青少年创造性人格和创造性的关系：来自中美比较的证据

通过对中美400名13-15岁青少年问卷调查,比较了中美青少年创造性人格及其与创造性之间的关系.结果发现：（1）和单个创造性人格变量相比,创造性人格的内部因素、外部因素和自我因素和创造性之间的相关均达到中等程度,且均非常显著,中国青少年创造性人格三个因素能解释创造性变异的11％,美国青少年创造性人格三个因素能解释创造性变异的15％.（2）在创造性上,美国青少年在所有维度上的得分均显著高于中国青少年,但在创造性人格上,只有在自我因素上,中国青少年创造性人格得分高于美国青少年,其他因素不存在差异,这说明创造性人格不是造成中美青少年创造性差异的主要原因.     

The Effects of a Verbal and a Figural Creativity Training on Different Facets of Creative Potential

This study investigated the effects of different types of creativity interventions on different facets of creative potential, also including more school-related creativity demands. In a sample of 77 fourth-graders in the age between 9 and 12 years, we administered a verbal and a figural creativity training, realized in two school lessons over two consecutive days each. As outcome measures, creative potential in both the verbal and the figural domain by means of two well-established divergent thinking tasks was assessed. As additional measures of creative potential, a story completion task and a picture painting task were administered to examine training effects on more school-related types of creative behavior. The verbal training was found to increase both verbal and figural divergent thinking ability, but not creative potential in the story completion and the picture painting task. The figural training yielded significant training effects only regarding the picture painting task. Findings suggest a specific training effect of the figural creativity training, and moreover indicate that the verbal creativity training, rather than stimulating “verbal” creative abilities per se, was more strongly concerned with domain-general creativity processes including ideational fluency, flexibility, and originality that are characteristics of divergent thinking tasks across different domains.     

三种压力与创意自我效能感对创造力的影响

以216名初中二年级学生为被试,采用现场实验,探讨个体创意自我效能感在竞争、评价和时间三种压力情境下对创造力的影响。结果发现,三种压力对于总体创造力的影响不同;时间、评价压力分别提高了流畅性和新颖性,竞争压力既提高了流畅性又提高了新颖性,但三种压力情境都降低了变通性;创意自我效能感中间组的学生在压力情境下具有最好的变通表现,而效能感低分组表现最差。     

Creative Self-Efficacy: An Exploration of Its Antecedents,Consequences, and Applied Implications

Creativity and innovation are at the core of important outcomes such as economic and sales growth, production of articles and students' learning. Thus, it is not surprising to find research articles on creativity and innovation across different disciplines such as business, psychology, and education. Given the importance of understanding creativity and innovation, we reviewed the empirical literature examining the antecedents and consequences of creative self-efficacy in the work domain. Our review used the theory of individual creative action and social cognitive theory as guiding frameworks to place creative self-efficacy in the creativity and innovation process, define creativity and innovation, explore how creative self-efficacy has been measured, examine the antecedents and consequences of creative self-efficacy, point out gaps in knowledge and offer suggestions for future research and provide some applied implications. One important finding was that creative self-efficacy has made a significant contribution as a process variable explaining how several organizational and personal factors influence creative outcomes via their influence on creative self-efficacy.     

I want to be creative,but … preference for creativity,perceived clear outcome goals,work enjoyment,and creative performance

In today’s quickly changing work environment, many individuals want to be creative at their workplace, but only some of them succeed at manifesting these tendencies. In three studies, using both field and experimental data, we focused on transforming individuals’ preference for creativity, defined as an inclination for liking and wanting to be creative, into actual creativity. We first conducted a pilot Study 1 to establish discriminant validity to related constructs and provided initial evidence on predictive and incremental validity of the preference-for-creativity scale. Next, we performed a field Study 2, where we found that transforming preferences for creativity into supervisor-rated creativity is contingent upon employees’ perceptions of clear outcome goals. Clear outcome goals fostered individuals’ preference for creativity to result in higher levels of supervisor-rated creative behaviour—a finding that was replicated in an experimental Study 3. Furthermore, we explored whether work enjoyment mediated the moderated relationship between preference for creativity and creative outcomes. The results supported our mediated moderation model, whereby the manipulation of clear goals led to higher work enjoyment, influencing individuals’ preference for creativity to result in higher ratings of their creative outcomes.     

