According to A. Marshall’s definition, work is “any mental and physical effort undertaken partially or wholly with the aim of achieving any result, not counting the satisfaction received directly from the work done itself” (emphasis added by the author - B.G.) [ Marshall. P. 124]. Noting that in this definition he follows Jewon-soo, who attributed “only painful effort” to work, Marshall emphasizes that “most people work much more than if they worked only because of the immediate satisfaction received from work” [ Ibid.]. Illustrating this idea, he further writes that the peasant works in the garden mainly to obtain a material result, “but a rich man who does the same work, although he may be proud of the fact that he does it well, probably has little interest in getting from it work of saving money" [Ibid.].
Modern authors characterize labor in essentially the same way as Marshall and Jevons. For example, V. Inozemtsev believes that labor is an activity performed “under the direct or indirect influence of external material necessity” [Inozemtsev. P. 15].
Emphasizing the painful, forced side of labor is primarily due to the fact that for thousands of years, material wealth was the result of the efforts of the lower strata of society (slaves, serfs, proletariat), who worked 12-15 hours a day for meager remuneration. Science and art until the 18th century. Primarily aristocrats, clergymen, children of merchants, etc. could engage in this activity.
In India, elements of the caste system are still preserved, in which representatives of the highest caste - the Brahmins (Indira Gandhi belonged to it, in particular) - are engaged in spiritual and intellectual activities, and those who belong to the lower caste by birth can only engage in the least attractive and heavy types of labor1. It is no coincidence that in many languages ​​(including all Slavic languages) the words “labor” and “difficult”, “work” and “slave” have common roots2. According to Aristotle’s well-known definition, “a slave is an animate instrument, and an instrument is an inanimate slave” (Quoted from: [Weber. P. 294]).
From the middle of the 19th century. The class division of labor in Europe and North America begins to change due to the first industrial revolution, as well as social revolutions and reforms in France, Germany and other countries. As a result of increased labor productivity and social transformations, the welfare of hired workers increases, the length of the working day decreases, and opportunities for obtaining education and changing types of activity expand. The role of science, art and technological progress in the life of society is significantly increasing.
Over the past 150-200 years, these processes have fundamentally changed the structure of the GDP of developed countries in material, sectoral and professional aspects. The structure of the population has also changed. If in the last century more than 2/3 of the population of England, France, and Germany were workers and peasants, then at present their share does not exceed 1/3. The predominant part of the population of developed countries are engineers, scientists, doctors, teachers, cultural figures, entrepreneurs, etc. As calculations show (see Section 3.3), it is those who are primarily engaged in creativity, creating new things, who make the greatest contribution to increasing the national wealth of developed countries.
The results of creative activity depend on the abilities for this type of creativity, as well as on a number of psychological and social factors: passion for work, its importance, conditions, etc. The most effective creative work is that which is carried out by inspiration. No one could express the essence of this psychological state better than A.S. Pushkin. Features of creative activity in science and art are considered in the works of A. Poincaré, J. Parandovsky and others.
For those who are gifted with creative abilities, the creative process itself is
the most enjoyable part of life. However, creativity is not only pleasure, but also very hard work. Brilliant ideas and images are prepared over days and sometimes years of persistent research and reflection. As V. Mayakovsky wrote, “poetry is the same mining of radium; a gram of production, a year of labor, you exhaust a single word for the sake of a thousand tons of verbal ore.” The phrase “working time” does not make sense for a scientist, writer, or composer. Ideas and images can appear at any time, including in a dream. Studies in science and art determine not so much a profession as a way of life.
