Differences in Mathematical Performance,Creativity Potential,and Need for Cognitive Closure between Chinese and Australian Students

Research has shown that Chinese students outperform students from several Western countries on mathematics performance while some evidence has suggested that Western students perform more strongly on tests of creativity. One potential mechanism for these differences may be a higher need for cognitive closure among Chinese students. The current research compared performance on tests of mathematics and creativity among 50 students of Chinese background and 49 Australian students of Anglo‐Saxon background. As predicted, Chinese students performed better on mathematics while Australian students performed better on the measure of creativity. Australian students also had a lower score on one subscale of the need for cognitive closure, preference for predictability. Across the sample, preference for predictability showed small but significant negative correlations with several measures of creativity and positive correlations with several measures of mathematics. These findings were interpreted with respect to characteristic educational practices in both nations.     

Creativity Through a Lens of Social Responsibility: Implicit Theories of Creativity with Korean Samples

Implicit theories of creativity have been the subject of increased research interest in recent years. These investigations are motivated by the observation that an individual's creative activities are guided by personal definitions rather than professional theories, which may be very different. Cross-cultural studies of implicit creativity theories are rare, yet they can add significantly to our knowledge of how creativity is viewed across cultures. The nature of 428 Koreans' implicit creativity theories were identified in a prestudy, and the structure of 478 Koreans' ratings of the indicated behaviors was analyzed in Experiment 1. In Experiment 2, 211 participants evaluated the creativity of 44 hypothetical profiles based on the results of the first experiment. Results provide evidence that Korean conceptions of creativity are similar to Western conceptions, although Koreans may emphasize negative behaviors and personality characteristics (e.g., deviance) to a greater degree. When asked to use their implicit theories to evaluate the creativity of hypothetical profiles, Korean adults strongly emphasized specific cognitive, personality, and motivational aspects of creativity over noncognitive aspects (e.g., perseverance, independence).     

Assessing the Climate for Creativity (KEYS): Confirmatory factor analysis and psychometric examination of a Taiwan version

Understanding the feasibility of using KEYS to assess the organizational climate for creativity in non‐Western societies is essential for researchers studying cultural influences on workers' perceptions of workplace climates. This study reports on the effectiveness of translating KEYS, using data from 401 employees of 13 different companies in Taiwan. A confirmatory factor analysis was performed and its results indicated a satisfactory fit for a 10‐factor model. However, six items tackling environmental obstacles had low factor loadings (<0.3) and should either be eliminated or amended. The results raise questions regarding the role of cultural influences in international studies that assess creativity climates. Further research into the conceptualization of organizational creativity in Chinese societies is warranted.     

Who are the Best‐Known National and Foreign Creators — a Comparative Study Among Undergraduates in China and Germany

Separate studies of Chinese and Western individuals have suggested that there are cultural differences in perceptions of creativity, particularly in an emphasis on meritorious salience versus aesthetic salience as bases for creativity, but cross‐cultural studies are needed to substantiate that difference. In this study, undergraduates from Giessen in Germany and Hong Kong and Nanjing in China provided data on the recognition of famous creative persons. Chinese undergraduates in Hong Kong and Nanjing mostly nominated politicians, scientists or inventors, but rarely nominated artists, musicians. German undergraduates mostly nominated philosophers, artists, and writers but rarely nominated politicians. This supports our assumption that the Chinese evaluation of creators emphasizes the meritorious salience of creativity whereas the German evaluation of creators emphasizes the aesthetic salience of creativity. Implications and limitations of this study are discussed at the end of the paper.     

Identity and Creativity

Emerging adulthood is a period for exploration of identity aspects including occupational identity, and creative activity may contribute to or result from this exploration. Grounded in several conceptions of identity, particularly that of Erik Erikson, this research tested the prediction that identity processes predict creativity. In 2 studies (N = 250), university students completed measures of identity (Berzonsky's Identity Styles Inventory; Cheek's Aspects of Identity Questionnaire), plus creative potential (Creative Personality Scale), accomplishments (behavior checklist and open-ended listing), and products (drawings, stories). In keeping with prediction, these findings demonstrated that those who are information-seeking in style and emphasize their personal identity have the greatest potential creativity and evidence the greatest number of creative accomplishments in their young lives, whereas those emphasizing normative or collective identities evidenced fewer accomplishments. These identity variables contributed over and above the effects of gender and verbal ability. Results fit well with past findings in the creativity literature but represent a new direction for identity research and theory.     