Using Daily Creativity Planning to Promote Creative Behavior

Research has demonstrated that on the path from a creative idea to a creative outcome, high creativity motivation and self-efficacy do not necessarily lead to creative behavior. The present study proposed and examined the notion that daily creativity planning could promote creative behavior and contribute to the cultivation of creativity. A total of 77 middle school students (39 students in the experimental group and 38 in the control group) participated in this study, for which a quasi-experimental design was administered. The experimental group conducted a two-week daily planning for creative activities, while the control group did not conduct any intervention. The results showed that students' creativity motivation and creative self-efficacy were at relatively high levels overall and were positively and moderately correlated with creative behavior. Daily planning could effectively facilitate students' creative behavior. These findings point to a promising and simple creativity enhancement strategy for cultivating students to develop the habit of making creative plans in their daily lives.     

The 1.5 Criterion Model of Creativity: Where Less Is More,More or Less

We argue that the future of creativity research should focus on the dual goals of the development of individuals with great creative genius as well as the enhancement of creative activity in society in general. To achieve these goals, we need basic research that will help us better understand the fundamental nature of creativity. We describe an approach to creativity that emphasizes novelty over utility.     

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.     

Triangulating Creativity: Examining Discrepancies Across Self-Rated,Quasi-Expert-Rated and Verbalized Creativity in Arts-based Learning

This convergent mixed methods study examined the triangulation of self-rated, quasi-expert-rated and verbalized creativity in students enrolled in a year-long photography program. The quantitative data included self-report scales in creativity, and ratings of creativity in students’ photography. The qualitative data included student interviews reflecting on their photographs and verbalizing their beliefs about creativity. The data were first analyzed separately and then merged for analysis to determine possible relationships between these three data sources. Merging quantitative and qualitative data highlighted two key discrepancies between students’ actual creative performance and their perceptions as creative individuals. Possible explanations of these disceprancies are discussed in light of research on creative self-efficacy and creative mindsets.     

绩效薪酬对雇员创造力的影响:人-工作匹配和创造力自我效能的作用

采用296对上下级匹配数据考察了绩效薪酬对创造力的影响以及人-工作匹配的调节效应和创造力自我效能的中介效应。研究结果表明:绩效薪酬对创造力有倒U形影响;创造力自我效能部分中介了绩效薪酬对创造力的倒U形影响;人-工作匹配调节绩效薪酬与创造力的关系,人-工作匹配度越高,中等强度绩效薪酬的正面效应越强,高强度绩效薪酬的负面效应越弱;绩效薪酬与人-工作匹配的交互效应通过创造力自我效能的完全中介效应影响创造力。     

The Mediating Role of Creative Process Engagement in the Relationship between Shyness and Self‐Rated Creativity

Shyness has been found to have a negative impact on creativity. However, little attention has been given to the underlying process of the relationship between shyness and creativity. On the basis of literature, we hypothesize that shyness has an indirect impact on creativity through creative process engagement. Two studies were conducted on undergraduate students (Study 1) and working adults (Study 2) to test the hypothetical relationship. Analysis on participants self‐report showed that shyness was negatively associated with self‐reported creativity as well as creative process engagement. There was a positive relationship between creative process engagement and creativity. More importantly, mediation analysis supported that shyness was indirectly linked to creativity via creative process engagement. Specifically, shy people are found to be less involved in creativity‐relevant processes such as information searching and idea generation. The low level of creative process engagement, in turn, hinders their creativity. The findings not only lend support to the detrimental effect of shyness on creativity but also shed light on the underlying mechanism of the relationship.     

