quality of strategic behaviors enumerated and described by the participants in the open-ended question. Results As can be seen from Table 1, which presents average frequencies of use of the gram mar learning strategies representing the three instructional modes listed by Oxford, Rang Lee and Park (2007) together with standard deviations, the mean score for overall reported GLS use stood at 3.49 and, following Oxfords (1990) interpretation (average of 3.5 or higher), it can be regarded as relatively high. When we examine specific GLS categories, it turns out that the mean was the highest for implicit learning with focus on form (3.59), followed by explicit de ductive learning (3.46) and explicit inductive learning (3.42), with the differences between the first and the remaining two equating 0.17 and 0.13 respectively and being statistically signifi cant (p < 0.05). In view of the fact that, as was explained above, the use of GLS which integrate attention to linguistic features with meaning and message communication can be viewed as innovative and consistent with recent research findings, it would seem that the participants are quite creative in their approach to learning target language grammar. Further support for this assumption comes from the fact that even though the reported use of strategic devices related to explicit inductive learning was lower than that for explicit deductive learning, the difference was minute and statistically insignificant, which might indicate the presence of a delicate bal ance between preferences for rule application and rule discovery. As regards variability in the use of GLS, the participants were quite homogenous since the value of standard deviation never exceeded 0.62, although it should be noted that it was somewhat higher for the two modes of learning that have been described as more creative (i.e. implicit learning with focus on form and explicit inductive learning). Even though such overall findings are revealing, they tell us little about the ap plication of specific strategic devices and should thus be complemented with the analysis of the use of various GLS representing each of the three main categories. In the case of implicit learning with focus on form, for example, the reported frequency of eight GLS ex ceeds 3.5, with the highest averages for the following statements: I notice when someone gives me a corrected version of what I said, listen to how that version differs from my own, and try to improve what I said (4.30), I notice (or remember) structures that are repeated often in the text (4.13), I notice (or remember) structures that are highlighted in the text by italics, boldface, underlining, starring, circling, color-coding (4.07). Although none of the GLS in this category was employed with a low level of frequency (average of 2.4 or
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lower), close to the threshold were such statements as I work with others to reconstruct texts read by the teacher, which contain many instances of a particular structure (2.56) and I keep a notebook of new structures that seem very important or frequent (2.70). When it comes to explicit inductive learning, the participants reported using five strategies with high frequency, by far the most popular being the statement: I listen carefully for any feedback the teacher gives me about the structures I use (4.45), while there was just one strategic behavior which was used at a low rate of frequency and this was I keep a notebook with examples of a structure for which a rule was being discovered (2.38). What should be noted at this point, however, is that it was not the most innovative GLS that were responsible for the overall mean in this group and that the values of standard deviation for some of the statements were rather high, which indicates that the ability and willingness to discover rules is a function of individual characteristics and this learning and teaching mode should not be imposed on learners, as is often the case in the contemporary teaching materials. Finally, in the category of explicit deductive learning, eight GLS turned out to be used with a high level of frequency, with the greatest mean scores being observed for such statements as I pay attention to the rule that the teacher or the book provides (4.07), I try to apply the rule carefully and accurately in specific sentences (3.89), I remember grammar information by location on a page in the book (3.87), and I paraphrase the rules I am given, because I understand them better in my own words (3.85). Although none of the GLS in this group were used at a low rate of frequency, the mean scores were the lowest for statements I preview a grammar lesson to identify the key structures to be covered (2.83), I work with a study partner to apply grammar rules (2.73) and I make grammar charts (2.81). Such results are in fact not overly surprising since the most frequently reported GLS are compatible with the instructional approach which still constitutes the staple of gram mar teaching in most foreign language classrooms, namely the ubiquitous PPP sequence, where learners first attend to rules, memorize generalizations and exceptions, then they ap ply them in specific sentences and check their solutions, and, finally, use the structures in a meaningful context (Pawlak, 2006). If these results indicate that the degree of the subjects creativity in learning grammar is not as clear-cut as it would seem on the basis of the overall averages, even more doubts arise when we examine the students responses to the open-ended question which requested them to comment on their favorite ways of learning grammar. Similarly to the findings of the study con ducted by Pawlak and Drodzia-Szelest (2007) as well as some of the research projects men tioned in the introduction to this paper (Drodzia-Szelest, 1997; Pawlak, 2008), the subjects reported using a surprisingly limited repertoire of strategies for studying and gaining greater control over grammatical features. This is because the majority of their contributions reflected their concern with rules and their accurate application in highly controlled text-manipulation activities of various kind (Ellis, 1997) which can be regarded as very traditional and unoriginal. This is evident in the fact that as many as 105 (73.94%) of the participants made references to what they described as doing exercises (e.g. multiple-choice, translation, gap-filling, para phrasing) whereas 72 (50.70%) mentioned different forms of studying, analyzing, memorizing or revising (e.g. resorting to grammar reference books, identifying exceptions, contrasting the L1 and L2). Only 21 (14.79%) respondents emphasized the need for more naturalistic practice of the structures taught in comprehension and production (e.g. attending to grammar features when watching television, reading newspapers or browsing the Internet, using them in real communication) and just a handful reported using such strategies as cooperating with others in order to discover patterns or solve grammar problems, making sentences with a particular language feature, highlighting new structures in different ways (e.g. the use of bolding, italics,
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underlining or color), making charts or keeping a grammar notebook. In addition, there were only several cases where the students specifically mentioned combining several strategies in order to better understand or use target language grammar and such strategy chains were also very unoriginal and uncreative, involving different forms of analysis, resourcing and practice. All of this indicates that the students were in reality much less creative than their responses to the Likert-scale items might suggest, in all likelihood emulating the predominant instructional approaches employed in the grammar classes they attended. Conclusions As demonstrated by the foregoing discussion, advanced learners of English who took part in the present study were not on the whole very creative in their approach to learn ing target language grammar. This is because although they indicated high frequency of use of strategies representing implicit learning with focus on form and moderately high appli cation of GLS involved in explicit inductive learning, even in the two categories it was usu ally the most traditional strategic devices that received the highest scores. In addition, the responses to the open-ended question clearly indicate that the students were hard-pressed to think about something more innovative than analysis or formal practice, and they did not seem capable of successfully using chains and clusters of strategies. What should also be emphasized is the fact that many of the original GLS such as group brainstorming, coming up with graphical representations of grammatical structures or using note cards were not only employed less frequently, but there was much individual variation in their applica tion, which indicates that they are sensitive to such factors as cognitive and learning styles. Finally, taking into account the nature of grammar instruction in English Departments in Poland, there are strong grounds to assume that the lack of creativity can be ascribed to the fact that the learning strategies that learners employ are a reflection of the instructional techniques and procedures used by their teachers, a finding that is in line with the out comes of previous research. This indicates that fostering creativity in learning grammar, understood here as enhancing the scope and quality of GLS use, hinges to a large extent on practitioners inventiveness and ingenuity in selecting the instructional options by means of which grammatical structures are introduced, practiced, reviewed and tested. The latest developments in research into form-focused instruction (Ellis, 2006; Pawlak, 2006; LarsenFreeman, 2009) indicate that teachers have to place more premium on teaching grammar in the course of communicative activities, whether this might involve highlighting the target structures in texts, setting up communicative tasks requiring the use of a specific feature or providing consistent, narrowly-focused corrective feedback in the process of message conveyance. It is also of pivotal importance to systematically train students in the use of most effective and appropriate grammar learning strategies and foster their independence in learning grammar. Although there is considerable emphasis on making language instruc tion as learner-centered as possible, the role of the teacher in setting the right example and making students cognizant of effective ways of learning is undeniable and this assumption also applies to grammar instruction. In other words, if students are expected to manifest creativity, teachers first have to familiarize them with what such creative behaviors involve and how they can be employed in learning foreign language skills and subsystems.

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References 1. Albert, . (2006). Learner Creativity as a Potentially Important Variable: Examining the Relationships Be tween Learner Creativity, Language Aptitude and Level of Proficiency. In M. Nikolov & J. Horvth (Eds.), UPRT 2006: Empirical Studies in English Applied Linguistics (pp. 77-98). Pcs: Lingua Franca Csoport. 2. Albert, . & Kormos, J. (2004). Creativity and Narrative Task Performance: An Exploratory Study. Language Learning, 38, p. 85-93. 3. Anderson, N. (2005). L2 Learning Strategies. In E. Hinkel (Ed.). Handbook of Research in Second Language Teaching and Learning (p. 757-771). Mahwah, NJ: Lawrence Erlbaum. 4. Barkczi, I. & Ztnyi, T. (1981). A Kreativits Vizsglata. Budapest: Orszgos Pedaggiai Intzet. 5. Cohen, A. D. & Pinilla-Herrera, A. (2009). Communicating Grammatically: Constructing a Learner Strategies Website for Spanish. In 2009 LTTC International Conference on English Language Teaching and Testing. A New Look at Language Teaching and Testing: English as Subject and Vehicle (pp. 62-74). Taipei, Taiwan: Language Teaching and Testing Center. 6. Cooper, C. (2002). Individual Differences (2nd edition). London: Arnold. 7. Drnyei, Z. (2001). Teaching and Researching Motivation. Harlow: Pearson Education. 8. Drnyei, Z. (2005). The Psychology of the Language Learner: Individual Differences in Second Language Acquisition. Mahwah, NJ: Lawrence Erlbaum. 9. Drnyei, Z. & Ott, I. (1998). Motivation in Action: A Process Model of L2 Motivation. Working Papers in Applied Linguistics (Thames Valley University, London), 4, p. 43-69. 10. Drodzia-Szelest, K. (1997). Language Learning Strategies in the Process of Acquiring a Foreign Language. Pozna: Motivex. 11. Ellis, R. (1997). SLA Research and Language Teaching. Oxford: Oxford University Press. 12. Feldhousen, J. F. & Westby, E. L. (2003). Creative and Affective Behavior: Cognition, Personality and Motivation. In J. C. Houtz (Ed.). The Educational Psychology of Creativity (pp. 95-105): Cresskill, NJ: Hampton Press. 13. McCrae, R. R. & Costa, P. T. (2003). Personality in Adulthood: A Five-Factor Theory Perspective. New York: Guilford Press. 14. Longman Dictionary of Contemporary English (2009). Harlow: Pearson Education. 15. OMalley, J. M. & Chamot, A. U. (1990). Learning Strategies in Second Language Acquisition. Cambridge: Cambridge University Press. 16. Ott, I. (1998). The Relationship between Individual Differences in Learner Creativity and Language Learn ing Success. TESOL Quarterly, 4, p. 763-773. 17. Ott, I. & Nikolov, M. (2003). Magyar felsoktatsi intzmnyek elsves hallgatinak nyelvrzke. Iskolakultra, 13, p. 34-44. 18. Oxford Dictionary and Thesaurus (1996). New York Oxford: Oxford University Press. 19. Oxford, R. L. 1990. Language Learning Strategies: What Every Teacher Should Know. Boston, MA: Heinle. 20. Oxford. R. L., Rang Lee, K. & Park, G. (2007). L2 Grammar Strategies: The Second Cinderella and Beyond. In A. D. Cohen & E. Macaro (Eds.). Language Learner Strategies: Thirty Years of Research and Practice (pp. 117-139). Oxford: Oxford University Press. 21. Pawlak, M. (2006). The Place of Form-Focused Instruction in the Foreign Language Classroom. Pozna Kalisz: Adam Mickiewicz University Press. 22. Pawlak, M. & Drodzia-Szelest, K. (2007). When I Think about Grammar Exploring English Department Students Beliefs about Grammar, Grammar Learning and Grammar Teaching. In M. Pawlak (Ed.) Exploring Focus on Form in Language Teaching (p. 299-318). Pozna Kalisz: Adam Mickiewicz University Press. 23. Pawlak, M. (2008). Advanced Learners Use of Strategies for Learning Grammar: A Diary Study. In M. Paw lak (Ed.). Investigating English Language Learning and Teaching (p. 109-125). Pozna Kalisz: Adam Mick iewicz University Press. 24. Pawlak, M. (2009). Instructional Mode and the Use of Grammar Learning Strategies. In M. Pawlak (Ed.). New Perspectives of Individual Differences in Language Learning and Teaching (p. 267-290). Pozna Kalisz: Adam Mickiewicz University Press. 25. Plucker, J. A., Beghetto, R. A. & Dow, G. T. Why isnt Creativity More Important to Educational Psychologists? Potentials, Pitfalls, and Future Directions in Creativity Research. Educational Psychologist 39, p. 83-96. 26. Rubin, J. (1975). What the Good language Learner Can teach Us. TESOL Quarterly, 9, 41-51. 27. Runco, M. A. (2003). Creativity, Cognition, and their Educational Implications. In J. C. Houtz (Ed.). The Educational Psychology of Creativity (p. 25-56): Cresskill, NJ: Hampton Press. 28. Runco, M. A. (2004). Creativity. Annual Review of Psychology, 55, p. 657-687. 336

29. Sternberg, R. J. (1988). The Triarchic Mind: A New Theory of Human Intelligence. New York: Viking Press. 30. Sternberg, R. J. (2002). The Theory of Successful Intelligence and its Implications for Language Aptitude Testing. In P. Robinson (Ed.). Individual Differences in Instructed Language Learning (p. 13-43). Amster dam Philadelphia: John Benjamins. 31. Tilfarliolu, Y. (2005). An analysis of the Relationship between the Use of Grammar Learning Strategies and Student Achievement in English Preparatory Classes. Journal of Language and Linguistic Studies, 1, p. 155169. 32. Websters Encyclopedic Unabridged Dictionary of the English Language (1989). New York: Portland House.

Mirosaw Pawlak Professor Adam Mickiewicz University, Pozna, Poland Home address: Ul. Spdzielcw 8/7, 62-700 Turek Woj. Wielkopolskie, Poland Tel. +48607168457 e-mail address: pawlakmi@amu.edu.pl

APPENDIX Table 1 Average frequencies of grammar learning strategy use reported by the three groups of students for different instructional modes.
Type of GLS Mean SD Rank Implicit learning with focus on form 3.59 0.57 1 Inductive explicit learning 3.42 0.62 3 Deductive explicit learning 3.46 0.49 2 Total 3.49 0.56 -

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Ali Rahimi. I got my Ph.D. degree from Shiraz University, Iran. I have published some books in pragmatics, communication, psychology, lin guistics, etc. I have presented my articles at national and international conferences and have published them in international journals. My ar eas of interest include music, travelling, basketball, movies, foreign languages, psychology, and translation. I am teaching psycholinguis tics, discourse analysis and translational studies at the University of Kashan. I am supervising MA and Ph.D. students at Shiraz, Kashan and Allameh Tabatabai Universities in Tehran, Iran. Somayeh Najafi. I am 26 years old. I was born in Qom, Iran. I got my bachelors degree in English Translation from Payame Noor Univer sity of Qom. Afterwards, I was admitted as a MA student of Teaching English at the University of Kashan. I teach English at language insti tutes, and I also translate psychological texts. I am interested in sports, such as football and, in fact, I am a footballer. In my free time I go camping, watch movies, read books, and listen to music. I am planning to continue my studies and get my Ph.D. Ali Rahimi Somayeh Najafi University of Kashan Iran

The Interplay Between Creativity in Asking and Answering Questions and Critical thinking
Abstract Introduction. Students creativity and critical thinking are the abilities that the education sector always pays attention to. Aim of the study. This study explores the relationship between creativity in asking questions, creativity in answering questions, and critical thinking. Materials and methods. 112 EFL students were randomly selected. A questionnaire based on Antony Westons creativity for critical thinkers (2007), Stella Cottrells critical thinking skills (2005) was used. Results. The correlation varied from 49 to 72, all reaching the.01 level of statistical significance based on Pearsons product moment correlation. Conclusions. There is a significant relationship between the variables of the study. Key words: creativity, critical thinking, asking and answering questions. Introduction Students creativity and critical thinking in language classes are the abilities to which the education sector always gives considerable thought. Teachers are obliged to provide stu dents with opportunities to learn to observe the world from different angles, and allow them to critically think over the questions asked and answered in the classroom. According to Kabilan (2000), to become proficient in a language, learners need to use creative and critical thinking in the target language. In the Dictionary of Psychology (Reber,
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1996) creativity is defined as a term used in technical literature in basically the same way as in the popular one, namely to refer to mental processes that lead to solutions, ideas, concep tualizations, artistic forms, theories or products that are unique and novel. According to this definition, creativity is of great application in language classes. As students are expected to be proficient language learners, they cannot just follow routines and plans offered by the instruc tors or teachers. They need to be involved in challenging mental activities that inspire fresh ideas. Kabilan (2000) in his article writes that by only using and knowing the meaning, learn ers do not become proficient in the target language. He believes that learners can only become proficient language users if they, besides using the language and knowing the meaning, could display creative and critical thinking through the language. This implies that the learners must be creative in their production of ideas, and critically support them with logical explanation, details and examples. However, some researchers and educators believe we have gone too far in coaxing standardized behavior from our children. When classes are geared toward producing one cor rect answer, creativity is squeezed out of education (Yepsen, 1994, 178). When students are ex pected to give the teachers expected answers they cannot think over the problem from different points of view and explore different possible answers. Swann (2009) proposes that learning should be construed as a special case of problem solving and as a fundamentally critical and creative process in which learning organisms develop expectations that are not purely an outcome of genetic inheritance or random mutation. When creativity and critical thinking in the classroom are explored from different views, teachers role comes into play. It is believed that creativity is an ability that every human being is born with and can be developed to a certain extend. Teachers can offer different activi ties for students, create secure environment, and interact with students as a more knowledgeable person to empower students creativity and act as mediators. Mediation is an important concept for Vygostky and Feuerstein. Williams & Burden (1997, 40) define mediation as a term used by psychologists of the social interactionist school to refer to the part played by other significant people in the learners life, who enhance their learning by selecting and shaping the learning experiences presented to them. Creativity Various psychologists and philosophers have attempted to answer certain questions related to creativity, such as, the nature of creativity, creative functioning or creative behavior and process of creativity. Their answers to these questions constitute different theories of cre ativity (Sarsani, 2005, 8). Sarsani (2005, 11-12) presents theories of creativity that are offered by different philosophers and psychologists. These theories include humanistic theories or mo tivational theories of creativity, association and behaviouristic theory of creativity, cognitive theory of creativity. Creative people are critical: they do not stop with the given and the (supposedly) obvious. They are imaginative: they make a habit of thinking in more open and supple ways, keeping their minds two steps ahead of things as they are. They are inventive: they consciously seek to devise new things and new ways of thinking.The first step toward creativity is to change our very idea of a problem. We need to think of problems as occasions for ongoing thinking, as invitations to be imaginative. From this point of view we should welcome prob lems, even seek them out. Problems are our opportunities to change the world. Nothing less than that (Weston, 2007, 5).
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Critical thinking Critical thinking is a cognitive activity, associated with using the mind. Learning to think in critically analytical and evaluative ways means using mental processes such as atten tion, categorization, selection, and judgment. However, many people who have the potential to develop more effective critical thinking can be prevented from doing so for a variety of reasons apart from a lack of ability. In particular, personal and emotional, or affective reasons can cre ate barriers (Cottrell, 2005, 1). Reber (1996) in his dictionary defines critical thinking as a cognitive strategy consist ing largely of continual checking and testing of possible solutions to guide ones work. The defi nition suggests that critical thinking and asking and answering questions go together. Critical thinkers do not accept whatever that is posed to them but think over it, analyze and look at it from different views and finally pose effective questions. Critical reasoning usually involves considering other peoples reasoning. This requires the skillful grasping on overall argument, but also skills in analyzing and evaluating it in detail (Cottrell, 2005, 3). At the same time, critical thinkers have a grasp of reasoning and giving logi cal explanations in answering questions. In language classes a great amount of time is devoted to discussion in which asking and answering questions are at the heart of the process. So critical thinking is one of the most beneficial abilities needed by language students to get their points across, to be involved in classroom activities and discussions and also to help the discussion go on. Questioning is another skill and art needed for effective spoken interaction and, like active listening, it goes beyond just the words. Questioning is a powerful means of controlling com munication (Dudley-Evans and St John, 1998, 107). Richards and Rodgers (2001, 160) explain seven functions of language proposed by Michael Halliday. One of these functions is the heu ristic function: using language to learn and to discover. Speakers use language to ask questions and gain new world view. After we have defined creativity and critical thinking skills and their importance in lan guage classes, the question of the relationship between creativity and critical thinking arises. AIM OF THE STUDY The following research questions guided this study. 1. Is there any relationship between creativity in asking questions and creativity in answering questions? 2. Is there any relationship between creativity in asking questions and critical thinking? 3. Is there any relationship between creativity in answering questions and critical thinking? MATERIALS AND METHODS Participants As the purpose of the study is to explore students creativity in asking and answering questions and their critical thinking abilities, the subjects are selected randomly from language institutes that held conversation classes. The subjects are 112 EFL students from Qom and Kashan language institutes in Iran. All of the participants are female to diminish the effect of gender differences. Students were chosen from upper intermediate levels, so the students have taken 7-10 terms that last for one and half a year in Iran. The students are learning English for communication. There is discussion, reading, listening and all of these activities are aimed at preparing the students to use English for communication. Also, the age of the subjects ranges from 20 to 30 years of old.
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Data collection The instrument that is used for collecting the required data is a 30-item 5 point Likert scale questionnaire. The questionnaire is developed to explore the relationship between the variables of the research. The following section describes the procedure of the questionnaire development and gathering data from participants. Questionnaire development In order to gain a deeper insight into creativity in asking questions, creativity in answer ing questions, and critical thinking a questionnaire is developed. The first 20 questions, which touch the issues of creativity in asking questions and creativity in answering questions, are based on creativity for critical thinkers by Anthony Weston (2007), and the last 10 questions, which are related to critical thinking, are taken from critical thinking skills by Stella Cottrell (2005). A pilot questionnaire survey is carried out. 20 EFL students from different language institutes are selected randomly for this pilot survey. The questionnaire is offered in the appendix. In this study we have adopted the Cronbachs alpha internal consistency analysis to verify whether or not the questionnaire possesses good reliability. The analysis has produced the following results: Table 1 Reliability Statistics
Cronbachs Alpha 907 Cronbachs Alpha Based on Standardized Items 915 N of Items 30

As Table 1 shows, the Cronbachs alpha internal consistency analysis is used for iden tifying the coefficient value of the overall questionnaire and it gives a coefficient value of.90, indicating that the questionnaire developed in this study possesses good internal consistency reliability. RESULTS As the data is collected by a questionnaire on a Likert scale, it allows the calculation of Pearsons product-moment correlation between variables. This study utilizes the Pearsons product-moment correlation to test the correlation between the variables. The analysis has pro duced the following results. Table 2 Inter-variable Correlation Testing Result (N=112)
Creativity in asking questions 1 .729(**) .562(**)

Creativity in answering questions .729(**) 1 .492(**)

Critical thinking .562(**) .492(**) 1

Creativity in asking ques tions Creativity in answering questions Critical thinking

** Correlation is significant at the 0.01 level (2-tailed). As Table 2 shows, the correlation coefficient values between variables vary from.49 to.72, all reaching the.01 level of significance. So, it can be said that there is a considerable
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relationship between creativity and asking questions, creativity and answering questions, and critical thinking. Conclusions Creativity and critical thinking are cognitive abilities that create real challenges for students and teachers. These abilities are very productive as they open up different doors toward learning strategies. This study examined the extent of correlation between the 3 variables of creativity in ask ing questions, creativity in answering questions, and critical thinking. The results of the study show that there is a relationship between these variables and they affect each other. Especially there is a strong relationship between creativity in asking questions and creativity in answering questions. This implies that creative students use their creativity both in asking and answering questions. The findings have some implications for EFL teachers to develop an understanding of the strategies students use in the classroom to ask and answer questions. The findings suggest the possibility of empowering students critical thinking ability by empowering creativity in asking and answering questions. To allow students to be creative and critical thinkers, teachers should allow themselves to be creative and critical thinkers at the first step. They should prepare different challenging questions, to help cognitive development of students. In the light of the findings, language teachers are encouraged to include in their teach ing plan the kinds of activities that help students to step outside from the safe side and think outside of the box to decrease inhibitions to critical thinking. Meanwhile, the teachers cre ativity and intrinsic motivation and deep desire to efficient teaching are of paramount impor tance. The role of teachers as mediators comes into view as they can provide opportunities for students to reflect on their learning process and beliefs and inspire students fresh ideas by activities such as brainstorming. Finally, the role of environment in encouraging students creativity and critical think ing cannot be neglected. The learning environment should be conducive to creativity and criti cal thinking development. With the proper environment and techniques, potential creativity of students can be recognized, and nurtured afterwards. There were some limitations to the present study such as lack of direct observation of students strategies for asking and answering questions in the language class. The study can be enhanced by observing students participation to add qualitative evidence for the findings of the present study. At the same time, the number of participants can be expanded to obtain more diverse data for analysis. Acknowledgment We are deeply indebted to the participants in this study who gave their time to fill in the questionnaires and also their teachers generous help and cooperation.
References 1. Cottrell, S. (2005). Critical Thinking Skills Developing: Effective Analysis and Argument. Palgrave Mac millan. 2. Dudley-Evans, T. & St John, M. J. (1998). Developments in English for Specific Purposes: A Multi-Disciplinary Approach. Cambridge University Press. 3. Kabilan, K. M. (2000). Creative and critical thinking in language classroom. The Internet TESL Journal, Vol.6, No.6., from http://iteslj.org/Techniques/Kabilan-CriticalThinking.html 342

4. Reber, A. S. (1996). Dictionary of Psychology. (2nd ed). London, England: Penguin. 5. Richards, J. C. & Rodgers, T. S. (2001). Approaches and Methods in Language Teaching. Cambridge University Press. 6. Sarsani, R. M. (2005). Creativity in Education. New Dehli: Sarup &Sons. 7. Swann, J. (2009). Language: An Evolutionary Analysis. Philosophy of Education Society of Australasia. Vol. 41, Issue 3, 2009, p. 256 269. 8. Weston, A. (2007). Creativity for Critical Thinkers. Oxford University Press. 9. Williams, M. & Burden, R.L. (1997). Psychology for Language Teachers: A Social Constructivist Approach. Cambridge University Press. 10. Yepsen, JR, R. B. (1994). How to Boost Your Brain Power: Achieving Peak Intelligence, Memory and Creativity. Rodale press, Inc. Ali Rahimi Applied Linguistics (Ph.D.) University of Kashan, Kashan, Iran Tel.: 00989133099535, 00983615555333 E-mail: rahimijah@yahoo.com Website: www.alirahimi.com Fax: 00983615912777 Somayeh Najafi MA student of TEFL at University of Kashan, Iran. Currently teaching English courses in English institutes in Qom, Iran. Tel.: 02518741122 E-mail: Somaieh.najafi@yahoo.com

Appendix The following are the questionnaires used in this study. Name: age: term: Please indicate how far you agree with the following statements. If you agree strongly mark a 5 on the scale; if you strongly disagree mark a 1 on the scale. I. Creativity in answering questions Disagree agree 1. Whenever I want, I can arrive at an exciting and genuinely new idea to answer questions for which I dont have immediate answers. 1 2 3 4 5 2. I can extend my creative solutions, to other similar problems and find a solution for that. 1 2 3 4 5 3. I often use words that come accidentally to my mind and expand them to answer questions. 1 2 3 4 5 4. I think of questions as an opportunity to think and talk, so I welcome them. 1 2 3 4 5 5. I identify the problem and I can guess the possible solutions. 1 2 3 4 5 6. I can answer questions in a way that I want and change the discussion in a direction that I want. 1 2 3 4 5
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7. When I want to say something but I dont have the right word or sentence, I find an alterna tive to communicate. 1 2 3 4 5 8. I can come up with new ideas even when they have no practical use. 1 2 3 4 5 9. When I cant find the right answer for a question, I try to reframe the question to see what I am trying to accomplish. 1 2 3 4 5 10. I survey all aspects of a problem in search of alternative answers. 1 2 3 4 5 II. Creativity in asking questions Disagree agree 1. I have exploratory attitudes, willingness to unsettle things in search of new ideas and angles. 1 2 3 4 5 2. I listen to others and dont immediately criticize and judge others, but work on them to make further association and take another step. 1 2 3 4 5 3. I ask open ended questions, exploratory, wild questions. 1 2 3 4 5 4. I try to look at familiar issues in unexpected ways and ask new questions. 1 2 3 4 5 5. I can easily find different ways of discussing issues that are comfortable to me. 1 2 3 4 5 6. I can ask in different and effective ways. 1 2 3 4 5 7. I create opportunities out of situations and class environments to ask my questions. 1 2 3 4 5 8. To develop new ideas, I try to brainstorm and ask questions. 1 2 3 4 5 9. I use random questions to elicit other peoples ideas. 1 2 3 4 5 10. I try to narrow down the questions and make them specific to elicit focused new ideas. 1 2 3 4 5 III. Critical thinking Disagree Agree 1. I feel comfortable pointing out the potential weaknesses in the work of experts. 1 2 3 4 5 2. I can remain focused on the exact requirements of an activity. 1 2 3 4 5 3. I can offer criticism without feeling this makes me a bad person. 1 2 3 4 5 4. I find it easy to separate key points from other materials. 1 2 3 4 5 5. I am very patient in going over the facts in order to reach an accurate view. 1 2 3 4 5
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6. I find it easy to evaluate the evidence to support a point of view. 1 2 3 7. I usually pay attention to small details. 1 2 3 8. I find it easy to weigh up different points of view in a fair manner. 1 2 3 9. If I am not sure about something, I will research to find out more about it. 1 2 3 10. I can present my own arguments clearly. 1 2 3

4 4 4 4 4

5 5 5 5 5

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Gunta Rozia. She is an associate professor at the University of Latvia, the Faculty of Humanities. She has her doctorate in Applied Linguistics from the University of Latvia. Her main research interests are classroom pragmatics, applied sociolinguistics, EFL methodology. She currently teaches ESP in the domain of English for Banking and Finance and English for Law at an undergraduate level. She was a Fulbright scholar at the ESL Program at the University of Minnesota, the USA. Indra Karapetjana. She is an associate professor in Applied Lin guistics at the University of Latvia, the Faculty of Humanities. She conducts research into the use of language in political and scientific discourse and ESP methodology. She explores some of the variables that characterize the interaction of interlocutors who belong to differ ent speech communities by examining selected linguistic norms and communicative patterns followed by native and non-native English language users. GUNTA ROZIA INDRA KARAPETJANA University of Latvia Latvia

