The deepest moral justification for a capitalist system is not solely that, poor system that it is, it serves liberty better than any other known system; not even that is raises up the living standards of the poor higher than any other system has; nor that it better improves the state of human health and the balance between humans and the environment that either real existing socialism or the traditional Third World society has. All these things, however difficult for one (...) to admit, are empirically true. The true moral strength of capitalism, however, lies in its promotion of human creativity.New wealth can be created. Human beings themselves are the primary cause of the wealth of nations. Human creativity is nature''s primary resource. Removing the institutional repression that now stifles that creativity is the large task ahead of us. (shrink)

The complexity and challenges of the external environment accelerate the awakening of the new generation of enterprise employees’ self-consciousness. Facing the continuous expansion of the information-based work mode, the traditional management mechanism of enterprises has a more limited impact on employee performance. Based on the goal-oriented theory, developing and excavating the creative personality traits of employees, making full use of goal-oriented behavior to improve their own innovation performance management path, are expected to become a new path to continuously (...) enhance the innovation ability of enterprises. In this study, we take the employees of high-tech enterprises as samples to explore the influence mechanism of creative personality traits, goal orientation and employee innovation performance. The results show that goal orientation significantly moderates the relationship between creative personality traits and innovation performance. The mediating effects of learning goal orientation, performance certification orientation, and performance avoidance orientation are all significant. (shrink)

Students display resistance in the classroom in numerous ways, often in the form of academic misconduct. Some argue that resistance can reflect cleverness and creativity, rather than apathy. This investigation aimed to develop a psychometric tool to examine classroom resistance as well as identify individual and situational determinants of the same. Data from 853 participants was collected on measures of resistance behaviors in educational contexts and their environmental contributors, creativity, personality, and deception. Further, participants indicated their frequency of resistance (...) across two time periods: kindergarten through middle school, and high school through college. Exploratory and confirmatory factor analyses identified a robust three-factor structure for the Classroom Resistance Scale, comprising Test-Oriented Cheating, Blatant Academic Dishonesty, and Unethical Shortcuts. The person-situation analysis indicated that students who engaged in resistance shared some consistent characteristics: they were more likely to be closed to new experiences, unimaginative, more extraverted, and highly influenced by their peers. Moreover, the frequency of classroom resistance increased in higher grades as compared to lower ones. Implications of spillover effects of academic dishonesty into the workplace are discussed, in addition to suggestions for future research. (shrink)

The article is devoted to the analysis of the concept of the game and its presence in creative activity. The gameplay is presented as an important part of human life. The presence of both elements in a person's work shapes him as a "creative" and "creating" entity. The introduced characteristics are analyzed from the point of view of the historical context, where the concepts of a creative person and a person playing are equated to each other. Their (...) similarity is established on the basis of the description of the signs of the game revealed at the beginning of the XX century. Game and art are considered abstractly from a specific cultural background, as functions that organize a person and preserve an abstract character. The features of the game highlighted in the article are given as evidence that plastic art stores it at its core as well as musical art. Their division within the cult and myth has led to the question of whether there is a game in art. The solution to this question lies in the field of the role of the participant in the game. Analysis from the point of view of the roles of the "creator" and "observer" allows us to uncover misconceptions about applied art and its game function.The findings showed that the position of the "observer" does not always allow you to see a complete picture of the process of plastic creativity. Due to the secrecy of most of the activity in the inner world of the artist, the observer cannot see the mechanical work of the gameplay. On this basis, he concludes about the insufficiency of plastic art. Analysis from the position of a creative person, on the contrary, indicates the full compliance of applied arts with the gameplay. On this basis, it is indicated that the game is not only an abstract concept that characterizes a person's life, but also the main component of any creative process. (shrink)

According to Mednick’s (1962) theory of individual differences in creativity, creative individuals appear to have a richer and more flexible associative network than less creative individuals. Thus, creative individuals are characterized by “flat” (broader associations) instead of “steep” (few, common associations) associational hierarchies. To study these differences, we implement a novel computational approach to the study of semantic networks, through the analysis of free associations. The core notion of our method is that concepts in the network are (...) related to each other by their association correlations - overlap of similar associative responses (“association clouds”). We began by collecting a large sample of participants who underwent several creativity measurements and used a decision tree approach to divide the sample into low and high creative groups. Next, each group underwent a free association generation paradigm which allowed us to construct and analyze the semantic networks of both groups. Comparison of the semantic memory networks of persons with low creative ability and persons with high creative ability revealed differences between the two networks. The semantic memory network of persons with low creative ability seems to be more rigid, compared to the network of persons with high creative ability, in the sense that it is more spread out and breaks apart into more sub-parts. We discuss how our findings are in accord and extend Mednick’s (1962) theory and the feasibility of using network science paradigms to investigate high level cognition. (shrink)