Dynamic Creative Interaction Networks and Team Creativity Evolution: A Longitudinal Study

To assess the dynamical effects of creative interaction networks on team creativity evolution, this paper elaborates a theoretical framework that links the key elements of creative interaction networks, including node, edge and network structure, to creativity in teams. The process of team creativity evolution is divided into four phases, including formation, growth, maturity and decline/restart. The importance of domain‐relevant knowledge, creativity‐relevant skill, interaction frequency, interaction length, network density and closeness centrality are emphasized in specific phases of team creativity evolution in a complex creative context. To test our assumptions, a longitudinal study of creative teams in a “Challenge Cup” Creative Business Plan Competition for university students is performed and the full networks of 17 creative entrepreneur teams are mapped. Both static comparison and dynamic analysis are conducted to analyze the relationship between creative interaction networks and team creativity evolution. For specific phases of team creativity evolution, we find confirmation of our predictions. The implications of dynamic creative interaction networks for all the phases of creative teams from formation to decline/restart are discussed.     

创造力产生过程中的神经振荡机制

创造力究竟是怎么产生的, 目前尚未得出一致的结论。神经电生理技术因其高时间分辨率, 可以准确地揭示创造力产生进程中的神经振荡机制, 从而帮助人们更深刻地理解创造力的本质。近年来的研究发现, 单节律alpha神经振荡会随着创造力的增加而增强, 这反映了创造力产生过程中的内部信息加工需求增加、自上而下的抑制控制增强。同时, 多频段神经振荡交叉节律耦合体现了创造性产生过程中额叶、颞叶和顶叶等多脑区之间信息交流的动态变化。未来研究应该以整合理论框架为基础, 结合多层次多方法的研究工具, 引进更生态化的数理计算方法, 并利用计算神经科学建模来预测个体创造力发展趋势, 从而全面深刻地认识创造力的本质。     

情绪创造力对员工创新行为的影响:情绪社会建构理论的视角

基于情绪社会建构理论,运用问卷调查法,通过分析708组配对数据,探讨情绪创造力对员工创新行为的影响机制。结果表明:情绪创造力对员工创新行为有显著的正向影响,创造性角色认同在其中具有部分中介作用;员工情绪创造力与领导激励创造性的交互作用通过员工创造性角色认同为中介,影响员工的创新行为,从而表现出有中介的调节作用。     

From aggressiveness to creativity

Psychology has a long tradition of considering human creativity as a distinct human characteristic and a special kind of human activity. After explaining the key motives for such an attitude, the author discusses those forms of healthy aggressiveness that stand out as necessary and constitutive elements of the creative process. Taking the well-known statement of C. G. Jung's 'The person who does not build (create), will demolish and destroy' as a starting point, the author compares the basic premises for understanding the process of human creativity, at the same time drawing on Freud's psychology of the individual and Jung's principle of the collective unconscious as well as his notion of 'complexes'. In doing so, the author somewhat boldly paraphrases Jung's dictum: 'In order to be creative, rather than just constructive, one must occasionally also destroy'. With reference to Wallas, Taylor and Neumann (Wallas 1926; Taylor 1959;;Neumann 2001), the author goes on to explore those concepts which help us to investigate the phenomenon of human creativity, drawing distinctions between emergent, expressive, productive, inventive and innovative creativity. The second part of the article discusses the importance of intelligence, originality, nonconformity, subversiveness and free-mindedness for the creative process of human beings. The author concludes with a further explanation of Erich Neumann's argument that human creativity cannot be understood solely as a result of sociogenetic factors, and argues that it is only by taking into consideration Jung's perception of creativity that a global ontological understanding of these processes can be achieved.     

