O desenvolvimento da criatividade em Piaget e Vigotski
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Data
2017-11-23
Autores
Coelho, Talitha Priscila Cabral
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Universidade Estadual Paulista (Unesp)
Resumo
A presente pesquisa explora o tema da criatividade ao longo da trajetória intelectual de Piaget e Vigotski. Trata-se de um estudo teórico no qual foi utilizada a análise comparativa como procedimento metodológico. A evolução do problema da criatividade ao longo de suas obras e a síntese conceitual extraída das formulações permite a defesa de três argumentos fundamentais: a) a ocorrência de autocrítica que os levou a uma reformulação em suas teorias, com repercussão para o tema da criatividade; b) a concordância sobre a criação como um problema das idades psicológicas; e c) a discordância quanto ao papel da linguagem para a originalidade criativa. A reformulação teórica feita por Piaget se deu logo no início de sua carreira e consistiu no rebaixamento da importância da linguagem para a origem da atividade intelectual e criativa. Desde então, o acontecimento psicológico que explica a originalidade deixa de contar com a participação diretiva e decisiva de algo externo ao próprio mecanismo de adaptação da vida. Embora em seus últimos trabalhos reconheça as iniciativas engenhosas conquistadas pelo pensamento lógico-formal na idade da adolescência, Piaget entende que o processo funcional e biopsíquico de equilibração, alimentado pelas ações do sujeito, possui maior força explicativa para a compreensão da originalidade, que é a principal característica da criação. Já a autocrítica realizada por Vigotski o levou a explicar a criação, em seus últimos trabalhos, no interior da dinâmica psicológica das idades, defendendo a ideia de que a imaginação criativa é uma neoformação, um produto de saltos qualitativos do desenvolvimento que é impulsionado e orientado pela situação social. Segundo essa abordagem, a adolescência é a idade psicológica em que ocorre a integração de forma consciente dos interesses, do desenvolvimento intelectual e da fantasia. Para Vigotski, apenas com essa conexão se inaugura a autêntica originalidade criativa.
This research explores the theme of creativity along the intellectual trajectory of Piaget and Vygotsky. It is a theoretical study in which the comparative analysis was used as a methodological procedure. The evolution of the problem of creativity throughout his works and the conceptual synthesis extracted from the formulations allows the defense of three fundamental arguments: a) the occurrence of self-criticism that led to a reformulation in his theories, with repercussion for the theme of creativity; b) concordance on creation as a problem of psychological ages and c) discordance on the role of language for creative originality. The theoretical reformulation made by Piaget occurred early in his career and consisted in lowering the importance of language to the origin of intellectual and creative activity. Since then, the psychological event that explains the originality no longer counts on the directive and decisive participation of something external to the own mechanism of adaptation of life. Although in his later works he acknowledges the ingenious initiatives achieved by formal-logical thinking in his teenage years, Piaget understands that the functional and biopsychic process of equilibration, fueled by the actions of the subject, has greater explanatory power for the understanding of originality, which is the main characteristic of creation. Vygotsky's self-criticism led him to explain the creation in his last works within the psychological dynamics of the ages, defending the idea that the creative imagination is a neoformation, a product of developmental leaps that is driven and driven by the situation social. According to this approach, adolescence is the psychological age at which conscious integration of interests, intellectual development and fantasy takes place. For Vygotsky, it is only with this connection that authentic creative originality is inaugurated.
This research explores the theme of creativity along the intellectual trajectory of Piaget and Vygotsky. It is a theoretical study in which the comparative analysis was used as a methodological procedure. The evolution of the problem of creativity throughout his works and the conceptual synthesis extracted from the formulations allows the defense of three fundamental arguments: a) the occurrence of self-criticism that led to a reformulation in his theories, with repercussion for the theme of creativity; b) concordance on creation as a problem of psychological ages and c) discordance on the role of language for creative originality. The theoretical reformulation made by Piaget occurred early in his career and consisted in lowering the importance of language to the origin of intellectual and creative activity. Since then, the psychological event that explains the originality no longer counts on the directive and decisive participation of something external to the own mechanism of adaptation of life. Although in his later works he acknowledges the ingenious initiatives achieved by formal-logical thinking in his teenage years, Piaget understands that the functional and biopsychic process of equilibration, fueled by the actions of the subject, has greater explanatory power for the understanding of originality, which is the main characteristic of creation. Vygotsky's self-criticism led him to explain the creation in his last works within the psychological dynamics of the ages, defending the idea that the creative imagination is a neoformation, a product of developmental leaps that is driven and driven by the situation social. According to this approach, adolescence is the psychological age at which conscious integration of interests, intellectual development and fantasy takes place. For Vygotsky, it is only with this connection that authentic creative originality is inaugurated.
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Criatividade, Originalidade, Idades psicológicas, Piaget, Vigotski, Creativity, Originality, Psychological ages, Vygotsky