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  3. Creativity. Theories – Research – Applications

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    • Creativity. Theories – Research – Applications, 2014, Vol. 1, Issue 1 : [12]
    Strona glówna kolekcji Zobacz statystyki

    Content


      From the Editors
    1. Maciej Karwowski, Janina Uszyńska-Jarmoc
      Creativity: The Show Must Go On


      1. Glăveanu, V. P. & Karwowski, M. (2013). Joining the Debate: Creativity seen from Eastern and Central Europe. International Journal of Creativity and Problem Solving, 23, 5-11.
      2. Karwowski, M. & Glăveanu, V. P. (Eds.) (2013). Creativity in Central and Eastern - European perspectives. Special issue of International Journal of Creativity and Problem Solving, 23.
      3. Kaufman, J. C. & Beghetto, R. A. (2009). Beyond big and little: The four C model of creativity. Review of General Psychology, 13, 1-12. DOI
      4. Karwowski, M. & Glăveanu, V. P. (Eds.) (2013). Creativity in Central and Eastern - European perspectives. Special issue of International Journal of Creativity and Problem Solving, 23.
      5. Kaufman, J. C. & Sternberg, R. J. (Eds.) (2006). The International Handbook of Creativity. New York, NY: Cambridge University Press.
      6. Makel, M. C. (2014). The empirical march: Making science better at self - correction. Psychology of Aesthetics, Creativity, and the Arts, 8, 2-7. DOI

