学生主体性弘扬与创造力开发

主体性是人作为社会活动主体的本质属性。弘扬学生在学习中的主体性，关键是要调整学生的主体结构。创造是主体性体现的最高层次，弘扬学生的主体性，是培养创造精神的基础。创造力人皆有之，但存在水平差异。培养青少年的创造心理素质应从教育观念的转变，学校创造环境的创设，创造性教师队伍的培养，青少年创新精神、创造力、创造人格的培养，实施创造性教学等方面进行。     

Encouraging Creativity in the Social Work Classroom: Insights from a Qualitative Exploration

Creativity is vital to the learning process of social work students. Despite its importance, educators are still uncertain of ways to enhance creativity and translate it from classroom to practice. Therefore, this study examines social work student perspectives on ways to define creativity, infuse it into the classroom, and apply it as practitioners. This study qualitatively explores the open-ended insights of 37 social work students. Through an unguided semantic analysis and application of Kolb’s experiential learning theory, the following themes emerged: classroom, creativity, performance, activities, and ideas. These themes indicate that students believe that additional creative opportunities in their classrooms would eventually benefit them as practitioners. Further pedagogical emphasis on increasing student creativity through experiential learning activities would be beneficial.     

上海青少年创造力发展状况最新调查

上海作为我国社会改革、经济发展的前沿阵地,在强化青少年创新教育项目上发展较快。对当前上海中小学生的创造力发展状态及创新环境的调查表明:上海青少年创造力的总体水平为中等偏上,呈现出随年级升高而下降的趋势,并与学业成绩呈现出高度正相关关系;他们的想象力和参与创新活动的积极性有待提高,并且成绩越好的上海青少年越重视创新能力锻炼;他们认为恒心、自信和好奇心是最重要的创新品质;同时,教师的创新态度良好,但学校创新资源仍不充分,并且他们的创造力行为仅能获得不到四成家长的支持;因此,要提高上海青少年学生创造力的整体水平,仍需要学生、家长、学校、政府和社会等各方面的共同努力。     

Are We Educating Creative Professionals? The Results of Some Experiments on the Education of Social Work Students in Italy

Creativity is a competence crucial for the practice of social work. In particular, it is associated with a greater ability to solve complex problems and to learn, and it is considered to be an integral element of the professional identity of social workers. Nevertheless, in the past 20 years, neoliberal policies and bureaucratization have promoted models of education focused more on technical skills than on imaginative and ideational capacities. This article presents the results of two experiments conducted to determine the effects on creativity and imagination of the technical education of social workers. The results show that creativity is not a variable independent of the type of education delivered to students and that educational programmes which emphasise only the technical dimension of social work can have a direct influence on the creative abilities of students. It is therefore necessary to strike the right balance between education aimed at the acquisition of technical skills and education that promotes creativity.     

Creativity, Habit, and the Social Products of Creative Action: Revising Joas, Incorporating Bourdieu

Hans Joas's The Creativity of Action (1996) posits that conceiving of all action as fundamentally creative would overcome problems inherent in rational and normative theories of action and would provide an alternative basis for action‐based theories of macrosociological phenomena. Joas conceives of creativity as a response to the frustration of "prereflective aspirations," which necessitates innovative adjustment to reestablish habitual intentions. This conceptualization creates an unsupportable duality between habitual action and creativity that neglects other possible sources of creative action, including habit itself. Combining strengths from Bourdieu's concept of habitus, creativity can be redefined as the necessary adaption of habitual practices to specific contexts of action. Creative action continually introduces novel possibilities in practical action and provokes a variety of social responses to its products. This revised concept of creativity overcomes the dichotomy presented by Joas, identifies a microsocial source of innovation in creative action, and calls attention to patterns of creative authority in society at large .     

