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PubMed2003

Fantasy proneness, creative capacity, and styles of creativity.

The Creativity Styles Questionnaire-Revised was used to measure graduate psychology students' (N=173) self-perceptions of creative capacity and styles of creativity (beliefs about and strategies for going about being creative). Participants also completed the Inventory of Childhood Memories and Imaginings, a self-report measure of Fantasy Proneness. The Self-perceived Creative Capacity and Fantasy Proneness scores were significantly correlated (r=.36, p<.001), and these scores were positively correlated with the styles subscale scores of Belief in Unconscious Processes. Use of Techniques, Use of Senses, and negatively correlated with Final Product Orientation. Also, the Fantasy Proneness scores were positively correlated with the Superstition scores and the Environmental Control and Behavioral Self-regulation scores.

Adult↗
PubMed1991

[Creativeness and creative personalities--a study of successful entrepreneurs].

The term creativity is defined, and the underlying creative process is described. The creative process is developed with the help of the new metaphors. The two most successful and creative from over 130 entrepreneurs involved in a research project are taken as examples. The essentials of the creative process the inexhaustible process of the phantasy concerning certain ideas and problems is enlarged in connection with the results of the Giessen Test S and the two above-mentioned entrepreneurs.

Achievement↗
PubMed1999

Some notes on the 'heroic self' and the meaning and importance of its reparation for the creative process and the creative personality.

The author discusses a few points in a long clinical history from which he has derived the notion of 'heroic self', describing how it manifested through 'heroic' projective and introjective identifications. He also demonstrates the importance of repairing both the heroic self and the internal objects, and how essential it is for the analyst to differentiate between the heroic self and its megalomaniac psychopathic manifestations, and to recover the heroic self when it appears to be lost, as in the case of severe, quasi-melancholic, depression. By heroic self and heroic projective and introjective identifications, he means the creative person's specific need to associate himself with, to compete with and excel the heroes of his own cultural tradition. The creative person is able to do so via these projections and introjections, and the need is based on the creator's inner awareness of naturally possessing unusual, or even outstanding, gifts; in other words, the creative person has an awareness of being, or of the possibility of becoming, a creative hero. Brief reference is made throughout to other clinical material, and in the final section further support is given to the author's views on the heroic self with short quotations and examples from non-psychoanalytic sources that provide further interesting evidence of the existence and functioning of the heroic self. With particular reference to Segal's work in this field (1952, 1991), and her notion of 'meaningful form', the author tries to further develop its implications in the light of the heroic self and of the heroic projective and introjective identifications, as far as the creator and those who respond to and evaluate his or her work are concerned.

Creativity↗
PubMed1978

The Torrance Tests of Creative Thinking and the Rorschach Inkblot Test: relationships between two measures of creativity.

The purpose of this study is to determine whether there are any significant correlations between the subscores and total scores of the Torrance Tests of Creative Thinking and the Rorschach Inkblot Test, as scored by the Rorschach Index of Repressive Style. Twenty-six teachers of Grades 3, 4, and 5 and 51 fourth grade students were given, by group administration, the Torrance Tests of Creative Thinking and the Rorschach Inkblot Test. Results show that although neither the Total Verbal, Total Non-verbal nor Over-all Torrance scores correlate significantly with either the Rorschach Human Movement score or with the Rorschach Total Movement score (HM + FM + m), there are significant relationships between the Total RIR, m score and the Over-all Torrance score. The main conclusion is that the Rorschach HM and Total M score measure artistic, associative, intuitive creativity, while the Torrance Tests of Creative Thinking and RIR Total score measure divergent thinking.

Aptitude Tests↗
PubMed2004

The level-style of creativity distinction: comments on a recent comparison of two measures of creativity style.

A recent article published in this journal made a contribution to our understanding of the relationships between two measures of creativity style. The authors interpreted their results and made a few statements that made a subtle, yet substantial link between the styles measured by the assessments and creative abilities. The purpose of this commentary is to point out a more general concern relating to keeping these constructs distinct and then using clear measures to help increase our understanding and appreciation of diverse styles of creativity and how they contribute to improving creative abilities. Even those researchers who attempt to clarify the differences can slip into using language that conflates style with level.

Cognition↗
PubMed2001

Creative cognition, conceptual combination, and the creative writing of Stephen R. Donaldson.

This article explores the reported use of conceptual combination in Stephen R. Donaldson's development of the idea for his award-winning fantasy series. The Chronicles of Thomas Covenant the Unbeliever. Donaldson's (1991) own account is used to illustrate the general principles of a creative cognition approach to understanding creativity as well as the more specific role of the basic process of conceptual combination. The links between Donaldson's and others' anecdotal accounts of creativity and laboratory investigations are assessed. The article concludes with an argument for a "convergence" approach in which information from anecdotal accounts and laboratory studies is combined to provide a more complete picture of creative functioning than either approach alone can offer.

Cognition↗
PubMed1979

Creative thinking and juvenile delinquency: a study of delinquent and nondelinquent youth on the Torrance Tests of Creative Thinking.

Using the T.T.C.T. this study examined the creative thinking of 32 delinquent and 32 nondelinquent adolescent males. The delinquent group was composed of juveniles on parole status. The nondelinquent group was composed of public school students. On the variables of IQ, age, and socioeconomic class, t-test results indicated no significant differences, except on socioeconomic class, between the groups. Analysis of variance procedures were performed to determine the possibility of an interaction between levels of intelligence and delinquent status with regard to verbal and figural creativity test scores. There were no significant main effects or interaction between IQ and adjudication status with respect to figural creativity. There was a significant main effect due to adjudication status for the dependent variable of verbal creativity scores, respectively while blocking on the intelligence variable. The results were parallel to the ANOVAS which did not specifically control for the intelligence variable between the two groups.

Adolescent↗
PubMed2000

Androgyny and creativity: a study of the relationship between a balanced sex-role and creative functioning.

The relationship between creativity and androgyny was studied in 163 women and men with the Creative Functioning Test (CFT) and the Bem Sex Role Inventory (BSRI). A 2 (femininity: high/low) x 2 (masculinity: high/low) x 2 (sex) ANOVA was conducted on subjects' CFT scores. A significant interaction effect between femininity and masculinity was found showing that subjects high on both femininity and masculinity (androgynous) and low on both scales (undifferentiated) reached higher CFT scores than female-typed and male-typed subjects. Further, a significant three-way interaction including sex of subject indicated that the former two-way interaction was accounted for by men only.

Adult↗
PubMedDate not supplied

[Creativity and the pedagogical relationship: in search of new paths to the training of creative and critical professionals].

This study is a philosophical reflection and stresses the importance of freedom spaces inside the pedagogical relationship as a tool for the constitution of a critical and creative professional. We view the teaching "art" in the educational work as a possibility for freedom, with projects arising from the objectives established within his/her contextualized reality. It is paramount to value the intersection space as a privileged space for freedom and autonomy to be expressed, where the pedagogical relationship favors a practical and though-provoking learning, rescuing the creative potential of individuals and their self-guidance.

Brazil↗