      2. Part I 'Theories'
    2. Vlad Petre Glăveanu
      The Psychology of Creativity: A Critical Reading


      1. Amabile, T. M. (1996). Creativity in context. Colorado: Westview Press.
      2. Baldwin, J. (1903). Mental development in the child and the race: Methods and processes . Second edition. London: Macmillan & Co.
      3. Barron, F. (1995). No rootless flower: An ecology of creativity . Cresskill: Hampton Press.
      4. Barron, F. & Harrington, D. (1981). Creativity, intelligence, and personality. Annual Review of Psychology, 32, 439-476.DOI
      5. Bruner, J. (1962). On knowing: Essays for the left hand . Cambridge: Belknap Press.
      6. Cohen, L. & Ambrose, D. (1999). Adaptation and creativity. In M. Runco & S. Pritzker (Eds.), Encyclopedia of creativity, 1(1) (pp. 9-22). San Diego: Academic Press.
      7. Csikszentmihalyi, M. (1988). Society, culture, and person: a systems view of creativity. In R. Sternberg (Ed.), The nature of creativity: Contemporary psychological perspectives (pp. 325-339). Cambridge: Cambridge University Press.
      8. Dewey, J. (1934). Art as experience. New York: Penguin.
      9. Feldman, D. H. (1999). The development of creativity. In R. Sternberg (Ed.), Handbook of creativity (pp. 169-186). Cambridge: Cambridge University Press.
      10. Freud, S. (1908/1970). Creative writers and day - dreaming. In P.E. Vernon (Ed.),Creativity: Selected readings (pp. 126-136). Harmondsworth: Penguin Books.
      11. Gardner, H. (1994). The creators’ patters. In M. Boden (Ed.), Dimensions of creativity (pp. 143-158). London: MIT Press / Badford Books.
      12. Glăveanu, V. P. (2010a). Paradigms in the study of creativity: Introducing the perspective of cultural psychology. New Ideas in Psychology, 28(1), 79-93. DOI
      13. Glăveanu, V. P. (2010b). Principles for a cultural psychology of creativity. Culture & Psychology,16(2), 147-163. DOI
      14. Glăveanu, V. P. (2011). Creativity as cultural participation. Journal for the Theory of Social Behaviour, 41(1), 48-67.DOI
      15. Glăveanu, V. P. (2012a). Habitual creativity: Revising habit, reconceptualizing creativity. Review of General Psychology, 16(1), 78-92. DOI
      16. Glăveanu, V. P. (2012b). A multiple feedback methodology for the study of creativity evaluations. Journal of Constructivist Psychology, 25(4), 346-366. DOI
      17. Glăveanu, V. P. (2013a). Rewriting the language of creativity: The Five A's framework. Review of General Psychology, 17(1), 69-81 DOI
      18. Glăveanu, V. P. (2013b). Creativity and folk art: A study of creative action in traditional craft. Psychology of Aesthetics, Creativity, and the Arts, 7(2), 140-154.DOI
      19. Glăveanu, V. P. (2014). Distributed creativity: Thinking outside the box of the creative individual. London: Springer.
      20. Gruber, H. (1998). The social construction of extraordinary selves: Collaboration among unique creative people. In R. Friedman & K. Rogers (Eds.), Talent in context: Historical and social perspectives on giftedness (pp. 127-147). Washington: American Psycho-logical Association.
      21. Gruber, H. (2005). The creative person as a whole: The evolving systems approach to the study of creative work. In E. Gruber & K. Bödeker (Eds.), Creativity, psychology and the history of science (pp. 35-104). Dordrecht: Springer.
      22. Guilford, J. P. (1950). Creativity. American Psychologist, 5, 444-454.DOI
      23. Hausman, C. R. (1979). Criteria of creativity. Philosophical and Phenomenological Research, 40(2), 237-249.
      24. Hennessey, B. (2003). The social psychology of creativity. Scandinavian Journal of Educational Research, 47(3), 253-271.DOI
      25. Hennessey, B. A. & Amabile, T. (2010). Creativity. Annual Review of Psychology, 61, 569-598.DOI
      26. Houtz, J. C. & Krug, D. (1995). Assessment of creativity: Resolving a midlife crisis. Educational Psychology Review, 7(3), 269-300.
      27. Hutchins, E. (1995). Cognition in the wild. Cambridge, MA: MIT Press.
      28. Ingold, T. & Hallam, E. (2007). Creativity and cultural improvisation: An introduction. In E. Hallam & T. Ingold (Eds.), Creativity and cultural improvisation (pp. 1-24). Oxford: Berg.
      29. Karwowski, M. (2012). Middle and grand theorizing in the psychology of creativity. Creativity and Leisure: An Intercultural and Crossdisciplinary Journal, 1(2), 109-114.
      30. Kaufman, J. C. & Baer, J. (2004). The Amusement Park Theoretical (APT) Model of Creativity. The Korean Journal of Thinking & Problem Solving, 14(2), 15-25.
      31. Mayer, R. (1999). Fifty years of creativity research. In R. Sternberg (Ed.), Handbook of creativity (pp. 449-460). Cambridge: Cambridge University Press.
      32. Montuori, A. & Purser, R. (1997). Social creativity: The challenge of complexity. Translation of Le dimensioni sociali della creativita. Pluriverso, 1(2), 78-88.
