教师的创造力内隐理论

创造力内隐理论是指一般公众（专家和外行人）在日常生活和工作背景下所形成的,且以某种形式存在于个体头脑中的关于创造力概念、结构及其发展的看法。教师的创造力内隐理论对学生创造力的培养和发展起着至关重要的作用。本文从教师对创造力的理解、创造性学生的态度和创造力培养观三个方面对该领域的研究进行综述,以期为我国开展此领域的研究提供一些借鉴。     

内隐领导理论:认知革命在领导研究领域的新拓展

以认知心理学理论为基础的内隐领导理论研究近十几年来引起人们极大的兴趣,逐渐成为领导研究的新热点.本文通过对该领域当前最新研究成果的回顾与思考,探讨了内隐领导理论的概念、结构、一致性与影响因素,并提出了实践与未来研究的建议.     

内隐追随理论:概念、测量、前因及后果

内隐追随理论,是个体心目中既存的关于追随者的特质和行为的认知结构或图式,是当前组织行为研究领域中的一个新兴的概念。内隐追随理论与X-Y理论、内隐绩效理论等既有区别又有联系。内隐追随理论研究的理论基础主要可归纳为认知分类模型、信息加工模型及联结主义网络模型等。现有研究还对内隐追随理论的测量、前因变量和后果变量等进行了初步的探讨。未来研究中,可能会注重开发更有效的测验工具,深入探索影响内隐追随理论形成的因素,采用多种方法进一步澄清变量间的因果联系,以及加强内隐追随理论的本土化研究等。     

创业团队目标导向、内隐协调与创造力的关系研究

基于目标导向理论和内隐认知理论,探讨了团队目标导向对团队创造力的影响,以及内隐协调在其中所起的作用。通过分析参加浙江省大学生挑战杯创业大赛的100个团队的有效数据,得出团队学习目标导向和团队绩效趋向目标导向能够正向影响团队创造力,团队绩效规避目标导向能够负向影响团队创造力;团队学习目标导向和团队绩效趋向目标导向对内隐协调产生显著正向影响;内隐协调分别在团队学习目标导向和团队绩效趋向目标导向与团队创造力的关系中起完全中介作用的结果。     

成人日常问题解决的老化研究

日常问题解决能力是近十几年来老年心理学中研究比较活跃的一个领域。本文介绍了有关日常问题解决研究的四种理论,即心理测量的智力内隐理论、形式后思维的辨证思维理论、信息加工理论和社会认知与智慧理论,及其初步的研究成果,并进一步指出在理论上整合和在实践中开展干预的研究方向。     

内隐关系评估程序:内隐态度测量的新方法

内隐关系评估程序(implicit relational assessment procedures,简称IRAP)是Barnes等人于2006基于关系结构理论(relational frame theory,简称RFT)提出的一种全新的测量内隐态度的研究方法,该方法采用的是一种计算机化的判断任务,以反应时为指标,被试通过对目标词进行关系判断,从而考察个体的内隐态度.本文主要阐述内隐关系评估程序的由来、关系结构理论与内隐关系评估程序的操作,并对内隐关系评估程序的性能和应用等进行了介绍.     

自然科学概念形成过程中外显与内隐学习的比较

本研究选取真实的自然科学概念来对概念形成过程及其中的外显与内隐学习进行实验性探索．证明了自然科学概念形成过程中内隐学习的存在;阐释了概念形成过程中内隐学习的效率可与外显学习不相上下;揭示了真实的自然科学概念形成过程是由渐进期——高原期——突变期三个阶段构成的．不论外显学习还是内隐学习,接近真理的路径十分相似,并且没有显著的性别差异;此外还发现自然科学概念的内隐学习可以有效地用语言启动。本研究结果对心理学和自然科学教学均有理论价值与实践意义。     

自我理论研究及其对教育的启示

自我理论是指人们关于自我的信念体系或内隐理论。德韦克等人自20世纪60年代末开始系统研究自我理论对人的认知、情感与行为的影响及其发生发展的机制,并构建了基于自我理论的动机模型。本文试图对其研究成果做一简要介绍,并浅析自我理论研究成果对教育工作的启示。     

两岸四地大学生对创造力特征及创造力 人才的认知调查

该研究表明,北京、广州、香港和台北的大学生在对创造力和创造力人才的内隐认知甚为一致。其中北京和广州大学生的内隐认知更为接近,而香港和台湾大学生的内隐认知更为接近。在对高创造力特征的内隐认知上,四地大学生一致看重的条目有：有创造力、有创见、创新、有观察力、有思考力、愿做尝试、灵活性、有自信、有想象力、有好奇心、有个性和有独立性等。而在对低创造力表现的内隐认知上,四地大学生的一致认同的条目有：呆钝、保守、跟随传统和愿做让步。在对创造力人才的认知上,四地的大学皆首推政治名人,次推科技界名人。四地大学生最不看重的创造力人才是艺术界和音乐界名人。这说明,两岸三地的中国人虽然分离长久,但其对创造力的认知上仍相当一致,都甚看重政治与科技人物的影响。     

青少年科学创造力的理论研究与实践探索

系统梳理了20年来青少年科学创造力的理论研究与实践探索,包括概念与结构、测量与发展、影响因素和机制、培养思路与模式等,分析了科学创造力研究的趋势,提出了若干重要的研究方向。在未来的研究中,要加强几个方面的研究工作,即科学创造力的认知神经机制研究,科学创造力的基因组学研究,基于情境和内容的科学创造力研究,教学活动或项目促进科学创造力发展的神经可塑性机制研究,以及基于聚合科技的科学创造力培养。     

Do People Use Their Implicit Theories of Creativity as General Theories?

