창조성의 사회심리학적 연구: 개념, 방법, 흐름과 주제

김명철,민경환 한국사회및성격심리학회 2012 한국심리학회지 사회 및 성격 Vol.26 No.4

Creativity is one of the most profound needs of humanity as it allows realization of optimal experience and self-actualization. However, despite its social interest and acknowledged importance, creativity has been underinvestigated as a scientific research topic in the field of psychology. One main reason for this disregard is that researchers are suspicious of the validity of the definition and of its methodology which is largely grounded on the psychometric tradition of creativity research where creativity is defined as a divergent thinking ability. On the other hand, the concept and methodology of creativity that is defined in the sociocultural context as a creative process and the individual who produces both nevel and useful products are appropriate as a scientific research topic. Especially, social psychological research of creativity that follows this sociocultural concept and methodology contributes to the comprehensive understanding of creativity in its own special way. In this article,we describe definition, methodology and research trends of social psychology of creativity in attempt to contribute to the advancement of this field of study. We review social psychology of creativity in a special attention to the meaning of each study as we structuralize its trends as (a) Theories for process and system, focusing on creating process' temporal and procedural integrity and its social system; (b) Theories for context and motivation,covering the effect and context of creator's state motivation, flow and emotion; and (3) Theories for group process, focusing on creating process where more than one creator is involved, that define factors that make a group become creative in an effective way. Finally, based upon the relation between three trends, we discussed the contribution of social psychology of creativity to understand creativity itself as a whole and to understand korean creativity. 인간의 근본 욕구이자 최적 경험이며 자기실현인 창조성은 그 중요성과 사회적 관심에 비해 과학적 심리학의 연구주제로서는 위상이 낮은 편이다. 그 중요한 원인 중 하나는 연구자들이 창조성 개념의 정의와 그 측정 방법의 타당도에 확신을 갖지 못하는 것인데, 이는 창조성을 확산적 사고 능력, 즉 창의성(創意性)으로 정의하는 심리측정론적 개념과 그 방법의 타당성 문제에 상당 부분 기인한다. 반면 사회문화적 맥락에서 새롭고 유용하다고 합의되는 산물을 생산하는 개인과 창조과정의 특징으로 창조성(創造性)을 정의하는 창조성의 사회문화적 정의 및 방법은 과학적 연구 주제로 타당하며, 특히 이러한 개념과 방법에 따르는 창조성의 사회심리학적 연구는 창조성에 대한 온전한 이해에 독특하게 기여한다. 이에 본 논문은 창조성에 대한 사회심리학적 연구의 활성화와 발전을 위해 창조성의 사회문화적 개념과 그 연구방법을 살펴보고, 창조성의 사회심리학적 연구 흐름을 개관한다. 특히 각 연구의 함의에 주목하여 (1) 창조과정의 절차적 전체성에 주목하고 창조의 사회적 체계를 강조하는 ‘과정과 체계의 창조성 이론’, (2) 내적 동기 및 몰입을 중심으로 창조자의 동기와 정서가 창조성에 미치는 영향을 파악하고, 창조에 적합한 마음 상태를 만드는 환경요소를 탐구하는 ‘맥락과 동기의 창조성 이론’, 그리고 (3) 2인 이상의 창조자가 관여하는 창조과정에 주목하여 집단의 효과적 기능 조건을 탐구하는 ‘집단 과정의 창조성 이론’의 세 가지 흐름으로 구분하여 각 연구주제를 개관하였다. 마지막으로 세 가지 흐름의 상호관련성을 바탕으로 창조성의 사회심리학적 연구가 창조성의 넓고 깊은 이해에 기여하는 바를 강조하고, 한국사회의 창조성 연구에 대한 함의를 논하였다.