Confucian Ideology and Creativity

The study examines an important philosophical root for the Chinese notion of creativity, that is, the Confucianism, and concludes that the Confucian ideology has shaped how Chinese have viewed creativity in the past, and may still have a great impact on how contemporary Chinese perceive creativity.     

Creativity: An interdisciplinary perspective

A number of research traditions have contributed to an emerging picture of creative individuals, processes, and achievements. Psychometric instruments have documented the absence of correlations, above a threshold, between measured intelligence and creativity; computer simulations and “on‐line” studies of human subjects indicate that creative problem solving draws on the same information‐processing skills as everyday problem solving; case studies reveal that creative individ‐uals pursue a network of interrelated enterprises over the course of their productive lives and that most creative insights emerge gradually. Creative individuals exemplify a predictable set of personality traits and are motivated chiefly by intrinsic factors. Sociological and historiometric approaches document the conditions under which creative products are likely to emerge within a given society, and neurobiological perspectives suggest that certain neural structures and processes may be particularly associated with creative out‐comes. A science of creativity is most likely to emerge from a synthesis of these different disciplinary perspectives.     

Contemporary Studies on the Concept of Creativity: the East and the West

This article reviews contemporary studies on the concept of creativity across two cultures—Eastern (Asian) cultures and Western (American and European) cultures — by examining two bodies of literature. One is on people's implicit theories of creativity across different cultures and the other is on cross‐cultural studies of creativity. Studies on implicit theories of creativity in the East suggest that many Asians have similar but not identical conceptions of creativity to many people in the West. Cross‐cultural studies of creativity reveal that Easterners and Westerners differ, on average, in their divergent‐thinking performance and creative expressions. A view of creativity as relatively culture‐specific is presented and the appropriateness of using divergent‐thinking tests to measure creativity is discussed.     

Artistic and Everyday Creativity: An Act‐Frequency Approach

Scholars often distinguish everyday creativity and creativity in more formal domains, such as the arts. However, everyday creativity has been rather neglected in research. This paper compares artistic and everyday creativity. Three studies examine the content of behavior in artistic and everyday creativity, as well as similarities and differences in their relationships with personality traits, psychological well‐being, and psychopathology. Typical artistic creativity acts referred to time investment in the arts, generation of art works, and achievement in the arts, whereas typical everyday creativity acts concerned humor and self‐expression in daily activities. Both kinds of creativity were related to openness to experience, a personality trait described as the disposition towards creativity. However, artistic creativity was related to higher rates of psychopathology, while everyday creativity was related to extraversion, conscientiousness, and personal growth.     

Cultural influences on artistic creativity and its evaluation

Two studies were designed to compare (a) the rated creativity of artworks created by American and Chinese college students, and (b) the criteria used by American and Chinese judges to evaluate these artworks. The study demonstrated that the two groups of students differed in their artistic creativity. American participants produced more creative and aesthetically pleasing artworks than did their Chinese counterparts, and this difference in performance was recognized by both American and Chinese judges. The difference between the use of criteria by American and Chinese judges was small, and consisted mainly of the American judges' use of stricter standards in evaluating overall creativity. Moreover, in general, there was a greater consensus among Chinese judges regarding what constitutes creativity than among American judges. The study also revealed, but preliminarily, that the artistic creativity of Chinese students was more likely to be reduced as a function of restrictive task constraints or of the absence of explicit instructions to be creative. The results of this study seem to support the hypothesis that an independent self‐oriented culture is more encouraging of the development of artistic creativity than is an interdependent self‐oriented culture. Other possible explanations, such as differences in people's attitudes toward and motivation for engaging in art activities, or socioeconomic factors might also account for differences in people's artistic creativity.     