Why Creators Are Dogmatic People, “Nice” People Are Not Creative, and Creative People Are Not “Nice”

This article presents a provocative perspective on creativity with two controversial assertions. First, it challenges the conventional view of the creator as an innovative person, by promoting the notion of the dogmatic creator. Second, it argues that nice people are not creative, and creative people are not nice. An integrative review of the empirical literature on culture, creativity, and conflict ensues. In the process, four sets of hypotheses are developed which are embedded in two theoretical models of behavior. In Theoretical Model A, it is postulated that cultural individualism-collectivism has a positive causal impact on independent self-construal (Hypothesis 1A). In turn, independent self-construal is posited to have a positive causal impact on positive perception of conflict (Hypothesis 2A), confrontational conflict style (Hypothesis 3A), and creative behavior (Hypothesis 4A). In Theoretical Model B, it is postulated that cultural individualism-collectivism has a negative causal impact on interdependent self-construal (Hypothesis 1B). In turn, interdependent self-construal was postulated to have a positive causal impact on negative perception of conflict (Hypothesis 2B), non-confrontational conflict style (Hypothesis 3B), and conforming behavior (Hypothesis 4B). One-hundred-eighty-six university students in Singapore and 158 students in Australia responded to a survey, which consisted of various scales tapping the constructs in these two theoretical models of behavior. SEM analyses using LISREL 8.0 provided empirical support for both models of behavior. Based on these findings, several points are raised. First, creativity should not be perceived in a naïve manner. Second, there is an urgent need to assist parents, teachers, and employers to deal with creative individuals. Finally, since creativity is a cultural phenomenon, the cultural context must be made amenable for this type of behavior.     

Dialogue and creativity: The generative dialogical perspective in therapy

The generative perspective in therapy understands relations and dialogue as a generative social space where participants can promote innovative resources and possibilities for themselves, and their relations and circumstances, along with new social ecologies. It focuses on the creative dimensions of human relationality. This epistemological and clinical perspective has a heuristic value that allows us to discern and work with micro dialogues—micro processes of creative, generative dialogues—in the ongoing dialogue, mindful of the opportunities for creativity and innovation they provide. The generative perspective promotes creative processes and transformations to help clients build possible and viable futures when faced with problems, conflicts and challenges. It involves the dialogical and relational co-creation of resources and possibilities, and actions for implementation. The perspective is illustrated with a therapy process involving a 3-year follow-up. The paper includes a section where differences and similarities between dialogical perspectives are presented.     

Creativity,brands, and the ritual process: Confrontation and resolution in advertising agencies

The intensity of modern business has increased pressure for innovation, which places greater emphasis on creativity. This article explores one of the central sites of creativity in the American corporate world, the advertising agency. We examine how creativity in agencies is managed, controlled, and channeled to produce advertisements. We contend that the brand advertised and the agency’s creative collaborations have properties of ritual symbols and that rituals mediate tension inherent in two forces, stability and change, which define the brand and the advertising collaboration. The article offers an analytical perspective on creativity and a new perspective on rituals and ritual symbols.     

‘Northernness’, gender and Manchester’s creative industries

This article explores northernness and gender in the context of creative industries in Manchester. I argue that a version of northernness has been mobilised by those within the creative industries and that this identity is strongly linked with masculinity. The article examines the emergence of new creative industries in Manchester from the 1980s onwards. Many of these new creative industries were connected with music and club culture and often prioritised ‘lads’ and their interests. The ‘heritage’ and influence of this seedbed stage of Manchester’s creative industries and the dominant discourses about Manchester’s pop cultural creativity has had a profound influence on the ‘gendering’ of subsequent creative industries in this city. A paradigm of northern ‘laddishness’ pervades the creative sector in Manchester, and this is amplified and sustained by a powerful, media fuelled, cultural identity of the city and its popular culture. A number of local specificities have had an impact on linking creativity to ‘northern’ masculinity in the Manchester case. This has contributed to the ascendency of closed, male-dominated networks in the creative sector. This appears to stand in the way of women’s full access to, and participation in, the city’s creative industries. I suggest that all empirical case studies of creative industries could find value in reflecting on the local context and specificities of place. Using Manchester as a case study, I argue that place-specific identities could productively be explored in debates about exclusion and underrepresentation of women in creative industries.     

Creative Activism and Art Against Urban Renaissance and Social Exclusion – Space Sensitive Approaches to the Study of Collective Action and Belonging

Creative activism and urban art are increasingly being used as an instrument to collectively re‐appropriate the urban space and thus articulate urban belonging and citizenship from below. In cities worldwide, where different politics of place stimulate capitalist appropriation, individuals and groups use the public space as a laboratory for resistance, creative act, and as a medium for communication. As such, creative activism is a strategy for those who are widely excluded from social, political, cultural, and economic participation. Collectives are built through joint actions and experiences that are translated into the production situated forms of urban belonging. By drawing on space sensitive and situationist approaches and the power of creativity as an important moment in the analysis of action, the paper provides examples of how collective action and belonging is produced under conditions of contentious politics and exclusion that go beyond social norms, the social containment of institutions, ¹ and imposed collective identities.     

