成就目标导向、团队绩效控制对员工创造力的跨层次影响

成就目标导向在团队绩效控制情境下能否有效预测员工创造力是个值得关注的话题。以研发团队为研究对象, 运用线性阶层模型考察了三者间的跨层次关系。结果发现, 低绩效控制下, 精熟目标导向、表现–趋近导向对创造力有正向影响, 表现-回避导向有负向影响; 高绩效控制下, 精熟导向对创造力有“S型”非线性影响, 表现-回避导向有正向影响。结果表明, 高精熟目标导向在高绩效控制情境下抑制员工创造力, 而表现导向也并非总是与缺乏创造力联系起来, 提高表现-回避导向个体的绩效控制程度或者降低表现-趋近导向个体的绩效控制程度同样可以促进创造力。启示在于, 管理者不仅应关注成就导向的个体差异, 更应重视构建相应的绩效控制情境, 从二者交互作用出发激活员工创造力。     

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。     

Do performance approach‐oriented individuals generate creative ideas? The roles of outcome instrumentality and task persistence

The literature is inconclusive about the positive and negative effects of performance approach goal orientation (PAGO) (i.e., a focus on demonstrating high performance and outperforming others) on creativity. To address this issue, this study examines when and how PAGO stimulates or hinders employee creativity. Drawing on trait activation theory and a self‐regulatory perspective, we propose that outcome instrumentality (i.e., the perception that one will receive desired organizational outcomes when performing well) moderates the effects of PAGO on task persistence bidirectionally, which, in turn, facilitates or hinders employee creativity. Results based on a two‐wave, multi‐source field survey provided strong support for our hypotheses. We found that the relationship between PAGO and task persistence was positive when outcome instrumentality was high but became negative when outcome instrumentality was low. Moreover, we found a moderated mediation effect, such that the indirect effect of PAGO on creativity through task persistence was positive when outcome instrumentality was high but negative when outcome instrumentality was low. These findings extend the PAGO literature by elucidating the goodness and badness of PAGO and provide practical implications on how to manage performance approach‐oriented employees to capitalize on their creative potentials and minimize the possible detrimental effects of PAGO on creativity.     

Leader–follower risk orientation incongruence,intellectual stimulation,and creativity: A configurational approach

Prior work suggests that follower and leader risk orientation is positively associated with follower creativity. We suggest that this view is oversimplified and propose that follower creativity can be stimulated when leader and follower have diverging risk orientations. We, therefore, apply a configurational approach to creativity, evaluating varying combinations of leader and follower risk orientation on follower creativity. Across two field studies, we demonstrate that (a) follower creativity increases as leaders’ and followers’ risk orientations become more discrepant (i.e., incongruent); (b) follower creativity is higher when leader–follower dyads are congruent at moderate levels of risk orientation compared to congruence at the extremes (i.e., low and high levels); (c) follower‐experienced intellectual stimulation mediates the relationship between leader–follower risk orientation incongruence and congruence and follower creativity; and (d) that leader authority openness moderates the indirect effect of leader–follower risk orientation incongruence on creativity via follower‐experienced intellectual stimulation. Theoretical and practical implications specific to creativity and leader–follower relationships are discussed.     

Linking Failure Feedback to Individual Creativity: The Moderation Role of Goal Orientation

The sense-making theory of creativity is extended by identifying failure feedback as a process that shapes creative interpretations and actions. We also consider the moderating effect of goal orientation on the relationship between failure feedback and individual creativity, according to the sense-making theory. A 2-waves survey data from 345 R&D employees and their supervisors in five Chinese high-tech companies indicated: (a) supervisors’ failure feedback positively correlates with incremental and radical creative performance, (b) learning goal orientation strengthens the relationship between failure feedback and creativity, and (c) avoidance goal orientation attenuates the relationship between failure feedback and creativity. The findings suggest that goal orientations play roles in optimizing failure feedback effects on creativity outcomes.     

