A Creative Model: The Three-Selves

This article presents a Three-Selves Model illuminating ways the self can be expressed: closed, absorbent, and flexible. This model integrates three counseling approaches which are described, and a creative poster is offered to illustrate the model. Then, the model is applied to a hypothetical case to reveal how the model can promote awareness, congruence, and choice.     

A Two Factor Taxonomy of Creative Bechavior

Two empirical studies examined the similarities and differences between creative professionals in science and art. In the first, 16PF personality profiles of industrial scientists, musicians and artists, and general undergraduates (N = 99) showed no difference between scientific and artistic groups on the Creativity composite index, and both groups differed significantly from general undergraduates. There were a few significant differences on specific traits, however. In the second study, self-reports of involvement in creative behavior collected from larger similar samples (N = 590) were factor analyzed. Two distinct but correlated factors (r = .32) emerged that separated artistic from scientific and business activity. The results indicated that people who specialize in one content domain often make contributions in other domains as well.     

On Pedagogy of Personality Assessment: Application of Bloom's Taxonomy of Educational Objectives

In this article, Bloom's (1956 Bloom, B. (Ed.), Englehart, M. D., Furst, E. J., Hill, W. H., &; Krathwohl, D. R. (1956). Taxonomy of educational objectives: Handbook 1. Cognitive domain. White Plains, NY: Longman. [Google Scholar]) Taxonomy of Educational Objectives, a pedagogical tool that can help instructors of personality assessment to develop effective and student-centered instructional design, is discussed. Bloom's taxonomy provides a progressive sequence of educational objectives used for lesson planning, needs assessment, and measurement of learning outcomes. The taxonomy comprises 6 categories of objectives that are ordered hierarchically, from the simplest to the most advanced. The levels are knowledge, comprehension, application, analysis, synthesis, and evaluation. I explain how the taxonomy can be applied to the teaching of personality assessment and discuss the implications for assessment pedagogy. I provide examples of effective instructional activities, overview the signs of learners at each level, and highlight typical errors that students make in their oral and written work. Strategies to help learners progress to higher order thinking are also addressed.     

身体表征的分离:二分解释模型及其证据

身体表征是一种内部结构,它具有追踪身体状态并对其进行编码的功能。这种结构可以对身体进行错误的表征,并可以从身体中分离出来。来自海豹肢症与躯体失认症等方面的病例,证实部分身体畸形与脑损伤患者的身体表征存在分离;来自橡胶手错觉与全身错觉的实验证据,验证了健康个体身体表征分离的事实。基于上述证据,以身体图式和身体意象为二分维度的模型解释了身体表征的分离。未来的研究可以从神经心理学实验和虚拟现实技术着手,对身体表征的分离进行深入探究。     

The Point of Creative Frustration and the Creative Process: A New Look at an Old Model

An extension of Graham Wallas's model of the creative process is presented. Wallas's stages of preparation, Incubation, Illumination and Verification are reviewed, extended and integrated with the present model. Periods of Problem-Solving, Incubation and Growth are established with specific points of Initial Idea Inception, Creative Frustration and Illumination. The idea that a specific point of creative frustration occurring within the creative process is introduced. Responses to the Point of Creative Frustration are proposed: Denial, Rationalization, Acceptance of Stagnation and New Growth. The significance of the extended model is discussed.     

The Creative Identity: Creative Behavior From The Symbolic Interactionist Perspective

This paper outlines a framework for understanding the motivation of certain creative behaviors from the perspective of symbolic interactionism. The fundamental tenets of symbolic interactionism are described, followed by a discussion of the mechanics of symbolic interactionist-based role-identity theory, and how the theory can be applied to the motivation of creative behavior. The paper also addresses directions for practical application and future research in this area.     

修订的布卢姆目标分类与加涅和安德森学习结果分类的比较

本文首先阐述了对新修订的布卢姆认知教育目标分类学与加涅和安德森的认知学习结果分类进行比较研究的缘由;然后分别概述这三个分类理论;接着就他们分类的异同进行比较,以沟通_三者关系;最后表明,应该将教学目标与学习结果分类理论相沟通才能有效运用目标分类学指导教学目标、策略和评估的设计.     

The Road to Creative Achievement: A Latent Variable Model of Ability and Personality Predictors

This study investigated the significance of different well‐established psychometric indicators of creativity for real‐life creative outcomes. Specifically, we tested the effects of creative potential, intelligence, and openness to experiences on everyday creative activities and actual creative achievement. Using a heterogeneous sample of 297 adults, we performed latent multiple regression analyses by means of structural equation modelling. We found openness to experiences and two independent indicators of creative potential, ideational originality and ideational fluency, to predict everyday creative activities. Creative activities, in turn, predicted actual creative achievement. Intelligence was found to predict creative achievement, but not creative activities. Moreover, intelligence moderated the effect of creative activities on creative achievement, suggesting that intelligence may play an important role in transforming creative activities into publically acknowledged creative achievements. This study supports the view of creativity as a multifaceted construct and provides an integrative model illustrating the potential interplay between its different facets. © 2013 The Authors. European Journal of Personality published by John Wiley & Sons Ltd on behalf of European Association of Personality Psychology.     

