Teachers’ Perceptions of Students’ Creativity in China’s Classrooms: The Role of Students’ Academic Achievement and Misbehaviors

Teachers can be biased, especially toward low achievers and students with behavioral issues. However, creative students often appear to be disruptive in the classroom, and many of them struggle academically. The purpose of the present study was to examine the extent to which teachers’ perceptions of students’ creativity is associated with students’ academic achievement and classroom (mis)behaviors, as well as to examine the interaction between these two factors. Three hundred and fifty‐four eighth‐grade students selected from five middle schools in China participated in this study. Using achievement scores, peer nominations, a divergent thinking test, a self‐rated ideational behavior scale, and teacher ratings, the present study found that, whereas creativity has no significant relationship with teachers’ perceptions, academic achievements and misbehavior are significantly associated within structors’ perceptions. The achievement bias resulted in the underestimation of low achievers’ creativity, even when the low achievers were highly creative. More nuances emerged when student misbehaviors were considered. Specifically, misbehaving low achievers’ originality was further underestimated even when they were highly original. In contrast, teachers overestimated well‐behaved high achievers’ creativity, even when the students comprised the lowest creativity group. The results are further discussed from a socio‐cultural perspective.     

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。     

Mathematical Creativity: A Combination of Domain-general Creative and Domain-specific Mathematical Skills

Creativity is an understudied topic in elementary school mathematics research. Nevertheless, we argue that creativity plays an important role in mathematics, but that more research is needed to understand this relation. Therefore, this study aimed to investigate this relation, specifically between domain-general creativity, domain-specific mathematical creativity, and mathematical ability. Measures for these constructs were administered to 342 Dutch fourth graders. In order to examine the nature of the relation between creativity and mathematics, two competing models were tested, using Structural Equation Modeling. The results indicated that models in which general creativity and mathematical ability both predict mathematical creativity fitted the data better than models in which mathematical and general creativity predict mathematical ability. This study showed that both general creativity and mathematical ability are important to think creatively in mathematics.     

Creativity and Self-esteem in Adolescence: A Study of Their Domain-Specific,Multivariate Relationships

Although empirical investigations on the Creative Self have historically started with a focus on self-esteem, the literature on its relationship with creative performance remains thin and inconsistent, with estimated relationships ranging from moderate and negative, to strongly positive. Discrepancies may be explained by the domain-specificity of both creativity and self-esteem that have been widely overlooked in this line of work. Therefore, this study explores the multivariate relationships between creativity in three domains (Music, Literary-Verbal, Graphic) and self-esteem in seven domains (e.g., Academic, Emotional) among 170 adolescents. Creative productions were scored by four raters, and latent consensus in each domain captured using a multi-informant latent-consensus model in SEM. This model was further extended in a structural model reveling that (a) creativity is mainly domain-specific, and (b) the contribution of domain-specific self-esteem on domain-specific creativity greatly varies according to both the domains of creativity and self-esteem. Up to 30% of the variance in creative performance was explained by “domain-relevant” self-esteem facets, and a moderate contribution of creative self-esteem across creativity domains. Results are discussed in light of several important methodological directions for this line of work, as well as its implications for creativity-based interventions designed to support positive self-esteem development in adolescence.     

Creative Thinking Strategies for Life: A Course for Professional Adults Using Art

To thrive in today's economy and the workforce of the future, individuals need creativity and problem-solving skills. Emotion skills have been increasingly discussed as well, with companies listing emotional intelligence as one of the top skills needed for professional success. The present paper describes a course designed to teach professional adults two sets of creativity skills (problem finding and idea generation) and two sets of emotional intelligence skills (using emotions to facilitate thinking and understanding emotions) using visual art as a medium. The course consisted of eight, 60-min sessions in which professional adults participated in art observation and art engagement activities. Fifty-six professional adults completed measures of creative abilities and emotional intelligence skills in a pretest, posttest, and 2-month follow-up design. Participants who engaged in the course showed significant gains in the originality of their ideas on divergent thinking and problem construction tasks, as well as their self-reported creative behavior compared with controls. No significant changes in emotion understanding were detected. We discuss the course's distinct value to creativity and emotion skills training research.     

The Relationship between Emotional Intelligence and Domain-Specific and Domain-General Creativity

The Amusement Park Theory of Creativity, which represents both domain-specific and domain-general perspectives of creativity, calls for more research on how individual difference constructs are related to creativity at all ends of the domain-specificity and general spectrum. Toward this goal, this study examined emotional intelligence (using the Emotional Intelligence Scale) in relationship with both a domain-general measure (the Abbreviated Torrance Test for Adults) and a domain-specific measure (Kaufman Domains of Creativity Scale) in a sample of 281 Chinese undergraduates. Although emotional intelligence demonstrated no relationship with divergent thinking, it did positively predict all five domains of creativity on the self-report measure (ranging from .52 to .77). These findings add to the nuanced relationship between emotional intelligence and creativity and serve as a call for more work of this nature.     