The concepts of “work” and “creativity” are often contrasted. Thus, V. Inozemtsev writes: “The most fundamental motive of creative activity is the individual’s desire to realize himself in a free activity independent of external material conditions” (emphasis added by the author - B. G.) [Inozemtsev. P. 18]. This motive undoubtedly exists, but it can rarely be realized and, more importantly, does not reflect the essence and meaning of creativity.
The nature of the creative process is unknown to us. It is very likely that it is best expressed in the words of Haydn: “It is not from me, it is from above!” [Parandovsky. P. 105]. This is how the composer expressed his delight at the birth of one of the melodies of the oratorio “The Creation of the World.” The meaning of Haydn's exclamation is close to what Plato wrote a thousand years earlier in the dialogue Symposium:
"-...Geniuses represent something between a god and a mortal.
What is their purpose?
To be interpreters and mediators between people
and the gods Staying in the middle, they fill the gap
between one and the other, so that the Universe is connected by an internal connection" [Plato. S. IZ].
Biographies of outstanding scientists (I. Newton, A. Poincaré, A. Einstein, D. I. Mendeleev, etc.) indicate that the intuitive side of creativity in science is not important
less than in art. Moments of the birth of fundamentally new scientific ideas can be accompanied by states close to religious ecstasy [Poincaré].
The great physician, philosopher, poet Avicenna (Abu Ali Ibn Sina), who lived in 980-1037, dedicated the following lines to his work.
“It is difficult for us to escape from worldly worries, but Eternity is comprehended only by those who leave even one step off the familiar path and pave a path that is different from others.” (Emphasis added by B. G.; quoted from: [Chechin].)
As can be seen from the given characteristics of creativity, its goal is not so much self-expression, but rather the creation of new ideas, images, methods, concepts, etc. And this goal has never been and in the foreseeable future cannot be “independent of external material conditions", especially in science, technology, medicine and other fields. Thus, the fruits of the creativity of scientists, inventors, artists, writers, and actors make up a significant part of the national wealth in developed countries. Works of science and art actively participate in economic exchange. Pushkin expressed this with an aphorism: “Inspiration is not for sale, but you can sell a manuscript.”
Thus, in the economic aspect, creativity should be recognized as one of the types of labor, which, of course, has its own psychological characteristics (like any other type of labor).
Along with various types of creativity, activities aimed at the spiritual improvement of a person play an important role in the development of civilization. In this area, lifestyle is even more important than in science and art.
Modern economic theory pays increasing attention to a comprehensive study of human time expenditure, including the provision of material goods, study, raising children, and recreation. In particular, raising children in a family is an example of socially useful work, which, on the one hand, brings a lot
joy, and on the other hand, it requires significant effort, which to one degree or another must be compensated by society.
Between those who are engaged in material production, in science, art, and the spiritual sphere, there is a direct or indirect exchange of results of activity both through the market system and through state and public organizations, i.e. all the types of labor considered are somehow involved in economic exchange that determines the degree of their utility for different people and periods of time
From the considered ideas about the essence and types of labor, it follows that when analyzing the concept of “labor” it is necessary to highlight two main aspects: content and motives. The first is human development and the production of goods, the second is the motives that encourage a person to work.
Thus, the following definition can be given:
Labor is an activity aimed at human development and the transformation of natural resources into material, intellectual and spiritual benefits* Such activity can be carried out either under coercion (administrative, economic), or through internal motivation, or both.
As for the satisfaction received from the labor process, which is stipulated in Marshall’s definition above, it significantly depends on the share of creativity in this type of activity, its goals, conditions of implementation, as well as on the individual characteristics of the employee. The more satisfaction a person receives from the labor process, the greater the benefit to both the enterprise and society under normal social conditions.

