From the history of the issue

In Russian psychology in the early period of creativity research, the only source of judgment about the qualities of a creative personality were biographies, autobiographies, memoirs and other literary works containing "self-revelations" of outstanding people - artists, scientists, inventors.

By analyzing and summarizing such material, the most conspicuous signs of genius were identified, expressed in the features of perception, intellect, character, and motivation of activity.

Among the perceptual features of individuals with great creative potential, most often included: unusual tension of attention, great impressionability, receptivity. Among the intellectual ones are intuition, powerful fantasy, fiction, the gift of foresight, the vastness of knowledge. Among the characterological features, the following were emphasized: deviation from the template, originality, initiative, perseverance, high self-organization, colossal efficiency. Features of the motivation of activity were seen in the fact that a brilliant personality finds satisfaction not so much in achieving the goal of creativity, but in its very process; specific feature of the creator was characterized as an almost irresistible desire for creative activity.

Original criteria for an objective assessment of creative potentials were also proposed: according to P.K. Engelmeyer, technical genius manifests itself in the ability to intuitively grasp the idea of ​​an invention; there is enough talent to develop it; for constructive performance - diligence.

Later, tests were used to study the qualities of a creative personality. The results of a survey of famous chess players were somewhat unexpected; except for clearly visible professional features, no special deviations from the norm were found either in attention, or in memory, or in "combinatorial ability; highly developed

1 Of course, in all periods of the study, such materials were significantly supplemented by the personal opinion of the authors of the studies.

famous chess players turned out to have only the ability to establish logical connections. Thus, this test survey did not reveal any definite qualities of a creative personality.

Something similar was shown by the study of inventors. Their data was not overwhelming compared to the norm. However, within the inventors it was possible to find distinct differences that are strictly consistent with their productivity. The most productive inventors differed from the least productive in both the level of intelligence development and the level of attention development. At the same time, according to the author of the study P. A. Nechaev, these differences are not the most significant. Great inventors and scientists differ from less significant ones not so much in the development of formal intellectual skills as in the structure of their personality. The watershed here runs along the line of perseverance in the implementation of the plans, activity, aggressiveness in protecting one's personality, organizational abilities, etc.

A number of other issues related to the characteristics of a creative personality and, mainly, the personality of a scientist were also put forward. Among them, it should be noted the questions of the typology of the personality of scientists, the classification of scientists, the questions of the age dynamics of creativity, the nature and development of creative abilities, and the education of creative abilities.

So, for example, referring to the typology of scientists, F. Yu. Levinson-Lessing divided creatively unproductive erudite scientists, calling them "walking libraries", and creatively preductive scientists, not burdened by an overabundance of operational knowledge, possessing a powerfully developed imagination and brilliantly reacting for all sorts of clues.

The age dynamics of creativity was considered by M. A. Bloch, who built his conclusions in this area, mainly based on the analysis of foreign literature. He attributed the most favorable age for the manifestation of genius to 25 years.

An analysis of the works of foreign authors regarding the nature and factors of development of abilities led M. A. Bloch to the conclusion that there are no convincing constants in the dependence of genius on innate qualities. No such constants were found regarding the role of the influence of the environment, including schooling. M. A. Bloch, along with the majority of representatives of the early period of research, was deeply convinced that the conscious activity of people in no way can influence the formation of brilliant scientists, inventors, poets and artists.

On the basis of his own research, P. A. Nechaev, referring to the issue of educating technical invention, believed that inventors are mostly people with a favorable natural organization. Many who have not received education have practically achieved little. But education sometimes acts as a brake. Cases of great successes of uneducated talents are known. Therefore, at school, not only the material of instruction is important, but also the form in which it is given.

In "a later period, there was no significant progress in the field of psychology of the personality traits of the creators of science. Individual works that touch on such issues essentially relied on materials from the past.

It is no coincidence, therefore, that at the Symposium on the Problems of Scientific and Technical Creativity (Moscow, 1967) all reports presented at the session of the psychology section were grouped in line with the problem of the psychology of creative thinking. Questions of the psychology of the creative personality were not touched upon at all (to a certain extent, such questions were touched upon in reports at other sections, but not on a specifically psychological plane). Perhaps this circumstance did not happen by chance, because at present, psychology has not yet developed sufficiently reliable means for a productive, strictly scientific analysis of the qualities of a creative personality.

In the last two decades, research on the qualities of a creative personality and creative abilities has gained wide scope abroad, especially in the United States. However, that general characteristics foreign, especially American, research in the field of the psychology of scientific creativity, which was given by us in the introductory section, fully extends to the work of this profile. All of them are narrowly practical, applied, concrete in nature, bypassing the stage of fundamental research.

Apparently, for precisely these reasons, these studies did not cross the qualitative threshold that was achieved by works carried out, say, before the 1930s. Therefore, characterizing modern foreign research, we can only talk about their quantitative growth. All of them retain, in principle, the old problems and, with few exceptions, arrive in principle at the same conclusions. If we compare the Potebnists’ statements about the creative qualities of a person with the conclusions reached in their works by, for example, Giselin (1963), Taylor (1964), Barron (1958) and many other modern researchers in the USA, we will not find a fundamental difference. There is only a change of emphasis and some redistribution of issues that attract the most attention.

In terms of the structural division of the problems, there have also been no changes. This is clearly shown, for example, by the non-speech “specific abilities and mental properties necessary for work in the field of science and technology”, which is very characteristic of American studies, cited by G. Ya. Rosen in the newsletter “Studies in the Psychology of Scientific Creativity in the USA” ( 1966). The author gives this list in the form in which it is indicated in the work of Taylor and other sources (Anderson, 1959): “Extraordinary energy. Resourcefulness, ingenuity. Cognitive abilities. Honesty, directness, directness. Strive for facts. The desire to possess principles (patterns). Striving for discovery. information abilities. Dexterity, experimental skill. Flexibility, the ability to easily adapt to new facts and circumstances. Tenacity, perseverance. Independence. The ability to determine the value of phenomena and conclusions. The ability to cooperate. Intuition. Creative skills. The desire for development, spiritual growth. The ability to be surprised, bewildered when confronted with the new or unusual. The ability to fully navigate the problem, to be aware of its condition. Spontaneity, immediacy. spontaneous flexibility. adaptive flexibility. Originality. Divergent thinking. Ability to quickly acquire new knowledge. Susceptibility ("openness") in relation to new experience. The ability to easily overcome mental boundaries and barriers. The ability to yield, to abandon one's theories. The ability to be born again every day. The ability to discard the unimportant and secondary. Ability to work hard and hard. The ability to compose complex structures from elements, to synthesize. The ability to decompose, to analyze. The ability to combine. The ability to differentiate phenomena. Enthusiasm. The ability to express yourself. (Internal maturity. Skepticism. Courage. Courage. A taste for temporary disorder, chaos. The desire to stay alone for a long time. Emphasizing one's "I". Confidence in conditions of uncertainty. Tolerance for obscurity, ambiguity, uncertainty" (Rosen, 1966).

A similar diversity, indivisibility, globality is characteristic of most of these studies and more narrowly focused on the study of "local" problems, for example, for research on intelligence (Gilford and others), the typology of scientists (Gow, Woodworth, etc.), the age dynamics of creativity ( Le Mans, etc.), etc.

It cannot be said that these works are psychologically devoid of content. On the contrary, many of them are very informative, valuable, interesting, and sometimes wise. However, all of them are the fruits of common sense - raw materials that should eventually become the subject of fundamental research, pass through the prism of an abstract analytical approach.

The main modern task of this approach is the division of the personality problem into its sociological and psychological aspects. In this case, the specific content of the psychological aspect turns out to be the features of the subject's assimilation of the social conditions of his environment and the psychological mechanisms for creating these conditions. To some extent, this side of the problem is similar to the problem of the relationship between thinking and cognition.

Our psychological analysis of creativity is an attempt to implement the abstract-analytical approach we have adopted in relation to this very amorphous problem. The main positive task is to reveal the subject's abilities that are conducive to finding intuitive solutions, their verbalization and formalization.

Critical consideration of the key issues of the current state of the problem (congenital and acquired in creative abilities, general and special talents, specific abilities, development of abilities throughout the life of a scientist, testological study of creative abilities, their education, etc.) reveals, as in previous cases , their structural indivisibility. The application of the abstract-analytical approach creates the ground for the dismemberment of the original concreteness and the study of the psychological level of its organization.

As a fundamental example of such a study, we present an experimental analysis of one of the most important abilities - the ability to act "in the mind" - the internal plan of action (IPA).

Internal Action Plan Research

A general description of the stages of development of the internal plan of action is given by us in the fifth chapter when describing the central link in the psychological mechanism of creativity in the light of the abstract-analytical approach. Identification of the stages in the development of the VPD was taken as the basis for his further research 2 .

In this direction, first of all, the general picture of development was studied: VPD.

By examining a large number of subjects - older preschoolers, younger schoolchildren (the bulk), students in grades V-XI and adults - using a diagnostic technique (in principle, close to the one described by us when characterizing the stages of development of ©PD), it was possible to outline the contours of the overall picture of the development of VPD .

The main characteristics of this picture were: distribution formulas (DF) and average indicators (SP).

Each RF in the analysis of the overall picture of the development of VPD was derived as a result of a diagnostic examination of a group of participants

The experimental material for the study of the internal plan of action is described in detail by the author in the book "Knowledge, thinking and mental development" (M., 1967)

students, which includes the full composition of children from several classes of the same year of study in Moscow and rural schools.

The FR indicated the number (expressed as a percentage) of the children of the group who were in the I, II, III, IV and V stages of the development of HP during the survey period. The first term on the right side of this formula corresponded to stage I, the second to stage II, and so on.

For example, the expression FR = (a, b, c, d, e) may mean that out of the surveyed number of students in this group, a% of children were at stage I of the development of HRP, b% - at stage II, c% - at stage III, d % at stage IV and e% at stage V.

SP is the total result of experiments with a particular group of students. It is obtained by processing the data of the corresponding distribution formula and counts! according to the formula

a+2b + 3c + 4d+5e

where a, b, c, d, e are the percentages of children in the group who are respectively at stages I, II, III, IV and V of the development of the internal action plan; 2, 3, 4, 5 - constant coefficients corresponding to the score by which each of the achieved stages is evaluated.

The average indicator (with a five-point system) can be expressed as values ​​from 1 (the lowest indicator; possible if all the children examined in the group are at the I stage of development of the IPA) to 5 (the highest indicator; possible if all the children of the surveyed group are at Stage V of the development of the VPD).

The results of the experiments, characterizing the general picture of the development of the VPD in younger schoolchildren, are presented in Table. 1.

Table 1

Number of examined

Distribution in absolute numbers

Examination period

stages

Claso

Beginning of the school year

End of training

table 2

	Number of examined	Stage distribution formula
Class
VIII-IX-X

The accuracy of the overall picture of the distribution of students by stages of development of the internal action plan is directly dependent on the number of children surveyed. (In our work, only the first sketch of such a "picture" has been made. Therefore, we do not believe that the quantitative characteristics are final. As new survey materials are acquired, these characteristics may change to some extent. However, the fundamental touches of the picture are correct.

In order to analyze the features of the further growth of the SP, additional surveys of students in grades V-XI were carried out. The results of these surveys are given in table. 2.

Consideration of the change in the SP from the moment children enter school until the end of their studies in the 11th grade reveals that the growth rate of the SP (with small approximations) is proportional to its degree of incompleteness (the degree of incompleteness is understood as the difference between the limiting value of the SP and the achieved value).

These changes can be expressed by the equation

y"=(a-y) lnb. One of the particular solutions of this equation

y = a -b l~ x,

Where at- the level of development of the joint venture; X- number of years of schooling; A- the limit of development of the SP, probably associated with the type of education and the individual characteristics of students; b- coefficient, possibly expressing the measure of the training load. On fig. 47 shows a graph of the calculated curve with the values: a = 3.73 and & = 2; dots indicate empirical data 3 .

* We did not strive for high accuracy in the quantitative processing of experimental data, considering the need for accuracy to be premature. A detailed rigorous mathematical analysis of the obtained dependencies also seemed premature to us. In any case, the results of such an analysis should be treated with great caution, since a qualitative analysis of the facts is still at an early stage.

The described data on the characteristics of the general picture of the development of the VPD are not yet quite sufficient for strictly substantiated conclusions. However, these data already suggest a number of hypotheses.

First of all, relying on the regularity of the change in the SP, one can get a certain idea of ​​the general picture of the development of VPD 4 as a whole, not limited only to the period of primary school age. For this purpose, first of all, it is necessary to analyze the equation y = 3.73- 2 1- x On fig. 48 shows the corresponding curve.

The distribution formulas we obtained for the primary grades show that the coefficient of 3.73, which determines

4 -

Rice. 47 Fig. 48

the limit of development of the VPD, demonstrates only the average level of this development (individual differences are leveled here) and does not at all characterize all of its possible variants. Therefore, the exponent shown in Fig. 48 should be considered only as a curve depicting the general type of development (in this case, most closely matching the average empirically obtained data).

