• Journal of Science Education
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• v.33 no.1
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• pp.31-43
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• 2009

The purpose of this study is to identify a domain-specificity of the scientific creativity and the component of scientific creativity. Conducted from theoretical study, this study suggests that a domain-specific view of creativity offers a more useful and constructive components of scientific creativity based on the literature associated with the component of scientific creativity. Scientific creativity has a domain-specific component and so there is need to distinguish scientific creativity from creativity in general. As a result, scientific creativity is different from other creativity it is concerned with scientific knowledge, science process skill, creative scientific problem finding and solving and so on. And since scientific creativity is a kind of ability, it is possible to improve through a scientific creativity program.

• Journal of Elementary Mathematics Education in Korea
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• v.16 no.2
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• pp.253-267
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• 2012

In this paper, we primarily focus on the perspectives about creative process, which is how mathematical creativity emerged, as one aspect of mathematical creativity and then present a desirable task characteristic to measure and program characteristics to develop mathematical creativity. At first, we describe domain-generality perspective and domain-specificity perspective on creativity. The former regard divergent thinking skill as a key cognitive process embedded in creativity of various discipline domain involving language, science, mathematics, art and so on. In contrast the researchers supporting later perspective insist that the mechanism of creativity is different in each discipline. We understand that the issue on this two perspective effect on task and program to foster and measure creativity in mathematics education beyond theoretical discussion. And then, based on previous theoretical review, we draw a desirable characteristic on instruction program and task to facilitate and test mathematical creativity, and present an applicable task and instruction cases based on Geneplor model at the mathematics class in elementary school. In conclusion, divergent thinking is necessary but sufficient to develop mathematical creativity and need to consider various mathematical reasoning such as generalization, ion and mathematical knowledge.

• The Journal of Korean Association of Computer Education
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• v.14 no.1
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• pp.45-54
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• 2011

Creativity is a fine ability among major values of human resource in knowledge-based society. The purpose of this study is to identify the components of the informatics creativity based on domain-specificity and confluence theory. To explore these components, a three-round, classical Delphi process was administered with an expert panel of 31 individuals. All members of the expert panel initially responded to open-ended questions, and the qualitative results were analyzed. The subsequent two rounds of the Delphi required quantitative responses in which the expert panel was asked to indicate the level of importance using a five point Likert scale associated with specific items. As a result of the Delphi survey, total of 32 items were selected as three core areas such as congnitive, affective and environmental components of informatics creativity.

• Journal of Gifted/Talented Education
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• v.15 no.2
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• pp.1-34
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• 2005

This study is composed of 2 parts. Study 1 empirically examined (1) the relationships among children's creative performances measured by three product-based assessments (story-telling, collage-making, and math word problems) in three domains, and (2) the relationships between children's general creative thinking skills, measured by two divergent thinking tests, and children's creative performances. Study 2 is a three-year follow up study of the study 1. Study 2 followed up some (71) children who participated in study 1. In study 2, long-term stability of the performance based assessment involving story-telling, collage making, and math problem making were examined during the three-year time period. In addition, study 2 tried to look at the methods effect of the domain issue of creativity, comparing self-report scale and performance-based assessment. The findings of this study support the position that creative ability in young children is rather (but not absolutely) domain-specific. The long-term stability of the performance-based assessments compares favorably with stability figures for other creativity tests. Results also indicate that there are some method effect in explaining the domain issue of creativity. Implication of the study in connection with educational practices for gifted children is discussed.

• School Mathematics
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• v.15 no.3
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• pp.551-568
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• 2013

The purpose of this study is to verify the research trends on 101 articles about mathematical creativity published in domestic journals. The analysis criteria are as follows: (1)What kind of terms the articles use to refer to the creativity in mathematics education, (2)Whether the researchers conceptualize such the terms or not, (3)Whether the definitions are domain-specific or not, (4)What perspectives, categories and levels of the articles have on creativity. The results of this study show the following. First, numerous articles used 'mathematical creativity' in order to point to the creativity in mathematics education. Second, among the 101 selected articles, 60 (59.4%) provided an explicit definition of the mathematical creativity and 19(18.8%) provided an implicit definition. Among the 79 articles, only 43(54.4%) provided domain-specific definitions. Second, the percentage of articles preferring one perspective over the other 3 perspectives were similar. Third, the rate of articles which focused on press(environment) of all categories (person, process, product, press) was low. Fourth, regarding the levels of creativity, most articles were done on little-c creativity level, on the other hand, the articles having an interest in mini-creativity were very rare. Based on these results, necessities of explicit and domestic-specific definition, whole approach of mathematical creativity, and articles focusing on the mini-creativity level should be reported.