Creators and Presses: The Person–Situation Interaction in Negative Creativity

Given the recent emphasis on exploring valence in creative behavior, this study examines negative creativity via a person–situation interactionist perspective. By manipulating goal valence (uses or misuses) and object valence (positive or negative), four conditions of an adapted Divergent Thinking task were used to predict positive and negative creativity. Participants (N = 178, 103 females, M_age = 23.82, SD = 4.03, range: 18–38) responded to a single condition along with the Big Five and Dark Triad personality scales in a between-groups design. Hierarchical multiple regressions revealed that goal and object valence significantly explained variance in valences of creative responses, beyond individual differences of personality. Furthermore, the congruence between goal and object valence predicted valenced creativity; that is, the positive objects and goals condition yielded more positive-original ideas, and the negative objects and goals condition yielded more negative-original ones. Object valence alone (material presses) did not contribute significantly to explaining valenced creativity. Negative-original responses were inversely related to conscientiousness, and directly to intellect/imagination and secondary psychopathy. Thus, negative creativity was attributed relatively more to person as compared to situation variables. Results are discussed from a valence-based and interactionist perspective.     

Assessing depressive symptoms with the Borg centiMax Scale® in a Swedish sample of patients and students

The Borg centiMax Scale, is a psychophysically composed general intensity ratio scale, which could enable more precise inter- and intraindividual comparisons of the intensity of depressive symptoms. In the present study, the properties of the centiMax scale were examined in 38 patients with clinical depression and 109 students. Additionally, preliminary centiMax cut-off scores for mild, moderate and severe depression were estimated. The psychometric properties of the centiMax were found to be satisfactory regarding internal consistency, convergent, discriminative and predictive validity. Moreover, the centiMax was demonstrated to provide meaningful comparisons of symptom intensity, which makes it possible to evaluate the relative importance of individual symptoms in a profile and make more precise comparisons within and between individuals. With regard to intraindividual comparisons, patients rated , for example, the intensity of feeling “guilt” twice as strong as feelings of “being punished,” and the intensity of “loss of pleasure” almost three times as strong as “being punished.” With regard to interindividual comparisons, patients rated e.g., the intensity of “being punished” as 12 times stronger than controls, and the intensity of “worthlessness” about nine times stronger. In conclusion, the centiMax was shown to be reliable and valid for assessing depressive symptoms. The centiMax with level anchored ratio data, appears to be highly advantageous as it permits rather precise values of symptom intensity for intra- and interindividual comparisons that could be useful in the diagnostic process and in treatment planning.     

互联网企业玩兴氛围对创新行为的跨层次作用机制

互联网企业通过营造快乐愉悦的玩兴氛围, 推动员工持续创新, 以期组织目标的实现。然而, 现有玩兴氛围与员工创新行为关系的研究以理论分析为主, 缺乏实证研究, 进展相对缓慢。在回顾组织管理领域玩兴研究成果的基础上, 开展三个方面的研究：研究一基于组织氛围理论和玩兴活动特征, 开发中国情境下互联网企业的团队玩兴氛围量表。研究二立足于团队层次, 依据资源保存理论重点探讨了玩兴氛围对员工创新行为的跨层次作用机制。研究三从创造力成分模型出发, 引入个体思维方式和多重认同, 探讨激发员工创新行为的边界条件。研究结果发展了中国互联网企业团队玩兴氛围的概念, 促进了玩兴氛围理论的发展, 为互联网类企业营造玩兴氛围以激发创新行为提供理论支持和实践启示。     

矛盾年龄偏见量表在中国大学生群体中的修订及信效度检验

目的：修订矛盾年龄偏见量表(the Ambivalent Ageism Scale, AAS),并在中国大学生群体中进行信、效度检验。方法：对1182名大学生施测AAS中文翻译版,探索并验证其因子结构,分析信、效度和测量等值性。其中347人还完成老化知识量表(FAQ)和容纳他人量表(AOS),用以检验AAS中文版的校标关联效度。另有74人在4周后重测AAS中文版。结果：AAS中文修订版包含认知帮助/保护、不想要的帮助和敌意年龄偏见三因子,总量表和各维度的Cronbach’s α系数依次为0.83、0.80、0.85、0.76,重测信度依次为0.78、0.62、0.78、0.71。AAS中文修订版及各维度与FAQ和AOS负相关(r=-0.23～-0.48,ps<0.001)。验证因素分析表明AAS中文修订版的拟合良好(χ²/df=3.51,CFI=0.96,TLI=0.94,RMSEA=0.07,SRMR=0.05)。且该量表跨性别形态、弱等值、部分强等值和部分严格测量等值成立。结论：修订后的矛盾年龄偏见量表(AAS)中文版的信、效度良好,具备跨性别的测量部分...