창의성 계발 기법과 창의적 문제 해결법과의 관계 - 미술과를 중심으로 -

이화식,황은선 한국조형교육학회 2009 造形敎育 Vol.0 No.33

This research focuses on the relationship between the Creative Problem Solving Methods and Development Techniques of Creativity among the four ideal forms of studying in art education. The necessities of this research can be indicated largely into two parts. As the first confronted problem, after the announcing of the 2007 Reformed National Art Curriculum in 2007, the revised art textbooks and curriculums of 2007 will be used and applied starting in 2009. The second cause is due to the great importance is being placed on the contextual knowledge and creative thoughts at this time when the 21st century has begun. As contextual knowledge and thoughts of creativity were put to serious consideration, many methods were researched to improve these ways of thinking within education. Hence, the purpose of this research was placed on examining the relationship between the Creative Problem Solving Methods and Development Techniques of Creativity amongst the various instruction methods, which are mentioned in the 2007 Reformed National Art Curriculum and also to present a more delicate model that possible for usage in the field. As a result, the solutions to the problems of creativity were as follows. First, creativity is the thinking process of the solution and consequential thinking that derives new ideas. Secondly, the basic elements of creativity are divergent thinking, convergent thinking, practical thinking and creative attitudes. Thirdly, the activities of art hold an intimate relation with the development of creativity. Lastly, among teaching activity models of art education for the development of creativity, the aesthetic experience and expression as well as appreciation all have relations but have greater relations with expression and the Creative Problem Solving Methods, the instruction․learning model, related to expression holds the most relation.

인공지능자동화의 전면화 국면에서 일과 사회 : 창의성의 문제

김두환 지역사회학회 2022 지역사회학 Vol.23 No.2

Creativity begins to establish itself as human nature at the dawn of modern society. However, the current creativity discourse in the era of automation is centered on the situation in which machines threaten humans. Regarding this situation, this study deals with the problem of creativity discourse, which claims that we can only survive when we are creative. The process begins by examining how creativity, as a latent ability, emerged as a universal human possibility in modern society, but how it was blocked. All the tools and inventions that mankind has created in the long history of life supplement the vulnerable human beings. However, in the era of artificial intelligence automation, paradoxical claims are being made that machines are humanizing. So, in the era of automation, we look at how what those who advocate for creativity are doing is creating the result of grading people. The key is that creativity is what a good job that will survive in the age of automation requires. However, such a claim threatens to block the opportunities for creativity that every individual should enjoy. Creativity studies by psychologists track the environmental and psychological characteristics of creative people. Recognize the importance of the social and cultural environment. However, they do not pay attention to the structural problem of historical society that this study focuses on. It also examines the concreteness of practice, which progressive automation theorists’ expectations for labor emancipation and the utopian vision of a society where universal human creativity can be exercised are lacking. This study focuses on the local as a possibility to overcome these limitations. An important factor in the centripetal force of the Capital metropolitan area in Korean society is employment opportunities. The creativity required by the labor market is the ability to be employed. So it does not require the ability to express creativity to achieve true individuation. Moreover, human creative thinking is possible through meaningful social interaction. However, it does not happen in abstract groups such as nations and countries. Concrete and practical interactions are possible within meaningful human relationships created in the local, which is the basic living ecosystem in which individuals live. Therefore, this study pays attention to the emergence of local creators, which are visibly active in Korean society since early 2010s. Specifically, it argues that the movement of a new generation to realize their own uniqueness in the local community where life takes place is an important practice case of creative freedom to realize the uniqueness of ‘I’. 창의성은 근대사회의 여명기에 인간의 본성으로 자리매김하기 시작한다. 그런데 자동화시대인 현재의 창의성 담론은 기계가 인간을 위협하는 사태를 중심으로 하고 있다. 이러한 상황에 관하여 본 연구는 우리가 창의적일 때만 살아남을 수 있다고 주장하는 창의성 담론의 문제를 다룬다. 그 과정은 우선 잠재된 능력으로서 창의성이 인간의 보편적 가능성으로 등장한 것이 근대사회였지만 어떻게 그것이 가로막히게 되었는지 검토하는 것으로 시작한다. 인류가 기나긴 역사에서 창조해온 모든 도구와 발명들은 생물로서 취약한 인간을 보충하는 것이다. 하지만 인공지능 자동화 시대에 이르러 기계가 인간화하고 있다는 역설적 주장이 일어나고 있다. 그래서 자동화시대에 이르러 창의성을 주창하는 사람들이 행하고 있는 것이 어떻게 사람의 등급을 매기는 결과를 만들고 있는지 살핀다. 그 핵심은 자동화시대에 살아남을 좋은 일자리가 요구하는 것이 창의성이라는 것이다. 하지만 이런 주장은 모든 개인이 누려야 할 창의성 발현의 기회를 가로막는 위협이다. 심리학자들의 창의성 연구들은 창의적인 사람들의 환경과 심리적 특성을 추적한다. 사회적 문화적 환경의 중요성을 인정한다. 다만 이들은 본 연구가 주목하고 있는 역사적 사회의 구조 문제에 주의를 기울이지는 않는다. 또한 진보적 자동화 이론가들이 가진 노동해방에 대한 기대와 인간 보편이 창의성을 발휘할 수 있는 사회에 대한 유토피아적 전망이 결여하고 있는 실천의 구체성에 대한 문제도 검토한다. 본 연구는 이러한 한계들을 극복할 가능성으로서 지역에 주목한다. 현재 한국 사회에서 수도권 구심력의 중요한 요인은 고용기회다. 노동시장이 요구하는 창의성은 고용되기 위한 능력이다. 그래서 그것은 진정한 의미의 개별화를 이룰 수 있는 창의성 발현의 능력을 요구하는 것이 아니다. 더구나 인간의 창의적 사고는 의미 있는 사회적 상호작용을 통해 가능하다. 하지만 그것은 추상적 집단인 민족, 국가에서 일어나지 않는다. 구체적이고 실질적인 상호작용은 개인이 살아가는 기초생활생태계인 지역에서 만들어지는 의미 있는 인간관계 안에서 가능하다. 그래서 본 연구는 한국 사회에서 2010년대에 들어서 가시적으로 활성화되고 있는 로컬 크리에이터의 등장을 주목한다. 구체적으로 삶이 이루어지는 로컬 커뮤니티에서 자기만의 고유성을 실현하려는 새로운 세대의 움직임이 ‘나’의 고유성을 실현하려는 창조적 자유의 중요한 실천사례임을 주장한다.

