Effects of Association Instruction on Fourth Graders' Poetic Creativity in Taiwan

In this study, we used a quasi-experimental pretest–posttest mixed design to assess the effect of association instruction on students' poetic creativity. Creativity was judged using the consensual assessment technique. A total of 64 fourth-grade students from two intact classes participated in the study. One class was assigned to the experimental group (n = 34) and the other to the control group (n = 30). Weekly for 5 weeks, the experimental group received 30 minutes of instruction in forming associations, and then each student composed a Chinese free verse based on a given association theme. The control group received traditional writing lectures prior to composing Chinese free verses. Three groups of judges assessed the completed poems (a total of 320 poems), evaluating their creativity on 14 dimensions. The judges included three expert teachers with at least 10 years of teaching experience in Chinese, three teachers who had won awards in nationwide Chinese writing contests, and three professors of children's literature; the overall inter-rater reliability was .85. The experimental group showed greater creativity compared to the control group in number association (d = 1.09), picture association (d = 0.62), and free association (d = 1.07). This article also discusses how to select judges, assessment criteria for children's poetic creativity, and techniques for association instruction to enhance children's poetic creativity.     

Building Institutions for the Next 50 Years of Creativity Research

The Journal of Creative Behavior 's remarkable half‐century is a good occasion for reflecting on the role of a scholarly field's institutions in fostering creative work. In creativity studies, some of our institutions are flourishing, particularly our many excellent peer‐reviewed journals. But we face some institutional challenges that will require some creative solutions from creativity researchers. This article considers three challenges: (a) how to train and place the next generation of scholars when so few creativity researchers work at doctoral‐level graduate programs; (b) how to tighten the field's social network by bringing together people from different subfields and career stages in face‐to‐face gatherings; and (c) how to identify and develop the leadership needed to manage our scholarly organizations.     

Never Ending Stories? Hebrew Writers' Creative Journey in the Second Half of Life

This qualitative study explored the relationship between creativity, time, age, and the literary world among 16 award-winning Israeli writers in the second half of their lives. Based on data collected through in-depth interviews with the participants, the findings indicate that the writers' creativity in the second half of life was linked to Preservation, Growth, and Decline, leading to four interrelated dimensions: (a) preserving youth through creativity, (b) enhancing creativity over time, (c) navigating creativity, acclaim, and ageism, and (d) managing creativity amidst a changing world. The study found that the writers' creativity was enhanced over time, as they gained experience and developed their skills. However, some writers experienced a decline in stamina or their ability to write long novels. The study also found that the writers' experiences of acceptance from the literary world and the audience changed over time. Some writers continued to receive acclaim and attention, while others experienced ageism and a decline in the audience's interest in their work.     

The Structural Relationships of Parenting Style,Creative Personality,and Loneliness

The purpose of this study was to examine the nature of the relationships between children's reports of their mother's and father's parenting style (leniency and acceptance), teacher's reports of children's creative personality, and teacher's reports of children's loneliness in school in a sample of South Korean sixth graders (N = 421). Using structural equation modeling, the results showed that parenting styles that reflected higher levels of leniency were associated with higher levels of loneliness and no relationship with children's creative personality. Parenting styles that reflected higher levels of acceptance were associated with higher levels of creativity in their children, but did not have a direct effect on loneliness. However, there was an indirect effect; the relationship between acceptance and loneliness was mediated by creativity.     

THE POWER OF RELIGIOUS NATURALISM IN KARL PETERS'S DANCING WITH THE SACRED

Abstract. This essay is an appreciative engagement with Karl Peters's Dancing with the Sacred (2002). Peters achieves a naturalistic theology of great power. Two themes are covered here. The first is how Peters gives ontological footing for a naturalistic conception of God conceived as the process of creativity in nature. Peters achieves this by conceiving creativity in terms of Darwinian random variation and natural selection combined with the notion of nonequilibrium thermodynamics. He gives ontological reference for a conception of God similar to Henry Nelson Wieman's idea of creative transformation. The second theme is how Peters succeeds in translating this nonpersonal conception of God into a powerful view of naturalistic religion that can shape a religious form of life. The key is that Peters's God can be understood as present in experience. Peters provides naturalistic interpretations of grace and the cruciform structure of creativity; the latter addresses the problem of evil in a nuanced fashion. I conclude with three critical comments about Peters's environmental ethics, his use of the notion of mystery, and his failure to have a robust conception of human fault or sin.     

Through Multiple Lenses: Implicit Theories of Creativity Among Indian Children and Adults*

This constructivist qualitative enquiry reveals a multiplicity of implicit theories of creativity extant in Indian culture with generic and domain specific usage of indigenous terms. Creativity was dominantly construed as a faculty of the nature of ‘pratibha’, in keeping with Indian philosophical thought, and with reference to the self, with participants invoking the holistic self, cognitive self, experiential/emotional self and physical self to describe creativity. The sense of creativity in these seemingly disparate, self‐based construals, the uncovering of which is the unique contribution of this study, derived from the person's experience of a sense of agency, rather than merely the production of novelty per se. This emphasis on process; novelty being central for some but epiphenomenal for others; the varied meanings of ‘newness’; experiencing creativity as self‐expression, self‐extension, self‐fulfillment and self‐actualization; and equating creativity with the act of learning reflect distinctive elements of implicit theories that have emerged in this study.     

