Individual Learning Styles and Creativity

Business schools are in need of developing creative graduates. This article explores how creativity among business students can be stimulated. Because a considerable amount of knowledge is required for creative ideas to emerge, the learning process has a significant impact on creativity. This, in turn, indicates that learning style is important for creative performance. In addition to exploring the relationship between learning styles and creativity, the research reported here tested self-efficacy and enjoyment as mediators. One hundred and fifty students participated in this study. Hierarchical regression analysis indicated that independent and collaborative learning styles were associated with higher creativity. Although the independent learning style-creativity relationship was mediated by self-efficacy, the collaborative learning style-creativity relationship was partially mediated by enjoyment of the learning process. Implications for business education are discussed.     

Triangulating Creativity: Examining Discrepancies Across Self-Rated,Quasi-Expert-Rated and Verbalized Creativity in Arts-based Learning

This convergent mixed methods study examined the triangulation of self-rated, quasi-expert-rated and verbalized creativity in students enrolled in a year-long photography program. The quantitative data included self-report scales in creativity, and ratings of creativity in students’ photography. The qualitative data included student interviews reflecting on their photographs and verbalizing their beliefs about creativity. The data were first analyzed separately and then merged for analysis to determine possible relationships between these three data sources. Merging quantitative and qualitative data highlighted two key discrepancies between students’ actual creative performance and their perceptions as creative individuals. Possible explanations of these disceprancies are discussed in light of research on creative self-efficacy and creative mindsets.     

Sensational Thinking A Teaching/Learning Model for Creativity

Change, the acknowledged constant: The paradox of two seeming opposites contained as one. In the world today we find ourselves challenged by a multitude of paradoxical problems and our need to resolve these issues drives a change process, the nature of which is dynamic and complex. Dynamic change is recognized as a process of moving from one state or form to another, in ways that appear chaotic, non-linear, and unpredictable (Gleick, 1987). This results from the interactions between and among individual component parts of a system (Gleick, 1987; Bohm & Peat, 1987; Goodwin, 1991), and studies to understand how and why this type of change occurs have found that dynamic change is a creative process that occurs naturally in physical, biological and social systems.     

English,Engineering, and Creativity

An analysis of creativity in English and Engineering Departments in the University, which suggests that the quest for academic respectability has forced the teacher of English in his research to pursue the goal of analysis, a goal which he in fact denies in his teaching. His teaching remains flexible in its attempts to elicit a creative response on the part of the student, while his research (if it is to be publishable) must adhere to a fairly rigid pattern of orthodoxy. The physicist is often driven in his teaching (simply by the demands of the very bulk of physical knowledge) to emphasise the analytical, the instrument-nature of knowledge, while in his research he remains—or tries to remain—essentially creative, far less rigid than in his teaching. The engineer, who has only recently learned to lionise the analytical and essentially rigid aspects of his work (he has only recently, after all, become a member of the University), is perhaps in fact more creative both in his teaching and his research than either of the others, though there is an increasing pressure in the University to make him conform to standards of “respectability”.     

Japanese Sound‐Symbolism Facilitates Word Learning in English‐Speaking Children

Sound‐symbolism is the nonarbitrary link between the sound and meaning of a word. Japanese‐speaking children performed better in a verb generalization task when they were taught novel sound‐symbolic verbs, created based on existing Japanese sound‐symbolic words, than novel nonsound‐symbolic verbs ( Imai, Kita, Nagumo, & Okada, 2008 ). A question remained as to whether the Japanese children had picked up regularities in the Japanese sound‐symbolic lexicon or were sensitive to universal sound‐symbolism. The present study aimed to provide support for the latter. In a verb generalization task, English‐speaking 3‐year‐olds were taught novel sound‐symbolic verbs, created based on Japanese sound‐symbolism, or novel nonsound‐symbolic verbs. English‐speaking children performed better with the sound‐symbolic verbs, just like Japanese‐speaking children. We concluded that children are sensitive to universal sound‐symbolism and can utilize it in word learning and generalization, regardless of their native language.     

