大学生内隐性倾向的实验研究

我们通过实验的方式研究了大学生的内隐性倾向,实验分两个部分,一是使用配对图片的快速呈现研究其对性信息图片和无性信息图片的选择的差异;二是使用快速呈现和快速选择的方式研究其对有性信息词语和无性信息词语之间的选择差异。实验严格控制了空间误差和时间误差,通过科学设计的控制程序完成。结果发现,这两种情况下,大学生都表现出突出的选择和保存性信息刺激的倾向性,这种倾向不存在性别差异。     

创造性思维的脑机制

创造性思维是创造性的核心。近年来,脑电和脑成像技术的发展为研究创造性思维的神经基础提供了有力的技术支持,对创造性思维的脑机制研究取得了较大进展。创造性思维的脑机制研究主要包括顿悟的脑机制、发散性思维的脑机制、远距离联想的脑机制、言语创造性和图画创造性的对比的脑机制研究。研究结果显示创造性思维需要多个脑区的参与,因不同的认知任务其关键脑区而有所不同。对创造性思维的脑机制研究进行了总结,对这些研究可能存在创造性思维究竟应该定义为“领域一般的”还是“领域特殊的”的解释进行了讨论,并指出了研究中可能存在的基线任务设置问题和未来研究中需要在研究手段、研究设计、研究领域等方面加以改进的建议     

创造性思维能力高、低大学生特性负启动效应的实验研究

本研究采用问卷法筛选出创造性思维能力高、低大学生作为被试,利用负启动实验范式考察两组大学生特性负启动效应的异同,探讨汉字特性负启动效应与创造性思维的关系。结果发现：低创造性思维能力组大学生具有显著的特性负启动效应,而高创造性思维能力组大学生则没有产生明显的特性负启动效应。     

转型期公共场域诚信缺失的理论思考——基于转型的一种视角

转型期的诚信缺失主要发生在公共场域而不是在私人场域;由于社会结构的变迁,人们的交往、交易不断从“熟人社会”延伸至“公共场域”,但公共场域缺少相应的诚信伦理的约束,失信行为增多;另外,转型期不规范的市场经济条件下,“经济人”的工具理性也会刺激公共场域大量失信行为的发生;公共场域中的诚信重构,首先需要法律制度的援助;其次,从长远眼光来看,仍需要对传统伦理中“特殊主义”的诚信观进行“创造性的转换”,建构公共场域所需要的“普遍主义”的诚信伦理。     

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.     

具有创造成就的科学家关于创造的概念结构

运用Q分类及多尺度分析方法,研究具有创造成就的科学家关于创造成就的概念结构。被试是30名来自物理、化学、数学、地学和生命科学领域的具有创造成就的科学家。研究发现,具有创造成就的科学家关于创造成就的概念结构由“成就取向/内心体验取向”、“主动进取/踏实肯干”两个维度构成;取得科学创造成就的重要特征是“成就取向”和“主动进取”。作者进一步讨论了主动进取对于取得创造性成就的意义     

创造性问题解决中的联想能力及其作用

长期以来,研究者一直认为联想能力与创造力之间存在着紧密的联系,但相关的实证研究并不能很好地支持这一论断,这可能是由于联想能力的界定不清所造成的。本研究梳理了以往研究中联想能力与创造力的关系,在此基础上辨析了联想能力测验所反映的实质,进一步提出了一个创造性问题解决中联想能力的作用模型：（1）联想能力主要作用于创造性问题解决中的重构阶段;（2）存在三种相对独立的联想能力,它们对空间类顿悟问题和言语类顿悟问题的影响不同;（3）联想内容中经验关系的联想能力与领域一般创造力关联最密切。     

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.     

Teachers’ Beliefs of Creative Children

Teachers’ beliefs about characteristics of creative children do not always align with how creative children actually behave. Understanding these misaligned beliefs—defined as misconceptions—is important because teachers’ misconceptions can undermine efforts to foster children's creative development. This study aimed to identify teachers’ beliefs about the characteristics of creative children with an emphasis on their misconceptions about characteristics as either indicative or contraindicative of creative children. We analyzed responses of 136 teachers to 29 characteristics, indicating or contraindicating creative children, on Gough's (1979). Creative Personality Scale using the Rating Scale Model. Results revealed that teachers tended to have more misconceptions about characteristics contraindicative of creative children than characteristics indicative of creative children while teachers were able to accurately recognize certain characteristics when compared with explicit theories of creativity. In both the indicative and contraindicative characteristics, misconceptions appeared to increase if characteristics were desirable in the classroom. Teachers’ misconceptions may conceal creative potential in children who do not manage their undesirable characteristics in constructive ways. Findings provide practical implications to aid teachers and teacher educators in correcting misconceptions about the characteristics of creative children.     

Children's Creative Intentions: Where do the Ideas for their Drawings Come from?

The process of drawing is a creative endeavor, often beginning with ideas of what to draw. This exploratory study aimed to explore these creative intentions of pupils from mainstream schools (tending to focus on observational, imaginative, and expressive drawing), and from Steiner schools (tending to focus on imagination and expression). Fifty-seven children (age 6–16 years) drew a single drawing at the request of the researcher. Before and after drawing, children completed a semi-structured interview about the content of their drawing. This interview was first analyzed qualitatively using thematic analysis to describe where children got the ideas for their drawings from. Four key themes were identified: (a) content from immediate surroundings, (b) content from memory, (c) representational content with element of imagination added, and (d) intention to express a mood or message. Content analysis was then used to quantify the interview responses and compare them between the school types. This indicated no difference in the frequency that mainstream and Steiner pupils referred to ideas based on real-world referents or imagination. However, Steiner pupils talked more about expressive ideas. The results suggest that children use a wide range of sources when generating ideas of what to draw, including their educational experiences.