Psychological traits and characteristics of a creative personality. Abstract - Creative personality and its features - file n1.doc

FEDERAL AGENCY FOR EDUCATION

FAR EASTERN STATE TECHNICAL UNIVERSITY

(DVPI NAMED AFTER V.V. KUIBYSHEV)

Department of Sociology and Social Work

Course work

PSYCHOLOGICAL FEATURES OF A CREATIVE PERSON

Introduction

Chapter 1. The concept of creativity

1.3 Creative process and content

Chapter 2. Creativity and Personality

2.2 Creative person and her life path

Conclusion

The problem of creativity has become so relevant today that it is rightfully considered the “problem of the century”. Both Western and Russian psychologists have been dealing with this problem for several decades. But the phenomenon of creativity for a long time eluded an exact psychological experiment, since the real life situation did not fit into its framework, always limited to a given activity, a given goal.

Creativity is not a new subject of study. It has always interested thinkers of all epochs and caused the desire to create a "theory of creativity."

At the turn of the 19th-20th centuries, as a special area of ​​research, the "science of creativity" began to take shape; "Theory of Creativity" or "Psychology of Creativity".

The situation of the scientific and technological revolution in the second half of the 20th century created conditions that opened a new stage in the development of creativity research: the individual has to look for answers to new questions to which old approaches are not applicable; Scientific and technological revolution generates new types of art, makes works of art more accessible to people.

All of the above factors determine the relevance and significance of the subject of work at the present stage.

In this paper, we will try to study the psychological characteristics of a creative personality.

The object of study in this work was the psychology of a creative personality.

The purpose of our study is to study the problems and characteristics of the psychology of a creative personality.

To achieve this goal, we tried to solve the following tasks:

1. consider the concept and nature of creativity.

2. to study the types of creativity and their features.

3. consider the creative process and its content.

4. consider a creative person and trace her life path.

5. To study the possibilities of diagnostics and development of creative abilities.

The structure of the work includes an introduction, the first part (the concept, the nature of creativity, the creative process and its features), the second part (the formation of a creative personality, its life path, diagnostics and development of creative abilities) and conclusion.

1.1 The concept and nature of creativity

One of the most common definitions of creativity is by product or result. In this case, everything that leads to the creation of something new is recognized as creativity. The well-known Italian physicist, who devoted a number of his works to the psychology of scientific creativity, Antonio Zichiki gives a very characteristic definition for this approach: “Creativity is the ability to generate something that has never been known, seen or observed before.”

At first glance, this statement can be accepted. But: firstly, psychology is interested in the inner world of the personality, and not in what is born as a result of its activity; secondly, it is not clear what should be considered new. Let's turn to examples.

The monk Gregor Mendel discovered the laws of genetics, but none of his contemporaries paid any attention to it. 35 years have passed, and these laws were “rediscovered” independently by other scientists. The question arises whether it is possible to say that the followers of G. Mendel, the German botanist Karl Erich Korrens, the Austrian geneticist Erich Cermak-Seizenegg, the Dutch botanist Hugo de Vries worked creatively and were creators themselves, since they discovered something already known?

From the point of view of psychology, they are creators and, of course, they worked creatively. And what was discovered already known to someone is a particular characterizing the external socio-cultural situation.

There is a second approach to defining and evaluating creativity not by product, but by the degree of algorithmization of the activity process. If the process of activity has a rigid algorithm, then there is no place for creativity in it. It is rightly considered that such a process leads to a previously known result. However, this approach assumes that any non-algorithmic process inevitably leads to the creation of an original product that did not exist before. It is easy to see that here it is possible to classify any spontaneously developing activity as an act of creativity. For example, the activities of people with mental disorders, drawing primates, exploratory behavior of rats or crows, etc. Such activity does not require special strains of the mind, great knowledge, skill, natural gift, and all that is usually associated with human creativity, in its highest understanding.

The third, philosophical approach, defines creativity as a necessary condition for the development of matter, the formation of its new forms, along with the emergence of which the forms of creativity themselves change. Here, too, an attempt to search for a definition usually leads specialists to fruitless philosophical talk about the "subjectively" and "objectively" new.

We emphasize once again that psychology is interested in the inner world of the individual, and pointing to the features of this inner world the result of activity, characterized as "objectively new" or "subjectively new" is already external characteristic, which has only an indirect relation to the psyche.

It should also be noted that the very attempts to determine what is new quickly lead to a dead end. Should the new always consist of new elements and include only original ideas? After all, an unusual combination of already known parts can also be new. There is another way to create something new: to significantly improve the old, so much so that it changes beyond recognition. Let's take airplanes, ships or cars of the early twentieth century and similar technical constructions beginning of the twenty-first century.

Let us summarize the reasoning. It turns out that creativity, with a certain degree of conventionality, can be characterized by the novelty of the product, its objective value, and the non-algorithmic nature of the process. It is also important that it is universal and "not tied" to a particular type of activity.

Creativity can be considered in various aspects: the product of creativity is what is created; the creative process - how it is created; the process of preparing for creativity - how to develop creativity.

The products of creativity are not only material products - buildings, machines, etc., but also new thoughts, ideas, solutions that may not immediately find a material embodiment. In other words, creativity is the creation of something new in different plans and scales.

When characterizing the essence of creativity, it is important to take into account a variety of factors, features inherent in the process of creation.

Creativity has technical, economic (reducing costs, increasing profitability), social (providing working conditions), psychological and pedagogical (development in the creative process of mental, moral qualities, aesthetic feelings, intellectual abilities of a person, the acquisition of knowledge, etc.).

From the point of view of psychology, the very process of creative work, the study of the process of preparation for creativity, the identification of forms, methods and means of developing creativity are especially valuable.

Creativity is purposeful, persistent, hard work. It requires mental activity, intellectual abilities, strong-willed, emotional traits and high performance.

Creativity is characterized as the highest form of personality activity, requiring long-term training, erudition and intellectual abilities. Creativity is the basis of human life, the source of all material and spiritual benefits.

Another complex concept - the concept of the nature of creativity - is connected with the question of the needs of the individual.

Human needs are divided into three initial groups: biological, social and ideal.

Biological (vital) needs are designed to ensure the individual and species existence of a person. It gives rise to many material quasi-needs: food, clothing, housing; in technology necessary for the production of material goods; in means of protection against harmful effects. The biological need also includes the need to save energy, prompting a person to look for the shortest, easiest and simplest way to achieve their goals.

Social needs include the need to belong to social group and occupy a certain place in it, enjoy the affection and attention of others, be the object of their love and respect. This also includes the need for leadership or the opposite need to be led.

Ideal needs include the needs of knowing the surrounding world as a whole, in its individual details and one's place in it, knowing the meaning and purpose of one's existence on earth.

I.P. Pavlov, classifying the need for search as a biological one, emphasized that its fundamental difference from other vital needs in that it is practically not saturable. The need for search acts as the psychophysiological basis of creativity, which in turn is the main engine of social progress. Therefore, its insatiability is fundamentally important, because we are talking about a biologically predetermined need for constant change and development.

The study of creativity as one of the most natural forms of human realization of the biological need for search and novelty has a long tradition in psychology. Many psychophysiologists tend to consider creativity as a kind of activity focused on changing the problem situation or changes in the subject interacting with it.

Such activity is a behavioral characteristic, and the behavior of people and animals is infinitely diverse in its manifestations, forms and mechanisms.

Naturally, in the life of any living organism and, first of all, of a person, both an automated, stereotyped response and a flexible, exploratory response aimed at discovering new ways of interacting with the environment are very important. Both types of response occupy an important place in the daily behavior of living beings, mutually complementing each other, but the relationships of these types are characterized not only by mutual complementation. Stereotypical, automated response allows you to operate effectively and survive in relatively stable conditions, saving strength and, mainly, intellectual resources as much as possible. Search, research activity, on the contrary, constantly stimulates the work of thinking, thus creating the basis for individual programmed behavior, which makes it the driving force behind the development and self-development of the individual. Moreover, search activity is not only a guarantor of the acquisition of individual experience, but also determines the progress of the population as a whole. Therefore, from the point of view of the theory of natural selection, the most expedient is the survival of those individuals who are prone to search and are able to correct their own thinking and behavior based on the knowledge gained during the search.

And if in animals the search activity materializes in exploratory behavior and turns out to be organically woven into the fabric of life activity, then in humans, in addition, it finds expression in creativity. Creativity for a person is the most common and natural manifestation of exploratory behavior. Research, creative search is attractive from at least two points of view: from the point of view of obtaining some new product and from the point of view of the significance of the search process itself. In social, psychological and educational terms, it is especially valuable that a person is able to experience and experiences real pleasure not only from the results of creativity, but also from the very process of creative, research search.

The creators themselves often say that manifestations of creativity are often accompanied by altered states of consciousness. Even though biographers prominent people often written about the propensity of many great people to external, artificial stimulation of creative activity (alcohol, coffee, various psychotropic drugs), studies by physiologists show that search activity significantly increases the body's resistance to the effects of a wide variety of harmful environmental factors, including alcohol and various psychotropic drugs. funds .

A significant part of people, when choosing a life path, are looking for a job that would not require the use of creative abilities. Many people experience emotional discomfort in problem situations, when a choice is needed, when independence in decision-making is required. Therefore, one of the main differences of the creator is not just the absence of fear of a problematic situation, but the desire for it. Usually the desire to search, to resolve problem situations, is combined with the ability to take advantage of instability, ambiguity.

Within the framework of this approach to describing and explaining the nature of creativity, some frequently recorded facts acquire an unexpected and quite convincing interpretation. So, when studying many biographies of creators: scientists, artists, politicians, representatives of other professions, the age dynamics of creative achievements was revealed. The rise of creativity in a person (mainly in men) occurs at the age of 20-30 years; the peak of creative productivity occurs at the age of 30-35; decline by age 45 (50% of initial productivity); by the age of 60 there is a loss of creative abilities. If there are other facts and fundamentally different judgments regarding the decline in productivity by the age of 45, and even more so the loss of creative abilities by the age of 60, then the age of the rise and creative activity, as well as the peak of productivity, is usually not disputed. It is noted that this trend is most pronounced in the male part of the population. Men, compared with women, as evidenced by the history of discoveries and inventions, demonstrate creativity to a greater extent in a variety of activities, and they do it in a more aggressive, competitive manner. The most interesting thing is that such behavior has its biological roots and finds its explanation within the framework of evolutionary psychology.

Evolutionary psychologist J. Miller, developing the postulates of the concept of uncontrolled sexual selection, came to the conclusion that here lies the basis of all the unique qualities of the human psyche. He argues that the rise of creativity and the onset of peak productivity (20-30 years and 30-35 years, respectively) coincide with periods of maximum sexual activity. According to evolutionary theory, the maximum distribution of one's genes in a population is one of the critical tasks biological entity. Rivalry and courtship during this period are the most intense, which requires a high search activity from a man, embodied in creativity. The high cognitive abilities of a woman, also demonstrated in similar age periods, are believed to have a slightly different nature and are associated with the need to diagnose male intelligence and expose "male lies".

Summarizing the above, we note that in relation to creative activity, we can say that the main factor that encourages the generation of creative guesses, hypotheses is the strength of the need (motivation), and the factors that determine the content of the hypotheses are the quality of this need and the armament of the creative subject, the reserves of his skills. and knowledge. Intuition not controlled by consciousness always works for the need that dominates the hierarchy of needs of a given person. The dependence of intuition on the dominant need (biological, social, cognitive, etc.) must always be taken into account. Without a pronounced need for knowledge (the need to think about the same thing for hours), it is difficult to count on productive creative activity. If the solution of a scientific problem for an individual is only a means to achieve, for example, socially prestigious goals, his intuition will create hypotheses and ideas related to the satisfaction of the corresponding need. The probability of obtaining a fundamentally new scientific discovery in this case is relatively small.

As we can see, there is no clear, satisfactory definition of creativity and its nature, but I would like to emphasize that creativity is nothing more than the creation of something new, regardless of whether it is an exclusively new page in history or recycled material. .

1.2 Types of creativity and their features

Creativity has long been divided into artistic and scientific.

Artistic creativity does not have a direct focus on novelty, is not identified with the production of a new one, although originality is usually present among the criteria for artistic creativity and artistic talent.

Artistic creativity begins with a heightened attention to the phenomena of the world and involves "rare impressions", the ability to keep them in memory and comprehend.

Memory is an important psychological factor in artistic creativity. With the artist, it is not mirrored, selective and creative.

The creative process is inconceivable without imagination, which allows you to reproduce the chain of ideas and impressions stored in memory.

Consciousness and subconsciousness, reason and intuition participate in artistic creativity. In this case, subconscious processes play a special role here.