Creativity and the artwork: the perspectives of a painter and a philosopher

Creativity in Robert Henri's view is a gratuitous act, shot through with mystery; what is left after such an act is the artwork itself as concrete evidence that such a heightened state of consciousness has been achieved. This paper will examine Henri's understanding of the nature of creativity from his perspective as a twentieth century New York painter, in conjunction with Eliot Deutsch's theoretical insights as a philosopher deeply interested in the nature of the experience of an artwork. In his Essays on the nature of art, Deutsch presents the view that the experience of an artwork involves the assimilation of the work's aesthetic force, the recognition of its meaning, the discernment of its formal dimensions, and ‘calls for a special appropriation that yields an integrated wholeness’. This paper presents commonalities between Henri's and Deutsch individual perspectives and discusses some value‐centred educational implications that could be drawn from these commonalities.     

Motor Creativity and Self-Concept

Creative children often have difficulty in forming their self-concept because parents may suppress their creative ideas. The purpose of this study was to investigate the relationship between motor creativity and self-concept. Wyrick's Motor Creativity Test and the Pictorial Scale of Perceived Competence and Social Acceptance for Young Children were administered to a sample of 414 children aged from 6 ± 0.3 years to 7 ± 0.3 years. Factor analysis for the self-concept measures revealed a 4-factor solution. The amount of variance explained by all 4 factors was 30.28% with the first factor explaining most of the variance (18.2%). Correlation analysis related motor creativity with the self-concept factors, and specifically with the first factor. It seems that perceived maternal acceptance has a significant role in explaining children's motor creativity.     

Discussion: The Analyst's Involvement in the Creative Aspect of Analysis

Recent formulations on the psychology of creativity in the analytic context, such as Albert Rothenberg's “homospacial thinking,” Arnold Modell's “unconscious metaphoric thought,” and Thomas Ogden's “transformational thinking,” are discussed. These concepts enable previously unconnected experiences to be combined within the mind, while emphasizing interpersonal imaginative processes such as identification and empathic knowledge; the dual cognitive features of these formulations permit awareness of the complexity of feelings in oneself and others, essential for psychoanalytic creativity. Further, the articles in this issue are synthesized, highlighting the importance of the analyst making creative (new and valuable) use of his or her entire life experience, feelings, attitudes, and fantasies in treatment. From this dicussion, it is evident that the analyst's creative use of self should be more systematically incorporated into psychoanalytic theory of technique.     

The Influence of Openness to Experience on Perceived Employee Creativity: The Moderating Roles of Individual Trust

In this paper, we explain the influence of co‐worker trust on the effect of employees' openness to experience on their perceptions of their own creativity. We surveyed 199 working professionals in Ireland and found that openness to experience was positively associated with both employees' perceptions of their radical creativity and incremental creativity. In addition, the relationship between openness to experience and incremental creativity was negatively moderated by cognition‐based trust in his or her co‐worker. In conclusion, we discuss the theoretical and managerial implications of our findings and highlight directions for future research.     

The Optimal Age to Start a Revolution

Previous research on the relationship between age and creativity has shown that career age, rather than chronological age, correlates best with longitudinal changes in creative productivity. Recently, Dietrich (2004) proposed a new theoretical framework that integrates cognitive neuroscience with the findings of creativity research. By identifying distinct neural mechanisms that might underlie different types of creative mentation, this framework makes empirically testable predictions about the relationship between age and creativity. In this paper, we report the results of such a test and question the concept that creativity is a function of career age for a special, but crucial instance. In the case of revolutionary science or significant innovative discoveries, as opposed to paradigmatic science, discoveries are almost exclusively made by individuals who are young, both in terms of career and chronological age. These results remain robust even when taking into account the proportion of young scientists in the population of scientists. Neuroscientific data shows that a decline in prefrontal cortex function due to aging causes perseveration, the antithesis of creativity. Consequently, we interpret our findings that paradigm‐busting ideas occur overwhelmingly to people in their 20's and early 30's, as indication that a nimble prefrontal cortex, and thus chronological age, is a critical factor.     

Which Chinese Creators are Famous and why: Views from Hong Kong and Mainland Chinese Students

The list of recognized creators is constantly changing with the passage of time. An up-to-date list of recognized Chinese creators emerges from a survey of a large sample of Chinese students in various places in China. To understand the sustain-ability of the creators' fame, this study examines how the creators' personal characteristics affect their fame, creativity, social contribution, and esteem, based on the students' viewpoints. Results show that scientists, compared with other professionals, consistently maintained higher fame, creativity, and social contribution. This finding is consistent with the emphasis on science, rationality, and objectivity in modern education as well as the meritorious evaluation bias in perceiving the utility of creativity in Chinese society. The creator's creativity showed an inverted-U shaped relationship to fame. Hence, a moderate level of creativity was associated with the highest fame in the creator. There were some differences between Hong Kong and Mainland Chinese students' perceptions of the sustainability of fame, which is largely attributable to the influence of commercialism in Hong Kong.     