창조성과 청소년의 자아개념 형성에 관한 고찰

김정아 ( Kim Jeong-a ) 창조교육학회 2016 창조교육논총 Vol.18 No.-

This Study is the views on creativity and the formation of adolescent self. For the study, creativity and the formation of adolescent self are discussed, accordingly, the formation of the concept of adolescent self basd on the educational meaning of human creativity are examined. Creativity is a human nature, and humans can form their character in pursue of the wisdom and value of life by exhibiting creativity educationally. The concept of self is formed on the basis of human creativity, which is the core concept to affect human behaviors. Thus, the concept of self makes individuals have internal consistency to form their identity and chracter, through creative system by human creativity. Adolescent period is a decisive period of the development of the concept of self. During the adolescent period, individuals can understand abstract concept, think, and utilize the abstract concept to solve problems by increasing their abilities to apply logical thinking process, then creative self using creative can be manifested. The pursuit of value for the domain of human creativity is related to the formation of positive concept of self in adolescent period. It is to form creative concept of self to attain creative value by the creative self as the formation of independent identity, forming the concept of self-regulating self as the concept of self in the adolescent period. During the adolescent period, the creation of value can be displayed base on the experience and interest in the creative value through the concept of self. That is, the development of the concept of self in the adolescent period leads to creative development, thus, creativity in the adolescent years can be exhibited. The formation of the concept of self for human self can be formed based on the domain of human creativity. Such domain of creativity exists in human life, and creative value can be formed as the criteria of the concept of self, the belief system of the self. Since diverse creative value can provide the foundation to form the concept of self, the creative value can be educational foundation to form the concept of adolescent self, as creative value can be the standard of the concept of value and act as educational reference system. Therfore, the adolescent period is the optimum period to form the concept of self as well as the exhibition of creativity, based on the creative education.