The American psychologist F. Berron examined a group of fifty-six writers - his compatriots with the help of tests and came to the conclusion that the writers' emotionality and intuition are highly developed and prevail over rationality. Of the 56 subjects, 50 turned out to be "intuitive personalities" (89%), while in the control group, which included people who were professionally far from artistic creativity, there were more than three times fewer individuals with developed intuition (25%). Artists themselves pay attention to the importance of intuition in creativity.

Idealistic concepts absolutized the role of the unconscious in the creative process.

In the twentieth century the subconscious in the creative process attracted the attention of Z. Freud and his psychoanalytic school. The artist as a creative person was turned by psychoanalysts into an object of self-observation and criticism. Psychoanalysis absolutizes the role of the unconscious in the creative process, bringing to the fore, unlike other idealistic concepts, the unconscious sexual principle. The artist, according to the Freudians, is a person who sublimates his sexual energy into the field of creativity, which turns into a type of neurosis. Freud believed that in the act of creativity, socially irreconcilable principles are ousted from the consciousness of the artist and thereby the elimination of real life conflicts. According to Freud, unsatisfied desires are the stimuli of fantasy.

Thus, the unconscious and the conscious, intuition and reason, natural gift and acquired skill interact in the creative process. V. Schiller wrote: "The unconscious in conjunction with the mind makes a poet-artist."

The conscious principle provides self-observation and self-control of the artist, helps him self-critically analyze and evaluate his work and draw conclusions that contribute to further creative growth.

The creative process is especially fruitful when the artist is in a state of inspiration. This is a specific creative-psychological state of clarity of thought, the intensity of its work, richness and speed of associations, deep insight life problems, a powerful "ejection", accumulated in the subconscious of life and artistic experience and its direct inclusion in creativity.

Inspiration gives rise to extraordinary creative energy, it is almost synonymous with creativity. It is no coincidence that the image of poetry and inspiration from ancient times is the winged horse - Pegasus. In a state of inspiration, an optimal combination of intuitive and conscious principles is achieved in the creative process.

For different people, the state of inspiration has a different duration, frequency of onset. It has been found that productivity creative imagination depends mainly on willpower and is the result of constant hard work. According to I.E. Repin, inspiration is a reward for hard labor.

Creative solutions change essential methods, rarely traditions, even more rarely basic principles, and very rarely people's view of the world.

There is a hierarchy of value ranks that characterizes the degree of a person's predisposition to artistic creativity: ability - giftedness - talent - genius.

According to I. W. Goethe, the genius of an artist is determined by the power of perception of the world and the impact on humanity. The American psychologist D. Guilford notes the manifestation of six abilities of the artist in the process of creativity: fluency of thinking, analogies and contrasts, expressiveness, the ability to switch from one class of objects to another, adaptive flexibility or originality, the ability to give the art form the necessary outlines.

Artistic talent presupposes keen attention to life, the ability to choose objects of attention, fix these impressions in memory, extract them from memory and include them in a rich system of associations and connections dictated by creative imagination.

Many are engaged in activity in this or that form of art, in this or that period of life, with greater or lesser success. An artistically gifted person creates works of sustainable significance for a given society for a significant period of its development.

Talent generates artistic values ​​that have enduring national and sometimes even universal significance. A master of genius creates the highest human values ​​that are significant for all time.

Scientific creativity, unlike artistic creativity, is an activity aimed at the production of new knowledge, which receives social approbation and is included in the system of science. Creativity in science requires, first of all, the acquisition of fundamentally new socially significant knowledge; this has always been the most important social function of science. The process of creative activity can be divided into the stage of finding the principle of the solution and the stage of applying the solution.

Moreover, it is believed that the events of the first stage are the most pronounced subject of psychological research, since scientific creativity cannot be reduced to the logical operations “application of a decision”.

Scientific creativity is impossible without a high level of development of general and professional intelligence, spatial representations and imagination, the ability to learn and business communication, i.e. without the manifestation of social activity of the individual. Creative activity implies independence, flexibility, focus on posing and solving problems, imagination, combinational abilities and other analytical and synthetic thinking abilities, as well as perseverance, self-confidence, a thirst for knowledge, a desire for inventions and experiments, and a willingness to take risks.

Also, scientific creativity is characterized by a special, playful attitude towards reality, towards oneself, the ability to dialectically negate, ironically overcome established norms, rules, and skepticism.

The Creator must go beyond the limits of the existing existence, both created by nature and by people.

The literature describes the bold projects of scientists, inventors and engineers who creatively break with established canons and ideas, going beyond the current ideas. The energy problem is supposed to be solved by supplying gas from the Arctic, gasification hard coal based on the widespread use of atomic energy, the construction of floating nuclear power plants, etc. No less original are projects aimed at increasing the ever-expiring raw material resources: ore mining from the bottom of deep ocean valleys, waste disposal, the use of synthetic paper ... Ideas in the field of urban planning, transport, and medicine have a rare novelty. The content of these projects is based not only on a strict consideration of the possibilities for the development of technology and technology, but also on the imagination, sometimes a dream, the fantasy of engineers who are guided by the humane idea that “there is no reason to blindly believe those who paint our future in gloomy colors, who constantly telling us that the end of the world is approaching.

The innovator must have the courage to rise above the habitual, to defend the need for change, to prove its expediency, to be ready to fight for it. The new inevitably meets the resistance of the obsolete. The more new is qualitatively different from the established one, the more fierce rebuff it meets. Without overcoming this resistance, without struggle, an approach to the new, a qualitative leap, is impossible. Far from every individual possesses the qualities that would allow him not only to create something new, but also to defend the results of this creation. Therefore, one has to agree with the opinion: “That not everyone is capable of creativity. There is nothing surprising".

Both artistic and scientific creativity is something new: whether it is a work of art, like Aivazovsky's "The Ninth Wave", or the creation of a mechanism, for example, a steam engine. Only if in art we see imagination, the free flight of thought, not controlled by consciousness, then in science we observe intellectual actions, which, as a result, must receive the approval of society.

In more detail, the following stages of creative activity can be distinguished:

1. Accumulation of knowledge and skills necessary for a clear presentation and formation of the task, the emergence of a problem (setting tasks).

2. Concentration of efforts and search for additional information, preparation for solving the problem.

3. Avoiding the problem, switching to other activities (incubation period).

4. Illumination or insight (a brilliant idea and a simple guess of a modest scale, that is, a logical gap, a leap in thinking, obtaining a result that does not follow unambiguously from the premises)

5. Verification and refinement of the idea, its implementation.

The presented stages can be called differently, and the very number of stages can be increased or decreased, but in principle the creative process is characterized by just such a structure.

The solution is not just a good idea, but an idea that is certainly implemented, elegance and simplicity.

Back in the 19th century, Hermann Helmholtz similarly, although less detailed, described the process of committing “from within” scientific discoveries. In these self-observations of his, the stages of preparation, incubation and illumination are already outlined.

Helmholtz wrote about how his scientific ideas are born:

These happy inspirations often invade the head so quietly that you will not immediately notice their significance, sometimes only chance will later indicate when and under what circumstances they came: a thought appears in the head, but you don’t know where it comes from.

But in other cases, a thought strikes us suddenly, without effort, like inspiration.

The description of the sequence of stages (stages) of creative thinking, which was given by the Englishman Graham Wallace in 1926, is best known today. He identified four stages of creative thinking:

Preparation - task formulation; attempts to solve it.

Incubation is a temporary distraction from the task.

Illumination - the emergence of an intuitive solution.

Verification - testing and/or implementation of a solution.

However, this description is not original and goes back to the classic report of A. Poincaré in 1908.

Henri Poincaré in his report in Psychological Society in Paris (in 1908) described the process of making several mathematical discoveries by him and identified the stages of this creative process, which were subsequently distinguished by many psychologists.

1. At the beginning, a task is posed and attempts are made to solve it for some time.

“For two weeks I tried to prove that there could be no function analogous to the one that I later called automorphic. I was, however, quite wrong; every day I sat down at my desk, spent an hour or two at it, exploring a large number of combinations, and did not come to any result.

2. This is followed by a more or less long period during which, when a person does not think about the problem that has not yet been solved, he is distracted from it. At this time, Poincaré believes, unconscious work on the task takes place.

3. And, finally, there comes a moment when suddenly, without immediately preceding reflections on the problem, in a random situation that has nothing to do with the problem, the key to the solution appears in the mind.

“One evening, contrary to my habit, I drank black coffee; I couldn't sleep; ideas crowded together, I felt them collide until two of them came together to form a stable combination.

In contrast to the usual reports of this kind, Poincaré describes here not only the moment of the appearance of a solution in consciousness, but also the work of the unconscious that immediately preceded it, as if miraculously becoming visible; Jacques Hadamard, paying attention to this description, points to its complete exclusivity: "I have never experienced this wonderful feeling and I have never heard that anyone but him (Poincaré) experienced it."

4. After that, when the key idea for the solution is already known, the solution is completed, verified, and developed.

“By morning I established the existence of one class of these functions, which corresponds to the hypergeometric series; I had only to record the results, which took only a few hours. I wanted to represent these functions as a ratio of two series, and this idea was completely conscious and deliberate; I was guided by the analogy with elliptic functions. I asked myself what properties these series should have, if they exist, and I managed without difficulty to construct these series, which I called theta-automorphic.

Theorizing, Poincare depicts the creative process (by the example of mathematical creativity) as a sequence of two stages: 1) combining particles - elements of knowledge and 2) subsequent selection of useful combinations.

Poincare notes that the combination occurs outside of consciousness - ready-made "really useful combinations and some others that have signs of useful ones, which he (the inventor) will then discard, appear in consciousness." Questions arise: what kind of particles are involved in the unconscious combination and how does the combination occur; how the "filter" works and what are these signs by which it selects some combinations, passing them into consciousness.

Labor fills the sphere of consciousness with content, which will then be processed by the unconscious sphere.

Unconscious work is a selection of the typical; “but how that work is done, of course, it cannot be judged, it is a mystery, one of the seven world mysteries.” Inspiration is the “shifting” of a ready-made conclusion from the unconscious sphere into the consciousness.

As for inventions, P.K. Engelmeyer believed that the work of an inventor almost also consists of three acts: desire, knowledge, skill.

Desire and intuition, the origin of design. This stage begins with the appearance of an intuitive glimpse of an idea and ends with the inventor's understanding of it.

A probable principle of invention arises. In scientific creativity, this stage corresponds to a hypothesis, in art - to an idea.

Knowledge and reasoning, development of a scheme or plan. Development of a complete detailed idea of ​​the invention. Production of experiments - mental and real.

Skill, constructive implementation of the invention. Assembly of the invention. Doesn't require creativity.

“As long as there is only an idea (Act I) from the invention, there is still no invention: together with the scheme (Act II), the invention is given as a representation, and the III act gives it a real existence. In the first act, the invention is supposed, in the second, it is proved, and in the third, it is carried out. At the end of the first act, it is a hypothesis; at the end of the second, a representation; at the end of the third - a phenomenon. The first act determines it teleologically, the second - logically, the third - in fact. The first act gives a plan, the second - a plan, the third - an act.

The same is true in art. The creative process is unthinkable without imagination, which allows you to creatively reproduce the chain of ideas and impressions stored in memory.

And although the proportion of the creative process that falls on the mind may not quantitatively predominate, it qualitatively determines many essential aspects of creativity. The conscious principle controls its main goal, the most important task and the main contours of the artistic concept of the work, highlights the "bright spot" in the artist's thinking, and all his life and artistic experience is organized around this light spot.

Thus, the unconscious and the conscious, intuition and reason, natural gift and acquired skill interact in the creative process.

2.1 Formation and development of personality

The issue of personality formation and development is too big and ambiguous and is considered by adherents of different concepts from different angles. For example, the biogenetic orientation of the study of human development leads to the study mainly of the phenotypic features of the maturation of the organism. Sociogenetic orientation - develops ideas about the development of a "social individual" or "personality" in the understanding of B.G. Ananiev. Personological orientation leads to an analysis of the formation of the personality's self-consciousness, manifestations of its individuality. But it is impossible to separate these models into different “carriers” (an organism, a social individual, a personality), because organic, social and mental properties are integrated into individuals and develop together, influencing each other.

Personality is a system quality. From this point of view, the study of personality is not a study of individual properties, mental processes and states of a person, it is a study of his place, position in the system of social relations - this is a study of what, for what and how a person uses his innate and acquired. Accordingly, the study of personality development raises questions about what and how influences this outcome.

In the scheme of systemic determination of personality development, 3 points can be distinguished: individual properties as prerequisites for personality development; socio-historical way of life as a source of personality development and Team work as the basis for the implementation of the life of the individual in the system of social relations.