Therefore, a = 3.73 in the equation y = a-b 1's cannot be regarded as an absolute limit for all possible characteristics of development. For example, the development of children who reach the highest level of the fifth stage should have a slightly different curve.

If we really take the original curve (y= 3.73--2 1-x) as a known type of development, then, keeping the second coefficient (b - measure of training load) equations y=a-b 1-x unchanged, by analogy with this curve, you can construct a curve characterizing the absolutely limiting possibility of development (a \u003d 6) proceeding according to this type (i.e., a curve with the equation y \u003d 6-2 1-x). In the same way, it is easy to draw a curve illustrating development with the lowest (according to our data) relative limit of development (a = 2).

Let us consider the curve where a=6, i.e., the ideal case of the development of the VPD under our assumptions. This curve shows that the development of the studied ability begins at about five and a half years of age. (y = 0 at x=-1,44).

However, this is not an absolute zero point. This starting point is determined by the features of the measurement scale we have adopted, timed to analyze the development of the VSD in younger schoolchildren (all children who are unable to reproduce their actions in the internal plan, we refer to the I - background - stage of the development of the VPA). Undoubtedly, the development of the VPD also occurs in an earlier period (and the background stage itself is objectively

Rice. 49

Rice. 50

is a deeply differentiated stage). But we have not studied this period, we do not have our own experimental data about it, there are no criteria for the development of this period and the corresponding measurement scale.

You can, of course, assume that the resulting curve is the upper part of a typical growth curve (having a 5-shaped shape), and plot from the chosen starting point (y=0; e: \u003d -1.14) a curve symmetrical to it (Fig. 49). The curve obtained by this method, despite its complete hypotheticality, is of known interest. It reaches the point corresponding to the time of fetal formation, when at begins to quite pronouncedly tend to its lower limit - absolute zero. None of the other possible curves (for 6 > a > 2) has such reversibility, although all of them, with increasing A tend to this ideal case (Fig. 50). It is impossible not to pay attention to this kind of accident. In addition, the curve (for a = 6) does not in the least contradict those ideas about the pace and qualitative features of the mental development of children from birth to 6 years old that have developed in modern science about the child.

All this gives us reason to take the curve (for c = 6) as an ideal case of development. (At the same time, this ideal case should be considered as a classical norm, since all deviations from this norm (which at the same time represents the limiting possibility) are caused by the reasons for the unfortunate conditions of development.

Thus, the hypothetical curve we have adopted for the ideal case of the development of the VPD is, on the one hand, an asymptote with respect to absolute zero and, on the other hand, an asymptote with respect to the absolute limit of the development of the VPD. It is symmetrical about the bending point, which occurs at about 5.5 years, where the positive acceleration is replaced by a negative one.

The lower part of the curve up to the bend point was constructed by us arbitrarily. We have factual data relating only to its upper part. Therefore, we consider only this part, keeping in force the scale we previously adopted with a relative zero reference point.

The curve shows that, ideally, by the end of the fifth and the beginning of the sixth year of life, the child reaches stage II of the development of the VPD. This is confirmed to a certain extent by the data of reconnaissance experiments with preschool children. In these experiments, among children of 6-7 years old, we often found those in whom the III stage of development of the HPD was detected. Some of the children of this age were approaching stage IV in terms of the level of development of the VPD. At the same time, we were not able to find children at the age of the first half of the fifth year who could master the conditions of our experimental problem. In the same way, we have not been able to find five-year-olds who would show a sufficiently pronounced ability corresponding to the second stage of development of the VPD.

Further, the curve of the ideal case of SP growth shows that by the time they enter school, i.e., at the age of seven, children can reach the IV stage of development of the HPD. Of the 192 first-graders examined at the beginning of the school year (see Table 1 - FR and SP among junior schoolchildren), 9 people actually ended up at stage IV 5 .

By the end of the first year of study, that is, by about 8 years of age, children are able to reach stage V of the development of the VPD. Of the 219 first-graders examined at the end of the school year, 11 people actually ended up at stage V.

By the end of class V, i.e., approximately by the age of 12, the SP curve asymptotically approaches the limit: approximately 9 / 10 its growth are passed - the ability, the development of which

6 In the same table, one first-grader, examined at the beginning of the school year, is assigned to the V stage of development of the VPD.

the swarm finds its well-known reflection in the growth of the SP, can be considered practically formed (although the increase in the SP continues to a tangible extent even in grades V-VIII).

It should be assumed that in the further mental development of man, the leading place is already occupied by other patterns. This development proceeds primarily along the line of increasing knowledge, along the line of broad mastery of culture and professional specialization.

Such features of mental development, of course, leave a certain stamp on the characteristics of the VPD. However, we did not investigate this side of the issue. Our task was limited to registering the level of development of the VPD by analyzing the features of thinking in the conditions of the most simplified specific task (practical, cognitive). The tasks presented in our methodology, of course, cannot be considered as simple as possible in this sense; therefore, we emphasize only our desire to use the simplest (in a practical or cognitive sense) tasks. In fact, the complexity of these problems in the indicated sense is determined by the subject side of the experimental material, in which we managed to embody the general idea.

Thus, we did not specifically study the development of the ability to consciously self-program actions. It was important for us to state the very fact of the emergence of such an ability. It is this feature of the development of the VPD that is displayed by the upper part of the SP curve (at o=6). The absolute upper limit of the growth of SP corresponds to the moment of the appearance of such an ability (with the measure of accuracy that is determined by the specific material that embodies the idea of ​​the experiment). The further development of the VPD is characterized by its other aspects and patterns, which we have not studied.

It is important for us to emphasize in this regard only one fact that we have noticed: “in principle, a child whose internal plan of action has reached stage V of development is potentially capable of mastering knowledge of any degree of complexity, of course, if the logical genesis of knowledge is correctly presented to him. At the same time, he is also capable of adequately operate with any knowledge acquired by him.Of course, speaking of potential ability, we mean only the security of learning success from the side of the development of the student's HPE and do not touch upon other important aspects of learning here. on its basis, it is impossible to predict the development of the VPD of a particular child.6 However, it is sufficient

6 We do not have facts confirming or completely refuting the possibility of developing CAP in adults Clarification of this issue - ■ the task of a special study clearly reflects the general picture of this development - its most typical forms.

According to the data presented in table. 6, the SP now reaches the absolute limit level only in the group constituting 5-8% of all examined. The development curves of SP show that the later the child passes the inflection point, the lower the level of SP rises by the time his growth fades. Therefore, not even the entire group, constituting 18% of the subjects who are, according to Table. 1, by the time they complete their education in primary school at stage V, they reach the absolute limit of EP growth. More than half of the group (the subgroup reaching stage V later than completing the first grade) may have a SP below the absolute limit.

These figures show a great opportunity for further development of intellect in a very large number of students. However, such an opportunity can be realized only if the mechanisms of the development of HSD are revealed, and the factors determining it are identified.

To identify the leading factors in the development of CSD in our study, the study of the influence of various types of schooling on this development and the analysis of the reasons for the delays in the formation of the ability to act "in the mind" in individual schoolchildren, which opened up the possibility of directed organization of the desired changes, became of decisive importance.

The general picture of the development under consideration already indicated the close connection between the development of the VPD and the peculiarities of education and upbringing: first-graders were distributed over all its stages, therefore, age (maturation) was not of decisive importance during this period. The data of the differential picture spoke of the same thing: in some children, rapid jerks forward were observed, significantly outstripping the course of the average development curve; in others, on the contrary, attenuation of the growth of the indicator of the initially relatively highly developed VPD was found.

The presence of such breakthroughs undoubtedly indicated the well-known possibility of deliberate stimulation of the desired changes, the possibility of rational management of the mental development of schoolchildren.

Our surveys have shown that by the end of the first year of study, the largest number of children in Moscow schools reaches the III stage of development of the GPA. Therefore, the development of the VPD of children who are at this point in the II and especially in the I stages, is a case of delay. A special analysis of such cases is of interest for revealing the conditions and identifying the causes that determine the shift in development. Comparison of the characteristics of the activities of children with a delay

development of the VPD, with similar activities of their more developed peers, and analysis of the results of such a comparison led us to identify a number of reasons for the delay.

The most common group of such causes is the ordinary underdevelopment of the VPD, associated with the peculiarities of the tasks of the activities of children at preschool age. Most often it is found in rural schools.

The first of the reasons for such a group is found in children who did not find themselves in situations where they had not only to achieve some practical result, but also to explain how, in what way this result was achieved, that is, to solve theoretical problems. At preschool age, they carried out only direct verbal instructions from adults, or imitated them, but did not solve creative theoretical problems under the guidance of adults, in the process of verbal communication with them.

A characteristic symptom in such cases is the peculiarities of the speech of children. They use speech only in situations of practical tasks and are unable to talk about how they themselves performed this or that action. Or, even more prominently, such a child is incapable of teaching another child (excluding direct imitation, "direct demonstration") the action that he himself has just performed, and in a number of cases quite successfully. If he is given a ready-made verbal formulation of what he has done, he cannot teach it. repeat immediately and with sufficient accuracy.He needs several repetitions and a fairly significant period of time for the mechanical memorization of the formulation.The subject is aware only of the result of his action and does not consciously control its process.

In general, the speech of such schoolchildren is very poor and, in comparison with their peers who have reached higher stages of development of the VPD, is clearly underdeveloped. The vocabulary is not rich. The construction of phrases is often incorrect.

The second reason is the lack of cognitive motives necessary for the student. Children willingly come to school, they are not in a hurry to go home. But in the classroom they are passive, they very rarely raise their hands, they are indifferent to both relatively successful answers and failures. Schoolchildren in this category have almost no experience of specific mental work. Trying to act “in the mind”, trying to think is an unusual and undesirable work for them. Children try to avoid solving problems in their minds. They are not captivated by entertaining tasks that require reflection. In most cases, such students either do not accept the educational tasks that are set before them at all, or they are guided by them for a very short period of time, and then "lose the task."

Closely related to the second and third reason - the lack of necessary arbitrariness. Sitting in the classroom, the children do not make noise, but at the same time they are not focused on the lesson: they constantly turn around, look in their neighbors' notebooks, under their desks, play with notebooks, pencils, etc. The teacher's questions take them by surprise. In most cases, almost every student in this category can notice the whole complex of the listed reasons, although sometimes any individual defect is exaggerated.

In general, the overall development of these children is low. But at the same time, they have a well-developed so-called practical intelligence. In terms of practical actions, they are very quick-witted and are not inferior to their peers who have reached higher stages of development of the VPD, and sometimes even surpass them.

The reasons for the delay in the development of the internal plan listed above are relatively easy to eliminate. There are no special obstacles for the development of the VPD of such children in the school environment. It is only necessary to pay special attention to the development of speech, to use didactic games that stimulate intellectual work as widely as possible. It is also important to understand that in phylogenesis all specific human features developed in mutual communication between people, and in ontogenesis, especially in relations between a child and an adult, including in school conditions, such communication is by no means always mutually active. However, the development of the VPD presupposes precisely such interactivity. The teacher should be able to create situations in which not only he teaches the child, but also the child "teaches" him and in the course of such "teaching" solves (under the indirect guidance of the teacher and with the help of the teacher) creative tasks. Of decisive importance is also the teacher's ability to find the necessary forms of the simplest theoretical problems, the solution of which is necessary to "draw out" the inner plan of the child. Unfortunately, until now this is happening quite spontaneously and belongs to the field of "pedagogical art".

The author of this work succeeded in inducing, in a comparatively short period of time, a sharp shift in the development of HPA in the children of the experimental class of one of the rural schools by means of the appropriate guidance of the teacher's activity.

At the beginning of October, the indicators of the first classes of this school were as follows:

experimental: RF = 87, 10, 3, 0, 0; SP=1.16;

control: RF = 95, 0, 0, 5, 0; OD = 1.15.

In February of the same year (during the next survey), the following indicators were obtained:

experimental: RF=14, 76, 10, 0, 0; SP=1.96;

control: FR = 85, 5, 5, 5, 0; SP=1.30.

Thus, out of 25 children in the experimental class, who at the beginning of the school year were at the I stage of development of the VPD, by the middle of the school year, 21 people reached stage II (in the control class - only two students).

However, 4 people of the experimental class, who were in equal conditions with their comrades, remained at stage I. Consequently, those general means of causing shifts that have just been mentioned turned out to be insufficient and ineffective for these children. Similar cases of developmental delay | BPD were also in the Moscow school.

A group of children with a sharp delay in such development was subjected to a special experimental study, as a result of which another group of causes was established.