求同方能存异：上下级学习目标导向契合对创造力的影响

为探讨领导-员工学习目标导向与领导反馈环境对员工创造力的交互作用机制,对305名领导-员工配对样本进行问卷调查。结果表明：（1）领导学习目标导向显著正向预测员工创造力;（2）领导反馈环境在领导学习目标导向和员工创造力之间起中介作用;（3）员工学习目标导向对领导学习目标导向和领导反馈环境之间的关系起调节作用,相对于学习目标导向低的员工,当员工学习目标导向高时,领导学习目标导向对反馈环境的积极影响大。     

Team Mental Models,Team Goal Orientations,and Information Elaboration,Predicting Team Creative Performance

This study aimed to enhance understanding of team creativity by investigating the type of team mental models that team members develop during their work on a creative problem solving task. We hypothesized that teams that develop dissimilar team mental models, compared to similar and complementary team mental models, will achieve a higher information elaboration. This effect will be moderated by the development of a high learning-performance team goal orientation. Information elaboration in turn was hypothesized to predict team creative performance. In a 3 (similar/dissimilar/complementary team mental models) × 3 (learning/performance/learning-performance goal orientation) experimental study on a sample of 33 teams (N = 98) we found that teams that developed more dissimilar team mental models and experienced a learning-performance goal orientation intervention engaged in more information elaboration. Information elaboration, in turn, mediated the relationship between the interaction between team mental models and team goal orientations and team creative performance. Implications for research on team mental models and team creativity are discussed.     

Fostering Creativity in the Classroom: Effects of Teachers' Epistemological Beliefs,Motivation, and Goal Orientation

The relationships of teachers' epistemological beliefs, motivation, and goal orientation to their instructional practices that foster student creativity were examined. Teachers' perceived instructional practices that facilitate the development of multiple perspectives in problem solving, transfer, task commitment, creative skill use, and collaboration were measured as indicators of their effort to foster creative thinking in students. Participants were 178 elementary‐school teachers of third‐, fourth‐, and fifth‐graders. Teachers' learning goal orientation was the most significant teacher attribute that demonstrated significant impacts on all five creativity‐fostering instructional practices. Teachers with sophisticated beliefs about knowledge and with high intrinsic motivation for creative work also reported supporting student creativity through some of their instructional practices. However, teachers' motivation for challenging work, beliefs about learning, or performance goals did not significantly predict most of the creativity‐fostering instructional practices. Educational implications of the current findings are offered.     

The Interactive Effects of Self‐Perceptions and Job Requirements on Creative Problem Solving

Over the years, researchers have focused on ways to facilitate creativity in the workplace by looking at individual factors and organizational factors that affect employee creativity (Woodman, Sawyer, & Griffin, 1993 ). In many cases, the factors that affect creativity are examined independently. In other words, it is uncommon for researchers to look at the interaction among individual and organizational factors. In this study, it is argued that to get a true understanding of how to maximize creativity in the workplace, organizational researchers must look at the interaction between organizational factors and individual factors that affect employee creativity. More specifically, the current study looked at an individual's perceptions about his or her ability to be creative (i.e., individual factor) and perceptions of requirements for creativity in the workplace (i.e., an organizational factor). The results indicated that individuals who have a high belief about their ability to be creative (an individual factor) were most creative when they also perceived requirements for creativity in the workplace (an organizational factor). Furthermore, individuals who had low perceptions of creative ability were still able to perform creatively when they had high perceptions of requirements for creativity. This suggests that, to maximize creativity, organizations should focus on both individual and organizational factors that affect employee creativity.     

Understanding the relationship between mood and creativity: A meta-analysis

A meta-analysis of 62 experimental and 10 non-experimental studies was conducted to evaluate the positive-mood-enhances-creativity generalization. While the results demonstrate that positive mood enhances creativity, the strength of that effect is contingent upon the comparative or referent mood state (i.e., neutral or negative mood) as well as the type of creative task. Further, the pattern of effect sizes supports a curvilinear relationship between affective intensity and creative performance. In general, a contextual perspective of mood–creativity relations is supported.     

From prevention focus to adaptivity and creativity: the role of unfulfilled goals and work engagement

ABSTRACT

Whereas promotion focus is consistently linked to high adaptivity (i.e., adjustment to changes) and creativity (i.e., generation of useful and original ideas), prevention focus is commonly associated with low adaptivity and creativity. The present study uncovers the conditions under which prevention focus may also have positive effects on adaptivity and creativity. First, we hypothesize that trait-level promotion focus positively relates to day-level adaptivity as well as creativity. More importantly, we hypothesize that trait-level prevention focus positively relates to day-level adaptivity and creativity when day-level goal fulfilment is low (i.e., two-way interactions) and that these effects are stronger when day-level work engagement is high (i.e., three-way interactions). To test our hypotheses, we conducted a daily diary survey among 209 employees from different occupational sectors, over five working days. As expected, trait promotion focus was positively related to adaptivity and creativity. Furthermore, trait prevention focus positively related to both adaptivity and creativity when day-level goal fulfilment was low andday-level work engagement was high (3-way interactions). None of the two-way interaction effects of trait prevention focus and goal fulfilment was significant. Our findings suggest that prevention focus and unfulfilled goals jointly should not only be seen as threats, but also as opportunities for adaptation and creativity.     