Individual - that in which this person is similar to the rest; personality is what makes it different.

Generally speaking - "An individual is born, but a person becomes"

The biological features of man consist precisely in the fact that he does not have inherited instinctive forms of activity and behavior. This is confirmed by the very small relative to the adult weight of the brain of a newborn, his helplessness and a long period of childhood. Individual properties express the tendency of a person as an "element" in the developing system of society to be preserved, providing a wide adaptability of the human population.

The study of the individual prerequisites for the development of personality lies in the circumstances under which, in what way and in what ways the patterns of maturation of the individual in personal development find their expression, as well as how they are transformed.

Individual features (age-sex and individual-typical properties). Temperament and inclinations are the highest form of integration of individual properties.

The role of individual properties:

1. Individual properties characterize mainly the formal-dynamic features of the behavior of the individual, the energy aspect of the flow of mental processes.

2. Determine the range of possibilities for choosing a particular activity (for example, extraversion-introversion has a certain choice of activities).

3. Individual properties acquire special significance if they become conscious, that is, they acquire a symbol, meaning (a cripple cannot know about the limitations of his actions until he is told about it).

If the individual properties of a person become signs, they are subject to conscious self-regulation and can become not only a prerequisite, but also the result of personality development.

The use of individual properties as signs underlies the origin of individual styles and opens up great opportunities for compensation and correction.

Personality - the social image of a person as a subject of social relations and actions, reflecting the totality of social roles that he plays in society. It is known that each person can act in many roles at once. In the process of performing all these roles, he develops the corresponding character traits, behaviors, forms of reaction, ideas, beliefs, interests, inclinations, etc., which together form what we call a personality.

Personality is the object of study in a number of humanities, primarily philosophy, psychology, and sociology. Philosophy considers personality from the point of view of its position in the world as a subject of activity, cognition and creativity. Psychology studies personality as a stable integrity of mental processes, properties and relationships: temperament, character, abilities, volitional qualities.

The sociological approach singles out the socio-typical in personality. The concept of personality shows how socially significant features are individually reflected in each personality, and its essence is manifested as the totality of all social relations. The concept of personality helps to characterize in a person the social beginning of his life, that is, the properties and qualities that a person realizes in social connections, culture, that is, in public life in the process of interaction with other people.

The word "personality" is used only in relation to a person, and, moreover, starting only from a certain stage of his development. We do not say "personality of the newborn", understanding it as an individual. We do not seriously talk about the personality of even a two-year-old child, although he has acquired a lot from the social environment. Therefore, personality is not a product of the intersection of biological and social factors. Split personality is by no means a figurative expression, but a real fact. But the expression "dividing the individual" is nonsense, a contradiction in terms. Both are integrity, but different. A personality, unlike an individual, is not an integrity determined by a genotype: one is not born a personality, one becomes a personality. Personality is a relatively late product of the socio-historical and ontogenetic development of man.

A.N.Leontiev emphasized the impossibility of equating the concepts of "personality" and "individual" in view of the fact that personality is a special quality acquired by an individual through social relations.

Personality is impossible outside of social activity and communication. Only by being included in the process of historical practice, the individual manifests his social essence, forms his own social qualities develops value orientations. The formation of personality is influenced by the factors of labor activity, the social nature of labor, its subject content, the form of collective organization, the social significance of the results, the technological process of labor, the possibility of developing independence, initiative, and creativity.

Personality not only exists, but is born for the first time precisely as a "knot" that is tied in a network of mutual relations. Inside the body of a separate individual, there really is not a personality, but its one-sided projection on the screen of biology, carried out by the dynamics of nervous processes.

The formation of a personality, that is, the formation of a social "I" is a process of interaction with one's own kind in the process of socialization, when one social group teaches the "rules of life" to another.

Man is more universal, his biological organization allows, in comparison with other biological species, to adapt to a very wide range of external conditions. The human baby is born at a less mature stage than the animal, and has to live in a more complex world - in a socially constructed reality.

This is an exceptional situation: nature did not take care of a suitable "dwelling" for him. Therefore, all his life a person is looking for a social haven. But this is not a physical roof over your head, but a social place in the world. Socialization turns into a lifelong process of learning one's social place (or status). After all, socialization is a process of mastering social norms that begins in infancy and ends in old age.

So, the process of development of one's own personality can continue as long as one likes. Science has not set any quantitative boundaries. Until a very old age, a person changes his views on life, habits, tastes, rules of behavior. A person from a biological being turns into a social, social being, becomes a personality.

2.2 Creative personality and her life path

Many of the researchers reduce the problem of human abilities to the problem of a creative person: there are no special creative abilities, but there is a person with a certain motivation and traits. Indeed, if intellectual giftedness does not directly affect the creative success of a person, if in the course of the development of creativity the formation of a certain motivation and personality traits precedes creative manifestations, then we can conclude that there is a special type of personality - a “Creative Person”.

The specificity of a creative personality in emotional terms has been studied for a long time and at the moment there are two opposing points of view: talent is the maximum degree of health, talent is a disease.

Traditionally, the latter point of view is associated with the name of Cesare Lombroso. True, Lombroso himself never claimed that there was a direct relationship between genius and madness, although he selected empirical examples in favor of this hypothesis: great thinkers ... In addition, thinkers, along with madmen, are characterized by: constant overflow of the brain with blood (hyperemia), intense heat in the head and cooling of the limbs, a tendency to acute brain diseases and weak sensitivity to hunger and cold.

Lombroso characterizes geniuses as lonely, cold people, indifferent to family and social responsibilities. Among them are many drug addicts and drunkards: Musset, Kleist, Socrates, Seneca, Handel, Poe. The 20th century added many names to this list, from Faulkner and Yesenin to Hendrix and Morrison.

Genius people are always painfully sensitive. They experience sharp ups and downs in activity. They are hypersensitive to social rewards and punishments, etc. The conclusion he comes to is as follows: genius and madness can be combined in one person.

The hypothesis of "genius and madness" is being revived in our days. D. Carlson believes that a genius is a carrier of a recessive schizophrenia gene. In the homozygous state, the gene manifests itself in the disease. For example, the son of the brilliant Einstein suffered from schizophrenia. This list includes Descartes, Pascal, Newton, Faraday, Darwin, Plato, Emerson, Nietzsche, Spencer, James and others.

But is there not an illusion of perception at the basis of ideas about the connection between genius and mental deviations: talents are in sight and all their personal qualities too. Maybe the mentally ill among the "average" is no less, and even more than among the "geniuses"? T. Simonton conducted such an analysis and found that among geniuses the number of mentally ill people is no more than among the general population (about 10%). The only problem is: who is considered a genius, and who is not?

If we proceed from the above interpretation of creativity as a process, then a genius is a person who creates on the basis of unconscious activity, who is able to experience the widest range of states due to the fact that the unconscious creative subject is out of control of the rational principle and self-regulation.

Surprisingly, it was Lombroso who gave the definition of genius, consistent with modern ideas about the nature of creativity: “The features of genius compared to talent in the sense that it is something unconscious and manifests itself unexpectedly.”

Studies have shown that gifted children, whose real achievements are below their capabilities, experience serious problems in their personal and emotional sphere as well as in interpersonal relationships. The same applies to children with IQs above 180.

Creative activity itself, associated with a change in the state of consciousness, mental overstrain and exhaustion, causes disturbances in mental regulation and behavior.

Creatives, compared to non-creatives, are more aloof or reserved, they are more intellectual and capable of abstract thinking, tend to lead, are more serious, are more practical or free to interpret rules, are more socially bold, more sensitive, have a very rich imagination, they liberal and open to experience and self-sufficient.

Götzeln's later research revealed differences between artists and scientists.

Almost all researchers note significant differences psychological portraits scientists and artists. R. Snow notes the great pragmatism of scientists and the propensity for emotional forms of self-expression among writers. Scientists and engineers are more restrained, less socially bold, more tactful, and less sensitive than artists.

These data formed the basis for the assumption that creative behavior can be located in the space of two factors. The first factor includes fine arts, science, engineering, business, video and photo design. The second factor includes music, literature and fashion design.

Consequently, there is a clear separation of personal manifestations of creative behavior in art and science. In addition, the activities of a businessman are more similar to the activities of a scientist (in terms of their creative manifestations), then to the activities of an artist, artist, writer, etc.

No less important is another conclusion: personal manifestations of creativity extend to many areas of human activity. As a rule, creative productivity in one main area for the personality is accompanied by productivity in other areas.

The main thing is that scientists and businessmen, on average, have better control over their behavior and are less emotional and sensitive than artists.

The second, important to the same extent as the emotional component, the difference between a creative personality is the system of motivation.

Modern science claims that motivation, need, interest, passion, impulse, striving are very important in creativity, invention, in discovery, in obtaining previously unknown information. But this alone is not enough. We also need knowledge, skill, craftsmanship, impeccable professionalism. All this cannot be made up for by any giftedness, any desires, any inspiration. Emotions without action are dead, just as action is dead without emotions.

Different needs meet different target ranges. Biological needs cannot be postponed for any length of time. Satisfaction of social needs is connected with the term of human life. Achieving ideal goals can be attributed to the distant future. “I have been working on this all my life,” said E.K. Tsiolkovsky - which gave me neither bread nor strength, because I was sure that in the future my work would bring people mountains of bread and an abyss of power. The scale of remoteness of goals was reflected in the united consciousness as the "size of the soul", which can be both large and small. A person is called cowardly if he refuses to achieve a distant goal in favor of the nearest, dictated, as a rule, by the needs of maintaining his personal well-being, social status, and generally accepted norms. The best person is that, said L.N. Tolstoy, who lives mainly by his own thoughts and other people's feelings. The worst kind of person who lives on other people's thoughts and their own feelings. From various combinations of these four foundations, the motives of activity, the whole difference of people is formed.

In order for the need to be transformed into action, it is necessary to equip it with appropriate methods and means. The absence of such a need in the subject, with sufficiently strong social and cognitive needs, leads to dilettantism and incompetence, to various kinds of failures in activity, dooming a person to a chronic feeling of inferiority.

Human activity becomes much more productive when competence is combined with true vocation and talent. But even in the event that the activity is devoid of novelty and creativity, a high level of professionalism, accuracy and perfection of execution give the performance of seemingly routine operations a special attraction by satisfying the need for weapons and technical equipment. positive emotions that arise from it.

The growth of the armament of the subject is provided in various ways. Firstly, it is his training, practical (rather than speculative) mastery of the experience accumulated by previous generations, assimilation of the norms (in the broad sense) of the contemporary culture subject. Secondly, it is the encouragement, development, cultivation of one's own creativity, as the generation of new, previously non-existent information about the means and methods of satisfying needs. Thanks to the creative activity of the subject, the norms themselves develop, the process of elevating needs, their expansion and enrichment.

So, needs and transformations derived from them - motives, interests, beliefs, aspirations, desires, value orientations - represent the basis and driving force of human behavior, its motives and purpose. They should be considered as the core of the personality, as its most essential characteristic. When high intelligence is combined with high level creativity, creative person most often well adapted to the environment, active, emotionally balanced, independent, etc. On the contrary, when creativity is combined with low intelligence, a person is most often neurotic, anxious, poorly adapted to the requirements of the social environment. The combination of intelligence and creativity predisposes to the choice of different areas of social activity.

2.3 Diagnostics and development of creative abilities

Almost as fierce as the debate about the nature of creativity is the debate about approaches to diagnosing creativity.

1. Creativity refers to the type of thinking that goes in different directions from the problem, starting from its content, while typical for us is aimed at finding the only correct one from a variety of solutions. Numerous tests measuring intelligence (IQ), which reveal the speed and accuracy of finding the right solution from a set of possible ones, are not suitable for measuring creativity.

2. In the process of diagnostics, creativity is divided into verbal (verbal creative thinking) and non-verbal (pictorial creative thinking). Such a division became justified after revealing the connection between these types of creativity and the corresponding factors of intelligence: figurative and verbal.

3. People, using mostly convergent thinking in everyday life, get used to using words and images in a certain associative connection with other words, and stereotypes and patterns in each culture (social group) are different and should be determined specifically for each sample of subjects. Hence, the creative thought process, in fact, is the formation of new semantic associations, the distance of which from the stereotype can serve as a measure of the creativity of the individual.

The use of various methods for diagnosing creative abilities made it possible to identify general principles for assessing creativity:

a) productivity index as the ratio of the number of answers to the number of tasks;

b) the originality index as the sum of the originality indices (i.e. reciprocals of the response frequency in the sample) of individual responses, divided by the total number of responses;

c) the index of uniqueness as the ratio of the number of unique (not found in the sample) answers to their total number.

Consequently, the conditions of the creative environment create opportunities for the manifestation of creativity, while high testing rates significantly reveal creative individuals.

