**1. Introduction to Creativity**

*Creative Imagination* appears to be active from an early age and is instrumental in learning and problem-solving strategies. Indeed, such imagination is one of the major ways in which children ascribe meaning and communicate information, attributing new meaning to objects they did not know previously, and to form new experiences from verbal stimuli, images, and also patterns of sound (which was not examined for this project). The archaic research on children's creativity was undertaken by Vygotsky [1], following Piaget [2], but in a manner that predicts the trajectory of the imagination for children's learning and interpretative abilities. Vygotsky's premises constitute some basic laws of developmental psychology for, more specifically, what he was to call "creativity", a term denoting psychomotor processes for producing both mental and physical representations in the material world. Also, 'creativity', as Vygotsky defined it, refers to a correlate of what he called 'imagination'. The latter, in fact, seems to have a more mental and even neural substratum. In this paper, we shall use the term 'creative imagination' to denote integrated neurobehavioral functions that employ imagination [3].

Vygotsky's basic proposition revealed how children could use creative imagination to make sense of this world. As such, the Vygotskian proposition lends itself to later speculations in psychology of children where importance has been laid on the methods of constructing narratives of imagination by children for strategies of interpretation and meaning creation [4]. What is of more immediate value for this research is the controversy regarding the intrinsic nature of creative imagination. Is children's imagination manifested in organized reproductions of experience already available in real life as Piaget originally claimed, or did it have innate properties that manifested itself in various faculties, like verbal processing or visual memory? Harris' experiments, in this regard, use more of an active developmental angle to explain the process of creative imagination. Harris advocates multiple ontologies that sugges<sup>t</sup> that the imagination functions as a cluster of discrete neurobehavioral faculties, like a multitasking function. Research on children's fantasy undertaken in the 1980s and 1990s underscore how imagination could control a child's understanding of corresponding aspects of reality [5–8]. Assuming that various aspects of the imaginative intelligence could be isolated and tested for their e fficacy in the developmental process is perhaps of essence for this project. We consider the singular paradigm of creativity but we are generally inclined to show that facets of language, verbal processing, and visual-imaginative precepts may constitute separate enclaves in children's minds and that it is possible that one or other aspect may be instrumental in the execution of predefined tasks. Interestingly, it should also show that creativity progresses by means of both selective and synchronic organization of elements, and that practical engagemen<sup>t</sup> with such elements can lead to a general development for children's interpretative or learning abilities. Among other things, the test packet employed here explains functions of at least two important faculties. Furthermore, observation confirms that such practice could influence development on a long-term basis, for which other temporally spaced tests might be necessary.

Research here indicates that applications of the principle may be e ffective for teaching and learning at the elementary and middle school levels [9].

We intended to measure how verbal stimuli, generated from reading and storytelling, actually completes and transforms levels of knowledge in the child. We set imaginative tasks to stimulate this sense of meaning and interest in relation to real life problems and to explore why children's fantasy worlds are "so significant and interesting" and see how, as Egan said, we can use "what we learn from this process for educational purposes" [10]. Imagination is a "new psychological process" for the child. It represents a "specifically human form of conscious activity". Like all functions of knowledge, it arises originally from "action" [11]. Since creative imagination can be discovered in the products of creative life, especially of children, we tried to see how elements of representation, by story-telling or drawing, are incorporated in meaningful representations. The task of narrating or drawing objects involves analysis and reintegration, reproducing arrays, and objectivity in complex formations. Hence, the justification for the methodology adopted for the test.