Review essay

This paper describes the use of a new teaching method that was developed to encourage students in their first years of study in social work at the Department of Social Work in Athens/Greece to improve their empathy and understanding toward vulnerable populations. The so called ‘diversity dolls’ method is a powerful as well as creative multiapproach that uses dolls (hand crafted dolls and/or readymade commercial dolls) as a basic means for helping students acquire knowledge about more complex or unfamiliar concepts like vulnerable populations and empathy. Dolls appear in all cultures and have a fascinating influence on people all around the world; they look like human beings and as such, can represent different characters. Thus, they are deemed suitable for teaching subjects like vulnerable populations. The ‘diversity dolls’ method proved to be a creative teaching approach for transferring and retaining valuable knowledge so that it can be used by students to achieve their learning goals. This paper looks into both the benefits and implications of using this creative teaching method in social work education.     

Mobility in urban social events: Towards organizational transvergence

The paper explores the emergence of territories that are constituted through spontaneous assembling of self-organized communities resulting in what we term urban social events. A concrete event is employed, namely Embros, an open occupation of an abandoned public building in the center of Athens, to highlight the dynamics that make urban social events transformative urban phenomena. By focusing upon the entangled mobilities of diverse agents, we explain how through differential, dis-continual assembling and creative collaborations, such urban social interactions institute unbounded and immanent modes of organizing. The paper contributes to organizational territoriality studies proposing that urban social events are mobile entanglements that institute practices of creative transactions with formal or informal communities. By doing that, it places the Arts, creativity and community participation at the center of transformative organizing.     

Cosmopolitan pathways from the Global South: How non-middle-class students become desirable Fulbright applicants

International student mobility (ISM) is largely interpreted as a global middle-class capital accumulation strategy. Cosmopolitanism, which is the named outcome and effect of these mobile forms of social and cultural capital, is therefore disproportionately available to already privileged students. This study moves beyond this prevailing interpretation by examining how students from working- or lower-middle-class families with limited resources in Global South countries combine bottom-up cosmopolitanism with educational mobility to get selected into highly competitive spaces, such as the Fulbright Foreign Student Program, the most prestigious educational and cultural program in the United States. Based on 20 in-depth interviews with successful Fulbright applicants and participant observation, my findings suggest that working- and lower-middle-class applicants are largely successful because of their cosmopolitan dispositions which they cultivate in creative and agentive ways. This article adds texture and complexity to existing discussions on middle-class hegemony in ISM and cosmopolitan subject-making.     

Creativity and Learning Jazz: The Practice of “Listening”

This article is about interaction, culture, and creativity. The ethnographic setting is a set of jazz performance classes at a California university. Although I write about jazz music, the reader need not have a background in studying or performing jazz (or music in general) to understand this article. In the title of the article, the term “practice” refers to (1) “listening” as a culturally specific communicative practice, and (2) the practice (a.k.a. rehearsal) of that culturally specific version of “listening”. I document and analyze how jazz instructors communicate with students about group interplay during musical performance. Extrapolating from this focus, I suggest some ways that contemporary linguistic anthropology can contribute to theories of creativity, focusing on the role that cultural norms of interaction defined by a particular activity play in constraining or shaping creative processes.     

The Meaningful Involvement of Service Users in Social Work Education: Examples from Belgium and The Netherlands

This article links the development of service user involvement championed in the United Kingdom to two examples in Dutch-speaking qualifying social work programmes: one from Belgium and one from the Netherlands. In both projects, a longer lasting cooperation with more marginalised service users was established. The Belgium project highlights social work lecturers and service users living in poverty, working in tandem to deliver a module to social work and socio-educational care work students. The example from the Netherlands involves young people from a homeless shelter as peer-researchers, working together with social work students.

Both projects, one focusing on social work education and on social work research, highlight striking similarities in the positives and challenges of working with service users including how this challenges both groups preconceptions of the other, deepens learning but also creates greater potential for confrontations which need to be managed creatively. The article also identifies the pre-requisites for this to be effective including appropriate resourcing, training, facilitative skills and acknowledges that collaborations can be extremely fragile. However, such projects need further investment, experimentation and implementation on an international scale to share learning and promote creative approaches for the development and learning of social work students.     