Reconsideration of Creativity

Hyun-Ju Kim 한국중원언어학회 2016 언어학연구 Vol.0 No.40

The definition of creativity has been consistently debated and argued for decades as vital by those in schools as well as in business, government, and artistic settings. This paper explores several creativity models and processes for the ultimate goal of helping professionals to better understand creativity and innovation both in language classrooms and the corporate world. In response, this paper attempts to align these models with characteristics of several technology entrepreneurs and creative language teachers. In this review, I detail the historical evolution of key aspects of creativity research and frameworks. These frameworks are then situated in the real world of creativity output. Then these issues are extended to educational pedagogy and curricula and language teaching for creativity. Procedures that language teachers can apply creativity to their language classrooms are also explored. The discussion is broadened to include some of the key issues in current creativity testing that can inform the degree of student creativity. At the end of this paper, several implications related to teaching and testing for creativity in language education are offered.

창의성, 어떻게 만들어지나? (뇌과학을 기초로 한 일고(一考))

나승용 ( Na Sung-yong ) 창조교육학회 2019 창조교육논총 Vol.21 No.-

There are many definitions of creativity, but I will easily define it as “the ability to solve problems when we do not know the knowledge and procedures”. But what matters more than the definition of creativity is how and where we get the ability to solve problems we’ve never encountered. Just as science begins where human senses end, creativity that humans pursue in many ways begins with the stereotypes and senses that humans have. There’s a movie called The Matrix; where a young man who sells illegal hacking programs realizes that the world he knows is all fictional. The question is how do I know this? Of course, until now, a lot of people have suggested a way to think about how to think creatively, and I think it is being presented. I personally recommend the 13 methods presented in the book Spark of Genius written by Robert Root-Bernstein. The presented contents were observing, imaging, abstracting, recognizing pattern, forming pattern, analogizing, body thinking, empathizing, dimensional thinking, modelling, playing, transforming, synthesizing. What really interests me was what was common in these 13 contents. I summarized it in three ways: accumulation of memories, utilization of memories, and compilation of memories. I studied these three things from view point of neuroscience. First of all, how do you see creativity in neuroscience? To do this, we need to know the activities of the cells. In neuroscience, nerve cells are connected to each other, so that creativity means how to strengthen, speed up, and maintain the accuracy of the connections between nerve cells through continuous training. Next, is there any part of the brain responsible for creativity? Unfortunately, brain scientists suggest that there are some places which deal with emotions in the human brain, but that there are no places which deal with reason or creativity. In neuroscience, human creativity has led to the question of how to effectively and efficiently use the information of memory in the process of diverse and newly connected human consciousness to solve the uncertainty. Next is memory and emotions. Many things can be mentioned, but to sum up, ①the memory circuits and emotional circuits are closely related, ②rich emotions improve memory, ③people who have a lot of connections between the frontal lobe and the memory cortex are more creative, ④of course, in modern society, rather than emphasizing the use of hippocampus that transforms short-term memory into long-term memory, it is important to use the frontal lobe that quickly scans information and find necessary information. Therefore, the ratio of utilization to the parts of usage seems to be somewhat different. Finally, it’s about a neuroscience stance on the human mind. Recently, Harvard University psychiatrists have published a decade-long study of what the human brain does, and say there are three modes. salience mode, executive mode and default mode. What’s noteworthy about the results made by Harvard psychiatrists is that we humans use about 80% for the default mode among all three modes. So why should we care about the default mode? First of all, the default mode is ①to expand the human field of view. ②Secondly, the default mode is to endlessly reflect on your past and present and relationships with others. Lastly ③the default mode tries to talk to yourself internally and ultimately make some decision makings through your life. I think this is a truly meaningful discovery. There’s a good reason why we humans have to look deeper into the default mode for the sake of creativity. So what can we do now to apply for creativity in education? Here are six alternatives. ①Settle into culture, ②Continuously recategorize for concepts, ③Book reading exercise, ④Give time for doodle try ⑤Encourage writing notes, ⑥Social atmosphere that encourages failure. I assumed creativity as the ability to solve problems without knowing knowledge or procedures, I talked about the approach based on neuroscience. Based on the rapid progress of the study of neuroscience, I hope that human creativity will become more common and applicable to many people.00