Research shows that the effects of creative personality on moral disengagement and unethical behaviors are mixed. To reconcile the disparate findings, we draw on interdependence theory to unravel how and when creative personality is related to moral disengagement through countervailing pathways. Specifically, we propose competitive motivation and prosocial motivation as two distinct mechanisms that explain the double-edged effects of creative personality on moral disengagement and subsequent unethical behaviors. Furthermore, we hypothesize a cross-level moderating effect (...) of competitive climate on the relationships between competitive/prosocial motivation and moral disengagement. Results based on three-wave data from 753 employees showed that creative personality increased moral disengagement and subsequent unethical behaviors through competitive motivation but decreased moral disengagement and subsequent unethical behaviors through prosocial motivation. In addition, competitive climate weakened the negative relationship between prosocial motivation and moral disengagement and the negative indirect relationship between creative personality and unethical behaviors via prosocial motivation and moral disengagement. (shrink)

The article considers possible issues connected with using contemporary systematic methods in studying human existence during the crisis stages of life. We suggest that the role of science, art and culture in human life be considered as a way to overcome crises. The system-parametric method developed by Avenir Uyemov allows us to explore the nature of human creativity. This method is based on the dual definition of a system, which may represent any object. When an object is defined, the concept, (...) structure and substrate can be identified. This hierarchy constitutes integrity in the system. The use of such a system-parametric method in studying an object provides new perspectives, especially when it comes to arts and humanities. This paper endeavors to characterize the “creative human” system. The definitions of the “creative human” system used herein indicate that the two definitions are different, but yet still meet the complementarity principle. Both systems are characterized using first-order parameters. For an in-depth analysis, we can use second-order parameters: attributive and relational. In this study five attributive second-order system parameters were used to characterize “creative human” systems. (shrink)

"A person, I want to argue is not a given but an achievement." So opens Eliot Deutsch's provocative study, a work that sets forth new possibilities for understanding the nature of creativity and the means by which human beings fashion themselves and their worlds. Professor Deutsch develops an innovative way of moving beyond the limitations of traditional rationalism, empiricism, and analytical philosophy of mind to frame a new conception of what it means to be a person.

The article is devoted to problems of creative and reproductive strategies of modern Russian pedagogy with regard to the asynchrony of cultural personality layers of students. The asynchrony of cultural and psychological personality layers means that a system of personal attitudes consists of orientations that prevailed in different historical periods and therefore is able to combine both harmony and disharmony of interaction between them. Orientation on the reproduction or on the creativity has a particularly strong influence on (...) the formation and dominance over private personal attitudes. Special attention is paid to active group learning methods that are capable of intensifying the creative development of a personality. The cause of many of the shortcomings of the modern education is the state bureaucratic activity armed of consolidating the archaic reproductive attitudes in teachers and students practices and at enhancing the asynchrony of cultural layers of personality, which hampers the further development of creativity. Much attention is paid to the traditions of Russian humanitarian thought and experience of outstanding Russian teachers largely determined the development of modern pedagogical practice. The activity of the most talented native teachers of the twentieth century was aimed at reducing the specified cultural asynchrony of pupils through active intragroup interaction with increasing inclusion of each in the process of development of modern cultural skills of creativity. Not ‘stucking‘ on the tasks that the group could decide for herself, the teacher worked "for the future", focusing it on the broader educational interests and creativity. Typology of culture correlates with cognitive mechanisms of socialization. (shrink)

Industry 4.0 has changed the paradigm in the business practice and business model, and digital technology has brought radical transformations to enterprises. To support this transformation, digital leaders are required to help enterprises transform and lead them to a more promising future. Based on job demands-resources model and person-organization fit theory, this study examines the relationship between digital leadership and employee creativity. Based on a sample of 357 employees from various Chinese companies, this study used SPSS 22.0 and MPLUS 7.0 (...) to examine the hypotheses. The findings indicate the following digital leadership has a positive effect on employee creativity. employee job crafting mediate the relationship between digital leadership and employee creativity. person-organization fit positively moderates the relationship between digital leadership and employee job crafting. person-organization fit positively moderates the indirect effect of digital leadership on employee creativity via employee job crafting. The findings reveal the effect mechanism of digital leaders on employee creativity and enrich the literature on antecedents of employee creativity. Practical implications and future research are also discussed. (shrink)