A -/b

Rice. 51. Method of counting squares

A- the starting point of the first move. 1, 2 - cells to be bypassed; 3 - the final point of the first move of the subject and the starting point of the next one; b - the actual order of counting for the subjects G lack of a number of important skills of orientation in time and space

This group is characterized by the absence in children of a number of important skills of orientation in time and space. These children, like the previous group, also lack the development of cognitive motives necessary for the schoolchild, and sufficient arbitrariness. However, the underdevelopment of speech typical of children in the previous group is not on the contrary, outwardly speech can be highly developed, while the "practical intellect" turns out to be underdeveloped.

Children of this category, knowing the direct count, do not know how to count backward, they cannot choose from the cubes placed in front of them in one row the one whose serial number is indicated by the experimenter. They are unable to count a group of randomly placed cubes. Many do not know where the right side is, where the left side is, etc.

When trying to teach these children a simplified form of the knight's move, the following is revealed. The subject is given a method for counting squares (Fig. 51, a): from the original cell (where the horse stands) count two (in the indicated order) and get to the third. During the countdown, the subjects, as a rule, do not follow the instructions given to them. The counting order (without special training) remains completely random, for example, as shown in Fig. 51.6.

When teaching such subjects notation, the following phenomena occur. The experimenter asks the subject to remember

the name of the cells. He points with a pointer to cell al and calls it: al, then he points and calls cell a2, then a3. After three or four repetitions, the child is able to name three of these cells when the experimenter again points to them with a pointer, without naming them himself. But this is possible only under one condition: if the original order is strictly preserved, i.e. "if the cell al is indicated again, then a2 and a3. If this order is changed and the experimenter indicates, for example, first the cell a3, then a2 and al, then (without special training) the child cannot name these cells correctly.

It seems that the subject forms relatively independent verbal and visual-motor chains, which are connected only at the initial point of the display. The subject's three actions are not connected into a single system, they do not form the necessary structure. The child does not discover the principle of his actions. “Each of the actions is associated with the other “mechanically”, at the level of elementary interaction. Therefore, the possibility of reversibility is excluded. Such a picture never occurs in children with a higher level of VPD.

Compared with the first group of reasons (simple lack of formation of an internal plan of action), the second group has a more complex nature.

If the children of the previous category “practical intelligence” have developed quite enough and the system of basic spatio-temporal orientation skills necessary for a given moment of development has not only developed, but also to some extent generalized, verbalized (children perform tasks related to elementary spatio-temporal orientation of the task according to the verbal instructions of adults), then children of this category have “white spots” in the system of necessary skills of spatio-temporal orientation, due to which this entire system as a whole turns out to be unformed.

In normal situations, this does not appear. For example, in "macro-movements", when walking, running, and the simplest outdoor games, the child, like all normal children, behaves adequately to the situation, he orients his body in relation to the surrounding objects quite correctly. However, in “micromovements”, where it is necessary to somehow orient not only oneself in relation to objects, but also these objects themselves, and relative not only to oneself, but also to any other coordinates, such children turn out to be helpless. Consequently, many important skills of this kind of spatial orientation remain not only not verbalized, and, therefore, not generalized, but, probably, they are not formed. Therefore, the child cannot, for example, order the arrangement of a number of objects on the experimental table in order to then count them, etc.

At the same time, as already mentioned, the speech of the described children can be relatively rich and relatively correct. On the basis of a conversation with a child, an impression may be formed about his quite sufficient development. However, this impression is clearly superficial. Speech, symbolic, structures in a child in many cases are not correlated with the corresponding direct sensory projections, and therefore are not adequately connected with reality.

Elimination of delays in the development of VPD associated with the causes of the second type is more difficult than in the first case. The fact is that those skills that constitute gaps in the direct experience of the child and which are necessary for building a system of his inner plan are usually not specifically taught. They are acquired spontaneously. Therefore, we do not have more or less sufficient knowledge about what the system of skills of direct space-time orientation should be like. In addition, the “white spots” that have arisen in children are covered by speech layers.

Decisive shifts here can be obtained by filling in the indicated gaps. But first of all, they need to be opened, which requires a special laboratory study.

The lack of scientific knowledge about the sufficient composition of spatio-temporal orientation skills and their system is the main obstacle to the elimination of the delay in development considered here on a broad front. So far, the study of such gaps can only be built empirically.

We do not yet have sufficient experience (observations on children of this category were carried out for only two years) for any justified predictions of the further development of HSD in cases of initial inferiority of the children's sensory experience. It is possible that in the course of subsequent training these problems will be gradually filled in and the conditions for moving through the stages of development of the VPD will develop as if by themselves. However, the information that we have now (the results of separate surveys of lagging students in grades III and IV) is more likely to tell a different story: although these gaps are indeed gradually filled with age, the child's lag behind more developed peers, caused at first by these gaps, is growing. . Already in the first grade, children with gaps in direct experience are, as it were, unsettled. They acquire school knowledge in a different way - most often mechanically, they act differently, they approach the mastery of school subjects differently and actually do not master them. The break in the links of the system of sensory experience leads to the subsequent disorganization of the entire structure of the intellect; children do not come out of the ranks of the lagging behind. The more neglected these intellectual deficiencies are, the more difficult it is to correct them.

Therefore, the issue of eliminating these gaps already during the first year of study is very significant, despite the fact that today we know only private ways of such elimination, i.e., ways limited to the areas of individual specific tasks,

As an example of attempts to achieve shifts in the stages of development of the CAP in children of this category, we will describe the work carried out with four Moscow first-graders (the work was carried out in April and May, i.e., during the completion of the first year of study).

Lacking knowledge of the optimal system of space-time orientation skills, we were naturally forced to move in an empirical way. The basis of the design of each of the experiments was the result of comparing the characteristics of the activities of children with delayed development of the CAP with the characteristics of similar activities of more developed subjects. The most significant difference was found in the state (or formation) of the structures of the external plan of action.

As one of the auxiliary means for diagnosing the stages of development of the HRP, we used the time of the hidden period of actions, as a result of which the subject showed two points on the nine-cell board, on which the knight could be placed from the initial point indicated by the experimenter.

In intellectually developed adults, this action (looking at the board) is carried out almost instantly. Moreover, as self-observation data show, the necessary cells (in conditions of “looking at the board”) seem to rise in the perceptual field (they take the place of the “figure”, the others are perceived as the “background”). There is no need to count fields. The process of action is not realized. The action is automated and minimized. Even in complicated conditions (without looking at the board), actions are carried out on average in 2-4 seconds.

It is clear that such a circumstance is very favorable for the solution of the problem: the elements of its solution have been turned into automated operations that do not require preliminary conscious organization. The individual actions that make up the decision, although stimulated by verbalio, are organized at the basic level of interaction between the subject and the object, and this is possible, of course, only due to the fact that in the past, appropriate structures were developed in the external plan of actions.

For students finishing grade I and being at the fifth stage of HPD development, the time of the described reaction approaches the reaction time of intellectually developed adults (without looking at the blackboard - 5-7 seconds). In children who have reached stage IV, this time increases, but very slightly (without looking at the board - 6-10 seconds). The subjects of the third stage show already less stable time (without looking at the board - 10-36 sec.).

Since in all cases the reaction time was determined without preliminary training (the main experiments were preceded by only 2-3 training exercises), it can be assumed that all the subjects of the mentioned categories have some external structures that provide these actions, and the higher the level of development of the VPD, the better these structures are organized.

The subjects, whose development of HRP does not exceed stage II, are able to solve the problem associated with determining the reaction time, only looking at the blackboard.

For the four subjects studied by us (who are at the first stage of the development of the VPD), this task, under equal other conditions, turned out to be extremely difficult in general. The methods of teaching the solution of this problem, which we used in relation to all other children, turned out to be unsuitable here. The first-graders who remained at stage I by the end of the school year, without special training, could not solve this problem even “looking at the blackboard”. The experimenter's usual verbal instruction, accompanied by a visual demonstration: "You can jump over two cells to the third one," did not organize the actions of the subjects in the necessary way - the children could not follow this instruction. They, even looking at the board, could not mentally calculate two cells and select the third: the task was lost and the activity fell apart.

In view of the fact that the development of the internal plan is a very slow process, involving a multilateral and long-term mental upbringing of the child, it is a difficult task to obtain sufficiently tangible and stable shifts in the stages of development of the VPD in laboratory conditions. We limited ourselves to an attempt to achieve only "island" shifts, that is, shifts within the limits of any one situation, and specifically in the situation of our initial experimental problem. However, even achieving this very narrow goal required considerable work.

During four sessions (one hour a day), the subjects were set (within this specific task) and worked out actions with objects corresponding to the concepts of “right”, “left”, “right”, “left”, “closer”, “ further, even closer, even further, in a circle, in a circle from left to right, in a circle from right to left, up, down, one row, two rows ”, “in three rows> \“ along ”,“ across ”,“ sideways ”,“ from edge to edge ”,“ forward ”,“ back ”,“ back ”and many others.

These actions were practiced on a square board divided into 25 cells. A pointer and chips were used. The experimenter gave instructions, and then pointed with a pointer to the nearest cell in the direction in which, according to the instructions, the subject was supposed to move. The latter put a chip in the indicated place. The experimenter indicated the next cell, the subject filled it in with a chip, and so on. After a while, the experimenter gave the pointer to the subject, and he himself was limited to giving a verbal instruction. The subject, according to the instructions, pointed with a pointer to the nearest cell in a given direction, then put a chip in this place and continued to act in a similar way. All mistakes of the subject were immediately corrected, and in the second stage of the experiment, the experimenter ensured that the subject explained the mistake he had made (he indicated which instruction his action corresponded to, in which case the mistake made would not be a mistake, etc.). Upon reaching the intended point, the tracks laid out with chips (or rows - in ordering problems) were again considered and discussed. The experimenter asked the subject to answer the questions: “What did you do?”, “How did you do it?”, “Where did you turn?”, “Why did you turn?” etc. At the end of the reverse movements (during which the placed chips were removed), the subject was necessarily asked: “Where were you?”, “How did you come back?” and so on.

Starting from the third lesson, part of the experiment was carried out with two subjects at once. Moreover, the subjects in turn themselves performed the function of the experimenter, i.e., one of them (with the help of the experimenter) gave the other a task and controlled its implementation. Under these conditions, a game was staged, which made it possible to introduce very effective stimulating tasks and create the need to act in a speech plan.

For example, each of the subjects was given a board (the same one that was usually used in these experiments), drawn into 25 squares. According to the conditions of the game, it followed that the squares were different sections of the terrain along which one had to go to the point indicated by the experimenter. Only one of the subjects should get to the indicated point - he “moves through the area”, but does not “survey” it all (the cells on the board of this subject were without any marks) and can “get into the swamp”. Another subject “stands on a hillock” and sees the whole area (some of the cells on his board were marked with icons symbolizing a swamp). He must direct the movement of his comrade, say (but not show!), From which cell to which it is necessary to move. Going to the intended point is obliged to strictly follow the instructions of the comrade. If he falls into the swamp marked on the "leader's" board (arbiter - experimenter), because he will be given an incorrect instruction, the "leader" loses. If he falls into the swamp through his own fault, that is, because he incorrectly fulfills the instructions given to him, the “walking” one is considered the loser. If no one makes a mistake, both win. Thus, one of the subjects in this situation had to act according to verbal instructions, and the other, which is especially important, gave these instructions.

In subsequent laboratory exercises, a modified "hopscotch" task was used. The initial action (“jump over two squares to the third” - similar to the knight's move) was worked out by the same techniques that were used in the four previous lessons. Moreover, three subjects were able to obtain unmistakable indications of the final (from the point given by the experimenter) jump point without preliminary calculation of the fields with a pointer and somewhat stabilize their reaction time. After that, the usual coordinate grid (al, a2, a3, s, b2, b3, cl, c2, c3) was given and worked out, which most of the subjects now learned without much difficulty.

Subsequent control experiments revealed a clear shift: 3 out of 4 subjects in the situation of this task shifted from stage I to stage II of development of the ERP.

We continued these experiments, strengthening the motivation of the need to act in the mind by introducing "going" and "leading". The task was used - "pond with waterfowl" 7 . One of the subjects, the one who, according to the conditions of the game, "knew" how to lay the "board", led (using the coordinate grid); the other carried out his instructions. The conditions were about the same as in the case of "wandering through the swamp." Initially, two boards were used. But then the experimenter announced that two boards could not be used: after all, there was only one pond. The “leader” was sent to the next cabin and controlled the actions of the “walker” from there, without looking at the board.

As a result of these experiments, two of the four subjects (S. and Sh.) gave indicators corresponding to the III stage of development of the HPD. One subject was in stage II. It was not possible to achieve shifts in the fourth subject (3.).

Of course, this is not a genuine step in the development of the VPD. This is a local, "island", insufficiently fixed development. At the same time, according to the testimonies of the laboratory staff who observed the children in the classroom, the performance of those two subjects who were locally shifted by us to stage III improved significantly by the time the experiments were completed (especially in mathematics). Prior to this, both subjects were sharply lagging behind. However, the increase in academic success in the classroom turned out to be short-lived: in the new academic year, these children were again among the lagging behind.