LINGUISTIC POLITENESS AND INTERDISCOURSE COMMUNICATION

Abstract Introduction. Interlocutors should follow the principles of linguistic politeness in interdiscourse communication. Aim of the study. The paper aims at proving that non-native language users linguo-pragmatic competence is to be developed. Materials and methods. The case study was based on the discourse analysis of the articles published in Star Tribune (2008). Results. The study proves that hedging has a specified pragmatic function and serves as a categorization marker. Conclusions. If the linguistic politeness principle used in interdiscourse communication were considered from a creative approach, it would contribute to the non-native users communicative ability in cross-cultural communication. Key words: linguistic politeness, interdiscourse communication, linguo-pragmatic ability, face, epistemic modality, hedges. INTRODUCTION According to Leech (1983), a language users linguo-pragmatic ability results from general situations and conditions of the communicative use of language. He holds the view that two aspects of the language in use are to be considered: linguistic pragmatics that studies language and its grammar-specifics if applied in ap propriate contextual situations;
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 sociopragmatics that views language use in social situations and deals with culturespecific studies of language in use. It goes without saying that drawing a boundary between sociopragmatic and linguopragmatic phenomena seems to be an extremely difficult task to do. In part, it can be attributed to diverse scopes each of these aspects covers. Taking into account that pragmatics is never interested only in the form of the lan guage, appropriate use of the linguistic form, pragmatic meaning, and pragmatic force in an appropriate context demonstrate the language users linguo-pragmatic ability. In the light of this discussion, it is to be stated that the use of language, which applies to social activities where mutual face wants of interlocutors are respected, is known as linguistic politeness. The principle of linguistic politeness is governed by the concept of face, i.e. a communication partners public image, and by the concept of face wants, i.e. a communication partners need to have face respected. Accordingly, to view how the linguistic politeness prin ciple is applied in interdiscourse communication, this study employs Yules (1996) definition: Politeness, in an interaction, can then be defined as the means employed to show awareness of another persons face (Yule, 1996, 60) Admittedly, linguistic politeness differs from the notion politeness as nonverbal behav iour, because non-verbal behaviour is considered to be etiquette. To put it differently, etiquette means: the properties of conduct as they are established in any class or any community. They represent conventional requirements to a particular social behaviour, which involves the aware ness of how to act in particular situational contexts. Thus, it can be asserted that the politeness theory proposed by Brown and Levinson (1987) grew out of the research carried out in order to study details of language, which are used to perform particular speech acts. Having done a profound study of the preferences made in favour of particular speech acts by speakers belong ing to different cultural backgrounds, the sociolinguists claimed that language users might be concerned with four different aspects of face. One set of distinction has to do with ones own face versus others face. To paraphrase, any linguistic action performed by the speaker simultaneously reflects on the speakers own face in the way so that it either upholds or undermines him/her. Similarly, any linguistic action performed by the speaker reflects on the hearers face so that it either upholds or undermines the others face. Another set of distinction draws between different linguistic choices made to honour or threaten face. When we fail to receive validation to an activity, this is considered to be a threat to face. Brown and Levinson (1987) are known to propose an idea that our desire to honour face is one reason why we do not always say exactly what we mean in the most direct and effi cient way. Many actions in our everyday communication have a potential to threaten face. Thus, orders, requests, advice and warnings threaten negative face, whereas criticism, complaints, refusals, disagreement threaten positive face. Some face-threatening acts threaten the speakers own face, e.g., apologising, whereas others threaten the hearers face, e.g., criticizing. As a result, linguistic politeness theory focuses on how we respond to threats to the hear ers face, or how we compensate the degree of face threat by appropriate linguistic strategies (LoCastro, 2006; Grundy, 1995). The concepts of positive and negative face are integral aspects of Brown and Levinsons politeness theory. In the light of this theory, the scholars refer to the threat to face and to the desire for approval of identity as positive face want. Conversely, intrusions or impositions reveal disrespect for face, and this desire for autonomy is referred to as negative politeness want. According to Brown and Levinson (1987), the language strategies that are applied in the above-mentioned cases are labelled as positive or negative politeness strategies.
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AIM OF THE STUDY The study works towards attaining the following aim: to indicate that a creativitybased approach if applied to introducing the linguistic politeness principle into the academic study programmes at a tertiary level can develop the non-native language users context-based sense of the language. Consequently, it can enable them to understand, interpret and use appro priate linguistic forms in expected contextual situations in interdiscourse communication. The theoretical part of the study addresses the following enabling objectives: to examine selected key concepts that are used within the framework of linguistic prag matics, such as linguistic politeness and face; to support this examination by the analysis of selected relevant theoretical contributions. The empirical part of the study aims at investigating selected linguistic strategies used in authentic texts. This research is conducted to contribute to deepening the authors under standing of the linguistic politeness principle as it is applied in interaction. This approach was taken to testify to a widespread use of the linguistic politeness principle in interdiscourse communication, i.e. in communication that takes place across boundaries of groups or discourse systems, such as corporate culture, a professional group and/or alike. MATERIALS AND METHODS Authentic texts selected from the newspapers Star Tribune (2008) were used as mate rials for the study. As a result, this study was concerned with examining the contextual meaning of a statement in relation to a specific contextual situation. Thus, it can be admitted that refer ence to one or more of the following aspects of situation (Leech, 1983, 13) can be a criterion to investigate the pragmatic meaning of a statement as it has been used in a specified context of situation. To promote further studies of the linguistic politeness principle, this research consid ered specified variables that determine the context of situation: setting, i.e. the social and spatial framework within which encounters are situated (Ochs, 1979, 2), language as context, i.e. the way the language itself provides a context (Ochs, 1979, 2). For the purposes of this study, 50 texts representing political news were selected. They were examined to offer a wider perspective on the role of linguistic instruments employed to evoke political realities. By and large, the study was approached from the general perspective of qualitative research. By representing the type of a case, this paper employs two research instruments, namely, situational observation and discourse analysis: the former to examine the contextual meaning of a statement under analysis, the latter to examine the linguistic forms and their func tions in the context of political news. This approach was selected to examine utterances as the units of analysis in linguistic pragmatics. It is generally accepted that utterances governing the linguistic politeness principle are concrete products of speech and/or writing that provide an interlocutor with information as to who the interlocutor is and what his/her pragmatic intentions are (Jaszczolt, 2002). RESULTS Within the framework of this research, the study focuses on the analysis of the results that have been gained when examining the application of selected linguistic strategies governing the linguistic politeness principle as they are employed in political interdiscourse communication.
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1. Epistemic Modality and Linguistic Politeness It appears evident that marked differences exist of how epistemic modality, i.e. a mo dality that is concerned with an interlocutors opinion rather than a fact expressed, can be em ployed in native and non-native language users interactional discourse if linguistic politeness is in the focus of discussion. Hinkel (1995), who has studied how native and non-native speakers of English use epistemic modality in argumentative discourse, has discovered that the usage of epistemic modality appears to depend on the cultural and contextual constraints. Thus, when studying the usage of the modal auxiliaries must, have to, should and need, Hinkel (1995) found out that native language users prioritize need to convey an intrinsically imposed responsibility or necessity; in the same situations, non-native speakers of English employ the modal auxiliary must. In the light of linguistic politeness, the divergence in the usage of modality may lie in the native speakers and non-native speakers culturally-bound understanding of the nature of obligation, and the adherence to socio-cultural norms and codes being fundamental to AngloAmerican and other cultures, e.g. the Baltic cultures. In view of this, Hinkel (1995) asserts that the achievement of advanced linguistic proficiency and exposure to sociocultural constructs does not necessarily lead to non-native speakers assuming native like beliefs and presuppo sitions (Hinkel, 1995, 337). Thus, it can be admitted that hedging as a linguistic politeness strategy is usually employed to reduce the confrontation risk in social interactions. Hedges, in their turn, perform as linguistic devices through which negative politeness strategies are usually implemented, for example: A. I wonder if you could give me a ride to the airport tomorrow? B. What time is your plane leaving? A. At 9.15 in the morning. B. Certainly. Ill be happy to give a ride. The lexical phrase I wonder is used in this case to hedge the illocutionary force of the statement. As it can be presupposed, the speaker does not want to impose an undesirable request to a listener; that is why this strategy is recognized to be a negative politeness strategy. Brown and Levinson (1987) admit that hedging is a characteristic feature of negative politeness. On the other hand, they assert that hedging can be used for the purposes of positive politeness as well. 2. Hedges and Negative Politeness Considering the above-discussion, hedges are the linguistic markers that attenuate or weaken the strength of an utterance. Brown and Levinson (1987) assert that being linguistically polite means to be a considerate conversational partner. In terms of negative politeness, this idea means an interlocutors ability and competence to choose the right words in the right situation and at the right time to express a communicative goal so that one avoids a potential conflict and maintains harmony in interaction. As it was revealed in the introductory part of this study, Brown and Levinsons (1987) politeness theory focuses on the basic linguistic and pragmatic principles underlying negative politeness, in terms of which a face threatening act is considered to be a viola tion of the speakers freedom of action. In this respect, Wilamova (2005), who has done sustained research on the role and functions of hedging devices in negatively polite discourse, claims that the usage of hedges provides a possible solution. They work as the predominant linguistic devices of expressing negative politeness, thus enabling the speaker to go on-record. Wilamova (2005) enlists types of hedges in reference to the pragmatic functions they perform for the purposes of negative politeness in order to avoid a potential for conflict or communication breakdown and/or to establish and maintain harmony in interaction (Wilamova, 2005, 1-9): 1. Hedges as clausal mitigators. 2. Hedges as subjectivity markers.
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3. 4. 5. 6.

Hedges as downgraders. Hedges as tentativisers. Hedged performatives. Hedges and politeness maxims.

For the purposes of the present analysis, this study examines the functions of two types of hedges, such as hedges as clausal mitigators and hedges used as politeness maxims. Hedges as Clausal Mitigators Fraser (1980) is among the first applied linguists who started to use the term mitigation in the context of pragmatics. He defined mitigation as the modification of unwelcome ef fects on the addressee (Fraser, 1980, 341). In agreement with this, Holmes (1990) proposes an idea that mitigation is a strategy used to reduce the anticipated negative effect of a speech act (Holmes, 1990, 185). Thus, it can be presupposed that linguistic politeness is one of the pos sible effects reached as the result of a mitigating operation. Judging from the findings of Wila movas (2005) studies, clausal mitigators appear to be the most frequent pragmatic markers in negative politeness. Being the linguistic devices used for the purposes of negative politeness, they function to soften the illocutionary force of the utterance. Fraser (1990) admits, this type of pragmatic markers signals the speakers desire to reduce the face loss associated with the basic message (Fraser, 1990, 387). Accordingly, the most frequent subtypes of clausal mitiga tors are: pseudoconditionals and but-clauses. Pseudoconditionals In interdiscourse communication, pseudoconditionals are typically represented by ifclauses in the positions of after-thoughts, such as if I may say so; if I were you, if you wanted to, if you insist, if you like, if it comes to that, if that isnt an impertinent question. For example: 1. Obama could be vulnerable in the fall, if I may say so (Star Tribune, May 6, 2008). 2. Indiana and North Carolina have the potential to reshape the competition today between Sens. Hillary Clinton and Barack Obama, if it comes to that (ib.). Considering the role of pseudoconditionals in their authentic usage, we can presume that their core function in the case of negative politeness is to soften the illocutionary force of an utterance by taking into account face preserving principles (Brown and Levinson, 1987). But-clauses In interdiscourse communication, but-clauses form another subgroup of clausal miti gators. Assumingly, but-clauses function to weaken the propositional content of an utterance by providing an explanation of the interlocutors motives for carrying out a face- threatening act. Pragmatically speaking, but-clauses represent a strategic means of achieving partial agreement and of maintaining relationship between the interlocutors, e.g.: Late last year, Emily Alison decided Hillary Rodham Clinton ought to be the next president, and she wanted to help; but never mind, she wasnt sure how (Star Tribune, May 7, 2008). Hedges and Politeness Maxims This type of interactant-oriented hedges builds upon the Conversational Maxim view, which, in its turn, builds upon Lakoffs (1972) Politeness principle, Grices (1975) Conversa tional maxims and Leechs (1983) Interpersonal maxims. In respect of negative politeness, hedges are presented by conventionalised linguistic expressions. They are the linguistic markers of pragmatic function that basically can be found
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in spoken English discourse or in newspaper articles, in such forms as Im afraid, unfortunately, unlikely, nothing personal, to tell the truth, I must say, I must admit, I must confess, you dont mean to tell me, and stuff (like that), and things (like that), or anything, or something (like that), or whatever, or what and alike. In view of this, an evident interconnectedness between the pragmatic function and linguistic form can be illustrated shedding light on how these linguistic markers are used in order to be: linguistically polite and accurate about the information presented; informative and/or emphatic about the information revealed. As it has been stated above, pragmatics is the study of invisible meaning (Yule, 1996, 3). Consequently, pragmatics is also the study of how interlocutors indicate, by what they communicate the relative social closeness or distance between themselves and their listeners (Overstreet, et al. 1999, 2). Thus, for example, Kaspers (1981) research of English pragmatics has proved that non-native language users often fail to recognize the pragmatic markers in the target language. Therefore, if foreign language users are able to identify the relevant pragmatic markers in naturally occurring speech situations, it seems to be one of the most important steps made towards developing their pragmalinguistic awareness, which can have the expected exposure in relevant communicative situations. Although it is not always easy for non-native language users to assign pragmatic functions to linguistic forms; very often these particular linguistic forms bear definite and fairly transparent functions in interpersonal communication. Needless to say, the knowledge of them and the ability to use them in relevant communicative situations enable non-native users of English to take part in social interaction and to achieve interpersonal rapport with others using English (Aston, 1993, 226). In addition, the linguistic forms, such as and stuff, and things like that, and junk like that, and all that mess, and all that nonsense, and alike are often used in newspaper articles. They can incorporate a downgraded, an alternative or, sometimes, a negative meaning and might create problems for non-native language users. The linguistic forms mentioned do not always have the equivalents in ones mother tongue. For example: 1. Though feminists may be disheartened to see Hillary Clinton muscled offstage, just look around: women are in the thick of power and things like that (Star Tribune, May 18, 2008). 2. We hear from hospitals that a bigger and bigger share of debt is from people with insurance who are unable to pay the out-of-pocket expenses and stuff like that (Star Tribune, May 16, 2008). On the one hand, it should be noted that some of the linguistic forms mentioned play a considerable role in reaching interactional goals of communication. They can serve as indica tors that help to get the message across in communicative situations when native speakers more imply rather than they say. On the other hand, the linguistic forms considered represent vague forms of the language; they often lack explicit reference in terms of context. In sum, hedging carries out a specified pragmatic function and can serve as a catego rization marker. The ability and skill to hedge provides excellent opportunities for non-native language users to employ the linguistic forms mentioned as strategic devices to overcome dif ficulties in maintaining interactive communication (Tarone, et al, 1989, 15). CONCLUSIONS This paper has offered an insight into some of the linguistic strategies applied to con sider the linguistic politeness principle in interdiscourse communication. The study was based
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on the theories having evolved from the research on linguistic politeness. Due to its limited scope, the paper has examined only selected linguistic strategies that govern interdiscourse communication; it has not revealed the approaches to be considered in favour of implementing the research findings into the language study classroom. Assuming that a creative approach is followed when implementing the research findings into developing non-native language users communicative ability, the authors have come to the following conclusions: 1. Epistemic modality is commonly used in interdiscourse communication as a strategy of linguistic politeness to respect the addresses needs. This strategy plays a significant role in interpersonal communication to mediate interpersonal meaning. Epistemic mo dals used in communication convey the interlocutors attitude to the proposition being expressed. 2. Hedges function as linguistic devices used to present a speaker/writers proposition as an opinion rather than a fact. Hedging is a pragmatic effect created by the use of hedges. Thus, hedges can be treated as realizations of an interactional/communicative strategy called hedging. 3. Hedges offer a possibility for textual manipulation; they can serve as metalinguistic operators for performing the function of: linguistic politeness against a potential for face loss, mitigation and evasion. Being linguistic devices to signal or lessen the impact of utterance, the use of hedges appears to be intentional. Hedges acquire their effect through the writer-reader or the speaker-hearer interaction on the basis of a communica tive situation created by the text. 4. Hedging being a strategy of linguistic politeness is employed as a linguistic instrument to indicate an interlocutors attitude/position towards some aspects of utterance. The reason for hedging can be attributed to mitigation and/or self-protection, to avoiding confronta tion and/or responsibility in order to display uncertainty of the facts recognized, to making text seemingly positively readable and to adapting a kind of modesty and acknowledge ment to communication.
REFERENCES 1. Aston, G. (1993). Notes on the Interlanguage of Comity. In G. Kasper and S. Blum-Kulka (Eds.) Interlanguage Pragmatic (p.224-250). Oxford: Oxford University Press. 2. Brown, P. and Levinson, S. (1987). Politeness: Some Universals in Language Usage. Cambridge: Cambridge University Press. 3. Fraser, B. (1990). An Approach to Discourse Markers. Journal of Pragmatics, 14 (3), 383-395. 4. Fraser, B. (1980). Conversational Mitigation. Journal of Pragmatics, 4 (4), 341-350 5. Grice, H. P. (1975). Logic and Conversation. In P.Cole and J.L.Morgan (Eds.) Syntax and Semantics. Vol 3 (pp. 41-58). New York: Academic Press. 6. Grundy, P. (1995). Doing Pragmatics. University of Durham: Arnold. 7. Hinkel, E. (1995). The Use of Modal Verbs as Reflection of Cultural Values. TESOL Quarterly, 29(2), 325341. 8. Holmes, J. (1990). Hedges and Boosters in Womens and Mens Speech. Language and Communication, 10 (3), 185-205. 9. Jaszczolt, K.M. (2002). Semantics and Pragmatics. London: Longman. 10. Kasper, G. (1981). Pragmatische Aspekte in der Interimsprache (Pragmatic aspects of interlanguage). Tubin gen: Narr. 11. Lakoff, G. (1972). Hedges: A Study of Meaning Criteria and the Logic of Fuzzy Concepts. In P. Peranteau, J. Levi and G. Phares (Eds.) Papers from the Eighth Regional Meeting of Chicago Linguistic Society (pp.183228). Chicago: Chicago University Press. 12. Leech, G. (1983). Principles of Pragmatics. London: Longman. 13. LoCastro, V. (2006). An Introduction to Pragmatics. Michigan: University of Michigan. 352

14. Ochs, E. and Schieffelin, B. (1979). Developmental Pragmatics. New York: Academic Press. 15. Overstreet, M. and Yule, G. (1999). Fostering Pragmatic Awareness. Applied Language Learning 10, (1), 1-13. 16. Tarone, E. and Yule, G. (1989). Focus on the Language Learner. Oxford: Oxford University Press. 17. Wilamova, S. (2005). On the Function of Hedging Devices in Negatively Polite Discourse. Brno Studies in English, 31, 1-9 18. Yule, G. (1996). Pragmatics. Oxford: Oxford University Press. Gunta Rozia Associate professor, Dr. philol., University of Latvia, Mazcenu aleja 11-8, Jaunmarupe, Rigas rajons, LV-2166. phone 29488001, e-mail: rozina.gunta@inbox.lv Indra Karapetjana Associate professor, Dr. philol., University of Latvia, Pernavas 59-5, Riga, LV-1009, phone 29123282, e-mail: indra.karapetjana@lu.lv

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Ekaterina Mikhailovskaya. I was born in Moscow, Russia, in 1993 graduated from Moscow State University, Faculty of Philology, Eng lish Department, in 1994 joined the English Department as a lecturer. In 2001 I defended my candidate thesis Pragmalinguistic problems of English punctuation under the academic supervision of Professor Irina Maghidova. Since then my academic interests have ranged from phonetics, phonostylistics to general and linguistic semiotics and film studies. My chief hobby is my family: husband, two kids Maria and Feodor and mum. EKATERINA MIKHAILOVSKAYA Moscow State University Russia

FILM ADAPTATION: FIDELITY VS CREATIVITY

Abstract Introduction. Much of the theoretical debate on film adaptation has been centred around the concept of its fidelity to the original. However, the creativity of adapting has been left out of the discussion. Aim of the study. The aim of the study is to try and show on what stage of the process of adapting creativity comes to the fore and how much creativity the filmmaker can afford to remain more or less faithful to the original. Materials and methods. Pride and Prejudice by J. Austen and its film adaptation (BBC, 1995). The methods of linguostylistic analysis and of general semiotic analysis. Results. Transferable elements: narrative; adaptable: characters points of view, the authors humour. Conclusions. By adapting the book for the screen, the filmmaker demonstrates his/her understanding and creatively transforms it according to modern requirements and his/her own aesthetic-artistic conception. Key words: fidelity, decomposing, selecting, creative vision. Introduction Little doubt will the following statement cause in the mind of the modern viewer \ scholar: a literary adaptation creates a NEW story, which is not the same as the original; nar rative and characters become INDEPENDENT of the original even though both are based on the original; film adaptations are both MORE and LESS than the original, since they represent a synergy between the desire for sameness and reproduction on the one hand, and, on the other, the acknowledgement of difference. However, this was not always obvious. The history of film adaptations dates back to the very beginning of film era. By the 1910s, adaptations of the classics had become a marketing ploy by which filmmakers could present cinema-going as a venue of taste and thus attract the middle classes to the theatres. As Brian McFarlane puts it, no doubt there is the lure of a pre-sold title, the expectation that respectability or popularity achieved in one medium might infect the work created in another (McFarlane, 1996, 7). Indeed, literary adaptations gave cinema its long-expected respectability and at the same time evoked in the minds of educated audience the hope of bearing a certain pedagogical value - bringing the national heritage closer to ordinary public. About the same time, reflecting on the nature of the seventh art, theorists drew first parallels between film and literature. That was not only for a simple purpose of feeling solid
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ground under their feet but naturally sprang from the general observations of common laws of human perception and formalist investigation into the narrative. Sergei Eisenstein, an outstand ing Russian film-director and film theorist, in his energetic attempts to legitimize film as art and in search for the intrinsic linguistic structure of film drew parallels between literary composi tion and the principles of film editing. In his famous essays Dickens, Griffith and the Film Today (1942) and Montage 1938 (1938) he pointed to the similarity between the earlier films made by David Wark Griffith and parallel composition exploited in the novels by Charles Dickens, and explored the visual capacity of poetry on the example of Alexander Pushkins Poltava. Since then quite a few film theorists and linguists have been attempting at developing their own answer to the questions: What makes a good adaptation? To be successful, does an adaptation have to be faithful? Should it be faithful to the letter or to the spirit of the work? and, finally, How much creativity can the filmmaker afford, adapting a novel to screen? To be able to answer these most intriguing questions, one had to answer the following: Is there a single, correct meaning which the filmmaker has to extract from the book, or is the book open to interpretations, thus giving a substantial freedom for the filmmaker ? Much of the discussion has been centred around the concept of fidelity of the adapta tion to the original. Fidelity criticism depends on a notion of the text as having and rendering up to the reader a single, correct meaning which the filmmaker has either adhered to or in some sense violated, interfered into, or tampered with. Viewing the original as a unique global whole with its own global aesthetic-artistic purport means that any adaptation of it will to a certain extent be a violation of the original, the only question being how far the changes have gone. Within this theoretical framework adaptation film-script - is treated as secondary to the original and is explored from the linguostylistic point of view. This kind of research is based on the analysis of various lexical-phraseological and syntactic-stylistic features that allow to cor relate the secondary text with its original and to differentiate it from the original (, 2002). The attention has also been paid to the parallels and disparities between the two systems, to the range of functional equivalents (Marcus, 1993). Quite a few scholars, however, argue that this approach has so far failed to take into account other than merely textual levels of meaning: it appears not sufficient to show the differ ence between the two texts, nor does it suffice to do a textual analysis based on a demonstration of how the film renders the language and style of the original through mise-en-scene, editing, sound-track, music etc. It tends to ignore the idea of adaptation as an example of convergence between the arts; it fails to take into account what may be transferred from novel to film as dis tinct from what will require more complex process of adaptation; and it ignores those produc tion determinants which have nothing to do with the novel but may be powerfully influential upon the film (McFarlane, 1996). This happens because this kind of approach is relevant only when the similarities and differences are analysed within ONE signifying system and dont go beyond that. However, any investigation from one art to another will inevitably come to the discussion of the basic differ ence in the process of semiosis. It is generally assumed that cinema in its absolute artistic form realizes communica tion primarily through the visuals; this is the reason why cinema is very often called the art of cinematography. According to Yu. Lotman, however significant non-graphic elements of a film (such as words, music) may be, they still play the subordinate role. He then goes on and remarks that despite all the lively synthesis of its elements, in cinema the main role belongs to the graphic language of the picture (, 1973). However, cinema is a complex phenomenon, in the sense that it comprises signs of different semiotic systems. Here the main distinction lies between verbal semiotic system
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(natural human language) and numerous visual semiotic systems. The lively synthesis of various groups of signs lies at the core of meaning-formation in films. Normally four sets of semiotic systems are singled out: mise-en-scene - settings and props, lighting, costumes and makeup, figure behavior; cinematography - the way in which subjects and objects are framed within a shot, their size and volume, camera angles. Editing realizes the syntactic capacity of the cinema the ability of signs to form combinations and to produce new meanings. The last, but not least, set of semiotic systems to contribute to the complex whole of a film is sound, that is, music, noise, and speech. It follows, then, that in cinema speech as a material representation of natural human language - is treated only as part of a conglomerate of audial semiotic systems. It is generally believed that cinematography is a visual art par excellence, that is, the one that ideally is not accompanied by any sound and which can transfer its meaning without the help of sound. Thus, speech is by definition subservient to visual imagery. The nature of film expressivity, then, is a product of quite a few semiotic systems, natural human language among them. Cinema employs all the three modes of the sign: indexical, iconic and symbolic, with in dexical and iconic aspects being the most powerful. In fact, the aesthetic richness of cinema springs from the fact that it comprises all the three dimensions of the sign: indexical, iconic and symbolic, or as David Bordwell puts it, All materials of cinema function narrationally not only camera but speech, gesture, written language, music, colour, optical processes, lighting, costume, even off screen space and offscreen sound. (Bordwell, 1986, 20). Literature, on the contrary, operates with the verbal sign predominantly, with its low iconicity and high symbolic function. We may therefore conclude that a literary adaptation is an intersemiotic translation of its literary origin. What these two principally different signifying systems have in common is the poten tial for narrative to quote Christian Metz, Film tells us continuous stories; it says things that could be conveyed also in the language of words; yet it says them differently. (Metz, 1974, 44) And narrative, at certain levels, is undeniably not only the chief factor novels and films based on them have in common but is the chief transferable element. Brian McFarlane draws a distinction between those elements which can be transferred to the screen, and those which have to be adapted for it: 1) Those elements of the original novel which are transferable be cause not tied to one or other semiotic system that is, essentially, narrative, and 2) those which involve intricate processes of adaptation because their effects are closely tied to the semiotic system in which they are manifested that is, enunciation (McFarlane, 1996, 20). To the first group he refers to, using the terminology suggested by Roland Barthes, as functions proper; to the second as indices. Aim of the study Thus, the aim of the study is to try and show on what stage of the process of adapting creativity comes to the fore and to try and answer the question of how much creativity the film maker can afford to have the right to call his creation an adaptation. Materials and methods The initial stage of adapting a book for the screen is normally decomposing it into meaningful elements, that is, following the narrative structure, as well as singling out those units of the authors/ books style which constitute the aesthetic core of the literary piece. The second stage in this process will be selecting those elements which the film maker feels obliged to or finds worth adapting and classifying them into those transferable
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and those which have to be adapted. In terms of intersemiotic translation, this could be for mulated as searching for equivalents and/or encoding the original message in other than verbal semiotic systems. Some scholars would say that this is the point when the interference takes place, when, according to somewhat random choice of the filmmaker, some meaningful elements will be in evitably violated or ignored whatsoever. On the other hand, it may be suggested that this is the point when the filmmakers creative process starts, and from now on the adaptation of the book will be forming and taking the final shape according to the creative vision of the filmmaker. The extent of this creative vision can be determined by how far the filmmaker has sought to create his own work in those areas where transfer is not possible, or by omitting or reordering those narrative elements which are transferable and inventing new ones of his own. That is, how creative he is going to be in performing the film executing it at various levels: acting, photography, editing. There will often be a distinction between being faithful to the letter and to the spirit or essence of the work. The latter is of course very much more difficult to determine since it involves not merely a parallelism between novel and film but between two or more readings of a novel, since any given film version is able only to aim at reproducing the filmmakers reading of the original and to hope that it will coincide with that of many other readers \ viewers. Quite a few other factors will be influencing the filmmaker in the process. These come mostly from the nature of film narration, for example, tense film cannot present action in the past as novels chiefly do; spatial (as well as temporal) orientation of the film which gives it a physical presence denied to the linearity of the novel; the virtual impossibility to recreate the first person narration because the camera tends to be objective in the sense that it generally does not take any of the characters point of view (the latter normally achieved by voice-over). Furthermore, in the adaptation some extra-cinematic codes are present which may not be included in the book: 1) language codes (particular accents or tones of voice and their social and temperamental meaning), 2) visual codes (mostly interpretative and selective), 3) non-linguistic sound codes (music, noises etc.), 4) cultural codes (how people live, or lived, at particular times and places). There is more to it. What was a contemporary work for the author has become a period piece for the filmmaker. If we take literary classics that is those texts which, once modern, over time entered the literary canon we shall see that by the time they get to the stage of film adaptation they are no longer of the present time and so become transformed into what we know as costume or heritage film. The desire of the audience, then, is to see the past times, which originally, when described in a novel, was no past but present. There is, however, another very important and in some cases crucial factor the film genre. This by no means presupposes a unique literary form - the only one to be able to impart a particular aesthetic-artistic content, as we are used to think of literary genres, but a rigid narra tive pattern which for decades already have been used chiefly by American filmmakers to shape the expectations of their target audience and to meet these ready-made expectations with more and more products of the same kind. Thus, for example, when we hear words like horror film, melodrama, western, romantic comedy, thriller, we immediately get the idea of the kind of film narrative and learn nothing about the aesthetic-artistic value of the film. This may be explained by the fact that the ultimate goal of filmmakers, especially in Hollywood, is purely commercial to sell, because filmmaking in most countries is business. This is not the case with the BBC which is a public company and enjoys the support of the state. Thus, when the BBC can afford educating, informing and entertaining, the American studios mainly entertain and in very rare cases inform.
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In this research we tried to follow the filmmaker through the above-mentioned stages in order to arrive at understanding where exactly in a particular adaptation creativity starts. To do this, we had to apply to the literary text the method of linguostylistic analysis - to study ul timate units of language from the point of view of connotations, that is, those additional proper ties of linguistic units which are superimposed on the semantic content proper. (., 1986, 21). The results of this kind of analysis had later to be assessed in terms of intersemiotic translation which called for the semiotic analysis of the film analysing the structural relations within the film that produce meaning. Let us now turn to the example and see how the creativity of the filmmaker helps to recreate the spirit of the original on the screen. The example comes from the novel by Jane Austen Pride and Prejudice and its adaptation the much acclaimed TV series produced by BBC in 1995. A few words about the latter. Acording to the classification of adaptation sug gested by Geoffrey Wagner, this could be referred to as commentary where an original is taken and purposely or inadvertently altered in some respect, when there has been a different intention on the part of the film-maker (the other two being transposition (in which a novel is given directly on the screen with a minimum of apparent interference) and analogy (repre senting a fairly considerable departure for the sake of making another work of art)) (Wagner, 1975). This means that the filmmakers tried to follow the original most faithfully, at the same time adding more sensuality to it (which is so common for the cinema of the 2nd half of the 20th century) (Birtwistle, Conklin, 1995). The example comes from the Chapter 3 of the book: And when the party entered the assembly it consisted only of five all together, - Mr Bingley, his two sisters, the husband of the eldest, and another young man. Mr Bingley was good-looking and gentlemanlike; he had a pleasant countenance, and easy, unaffected manners. His sisters were fine women, with an air of decided fashion. His brother-in-law, Mr Hurst, merely looked the gentleman; but his friend Mr Darcy soon drew the attention of the room by his fine, tall person, handsome features, noble mien, and the report which was in general circulation within five minutes after his entrance, of his having ten thou sand a-year. The gentlemen pronounced him to be a fine figure of a man, the ladies declared he was much handsomer than Mr Bingley, and he was looked at with great admiration for about half the evening, till his manners gave a disgust which turned the tide of his popularity; for he was discovered to be proud; to be above his company, and above being pleased; and not all his large estate in Derbyshire could then save him from having a most forbidding, disagreeable countenance, and being unworthy to be compared with his friend. Mr Bingley had soon made himself acquainted with all the principal people in the room; he was lively and unreserved, danced every dance, was angry that the ball closed so early, and talked of giving one himself at Netherfield. Such amiable qualities must speak for them selves. What a contrast between him and his friend! Mr Darcy danced only once with Mrs Hurst and once with Miss Bingley, declined being introduced to any other lady, and spent the rest of the evening in walking about the room, speaking occasionally to one of his own party. His char acter was decided. He was the proudest, most disagreeable man in the world, and everybody hoped that he would never come there again. Amongst the most violent against him was Mrs Bennet, whose dislike of his general behaviour was sharpened into particular resentment by his having slighted one of her daughters. Elizabeth Bennet had been obliged, by the scarcity of gentlemen, to sit down for two dances; and during part of that time, Mr Darcy had been standing near enough for her to over hear a conversation between him and Mr Bingley, who came from the dance for a few minutes, to press his friend to join it.
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Come, Darcy, said he, I must have you dance. I hate to see you standing about by yourself in this stupid manner. You had much better dance. I certainly shall not. You know how I detest it, unless I am particularly acquainted with my partner. At such an assembly as this, it would be insupportable. Your sisters are en gaged, and there is not another woman in the room whom it would not be a punishment to me to stand up with. I would not be so fastidious as you are, cried Mr Bingley, for a kingdom! Upon my honour, I never met with so many pleasant girls in my life as I have this evening; and there are several of them you see uncommonly pretty. You are dancing with the only handsome girl in the room,said Mr Darcy, looking at the eldest Miss Bennet. Oh! She is the most beautiful creature I ever beheld! But there is one of her sisters sitting down behind you, who is very pretty, and I dare say very agreeable. Do let me ask my partner to introduce you. Which do you mean? and turning round he looked for a moment at Elizabeth, till cartching her eye, he withdrew his own and coldly said, She is tolerable, but not handsome enough to tempt me; and I am in no humour at present to give consequence to young ladies who are slighted by other men. You had better return to your partner and enjoy her smiles, for you are wasting your time with me. Mr Bingley followed his advice. Mr Darcy walked off; and Elizabeth remained with no very cordial feelings toward him. She told the story, however, with great spirit among her friends; for she had a lively, playful disposition, which delighted in anything ridiculous. The research of Jane Austens writing in terms of linguostylistics has shown that her books have so far proved to be readily adaptable for the screen since her style, being lucid and elaborate, is nevertheless not overloaded with powerful verbal imagery (, 2000). This leads to the conclusion that the elements of her narrative are more or less easily transfer able to the screen. Results As the nature of the film fabric presupposes very strict order of events, the filmmakers had to restructure the events described in the passage to their chronological order: 1) the guests enter the ballroom, 2) ladies discuss the guests, 3) get introduced to each other, 4) Mr Bingley invites Jane, 5) Darcy replies to Mrs Bennet that he doesnt dance, 6) ladies discuss Mr Darcy, 7) Mr Bingley and Jane Bennet dance, 8) ladies among them Mrs Bennet discuss Mr Darcy, 9) Mr Bingley and Mr Darcy talk, 10) Lizzy goes to Charlotte Lucas, they laugh. Much of the authors text of the beginning of the passage was transformed into dialogues of the ladies discussing the guests, especially those bits where the voices of the characters are heard (for example, he was discovered to be proud; to be above his company, and above being pleased; and not all his large estate in Derbyshire could then save him from having a most forbidding, disagreeable countenance, and being unworthy to be compared with his friend). It follows, then, that the attitude to Mr Darcy formulated at the beginning of the passage and the explana tion of common dislike of Darcy which comes at the end of it, had to be interwoven into the fabric of the film narrative so as to follow the causal carcass of the scene. However, there were quite a few other characteristics of the text which, subjected to the linguostylistic analysis, prove to be less transferable and which the filmmakers had to adapt for the screen creatively. Of these the authors attitude and Elizabeths point of view are the most important. The semiotic analysis of the film has shown that the latter is realized through
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point-of-view camera, an alternation of Lizzys close-ups with long and medium shots of the ballroom, and Lizzy overhearing Darcys talking to Bingley. It was evidently quite challenging for the filmmakers to recreate in the film the mild humour of Jane Austen which permeates the whole book, traditionally viewed as a comedy of manners. However, the filmmakers managed to approach this task creatively by encouraging the cast to perform in a comic way (Mrs Bennet, Mr Bingley, Miss Bingley, etc), by bringing out the comedy of the situation with the help of the alternating close-ups and medium shots of the characters and by introducing the final episode to the scene dogs howling outside the ballroom in tune with a singer. Conclusions The different semiotic nature of the two signifying systems literature and cinema leaves much space for the filmmaker to realize his/her creative vision of the literary source. In adapting both the transferable and adaptable elements of the book the filmmaker cannot only demonstrate his/her understanding, the modern view on the book sometimes much distanced from the adaptation in time, but also creatively transforms it according to modern requirements and his/her own aesthetic-artistic conception.
References 1. Birtwistle, S., Conklin, S. (1995). The Making of Pride and Prejudice. London: Penguin Books. BBC Books. 2. Bordwell, D. (1986). Narration in the Fictional Film. New York and London: Routledge. 3. Marcus, M. (1993). Filmmaking by the Book: Italian Cinema and Literary Adaptation. Baltimore, John Hop kins University Press. 4. McFarlane, B. (1996). Novel to Film: an Introduction to the Theory of Adaptation. New York and Oxford: Clarendon Press. 5. Metz, C. (1974). Film Language: a Semiotics of the Cinema. New York: Oxford University Press. 6. Wagner, G. (1975). The Novel and the Cinema. Rutherford, NJ: Fairleigh Dickinon University Press. 7. , .. (2002). . // . . . 8. , .. (1986). . : . 9. , .. (1973). . In , -. 10. , .. (2000). . // . . . 11. , .. (1942). , . In . : . 12. , .. (1938). 1938. In . : . Ekaterina Mikhailovskaya Assistant professor PhD Moscow State University; 10,56 B. Dorogomilovskaya, 121059 Moscow, Russia, +7 (916) 677-02-48 E-mail: morleyka@mail.ru