MUNICIPAL BUDGETARY EDUCATIONAL INSTITUTION

SECONDARY SCHOOL No. 7

VYAZMA, SMOLENSK REGION

PROJECT

IN SOCIAL STUDIES

5 class A

SUBJECT:

“Work and creativity are the basis of life”

PROJECT MANAGER SOCIAL STUDIES TEACHER

Rumyantseva Iraida Alekseevna.

2016-2017 academic year

Project content

Introduction.

Main part of the project:

1. Theoretical part.

2. Practical part. Work of creative groups.

III . Conclusion.

Summing up the work.

Grading.

IV . Bibliography.

V. Application.

Introduction.

1.Updating the project.

The project “Work and creativity is the basis of life” is aimed at studying the role of work and creativity in the life of every person and society as a whole.

In the process of search and creative work, children find information about the role of labor in different periods of the life of human society, their family, study the professions of their parents, and talk about their participation in housekeeping. They also work with the textbook text, analyze tables, diagrams, solve logical problems, and create their own mini projects.

2.Project goals :

1. Create conditions for revealing the role and significance of work in a person’s life, form ideas about the essence of human activity in the creative process, cultivate a culture of work and respectful attitude towards it.

2. Instill interest in science and social studies.

3. Replenish children’s active vocabulary when selecting information.

4. Compile a product of project activity - a reference book for the topic “Work and creativity are the basis of life.”

Project objectives:

1. Study literature on the history of labor, professions, and the importance of work in the life of every person.

2. Compile a selection of drawings and photographs about professions, including the professions of parents.

3. Draw conclusions.

Planned results:

After completing the project, students will acquire the following skills:

Personal:

The rules of business cooperation apply;

Compare different points of view;

Evaluate their own educational activities;

Express a positive attitude towards the learning process;

They understand the need for learning, expressed in the predominance of educational and cognitive motives and the preference for a social method of assessing knowledge;

Assess life situations

Regulatory:

They independently formulate the goals of the lesson after preliminary discussion;

Accept and save the learning task;

Independently identify and formulate a goal;

Draw up a plan and sequence of actions;

Predict the results of the level of assimilation of the studied material.

Cognitive:

Search for the necessary information;

Recognize objects and their concepts, highlight essential features; build reasoning and summarize the information received;

They independently search for the necessary information from the textbook materials, from the teacher’s story, build reasoning and summarize the information received.

Communicative:

Express their own opinions;

They listen to each other, construct understandable speech statements;

Show activity in interaction to solve communicative and cognitive problems;

They ask questions, ask for help;

Formulate their difficulties;

Offer help and cooperation.

5.Project type : research.

6. Project type : short-term, single-subject, group.

7. Project implementation timeline: 2 weeks

The main part of the project.

Stage 1. Motivation for learning activities.

Stage 2. Updating knowledge.

1. Discussion of the epigraph for the lesson. (Annex 1)

2. Conversation on issues.

Stage 3. Practical and active

1. Presentation “Labor and Creativity”.

2. Introduction to the parable “Two Rich Men” by I.S. Turgenev (Appendix 2)

3. Conversation “Work and creativity are the basis of life.”

4. Working with the scheme “Biographies and works of great artists” (Appendix 3)

5. Working with the textbook, pp. 26-29.

6. Work with the heading “Picture Gallery” and “Journey to the Past”.

7. Acquaintance with different types of work and interesting professions of great people.

Stage 4. Project design.

Systematization of selected material

Creation of the reference book “Work and creativity are the basis of life”

Consultation on drawing up a family tree and writing an essay.

Stage 5. Project protection. Evaluation of results.

Our projects

“Work and creativity are the basis of life.”

Not every activity is called work. Labor is a human activity that requires knowledge and skills. Work is never aimless. It always leads to results. Labor gives a person everything necessary for life: food, clothing, household items, housing, etc.

For a conscientious employee, it is important not only what he does, but also how he does it. Work varies in content and complexity. Not every person can work as a doctor, programmer, or postman. This requires certain knowledge and skills. Such work is called complex, for example, an engineer. He deals with complex equipment and instruments.

A person learns to work. He can only do what he has learned, and only as well as he has mastered his craft. Therefore, it is necessary to study a lot, master knowledge, and achieve more and more new things. And this is creativity.

Creativity distinguishes the activities of many people - scientists, writers, artists, musicians and many, many others.

