'Most Dear to All the Muses': Mapping Tagorean Networks of Enterprise--A Study in Creative Complexity

ABSTRACT: The network of enterprise concept was applied to an "uncontroversially creative" subject from a non-Western culture-Rabindranath Tagore, the 1913 Nobel laureate in literature. The approach followed here is developmental, describing and analyzing the evolution of aspects of the creative work. It reflects historical reconstruction, examining not only the creative products but other phenomenological materials as well; but care is taken to remain sensitive to the multiple contexts in which the individual operated, including work tasks and enterprises; family and private worlds; professional milieus; and the sociohistorical period. The study explains the challenges in mapping Tagore's network of enterprises and analyzes his overall purpose in undertaking creative work. The analysis of Tagore's literary enterprises provided the basis for defining his uniqueness, along with the density, longevity, cyclicity, and branching nature of his enterprises. Furthermore, the realm of drawing and painting provided confirmation of some of the findings obtained from the study of the network of his literary enterprises. -     

3~4岁幼儿创造性人格与气质的交叉滞后分析

以幼儿创造性人格倾向教师评定问卷、儿童气质教师评定问卷作为研究工具,对287名3岁和4岁组幼儿进行为期一年的追踪研究,考察幼儿气质与创造性人格的发展变化情况,以及幼儿气质与其创造性人格之间的关系。结果发现：随着时间的发展,幼儿气质对其创造性人格有显著影响。幼儿的情绪性、活动性、反应性及专注性均能够显著正向预测其创造性人格,而幼儿的社会抑制性则能够显著负向预测其创造性人格。     

The Father's Body-Shadow and Creativity in the Female

There is in the female a relationship between a positive connection to the father's body and the development of a creative life. Conversely, if a woman has experienced only a negative connection to her father's body, then a life of creative fulfillment will often chide her. In this case, she must be willing to assert her own creative bright shadow in order to rescue her creative life from the dark cave of her father's shadow. Lastly, the inner union of heroic man and creative feminine bright shadow is necessary if a woman is to experience her life as creatively meaningful.     

Creativity: An interdisciplinary perspective

A number of research traditions have contributed to an emerging picture of creative individuals, processes, and achievements. Psychometric instruments have documented the absence of correlations, above a threshold, between measured intelligence and creativity; computer simulations and “on‐line” studies of human subjects indicate that creative problem solving draws on the same information‐processing skills as everyday problem solving; case studies reveal that creative individ‐uals pursue a network of interrelated enterprises over the course of their productive lives and that most creative insights emerge gradually. Creative individuals exemplify a predictable set of personality traits and are motivated chiefly by intrinsic factors. Sociological and historiometric approaches document the conditions under which creative products are likely to emerge within a given society, and neurobiological perspectives suggest that certain neural structures and processes may be particularly associated with creative out‐comes. A science of creativity is most likely to emerge from a synthesis of these different disciplinary perspectives.     

Starting out: The early phases of four creative careers—darwin,van Gogh,Freud, and Shaw

This paper introduces the four that follow it. The others deal with the phase of the creative career we call starting out. Of the four individuals discussed in those papers, Darwin moved rather smoothly from an early phase of field work in natural history to a later phase of theoretical biology. His work in natural history became incorporated within the theoretical enterprise, the whole move being accomplished by about the age of 30. van Gogh had a protracted early phase as a mediocre art dealer and then as a failed Christian minister to the poor, rejected and scorned by his co-religionists. At about the age of 30 he made a clear commitment to a career in art and began a long period of training, seeking help from other artists but mainly directing his own development. As with Darwin there was a certain degree of overlap of earlier and later phases, in the sense that his art displayed religious overtones for some time. Freud had brilliant early careers—as a neurologist and as a medical practitioner. He did not move decisively toward psychoanalysis until his early forties. Shaw, too, had brilliant early careers—as a radical orator, as a journalist, and as a music critic. His career as a dramatist did not begin in earnest until his forties. Three of the four produced initial sketches that were significant in prefiguring their later careers: Darwin'sJournal of the voyage of theBeagle, Freud'sThe Project, and Shaw's letter,Dear Dorothea. Other topics are taken up as appropriate in one or other of the four cases: the network of enterprise, the ensemble of metaphors, the belief system, and the social web. Taken together with a discussion of the uniqueness of each creative person, they give a sense of the evolving systems approach to creative work.     