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Marija Aleksandrovska. Dzimusi 1983. gada 6. aprl. Izgltba Mg. philol. Latvijas Universitte (2007). Patreiz LU 3. kursa doktorante, disertcijas temats Mitoloiskais koncepts baltu un slvu folkloras valod. Ptniecisks intereses: kognitv lingvistika, psiholingvisti ka, semantika, dialektoloija, etimoloija, lingvofolkloristika, leksi kogrfija u.c. Vaasprieki dzejoana, ceoana.

marija aleksandrovska Latvijas Universitte Latvija

Mitoloisk koncepta vrdnca: kreatv leksikogrfija

Kopsavilkums Ievads. Konceptu vrdnca ir jauns leksikogrfijas paveids, ts sastdanas darbs ir saistts ar inovatvo metou ievieanu. Darba mris. Izstrdt mitoloisk koncepta vrdncas optimlo irka teksta modeli. Materili un metodes. Vrdncas modelis tiek izstrdts, izmantojot das metodes un pamienus: 1) semantisko analzi, 2) konceptulo analzi, 3) etimoloijas analzi. Rezultti. Analzes rezultt tika konstatts, ka mitoloiskai koncepta vrdncai jatspoguo gan lingvistiskie fakti, gan ekstralingvistisk informcija. Secinjumi. Konceptu vrdncu sastdana ir 21. gs. valodniecbas aktuls uzdevums, jo da tipa leksikogrfiskie avoti atspoguo valodu k kognitvu pardbu. Atslgas vrdi: mitoloiskais koncepts, leksikogrfija, kognitv lingvistika, kreativitte.

The dictionary of Mythological concept: creative lexicography

SUMMARY Introduction. A general analysis of the notions of the study a concept and a mythological concept is given. A concept is an entity of thinking that is both an imagi native notion of things and a phenomenon and a concept as an element of abstract think ing (, 1992). A concept of thinking process updates a variety of features and parts of the content that sometimes is realized in language (, , 2003). A mythological concept is closely related to mythological notions and especially to a group of mythological characters (, 2009). In contemporary linguistics a concept dictionary is a new form of lexicography, the work of its compilation is related to the introduction of innovative methods. The text structure of the entry of a concept dictionary must be distinctive from so far known diction aries, because it needs to add information from different humanities: linguistics, culturol ogy, ethnography, history of folklore, etc. In our paper we have named the direction of the
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study, that is focused on solving theoretical and practical problems when creating a new dictionary, as creative lexicography because lexicographical methods are based on impor tant creativity parameters (according to Cropley, 2001): the novelty that is reflected in the text structure of the entry of the innovative dictionary and the applied efficiency, because the objective of this study is to show the final product that would be sufficiently compre hensive in terms of content and effective in use in different spheres of life: science, culture, education, human communication (including intercultural communication), etc. Aim of the study is to analyze the structure of contemporary lexicographical sources and to develop an optimal text structure of the entry of a mythological concept dictionary. Materials and methods. We offer solving the problem of presenting linguistic and extralinguistic information by developing a special text structure of a dictionary entry which includes the following components: 1) headword and its grammatical characteris tics; 2) explanation of headword; 3) etymology of headword; 4) characteristics of concep tual features of mythological character, including: external characteristics of the character, functions, actions etc.; 5) information about the phenomenon that is represented by the tra ditional folk culture; 6) data on characters with similar functions; 7) variations of dialects; 8) semantics of conceptual entity in the modern literary language discourse. Extralinguistic data (conceptual information) in the entry text are located in a spe cial area which in the dictionary will be graphically marked with signs (1):, (2): (3): etc. Graphic symbol will help the user to determine the border of linguistic and extralin guistic information. Any fact of conceptual information will be illustrated with examples from folklore texts. We will briefly describe the offered structure of the entry text. The lexical material of the dictionary are nominations of mythological characters, for example, burvis, dens meita, pis, mjas gars, etc., that are also headwords in the entry texts. The headword is specified in singular nominative case (if the principal form of the word is not plural), followed by grammatical information: singular genitive case, gen der, plural forms in nominative and genitive case. For example, burvis, -vja, v., dsk. nom. vji, dsk. en. vju. Etymological information is marked with the symbol *. Explanation consists of information from several dictionaries, as well as from ref erence literature, for example: Latvian Literary Language Dictionary (8 volumes) (19721996), Dictionary of Latvian Language (2006), Latvian Folk Beliefs (4 volumes) (19911993), etc. Only the information that is common in all the examined sources appears in the entry text. The illustrative material is taken from folklore texts (for example, Latvian folk legends and fairy tales arranged by P. mits (14 volumes) (1927-1936), Latvian folk leg ends and fairy tales arranged by A. Lerhs-Putis (2001), etc.). The variations of dialects are marked with a symbol #Izl., but the semantics of a conceptual entity in the modern literary language discourse by #MLVS Results. Analyzing contemporary lexicographical sources we established that a mythological concept dictionary must reflect both linguistic facts and extralinguistic infor mation, namely, concept content elements that form the idea of mythological realities in peoples minds. The peculiarity of the concept is the bipartite structure of the content: one side of the concept is non-verbal, the other is expressed in language, but concept dictionary must describe both the parts. The novelty of the dictionary is related to the dealing of this issue. The study resulted in creating a new model of an entry text that significantly differs
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from those offered previously. This model is an open structure that may be developed by entering any kind of relative information. This type of development possibility indicates a creative potential of the dictionary. At the very nature of our vocabulary there is an idea that a researcher without any limitation can realize his/her creative possibilities. We believe that the flexibility of the entry text model is the main peculiarity of creative lexicography. Conclusions. Compilation of concept dictionaries is a topical task of linguistics because the science of the 21st century is focused on interdisciplinary studies; therefore modern reference sources must disclose the utmost of all complex relationships between elements of reality. It applies also to language. In our opinion, this type of a dictionary does not exist yet, but it would be useful to a broad group of readers, and, most importantly, it would reflect more recent trends in linguistics: it would describe the language as a cognitive phenomenon, based on the structure of thinking, not on the verbal matter of language. Key words: mythological concept, dictionaries of concepts, cognitive linguistics, lexicography, creativity. IEVADS Pirms ms skam domt par mitoloisk koncepta vrdncu un par to, kda loma ts sastdan ir kreatvajai leksikogrfijai, noskaidrosim ptjuma pamatjdzienus: kon cepts un mitoloiskais koncepts. K zinms, koncepts ir domanas vienba, kas vien laikus ir gan tlains priekstats par lietm un pardbm, gan ar jdziens k abstrakts domanas elements (, 1992). Domanas proces koncepts aktualiz dadas patnbas un satura daas, kuras dareiz realizjas ar valod (, , 2003). Savukrt, mitoloiskais koncepts ir ciei saistts ar mitoloiskiem priekstatiem un pai ar mitoloisko personu kopu. Mitoloisko priekstatu fiksciju atrodam, galvenokrt, folkloras tekstos (, 2009). Sakar ar to, ka konceptam ir ciea saistba ar jdzienu, dadu konceptu saturus var prezentt vrdncas form. Vrdnca ir rtkais zinanu fikscijas veids (turpat, 2009), kas auj ptniekam sistematizt dada rakstura konceptulo informciju, bet lietotjam izmantot to ikdienas dzv. Msdienu valodniecb konceptu vrdnca ir jauns leksikogrfijas paveids, ts sastdanas darbs ir saistts ar inovatvo metou ievieanu. Konceptu vrdncas irka teksta struktrai jbt atirgai no vism ldz im zinmm vrdncm, jo ir japvieno informcija no dadm humanitrm zintnm: valodniecbas, kulturoloijas, etnogrfijas, folkloras vstures u.c. Ptjuma virzienu, kur orientts uz jaunas vrdncas izveides teortisko un praktisko problmu risinanu, msu darb saucam par kreatvo leksikogrfiju, jo leksikogrfisko metou pamat ir svargkie kreativittes radtji (kreativittes radtji pc Cropley, 2001): novitte, kas atspoguojas inovatv vrdncas irka tekstu struktr un lieti efektivitte, jo ptjuma uzdevums ir rdt tdu galaproduktu, kas btu pietiekami izsmeos satura zi un efektvi lietojams dads dzves sfrs: zintn, kultr, izgltb, cilvku komunikcij (tai skait starpkultras komunikcij) u.c. DARBA MRIS Analizt msdienu leksikogrfisko avotu uzbvi un izstrdt mitoloisk koncepta vrdncas optimlo irka teksta struktru.

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MATERILI UN METODES Gadsimtu mija ir raksturga ar intensvo leksikogrfijas attstbu (, , 2000). Viens no populrkiem perioda vrdncas veidiem ir vrdnca-tezaurs (, 1995). To aprakstanas principi ir ldzgi konceptu vrdncm, jatzm, ka dai no tiem ir ar msu vrdncas pamat: irka vrda semantiku prezent atsauce uz s paas valodas vrdiem, kuri izveido ar irka vrdu kopgu semantisko lauku. Tezaurs 20. gs. otraj pus kuva par populru vrdncas formu daudzs zinanas joms, pateicoties tezaura bumam informtik un lietiaj lingvistik. Tiei aj laik rads ar folkloras valodas tezaura aprakstanas ideja, kuras autore bija Maskavas Universittes ptniece S. Nikitina. (, 1999). Tezaura metode ir pai produktva folkloras valodas konceptul ptan tpc, ka folkloras pasaule ir noslgta, stabila, situcijas ir aprinmas un atkrtojamas, aprak sti ir tipiski, un tie var bt uzdoti vrdncas form, kur regulras attiecbas, kas apvieno pasaules valodas folkloras modea elementus, izveido labi prskatmu kopu, kuru var iz mantot vrdncas rakst k tezaura funkcijas sarakstu (raksta autores tulkojum M.A.) (, , 2000). Visas semantisks funkcijas S. Nikitina dala divs grups: statisks un dinamisks (notikumiem bagts). Funkcijas ar statisku nozmi dals, savukrt, viennozmgs un hierarhisks. Viennozmgas funkcijas attlotas, no vienas puses, ar ekvivalences attiecbm (sinonmi, kvazisinonmi un izofunkcionlie vrdi), no citas puses ar pretstatu attiecbm (antonmi, opozti / korelti). Dinamiskas attiecbas ir saisttas ar tipisku darbbu apzmjumu, ar subjektu, ob jektu, adrestu un instrumentu apzmanu. Semantiskas attiecbas tiek apraksttas vrdnc divvietgu prediktu form (subjekts darbba, darbbas objekts darbba, darbba adrests, darbba instruments utt.) Bez regulrm, tipiskm funkcijm folkloras vrdam var realizties ar individulas funkcijas, kuras parasti, materila uzkrjuma gait, tiek iekautas kopg tezaura shm. Tezaura aprakstana darba proces transformjas: pievienojas jaunas funkcijas, bet daas vecs dals vairkos variantos. Ttad, S. Nikitinas piedvtais tezaura aprakstanas pamats ir, vispirms, folklo ras leksmu sintaksisks attiecbas, tomr, ... t k vrda semantisk sfra ir aurka nek sintaksisk, par funkciju nozmm var kst leksisks vienbas, sintaksiski nesaisttas ar atslgas vrdu un kas atrodas tekst diezgan liel attlum (, , 2000). Tezaura aprakstanas metode, neapaubmi, ir oti efektva, jo tezaurs spj pardt vairkas koncepta patnbas. Pc krievu ptnieku viedoka Maskavas Universitt veidotai folkloras valodas vrdncai ir jatiras ar pau irka teksta uzbvi. Vrdncas irka tekstam ir etras daas. Pirmaj da ir prezentti visprgi dati par v rdu (statisk un gramatisk informcija, skaidrojums un cits). Otr irka teksta daa ir informatvka. T sastv no 28 punktiem un atspoguo du informciju: vrda leksisks attiecbas (sinonmi, antonmi / opozti / korelti, hiponmi, hiperonmi) un vrda kontekstuls attiecbas (persona / priekmets, personas lokuss, subjekts, subjekta darbba, garastvoklis, emocijas, adrests, adresta darbba, objekts, darbba ar objektu utt.) Acmredzami, ka da tipa vrdncas veidoana ir oti darbietilpgs process. Tomr ir jatzm, ka leksisk materila sistematizana pc vrdncas principa ir viena no produktvkajm metodm leksikas ptan. Ir tikai viens mnuss: ptnieks reti spj paveikt o darbu patstvgi.
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aj gadjum ir jpievr uzmanba tam, ka ne vienmr ir nepiecieama leksmas aprakstana pc visiem parametriem. Pieaujama ir ar kdas vrdncas anketas daas izvle. Piemram, ms savam ptjumam izvljmies semantiski konceptulo bloku, jo msu vrdncas mris ir mitoloisk koncepta apraksts. K bija mints augstk, koncepts ir domanas, nevis valodas vienba, tomr daas koncepta daas ir prezenttas ar valod (, , 2003). Respektvi, kon cepta vrdncai ir jatspoguo ne tikai lingvistisk, bet ar ekstralingvistisk informcija, kas ar sagd grtbas irka teksta izstrd. Parasti vrdncas dala lingvistisks un enciklopdisks, msu gadjum ir japvieno abi principi. Lingvistisks un ekstralingvistisks informcijas prezentcijas problmu ms piedvjam risint, izstrdjot pau vrdncas irka teksta struktru, kura ietver sev das daas: 1) pamatvrds un to gramatiskais raksturojums; 2) pamatvrda skaidrojums; 3) pamatvrda etimoloija; 4) mitoloisk persona konceptulo patnbu raksturojums, tai skait: persona rjais raksturojums, funkcijas, individulas patnbas (raksturs), darbbas; 5) informcija par fenomenu, kas atspoguota tradicionlaj tautas kultr (piemram, ar personu saisttie rituli); 6) dati par personu ar ldzgm funkcijm; 7) izloku varianti; 8) konceptuls vienbas semantika msdienu literrs valodas diskurs. K ms redzam, irka tekst ekstralingvistiskie dati (konceptul informcija) atrodas pa zon (sk. 4. 6. dau), kura vrdnc tiks apzmta grafiski ar zmm (1), (2), (3) utt. Grafiskais apzmjums paldzs lietotjam noteikt lingvistisks un ekstralingvistisks informcijas robeu. Svargi piemint, ka vrdncas konceptulo informciju atlasa pc bieuma principa, analizjot folkloras tekstus un citus materilus. Jatzm, ka jebkuri konceptulas informcijas fakti ir jpierda, ilustrjot tos ar piemriem no folkloras tekstiem. Skk aprakstsim piedvto irka teksta struktru. Vrdncas leksiskais materils ir mitoloisko personu nomincijas, piem., burvis, dens meita, pis, mjas gars u.c., kuras ir ar pamatvrdi irka tekstos. Pamatvrdu norda vienskaita nominatv (ja vrda pamatforma nav daudzskaitlis), tlk seko gramatisk informcija: vienskaita enitva forma, dzimte, daudzskaita formas nominatv un enitv. Piemram: burvis, -vja, v., dsk. nom. vji, dsk. en. vju. Etimoloisko informciju apzm ar zmi *. Skaidrojumu veido informcija no vairkm vrdncm, k ar no izzias literatras, piemram: Latvieu literras valodas vrdnca (8 sjumos) (1972 1996), Latvieu valodas vrdnca (2006), Latvieu tautas ticjumi (4 sjumos) (1991 1993) u.c. irka tekst pards tikai t informcija, kura ir kopga visos izskattajos avotos. Ilustratvais materils ir emts no folkloras tekstiem (piemram, Latvieu tautas teikas un pasakas P. mita sakrtojum (14 sjumos) (1927 1936), Latvieu tautas teikas un pasakas A. Lerha-Pukaia sakrtojum (2001) u.c.) Izloku varianti ir apzmti ar zmi #Izl., savukrt, konceptuls vienbas seman tika msdienu literras valodas diskurs ar zmi #MLVS. Ttad, msu piedvtais vrdncas irka teksts izskats di: mjekatas, -u, dsk., s.; mjas gari, kas dzvo rijs, bnios, pirts, os un cits tums viets (mits, 1992), (mits, 1937). * mjekatas: saliktenis - mja + ekatas; ekatas: no ide. celma *kek- lks, griezts (Karulis, 1992).
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(1): mjoanas vieta rija, bnii, pirts, nis, tumas vietas. Mjekatas ir mju gari, kas dzvo rijs, bnios, pirts, os un cits tums viets (mits, 1992). (2): rjais raksturojums mazi, pelki, pliki. Vii (mjekatas M.A.) izskats ldzgi bubuiem, mazi, pelki un pliki (turpat, 1992). (3): funkcijas mjas saimnieki. Mjekatas ir mju saimnieki, agrk vius oti cienja (mits, 1937). (4): individulas patnbas (raksturs) kaitgi, ja vius trauc. Vius (mjekatas M.A.) nevajag kaitint un trauct, citdi tie atriebjas (mits, 1992). (5): darbbas baida, troko. Vienam saimniekam bija mjekatas, cauru nakti bnios trokoja (mits, 1937). (6): informcija tradicionlaj tautas kultr senos laikos mjekatas cienja ar dienu Labi sen atpaka tie (mjekatas M.A.) esot dinti cauru gadu (mits, 1992). (7): dati par personu ar ldzgm funkcijm zemes dievii mjas gari. Zemes dievii piemita als, zem lieliem akmeiem, kokos, kalnos un piema labprt upurus, ko cilvku brni tiem atnesa (mits, 1937). #Izl. --#MLVS --REZULTTI Analizjot msdienu leksikogrfiskus avotus, noskaidrojam, ka mitoloiskai kon cepta vrdncai jatspoguo gan lingvistiskie fakti, gan ekstralingvistisk informcija, proti, tdi koncepta satura elementi, kuri veido priekstatu par mitoloiskm realittm tautas apzi. Koncepta patnba ir ts divdaga saturisk struktra: viena koncepta puse ir neverbla, cita ir izteikta valod, tomr koncepta vrdnc japraksta abas puses. Vrdncas novitte ir saistta ar jautjuma risinanu. Ptjuma rezultt tika radts jauns irka teksta modelis, kur btiski atiras no iepriek piedvtiem. Gribtos atzmt, ka is mod elis ir atvrt struktra, kuru var attstt, ievadot jebkura veida relatvo informciju. da attstbas iespja norda uz vrdncas kreatvo potencilu. Pc btbas msu vrdnca ir ideja, kur ptnieks var neaprobeoti realizt savas radoas spjas. irka teksta modea elastgums, msuprt, ir galven kreatvs leksikogrfijas patnba. SECINJUMI Konceptu vrdncu izveidoana ir valodniecbas aktuls uzdevums, jo 21. gadsimta zintne ir virzta uz starpnozaru ptjumiem, tpc msdienu izzias avotiem jatspoguo, pc iespjas, visas sarets attiecbas starp realittes elementiem. Tas attiecas ar uz valodu. Msuprt, da tipa vrdnca pagaidm neeksist, tomr t btu lietderga plaai lastju grupai, un, galvenais, t atspoguotu jaunks valodniecbas tendences: raksturotu valodu k kognitvu pardbu, kuras pamat ir ne tikai valodas verbl matrija, bet ar domanas struktras.

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LITERATRAS SARAKSTS 1. Cropley, A. (2001). Creativity in Education and Learning. London: Kogan Page, p. 5-6. 2. Karulis K. (1992). Latvieu etimoloijas vrdnca (1. sjums). Rga: Avots, 78. lpp. 3. mits P. (1992). Latvieu tautas ticjumi (3. sjums). Rga: Neatkarga tetra Kabata grm. apg., 1156. lpp. 4. mits P. (1937). Latvieu tautas teikas un pasakas (3. sjums).Rga: Waverly, Iowa, 51. lpp. 5. . (2009). : . 20. : Tartu likooli Kirjastus, . 155-157. 6. . (1995). . -: , . 61. 7. ., . (2000). : . -: , . 38. 8. . (1999). - . : , . 25. 9. ., . (2000). ( ). : , . 11-12. 10. ., . (2003). . : , . 38-39. 11. . (1992). . : , . 86. Marija Aleksandrovska Mg. philol., LU doktorante Latvijas Universitte Visvala 4a, Rga, LV-1050, Latvija tel. +371 67034850 e-pasts: marija710@inbox.lv

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Referti Reports

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Istvan MagyariBeck. I was born in Budapest, Hungary on 1st Oc tober 1941. My university career started in 1975. From 1991, I am a full professor at the Corvinus University of Budapest and also Alex Osborn Professor at the New York State University College at Buf falo Center for Studies in Creativity. Creatology was launched by me officially in 1977. However, its idea came to me during my presenta tions in the early seventies. My hobby is both physical and intellectual work. Up till now I have published 230 works, 61 among them are English and also 19 books. Istvan MagyariBeck Corvinus University of Budapest Hungary

A Mathematical Metaphor of the Relationship between Learning and Creativity

Abstract The paper introduces the graph theory and some of its functions so as to predict the optimal way or speed of learning from the point of view of creativity. The concept of cognitive structure is defined and the mature and immature cognitive structures are distinguished on different levels of knowledge. Although the author uses mathematical tools, he is aware of their shortcomings. Two kinds of applied mathematics are distinguished by the presenter: mathematics as a sort of metaphor still used e.g. by micro-economics as well, and organic application of mathematics. Key words: culture, consumption, input, output, creativity, creatology, graph theory, functions, mathematical metaphor versus organic mathematics. On Creatology in general sense Creatology is a more than thirty years old science of creativity. It was born in Hun gary, Budapest at the International Sociology of Science Conference in September 1977 (Magyari Beck, 1979). However, we raised this question in Hungary well before 1977 (Magyari Beck, 1973, 1976) or even much earlier (e.g. at semi-international university conferences). But as the Hungarian language is not a so called world language, it is more convenient to accept the date of an international English speaking conference in Budapest in 1977 as Creatology birth year. Why was it possible and necessary to start this kind of enterprise? As far as the question of possibility is concerned, creativity can be and is in fact studied in a great number of sciences. As for the necessity of a new and synthesizing meta-discipline on creativity, we shall never be able to gather even a medium-size part of the knowledge about creativity widespread in different sciences like, for example, history, science of science, natural and social sciences, philosophy, technical sciences, medical sciences, psychology, sociology, theory of organizations, mathematics, arts and so on and the practices generated on the basis of the knowledge these disciplines produce permanently without it. However, a simple multidisciplinary approach no matter how high its quality is not enough as the lack of a common meta-framework for studies prevents the necessary mutual corrections of millions of one-sided approaches in any field in general and in the field of creativity in particular. We already have a huge amount of pieces of knowledge built even interdisciplinary in our domain, but, nevertheless, they are still separated from each other even today.
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I emphasized above the especial importance of a common framework. To speak of a common theory of creativity would be premature in todays circumstances. It is exactly an ap propriate framework which can give the basis for gathering results of investigations and prac tice in order to elaborate the actually general theory of creativity. Unfortunately, many scholars in the field do not understand the danger of a limitless intellectual anarchy in sciences, no matter to what extent it stimulates the research in different frequently opposite ways. For example, it is possible to observe lots of efforts which try to again reduce Creatology neglecting the wellvisible complexity of its domain. Some writers remain within or go back to the old-fashioned psychology; others came up with the identification of Creatology with the brain science. There are researchers who searching for a compromise regard Creatology as a common name for all the chapters of psychology interested in creativity. As if the problem would be that of the name only. I also found positions which prefer to speak of only the system thinking in this area without even mentioning the name of Creatology in their most important in this respect works (Cskszentmihlyi, 1998). None of these standpoints is enough, as far as the problem of creativity and its tentative solution is concerned. The first standpoint suffers from an intel lectual agoraphobia and remains within the narrow almost already exhausted for the studies in creativity limits of psychology or psycho-physiology, whereas the second one refuses all kinds of well-definable, hypothetically all-embracing version of system thinking in the name of limitless studying: that is denies all sorts of limitations as if the illness in this case would be a kind of intellectual claustrophobia. These are two contradictory sides because they represent the extremes of the same mistake. We have a lot of evidence in working on and reworking of the classifications of and in sciences in the process of their becoming more and more mature and this is a never ending progress till mankind exists. One of the most important researchers and practitioners in the US who is open towards Creatology is Scott G. Isaksen (2009). The main problem of this paper I do not think we should speak more about the importance of our new discipline in one of the strongest citadels of Creatology in the world here in Riga. Our task is rather the elaboration on the particular and important problems which appear in different disciplines by making use of complex many times even intricate scientific methods unavoidable in Creatology. Later in this paper we shall define the term of culture applicable in the model of this author. Unfortunately, no science can follow precisely that rigid Aristotelian canon according to which thinkers have to use any terms in a discussion excluding all ambiguities in their meanings. We have to admit that lan guage is much poorer than reality. One single word has many meanings in every language. Thus any single scientific concept has at least more than one scientific meaning. Returning to Creatol ogy as the background of our train of thought, it should be clear that we selected the problem framed in economics of culture, however solvable by psychological and pedagogical methods using mathematical tools of model building as well. Lets put this problem into the Creatology Matrix. You are supposedly all familiar with this also more than thirty years old framework. Nevertheless, I will present its abbreviated form below in Table 1. Table 1 Abbreviated Form of the Creatology Matrix
Culture Organization Group Person Ability Process Product