• Journal of the Korean earth science society
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• v.23 no.4
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• pp.324-333
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• 2002

Recent studies have indicated that boys show better scientific achievements compared to those of girls. It is also a general conception that boys would be better than girls in terms of scientific creative performances and potential, although there have been few studies to support the general opinion. As the gifted education in Korea is progressing very rapidly, the importance of understanding the creative characteristics of gifted boys and girls has been increased. In the present study, we have compared and analyzed three different measures of creativity utilizing 135 gifted students (77 boys and 58 girls) to provide an empirical evidence for the different degrees of creative performances between gifted boys and girls. The instruments used to measure diverse aspects of creativity include the Torrance Test of Creativity (TTCT), the Test of Creative Problem-solving and Finding in Science (CPFS), and the Creative Behavioral Checklist in Science(CBCS). The results of the study indicate that girls, rather than boys, showed better creative performances, demonstrating moderately higher average scores on the three creative measures used in the study. The results are in contrast to people's general conception that boys would be more creative than girls. Implications of the study in connection with identification and educational practices for gifted education program have been discussed.

• Journal of the Korean Society of Manufacturing Process Engineers
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• v.15 no.6
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• pp.16-23
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• 2016

This study was carried out to investigate how grade level and experiences when taking courses affect the creativity of engineering students in a Korean college. The sample group consisted of 372 engineering students of which 49.5% were first graders, 15.6% second graders, 22.6% third graders, and 12.4% fourth graders. They conducted self-report measures on a domain-general and domain-specific view of creativity. The engineering creativity test, developed by Kang and Yune (2015), is based on the domain-specific view of creativity and consists of four sub-factors: creative attitude, knowledge research, interest in engineering, and team work ability. The domain-general creativity test consists of three sub-factors. Analysis of the results led to the following conclusions: First, we found significant differences in engineering creativity between students depending on experiences in taking courses and tests; and, second, we discovered significant differences in integrative creativity among students depending on experiences in taking courses and tests, and/or grade level. These conclusions suggest that we should develop and apply appropriate strategies to enhance creativity in engineering education.

• Journal of Gifted/Talented Education
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• v.20 no.3
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• pp.681-701
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• 2010

This study examined the perception of gifted teachers toward 'conception of creativity personality education,' 'methodology of creativity personality education,' and 'support of creativity personality education' in the future gifted education. As a result, gifted teachers conceptualized creativity personality education as education to foster creative social capitals(social + moral leaders), which showed movement from gifted education focused on cognitive development into future-developmental orientation. Gifted teachers mentioned education to foster social sensitivity, creativity, and leadership as methodology of creativity personality education. More specifically, they recommended inductive curriculum in learning and teaching in order to encourage domain-specific giftedness. As pointing not to separate creativity personality education for gifted from a formal education but to deploy with conjunction with it, gifted teachers mentioned the social recognition for creativity personality education and the development of teacher's professionalism and educational programs.

• Journal of Gifted/Talented Education
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• v.22 no.1
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• pp.87-115
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• 2012

This study is about the development of an identification model for artistically gifted students from low income and/or multi-cultural families. Given that parental support at early ages is crucial for talent development, students from low income families are often dismissed in recognizing their artistic giftedness. Based on a comprehensive literature review and consultations with experts in art, the SMC model was developed to identify disadvantaged gifted students in the areas of music, visual arts, and ballet. The model consists of three steps of identification, such as review of documents and teacher recommendations, evaluations of artistic giftedness, and a summative evaluation, and involves multiple criteria for identifying giftedness in both domain general and domain specific arts. SMC is promising in discovering many unrecognized disadvantaged children of artistic potential, thereby using various quantitative and qualitative measures. Yet, issues of validity and reliability of SMC need to be substantiated by subsequent theoretical and empirical studies.

• (The) Korean Journal of Educational Psychology
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• v.26 no.4
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• pp.901-926
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• 2012

Previous research on creativity mainly investigated the characteristics of creative individuals and environments. In this study, those factors were also investigated in art by critically reviewing various documents on 5 creative artists: Nam June Paik, Isang Yun, Marcel Duchamp, John Cage and Pina Bausch. The results of the study showed that creativity in art developed through three different developmental stages with the changes of artist's self or self-consciousness: the discovering self, strengthening self-consciousness, and refining self-consciousness stages. The first stage of discovering self is the period during which the creative artists discovered their talents in the area of art and decided to pursue their career in art. During this stage, creative artists expressed a strong curiosity, tried to learn the world of art with intense efforts, and established a good foundation of knowledge. During the second stage of strengthening self-consciousness, creative artists built up their own aesthetic worlds. They tried to slake their thirst for the novelty in the field and made a strong commitment to the field they belong to. Finally, during the refining self-consciousness stage, they expressed their aesthetic worlds with refined self and expanded their aesthetics from personal to social dimensions. And they pursued an integration of various domains to produce a new artistic genre and shared their creative aesthetics with members outside of their field. The main implication of the findings of this study was that creativity could be defined and understood meaningfully by the perspective of self or self-consciousness in the area of art.