As already mentioned, in one of the four subjects studied by us with a sharp delay in the development of VPD, no changes were achieved. What is the reason? In all likelihood, here we have a case of an organic anomaly, in which the means that usually remove functional causes turn out to be ineffective, and the possibilities for the development of the child's CHD are limited 8 .

One of the most interesting tasks on the way of studying the problem of mental development is the development of a specific, analytical-synthetic (primarily psychological-physiological) idea of ​​the internal plan of action. Unfortunately, today's concrete idea of ​​it is very poor.

Many contemporary cyberneticians clearly regard the possibility of developing such a representation today as a pipe dream. They put a "black box" in its place. However, cybernetics are driven to this by the research methods inherent in their science. However, the methods of cybernetics are not the only possible ones. They do not exclude other methods. The initial task of synthesizing the results of abstract-analytical studies of living systems is precisely to open the "black box" of cybernetics. There are no insurmountable obstacles to this. It is important to keep in mind that, in a fundamental sense, the internal plan of action is a subjective model (in the broad sense) of a person’s phylo- and ontogenesis, and in a narrower sense, a subjective model of a specifically human, social in nature interaction of a person with others, with other people. , products of labor, phenomena of social life, objects and phenomena of all nature accessible to a given person as a whole.

However, the absence of insurmountable obstacles does not at all indicate the ease of the upcoming path. The distance from a principled formulation of a question to its resolution is enormous. Now we can only talk about hypothetical sketches of the analytic-synthetic idea of ​​the VPD. It is possible that many of these primary hypotheses will be quite out of date. But they must be built. The first of them can already become at least indicators of the direction of research.

For the study of the specific structure of the internal plan of action, the hypothesis put forward by IP Pavlov about the interaction of the first and second signal systems is of great importance. Based on this hypothesis, it is already possible to construct the initial

It should be noted that the issue of diagnosing conditions adjacent to a clear defectiveness still remains open. It is quite possible that, in addition to the functional causes we have noted, there are a number of similar causes that give the impression of a defective child, but can be relatively easily eliminated by training.

Even in the presence of a sufficiently pronounced organic anomaly, the question of defectiveness cannot yet be unambiguously resolved: first, it is necessary to investigate the possibilities of compensating for such an anomaly. A model (albeit a very conditional, imperfect one) of the internal plan of action.

In this sense, the revision of views on the motor area of ​​the cerebral cortex carried out by IP Pavlov and his collaborators is very interesting.

By the time of this revision, it was generally recognized only that the stimulation of certain cellular structures in the anterior part of the hemispheres by electric current leads to corresponding muscle contractions, causing one or another, strictly timed to the mentioned cellular structures of movement. Therefore, this area of ​​the cortex was called the "psychomotor center" (later this name was discarded and the term "motor area" was strengthened).

Under the influence of the experiments of N. I. Krasnogorsky, IP Pavlov raised the question: is this center only efferent?

N. I. Krasnogorsky proved that the motor area of ​​the cortex consists of two classes of cellular systems: efferent and afferent, that the physiological stimulation of afferent systems is completely connected with various conditioned reflexes, like all other cell systems: visual, olfactory, gustatory etc.

From this, IP Pavlov came to the conclusion that the afferent systems of cells in the motor area of ​​the cortex are in bilateral neural connections with all other systems of cells in the cortex. Consequently, on the one hand, they can be brought into an excited state by any stimulus that affects both extra- and interoreceptors; on the other hand, due to the two-way connection, the excitation of an efferent motor cell can lead to the excitation of any cortical cell that has a connection with this afferent cell. In addition, the afferent systems of the cells of the motor area of ​​the cortex more often and sooner enter into communication with all other cellular systems than they do with each other, “because,” said I. P. Pavlov, “in our activity, this afferent cell works more than others. Whoever talks, walks, constantly works with these cells, while other cells work randomly ... sometimes we are irritated by some picture, sometimes by hearing, and when I live, I am constantly moving.

The ideas put forward by IP Pavlov were further confirmed and developed substantially. It is now generally recognized, for example, that the simplified scheme, according to which the activity of analyzers during perception was considered mainly from the side of centripetal conduction of excitation, should be replaced by the idea of ​​the perception of a stimulus as a continuous reflex activity of the analyzer, carried out according to the principle feedback. The efferent fibers going from the centers to the receptors are now open in all the sense organs. Little of. It is recognized that the cortical sections of the analyzers themselves are built on the principle of afferent-efferent apparatuses, not only perceiving stimuli, but also controlling the underlying formations.

Pavlov expanded and deepened the understanding of the nerve center, showing that the latter is a territorially widespread entity that includes a variety of elements located in various parts of the central nervous system. nervous system, at its various levels.

All this is fully applicable to the motor analyzer. The afferent-efferent components of the analyzers functionally belong to him. The last consideration is also confirmed by the position on the relationship in the work of the entire system of analyzers, proven by numerous studies.

The afferent-efferent nature of the analyzers indicates that the apparatus of any sensation, any perception is not only its receptor, sensory component specific for this analyzer, but also a component that is functionally the same for all analyzers and is included in the motor area. By the way, any other idea would be obviously absurd: if the products of mental interaction provide orientation of the subject in the surrounding world, which, like any other orientation, is ultimately carried out by external movements, then the connection of any sensory element with the motor element must undoubtedly take place, otherwise this sensory element loses its function, becomes meaningless.

Thus, the apparatus of any, even the simplest, unconscious perception is based on a two-way neural connection between the nervous formations specific for a given analyzer and the corresponding formations of the motor center.

The motor area of ​​the cortex, especially its afferent part, thus acts as an apparatus that unites and at the same time generalizes the work of the entire system of analyzers as a whole. Its generalizing role is already clear from the fact that often the stimuli coming from the receptor components of different analyzers, having the same psychological meaning, are associated with each other due to the fact that they turn out to be conditions of the same activity, are included in the same same activity. This is the basis of the generalization mechanism. Thanks to this mechanism, externally dissimilar conditions can actualize the same modes of action that correspond to the internal essential generality of these conditions.

It follows from this that the system, which I. V. Pavlov called the only signal system of animals and the first - of man, should be understood precisely as an interacting system. One of its components is composed of receptor, sensory formations of analyzers; the other - from the formations included in the motor area. To understand each of the components of this system, it must be considered precisely as a component of the system. Therefore, it is impossible to correctly comprehend, for example, the work of the eye, considering it in isolation from the apparatus of the motor region that unites the entire system.

On the same basis, it is obvious that all inter-analyzer relations, the so-called inter-analyzer connections, also cannot be understood by ignoring the work of the moving center, since the real connection in the work of various analyzers is established precisely in it - in the moving center.

What we have described can be attributed to the apparatus of the simplest form of mental interaction. The emergence and development of the highest form of such interaction is associated with the complication of the apparatus corresponding to it, with the restructuring of the entire concrete system. At the same time, a new motor center is added to the original motor center that unites and generalizes the work of the entire system of analyzers - a new uniting and generalizing apparatus capable of analyzing and synthesizing not only the primary information that comes from the receptor components of the first signal system, which is carried out by the motor center corresponding to this system. center, but also the products of the work of this nerve center. These products now themselves act as a source of information.

The new unifying and generalizing apparatus is specifically represented by the so-called kinesthesia of the speech organs, which, according to I.P. Pavlov, is the basal component of the second signaling system. It acts as a component of a new interacting system, the second component of which is the motor center of the level of the first signal system.

The evolution of the nervous system clearly illustrates the process of formation and development of this new, more complexly organized interacting system. At the level of animals, the premises of the new unifying and generalizing apparatus were included in the general interacting system, which constitutes the apparatus of elementary mental interaction, as an equal, “equal-sized” member. The change in the conditions of mental interaction associated with the formation of the social environment entailed the need to transform the mode of interaction, which led to the corresponding differentiation and reintegration of the subject's internal system. The result of this differentiation and reintegration was the isolation of the kinesthesia of speech organs, which acquired a new, qualitatively unique function.

The interconnection of both interacting systems is obvious. They have one component (the motor center of the level of the first signal system) they have in common: if the primary information entering the analyzers through their receptor components is combined, generalized, transformed and used to orient the subject through the motor center of the level of the first signal system, then this unifying and generalizing the apparatus, in turn, is an integral part of the second signaling system. The available processed, generalized information in it, obtained as a result of recoding the entire complex of primary stimuli at the level of the primary motor center, becomes a source of information analyzed and synthesized at the level of the second signal system through the secondary unifying and generalizing apparatus - kinesthesia of the speech organs.

Let us illustrate this by the example of the relationship between the apparatus of perception, representation and concept.

As already mentioned, the apparatus of perception is based on the nerve connections of the receptor formations of the analyzers with the formations of the primary motor center (the systems created by these connections are the primary subjective models of reality). The two-way connection of these formations already contains the potential possibility of representation: the excitation of the corresponding motor elements of the system of the perception apparatus should lead to the reproduction of its sensory trace - an image. However, within the elementary form of interaction for such reproduction of an image stimulated by the central component of the system, there is no special mechanism - representation here is possible only as part of perception, with peripheral stimulation, and therefore, at the level of animals, potentially existing representations cannot be fully realized.

With the emergence of the second signal system, the situation changes. The formations of the motor center, which are part of the perception apparatus, under certain conditions, enter into a two-way neural connection with the formations of speech kinesthesia, which in turn correspond to the word - the sign model of an object. This creates the possibility of the appearance of the simplest forms of superstructural-basal models - the reproduction of traces of former perceptions: the impact of the sign model excites the formations of speech kinesthesia, associated in the course of the subject's previous activity with the corresponding formations of the motor center; hence, according to the feedback principle, the excitation spreads to the sensory components of the analyzers, which leads to the reproduction of a trace of a previously perceived object, i.e., to a representation.

Thus, if the system of nervous connections between the receptor formations of the analyzers and the formations of the motor center of the level of the first signal system, under the condition of peripheral stimulation, is the basis of the perception apparatus, then the same system, under the condition of central stimulation, turns out to be the basis of the representation mechanism. The entire originality of representation, in contrast to perception (in the sense in which this originality is determined by the characteristics of the apparatus) depends precisely on the originality of stimulation. The system of primary connections between the motor centers of the first and second signal systems forms the basis of the apparatus of the concept.

As has been repeatedly emphasized, the internal plan of action turns out to be inextricably linked with the external one. It arises on the basis of the outer plane, functions in close connection with it, and is realized through the outer plane. As it develops, the inner plan largely restructures the outer one, as a result of which the outer plan of human activity differs significantly from the analogous single plan of animals. In a person, it becomes to a large extent a symbolic speech plan.

The mechanism of the VPD is determined by the regularities of its connections with the mechanism of the external plan. The functioning of the VPD mechanism is directly dependent on the organization of the structure of the external plan. At the same time, while functioning, the VPD also restructures the structure of the external plan. The structures of the VPD, as it were, descend into the structures of the external plan, thereby creating more extensive opportunities for joint functioning.

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Last update: 30/11/2017

In his 1996 book Creativity: The Works and Lives of 91 Famous People, psychologist Mihaly Csikszentmihalyi suggested that "Of all human activities, creativity comes closest to providing the integrity we all hope to have in our lives."

Creativity allows us to expand our outlook, to do new and exciting things, and things that bring us one step closer to reaching our full potential.

So what makes a person creative? Are humans born this way, or is it something that can be developed in the same way as muscles?
Csikszentmihalyi suggests that some people have what he calls creative traits. While some people are born with them, incorporating some of the practices into your daily routine can help unlock your creative potential.

1 Creative People Are Energetic But Focused

Creative people have a lot of energy, both physical and mental. They can work for hours on one thing that attracts them, but at the same time remain enthusiastic. This does not mean that creative people are hyperactive or manic. They spend a lot of time in peace, calmly thinking and pondering what interests them.

2 Creative people are smart but also naive

Creative people are smart, but research has shown that having a lot is not necessarily correlated with higher levels of creative achievement. In the famous study of gifted children by Lewis Terman, it was shown that children with high IQ perform better in life in general, but those who had a very high IQ were not creative geniuses. Very few of those who participated in the study later demonstrated high levels of artistic achievement in life.

Csikszentmihalyi noted that studies have pointed to an existing IQ threshold of around 120. Above average IQ can increase creativity, but an IQ above 120 does not necessarily lead to greater creativity.

Instead, Csikszentmihalyi suggests that creativity involves a certain amount of both wisdom and childishness. Creative people are smart, but they are able to maintain their sense of curiosity, wonder, and the ability to see the world with fresh eyes.

3 Creative People Are Playful But Disciplined

Csikszentmihalyi notes that playful behavior is one of the hallmarks of creativity, but this frivolity and excitement is also reflected in the main paradoxical quality - perseverance.

When working on a project, creative people tend to show determination and perseverance. They will work for hours on something, often staying up late into the night until they are satisfied with their work.

