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291.
Robert J. Sternberg 《创造性行为杂志》2020,54(1):20-36
Creativity testing as it is now done is often based on a defective assumption that different kinds of creativity can be compressed into a single unidimensional scale. There is no reason to believe that the different kinds of creativity represent, simply, different amounts of a single unidimensional construct. The article shows how three different ways of viewing creativity lead to different ways of measuring creativity, all at variance with current unidimensional models. The point of view presented here does not suggest that current creativity tests are invalid, but rather, that care must be taken in the nature of claims made for them. Moreover, many of the same arguments could be applied to the measurement of intelligence and even wisdom as well. 相似文献
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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. 相似文献
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The article integrates the seven papers of the two special issues with a special focus on discussing the differences in people's beliefs about creativity between the Chinese and American cultures: How it is conceived, evaluated, and nurtured. It uses three metaphors to capture major differences in these aspects, and highlights areas with profound cultural variations in conceptions and creative education for future research. 相似文献
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对315名初中生施测Kirton适应–创新认知风格问卷、Williams创造性倾向量表和Torrance创造性思维测验任务,以考察创造性认知风格、创造性人格与创造性思维之间的关系。相关分析表明,在创造性认知风格中,效率性、规则性均与创造性思维呈显著负相关;在创造性人格中,冒险性、好奇心及挑战性均与创造性思维显著正相关。回归分析进一步表明,在创造性认知风格中,创新性、效率性分别正向、负向预测创造性思维,在创造性人格中,好奇心正向预测创造性思维;对回归系数的逐步检验发现,创新性维度通过创造性人格而对创造性思维具有间接的积极影响。结构方程模型结果则显示,创新性维度、规则性维度以创造性人格为中介分别对创造性思维发生间接的积极、消极影响。可见,创新认知风格有利于创造性思维,而适应认知风格不利于创造性思维;创造性人格有利于创造性思维;创造性人格在创造性认知风格与创造性思维之间具有一定的中介作用,创新性认知风格通过创造性人格而促进创造性思维,规则性认知风格通过创造性人格而抑制创造性思维。 相似文献
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Robert J. Sternberg 《Estudios de Psicología》2019,40(3):497-525
AbstractThe tall-poppy syndrome (TPS) is a pattern of behaviour whereby people who excel in some respect are cut down to size by those around them. People are often uncomfortable with those who excel and therefore, in effect, seek to put them in their place. I argue in this article that the TPS is, in some respects, getting worse, even in the creative professions. I suggest a number of reasons why this might be so and also what societies might do about it. 相似文献
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