当前俄罗斯维果茨基心理学思想研究的现状

当前俄罗斯维果茨基心理学思想研究的现状表现为：(1)对维果茨基心理学遗产的整理出版及其现代意义的研究;(2)维果茨基心理学思想发展阶段与维果茨基概念的逻辑结构研究;(3)对维果茨基心理学思想的发展;(4)俄罗斯心理学界对维果茨基及化历史心理学的批评。作认为,在当前俄罗斯对维果茨基的研究远不及西方“维果茨基热”有其重要的原因：当前俄罗斯的社会现实因素;西方维果茨基热是由于西方心理学自身的缺陷;与现代西方心理学的化转向有关。     

Revisiting the Investment Theory of Creativity

This research further examines Sternberg and Lubart's (1995) investment theory of creativity by testing the newly constructed Multifaceted Assessment of Creativity (MAC). The MAC measures the extent to which people take into account the 6 resources for creativity (intelligence, knowledge, intellectual styles, personality, motivation, and environment) when they evaluate (a) hypothetical cases and (b) the importance of the six resources for identifying creativity. Two forms of the MAC (one assessing school boys and the other assessing school girls) were administered to 270 (120 male and 150 female) Chinese university students. Overall, results strongly supported the investment theory of creativity. Meanwhile, the 2 types of evaluation tasks yielded diverse results centered on the importance of intelligence and of styles. Furthermore, differential expectations were expressed for boys versus girls regarding what counts in creativity.     

Domain Specificity and the Limits of Creativity Theory

A growing body of research evidence suggests that creativity is very domain‐specific and that domain‐general skills or traits contribute little to creative performance. The term “creativity” is a convenient term for collecting many interesting artifacts, processes, and people into a single category, and the term “creative thinking skills” may be a useful way to connect a diverse set of unrelated cognitive processes that operate on different content and in different domains. These concepts are misleading, however, because although they connect things that may seem similar to observers, they lack any underlying cognitive psychological validity. This has implications for the ways we understand and assess creativity, and also for how we should direct our efforts to develop creative‐thinking skills in diverse domains. Creativity training needs either to target the domains in which creativity enhancement is desired or to use a wide range of activities in diverse domains if the goal is more general improvement in many domains. Creativity assessment needs to focus on domain‐by‐domain assessment and to review findings based on allegedly domain‐general tests of creativity that may have misled researchers to unsupportable interpretations. Creativity theory needs to set more modest goals of domain‐by‐domain theory development and to recognize that theories that may seem domain‐general might better be understood as meta‐theoretical heuristics that do not actually describe domain‐general processes. These meta‐theories might in some cases help guide the search for domain‐based theories.     

维果茨基"最近发展区"理论对我国教学改革的启示

该文探讨了维果茨基的“最近发展区”理论及其涵义,并揭示了这一理论对我国教学改革的启示。     

An Empirical Assessment of the GAM Theory of Creativity

ABSTRACT: Therivel (1993, 1998, 1999a, 1999b), in a series of articles, presented the GAM theory of creativity, which postulates that creativity is a function of genetics, assistances, and misfortunes. Two studies were undertaken to determine whether empirical data support this theory. In the first study, a sample of 529 undergraduate students completed a questionnaire designed to assess their creativity and the presence of anecdotal evidence regarding the three components of Therivel's theory. Two subsamples were formed of high creative (n = 40) and low creative (n = 38) individuals, and their scores on the three components were compared. In a second study, college students who were low on creativity but either high (n = 52) or low (n = 47) on academic achievement were identified and compared to the high creative individuals of Study 1 on the three components. In general, the results present at best modest support for Therivel's theory and no difference in applicability of the theory to creativity versus achievement.     

弗洛伊德无意识创造力理论及现象学方法论释义

无意识理论是弗洛伊德精神分析理论的核心内容.追溯了弗洛伊德无意识理论的思想渊源,着重阐发了弗洛伊德无意识创造力理论的基本内容,并揭示其现象学方法论蕴涵.进而指出弗洛伊德无意识创造力理论在现象学创造力研究中的地位与价值.     

Toward a Theory of Creativity in Diverse Creative Women

ABSTRACT: Little is known and limited research has been completed about creative women, their creative processes, and the decisions they face about their own creative productivity. Few books or even articles suggest how creativity can be better developed, enhanced, or increased in a diverse population of girls and women. The social and political movement focusing on women during the past five decades has provided some understanding of women's creative processes as well as the creative roles that women have played in our society and the forces that shape those roles. In this article, current research is analyzed, focusing on the development of women's creativity and the classification of this research into major themes. Internal and external blocks to creativity in women are discussed, as is current research on these blocks, and an explanation is suggested for different types of creative productivity exhibited by women. A theory is proposed regarding the diversion of women's creativity into multiple areas in their lives, including relationships, work related to both family and home, personal interests, and aesthetic sensitivities. This diversion of creative efforts may result in different levels of creativity applied to work, as well as the existence of very different patterns of creative productivity in creative women.     

Advancing Creativity Theory and Research: A Socio-cultural Manifesto

This manifesto, discussed by 20 scholars, representing diverse lines of creativity research, marks a conceptual shift within the field. Socio-cultural approaches have made substantial contributions to the concept of creativity over recent decades and today can provide a set of propositions to guide our understanding of past research and to generate new directions of inquiry and practice. These propositions are urgently needed in response to the transition from the Information Society to the Post-Information Society. Through the propositions outlined here, we aim to build common ground and invite the community of creativity researchers and practitioners to reflect up, study, and cultivate creativity as a socio-cultural phenomenon.     

创造力投资理论在教学计划修ys中的应用与思考

创造力投资理论把影响个体创造力的因素归为五个内部系统和一个外部系统的相互作用。它提示护理教育者为培养护理创新人才,在充分利用大学和社会优质资源的前提下,应制定有利于开发学生自主的学习能力、可持续发展的知识结构、多元化的思维方式、健康积极的个性品质和职业成就动机等个体创新资源的教学计划与实施方案。     

创造力投资理论在教学计划修ys中的应用与思考

创造力投资理论把影响个体创造力的因素归为五个内部系统和一个外部系统的相互作用.它提示护理教育者为培养护理创新人才,在充分利用大学和社会优质资源的前提下,应制定有利于开发学生自主的学习能力、可持续发展的知识结构、多元化的思维方式、健康积极的个性品质和职业成就动机等个体创新资源的教学计划与实施方案.     

An Analysis of the Blind Variation and Selective Retention Theory of Creativity

This research study explores the relation between measures of creative potential and cognitive and motivational variables, including students' interests, perceptions, and classroom experiences. Surveys were administered to 373 students (N = 373), along with 2 questionnaires, namely the Student Information Sheet (SIS) and the Teacher Encouragement Scale (TES). The students were divided into three groups as High Creative (HC), Average Creative (AC) and Low Creative (LC) on the basis of composite test scores on the tests of creative thinking. The HC students liked Science and Mathematics subjects at school level, whereas the rest of the groups (AC and LC) preferred Indian languages Telugu and Hindi. Surprisingly, all the three groups disliked Social Studies subjects. The top 5 occupations chosen were doctor, teacher, lawyer, engineer, and police constable. When comparing the 3 groups, it is evident that each group had similar aspirations. A high percentage of students, including the HC, were found to be addicted to school achievement. They perceived academic failure as a bad experience in the class and struggled for academic excellence, which was their main goal and interest in life. The highly creative students had more favorable attitudes towards teacher encouragement than the other groups.