Дарын, өрнек және гений: интеллектінің жоғары деңгейі

A human being who has exceptional intellectual ability, creativity, or originality
higher level of intellectual ability possessed by certain individuals
Genius is a characteristic of original and exceptional insight in the performance of some art or endeavor that surpasses expectations, sets new standards for the future, establishes better methods of operation, or remains outside the capabilities of competitors. Genius is associated with intellectual ability and creative productivity. The term genius can also be used to refer to people characterised by genius, and/or to polymaths who excel across many subjects. There is no scientifically precise definition of genius. When used to refer to the characteristic, genius is associated with talent, but several authors such as Cesare Lombroso and Arthur Schopenhauer systematically distinguish these terms. Walter Isaacson, biographer of many well known geniuses, explains that although high intelligence may be a prerequisite, the most common trait that actually defines a genius may be the extraordinary ability to apply creativity and imaginative thinking to almost any situation.]] In ancient Rome, the genius (plural in Latin genii) was the guiding spirit or tutelary deity of a person, family (gens), or place (genius loci). Connotations of the word in Latin have a lineal relationship with the Greek word daemon in classical and medieval texts, and also share a relationship with the Arabic word al ghul (as in the star Algol; its literal meaning being "the Demon"). The noun is related to the Latin verbs "gignere" (to beget, to give birth to) and "generare" (to beget, to generate, to procreate), and derives directly from the Indo European stem thereof: "ǵenh" (to produce, to beget, to give birth). Because the achievements of exceptional individuals seemed to indicate the presence of a particularly powerful genius, by the time of Augustus, the word began to acquire its secondary meaning of "inspiration, talent". The term genius acquired its modern sense in the eighteenth century, and is a conflation of two Latin terms: genius, as above, and Ingenium, a related noun referring to our innate dispositions, talents, and inborn nature. Beginning to blend the concepts of the divine and the talented, the Encyclopédie article on genius (génie) describes such a person as "he whose soul is more expansive and struck by the feelings of all others; interested by all that is in nature never to receive an idea unless it evokes a feeling; everything excites him and on which nothing is lost."

The assessment of intelligence was initiated by Francis Galton (1822–1911) and James McKeen Cattell. They had advocated the analysis of reaction time and sensory acuity as measures of "neurophysiological efficiency" and the analysis of sensory acuity as a measure of intelligence. Galton is regarded as the founder of psychometry. He studied the work of his older half cousin Charles Darwin about biological evolution. Hypothesizing that eminence is inherited from ancestors, Galton did a study of families of eminent people in Britain, publishing it in 1869 as Hereditary Genius. Galton's ideas were elaborated from the work of two early 19th century pioneers in statistics: Carl Friedrich Gauss and Adolphe Quetelet. Gauss discovered the normal distribution (bell shaped curve): given a large number of measurements of the same variable under the same conditions, they vary at random from a most frequent value, the "average", to two least frequent values at maximum differences greater and lower than the most frequent value. Quetelet discovered that the bell shaped curve applied to social statistics gathered by the French government in the course of its normal processes on large numbers of people passing through the courts and the military. His initial work in criminology led him to observe "the greater the number of individuals observed the more do peculiarities become effaced ". This ideal from which the peculiarities were effaced became "the average man". Galton was inspired by Quetelet to define the average man as "an entire normal scheme"; that is, if one combines the normal curves of every measurable human characteristic, one will, in theory, perceive a syndrome straddled by "the average man" and flanked by persons that are different. In contrast to Quetelet, Galton's average man was not statistical but was theoretical only. There was no measure of general averageness, only a large number of very specific averages. Setting out to discover a general measure of the average, Galton looked at educational statistics and found bell curves in test results of all sorts; initially in mathematics grades for the final honors examination and in entrance examination scores for Sandhurst. Galton's method in Hereditary Genius was to count and assess the eminent relatives of eminent men. He found that the number of eminent relatives was greater with a closer degree of kinship. This work is considered the first example of historiometry, an analytical study of historical human progress. The work is controversial and has been criticized for several reasons. Galton then departed from Gauss in a way that became crucial to the history of the 20th century AD. The bell shaped curve was not random, he concluded. The differences between the average and the upper end were due to a non random factor, "natural ability", which he defined as "those qualities of intellect and disposition, which urge and qualify men to perform acts that lead to reputation a nature which, when left to itself, will, urged by an inherent stimulus, climb the path that leads to eminence." The apparent randomness of the scores was due to the randomness of this natural ability in the population as a whole, in theory. Criticisms include that Galton's study fails to account for the impact of social status and the associated availability of resources in the form of economic inheritance, meaning that inherited "eminence" or "genius" can be gained through the enriched environment provided by wealthy families. Galton went on to develop the field of eugenics. Galton attempted to control for economic inheritance by comparing the adopted nephews of popes, who would have the advantage of wealth without being as closely related to popes as sons are to their fathers, to the biological children of eminent individuals. Several people commonly regarded as geniuses have been or were diagnosed with mental disorders, for example Vincent van Gogh, Virginia Woolf, John Forbes Nash Jr., and Ernest Hemingway. It has been suggested that there exists a connection between mental illness, in particular schizophrenia and bipolar disorder, and genius. Individuals with bipolar disorder and schizotypal personality disorder, the latter of which being more common amongst relatives of schizophrenics, tend to show elevated creativity. In a 2010 study done in the Karolinska Institute it was observed that highly creative individuals and schizophrenics have a lower density of thalamic dopamine D2 receptors. One of the investigators explained that "Fewer D2 receptors in the thalamus probably means a lower degree of signal filtering, and thus a higher flow of information from the thalamus." This could be a possible mechanism behind the ability of healthy highly creative people to see numerous uncommon connections in a problem solving situation and the bizarre associations found in the schizophrenics. Jensen's model was motivated by the finding that eminent achievement is highly positively skewed, a finding known as Price's law, and related to Lotka's law. Some high IQ individuals join a High IQ society. The most famous and largest is Mensa International, but many other more selective organizations also exist, including Intertel, Triple Nine Society, Prometheus Society, and Mega Society.