This study examines whether people use the general implicit theories of creativity or not when applying them to themselves and others. On the basis of the actor–observer asymmetry theory, the authors propose that conception of creativity would be differently constructed depending on the targets of attention: general, self, and other. Three studies attempted to examine this hypothesis. In the preliminary study, a measure was developed to assess the characteristics that describe general creativity. In Study 1, exploratory and confirmatory factor analyses found the conceptual factors of general creativity. In Study 2, the common and specific factors of general, self, and others’ creativity concepts were compared through invariance tests. As a result, it was revealed that the invariance test failed, which means that the general conception of creativity may not be applicable to monitor self and others’ creativity in a consistent way. Implications and limitations of this study are discussed at the end of the study.     

Are Teachers' Implicit Theories of Creativity Related to the Recognition of Their Students' Creativity?

We examine the structure of implicit theories of creativity among Polish high schools teachers and the role those theories play for the accuracy of teachers' assessment of their students' creativity. Latent class analysis revealed the existence of four classes of teachers, whose perception of a creative student differed: two of these classes defined a creative student incoherently with the existing theories of creativity, and the other two classes did that in accordance with Kirton's (1976) theory of creativity styles, that is, as adaptors or innovators. Teachers who perceived a creative student as an adaptor tended to more accurately assess the creativity of females, whereas teachers perceiving a creative student as an innovator more accurately assessed the creativity of males. We discuss the theoretical and practical consequences of these findings.     

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.     

Psychoanalytic observations on musical creativity

The author applies concepts of creativity, developed in regard to literature and graphic arts, to the field of music. He refers to Sterba's concept of "regressive self passage" as an explanation of musical creativity. Modern theories of narcissism as well as composers' personal accounts are incorporated into the argument.     

A Review on the Study of Creativity in Singapore

This paper reviews the study of creativity in Singapore. Three questions are asked. What is the current status of the study of creativity in Singapore? What kinds of creativity studies have been conducted? What are the future directions of Singaporean creativity research? PsycLIT and Eric databases, as well as resources in Singapore libraries such as journals, proceedings, and books are searched. The study of creativity is grouped into five categories, namely conceptual framework, conceptions of creativity (empirical), creative competence (empirical), creativity programs, and creative pedagogy. This review intends to contribute to the literature of creativity and the understanding of human creativity. Future directions of Singapore's creativity research should address several issues including theories or models, methods and instruments, the sample, research agenda, and research network.     

Why concepts can't be theories

In this paper, I present an alternative argument for Jerry Fodor's recent conclusion that there are currently no tenable theories of concepts in the cognitive sciences and in the philosophy of mind. Briefly, my approach focuses on the ‘theory-theory’ of concepts. I argue that the two ways in which cognitive psychologists have formulated this theory lead to serious difficulties, and that there cannot be, in principle, a third way in which it can be reformulated. Insofar as the ‘theory-theory’ is supposed to replace, and to rectify the problems of, the earlier ‘classical’ and ‘probabilistic’ theories, its failure confirms Fodor's original observation. Since my critique does not rest on controversial philosophical assumptions and is readily available from within the cognitive sciences, it is a stronger argument than Fodor's.     

Dissociable neural systems for analogy and metaphor: implications for the neuroscience of creativity

Two recent reviews of the neuroimaging literature on creativity have pointed to inconsistent findings across studies, calling into question the usefulness of the theoretical constructs motivating the search for its neural bases. However, it is argued that consistent patterns of neural activation do emerge when the cognitive process and the neuroimaging method are kept uniform across studies. To demonstrate this empirically, the activation likelihood estimation (ALE) method was used to conduct quantitative meta-analyses of functional magnetic resonance imaging (fMRI) experiments of analogy and metaphor - two processes related to creativity and included in the recent reviews. The results demonstrated that analogy and metaphor reliably activate consistent but dissociable brain regions across fMRI studies. The implications of the findings for cognitive theories of analogy and metaphor are discussed. Furthermore, these results demonstrate that to the extent that creativity has heterogeneous sources, its neural instantiation will vary as a function of the underlying cognitive processes.     

On the logic of psychoanalytic theory

Psychoanalytic theory shows some specific features and problems. It exists in a number of variations, according to different schools as well as cultural and subcultural conditions, with different understandings even of core concepts. Instead of producing definite knowledge, results remain uncertain. They vary in use and imply a permanent reworking of ideas and conceptions. This is the effect of the kind of theory psychoanalysis has to use. Since psychodynamics are a special kind of heterogeneous, changing, always different, emergent-in a word, autopoietic-reality, psychoanalysis cannot use the methods of a denotative theory (algorithmic reduction leading to strictly defined and formulated calculations) but has to use connotative theories. Connotative theories use open concepts which provide an active and flexible access to autopoietic reality. They are able to cope with the difference between singularities as well as with the distance between general logic and empirical reality. Problems tied to this possibility are structural fuzziness, a dependence on forms of use, multiple paradigms and difficulties in legitimation and balance of theories. This causes problems of institutionalisation. These problems are not a sign of immaturity but the normal way in which connotative theories appear and develop. They can therefore not be eliminated but only be treated in a better way.