创造力内隐理论研究：源起与现状

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、结构极其发展的看法。创造力内隐理论研究是近20年来人们极为关注的新趋势之一。该文从创造力内隐理论的提出和新进展两个方面,对近20年该领域的有关文献进行了综述;简要评价了研究的现状,并对创造力内隐理论研究的发展趋势进行了展望     

中德中学教师创造力内隐观跨文化研究

采用形容词核查表对465位中德两国中学教师关于创造性学生核心特征的内隐观特点进行考察,探讨其是否具有领域特殊性。得到以下结论:中德教师创造力内隐观既存在所有社会人共享的普遍核心特征,也存在自身领域的独特性。中国教师更倾向于将集体主义、幽默感、符合道德成分的“合作性”看作是创造性学生的特征,而德国教师更倾向于将艺术性、个人主义看作是创造性学生的特征。     

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。     

中学教师创造力内隐观的调查研究

以255名中学教师为被试,采用调查分析的方法,编制了创造力形容词表,并结合个别访谈法,考察了中学教师的创造力内隐观.研究结果发现:教师的创造力内隐观主要涵盖了创造性思维和创造性人格两个方面;教师一致认同高创造性学生有28个重要心理特征,其中,最重要的10个特征依次是想象力、喜欢思考、富有洞察力、自信、内部动机强、好奇心、关注新事物、透过现象发现规律、逻辑推理能力、发现事物间的联系与区别;因素分析把教师内隐观会聚成了5个因素:新颖灵活的思维风格、好奇且善于质疑、逻辑思维、问题发现、自信进取的性格.     

创造力游乐场理论及其实践涵义

创造力的领域特殊/一般性问题是创造力研究中最具争议的焦点之一。Baer和Kaufman基于大量实证研究, 提出创造力游乐场理论。该理论以游乐场做隐喻, 将创造力分为先决条件、一般主题层面、领域和微领域, 并将创造力的一般性成分和特殊性成分联系起来, 说明这两种成分在层级结构中是如何在不同程度上重叠的。这一理论是西方研究者提出来的, 我国研究者在创造教育实践中也摸索出了类似的培养模式, 两者互相印证, 说明该理论具有极强的科学性与实用性。     

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。     

创造力的领域性研究进展:从对立到融合的转向

创造力究竟是领域一般性的还是领域特殊性的?这一争论是创造力研究面临的首要问题。由于它涉及创造力的内涵、研究方法等基本问题,所以长期以来一直颇具争议。在系统梳理创造力领域特殊性与领域一般性观点及其研究证据的基础上,指出了创造力领域性研究面临的诸多质疑和困境,并从理论探索和实证研究进展两个层面论证了创造力领域性研究逐步呈现出从对立转向融合的趋势。未来研究应以创造力领域融合性理论为基础,进一步细化创造力领域性的二级子维度,加强基于创造力培养的实践探索,并按照行为学—测量学—认知神经科学—基因学的研究主线,综合使用多种方法和技术手段来揭示创造力领域性研究的全貌。     

阅读障碍学生创造力特征的研究

本研究采用问卷测量的方法,对76名阅读障碍学生的创造力特征以及教师对其创造力评价的客观性进行了研究,结果表明:(1)阅读障碍学生的创造力总分与正常学生并无显著差异,但阅读障碍学生创造力的独特性和抽象性成绩显著优于正常学生。(2)对阅读障碍学生而言,流畅性、精细性和创造力总分存在性别差异;创造力总分亦存在年级差异;独特性与创造力总分在年级与性别因素上均存在交互作用。(3)不同学科教师对正常学生的创造力评价显著高于阅读障碍学生,他们对正常学生的创造力评价基本客观,对阅读障碍学生创造力的评价则与测验成绩呈显著负相关。     

科学创造力与艺术创造力:启动效应及领域影响

如何有效地提升创造力,是创造力研究和实践领域的核心问题之一.而对创造力表达及其影响机制的把握则是创造力提升的必要前提.本研究计划通过实施科学创造力及艺术创造力的启动实验,以不同专业大学生为被试,来探索科学创造力和艺术创造力表达的个体心理机制,及外部影响的作用模式,从而厘清在动机启动、样例启动和自我启动之间,究竟何种启动模式对创造力的表达最为有效;进而,通过对来自理工科和艺术专业领域评分者对科学创造力及艺术创造力作品的评分比较,来考查两种创造力模式间可能存在的领域影响.经由以上的探究,试图为科学与艺术创造力的发展与促进提供科学依据和建构理论框架.     