Educational Intervention and the Development of Young Art Students' Talent and Creativity

This study focuses on behavior associated with young art students' developing artistic talent (skills and art‐making behavior) and creativity (personal expressions of visual information). The study examines the role of personal expertise in a student's development of problem finding, domain‐specific technical skill, perseverance, evaluation, and creative ideation. The study compares 30 experienced art students' artistic processing and products with those of 29 novice art students. Both groups are 7‐ through 11‐year‐olds. The author recorded participants' behavior as they created drawings in two contexts — from imagination and from life — and three adult artists then assessed the technical skill and creativity revealed in the drawings. Multivariate analyses of the variables associated with the drawing products and processes offer evidence of the changes related to the students' developing expertise in both novice and experienced groups. This study finds that the drawing situation (life or imagination) interacts clearly with the relationships among hypothesized components of creativity, gender, and predictors of expertise. Technical skill, perseverance, modifications, and creativity in drawings from life were significant predictors of expertise. Modifications, efficient problem finding, and creativity in drawings from imagination were additional significant predictors of expertise. Gender was found to be a measurable factor in both the artistic process and the assessments of drawings from imagination. The findings are discussed within the context of three conceptions: artistic talent, developing creativity, and art education.     

Creativity in old age

Sixty elderly subjects (M = 72 years) were tested and interviewed to find out how they experience and come to terms with the advent of illness, aging, and death. The choice of test instruments was steered by the necessity to learn how our subjects handled their anxiety (the Meta‐Contrast Technique [MCT]); to operationally define the concept of self‐image (the Identification Test [IT]); and to illuminate the findings from the perspective of creativity (the Creative Functioning Test [CFT]). The results revealed creativity to be a key factor in aging. The attitude of creative individuals towards aging was less negative and their attitude to illness less defensive. On the whole, their self‐projections were not only more flexible but also more emotional. However, creativity is not uninfluenced by context, particularly when it is of medium strength. The results also revealed that the subliminal messages used in the IT to manipulate the projected self‐image were effective.     

Cultural Influence on Creativity: The Relationship between Asian Culture (Confucianism) and Creativity among Korean Educators

Creativity is a very complex interaction among a person, a field, and a culture (Csikszentmihalyi, 1988). People vary in their native capacity for creativity; however, an individual's interaction with the macrocosm can foster creative expression. East Asian cultures, which include Korean culture, are based upon the principals of Confucianism. The impact of Confucianism on creativity is reviewed and the relationship between Confucianism and creativity was explored in the present study. The study involved comparing 184 Korean educators' scores on a measure of Confucianism (Eastern‐Western Perspective Scale) with their scores on a measure of creativity (Torrance Tests of Creative Thinking‐Figural). The results indicate that Confucianism is negatively related to creativity. Specifically, some elements of Confucianism, Unconditional Obedience, Gender Inequality, Gender Role Expectations, and Suppression of Expression, may present cultural blocks to creativity. Further, Confucianism was found to be negatively related to Adaptive creative type and Creative Streangths, but not Innovative creative type, which indicates that Adaptive creative type may be more sensitive to, and thus more influenced by, culture.     

Conceptualizing Creativity: General and Cultural Biases in Gough's Creative Personality Scale

This study analyzes the validity of Gough's Creative Personality Scale (CPS) for the Adjective Check List (ACL) by using 1773 Swiss, South Korean, and Mainland Chinese students as a sample. Four sources of potential bias were identified in Gough's CPS, two of which are general and two cultural in nature. The two general biases were investigated by conducting correlation analyses and evaluating alternative scoring methods for the CPS. As a result of the first bias, checking a large number of adjectives was found to be more important for achieving a high score than checking the relevant ones. Due to the second bias, the CPS score mostly depends on the number of positive adjectives checked while negative items have little impact. The two cultural biases were analyzed using an implicit version of the CPS (iCPS) and factor analysis. The latter revealed three different clusters of creativity type: exploratory‐type, socially responsible‐type, and intellectual‐type creativity. Based on cultural background, they are all weighted differently, causing a potential experiential bias in the CPS. Findings indicate that in South Korea and Mainland China socially responsible‐type creativity dominates whereas in Switzerland exploratory‐type creativity prevails. Findings from the iCPS suggest the second cultural bias, the socially desirable responding bias arising from differences in responding styles among the three cultures.     

