Authors

Savelyeva Tatyana G.
DEVELOPMENT OF CREATIVE ABILITIES IN MODERN-DAY ART AND AESTHETIC EDUCATION

Architecton: Proceedings of Higher Education №2 (42) June, 2013

One of the main objectives of art and aesthetic education in information-based society is development of aesthetic awareness in students, training of creative personalities, and active inclusion of art into the development of a personality for the needs of today’s society. Hence, a course of art theory and practice in contemporary education is capable of transforming from a highly specialised area of learning into a target of major social importance.

While learning art theory and practicing art, the student is developing creative abilities inseparably linked to the cultivation of his personality, motivation towards creativity and, thus, development of their world outlook. It is assumed that the core of this outlook should be the values of the post-nonclassical picture of the world, the main ones being identity, freedom, creative activity, and critical mind.

The article considers the relationships between extra-art and art creative abilities (selectivity, associativity) and creativity, and identifies signs of creativity. It is noted that the primary signs of creative thinking are closely intertwined. The author states the need to ensure that the above qualities feature the sustainability of an ability.

According to the author, one of the ways to develop creative abilities is development of critical thinking. The precondition to creativity is the strengthening of critical reflexion, allowing one to overcome existing standards, stereotypes, normatives, and to expand and deepen prospects for further activity. At the same time, creativity is not limited to reflexion, consciousness. The development of logical thinking, therefore, should be supplemented to a considerable extent by the development of extra-logical creative abilities.

Savelyeva Tatyana G.
THE CATEGORY «ARTISTIC VIEW OF THE WORLD» IN THE TEACHING OF HISTORY OF ART

Architecton: Proceedings of Higher Education №2 (38) June, 2012

The article considers the perception of theoretical constructs in the teaching of humanities, specifically, the perception of the artistic image of the world. In order to grasp the meanings of specific art phenomena one has to be familiar with the broad cultural and historical context and, above all, with the artistic view of the world, which carries the idea of cultural integrity of an era.

Structural analysis of the world’s artistic image makes it possible to identify generic categories, which are expressed as an image, a specific symbolic form. A universal category is most fully expressed by world art masterpieces. Examples of universal category implemented in art are the artworks of the Italian Renaissance: "Mona Lisa" by Leonardo da Vinci, and Michelangelo Buonarroti’s “Slaves”.

The artistic view of the world, in turn, contains in reduced form a space-time continuum of its own and should be construed in accordance with it. The perception of the meanings of artistic phenomena cannot be separated from the temporal component, especially in the case of narrative knowledge, a domain to which, according to the author, the course of history of art belongs.

Thus, the author assumes that, by virtue of the sensuous imagery of art media, the study of the artistic view of the world of a particular era in class should, where possible, satisfy a number of conditions to ensure its comprehension by student:
- knowledge and understanding of the artistic language, learning which should be among the objectives of the humanities courses;
- artistic material presented in the synthesis of the arts and in the broader context of the view of the world pertaining to the era under study;
- necessary and sufficient time for perception;
- availability of performative space; - essential general cultural background.