Бухоро давлат университети жисмоний маданият факультети

 
SOME GENERIC PRINCIPLES FOR DEVELOPING OF THE STUDY 
Ruziyeva d.S., teacher, Bukhara State university, Bukhara s. 
 
There are quite a number of themes and beliefs, which recur right across this collection. I shall take up 
most of these issues in the second part of this chapter. 
Unsurprisingly, virtually all the chapters subscribe to the view that creativity is really important both in 
life and in teaching and learning a language. Creativity is widely believed to be a ‘good thing’, enriching the 
quality of life and of learning – but these chapters offer a practical demonstration of how this belief can be 
realized. There is also a good measure of agreement that the current educational ethos is damaging to 
creativity[1]. This is largely due to the increasingly tight curricular constraints, the obsessive concern with 
objectives to the exclusion of broader educational aims, the intense focus on testing and measurement, and the 
love-affair with ‘efficiency’ expressed in statistical terms and quick results – all of which characterize so much 
of what currently passes for education (Robinson, 2001). The following chapters, directly or indirectly, all 
propose ideas which seek to restore a balance, so that creative teaching can find its place in this otherwise 
hostile and increasingly sterile environment. Many of the chapters do not seek to define the nature of 
creativity, assuming perhaps that we all know it when we see it. Those which do attempt to define it, admit the 
difficulty of finding an inclusive definition. Many of the chapters subscribe explicitly to the belief that 
everyone has the capacity to exercise creativity, that it is not the preserve of a privileged elite. While not 
everyone will have the big ‘C’ creative genius of an Einstein, a Picasso, a Mozart or a Dostoevsky, everyone 
can exercise what some have called little ‘c’ creativity, which is inherent in language itself. The chapters also 
demonstrate how creativity extends right across all age ranges, all levels of competence, all teaching contexts 
and all geographical regions. And it applies equally to teachers as well as learners. Creativity is universal, 
though its manifestations may be specific and local.Creativity is widely believed to be about letting the 
imagination loose in an orgy of totally free self-expression. It is, of course, no such thing. Creativity is born of 
discipline and thrives in a context of constraints. It is therefore reassuring to find this view repeatedly 
expressed[ throughout the collection. [2]The issue of the value of constraints both as a stimulus and as a 
support for creativity will be dressed again later in this chapter. Related to the issue of constraints is the 
frequency with which low-resource teaching environments are cited. Many of the chapters amply demonstrate 
that we have no need of expensive and elaborate equipment and technological gizmos to stimulate the latent 
creativity of our students. In a sense, the less we have, the more we make of it.
Creativity helps us to deal with change, and as the world changes ceaselessly, so will more creative 
solutions be needed.Linguistic creativity in particular is so much part of learning and using a language that we 
tend to take it for granted. Yet from the ability to formulate new utterances, to the way a child tells a story, to 
the skill of a stand-up comedian, to the genius of a Shakespeare, linguistic creativity is at work. In Carter’s 
words.In the learning context, creativity also seems to stimulate, to engage, to motivate and to satisfy in a deep 
sense. Many of the chapters in this book testify to the motivational power which is released when we allow 
students to express themselves creatively. Likewise, creativity tends to improve student self-esteem, confiden-

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