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The twelve squares of the matrix give us twelve remarkable crossings of seven al ready interdisciplinary subtopics of Creatology which are either the main topics of or also subtopics in other sciences. Creatology studies them strictly from the point of view of their roles in creativity. But these squares are large to such an extent that almost all of the tiny prob lems of Creatology fall in most of them. If a more elaborated matrix were taken paradoxically, the targets could be hit much better (Table 2). Table 2 An Option of Subdivision of Any Squares of the Creatology Matrix
Qualitative Quantitative Factual Normative

All the squares of the abbreviated Creatology Matrix can be subdivided in the above manner. The four squares of our mini-matrix in Table 2 are the crossings of 2 x 2 = 4 main methodological categories which are horizontally and vertically mutually excluding each other pair wise and present to us new possibilities for finding more exact places where we can put both the problems and solutions discovered and resolved as results of the work in this area. Provided the subdivisions in Table 2 are introduced into all squares of the abbrevi ated matrix, the total number of sub-sub-squares will be 48. On the level of the abbreviated Creatology Matrix, it would be difficult to show exactly which squares of this matrix must be involved in the case of our study. Economy covers the whole matrix. Culture covers mainly its first level from above. However, as culture is a general term, organizations, groups and people are deeply influenced by the forces of culture as well. As for psychology, its place is first of all in the line at the bottom of the matrix. Education occupies it mostly below from the level of organization. That is, the topic is very large, but it is true that the problem in ques tion leaves much room for other problem statements, too. Thus, as we said, more elaborated versions of this matrix can point at more exact positions for our problem on them. As we use mathematics in a certain way, this study intends to load the squares of quantitative studies at least in the future. Terminology and a theoretical method of the study It is inevitable to define the terms we shall use in our model. Consumption of cul tural goods and also bads are defined here through the concept of learning as consumption is appropriation of values, theoretical knowledge, prescriptions for practical steps and practi cal steps themselves be the latter physical or symbolical. Appropriation must meet peoples needs or demands in the psycho-physiological and economic sense. Learning is a special case of appropriation. Culture in the framework of this model is reduced to the understand ing, using and creating symbols (This is, of course, a very narrow conception of culture as physical activities of people can also be parts of culture. Otherwise, we share the largest pos sible notion of culture: that is, everything belongs to culture which is artificial and not natural as regards its origin.) As these kinds of weaknesses will be repeated a few times in this paper, further improvement of the model seems necessary. Here, let me mention that I do not accept Scitovskys theory of culture and the term of consumption of culture as he used it. It is all the more important to point at this because Scitovskys work where he developed his theory was for a long time among the first 100 books most famous in the circles of those who were interested in economics of culture and economic psychology (Scitovsky, 1976). Well, Sci tovsky identified culture with innovation. For him the quality of an innovation can and has
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to be measured via the measuring of the number of novelties it contains. Consequently, the consumption of culture is the process of being accustomed to these novelties. After we have become familiar with all the novelties, an innovation originally had at its first appearance the cultural product that is the innovation in question loses its being a cultural product. We analyzed these and other types of weaknesses Scitovskys theory has in some chapters of two books (Magyari-Beck, 1993, 1994). So as to understand better the identity of consumption and proliferation that is production of culture, we shall start with the relationship between learning (consumption) and creation (proliferation) of the goods or bads of culture. Learning and creativity are mixed frequently in the literature. Many times they are used as synonymous. However, these terms are not interchangeable for us. It is possible to find both differences and commonalties between and beyond them. Learning should be regarded as acquiring new for the individual knowledge, which is already given and embodied either in symbols or in reality (of course, symbols are also parts of reality, however as we mentioned above language is poorer than the universe we study). As far as the knowledge is concerned, we define it as verified messages having certain, already measured statistical significance and validity. Truth is not any more a yes or no characterization of an assertion. It has its degrees to be measured. Creativity is the problem solving itself. As regards to the commonalties between learning and creativity, learning is also a kind of problem solving for it occurs in problem solving contexts, thus can be subsumed under the concept of creativity. From this point of view, the problem of this paper can be reframed as the searching for the relationships within creativity or between two types of creativity. But we will preserve the first version of our problem-statement. Why? Because learning is a deeply special problem solving. It always is the starting point of the whole process of thinking about and within the chains or nets of more difficult problems. That is creativity is, in a sense, a function of learning. Before investigating into the likely nature of this function, the notion of bads has to be illuminated. While the concept of goods outlines theoretically the beneficial for the culture and people products, the concept of bads notifies the harmful products for the culture and society. Let us see a couple of examples of goods: meal, health, friendship, constructive values, love, being educated, peacefulness, beauty, humanism, good quality, and so on; examples of bads: all kinds of war, harmful drugs, destructive values, hate, ignorance, ugliness, bad quality of food, housing, transporta tion, and so on. All these mentioned can be intentionally created by elite products in a society working according to the principle of industrialism. Unfortunately, economy espe cially in this monetarist era stimulates the fabrication of the instances of both categories of products. Technical method of the study and its first results The goal of this study is outlining a hypothesis concerning the inner relationships be tween learning and other parts of creativity. Our my and my colleagues observation is that learning (consumption of culture) leads to growing creativity (growing set and system of cultural products instead of their destruction). Or expressing ourselves differently consump tion and production of culture is essentially but only essentially the same process. Moreover, as we shall see later, the whole process is very much economical. To make this statement more precise we are using a mathematical model of graph theory and one of its functions. As I am not a mathematician, this study will reflect George Plyas empirical way of thinking in the science of mathematics (Plya, 1948, 1962, 1965), on which he based his general theory of heuristics. In Table 3 the reader will find a short list of characteristics of simple total graphs: the number of their vertices and corresponding edges.
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Table 3 Two Rows of Simple Total Graph Characteristics: the Numbers of Vertices and Corresponding Edges (the First Fifteen Graphs)
Vertices of graphs 2 3 4 5 6 7 8 9 10 11 12 13 14 15 Edges of graphs 1 3 6 10 15 21 28 36 45 55 66 78 91 105

It is easy to notice that the number of vertices grows much slower than the number of edges, while the number of edges is the function of the number of vertices. Lets try to make use of this difference in paces! By doing this, we find the concrete function which expresses the relationship between the two velocities. The general formula is: E = n x (n-1) /2 Figure 1 The general abstract tentative graphic picture of the function

Interpretation In order to express our hypothesis verbally, it would be instructive to identify the vertices of the graphs with the portions of knowledge to be learned, whereas the edges with the results of inner maturing of the knowledge via finding new and new relationships among the appropriated pieces of what we have learned. This maturation is itself the creativity in our model. If we take this as a process then learning (vertices) will be the input side of this process, the maturing set and the system of edges that is creativity the output side. Normally we start with learning and continue by creating. Our model suggests that permanent learning where
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we appropriate equal portion(s) of knowledge every day generates an accelerating creativity. One of the main suggestions of this model is that two extremes have to be avoided. Neither lack of learning nor over-learning that is too much learning is beneficial in respect of creativity. The graphs presented above can also be called cognitive structures in the framework of this article. Up till this section we have dealt mainly with total graphs which represent the mature knowledge, because all the pieces of the latter are interconnected with each other. It is also observ able in our model that every level of knowledge defined by the growing number of vertices learned in the past has its maturity that is its total graph. But we spoke of the creativity itself as well. Thus, in terms of cognitive structure, creativity is the process via which the cognitive structures developing from the simple sets of knowledge to its structure(s) arrive at their maturity. It can also be supposed that the higher the level of a cognitive structure, the more difficult the further process of its maturation. In terms of graph theory, every new vertex added to a simple graph poses the problem of establishing disproportionately larger number of new edges. In terms of Creatology: every new piece of knowledge added to a cognitive structure poses the problem of establishing disproportionately larger number of new relationships (which also means that although any additional vertex raises the level of cognitive structure, this, nevertheless, throws it back as regards to its maturity: the higher a cognitive structure the greater this effect). The slowing down of maturation is also very likely if we take the process aspect of the matter. Time and again one should decide whether to enlarge or to elaborate his or her cognitive structures, especially if the person is very knowledgeable or simply old and it is too late for him or her to work against time. People who are weak as for their ability reach these limitations of velocity earlier than those who are bright. Every new piece of knowledge raises the inner coherence of cognitive structure at least potentially by making possible newer and newer edges among the statements of the structure in question. Strengths and weaknesses of this model The main strength of this model is its ability both to connect a number of well-known statements in the domain of learning and creativity (creativity in its large sense swallows learn ing) and to produce new hypotheses. This small piece of formal system of thought can be generalized and this possibility has the first class importance for Creatology. Mutatis mutandis the same rules can be found on higher than personality levels (see the Creatology Matrix). Let us look at them from a negative angle. No culture, organization, group and person can be cre ative that is able to solve their problem without learning. Learning is a basis of creativity on any of its levels. Both too much and too little learning is dangerous for creative functioning. Incidentally the process is very much economical as its comparatively modest input size creates a permanently enlarging output. Thus, although creativity can neither practice economys dream of utility maximization, it can at the least approach this dream a bit closer than the mate rial production is able to. No entity connected with humanity like person, group, organization and culture can be comprehended and treated without a more exact notion of cognitive sys tems. If we deny the possibility of mature cognitive systems on any level of their enlightenment via knowledge, the understanding of human phenomena is simply impossible. Although we found some strength in our mode, the number of its weaknesses is much greater and the gaps within are much wider. Hence, we have more work in front of us than argu ment in excuse of relaxing. Firstly, neither the units of learning nor those of creativity can be established on the level of todays knowledge. Thus, this hypothesis in its present form can not be either proved or falsified, so it is not an exact scientific supposition in the understanding of Carl Popper (or general scientific traditions, which are put down in a large number of works written by philosophers of science). If I liked to express my view concerning this model, I would say that mathematics here is only a metaphor. It is true that postmodern way of thinking accepts
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metaphors as scientific tools, science in its golden age mainly in the end of the 19th and the beginning of the 20th century excluded metaphors from scientific methods. But, secondly, as a matter of fact, mathematics started its wonderful career by serving as a system of metaphors. The whole so called numerology, where every integer at least from 1 to 9 had its special mean ing, was a kind of a metaphor. Of course, in numerology, it was possible to treat numbers above 9 however the operation of mathematical addition could in principle reduce even the largest possible number to one of the figures from 1 to 9. Today, mathematics on the contrary is an organic part of scientific thinking applicable in large domains. However, in some instances, the formalized models are situated in such a great distance from reality that no one can distinguish their organic and metaphorical function. For example, most of the curves in microeconomics are based on such simple and artificial facts taken actually from a never existed quasi-life that we have all the right to think of them as at the least marginal constructions which have both metaphorical and organic functions if not only the metaphorical ones in most of the cases. This gave us a certain right for preliminary introduction of mathematics as a metaphor, where its organic version would be premature in these days. Hopefully, further research will develop this path of reasoning and result in organic participation of mathematics in this field. References
1. Cskszentmihlyi, M. (1998) Creativity, Flow and the Psychology of Discovery and Invention. Oxford: Ox ford University Press. 2. Isaksen, S.G. (2009) The Emerging Paradigm of Creativity: A Preface. In: Magyari-Beck, I. Economic Psyc hology. An Introduction to Economic Psychology Based on the Creative Paradigm. Budapest, Hungary. http:// www.freeweb.hu/creatology/Economic_Psychology.pdf. 3. Magyari-Beck, I. (1973) A tudomnyos alkots produktumainak fogalma [The Notion of the Products of Scien tific Creation]. In: Rendszerelmleti Konferencia. Sopron, jnius 13, p.4653. 4. Magyari-Beck, I. (1976) A komplex alkotstan (kreatolgia) szksgessgrl. [About the Necessity of a Complex Discipline on Creativity /Creatology/]. In: Rendszerelmleti Konferencia. Sopron, szeptember 6-10, p.4749. 5. Magyari-Beck, I. (1977) About the Necessity of Complex Creatology. In: Farkas, J. (ed.) Sociology of Scie n ce and Research. Papers of the International Sociology of Science Conference. Budapest: Akadmiai Kiad, September 79, p.175182. 6. Magyari-Beck, I. (1993) Culture and the Market. An Essay on Culture and the Drugs Called Culture. A special issue of the journal Society and Economy, No5, p.19107. 7. Magyari-Beck, I. (1994) Mzsk a piacon [Muses on the Market]. Budapest: Aula Kiad. 8. Plya, G. (1948) How to Solve it. A New Aspect of Mathematical Method. Princeton, New Jersey: Princeton University Press. 9. Plya, G. (1962) Mathematical Discovery. On Understanding, Learning and Teaching Problem Solving, Vol.I. New York: John Wiley and Sons Inc. 10. Plya, G. (1965) Mathematical Discovery. On Understanding, Learning and Teaching Problem Solving, Vol.II. New York: John Wiley and Sons Inc. 11. Scitovsky, T. (1976) The Joyless Economy. An Inquiry into Human Satisfaction and Consumer Dissatisfaction. New York, London, Toronto: Oxford University Press. Istvan MaguariBeck Professor Emeritus at the Corvinus University of Budapest, Hungary Honorary President of the International Centre For Science Of Creatology Corvinus University of Budapest Address: 1093 Budapest, Hungary, Fvm tr 8 Phone: +36-1-482-7361. Mob: 30-586-4941, 30-871-4587 Fax and home number: +36-1-291-0741 E-mail: ???? 376

Krlis Markus ir ieguvis socilo zintu maistra grdu starptautisks ekonomikas un biznesa specialitt. obrd Latvijas Universitt stud doktorantr vadbas zintnes nozar. Strd Pilnsabiedrb JIC biznesa inkubators un sniedz konsultcijas par uzmjdarbbas attstbas jautjumiem. Vaasprieki ceoana, slpoana un mksla.

KRLIS Markus Latvijas Universitte Latvija

Kreatvo ideju attstbas iespjas biznesa inkubator

Kopsavilkums Ievads. Lai notiktu jaunu, perspektvu uzmumu veidoans, Latvij nepiecieamas inovatvas un kreatvas idejas, k ar instrumenti, lai s idejas stenotu un novestu ldz uzmjdarbbai. Viens no instrumentiem du ideju stenoanai ir biznesa inkubatori. Darba mris izptt kreatvu ideju attstbas iespjas Latvij ar biznesa inkubatoru paldzbu. Materili un metodes. Rakst ptti dadi Eiropas Savienbas un Latvijas stratiskie un normatvie dokumenti, k ar, balstoties uz kreatvas jeb radoas darbbas definciju, apkopota esoo inkubatoru un autora pieredze par kreatvu ideju attstbu biznesa inkubatoros. Rezultti. Tiek piedvti risinjumi efektvkai kreatvo ideju atlasei un izdarti secinjumi par ldzinjo darbbu. Secinjumi. Biznesa inkubators ir rels instruments, ar kuru stenot radoas, inovatvas idejas msu tautsaimniecb. Atslgas vrdi: kreatva ideja, biznesa inkubators.

Possibilities OF THE Development of Creative Ideas in a Business Incubator

Summary Introduction. People often talk about the transfer of technologies, about ways to sup port business that might give a high added value, about the necessity to have innovative and creative ideas. What is a creative business idea? The word creative means having the quality or power of creating. A creative idea must be able to bring a result; it must be turned into a real action that might bring income in future. In the districts of Latvia enterprising people have possibilities to get support in com mercialising creative ideas in case the author of the idea is convinced and able to fight for im plementing his idea in real life. In order to implement a creative idea it is not enough to fill out an application form at a business incubator; one must devote time and invest his own financial
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recourses as well. Business incubators facilitate commercial operations of a new company in the first three to four years but they by no means implement the idea instead of its author. One can often hear about improving entrepreneurship in Latvia. In 1999, in The Plan of Activities for Improving the Environment for Entrepreneurship we can read the directions of the policy of entrepreneurship environment as well as tasks, accountable institutions, deadlines. In the activity plan of 2005 solutions to several issues were already planned. The establishment of Technology Transfer Points came as the first creative reaction. In this article under a concept of creativity we understand a process in which new ideas and values are found or made. The Ministry of Economics allotted special funding for the purpose. Five higher educational estab lishments submitted projects for technology transfers, thus encouraging the process of bringing the achievements in science closer to entrepreneurship; however, real support to the new en trepreneurs was still missing. On October 19, 2005 the Council of Ministers of the Republic of Latvia ratified The National Lisbon Programme in Latvia for the years 2005 2008. The aim of the programme was to foster the development of the country and employment. The idea about creative transfer of knowledge and technology started to see the light, and one of the ways how it happened was by using business incubators. In 2007, the Ministry of Economics started implementing The Development Programme of Innovation Centres and Business Incubators. Its aim was to encourage the improvement of innovation infrastructure, support the establishment and operation of innovation centres and business incubators as well as to ensure the furnishing of services to new enterprises. This was a highly creative area of activity. As Jkabs Raipulis said, Intellect and creativity form a con nected and mutually supplementing general skill. During the previous years, support to new entrepreneurs was expressed through the offer of training seminars, courses and consultations in writing projects. It meant direct distribution of knowledge. In organising and running busi ness incubators one must combine consultations on what has been done while planning the op erations of a new enterprise, as well as those to come; finance planning must be taught together with a rational use of means and ways to gain profit. Services to the new entrepreneurs were ensured in the place where they concentrated in an incubator with an innovative infrastructure which supported the operations of the new enterprise financially. Means were allotted that could be used for paying for the services necessary for the enterprises. One had to unite knowledge with creativity. When the operation of business incubators began, rules for selecting the ideas to sup port were written. The precondition was the innovative or creative qualities of the idea. Thus creative innovative ideas that are able to show their vitality may be given noticeable financial support for starting entrepreneurship. Business incubators ensure the services of the infrastructure, offer testing, prototyping and other services related to the development of a product often ones that entrepreneurs have never even heard of. Certification of the product and preparation for commercial trade is very important, for example, CE labelling that involves much bureaucracy and extensive reporting. With the help of business incubators entrepreneurs work out applications for getting support from the European Union as well as business plans for credit institutions. The programme is continuing; funding from the EU structural foundations has been attracted. The total amount of funding for business incubators for the period of 2009-2013 is 20.2 million lats. Support for administering and furnishing services to newly created companies is given to 10 business incubators. The government of Latvia has assessed and plans to develop creative operations of business incubators in the following period as well. Aim of the study is to research the possibilities for developing creative ideas in Latvia with the help of business incubators.
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Materials and methods. Strategic legislative documents of the EU and Latvia on sup porting entrepreneurship and development of business incubators as well as the experience of the existing business incubators have been used in the article. Results. In the operations planned during earlier years, innovations came slowly. There was a lack of new, creative and enterprising company managers and employees. In order to encourage improvement of innovation infrastructure, to support innovation centres and establishment of business incubators and their operation as well as to ensure furnish ing of services of innovation centres and business incubators to the new entrepreneurs, the Ministry of Economics of the Republic of Latvia started implementing The Development Programme of Innovation Centres and Business Incubators in 2007. Under the business incubators supported by the competition of the Ministry of Economics of the Republic of Latvia, there were 69 companies established in 2007. 61 companies were registered the same year. There were 136 work places formed in those companies and 241.3 thousand lats were paid in taxes by the companies of the business incubators. During the next period of financial perspective lasting from 2007 to 2013, support to business incubators has been scheduled. Conclusions. Creative ideas that are able to prove their vitality have possibili ties to gain considerable funding for starting a business and being implemented in our national economy with the help of business incubators. The movement of business in cubators in Latvia has given possibilities to create and support innovative ideas that are also competitive in the market. Those ideas are assessed by experts, thus helping new entrepreneurs. Key words: business incubators, creative entrepreneurship. Ievads Jau ilgku laiku tiek runts par inovcijm, zintnes atbalstu, tehnoloiju prnesi un dadiem uzmjdarbbas atbalsta veidiem. Ir skaidrs, ka jveicina jaunu, perspektvu uzmumu veidoans, kas vartu dot augstu pievienoto vrtbu. Bet, lai uzmums vartu ras ties, ir jbt idejai, kas btu pietiekoi inovatva un kreatva. K ms vartu raksturot kreatvu biznesa ideju? Skaidrojoaj vrdnc vrds kreatvs nozm rados, radtspjgs (Svevrdu vrdnca, 1999). Ttad kreatvai idejai ir jspj radt rezulttu. Kreatva ideja ir jprvr rel darbb, kas perspektv vartu enert ienkumus. obrd Latvij du ideju realizcijai ir izveidoti vairki biznesa inkubatori, kuri aptver visus Latvijas reionus. Visos Latvijas reionos uzmgiem cilvkiem ir iespjas iegt atbalstu kreatvu ideju komercializcijai. Ts var bt oti vienkras idejas, piemram, koka figru raoana vai saliekamas mbeles, vai ar jau saretkas, k jauna tipa dzinja izgudrojums. Katra no idejm var bt pietiekoi kreatva, galvenais, lai pats idejas autors btu prliecints un spjgs cnties un stenot savu ideju dzv. Lai kreatvu ideju realiztu, nepietiek ar pietei kuma aizpildanu biznesa inkubator, tam ir jvelta laiks un jiegulda savi finanu resursi. Biznesa inkubators tikai atvieglo uzmuma darbbu pirmajos trs ldz etros gados, bet tas nesteno idejas to autoru viet. Darba mris raksta mris ir izptt kreatvu ideju attstbas iespjas Latvij ar biznesa inkuba toru paldzbu.
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Materili un metodes Rakst autors izmanto dadus Eiropas Savienbas un Latvijas valsts pieemtos stratiskos dokumentus, normatvos aktus par uzmjdarbbas atbalstu un biznesa inkubatoru izveidi, k ar esoo biznesa inkubatoru pieredzi un pieejamo informciju. Par uzmjdarbbas vides uzlaboanu Latvij spriests biei. 1999. gad skta ikgadjo Uzmjdarbbas vides uzlaboanas paskumu plnu izstrdana, plnos nordti uzmjdarbbas vides politikas rcbas virzieni, uzdevumi, paskumi, atbildgs institcijas, rdtji un termii. Piemram, ar .. 2005. gada paskumu plna paldzbu ir paredzts risint tdus Latvijas uzmjdarbbas problmjautjumus k: iedzvotju ienkuma nodoka neapliekam minimuma palielinana; vienotas uzmuma ienkuma nodoka likmes 15% apmr noteikana visiem komer santu ienkumiem; makstnespjas procesa juridisks regulcijas uzlaboana; valsts un privts partnerbas projektos iesaistto institciju atbildbas noteikana un attiecgs normatvs bzes sagatavoana; izgltbas sistmas tuvinana darba tirgum, u.c. (Ziojums par Latvijas tautsaimniecbas attstbu. Latvijas Republikas Ekonomikas ministrija, 2005). K pirm rado reakcija ir Tehnoloijas prneses sistmas uzlaboana, dibinot Tehnoloijas prneses punktus. Ekonomikas ministrija im mrim pieir pau finansjumu. etras augstskolas (LU, LLU, VeA un RA) iesniedz katra pa vienam tehnoloiju prneses pro jektam, bet Rgas Tehnisk universitte pat divus projektus. kustba stimulja zintnes sa sniegumu tuvinanu uzmjdarbbai, bet joprojm trka rela atbalsta jaunajiem uzmjiem, kuri vljs uzskt savu biznesu. Latvijas Republikas Ministru Kabinets 2005.gada 19.oktobr apstiprinja Latvijas nacionlo Lisabonas programmu 2005. 2008.gadam, kuras mris bija veicint valsts izaugsmi un nodarbintbu. aj programm zinanu un inovciju stimulanas pamatvirzie nam 2005. 2008.gadam noteikti konkrti radoi uzdevumi: paaugstint valsts un sekmt privt sektora ieguldjumus zintniskaj darbb un attstb; nodroint zintnes intelektul potencila atjaunoanos, pilnveidojot doktorantras grantu sistmu un modernizjot zintnisko infrastruktru; veicint zinanu un tehnoloiju prnesi raoan (t.sk. biznesa inkubatori, tehnoloiskie parki); paaugstint interneta pieejambu un ieviest elektronisko parakstu, k ar nodroint plakus publiskos pakalpojumus e-vid (Ziojums par Latvijas tautsaimniecbas attstbu. Latvijas Republikas Ekonomikas ministrija, 2008). Ttad ideja par zinanu un tehnoloiju radou prnesi, izmantojot ne tikai tehnoloiskos kontaktpunktus vai parkus, bet ar biznesa inkubatorus, Latvij oficili izskanja tikai 2005. gad, lai gan msu kaimivalst Lietuv jau vairk nek 10 gadus darbojas etri biznesa inkubatori, kuri skotnji tika finansti no valsts ldzekiem, bet obrd priet uz pafinansanas principiem. Atbilstoi das attstbas plnojumam Ekonomikas ministrija 2007.gad uzska Inovciju centru un biznesa inkubatoru attstbas programmas stenoanu. Ts mris bija veicint inovciju infrastruktras pilnveidoanu, atbalstt inovcijas centrus un biznesa inkubatoru izveidi un darbbu, k ar inovcijas centru un biznesa inkubatoru pakalpojumu nodroinanu jauniem uzmumiem. bija oti radoa un jauna darbbas joma, uz kuru var attiecint entikas specilista J. Raipua atziu, ka Intelekts un kreativitte veido saisttu un savstarpji papildinou visprjo
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spju pri (Raipulis, 2006). Iepriekjos gados paldzba jaunajiem uzmjiem izpauds galvenokrt k mcbu un informatvu seminru piedvjumi, konsultcijas projektu rakstan. T bija zinanu sniegana tie veid. Biznesa inkubatoru organizan un uzturan bija radoi japvieno konsultcijas gan par jau iepriekjo, gan ar par relu konkrta jaun uzmuma darbbas plnoanu, k ar jmca finanu plnoana, racionla izlietoana, pelnana. ie inku batori nodroinja pakalpojumus jaunajiem uzmjiem, viu darbbas koncentranos vien viet t.s. inkubator, kur bija inovatva infrastruktra un tika finansili atbalstta jaunu uzmumu dibinana un darbbas uzskana, jo biznesa inkubatoriem tika ar pieirta nauda, ko varja tie veid pieirt jauno uzmumu nepiecieamo pakalpojumu apmaksai. dos paskumos bija japvieno zinanas ar kreativitti. Ldz ar Biznesa inkubatoru darbbas uzskanu, tika izstrdti noteikumi, kd veid tiek atlastas idejas, kuras ir atbalstmas. Svargs idejas atbalstanas prieknosacjums bija saistts ar idejas inovitti, vai kreativitti. Tas nozm, ka kreatvm inovatvm idejm, kuras spj pierdt savu dzvotspju ir iespjas gt nozmgu finansjumu uzmjdarbbas uzskanai. Finansjumu varja iegt jaundibinti uzmumi, kuri aizpildja inkubatoru izstrdto pieteikumu un spja pierdt savas idejas dzvotspju. Finansjuma apmrs vien kalendraj gad vienam uzmumam tika plnots ldz 15000 latu, ko jaundibintais uzmums varja lietot dadu pakalpojumu ldzfinansanai. 2007. 2008. gad biznesa inkubatoru sniegtie pakalpojumi un saemt atbalsta intensitte atrs, jo katrs biznesa inkubatora operators varja pats izstrdt atbalsta noteikumus. Programmas ietvaros tika finansti inovcijas centru projekti, kuri: 1. paredzja veicint jaunu inovatvu un potencili inovatvu uzmumu veidoanos un attstbu; 2. paredzja studentu, pasniedzju, zintnieku iesaistanos jaunu uzmumu veidoan un sekmja augstskolas vai instittu veikto zintnisko ptjumu komercializciju; 3. inkubatora operatoram bija jnodroina du atbalsta pakalpojumu snieganu inkuba tora uzmumiem: jiznom atbilstoi aprkotas biroja, laboratoriju vai raoanas telpas, kas ietver biroja aprkojumu, aprkotas seminru telpas; jnodroina ar infrastruktras pakalpojumiem, tai skait elektrbas un dens apgde, apkure, telekomunikcijas, interneta pieeja; jsniedz sekretarita un galvenie biroja pakalpojumi; jkonsult un jsniedz pakalpojumi ar uzmjdarbbu saisttos jautjumos: biz nesa plnu sastdana, uzmumu reistrcija, grmatvedbas pakalpojumi, ju ridiskie pakalpojumi, mrketings, sadarbbas organizana ar citiem komersan tiem, investciju piesaiste, personla piesaiste, patentana un licencana; jkonsult un jsniedz pakalpojumi par jaunu produktu un tehnoloisko procesu attstbu saisttos jautjumos. (Inovcijas centru un biznesa inkubatoru attstbas programmas projektu konkursa nolikums. Ekonomikas ministrija, 2007.). Tas bija pamats, lai biznesa inkubatoros vartu attstties jauni uzmumi, kas radtu jau nas idejas un atbilstoi tm attsttu uzmjdarbbu. oti svargs bija konsultciju nodroinjums un nepiecieamie pakalpojumi tiei biznesa inkubator. im mrim biznesa inkubators pats piesaistja uzmumiem nepiecieamos pakalpojumu sniedzjus un konsultantus, uzemoties administrcijas funkciju. Paiem uzmumiem bija jmaks tikai ldzfinansjuma daa par snieg tajiem pakalpojumiem, parasti pirmaj darbbas gad t bija 10 % apmr, bet otraj 35 %. Biznesa inkubatori nodroinja ne tikai infrastruktras pakalpojumus, bet piedvja ar ar produkta izstrdi un t prdoanu saisttus pakalpojumus, par kuriem biei vien jau nie uzmji nebija pat dzirdjui, piemram, par jaundibinto uzmumu iespjm saemt
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t.s. pirmssklas grantus, par biznesa eeiem, sklas fondiem, mikrokredtiem, investciju garantijm, riska kapitla fondiem, resursu centriem u.c. Tpat biznesa inkubatoru konsul tanti paldzja sertifikcijas jautjumos un produkcijas sagatavoan tirdzniecbai, piemram, ar CE marjumu, kas prasa daudz birokrtijas un atskaiu. Tas bija vienots un efektvs at balsts uzmjdarbbas uzskanai (darba vieta, specilistu konsultcijas, infrastruktra utt.). pai tika sekmta uzmumu veidoans Latvijas reionos, tostarp jaunu inovatvu uzmumu veidoans tradicionlajs nozars. Paralli produktu izstrdei ne mazk svarga problma ir finansjuma piesaiste. Vairkums no uzmumiem ir ieinteresti tiei finansjuma piesaist, jo ar pau ldzekiem parasti nepietiek, lai stenotu labas biznesa idejas. Ar biznesa inkubatora paldzbu vairkiem uzmumiem tika izstrdti pieteikumi Eiropas Savienbas atbalsta saemanai un biznesa plni kredtiestdm. Paralli biznesa inkubatori sadarbojas ar ar riska kapitla fondiem un perspektvkos uzmumus prezent, piemram, Seed Forum. Tdjdi uzmumi var piesaistt finansjumu bez nodroinjuma, piedvjot uzmuma daas investoriem, kuri ir gatavi riskt vairk nek kredtiestdes. Jaunaj finanu plnoanas period 2009. 2013. gadam tiek plnots stenot jaunas programmas, kas vrstas uz sadarbbas veicinanu starp rpniecbas un ptniecbas nozarm, tdas k atbalsts kompetenu centriem, tehnoloiju prneses veicinana, atbalsts biznesa inkubatoriem, k ar programmu realizcijas turpinana inovciju atbalstam privtaj sektor. 2009. gad biznesa inkubatoru programma tiek turpinta, piesaistot ES strukturlo fondu finansjumu kur Latvijas Investciju un attstbas aentra ir Finansjuma samjs s program mas ietvaros, kopjais finansjums biznesa inkubatoriem 2009. 2013.gadam ir 20,2milj. latu apmr. finansjuma ietvaros tiek atbalstta 10 biznesa inkubatoru prvaldana un pakal pojumu sniegana jaunizvei dotiem uzmumiem. Latvijas Investciju un attstbas aentras defintais biznesa inkubatoru izveides projekta mris ir: veicint jaunu, dzvotspjgu un konkurtspjgu komersantu veidoanos un attstbu Latvijas reionos, nodroinot tos ar komercdarbbai nepiecieamo vidi un konsultatvajiem pakalpojumiem (LIAA, 2009). Tas norda, ka Latvijas valdba ir novrtjusi un ar nkamaj attstbas period plno sekmt un attstt biznesa inkubatoru radoo darbbu. Tpat atbalstmo pakalpojumu klsts un apjoms vartu pieaugt, kas autu kreatviem uzmumiem saemt lielku atbalstu nek ldz im. Rezultti Ldz ar Biznesa inkubatoru darbbas uzskanu, ir izstrdti noteikumi, kd veid tiek atlastas radoas idejas, kuras ir atbalstmas. Svargs idejas atbalstanas prieknosacjums bija saistts ar idejas inovitti vai kreativitti. Tas nozm, ka kreatvm inovatvm idejm, kuras spj pierdt savu dzvotspju Latvij, ir iespjas gt nozmgu finansjumu uzmjdarbbas uzskanai un stenot to ar biznesa inkubatora paldzbu. Finansjumu var iegt jaundibinti uzmumi, kuri aizpilda inkubatoru izstrdto pie teikumu un spj pierdt savas idejas dzvotspju. Finansjuma apmru vien kalendraj gad ldz 15000 latu jaundibintais uzmums varja lietot dadu pakalpojumu ldzfinansanai. 2007. 2008. gad biznesa inkubatoru sniegtie pakalpojumi un saemt atbalsta intensitte atrs, jo katrs biznesa inkubatora operators varja pats izstrdt atbalsta noteikumus, tomr tie kopum tika valstiski pozitvi novrtti. Programmas ietvaros finanstajos inovcijas centru projektos studentu, pasniedzju, zintnieku iesaistans jaunu uzmumu veidoan sekmja augstskolas vai instittu veikto zintnisko ptjumu radou komercializciju; Btiski ir tas, ka biznesa inkubatori nodroinja
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ne tikai infrastruktras pakalpojumus, bet piedvja ar testanas, prototipanas, un ci tus ar produkta izstrdi saisttus pakalpojumus, par kuriem biei vien pai uzmji nebija pat dzirdjui. Svarga ir ne tikai produkta izstrde, bet ar t sertifikcija un sagatavoana tirdzniecbai, piemram, CE marjums, kas prasa ar daudz birokrtijas. Pozitvo rezulttu d ar 2009. gad biznesa inkubatoru programma tiek turpinta, piesaistot ES strukturlo fondu finansjumu, kur Latvijas Investciju un attstbas aentra ir Finansjuma samjs s programmas ietvaros, kopjais finansjums biznesa inkubatoriem 2009. 2013.gadam ir 20,2milj. latu apmr. finansjuma ietvaros tiek atbalstti 10 biznesa inkubatoru prvaldana un pakalpojumu sniegana jaunizvei dotiem uzmumiem. Secinjumi Biznesa inkubatoru kustba Latvij ir pavrusi iespjas radt un atbalstt inovatvas ide jas, kas vienlaikus btu ar konkurtspjgas tirg. oti svargi aj proces ir tas, ka s idejas pc savas pieredzes biznesa inkubatoros vrt pieredzjui eksperti, tdjdi paldzot jaunajiem uzmjiem. Biznesa inkubators ir rels instruments, ar kuru stenot radoas, inovatvas idejas msu tautsaimniecb. Ptjuma gait konstatts, ka biznesa inkubatori nodroina infrastruktras pakalpojumus, piedv testanas, prototipanas un citus ar produkta izstrdi saisttus pakalpojumus. Ar biznesa inkubatora paldzbu uzmumi izstrd pieteikumus Eiropas Savienbas atbalsta saemanai un biznesa plnus kredtiestdm. Biznesa inkubatori sadarbojas ar riska kapitla fondiem. T uzmumi var piesaistt finansjumu bez nodroinjuma, piedvjot uzmuma daas investo riem, kuri ir gatavi riskt vairk nek kredtiestdes. Kreatvm idejm, kuras spj pierdt savu dzvotspju, ir iespjas gt nozmgu finansjumu uzmjdarbbas uzskanai Latvij.
LITERATRAS SARAKSTS 1. Inovcijas centru un biznesa inkubatoru attstbas programmas projektu konkursa nolikums. (2007) Rga: Latvijas Republikas Ekonomikas ministrija. 2. Raipulis, J. (2006) Vai radom spjm ir nepiecieamas paas smadzeu funkcijas? Radoa personba, IVsjums. Zintnisko rakstu krjums. Rga: KZI, 27.lpp. 3. Svevrdu vrdnca (1999) Baldunika, J. red. Rga: Jumava, 404.lpp. 4. Ziojums par Latvijas tautsaimniecbas attstbu. (2005.gada decembris) Rga: Latvijas Republikas Ekono mikas ministrija, 106.lpp. 5. Ziojums par Latvijas tautsaimniecbas attstbu. (2008) Rga: Latvijas Republikas Ekonomikas ministrija, 80.lpp. 6. Latvijas nacionl Lisabonas programma 2005.2008.gadam. (2005) Rga: Latvijas Republikas Ekonomikas ministrija. www.em.gov.lv/em/images/modules/items/item_file_11631_2.pdf (2009.g. augusts) 7. Informcija par Biznesa inkubatoriem. (2009) Latvijas Investciju un attstbas aentra. http://www.liaa.gov. lv/lv/es_strukturfondi/es_strukturfondi/biznesa_inkubatori/ (2009.g. augusts) Mg.soc. Krlis Markus Latvijas Universitte Adrese: Raia bulvris 19, Rga, LV-1586 Tlr: 63048746; fakss: 63048747 E-pasts: karlis@jic.lv

