Subject in which the work is included: The process of teaching foreign languages learning.
Summary: Motivation and creativity are fundamental in the life of the human being, whose study has a rich history and tradition from the dialectical unity of theory with practice, which has a decisive role in the way of penetrating into the essence reality, and direct research and education towards the solution of human problems, from science to social life. The teaching of foreign languages contributes to the development of creativity, in turn implies that the degree of creativity of students is directly proportional to the motivation towards learning foreign languages.
Introduction
Creativity is one of the essential qualities that distinguishes the human being from the rest of the animals, there is a consensus that every human being is potentially creative. The phenomenon of creativity, like everything human, is extremely complex, and its analysis must start from the conception of man as a biological-psychological-social being. Its study has been centralized, since the end of the last century, by psychology, in very different ways and under different approaches: some focused on the process of creation; others in the creative person and his qualities; in the created product; or in the environmental conditions in which it develops.
The first studies about the psychology of creativity date from the end of the 19th century, associated with the creative imagination and through the different decades of the 21st century, a wide and diverse documentation about this phenomenon with different conceptions has been evidenced, many of these becoming even contradictory.
There is some agreement among researchers in relation to the basis of creative performance, in which there are, to a greater or lesser extent, a series of qualities, psychic processes, or personological resources, both in the cognitive and affective spheres that they develop in the subject throughout his life. According to LS Vigotsky: "both factors: the intellectual and the emotional, are equally necessary for the act of creation" 1.
Development
Currently there are more than five hundred meanings of the term and most people associate it as something new, novel, original, revolutionary, creative transformer.
According to Davis. (1975). "It is the result of a combination of attributes or processes that are new to the researcher." two
Rodríguez M. (1992) states that "It is the ability to produce new and valuable things." 3
Albertina Mitjáns (1995). She argues that it means transcending what exists in a specific sphere of activity where the subject is motivated. Four.
Caner Roman. (1997) states that “It is the process by which the person discovers, produces or communicates something new with a certain social value”. 5.
Most of the definitions are general in nature and applicable to different spheres of knowledge, only the one expressed by Albertina Mitjáns, emphasizes the personological, emphasizing motivation and its strong affective charge for obtaining the creative.
most people think or relate creativity only to the ability to solve problems, leaving its discovery in the background and in reality a problem can be solved, when it has been discovered before.
To develop creativity, at least three aspects are necessary, intellectual development, motivation and the personological, it is necessary to consider others such as conditions and context, on which motivation largely depends. In this sense, it has been proven that students with a high intelligence quotient fail to be creative.
Motivation creates conditions to strengthen the deep foundations of science, in such a way as to guarantee the stimulation of man's cognitive activity, based on the needs of practical activity, related to production and social life, at the same time as endlessly experiences a stimulating flow of man's activity, as well as the influence exerted on him in the course of social development.
The biotic factors that influence an individual to be creative are related to the functioning of their nervous system, which in turn is determined by the structural characteristics of their nervous organs, their neurons, and ultimately their genes, carriers of the genetic information received by its parents from the moment of conception of the zygote, as well as by the rest of the organism as a whole.
Psychic factors are related to the characteristics of their psychic processes and personological resources, which the subject shapes through their ontogenetic development, in full interaction with their environment, manifesting the indissoluble unity of the cognitive and the affective. There is consensus that it integrates both conscious and unconscious or pre-conscious processes.
Social factors have to do fundamentally with the type of relationships established between subjects, their communication style, the management style that governs the social environment to which they belong, as well as their organization. It also includes, in our opinion, elements of a material order such as the qualities of physical environments, the material means available, whose origin is social.
The authors of this work are of the opinion that none of these factors by itself is capable of determining a creative performance of a certain subject, only the functional and systemic integration of the three could explain that a person is more or less creative in some moment of his life.
Due to its pedagogical importance in the teaching-learning process of foreign languages, reference will be made more broadly to the psychological and social determinants of creativity. In turn, those that are most important to be developed from the pedagogical point of view are exposed.
Thought: According to SL Rubinstein, thought is the search and discovery of the new, the independent movement towards new generalizations. 6.
Cognitive abilities and styles: They have to do with the recognition, perception, understanding, transformation and personalized elaboration of the information that it receives, giving it its own meaning.