Reflect on what you think when you meet someone who is an artist. At first glance, this is something exciting, romantic and charming. And for many, being an artist means experiencing a sense of excitement. But being a successful artist also requires a lot of work, which many people don't see. However, a creative person understands that real creativity involves a combination of pleasure and hard work.

4 Creative people are realist-dreamers

Creative people love to dream and imagine the possibilities and wonders of the world. They can plunge into dreams and fantasies, but still remain in reality. They are often called dreamers, but this does not mean that they are constantly in the clouds. Creative types from scientists, artists to musicians, can come up with creative solutions to real problems.

“Great art and great science involve a leap of the imagination into a world that is different from the present,” Csikszentmihalyi explains. “The rest of society often sees these new ideas as fantasies that have nothing to do with current reality. And they are right. But the whole point of art and science is to go beyond what we now think is real and create a new reality.”

5 Creative People Are Extroverted And Introverted

While we often fall into the trap of categorizing people as exceptional or introverted, Csikszentmihalyi suggests that creativity requires bringing both of these personality types together.

Creative people, in his opinion, are extroverted and introverted. Research has shown that people tend to be either more extroverted or introverted, and these traits are surprisingly stable.

On the other hand, creative people tend to show signs of both types at the same time. They are sociable, and at the same time quiet; social and secretive. Interaction with other people can generate ideas and inspiration, and seclusion in a quiet place allows creative people to consider these sources of inspiration.

6 Creative People Are Proud But Humble

Highly creative people tend to be proud of their accomplishments and successes, but still remember their place. They have great respect for those who work in their field and for the impact that the achievements of predecessors in this work have had. They can see that their work is often different compared to others, but that's not what they focus on. Csikszentmihalyi notes that they are often so focused on their next idea or project that they don't record their past accomplishments.

7 Creative people aren't weighed down by rigid gender roles

Csikszentmihalyi believes that creative people resist, at least to some extent, the often overly rigid gender stereotypes and roles society tries to impose. He says that creative girls and women are more dominant than other women, although creative boys and men are less and more sensitive than other men.

“Psychologically, a bisexual person actually doubles his response repertoire,” he explains. "Creative people are more likely to have not only the strengths of their own gender, but also the traits of the other sex."

8 Creative People Are Conservative But Rebellious

Creative people are, by definition, “outside the box” thinkers, and we often think of them as non-conformists and even a little rebellious. But Csikszentmihalyi believes that it is impossible to be truly creative without accepting cultural norms and traditions.

He suggests that creativity requires both a traditional approach and an open mind. To be able to appreciate and even accept the past, but at the same time is in search of a new and improved way to do what is already known. Creative people can be conservative in many ways, but they know that innovation sometimes comes with risks.

9 Creative People Are Passionate Yet Purposeful

Creative people don't just enjoy their work - they passionately and passionately love what they do. But a simple passion for something does not necessarily lead to a lot of work. Imagine that a writer is so in love with their work that they don't want to edit one sentence. Imagine that a musician does not want to change a place in his work that needs improvement.

Creative people love their work, but they are also objective and willing to criticize it. They can detach from their work and see places that need tweaking and improvement.

10 Creative people are sensitive and open to new experiences, but happy and joyful.

Csikszentmihalyi also suggests that creative people tend to be more open and sensitive. These are qualities that can bring both reward and pain. The process of creating something, coming up with new ideas and taking risks often leads to criticism and contempt. It can be painful, even devastating, to dedicate years to something only to be rejected, ignored, or ridiculed.

But being open to new creative experiences is also a source of great joy. It can bring tremendous happiness, and many creative people believe that such feelings are worth any possible pain.

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Based on the foregoing, one can already imagine who such a creative person is, what qualities he possesses.

A creative person always strives to create new, unique material or cultural values. Such a person is always talented, and in many areas (for example, Leonardo da Vinci, who excelled in painting and architecture, mathematics and technology).

Modern psychology divides people with a creative mindset into two types:

• 1. Divergents, that is, people capable of a wide range creative activity, easily establish distant connections between incompatible and incomparable concepts and phenomena; have a rich imagination; original approach to the problem; may oppose generally accepted judgments that have become a cliché; differ in autonomy, independence from other people's opinions; boldly and openly go towards new ideas and experiments; enjoy the discovery.
• 2. Convergents, i.e. people prone to narrow, focused, deep and specific research; tend to such types of intellectual activity where it is necessary to focus on a more in-depth search in one direction; easily adapt their thinking to social stereotypes, operate with generally accepted clichés; for creative activity they need external stimuli; slowly and thoroughly step on a pre-selected reliable path; indifferent to cognitive emotions). Each author, based on individual abilities and inclinations, seeks to choose the optimal style of working on the material. And the creative processes associated with the preparation of a journalistic work have regular stages, the knowledge of which will allow future journalists, both divergent and convergent, to optimize their activities.

From others, a creative person is distinguished by originality of thinking and the ability to create, enthusiasm, as well as a number of other qualities, such as:

• 1. Perseverance (perseverance), confirming the presence of motivation. The ability to focus on one occupation, perseverance in spite of failures is one of the qualities of a creative person, helping to get rid of lethargy and indecision. Gives you the opportunity to bring projects to completion. To develop perseverance will help: choosing a life guide, regular exercise or some kind of creative activity.
• 2. Openness to new experience, emotional openness, flexibility of thought, eccentric views and beliefs - largely thanks to them, people have original ideas and solutions. All creative people have this kind of openness.
• 3. Curiosity - the desire to improve their knowledge, interest in various areas of human life and just the environment. This quality gives a person the ability to be active in life, and also stimulates activity for new discoveries and knowledge. It brings joy from the knowledge of the surrounding world, allows you to expand the boundaries of your capabilities. The development of this quality is facilitated by observation, as well as the desire for knowledge. Without curiosity, a creative person is simply impossible.
• 4. Imagination - the ability of thinking to create new images based on real objects. Thanks to him, the boundaries between the impossible and the possible are erased. This quality gives freedom of imagination in any field: art, cinema, literature, etc. The imagination can be developed. To do this, you need to read books deeply, plunging into the world of characters, be interested in art, visiting exhibitions, art galleries, performing psychological exercises aimed at developing fantasy. Creative personalities are often dreamy.
• 5. Self-confidence, independence. Thanks to these qualities, a person is completely free from the opinions of others, in other words, emotionally stable. He is able to make his own decisions and implement them. Due to these qualities, any ideas, even the most reckless, at first glance, a person can find real application. The acquisition of these qualities is facilitated by: the development of critical thinking, self-respect, as well as the fight against fear of people. Independence contributes to the promotion of innovative ideas and the development of progress.
• 6. Ingenuity - the ability of a person to solve life problems in an unconventional way, to create unusual things. Thanks to this quality, masterpieces are created. Benefits: the ability to do extraordinary things, unlimited imagination, the joy of the creation process, freedom from laziness of the soul and body. This quality of a creative personality is not innate. It can be acquired through: increasing one's own erudition, self-improvement (eliminating any signs of laziness), setting and achieving a specific goal. An inventive person is not afraid to try something new in life.
• 7. Speed ​​of information processing: resourcefulness in answers, quickness of thought, love of complexity - a creative person juggles ideas without any self-censorship. A sudden insight, when the solution seems to appear out of nowhere.
• 8. Thinking by analogy and the ability to address the preconscious and the unconscious. Thinking by analogy operates on the principle of free association of thoughts and images. Pre- and unconscious phenomena include night dreams, daytime daydreams, and strong emotions.

Analyzing the listed qualities, it becomes obvious that each person has a creative potential that he can develop. Currently, there are many different exercises for developing creativity.

For example, the exercise "Free Monologue".

Task: stop controlling your thoughts, learn to think more freely.

In a quiet and peaceful place, close your eyes and allow your body to relax. For a moment, focus on thoughts and images that arise spontaneously. Then answer six questions for yourself:

• 1. What did I see, feel, hear?
• 2. What was my internal monologue about (what were the small voices whispering inside me)?
• 3. What were my thoughts?
• 4. My feelings?
• 5. My emotions?
• 6. What does this all mean to me? (A long-standing problem, unfulfilled desire, inability to loosen control and “let go” of what is happening ...).

Creativity exercises:

• 1. "Two accidents." Take an explanatory dictionary and randomly select two random concepts. Just point your finger at any page. Compare them, try to find something in common between them. Come up with a crazy story in which you put the relationship. This exercise is great for brain training.
• 2. "10 + 10". Choose any word, it must be a noun. Now write 5 adjectives that you think suit him best. For example, “socks” are black, warm, woolen, winter, clean. Done? Now try writing 5 more adjectives that don't fit at all. This is where everything stalled. It turns out that this is very difficult to do. Dig into different areas of perception and find the right words.
• 3. "Name". Try every time you are interested in some subject, come up with a name for it. It can be short and biting, or long and deployed. The purpose of the exercise - you must definitely like the name.

Examples of exercises to develop writing skills:

• 1. Think about one of the objects in the room. Without opening your eyes, list as many characteristics of the item as you can. Write down everything that comes to mind without looking at the subject.
• 2. Choose a poem that you like. Take his last line - let this be the first line of your new poem.
• 3. What would you say to an uninvited guest who dropped in on you at three in the morning.
• 4. Write a story that begins with the words: "Once I had an opportunity, but I missed it ...".
• 5. Write a letter to your ten year old self. Letter to the past.

Why do some people create masterpieces: paintings, music, clothes, technical innovations, while others are only able to use it? Where does inspiration come from and is it initially clear that a person is creative or can this quality be gradually developed? Let's try to find answers to these questions and understand the secrets of those who know how to create.

When we come to an art exhibition or visit a theater or opera, we can answer with accuracy - this is an example of creativity. The same examples can be found in the library or cinema. Novels, movies, poetry - all these are also examples of what a person with a non-standard approach can create. However, work for creative people, whatever it may be, always has one result - the birth of something new. Such a result is the simple things that surround us in Everyday life: light bulb, computer, television, furniture.

Creativity is a process during which material and spiritual values ​​are created. Of course, conveyor production is not part of this, but after all, every thing was once the first, unique, completely new. As a result, we can conclude: everything around us was originally what a creative person created in the process of his work.

Sometimes, as a result of such activities, the author receives a product, a product that no one but him can repeat. Most often this applies specifically to spiritual values: paintings, literature, music. Therefore, we can conclude that creativity requires not only special conditions, but also the personal qualities of the creator.

Process description

In fact, not a single creative person has ever thought about how he manages to achieve this or that result. What did you have to go through during this sometimes very long period of creation? What milestones had to be overcome? These questions puzzled a British psychologist at the end of the 20th century - Graham Wallace. As a result of his activities, he identified the main points of the creative process:

• Preparation;
• incubation;
• insight;
• examination.

The first point is one of the longest stages. It includes the entire period of study. A person who previously had no experience in a particular field cannot create something unique and valuable. For starters, you have to study. It can be mathematics, writing, drawing, designing. All prior experience becomes the foundation. After that, an idea, goal or task appears, which must be solved, relying on the knowledge gained earlier.

The second point is the moment of detachment. When a long work or search does not give a positive result, you have to throw everything aside, forget it. But this does not mean that our consciousness also forgets about everything. We can say that the idea remains to live and develop in the depths of our soul or mind.

And then one day the revelation comes. All the possibilities of creative people open up, and the truth comes out. Unfortunately, it is not always possible to achieve the goal. Not every task is within our power. The last point includes diagnosing and analyzing the result.

Character of a creative person

For many decades, scientists and ordinary people have been trying to better understand not only the process itself, but also to study the special qualities of the creators. person is of great interest. As experience shows, usually representatives of this type are highly active, expressive behavior and cause conflicting reviews from others.

In fact, no model developed by psychologists is an exact template. For example, such a feature as neuroticism is often inherent in people who create spiritual values. Scientists, inventors are distinguished by a stable psyche, balance.

Each person, creative or not, is unique, something in us resonates, and something does not match at all.

There are several character traits that are more inherent in such individuals:

curiosity;

self-confidence;

not very friendly attitude towards others.

The latter is caused, perhaps due to the fact that people with think differently. It seems to them that they are not understood, condemned or not accepted for who they are.



Main differences

If there is a very creative person in the list of your acquaintances, then you will definitely understand this. Such personalities often hover in the clouds. They are real dreamers, even the most crazy idea seems to be a reality for them. In addition, they look at the world as if under a microscope, noticing details in nature, architecture, behavior.

Many famous people who created masterpieces did not have the usual working day. For them, there are no conventions, and the process of creativity occurs at a convenient time. Someone chooses early morning, someone's potential wakes up only at sunset. Such people do not often appear in public, they spend most of the time alone. It is easier to think in a calm and familiar atmosphere. At the same time, their desire for something new constantly pushes them to search.

These are strong, patient and risky individuals. No failure can break the faith in success.