The Creative Brain/The Creative Mind

In the past few decades, neuroscience research has greatly expanded our understanding of how the human brain functions. In particular, we have begun to explore the basis of emotions, intelligence, and creativity. These brain functions also have been applied to various aspects of behavior, thought, and experience. We have also begun to develop an understanding of how the brain and mind work during aesthetic and religious experiences. Studies on these topics have included neuropsychological tests, physiological measures, and brain imaging. These different techniques have enabled us to open up a window into the brain. It is by understanding the functioning of the creative brain that we begin to understand the concept of the creative mind. It is through the use of emotions and other higher cognitive functions that the brain and mind can create ideas, music, literature, and ultimately our entire repertoire of behaviors. How these different creative abilities are derived can also be traced to various parts of the brain and how they function. Modern neuroscience allows us to begin to understand the creative aspect of the brain and mind and perhaps can take us one step further toward understanding the most profound types of aesthetic and religious experiences.     

创造性人格与员工创造力:一个被调节的中介模型研究

本文基于动机行动和成就动机理论,构建一个被调节的中介模型以检验创造性人格对员工创造力产生的作用机理。以251套来自主管-下属配对的问卷数据为样本,实证分析结果表明:创造性人格可预测员工创造力产生,学习目标导向与绩效证明目标导向在两者之间起部分中介作用;内在动机能够强化个体目标导向对创造力的作用,并显著正向调节创造性人格对员工创造力的间接效应。最后,论文讨论了研究发现对员工创造力产生的理论和实践意义。     

Creative Potential and Multicultural Experiences: The Mediating Role of Creative Self-Efficacy

In two studies, one in Mexico and another one in Germany, we examined the indirect influence of self-reported multicultural experience on creative potential, through its influence on creative self-efficacy, and its direct influence on creative personal identity. In both studies, business students from Mexico and Germany completed a battery of questionnaires assessing creative self-efficacy (with two different operationalizations), creative personal identity, multicultural experiences, and a divergent thinking task designed to generate ideas to solve two different business problems. Structural equation modeling was used to test our hypotheses. Results from both studies found a positive relationship between self-reported multicultural experiences and creative personal identity. Similarly, multicultural experiences had an indirect, positive relationship with originality scores from a divergent thinking task, through its influence on creative self-efficacy. Hence, the positive influence of multicultural experience on creative potential, through creative self-efficacy, was established in two countries and with different operationalizations, trait like versus state like, of creative self-efficacy. The implications of the results were discussed.     

A Model of Chinese Adolescents' Creative Personality

Since the 1950s, there has been a systemic development of research on creative personality. Three themes are apparent in this literature: individual differences of creative people, the construct of creative personality, and longitudinal studies about creative personality. However, little research has been conducted in any of these areas with Chinese samples, and the purpose of this study is to study the construct of Chinese adolescents' creative personality. Confirmatory factor analyses were conducted with data from 1,300 Chinese adolescents. The results provide evidence that adolescents' creative personality consists of three largely independent dimensions: Internal, External, and Self. The internal factor includes self-confidence, norm-doubt, internal motivation, and persistence; the external factor includes curiosity, risk-taking, openness and independence; the self factor pertains to self-acceptance.     

The Order Matters: Asking About Creative Activity Calibrates Creative Self-Concept

People tend to perceive and assess their own creativity in a positive, yet not always accurate, way. This study explores whether differences in self-ratings of the creative self-concept (creative self-efficacy and creative personal identity) are related to the sequence in which self-report measures are applied: the order effect. A randomly chosen half of a representative sample of Poles, contacted via a telephone interview, answered the items related to their creative self-concept first, followed by the items related to their previous creative activity. Another half of the sample completed these measures in a reversed order: The creative activity scale was completed first and then creative self-concept items were asked. The results demonstrated that people who were first asked about their previous creative activities reported a lower level of creative self-efficacy and creative personal identity than those asked about their creative self-concept first. Further analyses demonstrated that creative activity moderated this pattern: Participants without previous creative activity and those who engaged solely in everyday creative activities in the past, were susceptible to the order effect, but this effect was not observed among the participants with previous experience in art or science.     

The Dynamics of Creative Self-Concept: Changes and Reciprocal Relations Between Creative Self-Efficacy and Creative Personal Identity

Although creative self-concept constructs are intensively studied in the creativity literature, little is known about the dynamics of their changes during the life span and the relationships between different aspects of the creative self-concept. Using a longitudinal and a cross-sequential design, this investigation aimed to test changes in two important creative self-concept constructs—creative self-efficacy and creative personal identity—over short (6 months) and longer (20 months) periods of time, while simultaneously examining reciprocal relationships between them. The results showed the short-term stability of both constructs, but they also revealed significant change over the longer period―specifically, a growth of creative self-efficacy and creative personal identity in people from late adolescence to early adulthood and a drop among older participants. Reciprocal longitudinal relationships between creative self-efficacy and creative personal identity were also demonstrated, with creative self-efficacy being a more stable predictor of creative personal identity than the reverse.