Ernst Cassirer's The Philosophy of Symbolic Forms fails to account properly for personalized experiences; it cannot provide a basis for understanding how some experiences become personal while others do not. Our account of personalized experience will remain lacking as long as we follow Cassirer in viewing personalized experience as a non-necessary feature of other symbolic forms such as myth, language, religion, or art; instead it must be understood that personalized experience is grounded in an independent symbolic activity as basic to (...) human cultural life as language, myth, or objectivating knowledge. This basic personalizing symbolic function is best understood as that same activity articulated in Gabriel Marcel's phenomenological descriptions of the act of "creative fidelity." Once this relationship has been grasped, it becomes possible to articulate a symbolic form of personalized experience by describing the unique way in which creative fidelity (as the personalizing symbolic function) spatializes, temporalizes, numeralizes (and as a result subjectifies/objectifies) its own distinct horizon of meaning (or: cultural world). The result will be a symbolic form, as Cassirer understands it, that is as far-reaching and fundamental to human cultural life as the three symbolic forms elaborated in The Philosophy of Symbolic Forms. By articulating this fourth symbolic form, we will have taken a significant step toward Cassirer's ultimate goal of a robust philosophical anthropology. (shrink)

Harold Osborne; Creativity, Progress and Personality, Journal of Philosophy of Education, Volume 18, Issue 2, 30 May 2006, Pages 213–221, https://doi.org/10.111.

The object of this research is the fragmented everyday life of social life practices. The subject of the research is personal stories realized in storytelling and considered as the result of the creative activity of the subject and a way to overcome the fragmentation of everyday life of modern culture. The authors consider the fragmentation of everyday life as a factor in the desocialization of the subject and the leveling of unified mechanisms of social interaction. Storytelling is defined as (...) a way for a person to consistently present various storylines and broadcast the principles of their personal existence, creating an effect of belonging among recipients and awakening their imagination. The research substantiates that storytelling resources allow a subject to broadcast personal values, creatively express their individuality through virtual self-presentation and respond to current public demands, thereby overcoming the fragmentation of everyday life. As the conclusions of the research, the authors state that public order and social interaction are conditioned by the influence of the narratives of each subject on the foundation of their own being and the formation of a vector of development of all participants in intersubjective relations through the dissemination of the principles of personal existence in the storytelling system. The authors emphasize the creative nature of personal stories, the creation and telling of which is a prerequisite for the formation of unified principles of social existence due to the transmitted ideas about socially acceptable rules and stable patterns of behavior that become a set of rituals. The authors conclude that personal stories allow the subject to overcome fragmented everyday life, move to a qualitatively new level of normative determination, develop a strategy of self-identity and move from a separate way of being to a holistic existence in the context of intersubjective interactions. (shrink)

There is currently a clarion call for the NHS to be more creative and innovative, as it moves into an increasingly quality focused agenda. But exactly how easy is it to do this when the NHS performance regime for the last 10 years has been more about delivering centrally driven, specific and detailed targets for improvement, such as reduction of waiting times, than promoting a culture that speaks of experimentation and possibilities rather than certainties. Can a workforce that may (...) not have been all that prepared for creativity, be creative? And what does being prepared for creativity look like? This paper explores, briefly, the relationship the NHS has with creativity and the new agendas that are creating more fertile ground but then, drawing on practices and information from leading innovators and researchers in the business sector, it looks at the conditions the NHS might need to create in order foster creativity in its workforce. More specifically it looks at the role that a more personal approach to creativity might play in cultivating a workforce that is more comfortable entering into creative thinking and behaviour. (shrink)