PROJECT RATING SHEET

MBOU Secondary School No. 7 5CLASS “A”

Project name « Labor and creativity are the basis of life"

2. Formation of subject knowledge and methods of action

3. Formation of regulatory actions

4. Formation of communicative actions

IV . Used Books.

1. Bogolyubov L.N. , Ivanova L.F. Social science., M., “Enlightenment”, 2013.

2Domashek E.V. ,School reference book on social studies (Text). - Rostov n\D.: Fonix, 2010

3. Electronic resource. Presentation “Labor and Creativity”. - Access mode: http // www . ru / detail _1761. html ;

III. Conclusion.

Stage 6. Control.

Analysis of project results.

Assessing the quality of project implementation.

Application

Annex 1.

The breeze asked as it flew by:

Why are you, rye, golden?

And in response the ears rustle:

Golden hands are raising us!

E. Serova

What kind of person can we say that he has golden hands?

Appendix 2.

When in front of me they praise the rich Rothschild, who devotes thousands of his enormous income to raising children, treating the sick, and caring for the elderly - I praise and am touched. But, while praising and being touched, I cannot help but remember one wretched peasant family who accepted an orphan niece into their ruined little house.

“We’ll take Katka,” the woman said, “our last pennies will go to her, and there will be no money to get salt to add salt to the stew.”

And we have it... and not salted,” answered the man, her husband.

Rothschild is nowhere near this guy.

I.S. Turgenev.

Appendix 3.

Biographies and works of great artists

V. M. Vasnetsov.

Viktor Mikhailovich Vasnetsov lived a long, beautiful and difficult life. One of the most famous Russian artistsXIXcentury, he knew enthusiastic admiration and a coldly restrained, to the point of complete rejection, attitude towards his work, enormous success and harsh criticism of his work, bordering on blasphemy. He was called “the true hero of Russian painting.”

Viktor Vasnetsov was born in the Vyatka region on May 15 (new style) 1848 in the family of a rural priest Mikhail Vasilyevich Vasnetsov. Mother, Apollinaria Ivanovna, gave birth to six sons, of whom Victor was the second. In the Vasnetsovs’ house, the ways of village and city life coexisted. In terms of material conditions, the life of the large Vasnetsov family was more reminiscent of the life of a middle peasant. At the same time, Mikhail Vasilyevich, himself a widely educated person, tried to give children a diverse education, to develop inquisitiveness and observation in them. The family read scientific magazines, drew, and painted in watercolors. Here the early artistic inclinations of the future painter received their first recognition. The motives for his first sketches from nature were rural landscapes and scenes from village life.

In 1858, he went to study in Vyatka - first at a theological school, then at a theological seminary: the children of priests were admitted there for free. Victor spent nine years in Vyatka, but did not feel the need to serve the church. He devotes more and more time to drawing. On Sundays he goes to the city, to the market, to draw “types”, and studies characters. His seminar notebooks are full of sketches from memory.

A few years later, he became so successful in drawing and painting that he was invited as an assistant to decorate the Vyatka Cathedral. At the same time, in 1866-1867, he completed seventy-five drawings on the themes of Russian folk proverbs and sayings for the “Collection of Russian Proverbs” by ethnographer Nikolai Trapitsin. In them he simply and accurately depicted the features of rural life in the Vyatka region. Although the book was never published, Vasnetsov carefully preserved the drawings. In 1912 they were published in a luxurious album entitled “Russian proverbs and sayings in the drawings of V. M. Vasnetsov.”

In August 1867, with the blessing of his father, Viktor Vasnetsov left the seminary a year and a half before graduation and went to St. Petersburg to enter the Academy of Arts.