텍스트 마이닝과 의미연결망 분석을 통한 집단창의성 연구동향 분석

김선연 ( Kim Sun Yun ),조규락 ( Cho Kyoo-lak ) 한국교육정보미디어학회(구 한국교육정보방송학회) 2020 교육정보미디어연구 Vol.26 No.4

본 연구는 집단창의성의 연구동향을 파악하고자 집단창의성 연구논문에서 추출한 키워드 간의 관계성의 구조와 특징을 분석하고자 하였다. 이를 위해 한국학술지인용색인(KCI)에서 2003년부터 2019년까지 집단창의성 관련 총 554편의 논문을 검색해내고 971개의 키워드를 추출하였다. 그런 후에 먼저 554편의 연구논문의 연도별, 학문분야별 현황을 분석하였고, 텍스톰(Textom)과 노드엑셀(NodeXL) 프로그램을 활용하여 추출한 키워드의 빈도 분석과 키워드 간의 동출현 빈도 분석을 수행하였으며, 1-mode 매트릭스의 의미연결망 분석을 실시하였다. 주요 연구결과는 다음과 같다. 첫째, 집단창의성 연구는 2016년 이후 다소 감소하지만 전반적으로 꾸준히 증가하고 있고, 교육학 분야에서 가장 활발한 연구가 이루어지는 것으로 분석되었다. 둘째, 키워드 빈도 분석에서 ‘창의성’, ‘프로그램’, ‘유아’, ‘집단창의성’, ‘영재’, ‘과학’, ‘교육’ 등이 자주 출현하는 키워드였고, 동출현 빈도 분석에서는 유아-창의성, 창의성-프로그램, 창의성-교육, 활동-창의성, 교육-프로그램 등이 동시에 자주 출현하는 키워드였다. 셋째, 의미연결망 분석은 집단창의성을 4개의 클러스터로 분류할 수 있음을 보여주었다. 클러스터1(G1)은 유아의 집단 활동을 통한 감성지능이라는, 클러스터 2(G2)는 과학 초등영재에 대한 문제해결력 및 집단창의성이라는, 클러스터 3(G3)은 유아교사의 창의성 교육을 통한 창의적 인성이라는, 마지막으로 클러스터 4(G4)는 STEAM교육 프로그램을 통한 창의적 능력 및 성격이라는 특징을 가진 것으로 보였다. 이러한 결과를 통해 수업의 시사점과 제안점을 제시하였다. This study was to analyze the structures and characteristics of relationship among key words abstracted from research articles of group creativity in order to find out research trend on group creativity. For doing this, the study searched for the total of 554 KCI (Korea Citation Index) articles related to group creativity and abstracted the total of 971 key words from 2003 to 2019. Then, the study conducted 1) the status quo analysis of the 554 articles depending on year and fields, 2) the frequency analysis among the abstracted 971 key words and the co-occurrence frequency analysis among the key words, and 3) the semantic network analysis with 1 mode matrix. Textom and NodeXL program were used for the analyses. Findings were as follows: First, the status quo analysis showed that the number of group creativity research appears to decrease since 2016 but appears to increase overall and that group creativity research were conducted most actively in the field of education. Second, the frequency analysis and the co-occurrence frequency analysis showed that ‘creativity’ ‘program’ ‘infant’ ‘group creativity’ ‘child prodigy’ ‘science’ ‘education’ etc. were frequently occurred key words and ‘infant-creativity’ ‘creativity-program’ ‘creativity-education’ ‘activity-creativity’ ‘education-program’ etc. were frequently co-occurrence key words. Third, the semantic analysis revealed that group creativity can be classified into 4 clusters. It appears that cluster 1 (G1) has characteristics of emotional intelligence through infant’s group activity; cluster 2 (G2) has characteristics of problem solving and group creativity on science child prodigy; cluster 3 (G3) has characteristics of creative humanity through creativity education of infant teachers; cluster 4 (G4) has characteristics of creative ability and character through STEAM education program. With these findings, the study offered instructional implications and suggestions.