Big Five Personality and Creativity: The Moderating Effect of Motivational Goal Orientation

This study examined the association between the big five personality dimensions and creativity through the moderation of motivational goal orientation. One hundred and ninety students engaged in full‐time employment completed questionnaires, which were used to assess the variables of interest. Regression moderation analyses supported some of the expected hypotheses. The associations between the big five dimensions and creativity were moderated by learning motivational goal orientation. Individuals high in extroversion, emotional stability, and low in conscientiousness, are most creative when they are oriented toward learning. In addition, openness fully predicted creativity, without the moderation of goal orientation. The results are discussed in terms of the interactional nature of personality and goal orientation theory.     

Mild Affective Shifts and Creativity: Effects on Idea Generation,Evaluation, and Implementation Planning

This study investigated the impact of mild shifts in affective tone (i.e., pleasant vs. unpleasant) and arousal (i.e., high vs. low) on three creative processes. Undergraduates read short stories designed to induce affective shifts and then were asked to generate solutions to a complex business problem. Shifts in affective tone and arousal interacted to influence idea generation and implementation planning, but not idea evaluation. The strongest creative performance was exhibited by participants who experienced a stable and pleasantly toned, low-arousal (i.e., relaxed) state and by those who shifted to an unpleasantly toned, high-arousal (i.e., angry) state. In contrast, those who shifted to an unpleasantly toned, low-arousal (i.e., sad) state or a pleasantly toned, high-arousal (i.e., happy) state tended to exhibit poorer creative performance. These results demonstrate the need to revisit the popular conception that organizations should promote intense levels of pleasant affect to enhance employee creativity.     

Goal Structures in Creative Motivation

Our culture, as reflected in the creativity literature, has focused on products and productivity. We know relatively little about motives related to other creativity goals or to multiple-goal structures. We studied differences in goal structures between high and low creative individuals, across creative and routine situations, in four categories: person, process, situation, product. Creativity potential was assessed with a composite of four scales. Goal structures in creative and routine situations were assessed with a self-report measure. Nearly all subjects used all four goal categories to describe their motivation in both situations. Only about 34% of subjects' motivation was product-related. There were several differences between high and low creatives: (a) high creatives made more use of the full range of goal categories; (b) in creative situations, high creatives put more emphasis on person and less on product; (c) they also put less emphasis on product than low creatives did in either situation; (d) high creatives reported significantly higher motivation than low creatives in both situations.     

A meta-analytic investigation of the relationship of state and trait anxiety to performance on figural and verbal creative tasks

Extensive research suggests when and how anxiety has debilitating or facilitating effects on routine cognitive tasks or motor tasks. However, research examining anxiety's relation to performance on creative tasks such as divergent thinking and artistic tasks is less conclusive despite a rather substantial literature. The authors' meta-analytic investigation of 59 independent samples finds that anxiety is significantly and negatively related to creative performance. In addition, the findings provide insights into factors such as task complexity, type of task (i.e., figural or verbal), and type of anxiety (i.e., state or trait) that moderate the relationship between anxiety and creativity-all of which are consistent with the idea that anxiety and creativity present competing cognitive demands. In addition to identifying gaps in the literature such as the need for research using a two-component model of anxiety in relation to creativity, the authors' results have practical implications for those seeking to increase individual creativity.     

The Influence of Goal Orientation on Task Performance: A Substantively Meaningful Suppressor Variable1

The present study investigated the relationship between performance goal orientation and performance on a complex task. It was hypothesized that cognitive interference would mediate this relationship. In addition, it was hypothesized that cognitive ability would moderate the relationship between cognitive interference and task performance. A three-variable suppressor relationship indicated that, although the direct effect of performance goal orientation on performance was one that produced better performance, the indirect effect of performance goal orientation indicated that performance orientations were associated with increases in cognitive interference, and these increases in cognitive interference were associated with poorer performance. Thus, the beneficial aspect of performance goal orientation (i. e., the direct effect) was counterbalanced by the dysfunctional aspects of performance goal orientation (i. e., the associated increase in cognitive interference). Support was also found for the proposed moderation of ability on the cognitive interference-task performance relationship for final, but not initial performance. The results are interpreted in light of recent discussions regarding the influence of goal orientation on task performance and cognitive interference.     