At the same time, low test results do not indicate a lack of creativity in the subject, since creative manifestations are spontaneous and not subject to arbitrary regulation.

Thus, the methods for diagnosing creative abilities are intended, first of all, for the actual identification of creative individuals in a particular sample at the time of testing.

A huge number of periodically emerging non-standard problems, on the one hand, and the eternal human desire for innovation, on the other, explain the numerous developments of methods for activating creative thinking.

These methods can be grouped according to the following criteria:

A. Methods aimed at organizing a creative environment. This group includes:

1. Brainstorming is a group method of creative activity in the absence of any evaluation criteria and directions for searching for ideas. It is divided into stages:

2. spontaneous generation of any ideas (usually 60 - 80 ideas in 40 minutes);

3. examination of ideas (selection of 1–2 most successful ones).

The main disadvantage of the method is low productivity at high time costs.

B. Methods for optimizing the accumulation and structuring of knowledge about the problem. This group includes various structural schemes for collecting and analyzing preliminary information, building hypotheses, and testing intuitive ideas. For example, TRIZ is the theory of inventive problem solving. This technique is a complex structural-logical program to identify and eliminate the contradictions of the problem, focused on the ideal end result. Data on the analyzed problem are entered in a special table.

The following exercises are also used to enhance creative activity.

Exercise "Definition of concepts".

In this task, such a principle of structural-logical modeling was used as the free generation of associations with subsequent operations of their analysis and synthesis in the form of the desired formulation.

Exercise algorithm:

a) write down the concept and list in the association column the nouns that reflect the essence of the concept;

b) choose 2–3 of them as the most accurate ones as key ones, formulate a definition, focusing on indicating the essential features of the concept;

c) synthesize a definition from several formulations.

Exercise "Fugitive Associations".

When completing the task, it is necessary to create as many associations as possible by similarity to stimulus words, answering the question: “Who or what might it look like.” Answer time is not limited.

The responses are analyzed according to the following criteria:

1. Fluency - the total number of associations per unit of time.

3. Originality - rarity, unusual association, assessed on a 4-point system (0 - stereotypical association, 1 - original direct association, 2 - original association with details, 3 - original indirect association).

4. Constructive activity - a variety of features used for each word.

Exercise "Search for common features"

Thus, we see that the diagnosis and development of creative abilities are multifaceted. There are many tests to determine the creative abilities of a person, however, low test results cannot indicate a lack of creativity in the subject, since they are spontaneous. Methods are intended for the actual determination of kteativity in a particular field of knowledge.

In this work, an attempt was made to study the mental characteristics of a creative personality. For this, the concepts of creativity, creative activity were considered, the creative process was considered, as well as the characteristics of creative individuals.

In studying this issue, we proceeded from the fact that psychology is primarily interested in the inner world of the individual, and not in the process of creating a new one. We found out that the concept of creativity is not unambiguous and has many interpretations depending on the position from which this process is considered.

The paper considers the concepts of artistic and scientific creativity, their features and similarities. I would like to emphasize that these two types are united by the creation of something new in different plans and scales.

The description of the structure of creativity is considered from different positions, based on three authors who dealt with this problem. However, they all share the same point of view.

We examined such concepts as "individual" and "personality", their properties, identified differences and emphasized their relationship, which consists in the fact that personality is a special quality acquired by an individual through social relations.

The creative personality was examined through the structure of emotions and motivation, where we found out that brilliant people are painfully sensitive, emotional, and have a rich imagination.

The paper presents several exercises used to enhance creative activity, analyzes the general principles for evaluating creativity.

The eyes of the artist are arranged in such a way as to read in the phenomena and forms of the surrounding images in which the phenomena live in our feelings and in our consciousness.

The type of activity in which it is best, most freely manifested creativity, and the extent to which a person can manifest it depends on the make-up of the personality, on habits, on the characteristics of the life path. The unification of all the essential forces of a person, the manifestation of all his personality traits in fact, they contribute to the development of individuality, emphasize, along with the features common to many, its unique and inimitable features.

List of used literature

1. Alekseev N.G., Yudin E.G. On the psychological methods of studying creativity. M., Nauka, 1971

2. Altshuller G.S., Vertkin I.M. Life strategy of a creative person. Minsk, Belarus, 1994

3. Bodalev, A.A. Peak in the development of an adult: characteristics and conditions for achievement. Moscow: Nauka, 1988.

4. Wenger. L.A. Pedagogy of abilities. M.: Education, 1973.

5. Vygotsky L.S., Psychology of art. Ed. Yaroshevsky, M. Pedagogy, 1987

6. Galin A.L. Psychological features of creative behavior. M., 1996

7. Goncharenko N.V. Genius in art and science. M., Art, 1991

8. Druzhinin V.N. Psychology of general abilities. St. Petersburg, 1999

9. Leites, N.S. Mental abilities and age. Moscow: Knowledge, 1984.

10. Luk A.N. Thinking and creativity. M., Pedagogy, 1976

11. Malykh, S.B. Fundamentals of psychogenetics. M.: Publishing House of Moscow State University, 1998.

12. Molyako V.A. psychology of the creative personality. M., graduate School. 1978

13. Pekelis V.D. Your options, man. M., Knowledge 1984

14. Petrovsky A.V. Being a person. M., Pedagogy, 1990

15. Simonov V.P. Emotional brain. M., Nauka, 1986

16. Kjell L, Ziegler D. Theory of personality. St. Petersburg, Peter, 1997

17. Shadrikov V.D. Human abilities. – M.: Institute practical psychology, Voronezh: PPO MODEK, 1997. - 288 p.

18. Yaroshevsky M. G. Problems of scientific creativity in modern psychology. M., Nauka, 1971

At present, the study of a creative personality and its connection with personality traits and characteristics seems to be the most promising. Many domestic and foreign scientists V.I. Andreev, D.B. Bogoyavlenskaya, R.M. Granovskaya, A.Z. Zak, V.Ya.Kan-Kalik, N.V. Kichuk, N.V. Kuzmina, A.N. Luk, S.O. Sysoeva, V.A. Tsapok and others.

A lot of talent and energy was invested in the development of pedagogical problems related to the creative development of a personality, primarily the personality of a child, a teenager, outstanding teachers of the 20s and 30s: A.V. Lunacharsky, P.P. Blonsky, S.T. Shatsky, B.L. Yavorsky, B.V. Asafiev, N.Ya. Bryusov. Based on their experience, enriched by half a century of development of the science of teaching and raising children, the best teachers, headed by the "elders" - V.N. Shatskoy, N.L. Grodzenskaya, M.A. Rumer, G.L. Roshal, N.I. Sats continued and continue to theoretically and practically develop the principle creative development children and youth.

Researchers E. V Andrienko, M. A. Vasilik, N. A. Ippolitova, O. A. Leontovich, I. A. Sternin singled out such subjective characteristics of a creative person as "human" communication barriers, socio-cultural, status-positional-role-playing, psychological, cognitive, relationship barriers. But the most significant influence in the formation of this problem was made by O. Kulchitskaya, Y. Kozeletsky presented his special I-concept of the development of the creative path and the personality itself. Ya. A. Ponomarev singled out ten stages of the creative process and characterized them according to their significance for the individual.

So, in the psychological literature, there are two main points of view on the creative personality. According to one, creativity or creative ability to one degree or another is characteristic of every normal person. It is as integral to a person as the ability to think, speak and feel. Moreover, the realization of creative potential, regardless of its scale, makes a person mentally normal. To deprive a person of such an opportunity means to cause neurotic states in him. According to the second point of view, not every (normal) person should be considered a creative person, or a creator. This position is connected with a different understanding of the nature of creativity. Here, in addition to the unprogrammed process of creating a new one, the value of a new result is taken into account. It must be universally valid, although its scale may vary. The most important feature of the creator is a strong and stable need for creativity. A creative person cannot live without creativity, seeing in it the main goal and the main meaning of his life.

The term "creativity" indicates both the activity of the individual and the values ​​created by her, which, from the facts of her personal destiny, become the facts of culture. As alienated from the life of the subject of his searches and thoughts, it is just as unjustified to explain these values ​​in the categories of psychology as a miraculous nature. A mountain peak can inspire the creation of a painting, a poem or a geological work. But in all cases, once created, these works do not become the subject of psychology to a greater extent than the summit itself. Scientific and psychological analysis revealed something completely different: the ways of its perception, actions, motives, interpersonal relationships and the structure of the personality of those who reproduce it by means of art or in terms of the Earth sciences. The effect of these acts and connections is imprinted in artistic and scientific creations, now involved in a sphere independent of the mental organization of the subject.

Much attention is paid to the definition of the concept of a creative personality in philosophical, pedagogical and psychological literature: V.I. Andreev, D.B. Bogoyavlenskaya, R.M. Granovskaya, A.Z. .Kichuk, N.V. Kuzmina, A.N. Luk, S.O. Sysoeva, V.A. Tsapok and others.

A creative personality, according to V. Andreev, is a type of personality that is characterized by perseverance, a high level of focus on creativity, motivational and creative activity, which manifests itself in organic unity with a high level of creative abilities, allowing it to achieve progressive, social and personally significant results in one or more activities.

Psychologists consider creativity as a high level of logical thinking, which is the impetus for activity, "the result of which is the created material and spiritual values" . Most authors agree that a creative person is an individual who has a high level of knowledge, has a desire for something new, original. For a creative person, creative activity is a vital need, and a creative style of behavior is the most characteristic. The main indicator of a creative personality, its most important feature is the presence of creative abilities, which are considered as individual psychological abilities of a person that meet the requirements of creative activity, and are a condition for its successful implementation. Creativity is associated with the creation of a new, original product, with the search for new means of activity. N.V. Kichuk defines a creative person through her intellectual activity, creative thinking and creative potential.

Also great importance to understand the characteristics of a creative personality, it has a special formation of mental actions. After all, "creativity" does not exist in its pure form, real creative activity includes a lot of technical components, the "working out" of which is one of the prerequisites for creative activity. Deepening the psychological characteristics of the thought process also consists in pointing out that changes in the "conceptual characteristics of objects" are often preceded by changes in operational meanings and emotional assessments, that verbally formulated knowledge about an object does not necessarily have the character of concepts in the strict sense of the word. The development of emotional processes in a creative person also has its own characteristics. If we recall one of the classic schemes of the creative process - preparation, maturation, inspiration, verification - and correlate it with the available research on the psychology of thinking, then with all the conventions of the scheme, such a correlation allows us to state that the first and fourth links of the creative process are studied much more intensively than second and third. Therefore, at present, they need to be given special attention. The study of "inspiration" on laboratory models is the study of the conditions for the emergence and functions of emotional activation, emotional assessments that arise in the course of solving mental problems. For example, in works on the psychology of scientific creativity, it is convincingly shown that the activity of a scientist is always mediated by the categorical structure of science, which develops according to its own laws, independent of the individual, but at the same time, a certain opposition of the “subjective-experiential” and “objective-activity” plan is allowed, which can be reproached for the epiphenomenological interpretation of "experiences", i.e., the functions of the emotional-affective sphere.

Scientists - researchers identify such main features of a creative personality as:

courage of thought, propensity to take risks;

fantasy;

problem vision;

the ability to think;

ability to find contradiction;

the ability to transfer knowledge and experience to a new situation;

independence;

alternativeness;

flexibility of thinking;

ability for self-government.

O. Kulchitskaya also highlights such features of a creative personality:

the emergence of directed interest in a particular area of ​​knowledge, even in childhood;

high working capacity;

subordination of creativity to spiritual motivation;

tenacity, tenacity;

passion for work.

V. Molyako considers that one of the main qualities of a creative person is the desire for originality, for the new, the denial of the ordinary, as well as a high level of knowledge, the ability to analyze phenomena, compare them, a persistent interest in a particular work, a relatively quick and easy assimilation of theoretical and practical knowledge, sketchiness and independence in work.

So, we can make the following common features and characteristics of a creative personality, accepted by many researchers of this problem:

Man is endowed with freedom of choice. He is able to choose intentions and goals. Can carry out a selection of mental operations and actions that it performs. Thanks to this freedom, man becomes a creative being.

Creator man speaks main reason of his behaviour. It is a relatively self-governing system; the source of its action is contained, first of all, in the subject, and not in the object. This is a unique individual; extensive motivation or spontaneous thoughts largely influence his decisions and actions, what he does and what he avoids.

The main driving force is the need (meta-need) to confirm one's value, also called the gubristic need. It is satisfied mainly by the performance of creative and expansive transgressions, by the creation of new forms or the destruction of old ones.

A person is a creator tuned to internal and external development. It is transgressions that allow shaping his personality and enriching his culture. Development is the main goal of the human personality. Without a growth orientation, a person with limited opportunities would not have a chance to survive and would not be able to build his well-being and well-being, that is, happiness.

