Kūrybiškumo konceptualizacija ir praktiniai jo ugdymo aukštojoje mokykloje aspektai

LTPastaruoju metu vis dažniau akcentuojama kūrybiškumo ugdymo svarba. Tačiau kartu pastebima problema: teiginiai apie kūrybiškumo ugdymą dažnai virsta lozungais ir ugdymo procese realizuojami neefektyviai. Galima daryti prielaidą, kad viena iš to priežasčių – palyginti siaura ugdymo proceso dalyvių kūrybiškumo samprata. Straipsnyje pristatomas tyrimas, kurio tikslas – ištirti realią kūrybiškumo sampratą, kuria vadovaujasi studentai studijų procese. Atlikta universitetinių verslo administravimo ir žmonių išteklių vadybos studijų studentų (N = 52) savarankiškų darbų turinio kokybinė ir kiekybinė analizė, kuri atskleidė, kad įvairios juose identifikuotos kūrybiškumo formos suvokiamos labai netolygiai, ir iš esmės patvirtino iškeltą prielaidą.

ENThe most prominent researchers of creativity and many business consultants today stress the importance of creativity as the dodge of innovation increase, successful solutions and flexibility in the face of economic crisis. They embrace here the quite broad understanding of the phenomenon, which is expected to be employed in education systems too. Education is expected to play a very important role in fostering of the creativity of a young generation. But it is observed in various countries that this is not a very easy task for educational institutions of various levels, including universities. One of the reasons for that is supposed to be the quite narrow understanding of creativity, possessed, on an average, by students and their teachers. Thus, the aim of the present study was to compare the above mentioned broad understanding of creativity with the real-life understanding of creativity by university students while writing their papers. The conceptualization of the real-life creativity was also under investigation. The qualitative and quantitative content analysis of the data was conducted based on the principles of the grounded theory research system. The university students of Business administration and Human resource management BA studies (N=52) were involved into the investigation. All of them attended lectures on the psychology of creative behaviour. One of their tasks was to write a diary of their own creative activity as long as they had at least ten cases of creativity presented there, and to present a written generalization of the diary to their lecturer. Those generalizations were the documents to undergo content analysis. 43 of them were recognized as adequate for that after preliminary analysis. The MAXqda 10 software was used for further investigation. Four categories of creative behaviour were distinguished during the qualitative content analysis procedure.Ideal creativity: when a person does not have any particular aims for creative behaviour but only wants to enjoy herself/himself, and results are merely good emotions (e. g., engaging into musical improvisations just for fun). Spontaneous creativity: when a person unexpectedly catches a very creative idea or gets unexpected result without any efforts or planning in advance. Practical creativity: when a person seeks for creative solution of the problem, usually practical one, and gets the satisfying result after deliberate attempts. Formal creativity: when a person seeks to solve a practical problem and gets the result, which may be considered creative with some reservations. Practical and formal creativity were the broadest categories, according to the results, and taken together amounted up to 77 % of all cases of creativity mentioned in the papers (n=263). As further investigation showed also, "creating of things" were most usual cases inside these categories (54 % and 71 % accordingly), and creative social behavior was in the second place (22 % and 27 % accordingly). While looking at all 263 cases, only 7 % of them concerned solutions of unexpected problems (excluding "creation of things"), 7 % – arts, about 8 % of them were business ideas and about 4 % concerned the learning process. The results implicate the conclusion that the students involved into the investigation, on the average, possessed the narrower concept of creativity while writing their papers than it was usually delivered by scientists or business consultants, who stressed the importance of creative performance in various contexts. The research has a limitation: the students could have made their tasks easier by deliberately choosing simplified understanding of creativity in their papers. But, couldn‘t it be a case in other educational contexts either?.Thus, it is recommended, in order to get better results in creativity fostering, to develop the broader understanding of creativity possessed by both, the students and the teachers, at various levels of education, including universities. Having in mind the results of creative activity, the spontaneous creativity seems to be a kind of "higher-level" creativity in comparison with the rest creativity categories educed here. Its particular distinction also seems to be higher emotional involvement. Thus, the results affirm the role of the emotional involvement in the psychological mechanism of creativity and induce to extend empirical investigations in this direction. Emotional involvement into selected activities also ought to be mentioned as an important part of creativity fostering.