Negotiating everyday life in Australia: unpacking the parallel society inhabited by Asian international students through their social networks and entertainment media use

Work on the experiences of international students in Australia often point out that these students do not successfully integrate into Australian society with many international students counting very few or no Australians as friends by the time they complete their studies. Through in-depth interviews with 47 Melbourne-based higher education international students from Asia – the source of Australia's largest export education market – this study explores the ways in which international students navigate their everyday experiences in their host nation. The findings suggest that Asian international students live in a parallel society almost exclusively made up of fellow international students who primarily come from the home nation and the Asian region. This parallel society allows them to create both a sense of belonging in Australia yet not to Australia due to disengagement from local society and culture. By investigating their social networks (society) together with their consumption of entertainment media (culture), this study presents an indirect yet creative way of understanding how international students negotiate everyday life as transient migrants in the Australian city of Melbourne. Doing so, this research highlights the ways in which international students make use of social networks and entertainment media to feel a sense of belonging in a foreign country.     

The role of arts in raising ethical awareness and knowledge of the European refugee crisis among social work students. An example from the classroom

This paper presents and discusses an arts-based project, carried out by the first-year students in the classroom, at the Department of Social Work, in Athens, Greece. The project was designed for raising ethical awareness and knowledge of the 2015 Europe’s refugee crisis among social work students. The purpose of this project was three-fold: (1) to help students to better understand the refugee crisis as an emerging problem in Europe and in the rest of the world; (2) to help students raise their ethical awareness about the plight of refugees and to learn how to avoid discrimination and racism; and (3) to improve students’ abilities to work effectively with refugee populations. The project used art-based activities (drawing, writing, photos, etc.) as a powerful pedagogical tool for teaching students and supporting their learning in the classroom. As the literature has shown, the use of arts in social work education helps student to learn through an artistic and creative way and provides a secure base, from which they can explore real-life situations and try to give meaning to them.     

浅析创意产业的创新型集群发展——以上海创意产业园区为例

本文阐述近来兴起的创意产业的概念及内涵,并描述了上海创意产业园区的现状。简单的地理集聚即产业园区的形成,并不能代表产业集群的形成,想让创意产业成为提升城市乃至国家竞争力的产业需要培育创意产业集群。文章通过对产业集群理论的分析进一步阐释了如何培育创意产业创新型集群,并特别指出要通过营造良好的创新环境而促进企业间、产业间的相互合作。     

Unemployed by choice: young creative people and the balancing of responsibilities through strategic self-management

The Danish welfare system inadvertently provides a good opportunity for young creative people to pursue their dreams in creative fields such as art, acting, music while being on unemployment benefits. As Michael, one of the participants, puts it: ‘I consider unemployment benefit entrepreneurial support’. The subversive practice is illegal. This qualitative study investigates how young unemployed people who choose to be unemployed in order to engage in innovative projects in creative fields understand and justify their practice. Analysis of in-depth interviews with six young unemployed persons shows how the understanding and management of responsibility is pivotal in the self-understanding and legitimization of receiving unemployment benefits by choice, not out of need. This creative group reflects the contours of a new type of unemployed that has received very little attention in the research literature. The group challenges the traditional representation of the unemployed and portrays themselves as innovative, competent and able to cope with financial insecurity even though it is psychologically distressing and a risky path to go down. We characterize them as strategic self-managing as they use educational systems and unemployment benefit systems for something entirely different from what they are intended – they use it to create their own artistic life courses. This study tentatively points to a categorization distinguishing between personal, social and societal responsibility by which we can improve our understanding of responsibility in neoliberal contexts.     

Cursed creatives: alienation,sublimation, and the plight of contemporary creative work

ABSTRACT

This paper connects the critical discourse on the ‘creative class’ with a longstanding lineage of thought on creativity in psychoanalysis, demonstrating their combined value in understanding worker subjectivity and exposing the perils of contemporary creative work. Drawing upon object relations theorizing in particular, the argument is made that the ‘objects’ of contemporary creative work coupled with its surrounding ‘potential space’ prove severely impoverished, giving rise to a newfound experience of alienation. Accounts of creative workers are presented to further elucidate alienation’s unconscious correlates, as well as to suggest ways of mitigating creativity’s compromised expression through the process of ‘sublimation’ – a concept central to the psychoanalytic theorizing on creativity, yet wholly absent from the contemporary discourse. Implications for the critical study of the ‘creative class’ are discussed.