Purpose of the articleThe presented study introduces the psychological factors which influence the creative development of young people in their families, especially from psychological position - acquired of birh of order - point of view. The study presents basic theoretical theses of birth orders´concept, as A. Adler and his followers introduced into psychological literature; it also brings information from empirical researches about the groups of five positions´ birth order: first-born, send-born, middle-born, youngest and parents´only children in relation to their (...) psychological characteristics. The second part is dedicated to issue of birth order in relation to creativity, intelligence and personality traits of 153 adolescents - students of the last year of high school who passed the exams for the artistic - technical study at the Faculty of Architecture with the average age 18.32 years. Methodology/methods The creativity was identified by Urban’s Test of Creative Thinking and Torrance Test of Creative Thinking. The intelligence was identified by the nonverbal Test of General Abilities. The Slovak version of NEO FFI Inventory was used for the measuring of five personality dimensions. The anamnestic data were obtained from our Questionnaire of the Family Constellation. The results were statistically processed by means of ANOVA SPSS program. The inter-group differences based on the birth-order were tested by the one-way ANOVA method as well as two-way analysis by ANOVA method and by T-test. Scientific aim The aim of the study was to find out in what kind of families live the gifted students, what are intersexual differences in creativity, intelligence, personality traits and in what birth order live the gifted adolescents, what are their typical personality traits and also the specifics of their creativity and the level of intelligence. Findings The research results on the sample of 153 adolescents showed that higher performances in the fluency and flexibility of thinking in the Torrance Creativity Test showed the women in comparison to men. The results indicate that the birth order differentiates the groups of gifted adolescents in the personality dimension openness to experience and agreeableness. Highly creative adolescents have ascribed themselves more often characteristics connected with creativity.The findings are comented as to the implications for the role of the creativity in both sexes and for the composition research sample and for research methods too. The other findings dealing with the specifics of creativity will be more broadly discussed in the study. (shrink)

A longitudinal study was conducted to examine the developmental trend of creative potential in Chinese junior high school students and the within-person and between-person effects of student–student support and need for cognition. Two hundred and fourteen Chinese junior high school students participated in the present study (mean age = 13.29 years, SD = 0.49 years, 116 boys). Student–student support, need for cognition, and creative potential were measured once per year for 3 years. Longitudinal multilevel models indicated that (1) (...) Chinese junior high school students’ creative potential showed a downward trend from grades 7 to 9; (2) at the within-person level, time-varying student–student support positively predicted time-varying creative potential; (3) at the within-person level, time-varying need for cognition moderated the positive link between time-varying student–student support and time-varying creative potential; and (4) at the between-person level, no support was found for the links between student–student support, need for cognition, and creative potential. Specifically, average levels of student–student support neither significantly predicted initial levels and developmental rates of creative potential nor moderated the links between average levels of student–student and initial levels and developmental rates of creative potential. The findings highlight that at the within-person and between-person levels, student–student support and need for cognition have differential influences on Chinese junior school students’ creative potential. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Creativity Belongs to the Person, not to DiseaseJuan J. López-Ibor Jr. (bio) and María-Inés López-Ibor (bio)Keywordscreativity, patho-biography, Saint Teresa, visionsIn the paper, “From the Visions of Saint Teresa of Jesus to the Voices of Schizophrenia,” Cangas, Sass, and Pérez-Álvarez (2008) take an original approach to patho-biography that is very welcome.The temptation to designate historical individuals or characters of fiction as suffering from mental disease has always produced disagreeable feelings (...) in me. This sort of abuse of psychiatry and of the people in question is parallel to the abuse by the media or lay citizens when they describe, say, an especially violent murderer as a schizophrenic—forgetting that the vast majority of people with schizophrenia are not in the least violent. Having read Santa Teresa’s writings during my adolescence, well before I even considered entering medicine, I reacted to comments about her alleged psychiatric illnesses with uneasiness, to put it mildly. The Santa Teresa of La Vida de la Santa Madre Teresa de Jesús (her autobiography), of the Camino de Perfección, and of the El Castillo Interior was surely not a mental patient, it seemed to me. The same would apply to San Juan de La Cruz, Jean D’Arc, Don Quijote, Sancho Panza, Edipus, and Clitemnestra, to mention a few. Even van Gogh’s paintings did not seem to me the productions of a patient with schizophrenia or epilepsy. Of course all of them may have suffered, at certain periods of life, symptoms attributable to a mental disorder, but their creativity rested elsewhere, and was often manifest during healthy periods of their lives. After years spent fighting the stigma of mental diseases, and after organizing several exhibitions of works of art of people with mental diseases, we came to the conclusion that creativity and singularity belong to the person, not to the illness. Some of the diseases of these individuals may have being accidents (van Gogh’s hallucinations and psychotic symptoms, for example, were most probably due to intoxications with absinthe, then rich in hallucinogenic alkaloids such as tujone), or, together with other life circumstances, may have had unspecific influences on the person’s condition. In contrast with many other psychiatric disorders that are represented in ancient Greek and Roman literature, there are no descriptions of individuals with schizophrenia in the Greek and Roman literature dating from the fifth century bc to the beginning of the second century Ad (Evans et al. 2003), and several authors have speculated that schizophrenia did not exist before the eighteenth century (Ellard 1987).Caution is important when dealing with mental health and religious issues in contrast with creativity. The creativity of people suffering from bipolar disorders is well recognized (Jamison 1993) and [End Page 277] the same applies to alcohol and drug intoxication. Tellenbach (1986) has also written on the creativity of depressed persons, although he refers more to the disposition of mood (Schwermut) than to clinical depression as such. The link between melancholia and genius put forward by Aristotle has often been misinterpreted. The philosopher was considering the melancholic temperament and not the melancholic illness as we would understand it today. Of the four temperaments, it is in his view only the melancholic that is gifted with creativity. The sanguine person seeks the immediate pleasures of life, the choleric one considers himself powerful and dedicates himself to manifesting this power, and the phlegmatic individual is disconnected from life and seeks to live without effort or pleasure. The melancholic temperament leads to creativity because of the predominance of doubt, reflection, and dissatisfaction with the miseries of life.Freud’s notion of religiosity as a collective obsessive neurosis is totally mistaken, in my view. The three main themes of obsessions are cleanliness, order, and guilt. In none of these cases is the theme the goal of the action; rather, it is a strategy to contain anxiety. As a consequence, patients with obsessions and compulsions about dirt and cleanliness tend to be dirty themselves, because the real purpose of their compulsions is not in fact to be clean but rather to satisfy a ritual. When order... (shrink)