According to RJ Sternberg, intellectual styles are the most compelling ways of using and directing the intellect. They are the ways in which people use knowledge in their social interaction with the environment. 7
Memory: form to organize and establish the storage of information. A good memory helps you think efficiently. Creativity has to rely on stored information, on lived experience. To develop the process of creation in any sphere, it is necessary to have knowledge about it, so as not to "invent" what has already been created. Furthermore, knowledge is not only necessary to analyze a problem and its solution in a given field, but also to evaluate it.
Imagination: According to T. Ribot, this consists of the property that images have of coming together in new combinations as a result of spontaneity. 8
For SL Rubinstein, in the higher forms of imagination, in creative activity, images are consciously formed and transformed in accordance with the goals of man's conscious creative activity. 9
Motivation: Creativity requires strong motivational impulses that energize the subject and attract him to creative expression.
Motivation encompasses the entire process by which the driving forces of all vital activity arise, are developed and verified, and of its creative activity in particular, according to certain levels of hierarchy. 10
Human motivation has a specific character, of social and historically determined origin. Man is a self-determined and open being, willing to increase or decrease, as the case may be, the tension and the stimulation coming from himself or from the surrounding environment.
According to RJ Sternberg, there are two types of basic motivations for the creative process: intrinsic and excellence. The intrinsic one arises from the creative process itself, and is associated with strong experiences of enjoyment with respect to said intellectual activity; This form of motivation appears throughout the process and is not only its result. On the other hand, excellence refers to the creative person not only wanting to solve problems or jobs in a competent way, but also to be excellent in everything they are doing. eleven
Independence: It is the autonomy that the individual has to carry out tasks on their own initiative, without requiring constant help or guidance from another person.
The social factors of creativity are determined by the influence of the environment on creative performance or behavior; This in turn has made it possible to determine that external factors linked to the environment in which the subject, socio-psychological, social, group and other conditions also influence creative behavior. This creative atmosphere is based mainly on the communication that is established in the group or collective to which the subject belongs.
According to A. González, the creative atmosphere is basically made up of: the conductor, the composition of the group and the "psychological" conditions in which the creative group works and develops. 12
- Marín has identified other environmental conditions that influence creativity, which could be called socio-ecological, such as:
- The location of the group participants: It is recommended that everyone can see and talk to each other; Absence of fixed places or seats for the driver or the rest of the participants; The room must be large enough and the furniture suitable to allow relocations and movements wide range of participants; Isolation of the group from its usual environment from everyday social pressures; Time required for participants' ideas and experiences to mature. 13
In foreign language classes, motivation and creativity play a fundamental role and can be evaluated directly and indirectly. Direct evaluation is carried out through the analysis of the tasks, exercises and activities created in the classroom from real situations, and through the historical reconstruction of the creative achievements of the subject. The psychological elements that characterize creative behavior can be evaluated indirectly through the clinical method, which allows making inferences about the creative potential of the subject.
The authors of this work agree that it is more feasible to use the method of analysis of the products created as a consequence of their stimulation during the teaching-learning process. In general, there is agreement in considering as criteria of creativity of the product: originality and its usefulness in solving the problem or problems of the subject, the group or society in general.
According to J. Hallman, originality includes among others, the quality of novelty, which implies something not yet given, or infrequent, freshness and inventiveness. An idea is considered new only in relation to the particular individual who produces it. 14
This last precision has a great pedagogical didactic value, since what it is about is that students rediscover concepts, laws and theories, reconstruct models, experiments, rediscover problems, etc., which are new only for them. This implies taking into account during the evaluation of a creative product, the subject's previous experience, access to a certain bibliography, audiovisual media, the content that is reflected in textbooks, or other sources of information.
Conclusions
Creativity, as part of the personality, develops through multiple activity-communication systems in which the subject is involved. This is fundamentally influenced by the family and the school, as these are the two contexts where the school generally develops the most intense emotional contacts. This can vary in certain stages, mainly from adolescence, in which the group of peers has a great influence that sometimes even exceeds the weight of the family and the school.
Stimulating creativity in the teaching-learning process, especially in English as a foreign language classes, requires good linguistic, pedagogical and didactic preparation on the part of the teacher. This must take into account the characteristics of your students, which is what motivates and likes them.
The current state of development of knowledge about the phenomenon of creativity from the psychological and sociological point of view, allows the Pedagogical Sciences to establish regularities in relation to the characteristics of the pedagogical system capable of stimulating creativity from an integrative perspective.
Bibliographic references
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