The human creator has a limited consciousness and self-consciousness. This premise destroys the radical view of what is psychic, conscious, and at the same time the radical view of the unconscious mind and character (extreme psychoanalysts).

The actions of a man, especially his thoughts and actions, have a great influence on what place he occupies in the scale of good and evil; under their influence he becomes humane or inhumane.

From a psychological point of view, it is of particular interest to distinguish three categories of a creative personality in the cognitive element:

The first includes judgments about the worlds: material, social and symbolic, which are intersubjective, that is, they exist objectively, regardless of the will of man. Here are not only social knowledge acquired in the process of study. A person, carrying out creative actions, also formulates personal opinions on the topic of human nature.

Correlative judgments (descriptive and evaluative) concern the relationships and connections that exist between the external world and oneself.

In the cognitive element there are also judgments about oneself, called self-knowledge, the representation of oneself, or the concept of the Self. From these judgments a positive or negative image of one's own personality is formed.

The cognitive element of the individual provides her orientation in the world, allows her to understand the complex connections "I - others", gives knowledge about oneself, is necessary in the process of forming a common opinion about reality, and also plays a significant role in the protective actions of the individual.

The third element of personality, hereinafter referred to as will, is the motivational element. It sets in motion the motivational process and determines its general direction, supports, interrupts or completes thoughts and actions, affects the expenditure of energy and the time of their continuation. The sources of this type of action are in the individual system of needs, which are the most important part of the third element of personality. Activation of needs by stimuli coming from the environment, or by internal factors (sequence of thoughts) sets in motion the motivational process.

Ya. Kozeletsky classifies the needs of creative people, taking as a criterion the space in which they function. According to this criterion, he identifies four types of them:

The first group is vital needs (basic, natural), which are innate, genetically formed. Their satisfaction is necessary to maintain the existence of the individual and the genus Homo sapiens.

The second group represents the cognitive needs that a person satisfies in the field of science, philosophy, literature, music, fine arts, computer science (need for competence, information, aesthetic needs).

The third group of problems is more complex. It includes social problems that the author calls interpersonal (for example, the need for affiliation, love, brotherhood, dominance or power over others, the need for social security). This group of needs can be satisfied in the outer space.

The fourth group includes personal needs, more than others related to the inner world of the subject. They have a greater influence on the uniqueness and originality of the individual. Here the author includes such needs as the need individual achievements, the need for self-worth, the need for the meaning of life, or transcendence.

The next component of personality is the emotional element. It is very complex and covers permanent neurophysiological and mental systems that generate emotional states and processes, affects and moods. The unique property of the emotional element is that it is associated with almost all elements of personality. Value judgments are saturated with positive or negative emotions. Emotionality refers to the main dimensions of temperament and neuroticism. Emotional structures are included in motivational processes, therefore emotionality "serves" all other constituent elements of a creative personality. Ya. Kozeletsky singled out another element of personality - personal, understood by him as a deep neurophysiological, mental and spiritual structure, in which there is an existentially identical (personal) content relating to a given person.

Creativity of the subject, personality should be considered, taking into account macro-social factors: cultural, political and economic. Systemic concepts of creativity break the "personological" point of view, according to which creativity is limited to a human being - his knowledge, psyche or personality. In a systemic view, a person is part of a wider system involved in the creation of a creative work.

A person is represented in creativity in many dimensions, since he consists of biological, psychological and social structures, works at the conscious and unconscious levels thanks to cognitive, emotional and volitional systems. A person is unique, lives simultaneously in the external and internal world.

Summing up this paragraph, we can conclude that a creative personality is a type of personality that is characterized by perseverance, a high level of focus on creativity, motivational and creative activity, which manifests itself in organic unity with a high level of creative abilities, allowing it to achieve progressive, social and personally significant results in one or more activities. We also found out such basic features of a creative person as: courage of thought, risk appetite, fantasy, problematic vision, the ability to think, the ability to find contradictions, the ability to transfer knowledge and experience to a new situation, independence, alternativeness, flexibility of thinking, the ability to self-manage, high working capacity, subordination of creativity to spiritual motivation, perseverance, obstinacy, passion for work and the emergence of a directed interest in a particular field of knowledge, even in childhood.

Psychological features of creative adolescents

Earlier, I examined the features of self-esteem of adolescents and creative individuals. It is time to study the features of self-esteem of creative adolescents.

Psychologists try to determine the most important traits of a creative personality by comparing the properties of people known for creative achievements with the properties of less productive people. It turned out that creative people, regardless of age and orientation of interests, differed from the rest in a developed sense of individuality, the presence of spontaneous reactions, the desire to rely on own forces, emotional mobility, the desire to work independently and - at the same time - self-confidence, poise and assertiveness. Scientists did not find age differences in these qualities. But such differences were found in a set of qualities that psychologists tentatively called "disciplined efficiency", including self-control, the need for achievement and a sense of well-being. Creative adults scored lower in this group of qualities, and creative young men scored higher than their less productive peers. Why?

Creative activity implies, on the one hand, the ability to free oneself from the power of everyday ideas and prohibitions (often unconscious), to look for new associations and original ways, and on the other hand, developed self-control, organization, and the ability to discipline oneself. The position of a teenager and an adult in this regard is different. Youth is psychologically more active, mobile and prone to hobbies. To become creatively productive, a teenager needs more intellectual discipline and composure, which differs from his impulsive, scattered peers. On the contrary, an adult, mature person involuntarily gravitates toward the familiar, stable, well-known. Therefore, the creative principle manifests itself in him in a less constrained organizational framework, in the ability to spontaneous, unexpected even for himself actions and associations. In addition, an adult who has already shown his creative potential has objectively more opportunities to vary his behavior than a young man - a high school student, from whom adults require, first of all, the assimilation of program material, perceiving any eccentricity and unexpectedness on his part as a challenge.

The need for creativity arises when it is undesirable or impossible due to external circumstances, that is, consciousness in this situation provokes the activity of the unconscious. Thus, consciousness in creativity is passive and only perceives the creative product, while the unconscious actively generates the creative product. Hence, the creative act is a fusion of logical and intuitive levels of thinking.

The mental life of a person is a process of changing two forms of internal and external activity: creativity and activity. At the same time, the activity is expedient, arbitrary, rational, consciously regulated, motivated by a certain motivation, and functions according to the type of negative feedback: the achievement of a result completes the stage of activity. Creativity, on the other hand, is spontaneous, involuntary, irrational, cannot be regulated by consciousness, it is motivated by the alienation of a person from the world and functions on the principle of positive feedback: receiving a creative product only spurs the process, making it endless. Hence, activity is the life of consciousness, the mechanism of which is reduced to the interaction of active consciousness with the passive unconscious, while creativity is the life of the dominant unconscious in interaction with the passive consciousness.

The influence that art has on a person is considered by psychologists in three theoretical concepts: perception of art, feeling, imagination or fantasy. Any art, according to L. S. Vygotsky, is based on the unity of feeling and fantasy. When perceiving works of art, an aesthetic reaction occurs, which received the conditional name "catharsis" - spiritual purification and relaxation that occur in the process of empathy. When perceived, works of art become personal, but do not lose their social meaning.

Works of art, being a spiritual product, affect the spirituality of a person, developing his emotional-volitional sphere (feelings, will) and cognitive processes (attention, sensations, perception, memory, thinking, imagination). Art, according to many researchers, has an impact on human activity, in whatever direction it develops. These provisions are of great importance in the formation of a specialist in the field of art.

Due to its specificity, classes in any kind of art, including fine arts or music, require a special approach and special organization, and also, due to the dialectical principle, systemicity and continuity. Naturally, they cannot be considered without relying on the psychological characteristics of the individual. Its manifestation in activity, communication and creativity, on the specifics of personal cognitive processes, including the adolescent age that interests us.

The complexity and problem of studying the development and formation of creative abilities in adolescence is due to a large number of diverse factors that determine the nature and manifestation of creative abilities.

Researchers of this problem identify three main groups that combine these factors. The first group includes natural inclinations and individual characteristics that determine the formation of a creative personality. The second combines all forms of influence of the social environment on the development and manifestation of creative abilities. The third group is the dependence of the development of creative abilities on the nature and structure of the activity.

The solution of this problem is of particular importance in relation to senior school age, since this age is a favorable period for the development of creativity as a stable personality characteristic. This is substantiated by a number of experimental studies that revealed a "splash" of manifestations of creative abilities precisely in the senior school age. It is in the upper grades that the problem of developing creative abilities is most acute, since creativity itself includes the ability to self-change, self-expression, and vivid emotional mobility. By confronting the personality of a teenager with many complex, sometimes contradictory life situations, early adolescence stimulates and activates the manifestation of creative abilities.

The main feature of this age is the awareness of one's own individuality, dissimilarity, originality. For high school students, personal qualities become a special value. Situations involving stress and risk are also important. Strong-willed traits of character and strengthening of individual differences between adolescents receive a noticeable development. If a very significant part of young men is characterized by a lack of interest in cognitive activity, then there is another part of adolescents who show a genuine interest in creativity and learning. A high school student can consciously set himself a creative or educational task and fulfill it.

In the development of artistic or musical creativity, a teenager faces certain difficulties. Creative activity should not be of a mass and universal nature, but still has a huge cultivating value, broadens the horizons, deepens the feelings of a teenager.

When studying the issue of the formation and development of creative abilities in a modern teenager, the social environment in which the teenager is located plays a huge role. And although the environment "does not create", but shows talent, it is given 95% of the influence on the formation of different variations of creativity and only 5% - hereditary determinants. The requirements of the social environment, the immediate environment, traditions and attitudes in learning can stimulate or, conversely, suppress the creative abilities of children who do not have high creative potential.

The next most important psychological processes that regulate creative activity, according to researchers, are thinking and perception.

By the end of adolescence, the child is already able to abstract the concept from reality, separate logical operations from the objects on which they are carried out, and classify statements, regardless of their content, according to their logical type. J. Piaget points to a strong inclination of the youthful style of thinking towards abstract theorizing, the creation of abstract theories, a passion for philosophical constructions, etc.

The amount of attention, the ability to maintain its intensity for a long time and switch from one subject to another increase with age. At the same time, attention becomes selective, depending on the orientation of interests. Adolescents and young men often complain of their inability to concentrate on one thing, absent-mindedness and chronic boredom. As psychologists note, “Bad manners” of attention, the inability to concentrate, switch and be distracted from some irritants is one of the main reasons for poor academic performance. This also gives rise to such problems. early youth like drunkenness, drug addiction and the unbridled pursuit of pleasure.

The development of intelligence is closely related to the development of creative abilities, which involve not just the assimilation of information, but the manifestation of intellectual initiative and the creation of something new. The most important component of creativity is intellectual - the predominance of the so-called divergent thinking, which suggests that there can be many equally correct and equal answers to the same question (as opposed to convergent thinking, which focuses on an unambiguous solution, removing the problem as such).

The significance of perception for the creative process is also emphasized when considering perception as a source of obtaining and storing information. To create something new, it is necessary to rely on something known, to have enough extensive material in memory to operate freely with it. For example, in a teenager, in visual activity, perception has a visual attitude. “The teenager becomes more and more a spectator, contemplating the world from the outside, mentally experiencing it as a complex phenomenon, perceiving in this complexity not so much the diversity and presence of things as the relationship between things, their changes” . Not only the type of perception of the drawing changes (it becomes more detailed), but also the pictorial perception. Painting from open contrasting colors moves to a more subtle, complex color scheme.

Another psychological process closely related to the process of creativity is the process of imagination. Imagination is inherent in every person, but people differ in its direction, strength and brightness. This process is especially intense in childhood and early adolescence; it gradually loses its brightness and strength. According to a number of authors, this is due to the fact that during the training period this function loses its significance and does not develop in order to memorize a certain rule or information, imagination and fantasy are not needed. The teenager is placed in the world of reality, connected with his educational activity, and at the same time, something goes into the world of fantasy that is in no way connected with the activity of the child. Therefore, the starting point for the development of imagination can be directed activity, that is, the inclusion of a teenager's imagination in solving some problem or task.

For example, in the visual arts, it is no longer enough for a teenager to have one activity of creative imagination, he is not satisfied with a drawing made somehow, in order to embody his creative imagination, he needs to acquire special professional, artistic skills and abilities.

In addition, as L. S. Vygotsky noted, the creative activity of the imagination is directly dependent on the richness and diversity of a person’s previous experience: the richer the experience, the more material that his imagination has.

The pedagogical conclusion that can be drawn is the need to expand the experience of a teenager if we want to create a sufficiently strong foundation for his creative activity. The development of the imagination not only significantly increases intelligence, concentration of attention - it is extremely important in adolescence for the successful resolution of life conflicts.

