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Mark A. Runco, Ahmed M. Abdulla, Sue Hyeon Paek, Fatima A. Al-Jasim and Hanadi N. Alsuwaidi
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Jacek Gralewski, Izabela Lebuda, Aleksandra Gajda, Dorota M. Jankowska and Ewa Wiśniewska
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Anthony Phonethibsavads, Sophia Bender and Kylie Peppler
Objective: This study examines the validity of Amabile’s (1982) consensual assessment technique in measuring creativity in a warm-up activity in fourth-grade drama classrooms and compares the scores between warm-ups occurring in a blackbox theater setting (experimental) vs. a traditional classroom (control). Method: Four professional actors viewed 60 clips of children’s drama warm-ups and scored for creativity, using a 5-point scale. After establishing sufficient inter-rater reliability (IRR), we used the average scores of the raters to compare creativity between the experimental and control groups. Results: The raters demonstrated high agreement, with a coefficient alpha estimate of .819. An independent samples t-test between the experimental and control groups was significant at p < .001, with the experimental group receiving higher scores. Conclusions: The results suggested that creativity was significantly higher in the experimental group, and the context correlated with creativity, despite neither group having yet received drama instruction at that time. This paper presents discussions about validity, opinions of the raters, possible implications for the activity itself, and possible effect of setting on creativity.
The aim of this study is to reveal relations between creativity in design and the cognitive developmental stages of designers within a Post-Piagetian approach. In this study design processes were deeply inspected with the aim of obtaining more comprehensive information about the effects of individual’s cognitive status on the design processes, problemsolving and quality of idea generation . In this field, studies done so far have been conducted on test results as indicators of creativity. Withinthe present study, however, protocol analyses were also evaluated, in addition to test results, and thanks to this addition, it was possible to determine the qualitative and quantitative effects of cognitive developmental stages on creativity. A total of twenty-five students voluntarily participated in the research. To collect data, two different methods were employed. The Social Paradigm Belief Inventory (SPBI), was employed to determine students' cognitive stages and scores, and the Think-aloud protocol was used to elicit verbal reports of the thought sequences of the students. In order to analyse the verbal reports reflecting designers' cognitive activities, the method of Linkography was conducted and the general statistics of segments were measured. To assess the relations between creativity in design and the cognitive developmental stages of the designers, SPBI scores and the general statistical values obtained from the design sessions were correlated. Findings showed that there is a strong and significant correlation between the cognitive development levels and creativity, in favour of dialectical thinking.
Ivonne Chand O’Neal, Sue Hyeon Paek and Mark A. Runco
A measure of ideational behaviour, often used to estimate the potential for creative thinking, was administered to 796 children and their parents and teachers. Correlations among groups were explored. The data provided an opportunity to (a) compare four theories of creativity (a one-factor theory, 2 two-factor theories, and a three-factor theory) and (b) determine empirically how the measure of ideation should be scored (based on its empirical structure). Results of confirmatory factor analyses indicated that one of the twofactor theories (Process and Product) best fit the data and was useful for comparisons of the children and their parents and teachers. Practical implications of the differences between parents and teachers are explored. Any effort to fulfil creative potentials, for example, would probably be the most likely to succeed if children, parents, and teachers agreed, and just as probable are difficulties if the three groups disagreed or considered different things when judging creative potential. Limitations of the study are also discussed.
Thinking Test Scores. The Journal of Creative Behavior , 42 , 2, 106–130; DOI:10.1002/j.2162-6057.2008.tb01290.x.
Lubart, T., Besançon, M., & Barbot, B. (2011). EPoC: Evaluation du potentiel créatif [Evaluation of potential creativity] . Paris : Hogrefe.
Lubart, T., Mouchiroud, C., Tordjman, S., & Zenasni, F. (2003). Psychologie de creativité [Psychology of creativity ]. Paris: Armand Colin.
Scratchley, L. S., & Hakstian, A. R. (2001). The measurement and prediction of managerial creativity. Creativity Research Journal , 13 , 3-4, 367–384; DOI:10
Sameh Said-Metwaly, Wim Van den Noortgate and Eva Kyndt
-specific perspectives. Thinking Skills and Creativity, 7, 209-223. doi: 10.1016/j.tsc.2012.04.006
*Batey, M. (2012). The measurement of creativity: From definitional consensus to the introduction of a new heuristic framework. Creativity Research Journal, 24, 55-65. doi: 10.1080/10400419.2012.649181
Batey, M., Chamorro-Premuzic, T., & Furnham, A. (2010). Individual differences in ideational behavior: Can the big five and psychometric intelligence predict creativity scores? Creativity Research Journal, 22, 90-97. doi: 10
creativity: Introducing the perspective of cultural psychology. New Ideas in Psychology, 28, 1, 79-93.
Glăveanu, V. P. (2014). The psychology of creativity: A critical reading. Creativity. Theories – Research – Applications, 1, 10–32; DOI: 10.15290/ctra.2014.01.01.02.
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Harrington, D. M. (1975). Effects of explicit instructions to “ be creative” on the psychological meaning of divergent thinking test scores. Journal of Personality, 43 , 434-454.
Jauk, E., Benedek, M., Dunst