      33. Moran, S. & John-Steiner, V. (2003). Creativity in the making: Vygotsky’s contemporary contribution to the dialectic of development and creativity. In R.K. Sawyer et al. (Eds.), Creativity and development (pp. 61-90). Oxford: Oxford University Press.
      34. Moscovici, S. (1984). The phenomenon of social representations. In R. Farr & S. Mosco-vici (Eds.), Social representations (pp. 3-70). Cambridge, UK: Cambridge University Press.
      35. Paulus, P. & Nijstad, B. (2003). Group creativity: An introduction. In P. Paulus & B. Nijstad (Eds.), Group creativity: Innovation through collaboration (pp. 3-11). New York: Oxford University Press.
      36. Plucker, J. A., Beghetto, R. A. & Dow, G. T. (2004). Why isn’t creativity more important to educational psychologists? Potentials, pitfalls, and future directions in creativity research. Educational Psychologist, 39(2), 83-96.DOI
      37. Pope, R. (2005). Creativity: Theory, history, practice. London & New York, NY: Routledge.
      38. Purser, R. & Montuori, A. (2000). In search of creativity: Beyond individualism and collectivism. Paper presented at the Western Academy of Management Conference, April 8, Kona, Hawaii.
      39. Rhodes, M. (1961). An analysis of creativity. Phi Delta Kappan, 42, 305-311.
      40. Runco, M. (1999). Creativity need not be social. In A. Montuori & R. Purser (Eds.), Social creativity, vol I (pp. 237-264). Cresskill: Hampton Press.
      41. Runco, M. A. (2004). Creativity. Annual Review of Psychology, 55, 657-687.DOI
      42. Runco, M. A. (2007). Creativity. Theories and themes: Research, development, and practice. Burlington, MA: Elsevier Academic Press.
      43. Runco, M. A. & Albert, R. S. (2010). Creativity research: A historical view. In J. C. Kaufman & R. J. Sternberg (Eds.), The Cambridge Handbook of Creativity (pp. 3-19). Cambridge: Cambridge University Press.
      44. Runco, M. A. & Jaeger, G. J. (2012). The standard definition of creativity. Creativity Research Journal, 24(1), 92-96.DOI
      45. Sawyer, R. K. (1997). Introduction. In R. K. Sawyer (Ed.), Creativity in performance (pp. 1-6). Greenwich, Connecticut: Ablex Publishing Corporation
      46. Sawyer, R. K. (1998). The interdisciplinary study of creativity in performance. Creativity Research Journal, 11(1), 11-19.DOI
      47. Sawyer, R. K. (2012). Explaining creativity: The science of human innovation. 2nd edition. Oxford: Oxford University Press.
      48. Simonton, D. K. (1999a). Historiometry. In M. Runco & S. Pritzker (Eds.), Encyclopedia of creativity, vol 1 (pp. 815-822). San Diego: Academic Press.
      49. Simonton, D. K. (1999b). Creativity as blind variation and selective retention: Is the creative process Darwinian? Psychological Inquiry, 10(4), 309-328.
      50. Stein, M. (1953). Creativity and culture. Journal of Psychology, 36, 311-322.DOI
      51. Sternberg, R. J., Kaufman, J. C. & Pretz, J. E. (2003). A propulsion model of creative leadership. The Leadership Quarterly, 14(4-5), 455-473.DOI
      52. Tanggaard, L. (2013). The sociomateriality of creativity in everyday life. Culture & Psychology, 19(1), 20-32.DOI
      53. Torrance, E. P. (1988). The nature of creativity as manifest in its testing. In R. Sternberg (Ed.), The nature of creativity: Contemporary psychological perspectives (pp. 43-75). Cambridge: Cambridge University Press.
      54. Urban, K. K. (1991). Recent trends in creativity research and theory in Western Europe. European Journal of High Ability, 1(1), 99-113. DOI
      55. Valsiner, J. (1997). Culture and the development of children’s action: A theory of human development. Second edition. New York: John Wiley.
      56. Wallas, G. (1926). The art of thought. New York: Harcourt-Brace.
      57. Ward, T. B. (2001). Creative cognition, conceptual combination, and the creative writing of Stephen R. Donaldson. American Psychologist, 56(4), 350-354.DOI
      58. Ward, T., Smith, S. & Finke, R. (1999). Creative cognition. In R. Sternberg (Ed.), Handbook of creativity (pp. 182-212). Cambridge: Cambridge University Press.
      59. Weiner, R. P. (2000). Creativity and beyond: Cultures, values, and change. Albany: State University of New York Press.
      60. Weisberg, R. (1993). Creativity: Beyond the myth of the genius. New York: W. H. Freeman and Company.
      61. Westwood, R. & Low, D. (2003). The multicultural muse: Culture, creativity and innovation. International Management of Cross-Cultural Management, 3(2), 235-259. DOI
      62. Williams, R. (1961). The long revolution. London: Chatto & Windus.
    3. Izabela Lebuda
      Big C Research – The Big Challenge? Reflections from Research into Eminent Creativity in the Light of the Investment Theory of Creativity