Modern research

Previously, the opinions of scientists converged on the fact that a person is either born creative or not. Today, this myth has been completely dispelled, and we can say with confidence that it is possible to develop talents in oneself for everyone. And at any time in your life.

The main qualities of a creative person, if desired and perseverance, can be developed in oneself. In the only case it is impossible to achieve a positive result, this is when a person personally does not want to make changes in his life.

Modern research has led to the conclusion that intellectual abilities increase when logic and creativity are combined. In the first case, the left hemisphere is connected to the work, in the second - the right one. By activating as many parts of the brain as possible, you can achieve a greater result.



Work for a creative person

After graduating from high school, graduates face the question: where to go? Everyone chooses the path that seems more interesting and understandable to him, at the end of which the goal or result is visible. Unfortunately, it is not always possible to realize the potential inherent in us.

What do you think is the most suitable job for creative people? The answer is simple: any! Whatever you do: housekeeping or designing space stations - everywhere you can show resourcefulness and ingenuity, create and surprise.

The only thing that can really interfere with this process is third-party interference. Many managers themselves deprive their employees of the desire to make independent decisions.

A good boss will support the impulses for development and creativity, of course, if this does not interfere with the main process.



Paradoxes

Let's think about why the character of a creative person is so difficult to clearly analyze and structure. Most likely, this is due to a number of paradoxical features that are inherent in such people.

Firstly, they are all intellectuals, well versed in knowledge, while being naive like children. Secondly, despite their excellent imagination, they are well versed in the structure of this world and see everything clearly. Openness and communicative qualities are only external manifestations. Creativity is often hidden in the depths of the personality. Such people think a lot, conduct their own monologue.

It is interesting that by creating something new, they, one might say, introduce a certain dissonance into the current course of life. At the same time, everyone is insanely conservative, their habits often become more important than those around them.

Genius and creativity

If a person, as a result of his activity, created something impressive, something that amazed others, changed ideas about the world, then he wins true recognition. Such people are called geniuses. Of course, for them, creation, creativity is life.

But not always even the most creative people achieve results that can change the world. But sometimes they don't want to do it themselves. For them, creativity is, first of all, an opportunity to be happy at the present time, in the place where they are.

You don't have to be a genius to prove yourself. Even the smallest results can make you personally more confident, positive and joyful.



conclusions

Creativity helps people to open their soul, throw out feelings or create something new. Everyone can develop creativity in themselves, the main thing is that there is a great desire and a positive attitude.

It is necessary to get rid of conventions, look at the world with different eyes, perhaps try yourself in something new.

Remember - creativity is like a muscle. It needs to be regularly stimulated, pumped, developed. It is necessary to set goals of various scales and not give up if nothing worked the first time. Then at some point you yourself will be surprised how life has changed dramatically, and you will begin to realize that you have also brought something necessary and new to the world for people.

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PERSONAL QUALITIES OF A CREATIVE PERSON

Introduction

“A child who has experienced the joy of creativity even in the most minimal degree becomes different from a child who imitates the acts of others.”

B. Asafiev

In everyday life, we talk about the upbringing of children, referring to the influence of parents, relatives, teachers and other adults on them. If these influences are not effective, then they begin to look for the guilty: bad comrades, "harmful" movies and TV shows, unqualified teachers. Often they talk about bad heredity. And all this is quite fair.

A child, being born, has certain inclinations and predispositions. Moreover, for a long time, many scientists argued that both always have plus signs and it depends only on upbringing whether they develop or not. Science has now given us good enough reason to be considerably less optimistic. Quite convincing evidence has been obtained that, for example, some people are born predisposed to drug addiction, alcoholism, and even the opposite behavior. Another thing is that such a predisposition is not fatal. Whether a person, for example, becomes a drug addict or not, depends on how his life develops, starting from infancy.

It also depends on upbringing, that is, a targeted influence on a child, teenager, youth. But to a large extent, what a person will become, what his inclinations and inclinations will develop and which will not, what personal qualities he will acquire, depends on the numerous circumstances of his life. From what kind of people he will meet on his way and how his relationship with them will develop. From what geographical, natural, social environment it will grow, how it will interact with it. From how actively the person himself will strive to build his interaction with the outside world, relationships with people. That is, on how his development will go - physical, mental, emotional, intellectual, social.

Creativity in man

But how does the development of creativity in a person take place?

A lot of talent, intelligence and energy were 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. 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 of creative development of children and youth.

Creativity gives birth in a child to a living fantasy, a living imagination. Creativity, by its very nature, is based on the desire to do something that no one has done before you, or even though what existed before you, to do in a new way, in your own way, better. In other words, the creative principle in a person is always a striving forward, for the better, for progress, for perfection and, of course, for beauty in the highest and broadest sense of this concept.

This is the creative principle that art educates in a person, and in this function it cannot be replaced by anything. By its amazing ability to evoke creative imagination in a person, it certainly occupies the first place among all the diverse elements that make up a complex system of human education. And without creative imagination, one cannot budge in any area of ​​human activity.

Often from parents and even from teachers-educators one can hear such words: “Well, why does he spend precious time writing poetry - he doesn’t have any poetic gift! Why does he draw - after all, an artist will not work out of him anyway! And why is he trying to compose some kind of music - after all, this is not music, but some kind of nonsense turns out! ..”

What a huge pedagogical error in all these words! In a child, it is necessary to support any of his desire for creativity, no matter how naive and imperfect the results of these aspirations may be. Today he writes incoherent melodies, unable to accompany them with even the simplest accompaniment; composes poems in which clumsy rhymes correspond to the clumsy rhythms and meter; draws pictures depicting some fantastic creatures without arms and with one leg ...

Just do not try to laugh at these manifestations of children's creativity, no matter how ridiculous they may seem to you. That would be the biggest pedagogical mistake you can make in this case. After all, behind all these naivety, clumsiness and clumsiness lie the sincere and therefore the most true creative aspirations of the child, the most genuine manifestations of his fragile feelings and thoughts that have not yet formed.

He, perhaps, will not become either an artist, or a musician, or a poet (although in early age it is very difficult to foresee), but perhaps he will become an excellent mathematician, doctor, teacher or worker, and then his childhood creative hobbies will make themselves felt in the most beneficial way, a good trace of which will remain his creative imagination, his desire to create something new , his best, moving forward cause, to which he decided to devote his life.

Russian scientists psychologists Medvedeva I.Ya. and Shilova T.L. within the framework of the “dramatic psycho-elevation” program, working with “difficult” children, they talk about various situations when parents and teachers, not considering the creative principles in the child’s personality, almost caused irreparable harm to the formation of his personality and character.

For example, Alyosha S., who, had he been born in a family with different attitudes, would have been completely normal, healthy and, most likely, happy. And so his appearance was disfigured by frequent tics, he stuttered badly, was afraid to open his mouth and raise his eyes. But when he nevertheless raised them, his ugly face was illuminated by some otherworldly light. His mother complained about his stupidity, his inability to study, and in those cornflower blue eyes one could read shy inspiration and a lurking living dream.

It quickly became clear that Alyosha's daydreaming is the "root of evil." An authoritarian father and a mother completely subordinate to him, with perseverance worthy of a better use, pushed the boy onto a path alien to him, demanded from him the ability to work with his hands, interest in the exact sciences. And he was a dreamer. He is even in the questionnaire to the question “What do you love most?” succinctly replied: "Dream."

It was very difficult for psychologists to convince his father, who worked at a construction site, and his mother, who grew up in the village, that the dreamy Alyosha, if he, as he is, is supported and helped to orientate correctly, can not only fully recover, but also become an outstanding person. . Toward the end of the treatment cycle, when the boy's face stopped twitching, the parents of the children who worked with Alyosha in the same group whispered in surprise: “Wow, what a handsome boy!”

Dreaminess is not a vice, not a harmful property. And in preadolescence, adolescence and youth, this is the most important soul-building element.

Talking about the education of a creative principle in a person leads us to a very important and most urgent problem in our conditions: the difference between a specialist-creator and a specialist-craftsman. This extremely important problem is closely connected with the problems of aesthetic education.

A genuine specialist-creator differs from an ordinary specialist-craftsman in that he strives to create something beyond what he is “instructed” to create. The craftsman is satisfied with the fact that he creates only what he is supposed to - "from here to here." He never strives for more and for the better and does not want to burden himself with such aspirations. He cannot be accused of bad work - after all, he does everything that he is supposed to, and maybe even does it well. But such a generally formal attitude towards one's work, in whatever field it may be, not only does not move life forward, but even serves as a brake, because in relation to life one cannot stand still: one can only either move forward, or fall behind.

The presence or absence of creativity in a person, a creative attitude to his work becomes the watershed that passes between the specialist-creator and the specialist-craftsman.

This must be emphasized with all clarity, because one sometimes hears a more than strange opinion that there are “creative” professions and “non-creative” professions. The greatest delusion! And this delusion in practice often leads to the fact that a person engaged in supposedly uncreative work considers himself entitled to have a non-creative attitude towards his work.

There is no such area, such profession, where it would be impossible to show creativity. And when they say that students - graduates of a general education school should be oriented towards one or another profession, they forget about the main thing: that from the first grade of school it is necessary to instill in students the idea that there are no bad professions, just as there are no uncreative professions, that, working in any profession, each of them will be able to open a new, even a small world. But if he works according to a craft, not creatively, then he will not create anything worthwhile in the “creative” profession itself.

Therefore, the most important task of aesthetic education at school is the development of creativity in students, no matter how it manifests itself - in mathematics or music, in physics or in sports, in social work or in patronage of first-graders. Creativity plays a huge role in the classroom itself. All good teachers know this. After all, where there is a creative initiative, there is always a saving of effort and time, and at the same time the result is increased. That is why teachers who are unwilling to introduce elements of aesthetics and art into the study of the subjects they teach are wrong, referring to the fact that their own workload and the workload of students is already too great. These teachers do not understand what a kind, generous and faithful helper they are thereby giving up.

The concept of personality development

Personality most often defined as a person in the totality of his social, acquired qualities. This means that personal characteristics do not include such features of a person that are genotypically or physiologically determined and do not depend in any way on life in society. In many definitions of personality, it is emphasized that the psychological qualities of a person that characterize his cognitive processes or individual style of activity, with the exception of those that are manifested in relations with people, in society, do not belong to the number of personal ones. The concept of "personality" usually includes such properties that are more or less stable and testify to the individuality of a person, determining his actions that are significant for people.

Personality - this is a person taken in the system of such psychological characteristics that are socially conditioned, manifested in social connections and relationships by nature, are stable, determine the moral actions of a person that are essential for himself and those around him.

The formation of a person's personality is a consistent change and complication of the system of relations to the surrounding world, nature, work, other people and to oneself. It happens throughout his life. Particularly important is the age of childhood and adolescence.

The development of a person as a person is carried out comprehensively and holistically in the unity of his physical and spiritual forces. Psychology and pedagogy argue that the human personality is formed and developed in activity and communication. The leading personality traits develop as a result of external influence on the personality, its inner world.

Human development is a process of quantitative and qualitative change, the disappearance of the old and the emergence of the new, the source and driving forces of which are hidden in the contradictory interaction of both natural and social aspects of the individual.

The natural side of a person develops and changes throughout his life. These developments and changes are age-related. The source of the social development of the individual is in the interaction of the individual and society.

Three factors influence the formation of personality: upbringing, social environment and hereditary inclinations.

Upbringing is considered by pedagogy as a leading factor, since it is a specially organized system of influence on a growing person in order to transfer the accumulated social experience.

Social environment is of paramount importance in the development of the individual: the level of development of production and the nature of social relations determine the nature of the activity and worldview of people.

Makings- special anatomical and physiological prerequisites for abilities for different types of activity. The science of the laws of heredity - genetics - suggests that people have hundreds of different inclinations - from absolute hearing, exceptional visual memory, lightning-fast reaction to rare mathematical and artistic talent.

But the inclinations by themselves do not yet provide abilities and high performance. Only in the process of upbringing and education, social life and activity, the assimilation of knowledge and skills from a person, on the basis of inclinations, are formed capabilities. The inclinations can be realized only when the organism interacts with the surrounding social and natural environment.

“Whether an individual like Raphael succeeds in developing his talent depends entirely on demand, which, in turn, depends on the division of labor and on the conditions for the enlightenment of people generated by it.” (Marx K., Engels F. “German Ideology”, op. 2nd)

Creativity presupposes that a person has abilities, motives, knowledge and skills, thanks to which a product is created that is distinguished by novelty, originality, and uniqueness. The study of these personality traits revealed the important role imagination, intuition, unconscious components of mental activity, as well as the needs of the individual for self-actualization, in the disclosure and expansion of their creative possibilities. Creativity as a process was considered initially, based on self-reports figures of art and science, where a special role was assigned to “illumination”, inspiration and similar states that replace the preliminary work of thought.

Preconditions for genius

Every child has the makings of a genius. We are all members of the same community called homo sapiens, and therefore have inherited the genes that give us a unique human brain, we are born in certain circumstances that can stimulate or slow down the development process, with each birth of a child, a potential genius is born ...