As individual subjects, creativity and personality have been the focus of much research and many publications. This Cambridge Handbook is the first to bring together these two topics and explores how personality and behavior affects creativity. Contributors from around the globe present cutting-edge research about how personality traits and motives make creative behavior more likely. Many aspects of personality and behavior are examined in the chapters, including genius, emotions, psychopathology, entrepreneurship, and multiculturalism, to analyse the (...) impact of these on creativity. The Cambridge Handbook of Creativity and Personality Research will be the definitive resource for researchers, students and academics who study psychology, personality, and creativity. (shrink)

Three kinds of things may be creative: persons, processes, and products. The standard definition of creativity, used nearly by consensus in psychological research, focuses specifically on products and says that a product is creative if and only if it is new and valuable. We argue that at least one further condition is necessary for a product to be creative: it must have been produced by the right kind of process. We argue furthermore that this point has an (...) interesting epistemological implication: when you judge a product to be creative--attributing creativity--you are not just judging it to be new and valuable. Even if you did not witness how it was produced, you are also making a judgement about how it was produced. (shrink)

The results of education in the conditions of collective creative interaction are discussed. The results of research of the self-image, an image of the senior companion, images of the good and the bad man in consciousness of children and adult, present and former members of the children’s organization working by a technique of collective creative education are presented.

Significant research has been conducted on the influence of entrepreneurial intention on entrepreneurial education and entrepreneurship practice. Similarly, this study aims to explore how creativity plays a mediating role in the influence of personality traits on entrepreneurial intention. As many as 674 valid questionnaires were collected from college students in China, allowing the relationship between personality traits, creativity, and entrepreneurial intention to be analyzed in detail. The following results are found through a series of explorations. First, neuroticism in (...) personality traits has a significant negative impact on entrepreneurial intention, while conscientiousness, openness, and extraversion have a significant positive impact. Second, neuroticism has a significant negative impact on creativity, while conscientiousness, openness, and extraversion have a significant positive impact. Third, creativity has a significant positive impact on entrepreneurial intention, it has a partial mediating role between neuroticism, conscientiousness, extraversion, and entrepreneurial intention along with a complete mediating role between openness and entrepreneurial intention. The research results further provide a reference value for the improvement and optimization of entrepreneurial practice. (shrink)

The article deals with the little-studied but actual problem of loneliness of an outstanding creative personality as a consequence of stereotypical understanding of his works and activity. The cultural and philosophical meaning of Ivan Turgenev’s motif of loneliness is that he was a lone creator, recognized by Russian critics and historians of literature only in the context of the activities of other recognized great writers: Pushkin, Gogol, Dostoevsky, Tolstoy, Chekhov. The problem of loneliness is revealed through the paradoxical (...) statement by Turgenev on the question about strange loners and aggressive crowd. The paper presents the loneliness of I.S. Turgenev as a rejection of the understandable and normality among the non-understandable and weirdness. In Russian literatury critical and historico-cultural tradition, during the discussion of Russian classics, the general opinion has been formed: Turgenev is apparently non-Russian author, moreover he is not a classic writer indeed. (shrink)