대학생의 창의역량 함양을 위해 개발된 교양강좌의 효과분석

이현주,박성희 학습자중심교과교육학회 2022 학습자중심교과교육연구 Vol.22 No.14

Objectives In this study, the effectiveness of the liberal arts course developed to cultivate creativity, one of the core competencies of future talent, was verified for college students. Methods The liberal arts course for nurturing the creativity competency of college students aims to cultivate self-actualizing creativity, while continuously experiencing daily creativity, develop meta-cognition of creativity, and acquire integrated creativity by acquiring complex knowledge and thinking skills about creativity. Classes were conducted in a variety of ways, including lectures by professors, individual practice, conversation with peers, group games, team discussions, team projects, and presentations. The team consisted of 5-6 members per team considering the diversity of sex, grade, major, and problem-solving ability. The duration of the course was 13 weeks per semester (excluding midterm and final exams), and was conducted twice a week, 75 minutes at a time, over a semester. The questionnaire was conducted during the first week of class (1st week) and the week before the final exam (14th week), and the collected creativity and social efficacy questionnaire responses were analyzed through descriptive statistics and paired-sample t-test. Results It was found that the level of integrated creativity and social self-efficacy of the students who took the course increased significantly after taking the course. In addition, the perception of creativity was recognized as an abstract and single component before taking it, but as a concrete and complex component after taking it. Conclusions This study shows that the liberal arts course developed for the purpose of cultivating the creative competency of college students was effective. This provides meaningful implications for the direction and method of creativity education in universities 목적 본 연구에서는 대학생을 대상으로 미래인재의 핵심역량 중 하나인 창의역량 함양을 위해 개발된 교양강좌의 효과성을 검증하였다. 방법 대학생의 창의역량 함양을 위한 교양강좌는 자아실현적 창의성 함양을 목적으로, 일상적 창의성을 지속적으로 경험하면서 창의성에 대한 메타인지를 키우고, 창의성에 대한 복합적인 지식과 사고기술을 습득하여 통합적 창의성을 체득할 수 있는 내용으로구성하였다. 수업진행방식은 교수강의, 개인실습, 짝꿍대담, 그룹게임, 팀별토의, 팀프로젝트, 대표발표 등 다양하게 이루어졌으며, 팀 구성은 성별, 학년, 전공, 문제발견력의 다양성을 고려하여 한 팀에 5-6명의 팀원으로 이루어졌다. 강좌 운영 기간은 한 학기 13 주(중간고사, 기말고사 제외)이었으며, 매주 2회씩, 1회에 75분씩 한 학기에 걸쳐 진행되었다. 설문은 수업이 시작하는 첫 주(1주)와기말고사 전 주(14주)에 시행되었으며, 수집된 창의성과 사회적 효능감 설문 응답은 기술통계, 대응표본 t-검증을 통해 분석하였다. 결과 효과성 분석 결과, 강좌를 수강한 학생들의 통합 창의성과 사회적 자기효능감 수준이 수강 전보다 후에 유의미하게 상승한 것으로 나타났다. 또한 창의성에 대한 인식도 수강 전에는 추상적이고 단일구성요인으로 인식하던 것이 수강 후에는 구체적이고 복합구성요인으로 인식하고 있었다. 결론 본 연구는 대학생들의 창의역량 함양을 목적으로 개발된 교양강좌가 효과적이었음을 보여준다. 이는 대학에서의 창의성 교육이 나아갈 방향과 방법에 대해서 의미 있는 시사점을 제공한다.