信任对创造力的影响:激发、抑制以及倒U假设

信任和创造力都是心理学的重要研究对象。近年来,心理学、教育学以及管理学的研究者主要在团体情景中,围绕信任如何影响创造力的问题展开了一系列的理论和实证研究。从总体上看,当前学术界存在信任对创造力影响的激发、抑制和倒U三种假设。激发假设代表信任对创造力存在普遍的积极促进作用;抑制假设则意味信任对创造力存在消极抑制作用;而倒U假设表明信任在冲突等其它变量的影响下可能对创造力产生"甜点效应"。3种假设各有其理论基础和实证支持,但也都存在一些问题。未来该领域研究还应沿着妥善选择测量方法,厘清信任对创造力的影响,深化信任对创造力影响的机制问题等研究角度进一步拓展和深入。     

Implicit Theories of Creativity in Higher Education: A Constructivist Study

A qualitative constructivist study was conducted to explore university teachers’ implicit theories of creativity. The aim of the study was to understand how university teachers (NL?=?46) define creativity and perceive its manifestations and development. University teachers’ conceptions of creativity were elicited using the Implicit Theories of Creativity Questionnaire (ITC-Q). The qualitative analysis resulted in five types of implicit theories of creativity and its development: individualistic theories, activity theories, result-oriented theories, relational theories, and growth theories. By including a new theoretical position, target group, and a methodological framework, the study broadened the dialogue about creativity and its development in higher education.     

Creativity Through a Lens of Social Responsibility: Implicit Theories of Creativity with Korean Samples

Implicit theories of creativity have been the subject of increased research interest in recent years. These investigations are motivated by the observation that an individual's creative activities are guided by personal definitions rather than professional theories, which may be very different. Cross-cultural studies of implicit creativity theories are rare, yet they can add significantly to our knowledge of how creativity is viewed across cultures. The nature of 428 Koreans' implicit creativity theories were identified in a prestudy, and the structure of 478 Koreans' ratings of the indicated behaviors was analyzed in Experiment 1. In Experiment 2, 211 participants evaluated the creativity of 44 hypothetical profiles based on the results of the first experiment. Results provide evidence that Korean conceptions of creativity are similar to Western conceptions, although Koreans may emphasize negative behaviors and personality characteristics (e.g., deviance) to a greater degree. When asked to use their implicit theories to evaluate the creativity of hypothetical profiles, Korean adults strongly emphasized specific cognitive, personality, and motivational aspects of creativity over noncognitive aspects (e.g., perseverance, independence).     

Implicit Theories of Creativity of Secondary School Students from Estonia and Russia: Effects of Collectivism,Individualism, and A Bilingual Educational Environment

Implicit theories of creativity provide an understanding of attitude towards among different populations, including students. Insights on how students see and define creativity might help to adjust educational settings and thus make it possible to provide students with better conditions to support their creativity. Although many studies have been conducted on creativity in different cultural settings, little is known on individualism or collectivism is connected to implicit theories of creativity. This study was carried out among secondary school students in Estonia and Russia to identify possible differences in how students from different cultural backgrounds (and varying in individualism and collectivism) define creativity. The results indicated that there were differences in how students from Estonia and Russia defined creativity: Although students from Russia tend to identify creativity more with novel ideas, students from Estonia defined creativity more in terms of self-expression (students from schools with Estonian as the language of instruction) and uniqueness (students from schools with Russian as the language of instruction). Implications and further research suggestions are discussed.     

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.     

On motor creativity,age, and self‐concept in young learning disabled boys

In the beginning of the 21st century, creativity has been highly esteemed not only in the arts and sciences, but also in economy, politics, and individual welfare. Most theories and practical applications stem from individual sciences and frequently conclude with generalizations that cannot be derived from the specific scientific paradigm. It seems necessary to mark the limitations of individual scientific approaches and to detect where interdisciplinary perspectives are indispensable. This article is an attempt to investigate the interdependence and complementarity of neurobiological, psychological, and socio-cultural, as well as practical, aspects of creativity. It is shown that creativity is often a dialectical process apparent in psychological, cultural, and even neurobiological research. The dialectic of order and chaos seems to be a general concept that is conceived differently by the individual sciences and transports different meaning. However, it is shown that different scientific concepts also contain corresponding and complementary knowledge which amplifies scientific perspectives through interdisciplinary interpretation. The dialectics between coherence–incoherence, stabilization–destabilization, construction–deconstruction of cognitions, emotions, and actions are shown to be corresponding and complementary principles. The interdisciplinary interpretation of the findings of individual sciences leads to practical implications.     

American and Chinese Similarities and Differences in Defining and Valuing Creative Products

This review of the literature explores how Americans and Chinese view creativity and what they expect from creative products. American and Chinese explicit beliefs about creativity (i.e., expert opinions) share many similarities. Implicit beliefs, however, show more divergence: Americans tend to value novelty and more “groundbreaking” types of creativity, whereas Chinese tend to appreciate creativity within constraints, such as reworking a traditional concept. The context of how people respond to creativity obviously varies by culture, although there are also some communal and universal creative ideals.     

The Impact of Implicit Self-Theory on Rated Creativity in Third- and Sixth-Graders

A total of 114 3rd- and 6th-graders from a suburban elementary school participated in a study examining the influence of implicit self-theories on rated creativity in the domains of art and literature in a quasi-experiment. Creativity was measured via the Consensual Assessment Technique. Participants were divided into two groups and received different sets of instructions emphasizing either an incremental or entity-implicit theory of creativity, before completing a drawing task and a writing task. Implicit theories of creativity of participants were measured before and after the instructions were given. The results indicated that participants in the incremental group showed increased incremental views following the manipulation; participants in the entity group showed no significant change. The writing (but not the artwork) from the incremental group was rated as more creative than those from the entity group. This effect was stronger for third graders than for sixth graders, suggesting that implicit theory interventions are more effective with younger children. Implications are 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.