XVI Международная студенческая научная конференция Студенческий научный форум - 2024

The study of a foreign language itself requires a creative approach and the ability to find non-standard solutions. A creative approach helps design students to find new and interesting ways of learning the language. It allows them to use their creative skills to create original and effective teaching methods. For example, they can develop engaging games, organize creative projects, and create interactive materials that help them memorize new words and grammatical structures.

Furthermore, a creative approach contributes to the development of language intuition. Design students, thanks to their creative thinking, have the ability to find unexpected connections between language phenomena, create associations and relationships that help them better understand and memorize the foreign language. Their ability to "see" the language as a means of expressing an idea, their visual approach to learning helps them perceive language structures holistically, which enables them to easily grasp foreign language constructions.

Moreover, creativity enables design students to apply their acquired knowledge in practical projects. They can use the language as a tool for creating design works, visualizing ideas, and communicating with clients. The creative use of a foreign language stimulates the development of the art of communication, helps to express thoughts and ideas more accurately and originally, which is an essential quality for a successful designer.

Thus, creativity plays an important role in the process of learning a foreign language for design students, enriching their language and cultural competence, developing their intuitive understanding of the language, and contributing to the successful application of acquired knowledge in practical activities.

It is important to note that creativity plays a crucial role in the process of learning a foreign language for design students. This is linked to several factors.

Firstly, creativity allows design students to approach language learning from a fresh, original perspective. They can utilize their visualization and imagination skills to create associations between words, ideas, and images in the foreign language. For example, they can create art projects, illustrations, collages, or even comics that help them memorize new words and expressive language tools. Such a creative approach makes the learning process more interesting and engaging.

Secondly, creativity contributes to the development of linguistic thinking and language flexibility. Design students, with their creativity, can use language as a tool to express their design ideas and concepts. This helps them overcome language barriers, improve their communication skills in the foreign language, and confidently present to an audience. Creativity helps establish stable associations between words and their meanings, and allows design students to experiment with different expressive tools and styles in their language manifestations.

Thirdly, creativity helps design students develop their cultural competence. Learning a foreign language is closely linked to studying the culture and traditions of the country where that language is native. Creativity helps design students better understand and recreate the distinctive features and style of the culture through their projects and research. They can use their design skills to develop unique visual materials that reflect the character and aesthetics of that culture. This approach promotes deep immersion in the target language environment and expands the horizons of design students.

So, creativity plays a significant role in learning a foreign language for design students. It helps them find new, non-standard approaches to learning, develop language thinking and flexibility, as well as expand their cultural competence. Combining foreign language learning with creativity opens up unlimited opportunities for self-improvement and professional success for design students.

Bibliography

1. Altshuller G.S. invention algorithm. - M.: Moscow worker, 1973.

2. Bakshaeva H.A. The Development of Cognitive and Professional Motivation of Pedagogical University Students in Contextual Learning: Day.... cand. psychol. Sciences / M.: ITs, 1997. - 186s.

3. Berman I.M. Methods of teaching English in non-linguistic universities. - M .: "Higher School", 1970. - 230s.

4. Bespalko V.P. Components of pedagogical technology. - M.: Pedagogy, 1989, 190s.

5. Gaisina A.Ya. Teaching professional communication based on the - M.: MGLU, 1997. - 259p.

6. Guillord, J.P. Intellectual Factors in Productive Thinking [Text] /J.P. Guillord // Explorations in Creativity. - N.Y., 1967. - P. 187-192.

7. Hargreaves, A. Changing Teacher, Changing Times [Text] / A. Hargreaves. - Cassel London, 1994. – 382 p.

8. Karlson, Y.L. Inheritance of creative intelligence [Text] / Y.L. Karlson. - Chicago, 1978. – 438 p.

9. Kris, E. Psychoanalytic explorations in art [Text] / E. Kris. - N.Y.: International Universities Press, 1965. – 449 p.

10. Mednich, S.A. The associative basis of the creative process [Text] / S.A. Mednich // Psychol. - Review. - 1969. - № 2. - P. 220-232.