Third language learners have great potential in developing creativity; however, the factors affecting L3 learners’ creativity have received little attention. This study investigated the relationships between proactive personality, three different thinking patterns, and creativity among L3 learners. The participants were 220 Chinese students who attended an obligatory L3 course in college. The results showed that proactive personality, growth mindset, golden mean thinking, and creativity had significant intercorrelations. Moreover, the role of growth mindset and golden mean thinking as mediators (...) of the proactive personality and creativity relation was supported, and the mediating effect of growth mindset was larger than that of golden mean thinking. However, the fixed mindset did not show a significant indirect effect on the path from proactive personality to creativity. This is the first research to treat growth mindset, fixed mindset, and golden mean thinking as mediating variables on the path from proactive personality to creativity, particularly demonstrating that golden mean thinking, which is specific to Asian students and located midway between a growth mindset and a fixed mindset, can cultivate creativity. Some suggestions for fostering creativity in L3 students were also included in this study. (shrink)

Emotional creativity refers to a set of cognitive abilities and personality traits related to the originality of emotional experience and expression. Previous studies have found that emotional creativity can positively predict posttraumatic growth and mental health. The outbreak of coronavirus disease 2019 (COVID-19) has posed great challenges to people’s daily lives and their mental health status. Therefore, this study aims to address the following two questions: whether emotional creativity can improve posttraumatic growth and mental health during the COVID-19 pandemic (...) and how it works. To do this, a multiple mediation model has been proposed, which supposes that emotional creativity is associated with posttraumatic growth and mental health through perceived social support and regulatory emotional self-efficacy. The study involved 423 participants from multiple regions with different COVID-19 involvement levels. Participants were asked to complete a questionnaire with six parts, which included Emotional Creativity Inventory (ECI), Regulatory Emotional Self-Efficacy Scale (RES), Stress-Related Growth Scale-Short Form (SRGS-SF), Multidimensional Scale of Perceived Social Support scale (MSPSS), Brief Symptom Inventory-18 scale (BSI-18), and COVID-19-related life events questionnaire. Path analysis used to examine the mediation model indicated that under the control of COVID-19-related life events and age, perceived social support mediated a positive association between emotional creativity and posttraumatic growth as well as a negative association between emotional creativity and all mental health problems, including somatization, depression, and anxiety. Regulatory emotional self-efficacy mediates the association between emotional creativity and posttraumatic growth, emotional creativity and anxiety, and emotional creativity and depression. The results suggest that emotional creativity plays an important role in coping with stressful events related to COVID-19. Furthermore, these results might provide a better understanding of the possible paths through which emotional creativity is related to psychological outcomes, such as mental health and posttraumatic growth. (shrink)

The current research focuses on the nature of the relationship comprising personality traits, creative thinking, and academic integrity. Scholars have confirmed that personality traits and creative thinking correlate positively with academic integrity. However, a discussion of academic integrity, personality traits, and creative thinking is missing in the scholarly literature. This study used a questionnaire survey based on the Big Five Factor to identify personality characteristics, the Academic Integrity Inventory, and the Torrance Tests of (...) Creative Thinking. The sample included 976 students studying in four academic colleges in Israel, of which two are teacher training colleges and two colleges awarding a degree in education. The findings show that most of the students (71%) reported they had cheated at some point during their academic studies, and only one-fifth (21%) thought that they would condemn their peers’ lack of integrity. Creative thinking students and emotionally stable persons tend to be more ethical. Hence, we conclude that it is recommended to deliver creative thinking courses in the teacher’s educational training programs to improve creative thinking levels, reduce academic dishonesty, and create more effective curricula. (shrink)

Creative motivation is considered in the context of personality structure and flourishing as an indicator of positive development. The aim of the present study is to explore the relationships in the field of creativity and creative motivation as factors for achieving psychological well-being and flourishing, as well as their presence within various psychological profiles. Hypotheses have been raised in order to measure the presence of creativity indicators within certain psychological types in relation to the level of (...) class='Hi'>creative motivation and flourishing. The survey instruments used are: Myers Briggs Type Indicator, Torrance Creative motivation scale and Diener Flourishing Scale. The results presented are based on a pilot study conducted in Plovdiv. The sample includes people in early adulthood, authentic folklore dance performers. (shrink)