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Margarita Kaltigina. Dr. paed. profesore, vcu valodas entuziaste un radoa multiplikatore. Sadarbojos ar cilvkiem dads vecuma grups. Man patk rados mcbu process, azartiski meklju interesan tas un radoas pieejas mcbu satura stenoan. Vaasprieki: mksla, mzika, operas, tetra izrdes, ceoana, drzkopba, pukopba, iesais tu savus mos un draugus bioloisks lauksaimniecbas, ekoloiska dzvesveida bauds.

Inta Ratniece, Mag. paed. izgltbas zintns, filoloe, angu valodas pasniedzja. Ar sadarbojos ar cilvkiem dads vecuma grups. Man patk sadarboties ar cilvkiem mcbu proces, mekljot interesantas un radoas pieejas mcbu satura stenoan. Vaasprieki: regulri baudu brnu un mazbrnu sabiedrbu, rpjos par suni un kai, patk koncerti, tetra izrdes, ceot, last un risint krustvrdu mklas. MARGARITA KALTIGINA INTA RATNIECE Rgas Pedagoijas un izgltbas vadbas akadmija Latvija

RADOA TOPOO PEDAGOGU UN MCBSPKU SADARBBA SVEVALODU APGUVES PROCES

Kopsavilkums Ievads. Pedagoiskaj darb tikai radoas personbas spj rosint studentus radoai kompetenu apguvei. Pedagogi, gstot pieredzi starptautiskaj sadarbb, strd ar daudzveidgm darba formm, izmanto radou, student-centrtu pieeju. Darba mris. Raksturot studentu un mcbspku sadarbbas iespjas rado studiju proces svevalodu apguv. Materili un metodes. Zintnisks literatras un pedagoisk procesa analze. Rezultti. Modernu mcbu ldzeku, dinamisku darba formu lietojums praktisks profesionls situcijs, veidojot mijiedarbb/sadarbb radou personbu, kas spj strdt komand. Secinjumi. 21.gs. nemitgi mains nepiecieams kompetences, tau personbas darba stils spja sadarboties, uzklaust daudzveidgus viedokus, radoi tos izmantot, veidojas tikai rado sadarbb. Atslgas vrdi: profesionl kompetence, radoa sadarbba, student-centrta pieeja, svevalodu apguve, rado papieredze, radoums.

CREATIVE COLLABORATION OF TRAINEE-TEACHERS AND ACADEMIC STAFF IN THE PROCESS OF FOREIGN LANGUAGE ACQUISITION
SUMMARY Introduction. Contemporary society and its educational paradigm undergo fast chang es. Equity implementation in a benevolent, creative student and academic staff collaboration in
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foreign language study process, involving participation in Erasmus projects, fostering English as a foreign language acquisition by the use of ICT materials, is a precondition of a creative professionals life-long development in the EU as well as entire world democracy advancement context. Educationalists should promote themselves creatively alongside their main collabora tion partners pedagogy students. Teachers, realising themselves as creative professionals, can inspire students to attain creative knowledge, skills and competences. Having gained experience by international coop eration/collaboration and gained insight into miscellaneous forms of study process implementa tion, teachers more often implement creative, student-centred approaches. Aim of the study is to characterize the opportunities of the student and the academic staff cooperation/collaboration in the creative study process of foreign language acquisition. Materials and methods. Analysis of theoretical sources on the theme and pedagogi cal process research. The authors have used a logically constructive method based on correla tion/cooperation. Commencing the studies at a tertiary institution, pedagogy students often have little experience in team-work. Therefore, in many cases they do not feel the need to cooperate cre atively, they even cannot perceive a common group aim in their studies. Observations prove that students do not feel confident to join team work due to the lack of collaboration and coop eration skills and as a result cooperation in class lacks creativity, too. An important precondi tion to develop both collaboration competence and creativity is to persuade the students to feel responsible for the outcome of the class. Special attention should be paid to the planning and preparation of the classes, constructing tasks designed for achieving goal-oriented progress by team-work. Cooperation is of major significance for the teacher competence development of every potential educator in the contemporary civilization if the individuals confine only in themselves, they limit their learning opportunities. A. pona characterizes correlation/cooperation as join efforts pursuing a common goal by implementing shared tools while doing common work, assessing the attainment of the goal by evaluation and self-assessment. Collaboration is a way of experience gaining by sharing work with an expert and following the experts example, thus promoting ones knowledge and skills onto higher stage, increasing self-perfection (pona, 2001, 2009). Disadvantages in pedagogy studies are also inflicted by fragmented programmes, thus, training teachers of a narrow profile. Much should be done for the improvement of col laboration between schools and higher educational establishments to organize student prac tice. The academic staff members should be more active in the elimination of the gap between contemporary secondary and higher education. International documents consider education and collaboration in education as main preconditions for stable, peaceful, democratic com munity advancement. Thus, European dimension is fostered by student mobility, cooperation and collaboration between educational institutions. European issues are involved into cur ricula and syllabi. One of the first to identify talent areas for instructional purposes was C.W. Taylor: academic and productive thinking, planning, decision-making, implementing, discerning op portunities, forecasting, communicating and human relations (Taylor, 1986) in general, all are necessary to promote for successful career in pedagogy. During the process of their studies at RPIVA students benefit by studying R. Bebres research on creativity and teachers personality, realizing that creativity is a long-lasting qual ity of an individual, characterized by innovation, originality, non-traditional solutions, nonconformism, courage, creative activity productivity in diverse fields, creative intuition, rich fantasy, inspiration, psyche flexibility, ethical consciousness action (Bebre, 2003).
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Results. In innovative study process due to equity in collaboration, if the collaboration involves also social, cultural and cognitive correlations, creative action steps over the individual istic subjective limits, entering a higher development stage of relationship of our civilization. The implementation of updated study materials, more dynamic study forms, CLIL language materials used in practice and professionalsituations reward validity to the attained knowledge, promote a personality able of creative team-work. Advanced foreign language knowledge acquired by pedagogy students, the skills to implement them in creative collaboration process for cooperation and collaboration with other students and educators, while the trainee foreign language teachers are promoting their com petences by participation in ERASMUS projects and programmes, stimulate understanding of multicultural society development and meaningful use of the mastered foreign language. Conclusions. Needed knowledge, skills, as well as competences are continually chang ing. How to obtain them depends on the ability to correlate/cooperate/collaborate, to indulge into miscellaneous opinions, implement creatively, they can be best developed by creative co operation/collaboration. Creativity in the contemporary pedagogy constitutes great part of the teachers inno vative ability in the entire professional career, appearing in thinking, feelings, communication, collaboration, cooperation, correlation, original problem solving and courage. The results of studies are affected by creative pedagogical correlation/collaboration and cooperation quality, research, motivation, experience obtained during the studies for pro fessional career, as well as creative organization of the process of studies. Cooperation projects involve students into the problem solving process and encourage them to research, because students perceive it as personally significant for their professional pedagogical career promotion in the contemporary ever-changing environment. Students, who have participated in creative cooperation projects side by side with their academic staff, developed also team-work skills, their competences by doing research, studying at Masters, then Doctoral Studies, continuing life-long learning for sustainable development. The authors claim that a crucial point in creative study process for pedagogy students studying foreign languages is innovative experience gained by participation in projects, thus finding out new verities either subjective or objective for sustainable development. Key words: acquisition of foreign languages, creative correlation/cooperation/ col laboration approach, creative self-experience, creativity, professional competence. Ievads Msdienu sabiedrba un ldz ar to ts izgltbas paradigmas strauji attsts. Ldztiesbas principu stenoana labvlg, rado topoo pedagogu un mcbspku sadarbb svevalodu apguves proces, iekaujot gan dalbu ERASMUS projektos, gan ievrojot angu valodas k svevalodas mcbu realittes nosacjumus, gan izmantojot IT materilus mcbu procesa vid, ir nepiecieama radoa indivda profesionlajai karjerai un personbas mizgltbai ilgtspjgai attstbai. Kvalitatvas attstbas kontekst, msdienu pedagogiem jattsts radoi ldz ar gal veno savas mijiedarbbas/sadarbbas partneri jauno izgltojamo paaudzi. Pilnveidojot sevi par radom personbm, kas veic pedagoisko misiju, neatkargi no oti atirgajm situcijm, topoajiem skolotjiem ir tdas paas vrtbas un mri, k ar tdas paas grtbas k jau kvalifikciju ieguvuajiem pedagogiem, kas turpina savu ilgtspjgo attstbu. Studenti ir mainga grupa, kuras tiekans iekt darba tirg un skt neatkargu dzvi tiek atlikta uz arvien vlku laiku; vii gan strd, gan mcs, bet viu individulais ce oti atiras. Skolai un augstskolai, darbam un socilajai videi nav vairs ts integrjos lomas, kda
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tm ir bijusi kdreiz, tau paveras jaunas iespjas izprast multikulturlas sabiedrbas attstbas tendences un ceus. Jsaprot ar, ka tikai pedagogi, kas sevi steno pedagoiskaj darbb k radoas personbas, spj motivt studentus radoai zinanu, prasmju un kompetenu apguvei. Saldzinot ar koliem, kuri cenas noturt studentu uzmanbu ar tradicionlajm metodm, pedagogi, kas guvui pieredzi starptautiskaj sadarbb un iepazinuies ar daudzveidgm darba formm, vairk izmanto radou, neformlu pieeju. Moderno mcbu ldzeku, dinamiskku darba for mu un valodas, svevalodas ldzeku lietojums praktisks un profesionls situcijs pieir iegstamajm zinanm nozmgumu. Darba mris Analizt radou studiju procesu svevalodu apguv un studentu un mcbspku sadarbbas iespjas. Materili un Metodes Teortisko avotu un pedagoisk procesa analze. Izmantota loisk konstruk tvisma metode. Pedagoisko studiju mnuss pareiz ir sadrumstalots programmas, kas sagatavo aura profila pedagogus. Daudz darm ir ar skolu un augstskolu sadarbbas uzlaboan, organizjot studentu prakses, tpat augstskolu mcbspkiem aktvk jcenas pietuvinoties msdienu sko lu realittei. Starptautiskajos ES dokumentos par stabilu, miergu un demokrtisku sabiedrbas nostiprinans strakmeni tiek atzta izgltba un sadarbba izgltb. Eiropas dimensiju rak sturo studentu mobilitte, izgltbas iestu sadarbba Eiropas mcbu programms Piemram, ERASMUS CLIL TiFoLa; No:07/0227-E/5005 47059-IC-1-HU-ERASMUS-EUC-1Tifola. Katra 12 augstskolu projekta turpinjums: TiFoLa, MultiFoLa, CulTiFoLa, CreaTiFoLa, EquiTiFoLa ir vrtgs ieguldjums mijiedarbbas/sadarbbas attstb. EquitiFoLa veiksmgi turpina starptautisko sadarbbu, iesaistot gan topoos skolotjus, gan augstskolu mcbspkus tik nozmgs joms k ldztiesba un ilgtspjg attstba. Izprast multikulturlas sabiedrbas attstbas tendences un ceus, radoi piedalties to attstb paldz svevalodu zinanas, kompetence ts nozmgi izmantot rado sadarbbas proces, kur topoie svevalodu skolotji pilnveido savu pedagoisko kompetenci studiju proces, iesaistoties ERASMUS programms. RPIVA studiju proces studentiem dota iespja iepazties ar ar R.Bebres ptjumiem par kreativitti un ts saikni ar skolotja personbu, izprast, ka kreativitte, ko latviski vartu saukt par radoumu, ir noturga individualittes paba, ko raksturo novatorisms, oriinalitte, netradicionli risinjumi, antikonformisms, drosme, jaunrades darbbas produktivitte dads nozars, radoa intucija, bagta fantzija, iedvesma, psihes plastiskums, virsapzias darbba(Bebre, 2003). Msdiens studiju proces ldztiesgas mijiedarbbas/sadarbbas rezultt kreatva darbba prvar individuli subjektvs robeas, jo gan socils, gan kultras, gan izzias attiecbas prveidojas savstarpjs mijiedarbbas/ sadarbbas attiecbs ilgtspjgai attstbai sabiedrb. Ar svevalodu mcans mris mainjies un kuvis par valodas un socili kulturlu kompetenci k paattstbas, sadarbbas un sadzvoanas ldzekli daudzkultru sabiedrb. Sadarbbas aspekts pamatizgltbas standart skaidrots k prasme sadarboties, strdt komand, prasme uzklaust un respektt dadus viedokus, prasme pieemt lmumu un uzemties atbildbu par t stenoanu, prasme atbildgi rkoties konfliktsitucijs, ekstremls situcijs
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un rpties par savu un citu cilvku drobu, ja nepiecieams, meklt paldzbu. (Noteikumi par valsts standartu pamatizgltb un pamatizgltbas mcbu priekmetu standartiem, 2006). Ldz ar citu valstu jaunajiem eiropieiem, ar msu topoajiem pedagogiem ir daudz kas sakms jauns paaudzes izgltoan, jo tiei vius visvairk ietekm ekonomisks prmaias, demogrfisk neldzsvarotba, globalizcija un kultru dadbas. Tiek gaidts, ka vii izveidos jaunus socilo attiecbu veidus, citas solidarittes formas, tiks gal ar atirbm un uztvers ts k ieguvumu. Neraugoties uz sareto socilo un ekonomisko situciju, izgltbas procesa dalbnieki veido labas pielgoans spjas. Nacionlo un Eiropas izgltbas lderu zi ir veicint o radoo pielgoanos, aujot jaunatnei pilntiesgi ldzdarboties msu sabiedrb un veiksmgi radoi augt ldz ar nkamo paaudzi, kuras videi saglabjam ilgtspjgas attstbas iespjas. Topoajiem skolotjiem studiju proces japgst kreatvdomana, atverot sevi prmaim. Radoums k viens no cilvkpotencila kom ponentiem veidojas cilvka darbb, ja cilvkam ir gandarjums par labi paveikto darbu, t oriinalitti (Garleja, 2006). Bt radoiem, kvalifictiem pedagogiem topoo skolotju vlans ir saprota ma studenti vlas, lai vius sadzirdtu un uzskattu par pilntiesgiem sarunu biedriem, jo vii vlas piedalties Eiropas veidoanas proces, vii vlas piedalties diskusijs, kas iespaidos viu nkotni. Tagad ir laiks jaunatni vrtt k spku, kas var paldzt veidot Eiropu, nevis k problmu, ar kuru jtiek gal. Mums ir jdod jaunieiem iespjas un ldzeki izteikt savas idejas un aut ts saldzint ar ldzgm idejm, ko izteikui citi pilsonisks sabiedrbas dalbnieki. Gan topoo skolotju, gan skolnu nevrga attieksme pret savas personbas izkopanu un nepietiekamu papilnveidoanos mcbs var bt par iemeslu nespjai risint daudzas dzves problmas. Msdiens demokratizjoties sabiedrbai, katram no brnbas ir iespja radoi veidot savu dzvi, pilngot savas spjas, gudrbu, attieksmi, kas dod labumu sev un citiem cilvkiem (pona, Vidnere, 2008). Ir svargi, lai jaunatnes aktivittm jau skol un augstskol btu eiropeiska nozmba un d veid tiktu pankta to mrtiecba un saskaotba; lai tai pa laik tiktu nodrointa un uzsvrta katra lmea loma. Tiei to vlas msu topoie skolotji, msu mcbspki, to atbalsta Eiropas parlaments un to iesaka citas dalbvalstis. Lai atbilstu m prasbm, mizgltbas ietvaros jierosina jaunu struktru veidoana Eiropas sadarbbai, ietverot divus galvenos aspek tus atklts koordincijas metodes pielietoana jaunatnes izgltbas politikas jom un paas uzmanbas pievrana jaunatnes vajadzbm, izstrdjot iniciatvas izgltbas politikas joms (The new website of the Council of Europe for Intercultural Dialogue; 26.11.2008.). Eiropas dimensijas ievieana rada dinamisma izjtu, stimul jaunradi, jo t auj saldzint un dalties pieredzes vrtaj praks. Lai nodrointu pilntiesgu jaunatnes piedalanos msu demokrtisks, atvrts un vienots sabiedrbas dzv, msdienu pedagogi ieklauss vis, kas jauniem cilvkiem ir sakms, piedv gan skol, gan augstskol forumus vietja lmea iniciatvu izteikanai, mudina ES dalbvalstu jaunieus sadarboties vl efektvk, pieteikt konkrtas idejas pastvoo Eiropas programmu ietvaros un viss izgltbas, socils dzves joms un politikas nozars emt vr jaunatnes intereses. Studentu iesaistans zintniskaj ptniecb gan prakss skol, gan akadmij, k ar studentu un mcbspku sadarbbas iespjas veido radou studiju procesu svevalodu apguv. Radoi, inovatvi stenojot kvalitatvu un efektvu mcbu procesu (Kaltigina, 2008) augst skolas uzdevums ir sagatavot kvalifictus, kompetentus specilistus. RPIVA di kvalificti pedagoijas specilisti tiek gatavoti ne tikai ikdienas studijs, atseviu studiju kursu apguv svevalod, bet ar pasniedzjiem un studentiem piedaloties ilggadj sadarbbas projekt kop ar 12 citu valstu augstskolu studentiem, topoajiem angu
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valodas skolotjiem un pasniedzjiem (ERASMUS CLIL TiFoLa; No:07/0227-E/5005 47059IC-1-HU-ERASMUS-EUC-1Tifola). Autores kop ar kolm ir radoi un aktvi strdjuas visos projekta posmos: TiFoLa, MultiFoLa, CulTiFoLa, CreaTiFoLa, EquiTiFoLa. Projek ts devis stimulu ptniecbai par radoas sadarbbas izpratni, nozmi un ts stenoanai studiju proces, jo gan pasniedzji, gan studenti mcs piedalties rels dzves radts situcijs, mcs ts analizt, sintezt, pieemt lmumus, organizt un vadt to izpildi, reflektjot, novrtt jau gtos rezulttus, saziai izmantojot svevalodu. Studentu ptniecisk darbba ir sistemtiska un neprtraukta problmsitucijas vai problmas risinana ar mri pilnveidot rados darbbas pieredzi, balstoties uz agrk uzkrtm zinanm un prasmm, izmantojot veiksmgi metodiku (pona, 2004). Ptniecisk darbba RPIVA studiju proces ir btiska, neatemama sastvdaa. Studentu radou, ldztiesgu aktivitti rosinm un atbalstm, lai to vartu vrtt k sekmgu pedagoisko prasmju, kompetenu veidoanai. Svevalodu prasmes ar paver daudzveidgas iespjas radoi un prasmgi veikt ptniecbu pedagoij. Zintniskais ptjums pedagoij ir mrtiecgs un rados cilvka organizts darbbas process, orientts uz jaunu teortisko atziu ieguvi, kas pilnveidotu pedagoisko praksi (pona, 2004). Gan prakses Latvijas skols, kas plnotas studiju proces RPIVA, gan prakse, kas gta iepriek mint projekta bzes skol cit Eiropas Savienbas valst, vai pat rpus Eiropas Savienbas pareizjm robem, pozitvi ietekm gan studentu praktisko sagatavotbu, gan ar studentu ieinterestbu pedagoijas problmsituciju risinan. Rezultti RPIVA kvalificti pedagoijas specilisti tiek gatavoti ne tikai ikdienas studijs, atseviu studiju kursu apguv, bet ar pasniedzjiem un studentiem piedaloties sadarbbas projekt kop ar 12 citu augstskolu studentiem, topoajiem angu valodas skolotjiem un peda gogiem (ERASMUS CLIL TiFoLa; No:07/0227-E/5005 47059-IC-1-HU-ERASMUS-EUC-1 Tifola). Autores ir radoi un aktvi strdjuas visos projekta posmos: TiFoLa, MultiFoLa, CulTiFoLa, CreaTiFoLa, EquiTiFoLa. Projekts devis stimulu ptniecbai par radoas mijiedarbbas/sadarbbas nozmi un ts stenoanu studiju proces, jo gan akadmiskajam personlam, gan studentiem ir jprot piedalties rels dzves radts situcijs, jprot ts analizt, sintezt, pieemt lmumus, organizt un vadt to izpildi, reflektjot, novrtt to gtos rezulttus (skat. 1. pielikumu). Ptjumi liecina, ka studenti, kas piedaljuies radoos mijiedarbbas/sadarbbas pro jektos kop ar pedagogiem un apguvui ar komandas darba prasmes, daudz biek turpina studijas maistratr, doktorantr, tdejdi turpina aizskto pedagoisko ptniecbu. Radoi mijiedarbbas/sadarbbas projekti auj studentiem saskarties ar problmm un rosina ts radoi risint, ptt, jo studenti uztver ts k persongi nozmgas savai profesionlajai pedagoiskajai darbbai ilgtspjgai attstbai msdienu maingaj vid. Msu topoie pedagogi izprot, ka 21. gs. svevalodas skolotja, tpat k ikviena peda goga, loma mains ldz ar sabiedrbas attstbu:

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1. tabula Profesionl pedagoisk darbba ilgtspjgai attstbai msdienu maingaj vid (pilnveidots pc: The new website of the Council of Europe for Intercultural Dialogue) Table 1 Professional pedagogical performance for sustainable development in contemporary changing environment (Developed on basis of: The new website of the Council of Europe for Intercultural Dialogue)
Iepriekj gadsimt skolotjs bija: mcbu grmatas multiplikators informcijas sagdnieks autoritatvs lderis grupu darba koordinators vientu izgltbas propagandists Msdienu skolotjs arvien vairk kst par: skolotju, kura stundas veidotas, ievrojot socils realittes un msdiengu informcijas mediju resursu materilus radoas mcans veicintju zinou vadtju, kas labvlg mcbu vid ldz ar skolniem / studen tiem radoi veido iemaas ilgtspjgai attstbai, mizgltbai informcijas izskaidrotju, veidojot radoas sadarbbas / mijiedar bbas komandas; sabiedrbas, kas pati joprojm mcs (kuru veido skolas skolotji, administrcijas darbinieki, eksperti, psihologi, sociologi, vecki, mdiju specilisti, skolni/studenti) izgltbas darbinieku radou ko mandas locekli