As for individual talents, their diversity is so great, they are inherited so independently that, due to genetic recombination, each person is given a certain set of abilities, be it the most diverse types of auditory and visual susceptibility, auditory and visual memory, combinatorial abilities, linguistic, mathematical, artistic talents.

But what is a genius?

If we recognize as geniuses only those who are almost unanimously recognized by them in the world, then the total number of them for the entire time of the existence of our civilization will hardly exceed 400 - 500. Approximately to such figures is the selection of celebrities who have been given the maximum place in encyclopedias different countries Europe and the USA, if we subtract from the number of these celebrities those who fell into their number due to nobility or other random "merits". But if the distinction between geniuses and talents remains controversial, then especially great difficulties are encountered in defining the very concept of "genius".

According to Buffon, genius lies in an extraordinary measure of endurance. Wordsworth defined genius as the act of enriching the intellectual world with some new element. Goethe argued that the initial and final feature of genius is the love of truth and the desire for it. According to Schopenhauer, the essence of genius is the ability to see the general in the particular and the constantly moving study of facts, the feeling of what is truly important. According to Carlyle, genius is primarily an extraordinary ability to overcome difficulties. According to Roman y Cajal, this is the ability, during the maturation of an idea, to completely ignore everything that is not related to the problem raised, and the ability to concentrate, reaching a trance. According to W. Ostwald, this is the independence of thinking, the ability to observe facts and draw correct conclusions from them. According to Lyukka: "If we evaluate productivity objectively, namely, as the transformation of the existing into value, as the transformation of the temporal into the eternal, then genius is identical to the highest productivity, and genius is continuously productive, because it is creativity that is its essence, namely the transformation of words into deeds" .

The term " genius " is used both to denote a person's ability to be creative, and to evaluate the results of his activity, suggesting an innate ability for productive activity in a particular area; genius, in contrast to talent, is not just the highest degree of giftedness, but is associated with the creation of qualitatively new creations The activity of a genius is realized in a certain historical context of the life of human society, from which the genius draws material for his creativity.

Geniuses often do not find the area in which they are most gifted for a long time. Moliere, a very mediocre playwright and dramatic artist, relatively late becomes the author of brilliant comedies and switches to comic roles. Jean Jacques Rousseau can serve as a good example of how a person gets to his true calling by trial and error. The most educated, most well-read, morbidly proud, almost obsessed with justice, he has been writing operas for more than a decade - "Gallant Muses", "Narcissus", "Prisoners of War", "Letters on French Music", writes poetry, and all this in a good professional level (although, it seems, his operas were never staged either under him or posthumously). He took his failures in the musical field seriously, even tragically, and only when he is middle-aged does he finally write what makes his name immortal and his influence enormous. G.H. Andersen tries many wrong paths before becoming the greatest storyteller. Balzac writes mediocre dramas before coming to The Human Comedy. A.N. Tolstoy, possessing the gift of an unusually visible, plastic, most vivid description of events, dreamed of a deep psychological analysis of the subconscious, of continuing Dostoevsky's line, evidence of which is The Lame Master.

But in all cases, genius is, first of all, an extreme strain of individual talents, it is the greatest, uninterrupted work, designed for centuries, despite the non-recognition, indifference, contempt, poverty, which Rembrandt, Fulton, Beethoven, etc. tasted to their heart's content.

The decisive role of child and adolescent conditions of development in determining value criteria, attitudes, aspirations and self-mobilization

a) the importance of childhood and adolescence

The enormous importance of early childhood and childhood developmental conditions for the future intellect was quantified by Bloom. According to his data, optimization of the conditions for intellectual development at the age of up to 4 years increases the future intelligence quotient, IQ, by 10 units, optimization at the age of 4-9 years by 6 units, at 8-12 years by 4 units. Accordingly, the neglect of the intellectual development of the child, especially at the age of 4 years, sharply worsens the future intelligence. It is at this early childhood age that constant communication with an affectionate mother lays the foundations of sociality, contact, and kindness. Well-groomed, well-fed children, but deprived at this critical age of affection, tenderness, attention, if they do not fall ill with the "abandonment" syndrome, then they grow up as ruthless egoists, incapable of social contacts.

Psychoanalysis, biology and genetics now converge in the understanding that the creative abilities of the individual depend on the conditions in which he spent his first years of life. The chances presented or taken away at this time determine his subsequent capacity for education.

The biographies of great people contain many direct and indirect indications of the decisive role of selectively perceived childhood and adolescence experiences. Strange, unexpected questions of young children, not yet tangled up with their eternally busy parents and educators, when thought through, show that children are not only talented linguists, but also the most annoying why-do-it-yourselfers, experimenters focused on creativity. But by the time they have normally transcended the sciences and accumulated skill, their curiosity tends to vanish. Partly because their aspirations for knowledge and skill are broken not only by the busyness of adults, but also by their own indispensable mediocrity in most of the activities in which they are involved in the Brownian movement of the natural need for self-manifestation. A child who begins to sing in the absence of musicality, draws in the absence of color mediocrity, clumsily races or dances, argues with a much more eloquent teaser, poorly learns a foreign language, acquires an inferiority complex that will prevent him from discovering in himself an outstanding mathematical, design, poetic or any other talent.

Meanwhile, natural selection, while creating humanity, worked tirelessly to develop the "exploratory instinct", curiosity, inquisitiveness, impressionability and learning in childhood and adolescence, in the same way as it works to develop and preserve the memory of this cognitive period among the elderly, the former main transmitters of the social succession relay from one generation to another (at least until the period of literacy). But either a certain flexibility or steadfastness is required in order to preserve in oneself those traits with which creative abilities are associated. We can call them an exploratory instinct, curiosity, inquisitiveness, but these phenomena are highly age related.

Learning, as a typical age-related phenomenon, the unusually rapid growth of knowledge in childhood and adolescence, is created by the grandiose forces of natural selection. It is well known what amazing abilities a small child possesses.

Unfortunately, the early childhood, childhood and adolescence period in the biographies of geniuses for the most part remains poorly covered, simply unknown. But where this period is illuminated, it almost invariably turned out that this particular age passed under conditions exceptionally favorable for the development of this genius. Moreover, we are talking about much. more about the intellectual than about the economic situation. The social continuity superimposed on undoubted hereditary genius is rarely traceable. But in all decisive cases when the childhood, adolescence and youth of a genius are known, it turns out that one way or another he was surrounded by an environment that optimally favored the development of his genius, partly because the genius nevertheless managed to choose, find, create it.

The extraordinarily talented, businesslike, knowledgeable and efficient V. Suvorov, seeing that his son is small and frail, decides that military service is not suitable for him. But with his drinking stories, he so inspired his son with a love for military affairs that he begins to absorb all the books about the war from his father's large library. "Arap" Hannibal, who accidentally spoke to him, is convinced of such a deep knowledge of the boy that he persuades his father to give his son the opportunity to become a military man, despite the already lost 13 years of a fictitious "internship". Fortunately, in this case, we know for sure that we are indebted to Hannibal to some extent for the appearance of not only A.S. Pushkin, but also another genius - A.V. Suvorov. But how many such circumstances are hidden from us? Since the vast majority of people spend their childhood in conditions that are not optimal for the development of individual talents, humanity is losing a huge number of potential geniuses, but not developed due to the discrepancy between the social environment and their talents.

But if an optimum has been created, if upbringing, self-education or an inner call led in youth or youth not only to the maximum development of individual talent, but also to the corresponding value criteria, then a monstrous barrier of impossibility of realization arises further.

A number of researchers have found that the firstborn achieves significantly more than subsequent children, partly due to higher education, more attention and "demand" from parents, a greater sense of their responsibility. But the first-born has no genetic advantages over his brothers, it's all about educational and environmental factors.

It is obvious that there are gigantic reserve capabilities of the "normal" human brain that need development, volitional stimulation and opportunities in order to create very talented and even brilliant deeds. Countless examples show that no matter how often potential geniuses are born (and this frequency, according to the laws of population genetics, should be approximately the same at all times and in all nations, because natural selection for high intelligence has long ceased), their development and implementation will be in largely determined by social factors.

b) to the genetics of intelligence

To what extent, under relatively close, similar developmental conditions, is the tested intellectual genotype inherited?

In his studies, Cavalli-Sforza supposedly accepted that the excess over the average level of intelligence is 50% due to the environment, 50% heredity; this is probably close to true for significant contingents, but in individual cases one factor can account for up to 100% and another for 0.

Is it possible to massively recreate the conditions of education that Beethoven, Mozart, Goethe, Bacon, Pushkin had for hundreds of thousands, millions of children? It is technically possible, but obviously ineffective, because Pushkin in Mozart's conditions will not become a great poet, and Mozart in Pushkin's conditions will not become a great composer. Technically, by the age of ten, it is possible to reveal quite a full range of abilities of a teenager. But by this time, the stage of the formation of enthusiasm, the stage of the formation of value criteria, the formation of conscience, humanity, without which talents, even outstanding ones, can become exploiters and stranglers of other people's talents, especially larger ones, will be missed. It is precisely by realizing that the conditions of upbringing and education in the child-adolescent period are of decisive importance for development, that “demand” is required for the realization of genius, a social order for genius of this particular type, it is possible, by studying the problem, to clearly see the role of genetics.

Genius is a disease?

It is considered to be reliably established that in even, generally favorable conditions of development, hereditary differences in giftedness become very important. In this regard, a pattern of increased mental activity in gouty patients was revealed.

The increased frequency of gout among geniuses found its solution in 1955 in the remarkable work of Oruan, who showed that uric acid is structurally very similar to caffeine and theobromine, known stimulants of mental activity. Oruan also pointed out that uric acid in all animals of the preprimate level, which is cleaved under the action of uricase to allantoin, in primates, due to the absence of uricase, is stored in the blood, and this is presumably associated with a new stage of evolution, going under a sign of increased brain activity.

Since gout and hyperuricemia ( elevated level uric acid) are quite clearly inherited in a variety of metabolic disorders, a working hypothesis has arisen:

1. This metabolic disorder is one of many possible mechanisms for the emergence and transmission to offspring of that proportion of increased intelligence that is hereditarily conditioned.

2. Moreover, gouty stimulation of the brain is one of those mechanisms that can increase its activity to the level of talent or genius. Then at least a part of the cases of genius would have succumbed to natural science deciphering, and genius itself would have turned from a subject of speculative reasoning into an object of scientific research.

There is a number of unusually strong evidence that a very significant proportion of the largest figures in history and culture really suffered from gout. Scientists also drew attention to the fact that among geniuses, catchy highbrow and even gigantophobia are unusually common. Biologists need only recall the portraits of Mendel, Morgan, Crick and Watson.

Considering the factors of increased mental activity, of course, one must clearly understand that the presence of any of them, separately or in pairs, does not at all guarantee high mental activity. It is quite obvious that any of them can be completely suppressed by a multitude of negative hereditary, biological, biosocial and social factors.

If the first gouty person recorded in history was the Jewish king, the wise Asa, a descendant of Solomon, then Hero of Syracuse in the 10th century BC already knew about the connection between joint disease and bladder stones, i.e. about urolithiasis in gouty patients. A mass of urates was found in the big toe of the skeleton of an elderly man buried in Upper Egypt. The oldest find is a uric acid kidney stone from a 7,000-year-old Egyptian mummy.

The Roman poet Lucian, who described the pangs of gout in his poems, suffered from gout and died from it. Stakeley believed that many Greek leaders who participated in the Trojan War suffered from gout, including Priam, Achilles, Oedipus, Protesilaus, Ulysses, Bellerophon, Plesten, Philoctetes, while Tyranion Grammaticus died of gout.

By this time, attention had already been paid to the unusually high intelligence of many gouty people. These observations were confirmed by medieval authors, publicists and doctors of modern times. In 1927, G. Ellis gave a clear definition of the characteristics of gouty geniuses, noting their exceptional determination, energy, inexhaustible perseverance and hard work, perseverance that overcomes any obstacles.

Suffered from gout:

Mark Vipsanius Agrippa (63 - 12 BC). The gout of Marcus Agrippa has been reliably established. Moreover, it is known that he suffered three severe attacks of gout and committed suicide at the beginning of the fourth attack, not wanting to endure any further incredible torment.

Pope Gregory the Great (540 - 604). He was an ascetic, a man of unusually strong will, an outstanding administrator and writer. He suffered from severe gout, so widespread that his swollen hands could not handle a pen, and he had to tie a pen to a brush to write, or else dictate his extensive classical works.

Michelangelo (1475 - 1564). Almost all of his biographers mention his kidney stone disease, and R. Rolland also mentions gout. He combined incredible, unstoppable industriousness with almost limitless versatility.

Christopher Columbus (1451 - 1506). In Spanish literature about Columbus, it is not uncommon to mention that he suffered from gout, and in English books it is said vaguely about gout, then about rheumatism.