      1. Amabile, T. M. (1982). Social psychology of creativity: A consensual assessment technique.Journal of Personality and Social Psychology, 5, 997-1013.DOI
      2. Baer, J. (1998). The case for domain specificity of creativity. Creativity Research Journal, 11, 173-177.DOI
      3. Baer, J. (2010). Is creativity domain specific? In J. C. Kaufman & R. J. Sternberg (Eds.), The Cambridge handbook of creativity (pp. 321-341). New York: Cambridge University Press.
      4. Baer, J. & Kaufman, J. C. (2005). Bridging generality and specificity: The Amusement Park Theoretical (APT) Model of Creativity. Roeper Review, 27, 158-163.DOI
      5. Barsalou, L. M. & Prinz, J. J. (1997). Mundane creativity in perceptual symbol systems. In T. B. Ward, S. M. Smith & J. Valid (Eds.), Creative thought: An investigation of conceptual structures and processes (pp. 267-307). Washington: American Psychological Association.
      6. Beghetto, R. A., Plucker, J. A. & MaKinster, J. G. (2010). Who studies creativity and how do we know? Creativity Research Journal, 3-4, 351-357.DOI
      7. Boden, M. (1996). Dimensions of Creativity. Cambridge-London: MIT Press.
      8. Boerner, S. & Jobst, J. (2013). Enjoying theater: The role of visitor’s response to the performance. Psychology of Aesthetics, Creativity, and the Arts, 7, 391-408.DOI
      9. Chan, K., Hui, A., Cheng, S. T. & Ng, Y. L. (2013). Perceptions of age and creativity in the workforce. Journal of Creativity Behavior, 47, 256-272. DOI
      10. Cox, C. (1926). Early mental traits of three hundred geniuses. Stanford, CA: Stanford University Press.
      11. Cropley, D. H., Kaufman, J. C., Cropley, A. J. & Runco, M. A. (2010). The dark side of creativity. New York: Cambridge University Press.
      12. McGonigal, A. (2010). Art, value and character. The Philosophical Quarterly, 240, 545-566.DOI
      13. Mroz, B. (2008). Osobowosc wybitnych aktorow Polskich. Studium roznic miedzygeneracyjnych. [Personality of eminent Polish actors. Study of intergenerational differences]. Warszawa: Wydawnictwo Naukowe Scholar.
      14. Necka, E. & Hlawacz, T. (2013). Who has an artistic temperament? Relationships between creativity and temperament among artists and bank officers. Creativity Research Journal, 25, 182-188. DOI
      15. Niu, W. & Sternberg, R. J. (2006). The philosophical roots of western and eastern conceptions of creativity. Journal of Theoretical and Philosophical Psychology, 26, 18-38.DOI
      16. Piffer, D. (2012). Can creativity be measured? An attempt to clarify the notion of creativity and general directions for future research. Thinking Skills and Creativity, 3, 258-264.DOI
      17. Plucker, J. & Beghetto, R. (2003). Why not be creative when we enhance creativity? In J. H. Borland (Ed.), Rethinking gifted education (pp. 215–226). New York: Teachers College Press.
      18. Plucker, J. A., Beghetto, R. A. & Dow, G. (2004). Why isn’t creativity more important to educational psychologists? Potential, pitfalls, and future directions in creativity research. Educational Psychologist, 39, 83-96.DOI
      19. Plucker, J. A. & Makel, M. C. (2010). Assessment of creativity. In J. C. Kaufman & R. J. Sternberg (Eds.), The Cambridge handbook of creativity (pp. 48-74). New York: Cambridge University Press.
      20. Plucker, J. A. & Runco, M. A. (1998). The death of creativity measurement has been greatly exaggerated: Current issues, recent advances, and future directions in creativity assessment. Roeper Review, 21, 36-40.DOI
      21. Richards, R. (1990). Everyday creativity, eminent creativity, and health. Creativity Research Journal, 3, 300-326.
      22. Rubenson, D. I. & Runco, M. A. (1992). The psychoeconomic approach to creativity. New Ideas in Psychology, 10, 131-147.
      23. Rudowicz, E. (2003). Creativity and culture: Two way interaction. Scandinavian Journal of Educational Research, 3, 273-290.DOI
      24. Simoens, V. L. & Tervaniemi, M. (2013). Musician–instrument relationship as a candidate index for professional well-being in musicians. Psychology of Aesthetics, Creativity, and the Arts, 7, 171-180. DOI
      25. Simonton, D. K. (1984). Genius, creativity, and leadership: Historiometric inquiries. Cambridge, MA: Harvard University Press.
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      29. Simonton, D. K. (2008). Scientific talent, training, and performance: Intellect, personality, and genetic endowment. Review of General Psychology, 12, 28-46.
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      32. Simonton, D. K. (2014a). Significant Samples-Not Significance Tests! The often overlooked solution to the replication problem. Psychology of Aesthetics, Creativity, and the Arts, 8, 11-12. DOI
      33. Simonton, D. K. (2014b). More method in the mad-genius controversy: A historiometric study of 204 historic creators. Psychology of Aesthetics, Creativity, and the Arts, 8, 53-61. DOI
      34. Stein, M. I. (1953). Creativity and culture. Journal of Psychology, 36, 311–322.DOI
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    4. Michael H. Chruszczewski
      The Creative Side of Mood Disorders