A significant role in the development of artistic and musical abilities in adolescents is given to regulatory processes, these include feelings and emotions, the sphere of self-control and self-regulation. Motives and the need for creativity, according to a number of authors, are formed under the influence of dominant emotions. Among the emotions most often dominant in creative personalities are joy and aggression. Thus, J. Getzels and F. Jackson, when studying highly creative children, note a large number of aggressive elements in the products of creativity. In the list of qualities, the main ones are two: optimism and the desire for dominance.

A necessary psychological condition for the development of artistic and musical abilities is the creation of an atmosphere conducive to the manifestation of new ideas and opinions, the development of a sense of psychological security and a positive self-concept. Adolescents with low self-esteem often cannot realize their abilities, so teachers need to help develop a positive self-image in a teenager through an attentive and friendly attitude towards them, encouraging their activities. In addition, at this age, emotional processes stabilize, the intensity of emotional states decreases, which allows you to more positively perceive the colors of the world.

In the process of developing artistic and musical abilities, we affect the development of the personality of a teenager. Therefore, it is necessary to clearly capture the characteristics of each teenager, his imaginative thinking, artistic perception, attraction to certain types of visual or musical activity. The peculiarity of a teenager's creativity is closely connected with production work. The synthesis of such labor is typical for adolescence, although it remains practically unexplored.

In this age period, it is necessary to draw the attention of a teenager to a creative type of activity, various forms and types of activities, such as design, layout, design, that is, everything that directs interest and attention to a new area in which a teenager’s creative imagination can manifest .

Summing up this paragraph, we can conclude that confronting a person with many new, contradictory life situations, adolescence stimulates and actualizes his creative potential. The most important intellectual component of creativity is the predominance of the so-called divergent thinking, which assumes that there can be many equally correct and equal answers to the same question (in contrast to convergent thinking, which focuses on an unambiguous and only correct solution that removes the problem as such). This kind of thinking is necessary and important not only for a teenager, but also for a person at any age and in any business.

PERSONALITY CREATIVE. There are two main points of view on the creative personality. According to one, creativity or creative ability to one degree or another is characteristic of every normal person. It is as integral to a person as the ability to think, speak and feel. Moreover, the realization of creative potential, regardless of its scale, makes a person mentally normal. To deprive a person of such an opportunity means to cause neurotic states in him. Some psychoneurologists see the essence of psychotherapy in the cure of neuroses by awakening the creative aspirations of a person. M. Zoshchenko in his autobiographical story tells how he recovered from depression thanks to creativity.

The view of creativity as a universal trait of a person's personality presupposes a certain understanding of creativity. Creativity is supposed to be a process of creating something new, and the process is unprogrammed, unpredictable, sudden. This does not take into account the value of the result of a creative act and its novelty for a large group of people, for society or humanity. The main thing is that the result should be new and meaningful for the “creator” himself. An independent, original solution by a student of a problem that has an answer will be a creative act, and he himself should be evaluated as a creative person.

According to the second point of view, not every (normal) person should be considered a creative person, or a creator. This position is connected with a different understanding of the nature of creativity. Here, in addition to the unprogrammed process of creating a new one, the value of a new result is taken into account. It must be universally valid, although its scale may be different. The most important feature of the creator is a strong and stable need for creativity. A creative person cannot live without creativity, seeing in it the main goal and the main meaning of his life.

There are professions - they are called " creative professions”- where a person is required as a necessary quality to be a creative person. These are such professions as being an actor, musician, inventor, etc. It is not enough to be a “good specialist”. It is necessary to be a creator, not a craftsman, even a very skilled one. Of course, creative individuals are also found among other professions - among teachers, doctors, coaches and many others.

At present, creativity is becoming more and more specialized and acquiring an elitist character. The level of strength of creative need and energy required for professional creativity in most areas of human culture is such that most people remain outside of professional creativity. There is a point of view that a creative person has an excess energy potential. Excessive in relation to the cost of adaptive (adaptive) behavior. The opportunity for creativity, as a rule, appears when a person does not need to solve problems for adaptation, when “peace and freedom” are at his disposal. Either he is not busy with worries about his daily bread or he neglects these worries. Most often this happens at leisure, when he is left to himself - at night at the desk of Boldinskaya autumn, in a solitary confinement cell, in a hospital bed.

Many people, even the creatively gifted, lack creativity. competence . There are three aspects of such competence. First, how ready a person is for creativity in the conditions of multidimensionality and alternativeness of modern culture. Secondly, to what extent he owns the specific "languages" of different types of creative activity, a set of codes that allow him to decipher information from different areas and translate it into the "language" of his work. For example, how a painter can use the achievements of modern music, or an economist - discoveries in the field of mathematical modeling. According to the figurative expression of one psychologist, creators today are like birds sitting on distant branches of the same tree of human culture, they are far from the earth and can hardly hear and understand each other. The third aspect of creative competence is the degree to which a person masters a system of "technical" skills and abilities (for example, the technology of painting), on which the ability to implement conceived and "invented" ideas depends. Different types creativity (scientific, poetic, etc.) impose different requirements on the level of creative competence.

The inability to realize creative potential due to insufficient creative competence gave rise to mass amateur creativity, "creativity at leisure", a hobby. These forms of creativity are accessible to almost everyone and everyone, people who are tired of monotonous or highly complex professional activities.

Creative competence is just a condition for the manifestation of creative ability. The same conditions include the presence of general intellectual and special abilities that exceed the average level, as well as enthusiasm for the task being performed. What is the creative ability itself? The practice of creative achievements and testing leads to the conclusion that the psychological basis of creative ability is the ability of creative fantasy ( cm. FANTASY), understood as a synthesis of imagination and empathy (reincarnation). The need for creativity as the most important feature of a creative personality is nothing but a constant and strong need for creative imagination. K. Paustovsky penetratingly wrote: “... be merciful to the imagination. Don't avoid it. Do not pursue, do not pull, and above all, do not be ashamed of him, like a poor relative. This is the beggar who hides the innumerable treasures of Golconda.

The determining factor for creative fantasy is the direction of consciousness (and the unconscious), which consists in a departure from the actual reality and the real Self into a known relatively autonomous and free activity of consciousness (and the unconscious). This activity differs from the direct knowledge of reality and one's Self and is aimed at transforming them. and the creation of a new (mental) reality and a new I.

What motivates a creative person to constantly turn to creative imagination? What is the leading motive in the behavior of a creative person? Answering these questions means coming to an understanding of the essence of a creative person.

A creative person constantly experiences dissatisfaction, tension, vague or more definite anxiety, discovering in reality (external and internal) the lack of clarity, simplicity, orderliness, completeness and harmony. It is like a barometer sensitive to contradictions, discomfort, disharmony. With the help of creative imagination, the creator eliminates in his consciousness (and in the unconscious) the disharmony that he encounters in reality. He creates a new world in which he feels comfortable and joyful. That is why the very process of creativity and its products bring pleasure to the creator and require constant renewal. Real contradictions, discomfort and disharmony, as it were, find themselves creative personality. This explains why creative people constantly live in two modes, replacing each other: tension and relaxation (catharsis), anxiety and calm, dissatisfaction and joy. This recurring state of duality is one of the manifestations of neuroticism as a personality trait of creative individuals.

Neuroticism, hypersensitivity is the norm for a creative person in the same way as for an ordinary person. normal person emotionality (lack of indifference) in any kind of activity is the norm. But neuroticism, the duality of the creative personality, is close to the line beyond which psychopathology begins. It must be recognized that creativity can be combined with certain psychopathological traits. But, firstly, this is not the norm, and even more so, and secondly, it does not give grounds for the conclusions that Lombroso's followers make about the relationship of genius and madness.

The duality of the creator presupposes the phenomenon of “natural splitting of the Self” into the real Self and the creative (imaginary) Self. Even in the strongest impulse of inspiration, the creator does not lose the feeling of the real Self. rests on a cardboard backdrop of the scenery. And yet, the activity of the creative Self, “forcing” the creator to stay in the world of imaginary, conditional reality - verbal, depicted, symbolically-conceptual, scenically embodied, etc. - explains the presence of traits and features in a creative personality that distinguishes it from ordinary person. The behavior of the creator in everyday life often seems "strange", "eccentric". And there is an explanation for this.

A strong need for the activity of the imagination and focus on it, which is inextricably linked with curiosity and the need for new impressions (new ideas, images, etc.), gives creative personalities the features of "childishness". For example, Einstein's biographers write that he was a wise old man with all-understanding eyes. And at the same time, there was something childish about him, he forever retained in himself the surprise of a five-year-old boy who saw a compass for the first time. The “play” component in the act of imagination, apparently, explains the frequent love of creators, as well as children, for games, practical jokes, and jokes. Immersion in their imaginary creative world sometimes makes their behavior in everyday life not quite adequate. They are often said to be "not of this world." A classic illustration is "professorial" absent-mindedness.

Children's or "naive" creativity differs from the creativity of an adult; it has a different structure and content than the cultural creativity of a creative person. Children's creativity is natural behavior child in the absence of stereotypes. A child's fresh view of the world comes from the poverty of his experience and from the naive fearlessness of his thought: everything really can be. Naive creativity is a characteristic of age and is inherent in most children. On the contrary, the cultural creativity of creators is far from a mass phenomenon.

The fearlessness of the creator's thought is not naive, it implies rich experience, deep and extensive knowledge. This is the fearlessness of creative courage, audacity, willingness to take risks. The Creator is not afraid of the need to doubt the universally recognized. He bravely goes to the destruction of stereotypes in the name of creating a better, new, not afraid of conflicts. A.S. Pushkin wrote: “There is the highest courage: the courage of an invention.”

Creative courage is a feature of the creative self, and it may be absent from the real self of the creator, in everyday life. So, according to the testimony of the wife of the famous impressionist Marche, a bold innovator in painting was a rather timid person in life. This duality can be found in relation to other personal qualities. For example, being absent-minded in life, the creator is “obliged” to be concentrated, attentive and precise in his work. Creative ethics is not identical to the ethics of the real I. The artist Valentin Serov often admitted that he did not like people. Creating portraits and carefully peering into a person, each time he was carried away, inspired, but not by the face itself, which was often vulgar, but by the characteristic that can be made from it on canvas. A. Blok writes about specific artistic love: we love everything that we want to portray; Griboedov loved Famusov, Gogol loved Chichikov, Pushkin loved the miser, Shakespeare loved Falstaff. Creative personalities sometimes give the impression of loafers in life, outwardly undisciplined, sometimes careless and irresponsible. In creativity, they reveal great diligence, inner honesty and responsibility. A clearly expressed desire for self-affirmation of the creative self can take unpleasant forms at the level of behavior in real life: jealous attention to other people's successes, hostility towards colleagues and their merits, arrogantly aggressive manner of expressing one's opinions, etc. The desire for intellectual independence, characteristic of creative individuals, is often accompanied by self-confidence, a tendency to give high marks to one's own abilities and achievements. Such a tendency is already noted in "creative" adolescents. famous psychologist K. Jung argued that a creative person is not afraid to reveal in behavior the opposite features of his nature. She is not afraid because she compensates for the shortcomings of her real self with the virtues of her creative self.

Creativity as a specific ability of a creative person is rooted in human innate talent. But the realization of this ability and giftedness depends on the development of the personality as a whole and, in particular, on the development of other general and special abilities. It is established that intelligence must be above average. Of great importance is a developed memory, moreover, adapted to one or another area of ​​creative activity: musical memory, visual, digital, motor, etc. The physical, anatomical and physiological properties of a person, often congenital, also matter. So, Chaliapin's singing talent was greatly facilitated by his amazing vocal cords - powerful and plastic. At the same time, a stable correlation between the level of creative ability and the characteristics of the character and temperament of the real self has not been fixed. Creative personalities can be people with any character and any temperament.

Creative people are not born, but made. Creative ability, which is largely innate, acts as the core of a creative personality, but the latter is a product of social and cultural development, the influence of the social environment and the creative climate. That is why the modern practice of testing creative ability as such cannot satisfy the social order that arose with the beginning of the post-industrial phase in the development of society, to identify creative individuals. A creative person is characterized not only by a high level of creative ability, but by a special life position of a person, his attitude to the world, to the meaning of the activities carried out. Of great importance is the spiritual wealth of the inner world of the individual, its constant focus to creative action in the external world. The problem of a creative personality is not only a psychological problem, but also a humanitarian and socio-cultural problem.