Revisiting Mednick's Model on Creativity‐Related Differences in Associative Hierarchies. Evidence for a Common Path to Uncommon Thought

Fifty years ago, Mednick [Psychological Review, 69 (1962) 220] proposed an elaborate model that aimed to explain how creative ideas are generated and why creative people are more likely to have creative ideas. The model assumes that creative people have flatter associative hierarchies and as a consequence can more fluently retrieve remote associative elements, which can be combined to form creative ideas. This study aimed at revisiting Mednick's model and providing an extensive test of its hypotheses. A continuous free association task was employed and association performance was compared between groups high and low in creativity, as defined by divergent thinking ability and self‐report measures. We found that associative hierarchies do not differ between low and high creative people, but creative people showed higher associative fluency and more uncommon responses. This suggests that creativity may not be related to a special organization of associative memory, but rather to a more effective way of accessing its contents. The findings add to the evidence associating creativity with highly adaptive executive functioning.     

Narrowing the Creativity Gap: The Moderating Effects of Perceived Support for Creativity

This article examines the role of 3 types of perceived support for creativity in moderating the relation between creative self-efficacy and self-perceived creativity. The findings suggest significant interaction effects for perceived work-group support and supervisor support, but not for perceived organizational support. This study is among the first to (a) examine the importance of perceived support for creativity in unlocking creative potential and increasing creativity in organizations and (b) use interaction terms in structural equation modeling (SEM) to investigate moderator effects in an applied research setting. These results imply that organizational interventions focused on training supervisors and work-group members to support creativity in the workplace may be more effective than broader and less focused interventions at the organizational level.     

An Investigation of the Relationship between Age,Achievement, and Creativity in Mathematics

In this exploratory study, I investigate the relationship between age, knowledge, and creativity in mathematics, by looking at to what extent does grade level, controlled for mathematical achievement, influence mathematical creativity and what characterizes the relationship between grade level, mathematical achievement and mathematical creativity. This was accomplished in two steps. In the first part, 301 students, 184 grade eight students and 117 grade eleven students, were given a creative mathematics test. A 3 × 2 ANOVA indicates that the older students were more creative; however, there was a significant interaction effect between grade level and achievement in mathematics on mathematical creativity. In the second part, an inductive content analysis was performed on the solutions of high achievers in grade eleven and grade eight. The results indicate that high achievers in grade eight are more creative than high achievers in grade eleven, but the nature of the task mediates the relationship between creativity and knowledge.     

Social Media Use and Creativity: Exploring the Influences on Ideational Behavior and Creative Activity

This study explored the relationship between social media (SM) use and creativity. The data collected from 407 participants included indicators such as time spent using SM, frequency of SM use, purposes for using SM, and the nature of SM use. The data involved two aspects of creativity: ideational behavior and creative activity and accomplishment. Correlational analyses indicate that SM use is positively related to both creativity measures. Overall, the active use of SM (e.g., sending a post) is more related to creativity than the passive use (e.g., reading others’ posts); and the link between creativity and SM use is more evident for certain platforms (i.e., Twitter) than others (e.g., Instagram). Ideational behavior and creative activity were also found to be higher among those who use SM primarily for expressing their ideas and opinions, gleaning information on topics to discuss and self‐education and learning compared with those who use it primarily for entertainment or relaxation. None of the creativity measures used was related to extraversion and excessive use of SM. Our findings indicate that SM is not necessarily a negative factor for creativity; it may even be a useful platform to support new ideas and projects.     

Polite Girls and Creative Boys? Students' Gender Moderates Accuracy of Teachers' Ratings of Creativity

The aim of this study was to examine whether, and to what extent, teachers are able to recognize the creativity of their students. The study measured the creative abilities, creative attitude, creative activity, as well as intrinsic motivation, intelligence, and school functioning of 589 Polish high school students, while their teachers (N = 178) rated students' creativity. The structural equation model (SEM) demonstrated that the accuracy of teachers' ratings of students' creativity is generally low—the latent factor of students' creativity reliably, however weakly, predicted teachers' ratings. The accuracy of teachers' ratings was moderated by gender: Only in the case of male students did the latent creativity factor reliably predict teachers' ratings. Students' school functioning emerged as a key factor positively associated with the perception of students as creative.