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      52. Weisberg, R. W. (1994). Genius and madness? A quasi-experimental test of the hypothe-sis that manic-depression increases creativity. Psychological Science, 5(6), 361-367.DOI

      5. Part II 'Research'
    5. Bartłomiej Nowacki
      Polish Version of the Creative Approach Questionnaire: An Initial Adaptation


      1. Brislin, R. W. (1970). Back-translation for cross-cultural research. Journal of Cross-Cultural Psychology, 1, 185-216.DOI
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      3. Digman, J. (1997). Higher-order factors of the Big Five. Journal of Personality and Social Psychology, 73, 1246-1256. DOI
      4. Durmysheva, Y. & Kozbelt, A. (2010). The Creative Approach Questionnaire: Operationalizing Galenson's finder-seeker typology in a non-expert sample. International Journal of Creativity and Problem Solving, 20, 35-55.
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      6. Eysenck, H. J. (1995). Genius: the natural history of creativity. Cambridge: Cambridge University Press.
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      11. Kaufmann, G. & Martinsen, O. (1991). The explorer and the assimilator: A theory and measure of cognitive styles in problem solving. International Creativity Network Newsletter, 1, 8-9.
      12. Kirton, M. J. (1976). Adaptors and innovators. A description and measure. Journal of Applied Psychology, 61, 622-629. DOI
      13. Martinsen, O. (1995). Cognitive styles and experience in solving insight problems: Replication and extension. Creativity Research Journal, 8, 291-298. DOI
      14. Martinsen, O. & Diseth, A. (2011). The assimilator - explorer cognitive styles: Factor structure, personality correlates, and relationship to inventiveness.Creativity Research Journal, 23, 273-283. DOI
      15. Nijstad, B. A., De Dreu, C. K. W., Rietzschel, E. F. & Baas, M. (2010), The dual pathway to creativity model: creative ideation as a function of flexibility and persistence. European Review of Social Psychology, 21, 34-77.DOI
      16. Nowacki, B. (2013). Nagły przełom czy powolny przyrost? Opis i pomiar stylów tworzenia. [Sudden breakthrough or slow increase? Description and measurement of creativity styles]. In M. Jabłonowska (Ed.), Uczeń zdolny i jego edukacja. Koncepcje. Badania. Praktyka (pp. 175-183). [Able student and his education. Concepts. Research. Practice]. Warsaw: Universitas Rediviva.
      17. Nowacki, B. (2013a). Western model of creativity: Generalizability and hypothetical educational consequences for the “non-western world”.International Journal of Creativity & Problem Solving, 23, 13-23.
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      21. Rhodes, M. (1961). An analysis of creativity. Phi Delta Kappan, 42, 305-310.
      22. Sternberg, R. J., Kaufman, J. C. & Pretz, J. E. (2002). The creativity conundrum. A propulsion model of kinds of creative contributions. New York, London, Brighton: Psychology Press.
      23. Urban, M. (2008). Indywidualizm i kolektywizm w świadomości młodzieży. Studium psychologiczno-politologiczne. [Individualism and collectivism in awareness of youths. Psychological and political study]. Warsaw: Elipsa.
    6. Joanna Szen-Ziemiańska
      Relationships Between Beliefs about Scientific Work and Creative Achievements in Science: A Preliminary Version of the Orientations Towards Scientific Work Scale