Presymbolic Processes in Scientific Creativity

Most accounts of scientific thinking emphasize the role of symbolic recombinations as the source of creativity. This misses the important role that presymbolic processes may play. This article argues that the relative neglect is, in part, due to erroneous models of explanation, which dominate much of the literature, and argues instead for a model of explanation based on an analogy to dynamic physical systems. As an example, some of Michael Faraday's work is described and analyzed using dynamic approaches in an informal manner. The results suggest that, using William James's (1890) phrasing, it is possible to seek a 'reinstatement of the vague to its proper place in the mental life.'     

A Dangerous Subject: The Fashion Model and the Beauty/Narcissism Double Bind

In the wake of modernity, women's sexuality was positioned in a way that created a beauty/narcissism double bind that is still with us today. My concern in this article is that the subject position of “fashion model” serves as a constant reminder of this split, which is directed at all women and weakens the generalized woman's political agency. Fashion models themselves experience harassment and humiliation as well as pleasure and desire in their work as fashion models. However, the small portion of feminist work that has engaged explicitly with the fashion‐model business sees it mainly as an enterprise that is alienating and hostile to women. Although I do not entirely disagree with this analysis, it neglects the meaning of beauty and what beauty does to us with regard to creativity and pleasure. I wish to explore how some of the work experience of fashion models intersects with and challenges the beauty/narcissism double bind. I suggest that rather than grounding our understanding of the subject position “fashion model” and the fashion business solely in their reinforcement of the beauty/narcissism double bind, we should pay attention to the importance of what beauty and aspects of narcissism may mean.     

Social Values and the Creative Ethos in the Greek Knowledge Society: A Phenomenological Analysis

Departing from Richard Florida's theory of the Creative Class, this article attempts to delineate the Greek creative ethos. The research involved in-depth interviews with knowledge and service workers in Greece. Adopting an existential view of creativity, which emphasizes the natural human inclination to create and engage with one's acts, and using valuing processes as tools to analyze workers’ discourses opens up the elements that underpin workers’ efforts to experience authenticity across life spheres and construct the meaning of work and good living. These efforts were sketched against a backdrop of adverse lived realities and intersected with anxious, alienated, and disempowered constructions of selfhood. Contrary to Florida's claims, the present article goes beyond positions of more or less creative workers and examines the various meanings of creativity underpinned by different lived realities.     

Teachers’ Perceptions of Creativity in the Classroom

Teachers’ implicit understandings of creativity may not align with current research-based understanding of creativity and characteristics associated with creative students. Even teachers who say they value creativity may actually find creative characteristics undesirable. Participating teachers (n = 371) rated student characteristics on a scale of very undesirable to very desirable. Participants also completed a brief self-assessment of personal creativity and rank-ordered a set of educational objectives based on what they perceived as most important. Results indicated that teachers found student characteristics associated with creativity less desirable than those characteristics contraindicative to creativity (d = 2.70). No effects were found based on the grade level (d = 0.07) and small effects were found for subjects taught (η² = 0.023). Similarly, no effects were found for the teachers’ level of experience (η² = 0.004) or age (η² = 0.002). Teachers’ level of personal creativity was related (r = .248) to how desirable they rated student characteristics associated with creativity, but the importance with which teachers ranked creative thinking had small effects (η² = 0.04) on how desirable they found characteristics associated with creativity. These results generally confirm previous studies and suggest that teachers’ grade level, subject, experience, and age have no effect on their perception of creative characteristics. However, some evidence suggests that teachers who are more creative find student characteristics associated with creativity more desirable in class.     

THE USE OF THE ANALYST AND THE SENSE OF BEING REAL: THE CLINICAL MEANING OF WINNICOTT'S “THE USE OF AN OBJECT”

“The Use of an Object and Relating through Identifications” (1968) represents Donald Winnicott's theoretical and clinical legacy. The author develops this concept from a clinical point of view, through the analysis of a woman with psychotic functioning. He reflects upon the dramatic quality of risks inherent in the processes linked to the use of the object with seriously disturbed patients. He explores different meanings of the analyst's survival, linking it to the analyst's response. The processes of the use of the object—that is, the encounter between the patient's potential destructiveness and the analyst's capacity to respond through his own judicious subjectivity—let the patient experience the analyst's capacity to keep his own subjectivity, authenticity, and creativity alive. It is starting from the traces of this live object that patients gradually form their own personal sense of being real.     

Student essay competition prize winner creativity and inhibition: A comparison of freud and klein

Abstract

This essay reviews Freud's and Klein's approaches to the question of the nature of creativity. It attempts to show that a fuller understanding of creativity involves some linking between these two apparently divergent approaches. The work of Marion Milner and the Winnicottian School is suggested as a possible way forward in our understanding.