. (1983). Aesthetic Experience and Literary Hermeneutics . Bucureşti: Univers 8. Kooper, J. (1981). Forms of understanding beauty in Kant. In: I. Kant. Critique of Judgement. Bucureşti: Scientific and Encyclopedic Publishing 9. Mukařovský, J. (1974). Aesthetic studies. Bucureşti: Univers 10. Pâslaru, Vl. (coord.), Papuc L., Negură I. ş.a. (2005). Construction and curriculum development. Part II. Methodological framework. Chişinău: UPS Ion Creangă 11. Pâslaru, Vl. (2001). Introduction to the theory of literary and artistic education
Sameh Said-Metwaly, Wim Van den Noortgate and Eva Kyndt
-153. *Leith, G. (1972). The relationship between intelligence, personality, and creativity under two conditions of stress. British Journal of Educational Psychology, 42, 240-247. *Lemons, G. (2011). Diverse perspectives of creativity testing: Controversial issues when used for inclusion into gifted programs. Journal for the Education of the Gifted, 34, 742-772. doi: 10.1177/0162353211417221 *Long, H. (2014). An empirical review of research methodologies and methods in creativity studies (2003-2012). Creativity Research Journal, 26, 427
In responding to Glăveanu’s critical views on the psychology of creativity, this commentary summarizes seminal work that has been carried out on creativity since 1950s. It underscores the value of the systems approach and discusses key methodological issues related to this approach, including creativity assessment, the necessity for multi-level analyses, the bandwidth-fidelity-dilemma, the challenge of operationalizing creativity for empirical studies and the lack of communication across disciplines. It calls for more external support, cross-disciplinary and cross-cultural collaboration and the establishment of a more open, tolerant and creativity-conducive environment to encourage and unleash creativity in creativity research from creativity researchers.
The author takes over and presents in the context of the action of integrating the literary-artistic education methodologies - the musical education methodologies the epistems that explain the interactive nature of these. This original way of approaching literature and arts methodologies has been applied experimentally in primary education, language courses and romanian literature and music education, thus providing teaching staff with integrated teaching and learning materials of literature and music.
The supreme function of music in the preschool institution is the educational one. As the development of the child depends on some physiological, psychological, socio-cultural and spiritual laws, so the musical art laws do with the methodology of the musical art process. In this article are characterized some laws through which is revealed the sounding, temporal, imagistic and expressive character of the music. The knowledge of the musical art laws determines the conformation to the specific to musical activities methodology; contributes to the generation/ development of the art consumer; facilitates the generation/ development of the artistic abilities of the pre-schoolers/ parents; provides the adequate integration of art in the educative act of the pre-schooler; stimulates the interest and positive attitude for art. Under the peculiarities of the musical art laws there are built the methodological suggestions for the early education.
The article hereby includes conceptual aspects of the musical competences formation. It describes the realization of this process operating with the concepts of well-known occidental, Russian and local researchers. One of the ideas characteristic to the researchers’ pedagogical thinking is that, during the process of musical competence formation through art, the acquisition process mechanism is happening. For integrity in insuring the practical realization at of a musical education, the methodology we propose is based on research, an imposing theoretical network of successful pedagogical practices of remarkable scientists from all over the world. The analyzed theories are a source of inspiration and constitute the theoretical universe which contributes to as truthful as possible musical education.
Bogdan Teodor Gavrilean
Less visible to the general public, the area of the Prothesis inside the sanctuary of the “Pentecost” heritage church, of Dragomirna Monastery, shows a particular casuistic due to the diversity of types of degradation recorded at the time of its restoration (2011). The dominant form is the adherent candlewax deposits, present on the surface of the paint layer in various stages of hardness. The particular state of conservation features occurring in this area, corroborated with a series of aggravating environmental factors, imposed the application of a special restoration intervention methodology in the area of the Prothesis.
). The Historical Meaning of The Crisis in Psychology: A Methodological Investigation. The Collected Works of Vygotsky . New York: Plenum Press. Vygotsky, L. S. (1987). History of development of higher mental functions. The Collected Works of Vygotsky (vol. 4) (pp. 69-235). New York: Plenum. Wagoner, B. (2009). The Experimental Methodology of Constructive Microgenesis. In J. Valsiner, P. Molenaar, N. Chaudhary and M. Lyra (Eds.). Handbook of Dynamic Process Methodology in the Social and Developmental Sciences (pp. 99-121). New York: Springer
As the problem-solving methodology of design thinking has gained legitimacy in business and educational environments, this article suggests we also think about incorporating “art thinking” into approaches in design pedagogy. To study what skills and techniques can be useful in other disciplines, we can first review the stages of the creative process which are centered around preparation, incubation, ideation, illumination, and evaluation. Within those stages, we can tease out specific elements unique to the artistic process that can be particularly useful, including mindsets of emotional engagement, intuition, and tolerance of ambiguity as well as cognitive strategies such as the use of metacognition, resource banks, generators and constraints, prolonged research, problem-creation, conversation with the work, closure delay, and reflection and thematic coherence. Emphasizing these elements and strategies in design pedagogy can expand possibilities for creativity and innovation.