道德资本与企业创新

企业创新是我国“十一五”发展规划的重要课题之一。在企业创新过程中,道德资本起着十分重要的作用：它可以引导企业创新的合理方向,提供企业创新所需的精神生产力,为企业创新成果赢得更多的社会认可。推动企业创新的道德资本主要有两种：一是以承担环保责任和消费者权益为主要内容的责任型道德资本,一是以企业员工的创新精神、企业内部的团队精神以及企业与外界的良好关系为主要内容的效率型道德资本。要积累更多的道德资本,推动企业创新发展,必须提高企业员工的道德观念,改善企业的组织制度,并推动公众道德权利意识的发展。     

中国企业伦理建设中的血缘亲情模式分析——企业伦理模式研究之三

企业伦理模式是企业在长期经营实践中所形成的价值共识和文化积淀的产物,是企业伦理个性特征的表现结构,从本质上说是一种文化模式,具有唯一性和不可复制性。企业血缘亲情模式是当代中国众多企业伦理模式中的一种。其特征主要表现为以情为核心、以服从为基本规范、家庭道德高于制度理性。这种模式在企业发展的初期无疑具有积极的作用。但随着企业的发展壮大,如果不从产权上完成向现代企业制度的转换,或者在内部进行微调,血缘、亲情就会被放大或固化,从而成为企业发展的制约因素。     

Creativity,Loss, and Character. Balakirev: The Man Who Had at One Time All of Music in His Hands,But…

For many centuries, the professional literature has discussed the complicated relationship between creativity and psychopathology. Creative people reproduce their feelings using their creative skills, and it is only natural that one's mental state may influence art. This article describes a special type of creativity that is associated with early loss and bereavement. In this form, creative work plays an important role in coping with loss, especially traumatic loss, in early development. Those who are bereaved, especially when young, may use creative work as a transitional object linking them to a deceased loved one, usually a parent or sibling. This article also describes the life, creativity, character, and illness of one of the most famous Russian musicians of the late 19th century: Miliy Balakirev. Balakirev's use of musical creativity as a method of coping with the loss and the consequent effects on his psychological state during his lifetime is apparent in his letters, friend's memories, and biographies.     

以创新促和谐——日常心理调节探微

创新在人们日常行为的心理调节中具有重要作用,每个人都具有自我创新的能力。在日常生活中,人们要实现心理和谐要求运用创新心理调节方法,包括:异质同构、异质异构或反向形成、第三条道路等。而创新心理调节能力培养的途径有:发挥自主性、重视非智力因素、宽容的环境以及美德。本文介绍并剖析了创新在日常心理调节中的应用,揭示了它的培养途径。     

“Mistakes Can be Beautiful”: Creative Engagement in Arts Integration for Early Adolescent Learners

In this study we explored students’ perspectives and experiences engaging in an arts integration learning model during middle school through a pluralistic lens of creative engagement in learning. The sample included N = 86 students in Grades 6–7 attending schools in fringe rural and urban locales from small and mid-sized cities in the Pacific Northwest. We used a grounded theory approach to explore how creative engagement takes shape for the early adolescent learner. Our conceptual framework integrated intrapsychological (inward) processes with interpsychological (outward) exchange in the social environment of an arts integrated classroom. Schools involved in the study were part of a larger mixed-methods research investigation and received intensive support for school-wide arts integration development. We found that students valued opportunities in arts integration for (a) choice, (b) the expression of their unique interpretations, (c) taking risks and making mistakes, (d) recognizing and applying their Studio Habits of Mind, and (e) enhancement of motivation and engagement in learning. The need for competency, belonging, and autonomy were important conditions of the learning environment and the need for meaning-making was paramount in the process of creative engagement.     

A Longitudinal Study of Creative Personality in Women

The Mills Longitudinal Study, covering 30 years in the lives of approximately 100 women from the senior year of college to their early 50s, was begun as an investigation of creativity in women. After a presentation of the design of the study and its measures of creative potential and productivity, findings in several areas are reviewed. A central finding is that varied measures of creative potential assessed openness and unconventionality, manifested in both positive and negative ways, whereas creative productivity was associated with these traits along with strong creative motivation and resilience. Creative potential was actualized in some women in self-discovery through relationships rather than in careers. Creative traits showed impressive consistency over time, but the creative vitality of individuals fluctuated considerably with major changes in life situation. Creative productivity showed more relation to psychosocial development than did measures of creative potential.     

聋人早期手语经验对脑功能及结构的塑造作用

语言经验对脑功能和结构发展有重要的塑造作用。然而, 目前的相关证据主要来自对脑损伤导致的失语症病人的语言康复、第二语言学习以及针对成人读者进行的语言训练等方面的研究。幼儿时期的早期语言经验对脑结构与功能发展的影响更加重要, 但直接的研究证据却相当缺乏。本文提出一个研究设想, 拟综合使用多种脑成像技术, 系统探讨有早期手语经验和无早期手语经验的聋人个体在脑皮层语言功能的组织及脑结构发育的差异, 包括语言任务中大脑语言区的激活模式, 静息状态下脑功能联结的默认网络特征, 脑皮层灰质密度, 以及神经纤维束发育状况等, 揭示早期语言经验对大脑功能和结构发育的塑造作用。     

The Dynamics of Creative Self-Concept: Changes and Reciprocal Relations Between Creative Self-Efficacy and Creative Personal Identity

Although creative self-concept constructs are intensively studied in the creativity literature, little is known about the dynamics of their changes during the life span and the relationships between different aspects of the creative self-concept. Using a longitudinal and a cross-sequential design, this investigation aimed to test changes in two important creative self-concept constructs—creative self-efficacy and creative personal identity—over short (6 months) and longer (20 months) periods of time, while simultaneously examining reciprocal relationships between them. The results showed the short-term stability of both constructs, but they also revealed significant change over the longer period―specifically, a growth of creative self-efficacy and creative personal identity in people from late adolescence to early adulthood and a drop among older participants. Reciprocal longitudinal relationships between creative self-efficacy and creative personal identity were also demonstrated, with creative self-efficacy being a more stable predictor of creative personal identity than the reverse.     