Phronesis, Poetics, and Moral Creativity

At least since Aristotle, phronesis (practical wisdom) and poetics (making or creating) have been understood as essentially different activities, one moral the other (in itself) non-moral. Today, if anything, this distinction is sharpened by a Romantic association of poetics with inner subjective expression. Recent revivals of Aristotelian ethics sometimes allow for poetic dimensions of ethics, but these are still separated from practical wisdom per se. Through a fresh reading of phronesis in the French hermeneutical phenomenologist Paul Ricoeur, I argue that phronesis should be viewed as at least in part poetic at its very core. That is, phronesis deals with the fundamentally tragic human situation of moral incommensurability, and it responds to this by making or creating new moral meaning. Such a poetics of practical wisdom helps phronesis stand up to significant and important critiques made of it by a range of modernists and post-modernists, pointing a way forward for some important contemporary moral debates.     

Working Memory,Cerebellum, and Creativity

There is little doubt that career experiences contribute to scientific achievement; however this relationship has yet to be thoroughly investigated in terms the effects on scientific creativity. In this study, a historiometric approach was used to examine 3 areas of adult career experiences common to scientific achievement. In doing so, prior theoretical work was used to identify career experiences relevant to scientific achievement, and 3 theoretical models were proposed to account for these experiences—adversity, collaborations, and work strategies. Biographies of eminent scientists were then content coded and analyzed. The results indicated that the adversity model did not predict scientific creativity. However, the work strategies model and, to some degree, the collaborations model showed some promise in understanding the development of creative potential in scientists. The nature of the significant relationships among the model components and scientific creativity are discussed in addition to their implications for the development of the creative potential of scientists.     

Creativity,mental health,and alcoholism

Abstract

Findings from a research project on the creative process spanning a 25‐year period are applied to considerations regarding mental health and creativity. Two specific creative functions are described: (a) homospatial process‐actively conceiving two or more discrete entities occupying the same space, a conception leading to the articulation of new identities; and (b) janusian process‐actively conceiving multiple opposites or antitheses simultaneously. Both of these processes are healthy, adaptive ones, indicating that mental illness does not facilitate creativity but interferes with it. Verbatim data from intensive interviews with the author, fohn Cheever, are presented to illustrate the relationship of that author's alcoholism to the writing of his outstanding creative achievement, the novel Falconer.     

“生生”、“感通”、“偕行”——《易传》的天人共生哲学

天人问题是中国哲学的基本问题,天人的基本含义之一相当于我们现在通常说的自然与人;基本含义之二是视天人为有德性(道德)的、有能动性的动态的、协调的存在。中国哲学中的这种天人观在《易传》中表现为"生生"——"感通"——"偕行"的天人共生态。《易传》既将天人视为一个"生生不息"的自然的生命有机体,又充分发掘天人的德性,并使二者相资相长,"日新之谓盛德,生生之谓易",天地人各有其位,各尽其能,各循其道,"各正性命",一体偕行,共生共存共荣。     

Symbolism and literalism in anthropology

Conclusion We have considered two strategies for using native utterances as evidence for assigning native beliefs. We have shown that each of these two strategies (literalism and symbolism) can avoid the logical difficulties mentioned in section 1 — so long, at least, as we employ an account of the logical form of belief sentences developed by Burdick. We have also considered the methodological principles which provide the basis for translational practice. Based on our consideration of these principles, we then argued that we must prefer the literalist strategy for attributing beliefs. Only the literalist strategy enables us to provide a recursive account of the significance of native utterances, and only the literalist strategy enables us to maximize the truth of our claims about native beliefs.This paper was written mainly by D'Agostino, who supplied the background in philosophy of anthropology, with the assistance of Burdick, chiefly on matters relating to philosophy of language. We are extremely grateful to Susan Haack for substantial help with significant improvements. We also wish to thank J. J. C. Smart and Stanley Benn for comments.     

Creativity, depression and suicide.

The relationship between suicide and creativity has long been a subject of considerable concern. The author presents evidence indicating that in fact depression, suicide, and creativity are related. Several hypotheses for the relationship are posited. It is suggested that the same changes in the serotonergic system that are associated with depression in general and with impulsive suicides and homicides in the extreme may also be responsible for an element of risk taking that characterizes creativity and innovation in a person psychodynamically predisposed to being creative.