Tiei svevalodu skolotji veiksmgk paldz studentiem/skolniem saprast, ka valoda un kultra ir ciei savstarpji saisttas un valodu apguve veicina citu kultru sapratni, t veidojot gan apziu, gan cieu, gan toleranci pret atirgo citu tautu dzv. Skolotji aicina studentus/skolnus radoi papildint mcbu grmatu materilus, izmantot jau apgto dzves pieredzi radoi, prvart vl saglabjuos stereotipus, izprast ilgtspjgas attstbas nepiecieambu. Rados papieredzes pilnveidoans ldzeklis ir problmiski ptniecisks studijas, kas topoajiem pedagogiem auj izprast problmiski ptniecisk mcbu procesa nepiecieambu, kas audzina brvu, patstvgu un atbildgu personbu, spjgu gan vadt, gan iekauties koman das darb. Secinjumi Studiju procesa radoa organizcija btiski ietekm radoas pedagoisks mij iedarbbas/sadarbbas kvalitti, ptniecbu, motivciju, gto pieredzi, gatavojoties profe sionlajai darbbai. Mijiedarbbas/sadarbbas projekti auj doctjiem un studentiem saskarties ar problmm un rosina ts risint, ptt, uztverot ts k persongi nozmgas savai profesionlajai pedagoiskajai darbbai msdienu maingaj vid, aktvi propagandt un realizt ilgtspjgu attstbu. Radoa studiju procesa btisk virsnormatv sastvdaa ir pieredzes gana projektos ar loiski sekojou radou ptniecisko darbbu. Studentu ptniecisks kompetences attstbas pedagoiski-psiholoiskie nosacjumi ietver: radou pieeju studiju procesam, ptnieciski ievirztu studiju kursu saturu, ldztiesgu, mrtiecgu mijiedarbbu/sadarbbu ptnieciskaj darbb; emprisko ptjumu izstrdi studiju projektos un studiju prakss, kuru neatemamas sastvdaas ir sistemtiska, mrtiecga reflek sija, analze, k ar papieredze, paanalze un pavrtjums. Studenti, kas piedaljuies radoos mijiedarbbas/sadarbbas projektos kop ar peda gogiem un apguvui ar komandas darba prasmes, turpina uzskto pedagoisko ptniecbu, studijas maistratr, doktorantr, spj iesaistt ar savus skolnus aktv rado izgltbas proces.
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LITERATRAS SARAKSTS 1. Bebre, R. (2002/2003) Kreativittes psiholoijas ptjumi Latvij. Zintnisko rakstu krjums Radoa personba, II.Sj. Rga: RaKa, 12.lpp. 2. Garleja, R. (2006) Cilvkpotencils socil vid. Rga: RaKa, 199lpp. 3. Gudjons, H. (2007) Pedagoijas pamatatzias. Rga: Zvaigzne ABC, 394lpp. 4. Harmer, J. (2001) Practice of English Language Teaching. London: Longman, p.371. 5. Hubler-Kriegler, M., Lazar, I. (2003) Mirrors and Windows, An intercultural Communication Textbook. Coun cil of Europe Publishing, p.106. 6. Intensive Programme TiFoLa (Teaching in Foreign Languages) (20042005) 27954-IC-BE-ERASMUS. Brno. p.140. 7. Kaltigina, M., Liepa, D., et al. (2008) RPIVA akadmisk personla svevalodu kompetences profesionlaj darbb. RPIVA 4.starptautisks zintnisks konferences Teorija praksei msdienu sabiedrbas izgltb rak stu krjums. Zintniskie raksti. Rga: RPIVA, 153.161.lpp. 8. Lee, D.-H., Woo, K. (2007) Get back in the Classroom. English Teaching Professional. UK: Keyways Pub lishing, p.5355. 9. Loras, V. (2007) Multiculturalism. English Teaching Professional. UK: Keyways Publishing, p.22. 10. Noteikumi par valsts standartu pamatizgltb un pamatizgltbas mcbu priekmetu standartiem (2006) 22.12.2006. Vstnesis, Nr.204. www.isec.gov.lv/normdok/mk061027.htm (23.09.2009.) 11. Pedagoijas terminu skaidrojo vrdnca. (2000) Rga: ABC Zvaigzne, 248lpp. 12. Prodrmou, L. (2007) In Search of a Good Lesson. English Teaching Professional. UK: Keyways Publishing, p.58. 13. Scrivener, J. (2005) Learning Teaching. London: Macmillan, 431p. 14. pona, A. (2001) Audzinanas teorija un prakse. Rga: RaKa, 161., 162.lpp. 15. pona, A. (2006) Audzinanas process teorij un praks. Rga: RaKa, 161., 211.lpp. 16. pona, A. (2008) Socio-pedagogical Problems of Modern Students Attitude Towards School. Signum Temporis, Vol.1, No1. Riga: RPIVA, p.1017. 17. pona, A., amane, I. (2009) Audzinana. Paaudzinana. Rga: RaKa, 260lpp. 18. pona, A., ehlova, Z. (2004) Ptniecba pedagoij. Rga: RaKa, 204lpp. 19. pona, A., Vidnere, M. (2008) Msdienu skolnu attieksmes k socilas vrtbas. RPIVA 4. starptautisks zintnisks konferences Teorija praksei msdienu sabiedrbas izgltb rakstu krjums. Zintniskie raksti. Rga: RPIVA, 328.lpp. 20. Taylor, C.W. (1986) Cultivating Simultaneous Student Growth in both Multiple Creative Talents and Knowl edge. Systems and Models for Developing Programs for the Gifted and Talented. Mansfield center, CT: Cre ative learning press, p.350. 21. The new website of the Council of Europe for Intercultural Dialogue. http://www.coe.int/t/dg4/intercultural/ Source// (26.11.2008.) Margarita Kaltigina Prof. Dr.paed., Rgas Pedagoijas un izgltbas vadbas akadmija, Valodu katedra Adrese: Imantas 7.lnija 1, Rga, LV-1083, Latvija Tlr.: +371 29117625 E-pasts: margarita.kaltigina@rpiva.lv Inta Ratniece Lektore Mg.paed., Rgas Pedagoijas un izgltbas vadbas akadmija, Valodu katedra Adrese: Imantas 7.lnija 1, Rga, LV-1083, Latvija Tlr.: +371 26588658 E-pasts: inta.ratniece@rpiva.lv

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Pielikums APPENDIX 1. zmjums Doctju un studentu sadarbbas modelis (adaptts pc A. ponas, I. amanes, 2009, 223) Figure 1 Academic staff and student collaboration model (acc. to A. pona, I. amane, 2009, 223)
Studentu psiholoisk gatavba sadarbbai Darbbas mris vajadzbas Mru tuvinans Doctju psiholoisk gatavba sadarbbai Darbbas mris vajadzbas

Studentu praktisk gatavba sadarbbai Ldzeku izvle mra sasnieganai Ldzeku saskaoana

Doctju praktisk gatavba sadarbbai Piedvt darbbas ldzeku vari antus mra sasnieganai

Sadarbbas process Studenti pielieto ldzekus sadarbb Jaunas pieredzes apguve

Doctju sadarbbas process Doctju atbalsts un paldzba

Studentu sadarbbas procesa un rezulttu panovrtjums Refleksija par sadarbbas procesu un t rezulttu Savstarpji bagtinta pieredze k prieknoteikums tlkai sadarbbai

Docentu sadarbbas procesa un rezulttu panovrtjums Refleksija par sadarbbas procesu un t rezulttu

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Viktors Ritovs (1972) dzimis Rg. Absolvjis Jzepa Media M zikas vidusskolu un Jzepa Vtola Latvijas Mzikas akadmiju, iegti bakalaura (1995) un maistra (1997) grdi. Deza klavierspli papildinjis Nderlandes konservatorij, Enshed. Aktvi darbojas k deza mzikas pianists, komponists, arantjs, koncertjot Latvij, Eirop un Kand. Vaasprieki fotomksla, darbs ar datora specilm mzikas programmm. VIKTORS RITOVS, Rgas Pedagoijas un izgltbas vadbas akadmija, Latvija

PIANISTISKO SPLES PAMIENU PILNVEIDES KREATVIE ASPEKTI

Kopsavilkums Ievads. Msdienu izgltbas telp tiek konstatta aktula mcbu satura inovciju nepiecieamba. Klaviersples apguv ienk jauni strvojumi deza muzicanas stila apguves nepiecieamba. Darba mris. Analizt pianistisko sples pamienu specifiku deza mzikas kreatvaj atskaoanas proces. Materili un metodes. Pedagoisks un psiholoisks literatras analze, pedagoiskais novrojums, mksliniecisks pieredzes analze. Rezultti. Darb tika ptti dadi deza mzikas apguves procesa kreatvie aspekti. Izstrdti ieteikumi deza mzikas atskaotjmksliniekiem. Secinjumi. Atskaotja tehniskais lmenis ir aktuls klasisko un deza skadarbu atskaoan. Atirgie raksturojumi saistti ar katra pianista individualittes izpausmm, ar katra atskaotja kreativitti. Atslgas vrdi: Deza mzika, improvizcija, pianistiskie pamieni, kreativitte

THE CREATIVE ASPECTS OF PIANO TECHNIQUE IMPROVEMENT

SUMMARY Introduction. Nowadays in the sphere of education a necessity of the actual innova tion of the learning content has stated. The learning of music is traditionally based on a classical music repertoire. The techniques of how to play piano has been developed during centuries. Topicality of the study determines the change of interests of a 21st century student. Socioeconomic conditions, modern technologies have been changed. Teachers and students have changed as well. New tendencies enter the process of mastering piano such as the need of the learning styles of jazz. Aim of the study is to analyze the peculiarities of piano playing techniques in the process of jazz music performance. Materials and methods. To give an advice on how to master piano playing techniques. The theoretical basis constitute the views of H. Crook, M. Levine, B. Kenny and M.Gellrih, P. Berliner, J. Jeffrey, H. Noice, D.T. Smith, V.Ritovs.
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Most jazz selections are learned from lead sheets, which provide only single notes of the melody, with chord symbols sketched above them. Jazz musicians are expected to impro vise, vary the key, melody, and rhythm in each performance in spontaneous invention (e.g., Lehmann, 2005). Creative decisions are made in real time (Kenny and Gellrich, 2002), and the resulting melodies and harmonies frequently surprise even the performer (Berliner, 1994). When you are listening to a great solo, the player is not thinking II-V-I, blues lick, AABA, altered scale, and so forth. He or she has done that already, many years ago. The great players have also learned what the chords and the scales look and feel like on their instru ment (Levine, 1995). Before a musician can fully implement this theoretical knowledge into practice, he must be in good accordance with its technical apparatus. The concept of a techni cal apparatus is determined not only in the hands, as the musicians main technical tool, but also in his/her head, consciousness, awareness. Before the musicians finger touch the key, the performer must be clear with the sound, tone, how strong he wants to put this finger on key. That means one should approach their own sound cultural formation with full respon sibility. A variety of performers can instantly be recognized by their instrument sound. A music teacher updates the early lectures that one should find its own sound. This means that there should be found a tone, touch/touch, dynamics, and many other acoustic properties. The sound producing process is very important. In fact, each instrument has its own individual sound soul, and this moment cannot be ignored, especially when we speak about the piano. A pianist hits the will sound from the instrument. One of the important aspects in jazz music is the rhythmical improvisation. Improvisation (ital. improvisazione, from lat. improvisus sudden, unexpected, amaz ing) is usually defined as composing music while playing an instrument at the same time. In other words, the art of improvisation can be understood as composing music on the fly (Wiki pedia). Successful improvisation building principles: discipline, technique, creativity and mu sical intuition. Every musician who has seriously tried to improvise knows that the art of im provising is no less than the ultimate musical challenge, demanding ones total musicianship in every moment of the act. Learning to improvise, like learning anything that demands both technical and creative ability depends mostly on the individual person (Crook, 1990). The teacher could only show appropriate examples, to share ideas, materials, to tell how to reach a destination: when to play, how to play and what to play. The learning process can be planed differently. For example, a class could be planned as follows: 15 minutes - delicate technique acquisition, 15 minutes- learning chord, 15 minutes - rhythm learning exercises, 15 minutes - the playing of the repertoire. Another very interesting moment is the percussive playing on the instrument. This could include not only the piano, but any other musical instrument. Let us study the main functions and problems of rhythm. Mainly this work is done by the drummers or percussionists. Pianist should learn how to beat the elements without an instru ment at the beginning. In this case, sensible are only movement functions and dynamics. One of the problems is a coordination problem between the arms (pianists), and the feet (drummer). Results. Various creative aspects of jazz acquisition were researched. Recommenda tions for jazz performers were developed. It is necessarily to plan individual work during the classes. Every music style has certain requirements, laws which cannot be ignored. Depending on the quality of the learning process, musician could spend fewer hours to improve his/her playing skills. Conclusions. Payers technical abilities are important for both jazz piano lessons and classical piano lessons. Different characteristics are associated with each pianists individuality
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and his/her production process dictation, or retelling, or essay. It depends on players creativ ity. This creativity is an important moment of jazz improvisation, which forms an unforgettable atmosphere at the concert. It is important to structure our own learning process. A number of elements that are suitable for not only wind jazz musicians, but also the keyboard player and other musicians can be used from the assessment table. These evaluation criteria are used for the development of jazz musicians performers of skills, experience, musicality, mastery artist, creativity, technical skill. The hardest thing for a musician to learn is how to play WITH people. Thats what made the Basie rhythm sec tion (Jo Jones). Key words: Jazz music, improvisation, piano technique, creativity. IEVADS Dezs mzikas stils, biei improvizatorisks, ko radja un attstja afroameriki un ko ietekmja Eiropas harmonisks struktras un frikas ritmi. mzikas forma izveidota daji no regtaima un blza, to biei raksturo sinkopti ritmi, polifona ansamba sple, dadas improvizcijas pakpes, kur biei vien apzinti maints tonlais plns un tembra krsa (Schuller, 2009). Dezs pieder pie mzikas pardbm, fenomeniem, kurus var izskaidrot (defint, izanalizt, kategorizt kd sistm, sakrtot kd prskatmb), bet nevar saprast (uztvert loiski racionli, adekvti). Vienlaikus ir virkne jautjumu un problmu, kurm ir konkrts risinjums, rels, taustms tehnisko un visprmuziklo prasmju kopums, kas mziim btu jprzina, bet jlieto tpat k elpoana pati par sevi muzicanas proces vairs nedomjot par to. DARBA MRIS Analizt pianistisko sples pamienu specifiku deza mzikas kreatvaj at ska oanas proces. MATERILI UN METODES Kd veid deza mziis var iegaumt, atcerties, iemcties jaunu skadarbu, ja katra uzstans reize ir atirga? Visbiek, apgstot jaunu skadarbu, deza mzia rcb ir tikai melodija ar akordu simboliem. No deza mzia gaidma improvizcija/ improvizana, varijot tonlo plnu, melodiju, ritmu katr uzstans reiz, veicot to spontni (Noice, Jeffrey, Noice, Chaffin, 2008). Kreatvie lmumi notiek rel laik (Kenny, Gellrich, 2002) un tdjdi iegts melodijas un harmonijas biei vien prsteidz pat paus izpildtjus (Berliner, 1994). Lielisks mziis, izpildot solo, nedom par secbu II-V-I, vai blza frzm (blues lick), formu AABA, par alterto gammu vai kaut ko tamldzgu. Vi to jau ir iemcjies pirms daudziem gadiem. Slaveni mzii, spljot gammas vai akordus uz sava instrumenta, prvalda redzes, dzirdes un taustes sajtas. Deza saksofonists . Prkers (Charlie Parker) piedvja iemcties akordu secbu un pc tam aizmirst to. Studjot deza teoriju, atceries sava darba mri, bet neaizmirsti to, kas slpjas aiz teorijas akordu rindim (Levine, 1995, p. 511). Bet, pirms mziis var piln mr stenot s teortisks zinanas praks, viam ir jbt lab saska ar savu tehnisko apartu. Ar jdzienu tehniskais aparts tiek uztvertas ne tikai rokas k mzia galvenais tehniskais instruments, bet ar galva, apzia, sapratne. Pirms
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mzia pirksts pieskarsies taustiam, izpildtjam jbt skaidram, kdu skau, toni veidos, cik stipri viam nepiecieams o pirkstu uzsist. Tas nozm ar pilnu atbildbu jpieiet savas skaas kultras veidoanai. Tas ir nopi etns un svargs moments mzia dzv. Kad klausmies dadus izpildtjus, ms uzreiz varam atpazt tos pc instrumenta skanjuma. Jau pirmajs lekcijs mzikas pedagogs aktualiz, ka ir jatrod sava skaa. Tas nozm, ka ir jsamekl tonis, skrums/tu, dinamika un daudzas citas skaas pabas. Skaveides proces instrumentam ir liela nozme, jo jzina, ar kdu trumu muri uzsits pa stgu un k tas pc tam atgriezsies atpaka. Bet parasti mziis dom par citm problmm. Vi nenodarbojas ar muria truma mranu, bet gan ar pirksta vai rokas fizisko sajtu, uzspieot vienu vai vairkus pirkstus uz taustiiem. Atkarb no t, kd veid notiek is process, mains skanjuma kvalitte. Tiesa, katram instrumentam ir savs individuls skanjums un ar o faktu ms dieml nevaram ignort it sevii, ja ir runa par klavierm. Pianistam jau pirms paa splanas momenta ir jzina, ar kdu toni, dinamiku, skrumu vi veidos skau, nevis instruments mziim aus splt un piedvs skanjumu, kds tam piemt. Eksist daudzas metodes, k apgt klavierspli, bet darba galvenais mris ir atrast, izptt un apzint citus ldzekus, ko izmanto atirgu specialitu instrumentlisti un kas (ldzeki) pat vartu bt absolti nepieemami akadmiskas ievirzes pianistiem. No brnu vecuma ms dzirdam dadas skaas. Cenamies ts atpazt, vlk atcera mies, k skan stabule, vijole, klavieres, bungas un citi instrumenti. Kad, runjot ststam kdu anekdoti, ms cenamies imitt cita cilvka balsi. Tas notiek spontni un neprasa lielu laiku pie ieraksta aparatras, saldzinot, cik preczi cilvks atdarinja to vai citu balsi. Tas pats notiek ar instrumenta skau. Pianisti parasti pavada pie instrumenta stundm ilgi, cenoties pilnveidot savu tehniku, mekljot labku skanjumu, mcoties reperturu, gata vojoties koncertam. eit nav runas par dezu, klasiku vai kdu citu stilistiku. Vartu apgalvot, ka deza mzika atiras no klasisks ar improvizcijas iespjam, akordu uzbvi, harmonijas secbm, ritmu un daudzm citm pabm. Katram mzikas stilam ir noteiktas prasbas, li kumi, kurus nedrkst ignort. Un tiei deza mzikai viens no svargiem aspektiem ir ritma improvizcija. Improvizcija (ital. improvisazione, no lat. val. improvisus - pks, negaidts, prsteidzos) vsturiski pats senkais muzicanas tips, kad mzikas saceranas process notiek tiei izpildanas laik. Improvizcija termins, kas definjams k mzikas komponana spontni, spljot kdu instrumentu. Citiem vrdiem improvizcijas mksla vartu bt sap rotama k mzikas komponana izpildjuma laik. Mzikas improvizatori biei vien saprot o terminu k viena vai vairku stilu t.sk., blzs, roks, folks, dezs idiomu, saturiski stilistisku vienbu un darbojas s idiomas un mzikas teorijas noteiktajos ietvaros, lai izpaustu savas idejas kreatvi un oriinli. Improvizcija ir sastopama gan solo sniegum, gan ar ansambl, tas ir kop ar citiem izpildtjiem (http:// en.wikipedia.org/wiki/Improvisation#Musical_improvisation). Veiksmgas improvizcijas veidoanas principi ir: disciplna, tehnika, kreativitte un muzikl intucija. Katrs no mziiem, kas nopietni vlas improvizt, zina, ka improvizcijas mksla ir mzia maksimls izaicinjums, kur pieprasa absoltu, pilngu muzikalitti, mksliniecisko gaumi katr darbbas moment (Crook, 1990, p.10). Jautjums ir tikai viens: Kd veid es vartu to visu iemcties? Fundamentl atbilde, protams da: Pa vienam solim/ Soli pa solim. Mcans improvizt ir atkarga no tehniskm un kreatvm spjm, atkarga tiei no katra individula cilvka (Crook, 1990, p.10). Pedagogs var tikai pardt nepiecieamos piemrus, dalties ar idejm, materiliem, izststt, k sasniegt galamri, izpildot paredzto darbu.
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Prskatmbas un secguma labad ieteicams organizt improvizcijas komponentus trijs pamatkategorijs: KAD splt, K splt un KO splt. Mcbu procesu vartu plnot dadi. Parasti mziiem ir lielas problmas ar laika trkumu, turklt nevar paveikt visu darbu vien dien. Piemram, astronomisko stundu vartu plnot di: 15 mintes smalks tehnikas apguve, 15 mintes akordu apguve, 15 mintes ritma vingrinjumu apguve, 15 mintes repertura caursplana. Nereti pianists uzstjas solista lom. Rodas jautjums k paveikt darbu vienam cilvkam, kam ir divas rokas, bet skadarb jpilda vismaz trs funkcijas: basa lnija, akordi (harmoniskais klsts) un melodija jeb solo. Ttad s trs funkcijas jsadala starp abm rokm, piemram, di kreis roka spl basa un daji akordu funkcijas, lab savukrt spl daji akordu un melodijas lomu. Interesants ir patnjs moments, kad sastopas tikai divi atsevii, tematiski elementi basa lnija un melodija. Katrai no m funkcijm ir savas dinamisks, ritmisks, tembrls un citas nianses. Ttad ir jkontrol, ar kdu intensitti spl bass (piemram, deza mzik biei sastopams t saucamais staigjoais bass/soojoais bass angu val. walking bass). Akordiem ir jpievr paa uzmanba, sevii dinamikas aspektam. Biei vien klasiskaj mzik ms cenamies izcelt akorda augjo balsi. Deza mzik vartu izmantot ne tikai augjs balss akcentus, bet gan vidj bals veidoto melodiju, vai pat akorda basa lniju. Harmonija ir rkrtgi bagta ar vidussla balssvedbu. Tiei akorda vid izmanto alterts skaas, kas veido seviu krsu un atmosfru skadarba stilistik. Akorda funkcijas pianists spl gan ar labo, gan ar kreiso roku. Dinamiski un tembrli akordiem jbt iden tiskiem, ldzgiem, neatkargi no t, ar kuru roku tie tiek splti. Sevii, ja mains kreis rok basa gjieni ar akordiem, kas vlk tiek splti ar labo roku kop ar melodisko materilu. T ir t saucam sple ar trim rokm (atceramies, ka F. Listam sastopams sples pamiens ar etrm rokm). Ja saldzinm dinamiku basa lnij, akordos un melodij (augj reistr), tad konstatjam, ka vidjam reistram akordiem ir daudz skau (nereti tie stenoti ar abm rokm), tpc dinamiski tie skan skak. Ldz ar to tas biei vien trauc melodiskajam materilam augj reistr. Cita veida dinamisk situcija ir melodij, kas parasti apvieno vidjo un augjo reistru. Atirb no klasisks mzikas, melodisk lnija dinamiski ir ldzga kardiogrammai. Respektvi, eit eksist dinamikas (fiziklie) likumi. Frze skas ar nelielu akcentu, tad seko dinamikas kritums, un uz augjm notm ir kulminjos moments, kad dinamika sasniedz skako punktu. Ir jmk splt gan ldzeni, gan ar lielu dinamikas amplitdu. Melodijas lniju var saldzint ar cilvka balsi. T vienmr mains gan tembrli, gan dinamikas zi. Ar main ot reistrus mains dinamiskie aspekti. 99 % melodisk materila tiek izpildts ar labo roku, bet kas notiek, ja to pau melodiju pianists spl ar kreiso? Vartu apgalvot, ka stenojot procesus, kurus cilvks veic spontni, piem., staig, raksta, u.tml., vi taj pa laik var koncentrties uz ko citu, nepievrot im procesam seviu uzmanbu. Bet pretj situcij visa uzmanba tiek vrsta uz o konkrtu procesu. To ms ar minm pankt pau uzmanbu noteiktajam procesam, bet ar citiem ldzekiem. Vartu, piemram, splt akordus ar labo roku un ar kreiso savukrt splt solo. Vl viens rkrtgi interesants moments perkusv splana uz instrumenta. Tas vartu bt ne tikai klavieres, bet gan jebkds cits mzikas instruments. Vispirms pievramies ritma aspekta galvenajm funkcijm un problmm. Galvenokrt tdu darbu veic bundzinieki jeb sitaminstrumentlisti. Jebkuru priekmetu ms vartu uztvert k perkusvo instrumentu. Galdu, kociu, pudeli ar deni vai pulveri, slstrauku u.c. visi ie priekmeti ir izmantojami, lai radtu savdabgas skaas vai skau kompleksus, trokus. Pievienojot konkrtu ritma elementu, var veidot atseviu grvu, vai ritma funkciju, kas auj
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cilvkam kustties ritma laik. Pianistam skum jiemcs ritma elementi bez instrumenta. in gadjum nozme ir tikai motoriskajm funkcijm un dinamikai. Klusi vai skai, tuvu vai tlu tdas ir dinamisks gradcijas. Tous augstus vai zemus vlk var prlikt klaviers, iz mantojot basa, akorda vai melodijas notis. Viens no ritma apganas procesiem ir koordincijas problmas starp rokm (pianistiem) un ar kjm (bundziniekiem), kuriem savukrt ir sples apguves veids, kas angu val. saucas four way coordination etri koordincijas veidi. Noskaidrosim vienu no ritma aspektiem, kuru vartu izmantot pianists, lietojot nepia nistiskus pamienus. Mcoties kdu no, piemram, Latamerikas ritma modeiem, skum tie ir jsadzird un jatrod veids, k pareizi izpildt ar vism dinamiskm niansm. Eksist specili vingrinjumi instrumentlistiem pianistiem, basistiem, bundziniekiem, ptjiem, k ar voklistiem un prjiem mziiem. Laba metode ir censties atveidot ritma figru ar balsi, imitjot kdu instrumentu. Vlk vartu pievrsties savam instrumentam un mint atrast tdu pat ritmu un skanjumu. Biei vien tds izpildjums prliecina un patk vairk nek filigrns un sterils atskaojums, kur viss ir prognozjams. is kreativittes moments ir svargs deza mzikas improvizcij, kas veido neaizmirstamu atmosfru koncerta laik. Svargi sistematizt savu mcans procesu. K bija teikts iepriek, viss tiek pankts, skot ar vienu soli, in gadjum ir skaidri japzins savas tehnisks un fizisks iespjas. Deza mzia rado attstba aptver mzikas ekspresiju, kreativitti un stila konkrtus elementus. D.T.Smits izveidojis paminstrumentu deza mziku improvizcijas vrtjuma skalu, strukturjot to divs das: I. Izpildtja meistarbas iemaas Solists apliecina teorijas zinanas. Solists izmanto melodiskus motvus un / vai sekvences. Solists spl nedroi, bez prliecbas. Solists spl ar nepiemrotu laika un / vai ritma izjtu. Solists spl ar labu tehnisko apartu, brvi prvalda sples tehnisko pusi. Solistam piemt slikta intoncija, sple biei skan intonatvi nepreczi. Soloimprovizcijas attstba, ts virzba un kopplns ir loisks. II. Rado, kreatv attstba Solists spl ar neiezmgu skaas kvalitti, bez savas skaas. Solists pau idejas neprliecinoi, tm trkst noteiktbas. Solists uzstjas emocionli, ar noteiktu izteiksmi. Solists spl atbilsto stil/ atbilstoi stilam. Solista sniegum trkst iztles un / vai rado elementa. Solistam (soloposmam) trkst mijiedarbes un dialoga veidoans ar pavadjumu (pavadoo sastvu). Solists veiksmgi lieto frzjum hromatiskus piebraucienus, prot ldzeni priet no skaas uz skau (Smith, 2009).

REZULTTI No vrtjuma tabulas iespjams izmantot vairkus elementus, kas piemroti ne tikai deza paminstrumentu mziiem, bet ar taustiinstrumentlistiem un prjiem mziiem. ie vrtanas kritriji lietojami deza izpildtju prasmju, pieredzes, muzikalittes, izpildtja meistarbas, kreativittes, tehnisko iemau attstb.
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Papildinot klaviertehnikas iemaas, pianisti iegst citus tehniskos veidus piem. perkusvo tehniku, apgstot kdu no sitaminstrumentiem. Deza taustimkslinieki spj labk un izteiksmgk lietot dinamisks gradcijas starp rokm. Solo izpildjuma laik pianists atir linero un vertiklo sples veidus, ldz ar to kompozcijas atskaoana kst daudz izteiksmgka, interesantka, nopietnka. SECINJUMI. Ptot deza mziu atzias par pianistisko sples pamienu apguves kopgajm un no klasisks mzikas atskaoanas atirgajm pieejm, secinm, ka atskaotja tehnisk varana ir aktula abu veidu skadarbu atskaoan. Atirgie raksturojumi saistti ar katra pianista individualittes izpausmm vai atskaoanas process ir diktts, vai atststjums, vai sacerjums. Tas atkargs no atskaotja kreativittes. Deza mziim japzins savas skaas kultras veidoana. Pianistam jsamekl tonis, skrums/tu, dinamika un daudzas citas skaas pabas. Deza pianisti var apvienot dadus tehnikas veidus gan pianistisko, gan perkusvo. Sav improvizcij var izmantot dadus sples pamienus, kas padara klavieru skanjumu izteiksmgku, interesantku. Izmantojot pamienu muted string, var splt klavieres ar vie nu roku, piespieot vienu vai vairkas klavieru stgas ar otru. Basa diapazon pianists imit pamienu muted bass. Mcoties klavieru pavadjumu, pianists saskaras sav praks ar citiem instrumentiem un mina tos atveidot klavieru spl, cenoties atrast konkrta instrumenta skanjumu, izman tojot pianistiskos un nepianistiskos pamienus. Deza pianists daudz nopietnk saprot ritma lomu mzikas izpildjum, sevii ja vi uzstjas kop ar ansambli.
LITERATRAS SARAKSTS 1. Berliner, P.F. (1994) Thinking in Jazz: The Infinite Art of Improvisation. Chicago: University of Chicago Press, 164 p. 2. Crook, H. (1990). How to Improvise. An approach to practicing improvisation. Advance Music, 185 p. 3. Improvisation (2009). Wikipedia. The Free Encyclopedia, from http://en.wikipedia.org/wiki/ Improvisation#Musical_improvisation (Retrieved December 20, 2009), 6 p. 4. Kenny, B.J. and Gellrich, M. (2002) Improvisation, in R. Parncutt and G.E. McPherson (eds) The Science and Psychology of Music Performance, New York: Oxford University Press, p. 11734. 5. Levine, M. (1995). The Jazz Theory Book, Sher Music Co, 522 p. 6. Noice, H., Jeffrey, J., Noice T., Chaffin, R. (2008). Memorization by a jazz musician: a case study. Psychology of Music, Vol. 36, No. 1, p. 63 79. 7. Schuller, G. (2009). Jazz // Encyclopdia Britannica Online. Encyclopdia Britannica, from http://www. search.eb.com/eb/article-9110142. (Retrieved December 20, 2009). 8. Smith, D. T. (2009). Development and Validation of a Rating Scale for Wind Jazz Improvisation Perfor mance. Journal of Research in Music Education, Vol. 57, No. 3, 217-235 9. Jazz Quotes from http://www.randyhalberstadt.com/Jazzquotes.htm (Retrieved December 20, 2009) Viktors Ritovs Mg. art., docents, Rgas Pedagoijas un izgltbas vadbas akadmija Adrese: Imantas 7. lnija 1, Rga, LV1083 Mob.tlr: (+371) 29465874 Epasts: viktors.ritovs@gmail.com 399

rija Karpova (dzim.Vintule) habilitt psihologijas doktore, LU emeritt profesore, KZI vado ptniece. obrd apmram 130 publikciju (tai skait 4 monogrfiju) autore. Kop 2005. g. esmu pievrsusies sievieu un vrieu socili psiholoisko patnbu un kreativittes iespju ptniecbai vln brieduma vecum. Individualittei tas ir dzves pieredzes kulmincijas periods un ts filozofiskas prskatanas laiks. Atkljas fantastiskas cilvka gara bagtbas! K iepriek, mlu dabu, tetri un operu. Esmu kuvusi ar kaislga ceotja. RIJA KARPOVA Rgas Pedagoijas un izgltbas vadbas akadmija Kreativittes zintniskais institts Latvija

KREATIVITTES IZPAUSMES GERONTOLOISK VECUMA VIDJ POSM. INDIVIDULO GADJUMU ANALZE

Kopsavilkums Ievads. Kreatvais darbs, pat ja tas ir mazk perfekts, ir iekji nozmgs paam senioram. Darba mris ir noskaidrot kreativittes izpausmes, ts formas, kuras var bt nozmgas ne tikai senioram, bet ar plakai sabiedrbai. Materili un metodes. Analiztas teortisks nostdnes gerontoloisk vecuma kreativittei un veikta paplainta triju gadjumu analze. Rezultti. Kreativittes izpausmes nosacti var iedalt 3 pamatforms: k kreatvas profesionls darbbas turpinjums; k dzves laik iecerta, ar profesionlo darbu nosacti saistta, bet aizemtbas d nerealizta.; k pensijas gados uzskta kreatva nodarbe. Secinjumi. Vecums ir pieredzes kulmincijas zona un garant plau prskatu dzvei emocionls saites, darba veiksmes un neveiksmes, izgltbu, dzves kredo, principus, vrtbas t sniedzot atbildes uz personbas integrjos instances mekljumiem. Atslgas vrdi: kreativitte, vlnais briedums, regresija, rekonstruana.