The first year Vasnetsov did not study at the Academy due to a misunderstanding: after passing the exams, he did not understand that he had been accepted. In the winter of 1867-1868 he studied at the School of the Society for the Encouragement of Arts, where Ivan Kramskoy taught, who later became his friend and adviser. Starting his studies at the Academy the following year, Vasnetsov met Repin, communication with whom grew into a strong friendship, and became close to Arkhip Kuindzhi, Vasily Maksimov, Vasily Polenov, Vasily Surikov, Mark Antokolsky, and the Prakhov brothers. Close friendly communication with them was of great importance for the development of the young artist.

Vasnetsov had a peculiarity that more than once surprised the people around him. He could simultaneously perform a wide variety of tasks that were incompatible at first glance. Thus, among the intense work on the paintings of the Vladimir Cathedral, he found time to reflect on the huge canvas “Bogatyrs”, which he transported with him from Moscow to Kiev, and to work on the painting “Ivan the Tsarevich on the Gray Wolf”, which he showed in 1889 at the exhibition of the Association of Itinerants in St. Petersburg; He performed theatrical sketches and made book illustrations, not to mention the numerous landscapes and portraits he painted during the years of “sitting in Kyiv.”

“An amazing worker,” “a great wise man and a wise man,” Vasnetsov, who passionately sought an aesthetic and moral ideal in the national character of the Russian people, in its spiritual traditions, managed to carry his “symbol of faith” through all his creativity, persistently introducing it into the consciousness of modern society, in surrounding life. He found a lively response from his contemporaries. They called him “pioneers.” And as a pioneer, whose work is transitional, combining different elements, Vasnetsov evoked conflicting feelings and assessments among his contemporaries - bewilderment and delight, harsh criticism and admiration, but he never left anyone indifferent, was always the subject of reflection and debate. “Your creativity,” the famous figure in the “World of Art” Sergei Diaghilev wrote to him, “and its assessment for many years has been the most alarming, the most burning and the most unresolved place in the disputes of our circle.” And he told the artist: “Of the entire generation of our fathers, you are closer to us than all the others...”

The work was completed by a student of class 5A

Petrova Elvira.

M.A.Vrubel.

Mikhail Aleksandrovich Vrubel was born on March 5, 1856 in Omsk. Vrubel's father, Alexander Mikhailovich, was a Pole, an officer, who served in the Omsk fortress from 1853 to 1856. Mother, Anna Grigorievna, nee Basargina, a relative of the Decembrist N.V. Basargin, died when the boy was 3 years old. The house in which the Vrubels lived in Omsk has not survived: it was located at the intersection of Novaya Street (Chkalova Street) and K. Marx Avenue (Artilleriyskaya Street). In 1859, Vrubel’s father was transferred to Astrakhan, followed by frequent moves associated with his official movements. Vrubel spent his childhood and youth in St. Petersburg (here he studied at the drawing school of the Society for the Encouragement of the Arts), Saratov, and Odessa. After graduating from the Odessa Classical Gymnasium in 1874, he entered the Faculty of Law of St. Petersburg University. After graduating from university and serving his military service, he served as a lawyer in the Main Military Court Administration. In the fall of 1880, Vrubel began attending an evening class at the Academy of Arts with P. P. Chistyakov together with Serov, and took watercolor lessons from I. E. Repin.

Vrubel had the gift of discovering in any fragment of nature, nature, “a whole world of endlessly harmonizing wonderful details.” He saw nature as a precious mosaic of particles.

In the 80s XIXcentury, Vrubel was introduced to the artistic heritage of Rus' and Byzantium. In 1884, at the invitation of Professor A.V. Prakhov, he participated in the restoration of paintings and frescoes of the St. Cyril Church in Kiev, created a number of compositions on its walls, the most complex of which were “The Descent of the Holy Spirit” and “The Tombstone Lament.” In 1887, he was entrusted with the execution of frescoes for the Vladimir Cathedral in Kyiv. The sketches “Funeral Lament” and “Sunday”, “Angel with a Censer and a Candle” (Kiev, Museum of Russian Art) and others presented by Vrubel, with their strict solemn composition and melodiousness of design, speak of a deep creative perception of ancient Russian and Byzantine monumental art. Their coloring and the entire pictorial structure expresses the drama, expression and spirituality of the images, which did not prevent the church commission from recognizing them as satisfactory due to the lack of religiosity.