In the twentieth century, no person epitomized more dramatically the “Renaissance mind” than Herbert A. Simon (1916–2001). In aworking life spanning over 60 years, Simon made seminal contributions to administrative theory, axiomatic foundations of physics, economics, sociology, econometrics, cognitive psychology, logic of scientific discovery, and artificial intelligence. Simon's life of the mind, thus, affords nothing less than a “laboratory” in which to observe and examine at close quarters the phenomenon ofmultidisciplinary creativity. In this paper, we attempt to shed some light (...) on the nature of Simon's creativity and the nature of his particular Renaissance mind. In particular, we have attempted here to articulate thecognitive styleunderlying Simon's multidisciplinary creativity. (shrink)

The Person Vanishes argues that despite John Dewey's failure to articulate «an adequate theory of personality», his writings provide at least a theory-sketch of human personality consistent with the assumptions that framed his philosophical outlook. Recognizing the new developments in society, science, and the arts, Dewey argues for the necessity of a Copernican revolution in our understanding of the human self; from the monadic and minimalist self of the Cartesian-Newtonian modernist tradition to a relational and processual model of (...) selfhood consonant with the press of post-modernist historical experience. As a field and activity conception, Dewey's self emerges as a nexus of relational energizing, genuinely moored in a cultural surrounding in which ongoing creative reconstruction becomes the mark and criterion of the self's health and growth. What vanishes in Dewey's reconstruction is not the self as such, but only the entitative, substantive self of early modernism. Dewey's understanding of the self is grounded in the conviction that philosophy must begin its inquiry from the ordinary experience of plain men and women. The Person Vanishes examines Dewey's participatory notion of deliberation, what he calls «dramatic rehearsal», by using the Israeli-Palestinian conflict as a case study. The analysis attempts to cash out the personal and collective habits, as well as the different modalities of ends, facts, and values that diagram the existential dimensions of this problematic situation. Contrary to traditional dualistic and spectatorial accounts of deliberation, Dewey's «dramatic rehearsal» shows the complexity of decision-making when the genuine limitations of daily life are taken seriously. The attempt to march to Dewey's participatory philosophy reveals the escapist nature of all dualistic philosophical traditions and the reason for their continuous failure to resolve concrete social and personal conflicts. (shrink)

This article addresses the issue of units of analysis and atomistic models in psychology taking creativity research as a case study. A classic typology in this area, initially proposed by Rhodes, distinguishes between the four P's of creativity: person, process, product, and press. Continuing an effort to rewrite this basic language of the discipline from a cultural psychological perspective in the form of five A's, the discussion here focuses on bringing relationships to the fore within this framework and problematising strict (...) distinctions between each of the five elements. A closer look at the five A's of creativity, drawing on theoretical considerations and illustrated by interviews with creators working in different domains, reveals the permeable borders surrounding these units and challenges clear divisions between actors and audiences, action and artefacts, actors and artefacts. In the end, it is argued that creative phenomena cannot be properly understood and studied outside of their integrated and dynamic totality defined as a creativity complex. Implications of adopting this “molecular” perspective for theory and methodology are discussed. (shrink)

This chapter summarizes the conceptual foundations and research on emotional creativity. Emotional creativity is defined as a pattern of cognitive abilities and personality traits related to originality and appropriateness in emotional experience. This construct pervades human creative performance and represents an important link between emotional experience and cognitive processes. Empirical research in this field has revealed various links of emotional creativity to personality variables (e.g., openness to experience), positive affect, fantasy proneness, coping strategies, post-traumatic growth, better self-understanding, (...) and one’s engagement in practicing creative leisure activities. In the applied settings, emotional creativity has been found to be positively related to the intrinsic motivation of employees, the innovative performance of employees, teaching efficacy, and an increased awareness of professional roles. Interestingly, the available meta-analysis of past studies revealed that women showed significantly higher emotional creativity than men. Emotional creativity has also been found to be lower in older adulthood compared to younger age. Because the levels of emotional creativity were found to be sensitive to the decline of cognitive functions in older adults, their decrease can be considered as one of the indicators of cognitive aging. Recent research in clinical neuropsychology has also revealed that older adults in the early stages of Parkinson’s disease showed decreased emotional creativity compared to healthy older adults. (shrink)