Evgeny Basin

(Abstract)

n1.doc

Ural State Transport University

Department "UPiS"
abstract

Subject "Fundamentals of personnel management"

on the topic "Creative personality and its features"

Yekaterinburg

1 The nature of creativity……………………………………………………...4

2 Necessary qualities for the development of a creative personality…………..6

3 Genius or madman? .............................................. .......................................9

4 The duality of the personality of the creator……………………………………...11

5 The main features of a creative personality………………………………..13

Conclusion………………………………………………………………..16

List of used sources………………………………………………………17

Introduction
Creativity is a process of human activity that creates qualitatively new material and spiritual values ​​or the result of creating a subjectively new one. The main criterion that distinguishes creativity from manufacturing (production) is the uniqueness of its result. The result of creativity cannot be directly deduced from the initial conditions. No one, except perhaps the author, can get exactly the same result if the same initial situation is created for him. Thus, in the process of creativity, the author puts into the material some possibilities that are not reducible to labor operations or a logical conclusion, and in the end expresses some aspects of his personality. It is this fact that gives the products of creativity an additional value in comparison with the products of production. In other words, creativity is an activity that generates something qualitatively new, something that has never existed before.

There is an opinion that all people are capable of creativity, but not everyone can benefit others with their creative work. As a rule, only a specific type of personality is capable of this - a creative one. A creative personality has a number of characteristic features that the manager must take into account in the process of organizing the work of such individuals, their adaptation in the team. In this essay, we will consider these features.

1 The nature of creativity
There are two main points of view on the creative personality. According to one, creativity or creative ability to one degree or another is characteristic of every normal person. It is as integral to a person as the ability to think, speak and feel. Moreover, the realization of creative potential, regardless of its scale, makes a person mentally normal. The view of creativity as a universal trait of a person's personality presupposes a certain understanding of creativity. Creativity is supposed to be a process of creating something new, and the process is unprogrammed, unpredictable, sudden. This does not take into account the value of the result of a creative act and its novelty for a large group of people, for society or humanity. The main thing is that the result should be new and meaningful for the “creator” himself. An independent, original solution by a student of a problem that has an answer will be a creative act, and he himself should be evaluated as a creative person.

According to the second point of view, not every person should be considered a creative person, or a creator. This position is connected with a different understanding of the nature of creativity. Here, in addition to the unprogrammed process of creating a new one, the value of a new result is taken into account. It must be universally valid, although its scale may be different. The most important feature of the creator is a strong and stable need for creativity. A creative person cannot live without creativity, seeing in it the main goal and the main meaning of his life.

There are professions - they are called "creative professions" - where a person is required as a necessary quality "creative vein". These are such professions as an actor, musician, inventor, etc. It is not enough to be a “good specialist”. It is necessary to be a creator, not a craftsman, even a very skilled one. Of course, creative individuals are also found among other professions - among teachers, doctors, coaches and many others.

However, some thinkers doubted the creative nature of scientific research. Hegel in his Aesthetics wrote about the nature of abilities: “True, they also talk about scientific talents, but science assumes only the presence of a general ability to think, which, unlike fantasy, does not manifest itself as something natural, but, as it were, is abstracted from any natural activity, so it would be legitimate to say that there is no specificity of scientific talent in the sense of a certain talent.

At present, creativity is becoming more and more specialized and acquiring an elitist character. The level of strength of creative need and energy required for professional creativity in most areas of human culture is such that most people remain outside of professional creativity. There is a point of view that creative work has excessive energy intensity, and the creative person does not have energy for adaptive (adaptive) behavior. The opportunity for creativity, as a rule, appears when a person does not need to solve the problems of adaptation, when “peace and freedom” are at his disposal. Either he is not busy with worries about his daily bread or he neglects these worries. Most often this happens at leisure, when he is left to himself - at night at his desk, in solitary confinement, in a hospital bed.

2 Necessary qualities for the development of a creative personality
Creativity as a specific ability of a creative person is rooted in the innate giftedness of a person. But the realization of this ability and giftedness depends on the development of the personality as a whole and, in particular, on the development of other general and special abilities. It is established that intelligence must be above average. Of great importance is a developed memory, moreover, adapted to one or another area of ​​creative activity: musical memory, visual, digital, motor, etc. The physical, anatomical and physiological properties of a person, often congenital, also matter. So, Chaliapin's singing talent was greatly facilitated by his amazing vocal cords - powerful and plastic. At the same time, a stable correlation between the level of creative ability and the characteristics of the character and temperament of the real self has not been fixed. Creative personalities can be people with any character and any temperament.

Creative people are not born, but made. Creative ability, which is largely innate, acts as the core of a creative personality, but the latter is a product of social and cultural development, the influence of the social environment and the creative climate. That is why the modern practice of testing creative ability as such cannot satisfy the social order that arose with the beginning of the post-industrial phase in the development of society, to identify creative individuals. A creative person is characterized not only by a high level of creative ability, but by a special life position of a person, his attitude to the world, to the meaning of the activities carried out.

Many people, even the creatively gifted, lack creative competence. There are three aspects of such competence. First, how ready a person is for creativity in the conditions of multidimensionality and alternativeness of modern culture. Secondly, to what extent he owns the specific "languages" of different types of creative activity, a set of codes that allow him to decipher information from different areas and translate it into the "language" of his work. For example, how a painter can use the achievements of modern music, or an economist - discoveries in the field of mathematical modeling. According to the figurative expression of one psychologist, creators today are like birds sitting on distant branches of the same tree of human culture, they are far from the earth and can hardly hear and understand each other. The third aspect of creative competence is the degree to which a person masters a system of "technical" skills and abilities (for example, the technology of painting), on which the ability to implement conceived and "invented" ideas depends. Different types of creativity (scientific, poetic, etc.) impose different requirements on the level of creative competence.

The inability to realize creative potential due to insufficient creative competence gave rise to mass amateur creativity, "creativity at leisure", a hobby. These forms of creativity are accessible to almost everyone and everyone, people who are tired of monotonous or highly complex professional activities.

Creative competence is just a condition for the manifestation of creative ability. The same conditions include the presence of general intellectual and special abilities that exceed the average level, as well as enthusiasm for the task being performed. What is the creative ability itself? The practice of creative achievements and testing leads to the conclusion that the psychological basis of creative ability is the ability of creative fantasy, understood as a synthesis of imagination and empathy (reincarnation). The need for creativity as the most important feature of a creative personality is nothing but a constant and strong need for creative imagination.

The determining factor for creative fantasy is the direction of consciousness (and the unconscious), which consists in a departure from the actual reality and the real Self into a known relatively autonomous and free activity of consciousness (and the unconscious). This activity differs from the direct cognition of reality and one's Self and is aimed at transforming them and creating a new (mental) reality and a new Self.
3 Genius or madman?
What motivates a creative person to constantly turn to creative imagination? What is the leading motive in the behavior of a creative person? Answering these questions means coming to an understanding of the essence of a creative person.

A creative person constantly experiences dissatisfaction, tension, vague or more definite anxiety, discovering in reality (external and internal) the lack of clarity, simplicity, orderliness, completeness and harmony. It is like a barometer sensitive to contradictions, discomfort, disharmony. With the help of creative imagination, the creator eliminates in his consciousness (and in the unconscious) the disharmony that he encounters in reality. He creates a new world in which he feels comfortable and joyful. That is why the very process of creativity and its products bring pleasure to the creator and require constant renewal. Real contradictions, discomfort and disharmony, as it were, find the creative person themselves. This explains why creative people constantly live in two modes, replacing each other: tension and relaxation (catharsis), anxiety and calm, dissatisfaction and joy. This constantly reproducible state of duality is one of the manifestations of neuroticism as a personality trait of creative personalities.

Neuroticism, hypersensitivity is the norm for a creative person in the same way that emotionality (lack of indifference) in any kind of activity is the norm for an ordinary normal person. But neuroticism, the duality of the creative personality, is close to the line beyond which psychopathology begins. It must be recognized that creativity can be combined with certain psychopathological traits. But, firstly, this is not the norm, and even more so, and secondly, it does not give grounds for the conclusions that Lombroso's followers make about the relationship of genius and madness.

True, Lombroso himself never claimed that there was a direct relationship between genius and madness, although he selected empirical examples in favor of the hypothesis: “Gray hair and baldness, thinness of the body, as well as poor muscular and sexual activity, characteristic of all crazy people, are very common among great thinkers. ... In addition, thinkers, along with those placed, are characterized by: constant overflow of the brain with blood (hyperemia), intense heat in the head and cooling of the limbs, a tendency to acute brain diseases and weak sensitivity to cold and hunger. Lombroso characterizes geniuses as lonely, cold people, indifferent to family and social responsibilities. Among them are many drug addicts and drunkards: Musset, Socrates, Seneca, Handel, Poe. The twentieth century added many names to this list, from Faulkner and Yesenin to Hendrix and Morrison.

Lombroso cites interesting data: in the population of Ashkenazi Jews living in Italy, there are more mentally ill than Italians, but more talented people (Lombroso himself was an Italian Jew). The conclusion to which he comes is as follows: genius and madness can be combined in one person.

The list of mentally ill geniuses is endless. Petrarch, Moliere, Dostoevsky suffered from epilepsy, not to mention Alexander the Great, Napoleon and Julius Caesar. Rousseau and Chateaubriand suffered from melancholy. Psychopaths (according to Kretschmer) were George Sand, Michelangelo, Byron, Goethe and others.

The hypothesis of "genius and madness" is being revived in our days. D. Carlson believes that a genius is a carrier of a recessive schizophrenia gene. In the homozygous state, the gene manifests itself in the disease. For example, the son of the brilliant Einstein suffered from schizophrenia. This list includes Descartes, Pascal, Newton, Faraday, Darwin, Plato, Kant, Nietzsche and many others.

4 Creator's personality duality
The duality of the creator, which was mentioned above, suggests the phenomenon of “natural split of the Self” into the real Self and the creative (imaginary) Self. Even in the strongest impulse of inspiration, the creator does not lose the feeling of the real Self. For example, as Stanislavsky noted, not a single actor fell orchestra pit and does not rely on the cardboard backdrop of the scenery. And yet, the activity of the creative Self, “forcing” the creator to stay in the world of imaginary, conditional reality - verbal, depicted, symbolically-conceptual, scenically embodied, etc. - explains the presence of a creative personality traits and features that distinguish it from an ordinary person. The behavior of the creator in everyday life often seems "strange", "eccentric". And there is an explanation for this.

A strong need for the activity of the imagination and focus on it, which is inextricably linked with curiosity and the need for new impressions (new ideas, images, etc.), gives creative personalities the features of "childishness". For example, Einstein's biographers write that he was a wise old man with all-understanding eyes. And at the same time, there was something childish about him, he forever retained in himself the surprise of a five-year-old boy who saw a compass for the first time. The “play” component in the act of imagination, apparently, explains the frequent love of creators, as well as children, for games, practical jokes, and jokes. Immersion in their imaginary creative world sometimes makes their behavior in everyday life not quite adequate. They are often said to be "not of this world." A classic illustration is "professorial" absent-mindedness.

Children's or "naive" creativity differs from the creativity of an adult; it has a different structure and content than the cultural creativity of a creative person. Children's creativity is the natural behavior of a child against the background of the absence of stereotypes. A child's fresh view of the world comes from the poverty of his experience and from the naive fearlessness of his thought: everything really can be. Naive creativity is a characteristic of age and is inherent in most children. On the contrary, the cultural creativity of creators is far from a mass phenomenon.
5 Essential Traits of a Creative Personality
The fearlessness of the creator's thought is not naive, it implies rich experience, deep and extensive knowledge. This is the fearlessness of creative courage, audacity, willingness to take risks. The Creator is not afraid of the need to doubt the universally recognized. He bravely goes to the destruction of stereotypes in the name of creating a better, new, not afraid of conflicts. A.S. Pushkin wrote: “There is the highest courage: the courage of an invention.”

Creative courage is a feature of the creative self, and it may be absent from the real self of the creator, in everyday life. So, according to the wife of the famous impressionist Marquet, the bold innovator in painting was a rather timid person in life. This duality can be found in relation to other personal qualities. For example, being absent-minded in life, the creator is “obliged” to be concentrated, attentive and precise in his work. Creative ethics is not identical to the ethics of the real I. The artist Valentin Serov often admitted that he did not like people. Creating portraits and carefully peering into a person, each time he was carried away, inspired, but not by the face itself, which was often vulgar, but by the characteristic that can be made from it on canvas. A. Blok writes about specific artistic love: we love everything that we want to portray; Griboedov loved Famusov, Gogol loved Chichikov, Pushkin loved the miser, Shakespeare loved Falstaff. Creative personalities sometimes give the impression of loafers in life, outwardly undisciplined, sometimes careless and irresponsible. In creativity, they reveal great diligence, inner honesty and responsibility. A clearly expressed desire for self-affirmation of the creative self can take unpleasant forms at the level of behavior in real life: jealous attention to other people's successes, hostility towards colleagues and their merits, an arrogantly aggressive manner of expressing one's judgments, etc. The desire for intellectual independence, characteristic of creative individuals, is often accompanied by self-confidence, a tendency to give high marks to one's own abilities and achievements. Such a tendency is already noted in "creative" adolescents. The well-known psychologist K. Jung argued that a creative person is not afraid to reveal opposite traits of his nature in his behavior. She is not afraid because she compensates for the shortcomings of her real self with the virtues of her creative self.