In 1889, Vrubel moved to Moscow, met S.I. Mamontov and members of his circle, which included famous artists V.A. Serov, I.I. Levitan, K.A. Korovin, V. M. Vasnetsov. During this period of his life, he created a significant number of works and performed illustrations for the works of M. Yu. Lermontov and A. S. Pushkin.

All the retreats into the world of realities in which Mikhail Aleksandrovich Vrubel lived and worked help us to more comprehensively and accurately comprehend the fate of this amazing artist, to understand the depth of his most beautiful works.

“The Swan Princess.” Deep meaning is contained in just two words. The charm of native nature, the proud and gentle soulfulness of a fairy-tale bird girl. The secret spells of yet conquered evil witchcraft. Loyalty and firmness of true love. The power and eternal force of good. All these features are combined into a wonderful image, marvelous in its unfading freshness and that special majestic beauty characteristic of folk tales.

What a gift it was necessary to have in order to translate this pure and chaste appearance into a picture!

Tell in the language of painting about a dream, about the incredible. Only a great artist who understood the beauty of Rus' could do this.

““Wings are our native soil and life,” wrote Mikhail Vrubel, and in another address to a close friend he exclaimed: “How much beauty we have in Rus'... And you know what stands at the head of this beauty - a form that has been created by nature forever . And without certificates with the code of international aesthetics, but infinitely dear because she is the bearer of a soul that will open up to you alone and tell you yours.”

In this way, very few people are given the ability to understand the depth of the most hidden things in art, and that is why Vrubel was able to write a masterpiece of our school, because he loved the Fatherland, the people, and the beauty.

“The Swan Princess.” The wide-open, enchanting eyes of the princess look into the very depths of your soul. It's like she sees everything. That’s why, perhaps, the sable eyebrows are raised so sadly and a little surprised, and the lips are closed. She seems ready to say something, but remains silent.

The turquoise, blue, emerald semi-precious stones of the patterned kokoshnik crown flicker, and it seems that this tremulous radiance merges with the reflection of dawn on the crests of the sea waves and with its ghostly light it seems to envelop the delicate features of a pale face, making the rustling folds of a semi-airy white veil, held against the breeze, come to life wind with a girl's hand.

Huge snow-white but warm wings emit pearlescent, pearly light. The sea is agitated behind the Swan Princess. We can almost hear the measured sound of the surf on the rocks of the miracle island, shining with crimson, scarlet, welcoming magic lights. Far, far away, at the very edge of the sea, where it meets the sky, the rays of the sun broke through the gray clouds and lit up the pink edge of the evening dawn...

It is this magical flickering of pearls and precious stones, the trembling of dawn and the glare of the flames of the island lights that creates the fabulous atmosphere that permeates the picture, making it possible to feel the harmony of high poetry sounding in the folk legend. Incredible goodness is poured into the canvas. Maybe sometimes only the slight rustle of wings and the splash of waves break the silence. But there is so much hidden songfulness in this silence. There is no action or gesture in the picture. Peace reigns.

Everything seems to be enchanted. But you hear, hear the living heartbeat of a Russian fairy tale, you seem to be captivated by the gaze of the princess and are ready to endlessly look into her sad kind eyes, admire her charming, sweet face, beautiful and mysterious.

The artist captivated us with the magic of his magical muse. And we, the residentsXXIcentury, for a moment we find ourselves in the unknown realm of dreams. The painter-magician makes us forget about the skepticism inherent in our attitude towards miracles, and with the powerful hand of genius he strengthens in our hearts the feeling of faith in the good and the beautiful.

