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Mihail Petrov Arnaudov (1878–1978), a Bulgarian scientist, was a famous European researcher with significant contributions to several fields of scholarship, i.e., folklore, the history of Bulgarian literature of the Renaissance, comparative literary history, the literature and culture of ancient India, the theory of literary science, the history of German and French literature of Romanticism, etc. This paper is devoted to his contribution to the study of the psychology of literary creativity. It analyses the prerequisites for Arnaudov’s formation as a psychologist of creativity, and provisionally identifies several main stages in his scientific and professional path, during which he conducted research and produced works in this interdisciplinary field. With the help of historical and psychological analysis, the general and specific features in the development of his views on the essence of the psychology of creativity and the meaning of its use in literary criticism and literary history are presented. [ABSTRACT FROM AUTHOR]

The relevance of this study is determined by the importance of issues of interrelation of the emotional component of activity with the final results obtained in the course of creative research in different areas, as well as the practical significance of studying the problems of the influence of a wide range of emotional experiences on the overall effectiveness of the creative process. The purpose of this study is to determine the extent to which the emotional component of creativity influences the effectiveness of the creative process, regardless of the field of activity. The leading approach in this study was a combination of theoretical study of various aspects of creative activity in general, with a structural analysis of the features of the influence of the emotional component on the overall effectiveness of the creative process in various areas of activity. The results obtained in the course of this study demonstrate the wide range of possibilities for the rational use of personal emotional displays on the specific issues of applying creative activity in general and in terms of assessing the effectiveness of the creative process in particular. The results and conclusions of this paper have significant practical value for representatives of creative professions, researchers of psycho-emotional manifestations of personality in the conduct of creative activity, and will be useful for the next generations of researchers of various aspects of the influence of emotional experiences on the effectiveness of the creative process. The results will be useful as a scientific basis for the author to conduct further full-fledged research into the wide range of issues presented in this paper, thereby contributing to further objective and qualitative coverage of the subject matter

The paper examines central psychoanalytic perspectives on dreams, the poetic work and language as forms of self-expression, self-knowledge and transcending. The creative process is seen as a means to transform knowledge about the self, as emotional and intellectual self-revealing, but also as form of transcending in view of the archetypes explicated in it. [ABSTRACT FROM AUTHOR]

On the issue of identification of components of the creative process, the author proposes to rely on notions and concepts asserting the deep relationship between communication and creativity. The communicative approach involves revealing of sub-processes involved in creativity by analyzing communication that takes place in the team, whose members are engaged in solving a creative problem. For the analysis of the artistic creative process it is proposed to use a model, major components (sub-processes) of which include problem statement, emotional activation, generating, objectification and evaluating. The paper describes the sub-processes of objectification and excitement in individual and team work of artists, as well as a role performed by communication in each sub-process. The evidence-based framework for the paper included the data gathered with a method of a semi-structured interview collected during the field research. Their object included four art communities that had brought together more than thirty artists in an urban environment who work in various genres of the contemporary art.

Introduction: this paper engages with the change in the approach to technical education and to its research nature, quantity and quality ratio. The technical education is ordinary education and technical education at the same time. The technical education is a set of activities aimed at the skillful use of technology in deliberately organized process of interacting with an individual, causing permanent changes in their personality. Formation of a learner’s technological culture is made by providing knowledge about the products of technology, experiencing technical situations, raising respect for human technical creativity and products of creativity, developing an ability to use the products of technology. Technical education is aimed at the student’s cognitive realm, providing information and building a system of knowledge about the technical reality, developing cognitive skills needed to receive, understand, interpret and verify technical phenomena. Materials and Methods: the research was based on the analysis of students’ theses enrolled at Organization and Management Faculty of Lodz University of Technology. Results: objective quality indicators were defined for the purposes of analysis. The analysis results are not final, but they form the basis for an in-depth understanding of the academic reality. Generic requirements have been developed to polytechnic education. Discussion and Conclusions: polytechnic education is a specific link in the development of culture and civilization that provides value to the formation of personality. Different areas of the human civilization and the objective socio-cultural world are the basis for development. Polytechnic education forms the elite, providing the stable development of the society in accordance with the rules and principles.