      1. Aiken, L. S. & West, S. G. (1991). Multiple regression: Testing and interpreting interactions. London, England: Sage.
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      3. Busse, T. S. & Mansfield, R. S. (1984). Selected personality traits and achievementin male scientists. Journal of Psychology, 116, 117-131.DOI
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      6. Batey, M. & Furnham, A. (2006). Creativity, intelligence, and personality: A critical review of the scattered literature. Genetic, Social, and General Psychology Monographs, 132, 355–429.DOI
      7. Carson, S. H., Peterson, J. B. & Higgins, D. M. (2005). Reliability, validity, and factor structure of the creative achievement questionnaire.Creativity Research Journal, 17, 37–50.DOI
      8. Cramond, B. (1994). The Torrance Test of Creative Thinking: From design through establishment of predictive validity. In R. F. Subotnik & K. D. Arnold (Eds.).
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      10. Eijck, M.W. van, Hsu, P.-L,. & Roth, W. M. (2009). Translations of scientific practice to "students' images of science". Science Education, 93, 611-634.DOI
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      13. Feist, G. J. (1998). A meta-analysis of the impact of personality on scientific and artistic creativity. Personality and Social Psychological Review, 2, 290–309.DOI
      14. Feist, G. J. (2006). The Psychology of Science and the Origins of the Scientific Mind. New Haven and London: Yale University Press.
      15. Gelade, G. A. (2002). Creative style, personality, and artistic endeavor. Genetic, Social & General Psychology Monographs, 128, 213-234.
      16. Jauk, E., Benedek, M. & Neubauer, A. C. (2013). The road to creative achievement: A latent variable model of ability and personality predictors. European Journal of Personality, wileyonlinelibrary.com, DOI
      17. Jaussi, K. S., Randel, A. E. & Dionne, S. D. (2007). I am, I think I can, and I do: The role of personal identity, self-efficacy and cross-application of experiences in creativity at work. Creativity Research Journal , 19, 247-258. DOI
      18. Jonason, P. K. & Webster, G. D. (2010). The dirty dozen: A concise measure of the dark triad. Psychological Assessment, 22, 420–432.DOI
      19. Karwowski, M. (2009). Zgłębianie kreatywności: Studia nad pomiarem poziomu i stylu twórczości. [Exploring creativity. Studies over measurement of the level and style ofcreativity] .Warszawa: APS.
      20. Karwowski, M. (2010). Kreatywność – feeria rozumień, uwikłań, powodów. Teoretyczno - empiryczna prolegomena. [Creativity - feeria of understandings, entanglements, reasons. Theoretical and Empirical Prolegomena]. In M. Karwowski, A. Gajda (Eds.). Kreatywność (nie tylko) w klasie szkolnej. Warszawa: APS.
      21. Karwowski, M. (2013, December 23). Creative mindsets: Measurement, correlates, consequences. Psychology of Aesthetics, Creativity, and the Arts, 23, Advanced online publication Pagination. DOI
      22. Karwowski, M., Lebuda, I. & Wiśniewska, E. (in press). Measurement of creative self efficacy and creative role-identity. High Ability Studies.
      23. Karwowski, M. & Gralewski, J. (2011). Zmotywowana kreatywność. Synergia motywacyjna postawy twórczej młodzieży. [Motivated creativity. Motivational synergy of creative attitude of youth]. Chowanna, 2, 45-58.
      24. Kim, K. H. (2008). Meta-analyses of the relationship of creative achievement to both IQ and divergent thinking test scores. Journal of Creative Behavior, 42, 106-130.DOI
      25. King, L. A., McKee Walker, L. & Broyles, S. J. (1996). Creativity and the five-factor model. Journal of Research in Personality, 30, 189-203.DOI
      26. Kirton, M. (1976). Adaptors and innovators: A description and measure. Journal of Applied Psychology, 61, 622-629.DOI
      27. Kozielecki, J. (1997). Transgresja i kultura.[Transgression and culture]. Warszawa: „Żak”.
      28. Lim, H. S. & Choi, J. N. (2009). Testing an alternative relationship between individual and contextual predictors of creative performance. Social Behavior and Personality, 37, 117-136.
      29. McCrae, R. R. (1987). Creativity, divergent thinking, and openness to experience. Journalof Personality and Social Psychology, 52, 1258-1265.DOI
      30. Nęcka, E. (2001). Psychologia twórczości. [Psychology of creativity]. Gdańsk: GWP.
      31. Plucker, J. A. (1999). Is the proof really in the pudding? Reanalysis of Torrance’s longitudinal data. Creativity Research Journal, 12, 103–114.DOI
      32. Root-Bernstein, R. S., Bernstein, M. & Garnier, H. (1995). Correlations between avocations, scientific style, work habits, and professional impact of scientists. Creativity Research Journal, 8, 115-137.DOI
      33. Root-Bernstein, R. & Root-Bernstein, M. (2004). Artistic scientists and scientific artists: The link between polymathy and creativity. In J. R. Sternberg, E. L. Grigorenko,& J. L. Singer (Eds.). Creativity: From potential to realization (pp. 127-151). Washington: American Psychological Association.
      34. Silvia, P. J., Kaufman, J. C. & Pretz, J. E. (2009). Is creativity domain-specific? Latent class models of creative accomplishments and creative self-descriptions. Psychology of Aesthetics, Creativity, and the Arts, 3, 139-148.DOI
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      37. Szen-Ziemiańska, J. & Karwowski, M. (in preparation). Creative personal identity moderates the relationship between creative abilities and creative achievement in science.
      38. Tokarz, A. (1998). Motywacja hubrystyczna i poznawcza jako dominanty systemu motywacji do pracy naukowej. [Hubristic and cognitive motivation as a dominant of motivational system for scientific work]. Przegląd Psychologiczny, 41(1/2), 121-134.
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    7. Aleksandra Chmielińska, Monika Modrzejewska-Świgulska
      Limitations in the Work of Polish Teachers: Report of Research