Vrubel passed away on April 1, 1910 in St. Petersburg. He was solemnly buried by the Academy of Arts, Alexander Blok delivered a speech over the grave: “...Vrubel has a different vision, like all geniuses, for they are not only artists, but also prophets. Vrubel shocks us, because in his work we see how the blue night hesitates and hesitates to win, perhaps anticipating its impending defeat.” With these prophetic words, Russia said goodbye to Vrubel, and together with the passing eraXIX centuries.

Vrubel left more than 200 works. Among them are portraits, paintings, decorative panels, illustrations, sketches of theater curtains, sculptural works, building projects, striking in scope and breadth of creative range. His art today continues to “awaken the soul about the trifles of everyday life with majestic images.”

The work was completed by a student of class 5A

Vasiliev Alexander.

F The animal always performs the same actions. These are conditioned and unconditioned reflexes given by nature. You will learn more about them in biology lessons. N Not a single animal creates something new. N Not a single animal thinks in advance how it will work, what goal it will set, what means it will select to achieve it, how much time it will take. T Planning - That is, the animal does not know how to plan its work. Planning is a feature of human activity.

Master and craftsman Craftsman A craftsman is a person who masters a craft. Craft Craft is a human activity in the production of various important and necessary items. B To be a craftsman means to engage in some kind of craft.

D The main difference between the work of an artisan and work in factories is that labor is usually manual. C Among the artisans there are many masters whose work is admired. Master Master is a person who has achieved high skill (art) in his craft. He puts ingenuity and creativity into his work, and makes unique objects.

What is creativity Creativity Creativity is the creation of something new, valuable not only for a given person, but also for others. Invention, fantasy, imagination are inseparable from creativity. T Creativity distinguishes the activities of many people - scientists, writers, artists, musicians and many others.

Creativity in art. Do you know how to not only look, but also see, i.e. to notice among the catchy, bright objects something surprisingly beautiful, but not flashy? To hear Do you know how to not only listen, but also hear, i.e. understand the beauty of music or hear the exciting flight of sounds among the diversity of sounds? P About people who have both sight and hearing, but have not developed the ability to sense the beauty of the world around them, they say: “They have no sense of beauty.”

Z Fill in the missing letters and restore those words: _ _ _ ETs Sh Box for storing jewelry. _ _ _ _ EC S Creator, author. _ _ _ _ EC P Construction by a master architect. _ _ _ _ _ EC P Praise for completing the task. Let's repeat the main thing L A R T V O R D V O R M O L O D

Homework: § §10, ss, 3 Assignments in the workbook: 1-3, ss

Labor and creativity are associated with human activity aimed at achieving a certain result. Let us analyze whether these processes communicate with each other and how labor differs from creativity.

Definition

Work- an activity consciously performed by a person in order to satisfy needs. Labor contributes to the transformation of natural objects into the desired product by changing these objects and using their properties. In this case, the use of man-made tools is of great importance.

Creation- an activity that allows you to produce something completely new (material or spiritual), helping to solve a certain problem or capable of satisfying any needs. The direction that studies creativity is called heuristics.

Comparison

The two processes under consideration are in rather complex relationships with each other. And speaking about the difference between labor and creativity, it should be noted that labor can both exist independently and be a component of creativity.

Labor as an independent phenomenon is necessary for human life. It may be a routine process that is nevertheless impossible to do without. At the same time, we must understand that labor ensures the satisfaction of needs indirectly, indirectly. For example, eating in itself is not work. And finding food and preparing it is work.

As an element of creativity, labor is necessary, but not sufficient. Another component here is inspiration. The creator puts his own capabilities into his work, which are not limited to labor operations. As a result, a valuable product is born, which previously did not exist and is unique. And if you create the same initial situation for another author, the product will turn out different, depending on what aspects of the personality will be expressed in this case.

Let us dwell on one more point regarding the difference between labor and creativity. Ordinary labor is rarely voluntary. As a rule, this is a forced action that requires certain efforts and energy expenditure. And although the result is undoubtedly pleasing, the process itself often becomes tedious. Moreover, labor can be forced when a person’s desires are not taken into account at all (for example, slavery).