Much more productive is not a superficial, but a systematic natural-scientific approach to the study of the mental characteristics of a creative person.

Representatives of depth psychology and psychoanalysis (here their positions converge) see the main difference between a creative personality and a specific motivation. Let us dwell only briefly on the positions of a number of authors, since these positions are reflected in numerous sources.

The difference lies only in what kind of motivation underlies creative behavior. Z. Freud considered creative activity the result of the sublimation of sexual desire to another sphere of activity: sexual fantasy is objectified in a creative product in a socially acceptable form.

A. Adler considered creativity as a way to compensate for an inferiority complex. K. Jung paid the greatest attention to the phenomenon of creativity, seeing in it a manifestation of the collective unconscious.

R. Assagioli considered creativity to be the process of an individual's ascent to the “ideal Self”, a way of its self-disclosure.

Humanistic psychologists (G. Allport and A. Maslow) believed that the initial source of creativity is motivation personal growth, not subject to the homeostatic principle of pleasure; According to Maslow, this is the need for self-actualization, the full and free realization of one's abilities and life opportunities.

However, most authors are still convinced that the presence of any motivation and personal enthusiasm is the main sign of a creative person. To this are often added such features as independence and conviction. Independence, focus on personal values, and not on external assessments, perhaps, can be considered the main personal quality of a creative person.

The theory of the development of a creative personality G.S. Altshuller, which was mentioned earlier, considers the preparation of the individual for the entire creative cycle: the choice of a problem, the solution of the tasks that make up the problem, implementation. It was based on many years of joint research on the biographies of creative personalities conducted by G.S. Altshuller and I.M. Vertkin. A thorough analysis of the life path of many inventors allows us to identify six qualities of a creative person - the minimum necessary "creative kit":

1. 
   worthy goal;
2. 
   a set of real work plans to achieve the goal;
3. 
   high efficiency;
4. 
   good technique for solving problems (for example, TRIZ);
5. 
   the ability to defend one's ideas - "the ability to take a hit";
6. 
   performance.

Conclusion
A creative person is the engine of the progress of human society in all areas of development: from science to art. In many ways, it depends on it what our world will be like tomorrow. That is why creative people need to be given special attention, to create conditions for their comfortable work. To do this, you need to know the features of a creative personality, namely:

1. 
   independence - personal standards are more important than group standards, non-conformity of assessments and judgments;
2. 
   openness of mind - readiness to believe one's own and other people's fantasies, receptivity to the new and unusual;
3. 
   developed aesthetic sense, the desire for beauty;
4. 
   feeling of dissatisfaction, anxiety;
5. 
   duality of personality, inconsistency;
6. 
   difficulties in the process of adaptation.

List of sources used

1. 
   Rozet I.M. The psychology of fantasy. Minsk, 1977
2. 
   Luk A.N. Psychology of creativity. M., 1978
3. 
   Akimov I., Klimenko V. About the nature of talent. M., 1994
4. 
   Basin E.Ya. "Two-faced Janus". (on the nature of a creative person). M., 1996
5. 
   Druzhinin V. Metaphorical models of intelligence. - In the book: Creativity in art. Art in creativity. M., 2000
6. 
   Hegel F. Aesthetics in 4 vols. 1968. Vol. 1.
7. 
   Lombroso C. Genius and insanity. SPb., 1992.
8. 
   Goncharenko N. V. Genius in art and science. M.: Art, 1991

Introduction

Chapter 1. Theoretical aspects of studying the psychological characteristics of a creative personality in domestic and foreign psychology

1.1 Psychological traits and characteristics of a creative personality

1.2 The essence of creativity as a psychological process, stages of creativity

1.3 The influence of creativity on the development of personality relationships

Chapter 2. Experimental study and analysis of the results

2.1 Purpose, objectives, hypothesis and research methods

2.2 Research

Conclusion

Bibliography

Applications

Introduction

Relevance of the research topic:

The formation of a reasonable person is associated with the development of gesture, facial expressions, pantomime, dance, drawing, i.e. international language of images. This language is unconscious in nature, everyone mastered it in childhood, and with its help, models of the world of any emerging personality were developed. What are the psychological characteristics of a creative person? How are these features formed, created, in what way are they expressed?

The relevance of this topic: "Psychological characteristics of a creative personality", firstly, is due to the fact that many researchers reduce the problem of human abilities to the problem of a creative personality: there are no special creative abilities, but there is a person with a certain motivation and traits. Indeed, if intellectual giftedness does not directly affect the creative success of a person, if in the course of the development of creativity, the formation of a certain motivation and personality traits precedes creative manifestations, then we can conclude that there is a special type of personality - "Creative Man". The term "creativity" indicates both the activity of the individual and the values ​​created by her, which, from the facts of her personal destiny, become the facts of culture. The basis in the psychology of creativity is the relationship between the product of creativity and its process. The product belongs to the culture, the process belongs to the individual.

Secondly, mastering the theory of creativity, techniques and methods of finding new solutions helps to realize the social significance of creativity, its social necessity, to fully reveal one's creative potential, which creates a creative person as such. Thus, our study may bring something new to the problem under study.

These circumstances determined the choice of the research topic and the main directions of its development.

Problem development:

At present, the study of a creative personality and its connection with personality traits and characteristics seems to be the most promising. Many domestic and foreign scientists V.I. Andreev, D.B. Bogoyavlenskaya, R.M. Granovskaya, A.Z. Zak, V.Ya. Kan-Kalik, N.V. Kuzmina, A.N. Luk, S.O. Sysoeva, V.A. Tsapok and others.

A lot of talent and energy was invested in the development of pedagogical problems related to the creative development of the individual, primarily the personality of the child, adolescent, outstanding teachers of the 20s and 30s: A.V. Lunacharsky, P.P. Blonsky, S.T. .Shatsky, B.L. Yavorsky, B.V. Asafiev, N.Ya. Bryusova. Based on their experience, enriched by half a century of development of the science of teaching and raising children, the best teachers, led by the "elders" - V.N. Shatskaya, N.L. Grodzenskaya, M.A. Rumer, G.L. Roshal, N. I. Sats continued and continue to theoretically and practically develop the principle of creative development of children and youth.

Researchers E. V. Andrienko, M. A. Vasilik, N. A. Ippolitova, O. A. Leontovich, I. A. Sternin singled out such subjective characteristics of a creative personality as "human" communication obstacles, socio-cultural, status-positional role-playing, psychological, cognitive, relationship barriers. But the most significant influence in the formation of this problem was made by O. Kulchitskaya, Y. Kozeletsky presented his special I-concept of the development of the creative path and the personality itself. Ya. A. Ponomarev singled out ten stages of the creative process and characterized them according to their significance for the individual.

Purpose and objectives of the study: the purpose of this study is to determine the psychological characteristics of a creative personality. Based on the goal, we solve the following tasks:

1. to consider and analyze the psychological and pedagogical research of foreign and domestic researchers on the problem of creativity and personality;

2. determine and analyze the psychological characteristics of a creative person;

3. make an analysis of the results of the study.

Research hypothesis: In my research, I put forward a hypothesis that a certain type of thinking prevails in a creative person and dependence on a certain attitude towards oneself as a person is established.

Object of study: creative person.

Subject of study: psychological features of a creative personality.

Research methods:

Theoretical: analysis of scientific developments in psychology regarding the issues under study, system analysis and synthesis.

Empirical:

Methodology "Type of thinking", modified by G. Rezapkina;

Questionnaire of self-attitude, V.V. Stolin, S.R. Pantileev;

And methods of mathematical statistics.

The study involved 20 students of the art studio "Vorobyovy Gory" of the Moscow City Palace of Creativity for Children and Youth, aged 12 to 17 years.

Approbation of work: at the end of the study and processing of the results, all participants in this study were familiarized with them.

Chapter 1. Theoretical aspects of studying the psychological characteristics of a creative personality in domestic and foreign psychology

1.1 Psychological traits and characteristics of a creative personality

In the psychological literature, there are two main points of view on the creative personality. According to one, creativity or creative ability to one degree or another is characteristic of every normal person. It is as integral to a person as the ability to think, speak and feel. Moreover, the realization of creative potential, regardless of its scale, makes a person mentally normal. To deprive a person of such an opportunity means to cause neurotic states in him. According to the second point of view, not every (normal) person should be considered a creative person, or a creator. This position is connected with a different understanding of the nature of creativity. Here, in addition to the unprogrammed process of creating a new one, the value of a new result is taken into account. It must be universally valid, although its scale may be different. The most important feature of the creator is a strong and stable need for creativity. A creative person cannot live without creativity, seeing in it the main goal and the main meaning of his life.

The term "creativity" indicates both the activity of the individual and the values ​​created by her, which, from the facts of her personal destiny, become the facts of culture. As alienated from the life of the subject of his searches and thoughts, it is just as unjustified to explain these values ​​in the categories of psychology as a miraculous nature. A mountain peak can inspire the creation of a painting, a poem or a geological work. But in all cases, once created, these works do not become the subject of psychology to a greater extent than the summit itself. Scientific and psychological analysis revealed something completely different: the ways of its perception, actions, motives, interpersonal relationships and the structure of the personality of those who reproduce it by means of art or in terms of the Earth sciences. The effect of these acts and connections is imprinted in artistic and scientific creations, now involved in a sphere independent of the mental organization of the subject.

Much attention is paid to the definition of the concept of a creative personality in philosophical, pedagogical and psychological literature: V.I. Andreev, D.B. Bogoyavlenskaya, R.M. Granovskaya, A.Z. .Kichuk, N.V. Kuzmina, A.N. Luk, S.O. Sysoeva, V.A. Tsapok and others.

A creative personality, according to V. Andreev, is a type of personality that is characterized by perseverance, a high level of focus on creativity, motivational and creative activity, which manifests itself in organic unity with a high level of creative abilities, allowing it to achieve progressive, social and personally significant results in one or more activities.

Psychologists consider creativity as a high level of logical thinking, which is the impetus for activity, "the result of which is the created material and spiritual values" . Most authors agree that a creative person is an individual who has a high level of knowledge, has a desire for something new, original. For a creative person, creative activity is a vital need, and a creative style of behavior is the most characteristic. The main indicator of a creative personality, its most important feature is the presence of creative abilities, which are considered as individual psychological abilities of a person that meet the requirements of creative activity, and are a condition for its successful implementation. Creativity is associated with the creation of a new, original product, with the search for new means of activity. N.V. Kichuk defines a creative personality through its intellectual activity, creative thinking and creative potential.

Also of great importance for understanding the characteristics of a creative personality is the special formation of mental actions. After all, "creativity" does not exist in its pure form, real creative activity includes a lot of technical components, the "working out" of which is one of the prerequisites for creative activity. Deepening the psychological characteristics of the thought process also consists in pointing out that changes in the "conceptual characteristics of objects" are often preceded by changes in operational meanings and emotional assessments, that verbally formulated knowledge about an object does not necessarily have the character of concepts in the strict sense of the word. Ya. A. Ponomarev, who made a significant contribution to the development of problems in the psychology of creative thinking, considers creativity as a "mechanism of productive development", and replaces it with such a concept as "basal extension of the superstructural-basal system". In the psychological plan of functional development, this is the study of those neoplasms that arise in activity in the course of solving a problem. That is, that includes "unconscious" or "unconscious" replaced by Ponomarev with the term "basal component". The development of emotional processes in a creative person also has its own characteristics. If we recall one of the classic schemes of the creative process - preparation, maturation, inspiration, verification - and correlate it with the available research on the psychology of thinking, then with all the conventions of the scheme, such a correlation allows us to state that the first and fourth links of the creative process are studied much more intensively than second and third. Therefore, at present, they need to be given special attention. The study of "inspiration" on laboratory models is the study of the conditions for the emergence and functions of emotional activation, emotional assessments that arise in the course of solving mental problems. For example, in works on the psychology of scientific creativity, it is convincingly shown that the activity of a scientist is always mediated by the categorical structure of science, which develops according to its own laws, independent of the individual, but at the same time, a certain opposition of the “subjective-experiential” and “objective-activity” plan is allowed, which can be reproached for the epiphenomenological interpretation of "experiences", i.e., the functions of the emotional-affective sphere.