      1. Adams, J. (1986). Conceptual block busting: A guide to better ideas, New York: Perseus Book.
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      3. Amabile, T. A (1996). Creativity in context. Update to the social psychology of creativity, Boulder: Westview Press.
      4. Clutterbuck, D. (2007). Coaching The Team At Work. Boston: Nicholas Brealey International.
      5. Chmielińska, A., Modrzejewska-Świgulska, M. (2014). Diagnoza stanu, czyli nauczyciele o sobie i swojej pracy. Krótki raport z badań. In A. Dereń (Ed.), System wspierania szkół w powiecie kartuskim. Projekt współfinansowany przez unię Europejska w ramach Europejskiego Funduszu Społecznego. Kartuzy: Centrum Inicjatyw Edukacyjnych, (evaluation materials and documents within the project entailed: “System of school support in the Kartuzy district”).
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      7. Dereń, A. (2014). System wspierania rozwoju szkół w powiecie kartuskim. In A. Dereń (Ed.), System wspierania szkół w powiecie kartuskim. Projekt współfinansowany przez Unię Europejską w ramach Europejskiego Funduszu Społecznego. Kartuzy: Centrum Inicjatyw Edukacyjnych.
      8. Drucker, P. F. (1992). Innowacja i przedsiębiorczość. Praktyka i zasady, Warszawa: PWE.
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      11. Przyborowska, B. (2013). Pedagogika innowacyjności. Między teorią a praktyką. Toruń: Wydawnictwo Naukowe Uniwersytetu Mikołaja Kopernika.
      12. Karwowski, M. (2009). Klimat dla kreatywności. Koncepcje, metody, badania. Warszawa: Centrum Doradztwa i Informacji Difin sp.z o.o.
      13. Mackin, D. (2007), The Team Building Tool Kit: Tips and Tactics for Effective Workplace Teams. New York: Amacom.
      14. Puccio G. J., Mance M., Murdock, M. C. (2011). Creative Leadership. Skills That Drive Changes, Printed in United States of America: SAGE Publications, Inc.
      15. Sennett, R. (2013). Razem. Rytuały, zalety i zasady współpracy. Warszawa: Warszawskie Wydawnictwo Literackie MUZA S.A.
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      19. West, M. A. (2000). Rozwijanie kreatywności wewnątrz organizacji, Warszawa: Wydawnictwo Naukowe PWN.
      20. West, M. A. (2002). Sparkling fountains or stagnant ponds: An integrative model of creativity and innovation implementation in work group. Applied Psychology: An International Review, 51, 355-424.DOI
    8. Irena Pufal-Struzik, Agnieszka Szewczyk
      Functionality of the Family System in the Perception of Adolescent Students with Different Levels of Creative Attitudes


      1. Albari, Q. N., Smadi, S., Bani Yassin, M. & ALShammari, W. T. (2013). The role of school and family in developing childrens' literary creativity. International Journal of Education, 5, 136–156.DOI
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      13. Harris, J. R. (1995). Where is the child's environment? A group socialization theory of development.Psychological Review, 102, 458–489.
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      9. Part III 'Applications'
    9. Anna Boguszewska
      The Creative Didactic Activity of Outstanding Artists, Graphic Arts Teachers in Poland


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    10. Ewa Tomaszewska
      In Search of a New Theatre for Children


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      8. Tomaszewska, E. (2004). Kaczka i Hamlet. Eksperyment teatralno-pedagogiczny [Duck and Hamlet. A theatrical and pedagogical experiment]. In K. Knapik & W. A. Sacher (Eds.), Sztuka w edukacji i terapii [Arts in Education and Therapy] (pp. 82-95). Krakow: Uniwersytet Śląski Wydział Pedagogiki i Psychologii Zakład Arteterapii, Impuls.
      9. Tomaszewska, E. (2004). Kaczka i Hamlet. Kilka uwag z eksperymentu [Duck and Hamlet. Some comments from the experiment]. In K. Krasoń & B. Mazepa-Domagała (Eds.), Ekspresja twórcza dziecka [The Creative Expression of Children] (pp. 231-238). Katowice: Górnośląska Wyższa Szkoła Pedagogiczna im. Kardynała Augusta Hlonda, Librus.
      10. Tomaszewska, E.(2006). Młynek do kawy, czyli teatr dla dzieci starszych [The Coffee Mill or Theatre for Older Children]. In K. Krasoń & B. Mazepa-Domagała (Eds.), W kręgu sztuki i ekspresji dziecka. Rozważania inspirujące [In the Circle of Art and Expression of the Child. Inspiring Considerations] (pp. 238–244). Katowice-Mysłowice: Centrum Ekspresji Dziecięcej przy Bibliotece Śląskiej, Górnośląska Wyższa Szkoła Pedagogiczna im. Kardynała Augusta Hlonda w Mysłowicach.
      11. Tomaszewska, E. (2007). Tworzenie horyzontu skojarzeń. Eksperyment teatralno-pedagogiczny „Konik” adresowany do dzieci młodszych [Creating a Horizon of Associations. A theatrical and pedagogical experiment “The Pony” aimed at younger children]. In Krasoń K. & Mazepa-Domagała B. (Eds.) Oblicza sztuki dziecka. W poszukiwaniu istoty ekspresji [The Faces of children’s art. In search of the essence of expression] (pp. 254-264). Katowice-Mysłowice: Centrum Ekspresji Dziecięcej przy Bibliotece Śląskiej, Górnośląska Wyższa Szkoła Pedagogiczna im. Kardynała Augusta Hlonda w Mysłowicach.
    11. Beata Sokolowska-Smyl
      Zdzislaw Beksinski’s Paintings of the “Fantastic Period” as an Expression of Early Childhood Experience