A Cross‐Cultural Study of Task Specificity in Creativity

This study provides new evidence concerning task specificity in creativity—examining through a cross‐cultural perspective the extent to which performance in graphic versus verbal creativity tasks (domain specificity) and in divergent versus convergent creativity tasks (process specificity) are correlated. The relations between different creativity tasks in monocultural and multicultural samples of Chinese and French children were compared. Electronic versions of the Wallach and Kogan Creativity Test (WKCT , W allach & K ogan, 1965; L au & C heung, 2010) and the Evaluation of Potential Creativity (EP oC; L ubart, B esançon, & B arbot, 2011; B arbot, B esançon, & L ubart, 2011) were used. Both measures showed satisfactory psychometric properties and cross‐cultural structural validity. The results showed that culture has an impact on the structure of creative ability: It appeared that correlation patterns were different across Chinese and French groups and across monocultural and multicultural groups. Such results show that it is crucial to take task specificity into account when investigating the effect of culture on creativity. Indeed, our study implies that cultural differences that are found using one specific creativity task might not be automatically generalizable to all sorts of creativity tasks. Limitations are discussed and perspectives for future research on culture and task specificity in creativity are proposed.     

Boundless Creativity: Evidence for the Domain Generality of Individual Differences in Creativity

This study investigated correlates of domain‐general and domain‐specific components of creativity. 158 college students completed a questionnaire that assessed their motivational and personality traits (i.e., intrinsic and extrinsic motivation, creative personality, and originality in word association) as well as intellectual abilities (SAT verbal and quantitative scores). Under two different instruction conditions (standard instruction or explicit “be creative” instruction), students also took a battery of multi‐item, product‐based tests of creativity in three domains (artistic, verbal, and mathematical creativity). Factor analyses showed evidence of domain‐generality of creativity. Furthermore, results from structural equation models showed that motivational and personality traits and intellectual abilities were associated with the domain‐general component of creativity. Only one variable (SAT quantitative score) was found to be associated with the domain‐specific component of mathematical creativity under the explicit “be creative” instruction condition. These results affirm the domain‐generality of creativity and challenge researchers to identify correlates of domain‐specific components of creativity.     

大学生心理健康、创造性人格与创造力关系的模型建构

通过问卷法对我国八大行政区10所不同类型学校的1043名大学生进行调查研究。从创造性思维和创造性人格多侧面认识大学生创造力的特点,从医学模式以及人格角度了解大学生心理健康的状况,在此基础上,借助现代统计技术———结构方程模型,揭示心理健康、个性和创造力之间的关系;将创造力作为内源潜变量,心理健康和创造性人格作为外源潜变量,三者构成的结构模型是可以接受的,该模型表明,大学生的创造力受其创造性人格和心理健康的积极影响。     

Creativity and Intuition Revisited

This study used the recently revised Myers Briggs Type Indicator (MBTI) and a variety of validated creativity measures to replicate a classic finding — that sensing‐intuition predicts creativity — and to evaluate whether the other MBTI scales add to the prediction of creativity. 94 undergraduates completed the MBTI (form M self‐scorable) and criterion measures including the Creative Personality Scale, an abbreviated Creative Behavior Inventory (self‐reported past accomplishments) and the Test of Creative Thinking‐Drawing Production (creative product ratings using consensual assessment). Results showed that intuition predicted all three criteria but that, contrary to expectation from past research, judging‐perceiving did not add to the prediction model. Thinking‐feeling emerged as a possible suppressor variable. We suggest that judging‐perceiving predicts creativity as an artifact of its relation with intuition and that the combination of intuition and feeling best characterizes high scorers on a composite creativity measure.     

Leader Creativity as a Predictor of Leading Change in Organizations1

This investigation examined leader creativity, broadly conceptualized as a confluence of personal attributes, as a predictor of leading change in organizations. Because organizational change occurs primarily in the social system in support of the technical system, the role of social‐emotional competency was also examined. Two correlational studies were conducted in samples of U.S. Army officers. As predicted, leader creativity was a significant predictor of leading change. Creativity measures explained 42% of the variance in leading change performance measures in novice officers and 71% of the variance in early‐ to mid‐career officers. Social‐emotional competency was also a significant predictor of leading change, but less than creativity. “The art of the creative leader is the art of institution‐building, the reworking of human and technological materials to fashion an organization that embodies new and enduring values” ( Selznick, 1957 , pp. 152–153).