FORMS OF CREATIVITY IN MIDDLE OLD ANALYSES OFINDIVIDUAL CAUSES

SUMMARY Introduction. There is no unanimity about definition of creativity in scientific lit erature. Most of researchers acknowledge a multidimensional conception, assessment of the creative potential, and use of tests for differential assessment and consulting, to be promising in studies of creativity (Cropley A., 2000). Studies of creativity in Scientific Institute of Creativity are carried out in context of taking into consideration complexity of creativity, and integrating areas of creative process; creative personality; and product of the creation (Bebre R., Iistenaa I., Roke L., 2008). These fields of studies are recently complemented by aspects of perceiver of the created product, and the social milieu.
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The most lengthy discussions have been devoted to realation between creativity and divergent thinking. Role of convergent thinking here has been acknowledged recently (Rickards, 1994; Brophy, 1998). Both types of thinking are necessary for effective novelty, and it is impor tant to mark out the area covered by both ways of thinking (Facaoaru, 1985), for example, goaloriented divergent thinking. Approval of role of personality, what is regarded a unitary complex (Stern,1938), or core of, or integrating instance of human mind (Zinchenko, 1995), is an essential turn in research of the creative process. Dimension of the process may be assessed in context of personality (Smith, Carlsson, 2000; Smith, 2008). As the integral nature of personality is not directly discernible, search for an integrating instance (self-cocept; self; values; purport), as well as hypotheses about some way, or principle of providing for wholeness of personality by such an instance, are of actual importance. Dynamism of organization and structuredness does include development, as a central axis, in concept of personality (Caprara, Cervone, 2003). I assume that it is regard of personality, as a wholeness, being included in the creative functioning, that incites researchers (Smith, Carlsson, 2000, 2006; Smith, 2008) to resort to capacities of psychoanalysis, a grandtheory, in studies of creativity. In psychoanalysis, the no tion of regression is in operation. Regression is returning from point achieved within process of mental development, to some preceding point. At age period of 75 to 85 the process that includes mental development covers a space of previous life, where the strict boundaries bet ween past present and future are lost. In formal sense, regression means returning to a state where there is lower level of structure and differentiation (e.g. younger generations use stere typed epithets about old people, claiming them naive;windmill fighters; those using untenable arguments,etc.). Yet, regression to level of functioning dominated by primary process does not simply mean a return to level of more primitive thinking. Rather, it is reconstruction of aspects of experience subjected to divergent logic that is taken over by emotions (Holt, 1985). To paraphrase it, a non-verbal inner world is hidden behind thinking (Mamardashvili, 1994); thinking that is genuinely creative, is emotionally creative and intonative, and the intonation proceeds through all substantive moments of thinking (Bahtin, 2006): acts of thinking are a part of our daily testing of our fate (Mamardashvili,1994). Synthesis, as the matter of convergent thinking, is mapped out in these quotations. The degree, scale, size, direction and contents of engagement in process of cooperation, what is influenced by society, is based on refined reflection. By reflection, individual bonds the process of joint action with ones own life activities. Reflection of cooperation does create, and develop successively, a certain form, namely, dialogical quality; and sense of,or meanings of what is be ing performed, become clarified within the dialogical quality (Bahtin, 2006; Zinchenko, 2003). Regression is to be regarded an inalienable mechanism of functioning of a creative personality (Smith, Carlsson, 2000). Concept of regression is included in modern theories of personality (Martindale,1995). Regression rouses associative links which are unavailable,or hardly available, on level of sec ondary process. Thus, regression may be used as a concept, explanatory for mechanisms of creativity, also for period of old age. Berman (1988,1989/) has mentioned main aspects of cre ativity in old age: intensive individuation and a higher degree of generation; plasticity, what represents develop mental tasks: adaption to losses and reorientation of energy; attitude towards ones mission of life, contribution, and passing over. The creative work,even if it is less perfect (e.g. because of decline of cognitive func tions) is internally important for the senior person.The number of seniors, who are still able to work and who have excellent professional qualifications and who are sought after the job market, will increase. This has considerable importance in connection with Europes ageing of
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nations, low birthrate and demographical decline. At the moment, the issues of the increase of pensioners life quality are not considered as a priority in Latvia, however, data by the LR Ministry of Welfare (Office of Central Statistics, 2008) shows the increasing proportion of pen sioners compared to the work related productive residents.Many aged people with their lifestyle and creative work prove, that healthy and successful ageing is possible.If, thanks to contribu tion of many sciences and improved living conditions, considerable age is already viewed as achievement, then senior mental revelations, maturity cognitions, wisdom are not perceived and deliberated as value, which is necessary in the development of a cultural nation. Aim of the study. To analyze creative process,in contiguity with development of per sonality in period of old age. To clarify forms of manifestation of creativity, important for the senior person in particular, and for a more extended society. Materials and methods. Analysis of theoretical viewpoints on creativity in old age; extended analysis of three individual cases. Results. Manifestations of creativity may be, theoretically, divided in 3 basic forms: continuation of professional activity (sculptor B.) ; activity that is relatively linked with pro fessional work, and intended to perform,yet not put into practice, because of overengagement, during previous lifetime (woman teacher A.) ; activity that is creatively taken up in pension age (woman trolleybus driver O.). Conclusions. In the three studied cases, senior individuals resemble each other by their fidelity to moral and cultural values; to responsibilities posed by themselves; by perseverance and discipline, regardfulness for work and job, and wish for novelty. Differences in the creative performances are regarded as connected to combinations of the following factors: cognitive changes; social norms that need to be overcome; motivation; factor of personality. Key words: creativity, late maturity regression, reconstruction. IEVADS Zintniskaj literatr nav vienotbas par kreativittes definciju. Vairkums auto ru atzst, ka kreativittes ptniecb daudzsoloa ir daudzdimensionla koncepcija, rado potencila vrtana un testu lietoana diferenctai vrtanai un padomdoanai (Cropley, 2000). Kreativittes zintniskaj institt kreativitte tiek ptta ts komplekss dabas kontekst, integrjot kreatv procesa, personbas un produkta jomas (Bebre R., sten I., Roe L., 2008). obrd pievienoti ar recipienta un socils vides ietekmes aspekti. Ilgks diskusijas bijuas velttas kreativittes un diverents domanas attiecbm. Pdj laik atzta konverents domanas loma (Rickards, 1994; Brophy, 1998). Efektvai novittei nepiecieami abi domanas veidi; svargi izdalt zonu, ko prklj abi domanas veidi (Facaoaru, 1985), piemram, uz mri virzta diverent domana. Btisks pavrsiens kreatv procesa izpt ir pievrans personbas k vienota kompleksa (Stern, 1938) vai psihi integrejoas instances kodola (Zinenko, 1995) lomas novrtanai. Procesa dimensiju var novrtt personbas kontekst (Smith, Carlsson,2000). Personbas integrl btba nav tiei saskatma, tpc ir aktuli integrejos instances mekljumi (Es koncepcija, patba, vrtbas, jga...), k ar hipotezes par veidu vai principu, k is kodols garant personbas veselumu. Organiztbas, strukturtbas dinamisms (Caprara, Cervone,2003) iekauj attstbu ka centrlo asi personbas koncept. Pieemu, ka tiei rpes par personbas k veseluma iekauanos kreatvaj funkcionan virza ptniekus (Smith, Carlsson, 2000, 2006) pievrsties grandteorijas psihoanalzes iespjm kreativittes izpt. Psihoanalze oper ar regresijas jdzienu. Regresija ir atgrieans psihisks attstbas ietvero proces no sasniegt punkta uz kdu iepriekjo punktu. 75 85 gadu vecum is psihisko attstbu ietveroais process aptver nodzvots dzves telpu, kur pagtne, tagadne
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un nkotne zaudjusi strikts robeas. Forml nozm regresija ir atgrieans zemka lmea strukturtbas un diferenctbas stvokl (epiteti par naivitti, cu ar vjdzirnavm, prliecinou argumentu trkums utt.). Regresija uz primro procesu funkcionanas lmeni nenozm aklu atgrieanos primitvas domanas lmen. T drzk ir to pieredzes aspektu rekonstruana, kuri ir pakauti diverentajai un ar emocijm saisttajai loikai (Holt, 1985). Citiem vrdiem, aiz domanas slpjas neverbls iekjs vrds (Mamardavili, 2003), vrdi pilngi iztrkst, kad es patiesi domju (matemtiis Adamrs .); patiesi radoa domana ir emocionli radoa intonjoa domana, un intoncija caurvijas visiem domanas satura momentiem (Bahtins); domanas akti ir daa no t, k ikdien prbaudm savu likteni (Mamardavili). Cittos ies kanas konverents domanas ka sintzes saturs. Ikdienas iesaistans neprtraukt socili ietekmt kopdarbbas proces pakpe, ts mrogs, lielums, virziens un saturs balsts izkopt refleksij. Refleksjot individs kopdarbbas norises sasaista ar paa dzvesdarbbu. Kopdarbbas refleksija rada un pctecgi attsta noteiktu formu dialoiskumu,kur noskaidrojas darm nozmes un jgas (Bahtins, Zinenko, 2003). Regresija ir uzskatma par neatemamu radoas personbas funkcionanas mehnismu (Smith, Carlsson, 2000). Msdienu personbas teorijs tiek iekauts regresijas koncepts (Martindale, 1995). Regresija rosina tdas asociatvs saites, kas nav pieejamas, vai maz pieejamas sekundro procesu lmen. DARBA MRIS ptjuma galvenais mris ir kreativittes procesa analze saistb ar personbas attstbu vlnaj dzves period. Noskaidrot kreativittes izpausmes formas, kuras ir nozmgas paam senioram un plakai sabiedrbai. MATERILI UN METODES Ievad teiktais liel mr izskaidro kreativittes mehnismu gerontoloisk vecum. Vecums ir pietiekami nenovrtts, bet daudzsolos ptjumu lauks, jo ir pieredzes kulmincijas zona (Tornston, 1982) un garant, piemram, 75 85 gadu vecum plau prskatu par galveno dzv kas virzjis emocionls saites, darba veiksmes un neveiksmes, izgltoanos, dzves kredo, principus, vrtbas. Pieemu, ka longitudinlie ptjumi, iekaujot visvlnko briedumu, vartu sniegt savas atbildes uz personbas integrjos instances mekljumiem. Kreatvais darbs, pat ja tas ir mazk perfekts (kognitvo funkciju pavjinans), ir iekji nozmgs paam senioram. Radoais gars pau un bagtina iekjo dzvi, paldz at jaunoties. Kreatv aktivitte var reprezentt veselumu (wholeness), integrciju, augstku apzias lmeni un emocionlu mierinjumu. Rugh (1991), ptot sievietes svtcenieces, noskaidrojusi, ka vienldz svargas refleksvs domas, sintze un personbas transformcija, kas ved uz gatavbu dalties ar citiem, spcgku sevis izjtu un atjaunotu dzves virzienu, perspektvu. Berman (1988,1989) atzmjis vln vecuma kreativittes galvenos aspektus: spcga individucija un augstka eneranas pakpe; plastiskums reprezent attstbas uzdevumus: piemroanos zaudjumiem; enerijas prorientanu; attieksme pret savas dzves misiju, ieguldjumu un aizieanu. Goldman (1991): vecumam nav jbt beigm, tas var bt cita skums, piemram, vest uz lielku eksistences skaidrbu. Kreativitte vlnaj briedum var bt pozitvi saistta ar labkljbu, veselbu un apmierintbu ar dzvi (Dawson&Baller; Garfield, Cohen& Roth; Landau&Maoz; Osgood; Veseley&Torrance utt.). Senioriem piemt intma, simboliska pasaules izjta, kura produc
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uniklas, izvltas aktivittes (Navarra,1979). Vecum neturpins daudzas socil tkla (tai skait ar darbu saistts) uzspiests atbildbas, kas atauj izlauzties brvdomtja, brva gara izpausmm savas dzves kreatvai prstrukturanai. Bt spjgam redzt vecas lietas jaun gaism un dzirdt idejas ar kreatvu ausi ir solis uz apmierintbu ar dzvi (Roberts, 1988). Kreativitte nav hronoloisk vecuma funkcija (Simonton, 1990; Hickson, Housley, 1992; Cropley, 1995 u.c.). Kreatvie akti var paldzt dzves un novecoanas nozmguma celan. Kreativitte ir kanls, kas izved no ierobeojumiem un eksistences nenoteiktbas, pai tad, kad laiks auj realizt agrk iecerto un nozmi zaudjui bijusie tieie profesionlie pienkumi. Ptjum izmantota atsevio gadjumu plaintas izptes metode. Kreativittes iz pausmes nosacti iedaltas trs pamatforms: 1. k kreatvas profesionls darbbas turpinjums tlnieka B. gadjums; 2. k dzves laik iecerta, ar profesionlo darbu nosacti saistta, bet aizemtbas d nerealizta skolotjas A. gadjums; 3. k pensijas gados jaunuzsktas kreatvas nodarbes trolejbusa vadtjas O. gadjums. REZULTTI Tlnieks B. ir s mkslas prstvis otraj paaudz, 91 g.v. Beidzis LMA, akmeu mcbu apguvis pie J. Grestes, brvmkslinieks, bijis izstts. 2009. gad izveidoti 7 darbi. 2010. gad plnota personlizstde Akmens un sieviete. Kas sniedz impulsu radoajam darbam? Svargi, lai iepatkas akmens. Vis dzv ir idejas, ko minu izteikt ar rokm (gap tiski) un vizuli. Starpposms ips nav vajadzgs. Nianses krss,faktr.Nosaukt skulptru nav nepiecieams, dakrt visprinu: Mea mte, Lauku mte, Laimes mte. Latviei (rietumbalti) cildina mti, sievieti, dievieti. K ikdien strdjat ? Ja strdju pie kda darba, jau pamostoties zinu, kas un kur jizdara. Iztrinu, izkau, izslpju 2 3 mneus prasa katrs darbs. Jaunb 16 stundas pc krtas kalu. No 80 gadu vecuma prtraucu sabiedrisko darboanos un samazinju izmrus. Ideju var izteikt mazk izmr. Katru dienu 2 3 stundas strdju pie akmens. Vai sapi piedals radoaj proces? Apzinti sapi. Guu oti labi, biei 12 stundas bez prtraukuma. Vai Js ietekm daba? Tas ir pats galvenais. Esmu dabas brns, ganos gjis. Ptju dabu, dzvoju nometns, nodarbojos ar sportu un izdzvoanas mkslu me. Akmens darbiem vajadzga saules gaisma un vju vasara. Aukstums trauc un ziem maz gaismas. Ceoju 2009.g. mart biju Rietumvcij sagaidt pavasari. Vai garastvoklis ietekm? Regulju garastvokli uz darbasparu. Pc sievas nves tukums. Tas dzen uz piepildanos. Mzika paldz (pats spl klavieres, apmekl klasisks mzikas koncertus Vasks, Skulte, Vgners, Bethovens, Mocarts; visas operas esmu redzjis), rosina fantziju, labo puslodi vajag stimult. Tlniecba ir sacietjusi mzika. Vai TV u.c. mediji ietekm Jsu radoo procesu, dzvi? Dzvoju sav vid un radu savas mediju ietekmes. Esmu neatkargs no visa t. Man pietiek savas gudrbas un pieredzes. Pasaule vairs prsteigt nevar. Grmatai ir nozme. Lasu folkloru, filozo fiju un sava znota grmatas par ezera izcelanos un atkltajiem pilskalniem, vsturi, arheoloiju. Kurp virzs msu sabiedrba? Esmu Latvijas laikabiedrs viens no pirmajiem pilsoiem. Tagad msu zemte atpas.
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Intensvs tehnoloijas 60 gados zemi ir noplicinjuas. Tagad mslojas no augiem, no saules enerijas, krtojas un atkopjas zemes virskrta. Bs atkal laba augsne, bet tam vajag 100 gadus. Tas viss atkrtojas. Atgrieamies bijuaj. Mksla ir dzika, smagka, jaunkos laikos virspusgka. Jo vairk ejam atpaka, atrodam, kur atsperties, jo stiprki kstam. Svarga folklora, pai tautas dziesma, esmu pilns ar tm no mazotnes, skolas laika. Mana pieredze mana bagtba. Vai varat ar kdu izrunties no sirds un zint, ka Js saprats? Esmu vientunieks pc btbas. Sieva (gleznotja) man prasja padomus, bet par maniem darbiem uzzinja no izstdm. Tagad nav tuvu cilvku, kuri saprastu mani.Es visu paturu sev. Var kop papriecties/prieks dubultojas/, bet negribu iznest slikto, lai nedubultojas. Spes izdeg darba proces pc sievas nves skulptras vl skaistkas kuvuas. Kas visvairk apbdina? Muba (dumba) visos lmeos. Neko neraojam, tikai kaut ko gaidm. Saimniecisk nezinana kas ir kopprodukts, k tas veidojas. Kas visvairk iepriecina/sniedz gandarjumu? Rados process, imene 1 meita, 2 dli, 10 mazbrni, 3 mazmazbrni; varu kontrolt savu dzvi. Kas dzv ir visvrtgkais? Darbi katru dienu, doma izprast dzvi, politiku, lai neviens bldis nebtu par tevi gudrks; labestba, morls krietnums. Var tikai pabrnties par izcilajm darba spjm un filozofiskajiem visprinjumiem, kuri piemt im dzvesgudrajam mksliniekam jau obrd 92 gadu vecum.Via izcilais potencils turpina realizties. Filoloe A. 75 g.v.: 25 darba gadi skol, 12 urnalistik, pensij dodas 55 gadu vecum. Kdu dzves posmu/kd vecum uzskatt par visproduktvko, interesantko, piepildtko? Tagad, jo beidzot dzvoju, k gribu. Piepildu ts intereses, kuras rodas, un varu uzaicint pie sevis ciemos Latvijas gargs dzves lderus. Ar tiem esmu iepazinusiess darba gados, kad organizju paskumus. Tagad sev mu lietu daru priek citiem. Ar ko skt? Sarkoju talku, lai savestu krtb lauku mju. Taj piedaljs radi un draugi. Domju, k dzvi padart pilngu un interesantu gan sev, gan apkrtjiem. Kdi tagad ir galvenie Jsu darbbas virzieni? Tautu kultras svtki katru gadu jlij (lietuvieu, ignu, igauu, baltkrievu, pou, vcu, norvu, ukraiu u.c.). Pirmie bija somu. T bija A. gures ideja (Somijas mazo pilstiu pieredze). Pirms Ziemsvtkiem trediens (15 gadus) literr trediena. Izvlos veltt to no vadniekiem (A. Brigadere, M. Zverts, H. Gulbis, V. Strlerte, I. Zandere u.c.) vai rakstniekus, dzejniekus, grmatu izdevjus, kam apaas jubilejas (M. Zari, A. Brodele, R. Ezera, M. aklais u.c.). 30 gadus vadu grmatdraugu biedrbu. Uz visiem sarkojumiem ierodas apgds ar grmatm (bijui 25 apgdi). Apgdi dvina grmatas; esmu ts samusi ar no latvieiem rzems (izemot friku). Mjas lielko dau aizem bibliotka muzejs, veltts Latvijas grmatizdevjiem. J. Rapa novadnieks, un katru gadu Jos visi aicinti (piedals folkloristi, kora Kamr... dalbnieki u.c..). 5. Grmatu svtki augusta 3. sestdien, skas plkst.10.00 no rta (parasti piedals vidji ap 30 cilv. Tie bijui veltti, piem., A. Skujiai literatrzintnieks J. Zltis;
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 M. Zvertam (amatiertetri no Bnes, Zaeniekiem, Sesavas u.c.); Z. Skujiam izdevjs Jnis Oga; Teku Kurma (igaunis) piedaljs aktrise Velta Straume. Vietj novada administrcija finansili os paskumus neatbalsta (1x gad 50 LVL). Iztiek no pensijas un dla paldzbas. Ir atbalsts no entuziastiem (piemram, Mris Druva, vietjais literts). Spcina grmata 2009. gad izlasjusi 50 grmatas (pierakstts sadaljums pa mneiem). Prliecinta, ka gars izvlas to miesu, kura tam vajadzga (nevis vesel mies mjo vesels gars) (Z.Mauria). Trolejbusa vadtja O. 76 g. v., darba sts 30 gadi, atraitne, 2 meitas. Tagad aizraujas ar mkslinieciskm aktivittm pensionru apvienb: no vilnas taisa gleznias; batiko; apglezno interesantas formas pudeles, burcias u.c. traukus. Vai no rta zint, ka odien kaut ko taissiet? Galvenokrt j, kaut ne glui vienmr. Dakrt grti uzskt, bet ja uzsku, nevaru atrauties, pat 5 6 stundas pc krtas strdju. Vai ietekm sapi? Sapi diezgan bezsaturgi, nav sieta lnijas. Ornamenti rds un pazd k kaleidoskop. Daus tomr iegaumju. Vai daba ietekm radoo procesu? oti. Gadalaikus izjtu caur drza darbiem. Bet tur ir ar krsu bagtba. pai pavasar un ruden, pai ruden no t ietekmjos. Daudz staigju, braucu uz Jrmalu katru sestdienu k uz darbu. Vai garastvoklis ietekm radoo procesu? Laikam trolejbusa vadana dzves laik ir disciplinjusi. Valdu pr garastvokli. Bet uz saviem mkslinieciskajiem rokdarbiem nav pai sevi jkontrol tie pievelk. Kur liekat savus izstrdjumus? Piedalos izstds pensionru apvienb. Kdreiz kds noprk. Parasti uzdvinu tu viniekiem vai bijuiem koliem vii prot novrtt un priecties. Viss dzvoklis ir ar maniem izstrdjumiem rotts. Kas dzv ir visvrtgkais? Noturt serdi. Paskaidrou ar piemru. Rozes zieds ar garu ktu. Pc pris dienm zieds novst, bet lapas svaigas, negribas mest r. Novtuo ziedu tomr nogrieu.Stundas (!) laik novta lapas. Bet vl pc pris stundm lapas atkal bija svaigas un paclus. Tai kt tas spks. Un t serde dzves pamatvrtbas darbs un krietnums. Katrs no apskattajiem gadjumiem ilustr vienu no trim veco cilvku kreativittes nosacti izdaltajm pamatformm. Atiras radt produkta ietekmes socilais mrogs, tau paam senioram tas ir dzii nozmgs. Visus vieno vlme un spja veikt patiesi nozmgus filo zofiskus visprinjumus, tai skait jgpilnus paa dzves gjuma apjaut, k ar attiecinmus uz visprcilvcisku kontekstu. SECINJUMI Trijos pttajos gadjumos vecos cilvkus apvieno uzticba morlm un kultras vrtbm, paizvirztam pienkumam, neatlaidba un disciplintba, ciea pret darbu, novittes vlme. Aplkots kreativittes izpausmes visdrzk saistmas ar ikdienas kreativitti (Mer zel, 1988), uz ko visi cilvki ir spjgi, ja ir iekji pietiekami motivti. Atirgs kreatvais sniegums saistms ar kombinciju: kognitvs izmaias, socils
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normas, kuras jprvar, motivcija, personbas faktors. pai jizce atirbas diverentaj un konverentaj doman, dominjot pdjai. Socil konvencija par darba prtraukanu pc pensijas gadu sasnieganas var bt kreativitti reducjos faktors. pai Latvij, kur vecko paaudzi neformli un formli izstumj no socils aprites, neapzinoties ts potencilu un varanu. Seniori tam pretojas katrs sav kreatv veid.
LITERATRAS SARAKSTS 1. Bebre, R., sten, I., Roe, L. (2008) Kreativittes ptjumi Latvij un pasaul 2005.2007. Zintnisko rakstu krjums Radoa personba, VI sj. Rga: KZI, 8.20.lpp. 2. Berman, H. (1988) Admissible Evidence: Geropsychology and the Personal Journal. In: Reinharz, S. & Rowles, G. (Eds.) Qualitative Gerontology. New York: Springer 3. Brophy, D. (1998) Understanding, Measuring and Enhancing Individual Creative Problem-solving Efforts. Creativity Research Journal, No11, p.123150. 4. Caprara, G., Cervone, D. (2003) Personality. Determinants, Dynamics, and Potentials. Cambridge: Cam bridge, University Press 5. Cropley A. (1995) Creative Performance in Older Adults. In: Reflections on Educational Achievement 6. Cropley, A. (2000) Defining and Measuring Creativity: are Creativity Tests Worth Using? Roeper Review, Vol23, Issue2, Dec, 2000. Academic Search complete. 7. Facaoaru, C. (1985) Creativity in Science and Technology. Bern 8. Goldman, C. (1991) Late Bloomers: Growing Older or Still Growing Generations, p.15, 7178. 9. Hickson, J., Housley, W. (1997) Creativity in Later life. Educational Gerontology, No23 (60), p.539547. 10. Holt, R. (1985) The Current State of Psychoanalytic Theory. Psychoanalytic the Psychoanalytic, Vol. 2, p.289313. 11. Karpova, . (2010) Pensionto pedagogu apmierintba ar dzves apstkiem un kreativittes iespjas. (nodots iespieanai LU ATTEE konferences krjum, Pedagoijas nod.) 12. Mamardavili, M. (1994) Domtprieks. Rga: Spektrs, 201lpp. 13. Martindale, C. (1995) Creativity and Connectivism. In: Smith, S., Ward, T. & Fisher, R. (Eds.) The Creative Cognitive Approach, Cambridge: MA MIT Press, p.24968. 14. Navarra, B. (1979) Creative Arts and the Elderly. Workshop presented at the Western gerontology social an nual Meeting in San Francisko, CA. 15. Rickards, T. (1994) Creativity from a Business School Perspective: Past, Present and Future. In: Nurturing Anti Developing Creativity. The Emergence of a Discipline. Norwood, New York: Ablex, p.155176. 16. Roberts, T. (1988) The Effects of Creativity Training on the Aged. Misisipi 17. Rugh, M. (1991) Creativity and Life Review in the Visual Arts. Generations, No15, p.2731. 18. Simonton, D. (1990) Creativity in the Later Years: Optimistic Prospects for Achievement. Gerontologist, No30, p.626631. 19. Smith, G. (2008) The Creative Personality in Search of Theory. Creativity Research Journal, No 20 (4), p.383390. 20. Stern, W. (1938) General Psychology from the Personalistic Standpoint. New York: Mac Millan 21. Tornston, L. (1982) Gerontology in a Dynamic Society. Ageing and Life Transitions, Harevan, T., Adams, K. (Eds.) New York: Guilfordpress, p.183219. 22. , . (2006) , 2. : . rija Karpova Prof. emer. Dr. habil. psych. Rgas Pedagoijas un izglbas vadbas akadmija Kreativittes zintniskais institts Adrese: Imantas 7. lnija 1, Rga, LV-1083, Latvija Tlrunis: +371/67140086, 26115400 e-pasts: karpova@lu.lv 407

Elmrs Vbers. Esmu pievrsies aksioloiskajai tematikai pc dau dzu gadu prtraukuma. aj laik Latvijas filozofisk doma vrtbu fenomenam pievrsusies retu reizi, un publikcijas vrtbas teorij nav biei sastopama pardba. Tomr pasaul interese par aksioloiju nemazins. Izveidots pat specils, aksioloijas tematikai veltts institts, kas nosaukts formls aksioloijas pamatlicja vrd Ro berta S. Hartmaa Formls un pielietojams aksioloijas institts (sk.: www.hartmaninstitute.org) ELMRS VBERS Rgas Pedagoijas un izgltbas vadbas akadmija, Latvija

SZIFA MOTIVS VRTBU JAUNRAD

Kopsavilkums Ievads. Vrtba nerodas, to rada. Vrtbu jaunrade prasa piepli fizisko, intelektulo un emocionlo spku ieguldjumu. Darba mris. Pamatot vrtbu jaunrades un mrtiecgi veiktas darbbas saistbu. Materili un metodes. Filozofisks literatras analze un zintnisko atziu interpretcija par vrtbu jaunradi mta par Szifu simbolikas kontekst. Rezultti. Msdienu ptjumi liecina ja cilvks vlas gt izcilus pankumus, ar talantu vien nepietiek. Lai radtu nozmgas vrtbas, vispirms ir jiegst zinanas un jattsta prasmes, mrtiecgi vingrinoties daudzas darba stundas. Secinjumi. Izcilus sasniegumus mksl, zintn, arhitektr u.c. rada personbas, kuras ieguldjuas milzgas ples sav attstb. Atslgas vrdi: vrtba, vrtbu jaunrade, Szifa motvs.