Boris Godunov (1551 - 1606). Boris Godunov was broken not by remorse, but by severe gout. Graham mentions Boris Godunov's gout Grunwald: "In 1598 he grew stout, his hair turned gray, gout attacks made walking a torment for him." "It is known that even earlier he had to accompany his sister to the cemetery not on foot, according to custom, but on a sleigh due to gout."

John Milton (1608 - 1674). . Milton was blind, but he said that blindness tormented him less than gout. covered with tophi, that Milton led an extremely moderate life.

Peter I (1672 - 1725). Portraits of Peter I, his gigantic stature are well known, but it is not clear to everyone what significance his huge, constantly bulging eyes, his quick, overlapping speech, incredible mobility, mental and physical, have. Direct data on the gout of Peter I could not be found, but his gout, judging by the presence of nephrolithiasis, 20-year-old "rheumatism" and other signs, is extremely likely.

If, after all that has been said, to look at the past, one can notice a far from constant, but still clear pattern: in periods of relative rest, uniform, smooth development, gout, of course, also exists, but somehow they are not particularly distinguished, not very noticeable. All destinies are clearly predetermined by social, class, caste boundaries.

But a crisis arises, whether it be the formation or disintegration of an ethnos, revolutions, conquests, revival, reformation or counter-reformation, the formation or liberation of a nation, the emergence of new sciences, a new art - and gouty people are in the forefront, with a frequency of tens and even hundreds of times higher than their frequency in the population.

The legendary, heroic period of Greece - among the first heroes of gout Priam, Achilles, Ulysses, Bellerophon, Oedipus. The struggle between Carthage and Greece for the Sicilian Greeks is led by the gouty Hiero of Syracuse.

The formation of the Macedonian kingdom and the conquest of the great Persian empire: at the head of the probable gout Philip of Macedon and Alexander of Macedon who fell ill with gout very early.

Rome - the best commanders, "emperors" - almost all gouty. The crisis of the Roman Republic and the rise of the empire. Among the 5 - 6 major figures is the forgotten, but great Mark Agrippa. The formation of the Roman Catholic Church - headed by gouty Gregory the Great. Creation of the Frankish Empire - led by gouty Charlemagne.

The crisis of the empire of the Ottoman Turks, named after the founder of the gouty dynasty Osman, whose work was continued by the gouty or its transmitters Orkhal Bey, Bayazid I, Mohammed I, Murad II, Mohammed II the Conqueror, Bayazid II, Murad IV. The invasion of the Turks is stopped by the gout-hyperuricemic Janos Hunyadi, the gouty Matvey Korvin, the gouty Emperor Karl and the gouty King Jan Sobieski.

Renaissance crisis. Among the leaders are the gouty Cosimo and Lorenzo Medici, Michelangelo. Age of great geographical discoveries - led by gout Columbus.

The crisis of humanism, reformation and counter-reformation: among the leaders are gouty Thomas More, Erasmus of Rotterdam, Martin Luther, the Saxon elector Frederick III the Wise, who sheltered him, renounced the imperial crown, I. Calvin, Charles V, Philip II, gouty people of Giza, Henry IV, Henry VII , Henry VIII Tudors, Cardinal Wolsey, Burley, Alexander Farnese.

Crisis of the Thirty Years' War: in the top ten gout figures Wallenstein, Generalissimo Torstenson, Conde the Great, Mazarin. The revolution in England is headed by gouty Cromwell, the crisis of offensive wars is led by gouty Louis XIV, gouty Colbert, Conde the Great, Turenne, Maurice, Marshal of Saxony, William III of Orange, John Churchill-Marlborough.

The crisis of the Great Northern War, the entry of Russia into the ranks of the great powers, the elimination of Sweden from them - the main characters are gouty Peter I, Charles XII, August the Strong.

The crisis of the formation of Prussia: the gouty "Great Elector", his gouty grandson King Friedrich Wilhelm, gouty great-grandchildren Frederick I and Henry of Prussia.

The crisis of the struggle of France and England for dominance in the East Indies and North America. From the English side - victorious gout Pitt the Elder and Clive.

The crisis of the breakaway of the American colonies from England. Among the 4-6 dominant personalities are gouty Pitt Senior and B. Franklin.

The great long crisis of the formation of independent united nations. It is headed in France by the gouty Louis XI, in England by the gouty Tudors and Elizabeth with their gouty ministers Burley and his son, in Russia by the gouty Ivan III, Boris Godunov, Peter I.

The universal monarchy of the Habsburgs collapses on the national idea, in Holland the idea is embodied by William of Orange, apparently not the arthritic ancestor of a good dozen arthritic geniuses. Among the forerunners of the idea of ​​equality, fraternity and freedom in France are the gouty d'Alembert and B. Franklin.

The crisis of the revolutionary and Napoleonic wars. The goutiness of Napoleon I is very doubtful, but his most prominent marshal Berthier is an indisputable gout, like his main, most stubborn opponent Pitt the Younger, the organizer of more and more anti-Napoleonic coalitions, sparing no funds either for subsidies to the continental powers, or for the creation of an ubiquitous, strongest military fleet.

The rise of great colonial England. A string of energetic, extraordinarily talented, knowledgeable, enterprising gouty prime ministers is being replaced from R. Walpole and both Pitts to Canning, Derby, Palmerston, Disraeli. The crisis of the unification of Germany, the war with Denmark, Austria, France. Among the main figures gouty Bismarck and Wilhelm I.

The crisis of the emergence of natural science, mathematics, physics and chemistry. Among the greatest gout figures are Galileo, F. Bacon, Leibniz, Newton, Harvey, Jacob and Johann Bernoulli, Boyle, Wollaston, Berzelius, Darwin. The era of internal combustion engines is led by the gouty Diesel.

Among the greatest philosophers are gouty Montaigne, Malebranche, Kant, Schopenhauer. Among the greatest artists, sculptors, composers, poets, writers of gout are Milton, Goethe, Pushkin, Tyutchev, Michelangelo, Rembrandt, Rubens, Renoir, Beethoven, Maupassant, Turgenev, Blok.

One could name two dozen more crises and at least two hundred non-gouty geniuses. But it is impossible to embrace everything, and there is a fatal incompleteness of pathographies. Which of the biographers was interested in what exactly the described figure had been ill with?

But after all, immediately after the gouty "geniuses" there is a long line of giant-headed ones (starting with Pericles and not ending with Burns), giant-headed ones (Marx, Engels, Lenin), and very high-browed "geniuses". They are followed by a long line of hypomanic-depressive geniuses and a small group of arthritic-manic-depressive "geniuses". The group of talented geniuses with Marfan's hyperadrenaline syndrome, which is still small, but will expand, has already included such significant and diverse figures as Abraham Lincoln, G.Kh. Andersen, K.I. Chukovsky, ichthyologist G. Nikolsky, V. Kuchelbecker.

But the genius of Joan of Arc, perhaps, indicates a powerful stimulating effect of the male sex hormone not associated with target organs (hereditary testicular feminization syndrome).

Of course, the point is not at all that these geniuses, talents, and only they, perform the tasks of society. The society dominates, but the tasks set by it are exorbitantly often carried out precisely by those who, both the society and the internal features, have given the opportunity to develop and realize their "genius", solving the super-task set or that has arisen before them. And if the lists are full of nobility, it is only because they have usurped, monopolized both the possibilities for developing their talent and the possibilities for its realization. Countless, however, are those who, having these opportunities, did not use them. But what has been done clearly shows the gigantic reserve capabilities of the mind, which are not used due to the unsatisfactory state of society, its inconsistency with the needs of the era, the inability to set the initial stimulation, optimize the development and implementation of talent.

It is easy to see that in any area gouty is not only the first of the first, but their frequency is tens of times higher than the frequency of gout among the middle-aged, elderly and old population, even living in conditions of food and alcohol abundance. The extraordinary variety of areas in which gouty people have taken the lead is excellent proof of the enormous role played by the purposeful mobilization and activation of the intellect in great deeds.

There are other patterns of hereditary genetic abnormalities and the appearance of brilliant personalities.

marfan syndrome, a special form of disproportionate gigantism, the result of a systemic connective tissue defect; inherited dominantly, i.e., along a vertical line, but with very varying manifestations. Historical figures: Abraham Lincoln (1809 - 1865), Hans Christian Andersen (1805 - 1875), Charles de Gaulle (1890 - 1970), K.I. Chukovsky (1882 - 1969).

Morris syndrome, Jeanne d'Arc, androgens. Pseudo-hermaphroditism should have generated the most severe mental trauma, but the emotional stability of these patients, their love of life, diverse activity, energy, physical and mental, are simply amazing. For example, in terms of physical strength, speed, dexterity, they are so superior to physiologically normal girls and women that girls and women with Morris syndrome are subject to exclusion from women's sports.

With the rarity of the syndrome, it is found in almost 1% of outstanding athletes, that is, 600 times more often than one would expect if it did not stimulate exceptional physical and mental development. Prokop names a dozen great athletic "Amazons" with this syndrome.

Jeanne d "Arc (1412 - 1432) was tall, strongly built, exceptionally strong, but slender and with a thin feminine waist her face was also very beautiful. The general physique differed somewhat in male proportions. She was very fond of physical and military exercises, very willingly wore men's clothes. She never had menstruation, which allows us, based on the combination of other features, after five and a half centuries, to confidently diagnose Jeanne d'Arc with testicular feminization - Morris syndrome.

Paradoxically, it is prominent women who often have a clearly defined male characterology. Such is Elizabeth I Tudor, Christian of Sweden, the daughter of Sultan Adolf, Aurora Dudevant (Georges Sand), the German poetess Annette Droste-Gülshof, the once famous theosophist Blavatsky and many others.

Hypomanic. The disease of manic-depressive psychosis is usually diagnosed clinically at the height of an attack of mania or depression, in the first case by erratic jumps of thoughts and senseless, but energetic actions, in the second case by an unusually oppressed, hopeless mood. But the symptomatology does not always and far from all patients reach a clearly pathological, psychotic level, the anomaly can be reduced to periodic sharp ups and downs in mood. Characterized by the preservation of full consciousness, without any disturbance of thinking. In the first approximation, we can say that it is not thinking that suffers, but tone.

Brain, justifying the notion of the connection of genius with psychosis or psychopathy, gives a long, albeit incomplete, list of English authors who suffered from cyclothymia, schizophrenia, obsession, psychopathy, alcoholism or drug addiction. These are Beddes, Vleck, Boswell, Benian, Burns, Byron, Chatterton, Claire, Coleridge, Colpins, Cooper, Crabbe, De Kinsey, Dickens, D. Donne, Gray, Johnson, Lemb, Rossetti, Ruskin, Shelley, Smart, Swift, Swinburne, Tennyson, F. Thompson. As proof that English authors are no exception, he names Baudelaire, Dostoevsky, Flaubert, Goethe, Gogol, Hölderlin, Nietzsche, Poe, Rimbaud, Rousseau, Strindberg, Swedenborg and Verlaine.

With regard to psychopaths, syphilitics, alcoholics and drug addicts, we note that talent and genius do not necessarily have to protect against these diseases. But didn't alcoholics, drug addicts, psychopaths become creators not because of their addictions, but in spite of them?

Conclusion

In the formation of personality as a sociobiological phenomenon, society and microsociety take the first place, which is demonstrated by a sharp fluctuation in the frequency of appearance of prominent figures and geniuses.

Apparently, the "normal", "average" human brain, in the absence of external brakes in relation to it and under the chronic influence of any of the four internal doping, is potentially capable of unusually high productivity, close to brilliant. The concretization of factors that hinder or stimulate development and realization is primarily the task of sociologists and educators, but studying the biographies of prominent figures, both realized and not realized, can be very helpful in this.

But it is probably not so important that there would be a huge number of brilliant, outstanding people in the country, in the nation. For a nation to be prosperous, its citizens must be healthy and rationally developed. The psychological situation in each family, in the group kindergarten, in the secondary school class develops into a moral, psychologically healthy atmosphere throughout the country. Therefore, an individual approach to each child, the creative development of his personality, the education of the best of his qualities, is of the utmost importance for all of us. As far as we listen to our child, brother, sister today, to what extent we can provide fertile ground for the development of his personal qualities, we and our children will have to live in such a future.

BIBLIOGRAPHY

1. Kabalevsky “Education of the mind and heart” - M .: “Enlightenment”, 1981.

2. Ed. A. Petrovsky “Psychology. Dictionary "- M .:" Politizdat ", 1990.

3. V.P. Efroimson “Prerequisites for genius” VINITI (N 1161), 1982.

4. Medvedeva I.Ya., Shishova T.L. "A Book for Difficult Parents" - M.: Zvonnitsa-MG - Roman-newspaper, 1994. 269 p.

5. Asmolov A.G. Psychology of Personality. M., 1990.

6. Bratus B.S. personality anomalies. M., 1988.

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