Various philosophers have proposed definitions of what genius is and what that implies in the context of their philosophical theories. In the philosophy of David Hume, the way society perceives genius is similar to the way society perceives the ignorant. Hume states that a person with the characteristics of a genius is looked at as a person disconnected from society, as well as a person who works remotely, at a distance, away from the rest of the world. On the other hand, the mere ignorant is still more despised; nor is any thing deemed a surer sign of an illiberal genius in an age and nation where the sciences flourish, than to be entirely destitute of all relish for those noble entertainments. The most perfect character is supposed to lie between those extremes; retaining an equal ability and taste for books, company, and business; preserving in conversation that discernment and delicacy which arise from polite letters; and in business, that probity and accuracy which are the natural result of a just philosophy. In the philosophy of Immanuel Kant, genius is the ability to independently arrive at and understand concepts that would normally have to be taught by another person. For Kant, originality was the essential character of genius. The artworks of the Kantian genius are also characterized by their exemplarity which is imitated by other artists and serve as a rule for other aesthetical judgements. This genius is a talent for producing ideas which can be described as non imitative. Kant's discussion of the characteristics of genius is largely contained within the Critique of Judgment and was well received by the Romantics of the early 19th century. In addition, much of Schopenhauer's theory of genius, particularly regarding talent and freedom from constraint, is directly derived from paragraphs of Part I of Kant's Critique of Judgment. Genius is a talent for producing something for which no determinate rule can be given, not a predisposition consisting of a skill for something that can be learned by following some rule or other.|author=Immanuel Kant

In the philosophy of Arthur Schopenhauer, a genius is someone in whom intellect predominates over "will" much more than within the average person. In Schopenhauer's aesthetics, this predominance of the intellect over the will allows the genius to create artistic or academic works that are objects of pure, disinterested contemplation, the chief criterion of the aesthetic experience for Schopenhauer. Their remoteness from mundane concerns means that Schopenhauer's geniuses often display maladaptive traits in more mundane concerns; in Schopenhauer's words, they fall into the mire while gazing at the stars, an allusion to Plato's dialogue Theætetus, in which Socrates tells of Thales (the first philosopher) being ridiculed for falling in such circumstances. As he says in Volume 2 of The World as Will and Representation:

Blockquote|Talent hits a target no one else can hit; Genius hits a target no one else can see.|author=Arthur Schopenhauer The actions of the "Man of Genius" can manifest this in various ways: in his "transcendent capacity of taking trouble" (often misquoted as "an infinite capacity for taking pains"), in that he can "recognise how every object has a divine beauty in it" as a poet or painter does, or in that he has "an original power of thinking". In accordance with his Great Man theory, Carlyle considered such individuals as Odin, William the Conqueror and Frederick the Great to be "Men of Genius". In the philosophy of Bertrand Russell, genius entails that an individual possesses unique qualities and talents that make the genius especially valuable to the society in which he or she operates, once given the chance to contribute to society. Russell's philosophy further maintains, however, that it is possible for such geniuses to be crushed in their youth and lost forever when the environment around them is unsympathetic to their potential maladaptive traits. Russell rejected the notion he believed was popular during his lifetime that, "genius will out". In his classic work The Limitations of Science, J. W. N. Sullivan discussed a utilitarian philosophy on the retrospective classification of genius. Namely, scholarship that is so original that, were it not for that particular contributor, would not have emerged until much later (if ever) is characteristic of genius. Conversely, scholarship that was ripe for development, no matter how profound or prominent, is not necessarily indicative of genius.

Geniuses are variously portrayed in literature and film as both protagonists and antagonists, and may be the hero or villain of the story. In pop culture, the genius is often stereotypically depicted as either the wisecracking whiz or the tortured genius. Throughout both literature and movies, the tortured genius character is often seen as an imperfect or tragic hero who wrestles with the burden of superior intelligence, arrogance, eccentricities, addiction, awkwardness, mental health issues, a lack of social skills, isolation, or other insecurities. They regularly experience existential crises, struggling to overcome personal challenges to employ their special abilities for good or succumbing to their own tragic flaws and vices. This common motif repeated throughout fiction is notably present in the characters of Dr. Bruce Banner in the Hulk and Dr. Henry Jekyll in The Strange Case of Dr. Jekyll and Mr. Hyde, among others. Although not as extreme, other examples of literary and filmic characterizations of the tortured genius stereotype, to varying degrees, include: Sherlock Holmes, Wolfgang Amadeus Mozart in Amadeus, Dr. John Nash in A Beautiful Mind, Leonardo da Vinci in Da Vinci's Demons, Dr. Gregory House in House, Will Hunting in Good Will Hunting, and Dr. Sheldon Cooper in The Big Bang Theory. One of the most famous genius level rivalries to occur in literary fiction is between Sherlock Holmes and his nemesis Professor Moriarty; the latter character also identified as the modern archetype of an evil genius.

On societal expectations of geniuses.