SISYPHUS MOTIVE IN THE CREATION OF VALUES

SUMMARY Introduction. The value does not arise itself as a result of an impact of spontaneous natural forces. It also does not originate as persons dreams about a world of values in which s/ he would like to live. A value does not arise, it has to be created. To generate a value, it must be created in the subject and in the object. The procreation of values requires an effort the contribution of physical, intel lectual and emotional powers. Each value is formed as a result of an action, in which it is necessary to overcome the influence and resistance of the Sisyphus boulder. Tradition ally, the formal structure of value consists of: a) the object of value, b) the subject of value, and c) the form of relevance in which the value has been activated. Value is constructed by quality (significance): 1) which is potentially possessed by the object 2) which potentially corresponds to the subjects desires and 3) which is being actualized when the subject rec ognizes the correspondence of the potential significance of its desires, namely, by estimat ing the object as a significant value for itself. The formal structure of values is altogether similar to all values. A book is a value if a person perceives it as meaningful and is able to actualize its content.
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The described explanation characterizes the value as existing and included in the world of values, even if it foresees the necessity of actualizing the relevance of the objects qualities and the subjects desires and interests. However, in a wider context, the relevance between subject-object in relation of value can also be regarded in different levels, where this relevance manifests itself as an action to 1) create new values; 2) maintain the created values; 3) contrib ute to the axiological socialization of person, namely, the development of the kind of education and skills, that gives a chance to take part in the world of values. The creativity stage of values is the most important stage in the relations of values, because it gives rise to the new values and the world of values is being enriched. The founders of modern studies on values (axiology) are representatives of neokan tianism W. Windelband and H. Rickert. The symbolism included in the myth about Sisyphus is not equipollent. Even though it traditionally symbolizes fatality, which expresses itself as a work impossible to be accom plished, yet this symbolism, according to Herders statement, is also referable to unrealizable human dreams (Herders, 1993). Nowadays the motif of Sisyphus is perceived as a call to accomplish the work consist ently and purposefully, by overcoming the difficulties and the possible monotony of the work. This symbolism appeals to everybody - the Sisyphus stone is the burden, which has to be come familiar to each human, who sets up an important goal. The Sisyphus boulder has been impersonated into such concepts as my Sisyphus stone and my Sisyphus mountain. Aim of the study is to substantiate the correlation of the relevance of value creativity and consistently (targeted) accomplished action. Materials and methods. Analysis of the philosophical literature and interpretation of the results of scientific research about the creativity of values. Results. The scientific research dissipates the myth about natural given talent, which guarantees a total management of certain knowledge. The results of the research testifies if a person wants to become outstanding in a certain field, practice and trainings are much more important than talent. Swedish psychologist Eriksson during his research could not find any musician who would reach the apex of fame just by talent, without practicing 10 000 hours until the age of 20. He also did not meet anyone who had done as much training as above mentioned and ranked among the weakest. (Ilustrt zintne, 2009). To maintain excellence, trainings must be continued throughout the rest of the creative life. As the existence of civilizations has lasted for many millenniums, the world of values is also wide and diverse. Each generation begins to learn it from the beginnings and it demands more and more time, greater efforts and more valuable advice. Parallel to ambitions in the crea tivity of value, the work of value searching and screening has to be carried out, which marks the other stage, equally respected as rolling of Sisyphus stone, to be counted on by every person, when starting and continuing the pace of socializing. This process is covered by concept the value orientation. Gaining social (value) experience means to search creatively and consist ently for a most appropriate approach and individualized membership to the world of values. In this context the work of a teacher is indispensable, because the task of a pedagogue is to help children to find their own Sisyphus boulder and to build an individualized critical attitude in the world of values. The world of values created by a person exists only due to their taking care of it, by preventing death of important values and by extruding from the system of social (value) rela tions. If we compare the intellectual and emotional energy which had been invested in the cycle of the creativity of value and its maintenance, then we have to conclude that a greater attention and a growing creative imagination and power consumption must be invested there.
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Conclusions. 1. Values do not arise themselves, they are created. People cannot inte grate themselves (by satisfying their needs and interests) into the world which exists naturally. When a person is not satisfied with what is given to him by the outside world, he tries to change and create his own world of values. 2. Nowadays the symbolic meaning of the Sisyphus motive has changed - it has lost a great deal of the original hopelessness and sense of incurred penalty. Now this symbolism addresses everyone, who has set a goal for himself. 3. The outstanding achievements of talented people and their values are created as a result of insistent and targeted work. Each important value is preserved, imitated and attempted to surpass both by the contem poraries and next generations. Key words: value, the creativity of values, the motive of Sisyphus. IEVADS Vrtba nerodas pati no sevis, spontnu dabas spku iedarbbas rezultt. T nerodas ar td, ka cilvks sapo par vrtbu pasauli, kur vlas pavadt savu dzvi. Vrtba nerodas, to rada. Lai vrtba btu, t jrada gan subjekt, gan objekta pasaul. Vrtbu radana prasa piepli k fizisko, t intelektulo un emocionlo spku ieguldjumu. Katras vrtbas radana ir pakauta Szifa akmens ietekmei lai radtu vrtbu, ir jprvar objektvu spku un apstku pretestba. DARBA MRIS Pamatot vrtbu jaunrades un mrtiecgi (neatlaidgi) veiktas darbbas saistbu. MATERILI UN METODES Analizta filozofisk literatra un interprettas zintnisks atzias par vrtbu jaunradi mta par Szifu simbolikas kontekst. Vrtbas izpratnes apraksts Ikdienas apzias lmen plai izplatts viedoklis, ka vrtba ir objekta kvalitte, kas at bilst subjekta vlmei (alkm), apmierina t vajadzbas (intereses). Ja objektam piemt kvalittes, kas apmierina subjekta vlmes un kuras k tdas subjekts ar atpazst (novrt), tad du objekta kvalitti mdz dvt par vrtbu. Tamldzgas vrtbas interpretcijas galven problma ir t, ka vrtbas attiecbu subjekts ir cilvks, kur nespj iekauties (apmierinot savas vajadzbas un intereses) td pasaul, kda t dabiski pastv. Cilvkam nepietiek ar to, ko viam sniedz apkrtj dabisk vide. Tomr iepriek mintais vrtbas skaidrojums ir nozmgs taj zi, ka norda uz vrtbas formlo struktru: a) vrtbas objektu, b) vrtbas subjektu un c) saistbas veidu, kur aktualizjas vrtba. aj gadjum vrtba tiek apliecinta k kvalitte, kas: 1) potencili piemt objektam, 2) potencili atbilst subjekta vlmm un 3) aktualizjas, subjektam atpazstot objekta potencils nozmbas atbilstbu savm vlmm, proti, novrtjot objektu k sev nozmgu lietu vai pardbu. No skaidrojuma saprotams, ka vrtbas attiecbu aktv komponente ir subjekts, un, atkarb no t vlmes, intereses, attieksmes u. tml., veidojas vai ar neveidojas vrtbas attiecbas. Piemram, iPod ir pievilcga vrtba tikai tpc, ka to k tdu uztver msdienu pusaudi un jauniei. T ar saglabsies k nozmga vrtba tikai taj laika period, kur pusau dzim vai jaunietim bs noturga interese par o ierci.
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Forml vrtbu struktra ir visum ldzga ar citm vrtbm, taj skait gargm vrtbm. Grmata ir vrtba, ja cilvks to uzver k nozmgu un spj aktualizt ts saturu. Ja nav cilvka, kuram konkrt grmata ir nozmga (piemram, izzd ts valodas nesji, kuru valod grmata sacerta), tad mains ar s grmatas vrtba. Iespjams, ka t kst par vsturisku (muzeja) vrtbu. Katras priekmetiskotas vrtbas aktualizcija ir daudzveidgs un komplicts process. Jpiezm, ka iepriek mintaj gadjum uzmanba jpievr ar tdam btiskam vrtbu attiecbu veidojoam aspektam k zinanas un prasmes, k ar tm metodm un pamieniem, kuras sekm potencils vrtbas aktualizciju. Nereti vrtbu attiecbu savdabba kst atkarga tiei no m iespjm, piemram, no neierobeotajm teksta interpretcijas varicijm (Daija, 2004). Savdabgs ir dabas vrtbu klsts, kur subjekta inicito attieksmju paletei ir neatkrtojama nozme. ajs situcijs vrtbu aktualizcija notiek, izmantojot pieredz sakotu analoijas, ekstrapolcijas u.tml. metou pielietojumu. Kaut ar saule Jrmal riet ik vakaru jau tkstoiem gadu, tomr tikai t cilvka kltbtn, kur saulrietu ietver sav esttiskaj attieksm, t prvras aktualizt vrtb. aj gadjum cilvks vrtbu attiecbu objektu sauli nav praktiski (fiziski) prveidojis vai ietekmjis. To pau varam teikt, piemram, par savvaas ziedu. ds zieds pastv pats par sevi, un uz to nav attiecinms vrtbas statuss ldz brdim, kad cilvks (subjekts) uztver t skaistumu (novrt to k skaistu) un aktualiz zieda esttisko vrtbu. Ja vrtbas attiecbas veidojas cilvku starp, ts var izpausties gan k subjekta/objekta abpusji vrstas attiecbas, gan ar k vienpusjas subjekta/objekta attiecbas. Tomr k vien, t otr gadjum saglabjas subjekta/objekta saistba k btisks vrtbu attiecbu struktras nosacjums. Ldzga vrtbu forml struktra ir raksturga ar morlajm (tiskajm), tiesiskajm, politiskajm un citm tml. vrtbm, kaut ar o vrtbu attiecbu objekts nav fiziski noformts priekmetiskums, bet gan starpindivdu attiecbs kodts normatvisms un indivdu mrtiecga rcba. Uzskats, ka vrtbas ir k kultras dimanti, kas eksist objektvi un pastv separti vien td, lai cilvks sev vlam brd tos atrastu un izmantotu atbilstoi savm interesm un vajadzbm, ir paapmns, tiesa, visai plai izplatts. Dieml dos trauksmes bros pralde visbiek izrds tuka, gan td, ka cilvks spiests vrtbas vispirms radt un tikai tad ts iespjams izmantot, gan ar td, ka ikviens indivds, kur mina spontni piekt vrtbu pasaulei, ir nepietiekami redzgs, dzirdgs, saprtgs, prasmgs, respektvi, nav sagatavots adekvtai vrtbu uztverei. Btiski uzsvrt cilvka neprtraukts kltbtnes efektu vrtbu pasaul, cilvkam raksturgo gargo kvalitu pao nozmi vrtbattiecbs. Nepama tots ir ikdien izplattais uzskats, ka: 1) vrtbas ir patstvgi (objektvi) eksistjoi drgumi, ko cilvks var atauties pamest novrt, lai tos sev vlam brd aktualiztu savu vajadzbu un intereu apmierinanai, 2) cilvks vienmr ir gatavs tam, lai sptu adekvti iekauties vrtbu attiecbs un prvrst potencili svargas lietas sev nozmgs vrtbs. K zinms, cilvka iedaba ir dula t ir fiziski un gargi orientta. Atbilstoi tam ar vrtbas dals divs grups: materils jeb utilitrs (prtika; aprbs; ku, ceu, enerijas piegdes u. tml. infrastruktra; transporta ldzeki u. c.) un gargs (zintnisks, morls, esttisks, reliisks u. tml.) vrtbas. Vrtbattiecbs materilo (fizisko) vrtbu nozme izpauas k dergums (labums), savukrt, gargo vrtbu nozmba izpauas k patiesba, labestba, skaistums (daile), mlestba, svtums, brvba u. c. Vrtba kst patiesi nozmga tikai tad, ja t ir individuli nozmga. Tau vrtbu pasaule nesastv tikai no individuli nozmgm vrtbm. T k individualiztais vrtbu nozmgums aptver socilas grupas un organizcijas, ts kst ar socili un kultras zi nozmgas vrtbas. Visprbai (kopbai) orientts vrtbas ir vrstas uz imenes, kopienas, sabiedrbas, tautas, ncijas, cilvces saliedanu un aizsardzbu, indivdam piemrots uz katra indivda nozmbas (ap)stiprinanu.
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Iepriek izklsttais vrtbattiecbu skaidrojums tver vrtbu pasauli k jau pastvou, esou k objekta kvalitu un subjekta vlmju un intereu saistbas veidu, aktualizjot vrtbu ar doanas/emanas akta starpniecbu. Plak kontekst subjekta/objekta saistba vrtbas attiecbs skatmas ar citos lmeos, kur t izpauas k darbbas, kas vrstas uz vrtbu saglabanu (uzturanu, aprpi), no vienas puses, un cilvka aksioloisko socializciju, proti, izgltoanu un prasmju attstbu, paverot cilvkam iespju iekauties vrtbu pasaul, no otras. Btiskkais vrtbu attiecbu lmenis ir saistts ar vrtbu jaunradi. Vrtbu jaunrade ir svargkais vrtbu attiecbu posms td, ka tiei taj rodas jaunas vrtbas, kas papildina esoo vrtbu pasauli, veido socils stenbas aksioloisko dominanti. Msdienu mcbas par vrtbm (aksioloijas) pamatlicji ir neokantinisma prstvji V. Vindelbands (1848-1915) un H. Rikerts (1863-1936). K zinms, aj laik pastiprinta uzmanba tiek pievrsta zintnei par cilvku, un priekpln izvirzs jautjums par s zintnes metodoloiju, taj skait par principilajm atirbm no dabzintns izmantotajm izzias metodm un rezulttiem. V. Vindelbands formulja nomottisks un ideogrfisks metodes atirbas zintniskaj izzi. Sav lekcij Vsture un dabaszintne (Geschichte und Naturwissenschaft), kuru V. Vindelbands nolasja 1894.gad, stjoties Strasburgas universittes rektora amat, vi nordja uz vstures zintnes un dabaszintu principilm atirbm (, 2007). Pamato jumu dam sadaljumam Vindelbands atrod zinanu aksioloiskaj teorij atirbas starp m divm izzias metodm skaidrojot k aksioloisks dihotomijas sekas. Pirmaj gadjum ts ir zintnes par realittes visprgajm pabm (likumiem), otraj par ts konkrtajm, uniklajm pabm jeb, citiem vrdiem, neatkrtojamiem notikumiem (History and Natural Science, 1980). Ttad nomottisko metodi izmanto dabaszintnes, lai izzintu sakarbas, kas atkrtojas un ir kopgas ptmajm pardbm. T k s sakarbas ir stabilas un nemaingas, ir iespjams atklt dabas likumus. Turpret ideogrfisk metode vrsta uz individualiztajiem notikumi em, pardbm, ts ir neatkrtojamas un vienreizjas. metode ir raksturga socilajm un humanitrajm zintnm, kuras iemesla d koncentr savu uzmanbu uz vrtbas jautjumu Kaut ar msdiens s metodes netiek vairs krasi pretstattas, tomr aktvas diskusijas par to pielietojumu joprojm turpins (Lindlof). Diskusijas turpina izraist ar vrtbu pasaules izzias iespjas un vrtbas fenomena ietekme uz zintnes attstbu. Viena no vsturiskajm tradcijm vrtbu interpretciju saista ar fakta un vrtbas (vrtjuma) sprieduma atirbm. Fakta spriedumi sniedz informciju par objektvi fiksjamm pardbm, skaidrojot pasauli tdu kda t reli pastv, savukrt, vrtbas spriedumi inform par vrttja attieksmi pret vrtjamo objektu (priekmetu, pardbu), kur uztver pasauli tdu, kdai tai jbt, vadoties no subjekta skata pozcijas un samrojot vrtbu attiecbu objektu ar savu mri (idelu) un ar t iespjamo nozmbu subjektam. Tze, vai zintne ir brva no vrtbas ietekmes un vai zintne attiecb pret vrtbu ir neitrla (objektva), tiek aktvi apspriesta filozofiska rakstura sacerjumos jau vairk k simts gadus (,1990, Graham, 1981, Caws, 1967, Lowrance, 1985, Scriven, 1967). Tomr, neskatoties uz o diskusiju, k ar neskaitmajiem minjumiem prskatt fakta un vrtbas atirbu btbu, vrtbas fenomens un vrtbpieeja arvien plak iekaujas dadu zintu satur un metodoloij psiholoij, pedagoij, socioloij, ekonomik, valodniecb, antropoloij, socilaj ekoloij, vadbzintn u. c. Latvij pedagoijas zintn nostiprins jdziens vrtbizgltba, savukrt, psiholoij, analizjot prdzvojuma pieredzi k kreatvu vrtbu veidoanas procesu, vrtbu fenomenam pievrsta uzmanba ar zintnisko rakstu krjum Radoa personba (Vidnere, 2008).
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Alternatvais pretnostatjums un pretpolu saistba Vrtba nemdz bt bez sava iekj pretmeta. Pretmets izpauas k skaistuma un negltuma, labuma un aunuma, patiesbas un aplambas, derguma un kaitguma, altruisma un alkatbas, gudrbas un mubas, cilvcbas un vardarbbas u. tml. savstarpjs opozcijas saistba. Proporcijas aj balans ir situatvas. Sabiedrb, kur ir nodroints kaut vai relatvs dzves kom forts un cilvkam nav neprtraukti jcns par savu un savu tuvinieku izdzvoanu, negatv pretpols ne vien k mkslas, bet ar k cilvk praktisks rcbas mris nereti kst ietami pievilcgks un saistoks. Negatvisma apoloija ir tik izplatta, ka biei dzird sakm, ka msdiens ldzs pastvot pretji modei, jo opozcija skaists/neglts esot zaudjusi esttisko vrtbu: tagad negltais un skaistais esot divi izvles varianti, kas izdzvojami glui neitrli (Eko, 2008). Tomr da metodoloija visticamk nesps izturt ilgstou laika prbaudjumu. Tum sa neveido nu; lai rastos na, nepiecieama gaisma. Tiesa, iespju glbties no saules staru izncbas sniedz na, tau tas nenozm, ka tpc t vartu kt autonoma. Vrtbu pasauli nav iespjams sadalt divs noirts das, starp kurm izzustu savstarpj pievilkans un mijiedarbbas saikne. Ja pieemam, ka vrtbu pretpolu saistba var izjukt, tad td gadjum izzd ar vrtanas iespjas. Vrtbu balansa proporcijas un tas, kda veida vrtbas kultras un laikmeta kontekst izvirzs priekpln, ir atkargs no t, ar kdu intenci (interesm, vlmm, attieksmi, izpratni) subjekts ross vrtbu pasaul. Ja zd vrtbu balansa orientieri, tad nasta, ko cilvks uzkrauj saviem pleciem, kst pamcoi smaga, un t rosina meklt veidu, k atgriezties pie vrtbu iekj balansa vlamajm proporcijm. Szifa mtiskais liktenis ir uzskatma liecba tam, ka pat td vrtbu pasaul, kur priekpln izvirzta ietami monolta absurdu un bezjdzgu vrtbu ainava, t tomr nespj atsvabinties no tai sekojo vrtbu pretmeta. Mta par Szifu simbolika Szifam ir lemts izciest paa Zeva piespriestu sodu: lai saemtu bargu mcbu, Szifam jve kaln milzgs akmens, kas katru reizi veas atkal lej. Szifam tiei td akmens jve kaln, lai vi redztu, k tas nenovrami ripo lej no kalna. Dievi soda Szifu par to, ka vi cilvkiem atklja dievu noslpumus; turklt vi vairkas reizes (un ne bez pankumiem) minja prspt dievus viltb. Szifam izdevs sagstt pat nves dievieti Tanatos, un aj, nves dievietes gsta laik, cilvki uz zemes prstja mirt. Szifs veica vl vienu neiespjamu darbbu ar viltu izkuva no pazemes valstbas atkal zemes virs, turklt nepildja dieviem doto soljumu labprtgi atgriezties pazem. Drz vien dievu pacietbas mrs bija pilns, un vii nolma ne vien sagstt un ar varu nogdt Szifu Tartar, bet ar nesaudzgi viu sodt, liekot veikt smagu rutnas darbu un kt par bezcergi veicama darba simbolu. Tomr patiesb mt par Szifu iekaut simbolika nav viennozmga. Tiesa, t simboliz nolemtbu, ko rada bezcergs darbs, pat veltgas ples prspt paus dievus, proti, sasniegt neiespjamo, tau vienlaicgi t simboliz ar nekad nepiepildmos cilvku sapus (Herders, 1993). Absurd cilvka tls Ja jau Szifam bija zinmi dievu noslpumi, ttad vi nav uzskatms par ikdieniu cilvku. Ne jau vism cilvciskajm btnm dievi atklj savus noslpumus. Zemes dzves laik Szifs bija spilgta personba, izveicgs un drosmgs valdnieks; viu k gudru un tlredzgu varo ni attlojis jau Homrs. Savukrt Albrs Kam, 20 gadsimta franu literts un filozofs, raksturo Szifu ne vien k pazemes darbari, bet ar k absurda cilvka tlu. aj, absurda cilvka tla simbolik, Szifu vajadztu uzlkot pat par laimgu, jo tikai taj laik, kad via atmi dzvas vl bija ilgas pc
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zemes dzves, ne tikai akmens velana, bet ar doans lejup pa kalnu bija mokoa un cieanm prpilna. Tau pienca brdis, kad zemes dzves ietamie jaukumi Szifa uztver bija zaudjui jebkdu pievilcbu, un vi paradoksl veid spja prdzvot mirkus, ko sniedza atelpa. Absurds bija uzveicis pats sevi, no absurda bija atraisjusies laimes izjta. Ca par virsotni var aizpildt cilvka sirdi. Tpc mums Szifs juzskata par laimgu cilvku, raksta A. Kam (Kam, skat.). Szifs bija aptvris, ka oreiz vi patiem ir ieguvis neiesjamo nu viam piederja via paa liktenis. Tas bija prvrties par via mantojumu, vissvargko iegu vumu, kas nav dots nevienam citam cilvkam. Lai ar cik milzgs nebtu klintsbluis un lai kdu piepli neprastu t velana kaln, Szifs ir un vienmr bs stiprks par savu nastu. Akmens nekad neatems viam visu spku, jo viam vienmr ir jspj nokpt no kalna, lai atkal veltu akmeni kaln. Ik reizi, sasniedzis kalna pakji, Sizifs jtas stiprs un viu nebaida ne akmens, ne kalns, jo ne viens, ne otrs nav viss, kas viam pieder. Smag nasta ir vien daa no via liktea. Vi ir laimgs un ir atbrvojies no visa liek no atmim par mantu, no ikdienas kaislbm un prdzvojumiem. Kalns un akmens ir via dzve, via nasta un via darbbas piepildjums. Lai kas ar nenotiktu, vi ir dros par savu likteni. Milzgais klinu bluis viu nekad nepiespieds pie zemes; nekad nebs t, ka vi paliks pusce un nesps turpint uzskto. Szifs ir prliecints par savu spku, jo via liktenis un via spks ir nesaraujami saistti, tie prvrtuies viens otra pretmet. Mbas valstb Szifam pieder ne vien laiks, kas nepiecieams, lai uzveltu kaln akmeni, bet ar laiks, lai nokptu no kalna. Kpjot lej no kalna, vi ir brvs no dievu lsta. Turklt, t k pazem laikam nav ne pagtnes, ne nkotnes, ar atelpa ir tikpat mga k ak mens velana kaln. Szifa motva (Szifa akmens velanas) simbolisk jga ir vsturiski mainga. Msdiens t ir zaudjusi krietnu devu no skotnjs fatls bezcerbas un soda izcieanas noskaas. motva normatv ietekme vairs nav reducjama uz pazemes priekrakstu saglabanu par biedinjumu cilvkiem, kuri uzdroins nepakauties dievu gribai. Laika gait Szifa motvs ir zaudjis skotnjo, pozitv nozmguma visaptveroa pretnostatjuma jgu ar bezcerbu piestintas darbbas, darba k lsta un soda viet ir stjusies atirga Szifa motva interpretcija. Msdiens is vadmotvs aicina neatlaidgi un sistemtiski veikt savu darbu ar tad, ja darbs ir grts un vienmu. simbolika uzrun ikvienu cilvku Szifa akmens ir nasta, kas jiepazst katram cilvkiem, kur izvirzjis sev svargu, iespjams riskantu, mri. Szifa akmens ir personificjies ldz tdiem jdzieniem k mans Szifa akmens un mans Szifa kalns man vrtbu pasaul. REZULTTI Msdienu zintniskie ptjumi ir gaisinjui mtu par dabas dotu talantu, kas garant pilngu kdas mkas prvaldanu. Veikto ptjumu rezultti liecina ja cilvks vlas kt iz cils kd jom, skot ar atcerans metodm un beidzot ar mziku un sportu, daudz svargk par talantu ir vingrinans un trenii. K mints urnl Ilustrt zintne, zviedru psi hologam K. A. riksonam veikto ptjumu rezultt neizdevs atrast nevienu mzii, kur ldz slavas virsotnm btu nokuvis ar talantu vien, ldz 20 gadu vecumam nevingrinoties 10 000 stundu. Tpat vi nesastapa nevienu, kas btu trenjies vienldz daudz un btu palicis starp vjkajiem (Zvaigzne, 2009). Citi ldzgi ptjumi apliecina to pau. Lai sasniegtu izci lus rezulttus sav jom, ir regulri jtrenjas (jvingrins) milzum daudz stundas 10 000 studas atbilst vidji trim stundm dien desmit gadu laik. Lai izcilbu saglabtu, vingrinjumi jturpina visu turpmko radoo mu. prasba attiecinma uz zintniekiem, komponistiem,
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rakstniekiem, ahistiem, programmtjiem un visu citu radoo profesiju prstvjiem. Glui k Szifa liktemt, vingrinjums ir jsk arvien no jauna, neatlaidgi un regulri. Ttad talantgu cilvku izcili sasniegumi nozmgas mkslas, literatras, zintnes, arhitektras, tehnoloisks, sporta, modes, ar pedagoisks un pat morls vrtbas rodas k ieguldto pu, neatlaidgi un mrtiecgi veikta darba rezultts. d veid rodas katra cilvkam nozmga vrtba. s vrtbas iekaujas cilvka vrtbu pasaul, veidodamas kdas tautas kultras vidi. Katru nozmgu vrtbu gan laikabiedri, gan turpmks paaudze cenas saglabt, atdarint un prspt. T k civilizciju pastvana ir ilgusi daudzas tkstogades, ar vrtbu pasaule ir kuvusi plaa un daudzveidga. Katra paaudze sk to apgt no jauna, un tas prasa arvien vairk laika, arvien lielku piepli un vrtgka padoma. Ldztekus vrtbu jaunrades centieniem ir nostjies vrtbu meklanas un sijanas darbs, kas iezm otru, Szifa akmens velanas ciengu, clienu, ar kuru spiests rinties katrs cilvks, uzskot un turpinot savas socializcijas gaitas. o procesu aptver jdziens vrtborientcija. Iegt socilo pieredzi nozm radoi un neatlaidgi meklt sev atbilstoko pieeju un personificto piederbu vrtbu pasaulei. aj kontekst skolotja darbs ir neaizstjams, jo pedagoga uzdevums ir paldzt brnam un jau nietim atrast savu Szifa akmeni un veidot individualizti vrtjou attieksmi maldinoaj vrtbu pasaul, veidojot savu pozciju vrtbu pretmetu balans. Trekrt, cilvka radt vrtbu pasaule pastv vien td, ka cilvki to ctgi aprp un uztur, nepieaujot nozmgu vrtbu bojeju un izstumanu no socilo (vrtbu) attiecbu sistmas. Ja saldzinm vrtbu jaunrades un vrtbu saglabanas cikl ieguldto intelektulo un emocionlo eneriju, tad jsecina, ka pdjam ir jvelta arvien liekka uzmanba, jiegulda arvien pieaugoa radoa izdoma un spka patri. Novrt atstts (taj skait katastrofu, karu u. tml. veid zudus) vrtbas nords dabisku spku ietekm, pazd no cilvka redzesloka, zaud savu vrtbas statusu. Atsevias das vrtbas pc daudziem gadsimtiem atklj arhe ologi, un mina ts atkal iekaut socili nozmg aprit k vsturiski atdzimuas vrtbas. SECINJUMI 1. Vrtbas nav mgas, ts nerodas paas no sevis; vrtbas ir jrada. Cilvks nespj iekauties (apmierinot savas cilvcisks vajadzbas un intereses) td pasaul, kda t dabiski pastv. T k cilvku neapmierina tas, ko viam sniedz apkrtj daba, vi cenas to izmaint un radt savu vrtbu pasauli. 2. Msdiens Szifa motva simbolisk jga ir mainjusies t zaudjusi krietnu devu no skotnjs bezcerbas un soda izcieanas noskaas. Tagad simbolika uzrun ikvienu cilvku Szifa akmens ir t nasta, kas jiepazst katram cilvkiem, kur izvirzjis sev kdu mri un vlas to sasniegt. Szifa akmens ir personificjies ldz tdiem jdzieniem k mans Szifa akmens un mans Szifa kalns man vrtbu pasaul. 3. Izcili sasniegumi nozmgas mkslas, literatras, zintnes, arhitektras, tehnoloisks, sporta, modes, k ar pedagoisks un pat morls vrtbas veidojas k neatlaidgi, ilgstoi un mrtiecgi veikta darba (darbbas) rezultts. s vrtbas iekaujas cilvka vrtbu pasaul, veidodamas tautas kultras vidi. Katru nozmgu vrtbu gan laikabie dri, gan turpmks paaudze cenas saglabt, atdarint un prspt.
LITERATRAS SARAKSTS 1. Caws, P. (1967) Science and the Theory of value. New York: Random Hause, Inc. 2. Daija, P. (2004) Interpretcijas bezgalba. Karogs, nr. 5. (maijs), 97.- 104. lpp. 3. Eko, U. (sastdtjs). Negltuma vsture. Rga: J. Rozes apgds, 2008, 426. lpp.

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4. Graham, L. R. (1981). Between Science and Values, New York: Columbia University Press. 5. Herdera vrdnca (1993). Simboli. Rga, 72. lpp. 6. History and Natural Science (1980). By: Windelband, W. History & Theory, Vol. 19. p.165 168. http://web.eb scohost.com/ehost/pdf?vid=3&hid=105&sid=9c8dbb1d-68f9-4a8a-a843-dbfaf0032bd9%40sessionmgr113 7. Kam, A. Mts par Szifu. http://www.satori.lv/raksts/31/Albers_Kami/Mits_par_Sizifu 8. Lindlof, T. R. Idiographic vs Nomothetic Science. http://www.blackwellreference.com/public/ tocnode?id=g9781405131995 9. Lowrance, W. W. (1985). Modern Science and Human Values, Oxford: Oxford University Press. 10. Scriven, M. (1967). Science, Fact, and Value. In: Philosophy of Science Today. New York: Basic Books, Inc., 175. 190. 11. Vidnere, M. (2008). Prdzvojuma pieredze k kreatvs vrtbu veidoanas process. Radoa personba, VI sjums. Zintnisko rakstu krjums (sast. R. Bebre). Rga: KZI, 64.- 72. lpp. 12. Zvaigzne, V., galv. red. (2009). Vingrinies 10 000 stundu! Ilustrt zintne (47), 56.- 57. lpp. 13. , . (1990). . , . 345-415, 547-601. 14. , B. (2007). . , . 333.-352. Elmrs Vbers Docents, dr. phil., Rgas Pedagoijas un izgltbas vadbas akadmija Adrese: Imantas 7. lnija 1, Rga, LV 1083, Latvija Tlr. mob.: 26335652, fakss: 67808034 e-pasts: elmars.vebers@gmail.com

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