      1. Banach, W. (2007). Między Warholem a Beksińskim: antypody kultury. [Between Warhol and Beksinski: antypodes of culture]. Gorlice: Muzeum Historyczne w Sanoku, P.W. DINARD.
      2. Banach, W. (2005). Zdzislaw Beksiński w Muzeum Historycznym w Sanoku. [Zdzislaw Beksinski in Historical Museum in Sanok]. Sanok.
      3. Freud, Z. (1991). Poeta i fantazjowanie. [The relation of the poet to daydreaming.], Dostojewski i ojcobójstwo. [Dostoyevsky and parricide.] In K. Pospiszyl. Zygmunt Freud–człowiek i dzieło. [Sigmund Freud-a man and his works.] Wroclaw-Warszawa-Krakow: Ossolineum.
      4. Freud, S. (2000). Leonarda da Vinci wspomnienia z dzieciństwa. [Leonardo da Vinci and a memory of his childhood.] In Poza zasadą przyjemności. [Beyond the pleasure principle.] Warszawa: Wydawnictwo Naukowe PWN.
      5. Głowiński, M. (Ed.) (2003). Groteska. [Grotesque]. Gdańsk: Wydawnictwo Słowo/Obraz Terytoria.
      6. Grzebałkowska, M. (2014). Beksińscy: portret podwójny. [Beksińscy: dual portrait]. Kraków: Znak.
      7. Miller, A. (1991). Mury milczenia. Cena wyparcia urazów dzieciństwa. [The walls of silence.] Warszawa: Wydawnictwo Naukowe PWN.
      8. Śnieg-Czaplewska, L. (2005). BEX@. Korespondencja mailowa ze Zdzisławem Beksińskim. [e-Mail with Zdzislaw Beksinski.] Warszawa: PIW.
    12. Czesław Dziekanowski
      Free Interpretation. Expiring Services

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    Collection's Items (Sortowane przez Data zamieszczenia w Malejąco kolejnośi): 1 do 12 z 12
    Data wydaniaTytułAutor(rzy)PromotorRedaktor(rzy)
    2014Free Interpretation. Expiring ServicesDziekanowski, Czesław--
    2014Zdzislaw Beksinski’s Paintings of the “Fantastic Period” as an Expression of Early Childhood ExperienceSokolowska-Smyl, Beata--
    2014In Search of a New Theatre for ChildrenTomaszewska, Ewa--
    2014The Creative Didactic Activity of Outstanding Artists, Graphic Arts Teachers in PolandBoguszewska, Anna--
    2014Functionality of the Family System in the Perception of Adolescent Students with Different Levels of Creative AttitudesPufal-Struzik, Irena; Szewczyk, Agnieszka--
    2014Limitations in the Work of Polish Teachers: Report of ResearchChmielińska, Aleksandra; Modrzejewska-Świgulska, Monika--
    2014Relationships Between Beliefs about Scientific Work and Creative Achievements in Science: A Preliminary Version of the Orientations Towards Scientific Work ScaleSzen-Ziemiańska, Joanna--
    2014Polish Version of the Creative Approach Questionnaire: An Initial AdaptationNowacki, Bartłomiej--
    2014The Creative Side of Mood DisordersChruszczewski, Michael H.--
    2014Big C Research – The Big Challenge? Reflections from Research into Eminent Creativity in the Light of the Investment Theory of CreativityLebuda, Izabela--
    2014The Psychology of Creativity: A Critical ReadingGlăveanu, Vlad Petre--
    2014Creativity: The Show Must Go OnKarwowski, Maciej; Uszyńska-Jarmoc, Janina--
    Collection's Items (Sortowane przez Data zamieszczenia w Malejąco kolejnośi): 1 do 12 z 12

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