Predicting Individuals’ Interest After a Performance Result: The Roles of Motivational Orientations at High and Low Performance1

This field study incorporated a trichotomous typology of motivations to explore interactions of a performance result with several motivational orientations in predicting subsequent interest in a learning endeavor. Although relevant literature suggests that low performance would be associated with lower interest, we hypothesized that motivation to approach mastery (i.e., learning and achievement orientations) would counteract this negative relationship. We also hypothesized that motivation to avoid poor performance (i.e., avoid–performance orientation) would exacerbate the link between low performance and lower interest. In light of theoretical issues concerning motivation to show competence (i.e., approach–performance orientation), we did not offer a hypothesis concerning this third type of motivation. Results supported only the hypothesized interactions. Implications of the findings are discussed.     

Mental contrasting turns positive feedback on creative potential into successful performance

In two studies employing a creativity test (i.e., solving insight problems), we hypothesized and observed that mental contrasting of a desired future with present reality (Oettingen, Pak, & Schnetter, 2001) transforms positive feedback into strong performance. Participants received positive or moderate bogus feedback on their creative potential and then engaged either in mental contrasting, indulging in the desired future, dwelling on present reality, or irrelevant contrasting with respect to taking a creativity test. Mental contrasting participants who received positive feedback performed better than those who received moderate feedback. They also performed better than indulging, dwelling, and irrelevant contrasting participants, regardless of the feedback received. By manipulating expectations of success through bogus feedback, the present research adjusts for confounding variables and validates previous findings showing that mental contrasting produces expectancy-dependent goal commitments and performance. Implications for designing interventions to enhance people's creativity are discussed.     

The Relationship Between Creativity and Conformity Among Preschool Children

The current study investigated the relationship between creativity and conformity based on the work of Starkweather (1964). The subjects were 45 preschool children. Creativity was assessed using the Multidimensional Stimulus Fluency Measure (Moran, Sawyers, Fu, & Milgram, 1983), an original thinking task. Two forms of conformity were assessed: social conformity and impersonal conformity using the Starkweather Social Conformity Test and the Starkweather Form Boards Test respectively (Starkweather, 1964). Starkweather's hypothesis of a curvilinear relationship between conformity and creativity was found for the social conformity task (X² = 11.69, p < .01). The findings support the hypothesis that highly conforming and highly nonconforming children do not score as high on creativity measurements as their freedom of expression (i.e., not following a rigid pattern of conforming/nonconforming) counterparts. Chi‐square analyses revealed significantly more children in the high creativity and freedom of expression group as compared to the low creativity and conforming/nonconforming children. That is, significantly fewer children were found in the low conformity/low creativity cell and more in the low conformity/high creativity cell than were expected by chance. No differences were found for impersonal conformity, perhaps due to the insensitivity of the instrumentation to assess conformity. It is concluded that freedom of expression may be seen as an important personality trait in the identification and nurturance of creative potential and problem solving in young children.     

Does Cognitive Style Moderate Expected Evaluation and Adolescents' Creative Performance: An Empirical Study

Two studies investigated the effects of cognitive and school environmental factors on adolescents' creative performance. The first study tested the effects of expected evaluation and cognitive style on creativity among 89 high school students. The second study tested the effects of evaluation type and cognitive style on creativity among 92 high school students. Study 1 found main effects of expected evaluation and cognitive style on creativity. The interaction between expected evaluation and cognitive style was statistically significant. Under an experimental condition of expected evaluation, field‐dependent adolescents performed more creatively (i.e., higher originality) than those without expected evaluation. Study 2 uncovered main effects of expected evaluation type and cognitive style on creativity but no interactions between expected evaluation type and cognitive style. Adolescents performed better on the dimension of flexibility in a controlling evaluation condition, compared with adolescents in informational evaluation condition, and field‐independent adolescents showed more fluency and originality than field‐dependent adolescents. Together, this research provides a better understanding of the effects of expected evaluation and cognitive style on adolescents' creative performance. Implications for further research are discussed.