유아교사의 창의․인성 교육에 관한 실천적 지식의 인식 변화과정

송윤나,송영인,박희숙 한국열린유아교육학회 2019 열린유아교육연구 Vol.24 No.4

This study aims to examine experiences of early childhood teachers who conducted creativity and character education in educational facilities and explore the change in practical knowledge process regarding their creativity-character education. For methods, participants were targeted and sampled among early childhood teachers interested in practical knowledge on their creativity-character education, performed in-depth interview and analyzed collected data qualitatively. In this way, drawn results included “the first meeting between creativity-character education: seeing the given creativity-character education with a glasses of viewpoint,” “searching for creativity-character education: dual play between ambiguous feeling and confusing emotion in search of intangible creativity- character education,” “making creativity-character education: making invisible creativity-character education visible,” “Finally realized authentic creativity-character education: the discovery of successful key to achieve the authentic creativity-character education. The present study is expected to propose complements and improvements of kid creativity-character educational program to be developed and provide basic data for the future creativity-character education research by analyzing the process of practical knowledge regarding creativity-character education to be developed as early childhood teachers practice creativity-character education. 본 연구는 교육 현장에서 창의․인성 교육을 실천하는 유아교사의 경험을 살펴보고, 유아교사의 창의․인성 교육에 관한 실천적 지식의 인식 변화과정을 탐색하는데 그 목적이 있다. 이를 위한 연구 방법으로 창의․인성 교육에 관한 실천적 지식에 관심을 지닌 유아교사 대상으로 연구 참여자를 목적표집하고 이들을 대상으로 심층 면담을 진행하여 수집된 자료를 질적 분석하였다. 이를 통해 도출된 연구결과는 ‘창의․인성 교육과의 첫 만남-가치관의 안경으로 주어진 창의․인성 교육 바라보기’, ‘창의․인성 교육 찾아가기-무형의 창의․인성 교육을 찾아가는 모호한 느낌과 혼란스러운 감정의 이중주’, ‘창의․인성 교육 만들어 내기-보이지 않는 창의․인성 교육 보이게 만들기’, ‘마침내 깨달은 진짜 창의․인성 교육-진짜 창의․인성 교육을 실현시키는 성공의 열쇠 발견’ 으로 나타났다. 본 연구는 유아교사가 창의․인성 교육을 실천하는 과정 속에서 나타난 창의․인성 교육의 실천적 지식에 대한 인식 변화과정을 분석함으로써 앞으로 개발될 유아 창의․인성 교육 프로그램의 보완점과 개선사항을 제안하고 추후에 진행될 유아 창의․인성 교육 연구에 기초적 자료를 제공할 것으로 기대된다.

과학교육에서의 창의력 수업모형 개발

우종옥(Woo, Jong-Ok),김승훈(Kim, Seung-Hun),강심원(Kang, Shim-Won) 한국창의력교육학회 2000 창의력교육연구 Vol.3 No.1

The purpose of this study is to develop a Creativity Instructional Model for the development of creativity in science education. The recent increased of creativity in school education, creativity is one of the top priority in the 7th national curriculum to pursue creative person based on basin abilities. The purpose of creativity education is to enhance the quality is life through the development of creative problem solving ability and creation of new knowledge. There are two different approaches in the development of creativity education program; one is subject-specific method which emphasizing process and the other is subject-free method which is specially designed creativity training program. In school practice, since learning and instruction is possible though subject matter education, the development and implementation of creativity instruction model appropriate to the basic knowledge and skill of a specific subject matter is necessary. In this respect, the researcher chose subject-specific method in this research. In science education, creativity is “to basic scientific knowledge, inquiry skills, and to discover a relevant and new problem solving method to solve the confronted problem using the elements of scientific creativity. Therefore, creative problem solving ability is one of the most important in science education. For this reason, a science creativity instruction model based on the analysis and synthesis of the existing science process model and CPS model developed in this study to enhance creativity through subject matter education. The researcher designed a five creativity instruction model; Problem-Finding, Generating- Hypothesis, Solution-Finding & Performance, Solution-Synthesis, and Elaboration Although this model was designed for science subject, it could be applied to other subject areas. However, since there could be differences in the basic skills and instructional methods, to apply the model to other subject areas, it should be modified to be relevant to the target subject area, schools, students’ ability, and students’ characteristics. In addition to the base of creative environment, this research proposed three elements of scientific creativity; (1) subject-specific knowledge and skills, (2) creativity-relevant skills, and (3) creative motivation.