Implications of college-age narcissism for psychosocial functioning at midlife: Findings from a longitudinal study of women

Positive and negative implications of two types of college-age narcissism on psychosocial functioning at midlife were studied in a longitudinal sample of women. Both types were scored with self-report measures when the women were, on the average, age 21. Throughout the first half of their adult life, high scorers on covert narcissism presented themselves as lacking in confidence and having low morale; high scorers on overt narcissism described themselves as wanting admiration, being independent, and being forceful. Positive outcomes associated with covert narcissism included the development of insight and of a differentiated sense of the self and, in the case of overt narcissism, entailed an involvement in high-status and creative work careers. At midlife, high scorers on covert narcissism experienced negative affect and feelings of being neglected, whereas high scorers on overt narcissism experienced family conflict and problems with impulse control. The personality characteristics associated with both types of narcissism remained stable from the early 20s to early 50s.     

Chaos,creativity, and counseling: Aspects of a Transtheoretical model of the counseling process

Counselors ask their clients to become creative in their personal lives and within their counseling process. The process of counseling is a creative process. Growth is necessary for effective improvement in the counseling process. This paper will examine creativity from the point of view of the affective experience of the creator, and the relationship of this experience to the client in counseling.

The position here is that the process of counseling is both a creative process and one that involves tensions and turbulence. Based on a model of nonlinear dynamics, and ideas about the creative process, this study draws a dynamical fractal movie of the counseling process in which the counselor serves as an attractor for the construction of opposites in the client behavior that allow for growth and the construction of a new state of psychosocial events.     

How Does It Feel? The Development of the Experience of Creativity Questionnaire

Creativity research has tended to neglect the phenomenology of the creative process. This article addresses this by describing the development of the Experience of Creativity Questionnaire (ECQ), designed to measure experiential (Part A) and existential (Part B) dimensions of artistic creativity. The questionnaire items were generated on the basis of an earlier qualitative investigation. Participants were 100 artists, from diverse fields of the creative arts. Two Maximum Likelihood factor analyses with Promax rotation were performed on the items comprising the initial ECQ, resulting in 6 factors in Part A and 3 factors in Part B. Factor analyses were then performed on a reduced number of items, providing the basis for 5 scales in Part A (labeled Distinct Experience, Anxiety, Absorption, Power/Pleasure, Clarity/Preparation) and 3 scales in Part B (Transformation, Centrality, Beyond the Personal). The scales demonstrated acceptable reliability, ranging from .82 to.60 (Guttman coefficient). Use of the ECQ in future research will facilitate further investigation of the phenomenology of the creative process and afford greater integration of research paradigms in creativity research.     

Self‐analysis and the development of an interpretation

In spite of the fact that Freud's self‐analysis was at the centre of so many of his discoveries, self‐analysis remains a complex, controversial and elusive exercise. While self‐analysis is often seen as emerging at the end of an analysis and then used as a criteria in assessing the suitability for termination, I try to attend to the patient's resistance to self‐analysis throughout an analysis. I take the view that the development of the patient's capacity for self‐analysis within the analytic session contributes to the patient's growth and their creative and independent thinking during the analysis, which prepares him or her for a fuller life after the formal analysis ends. The model I will present is based on an over lapping of the patient's and the analyst's self‐analysis, with recognition and use of the analyst's counter‐transference. My focus is on the analyst's self‐analysis that is in response to a particular crisis of not knowing, which results in feeling intellectually and emotionally stuck. This paper is not a case study, but a brief look at the process I went through to arrive at a particular interpretation with a particular patient during a particular session. I will concentrate on resistances in which both patient and analyst initially rely upon what is consciously known.     

The Dynamics of Creative Teaching

The following is a qualitative portrait of a creative teacher and her teaching process. Over a period of six months, five interviews were conducted with the teacher before, during, and following a university course in teacher education on instructing diverse learners. Additional interviews were conducted with six students at the beginning and end of the course and with the teacher's husband following the course. Additional data sets include classroom observations revealed in field notes, personal memos, and course materials. The overarching themes represented constructs involving intense and thorough course preparation, teacher‐student connections, and reflective teaching. Sub‐themes guiding the process of creative teaching emerged including constraints placed on preparation and reflective teaching, an awareness of self and students within the process of preparation and connection, feedback from colleagues and students guiding the connection and reflective teaching, and the values and goals formed from personal history and philosophy of life shaping all three major themes. This case study of creative teaching possesses characteristics resembling creative acts in other domains (e.g., art, literature, physics, economics) and presents a model for the education of future teachers.