Creativity is often an outlet for the individual (hence the love for various hobbies related to making something). A person gets pleasure in the process itself. Work, supplemented by inspiration, becomes exciting, easy, and interesting.

Creativity can make a person happy. In addition, it can bring considerable joy to other people who can somehow benefit from the result. It is creativity that is a necessary condition for the development and growth of personality.

The presentation reflects the following questions: 1. Human labor activity. 2. Master and artisan. 3. What is creativity. 4. Creativity in art.

The presentation will help the teacher organize the lesson and will also help students who could not attend the lesson to study the topic on their own.

The presentation is divided into 2 parts due to the weight of the file, they can be combined or used independently.

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Labor and creativity Lesson 22

Human labor activity. How does human labor differ from the activities of animals?

The animal always performs the same actions. These are conditioned and unconditioned reflexes given by nature. You will learn more about them in biology lessons. And not one animal creates something new. Not a single animal thinks in advance how it will work, what goal it will set, what means it will select to achieve it, how long it will take. That is, the animal does not know how to plan its work. Planning is a feature of human activity.

A person learns to work. A person uses natural materials and knows how to create various machines and tools for his activities. People constantly change what is created.

Master and artisan A craftsman is a person who masters a craft. Craft is a human activity in the production of various important and necessary items. To be a craftsman means to engage in some kind of craft.

The main difference between the work of an artisan and work in factories is that the work is usually manual. Among the artisans there are many masters whose work is admired. A master is a person who has achieved high mastery (art) in his craft. He puts ingenuity and creativity into his work, and makes unique objects.

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Labor and creativity Lesson 22

Lesson plan: 1. Human labor activity. 2. Master and artisan. 3. What is creativity. 4. Creativity in art.

What is creativity Creativity is the creation of something new, valuable not only for this person, but also for others. In fiction, fantasy, imagination are inseparable from creativity. Creativity distinguishes the activities of many people - scientists, writers, artists, musicians and many others.

Creativity in art. Can you not only look, but also see, i.e. to notice among the catchy, bright objects something surprisingly beautiful, but not striking? Do you know how to not only listen, but also hear, i.e. understand the beauty of music or hear the exciting flight of sounds among the diversity of sounds? They say about people who have both sight and hearing, but have not developed the ability to sense the beauty of the world around them: “They have no sense of beauty.”

Learn to be surprised by beauty and enjoy beauty. If you don’t know how to do this yet, don’t stop others from enjoying works of art. And art requires a person to be able to create, to create beauty.

Fill in the missing letters and restore the words: _ _ _ item Box for storing jewelry. _ _ _ _ eC Creator, author. _ _ _ _ PETS Construction by a master architect. _ _ _ _ _ man Praise for completing the task. Let's repeat the main thing L a r T v o r D v o r M o l o d

Homework: § 10, pp. 81-89, Assignments in the workbook: No. 1-3, pp. 51-53.

A few words for the teacher: The course is prepared for teaching materials: Social studies. 5th grade. Textbook for general education institutions. Edited by L.N. Bogolyubova, L.F. Ivanova. - M.: Education, 2012. Workbook: L.F.Ivanova, Ya.V. Khoteenkova. Social science. 5th grade. A manual for students of general education institutions. - M.: Education, 2012. Methodological manual: Methodological recommendations for the textbook “Social studies: citizen, society, state”: 5th grade: Manual for teachers / L.N. Bogolyubov, N.F. Vineyard, N.I. Gorodetskaya and others; edited by L.F. Ivanova. M.: Education, 2003. When developing the Presentations, we used the Workbook on Social Science: Grade 5 / A.S. Mitkin.- M.: Exam, 2012. The presentations used illustrations from the open bank of illustrations Yandex and Google: https://yandex.ru/images / ; https://www.google.ru/imghp