REPOZYTORIUM UNIWERSYTETU
W BIAŁYMSTOKU
UwB

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'
  3. Vlad Petre Glăveanu
    The Psychology of Creativity: A Critical Reading


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    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.
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    23. Hausman, C. R. (1979). Criteria of creativity. Philosophical and Phenomenological Research, 40(2), 237-249.
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    27. Hutchins, E. (1995). Cognition in the wild. Cambridge, MA: MIT Press.
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    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.
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    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
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  4. Izabela Lebuda
    Big C Research – The Big Challenge? Reflections from Research into Eminent Creativity in the Light of the Investment Theory of Creativity


    1. Dean Keith Simonton
      A 45-Year Perspective on Creativity Research: Comments on Glăveanu’s Critique
    2. Amabile, T. M. (1982). Social psychology of creativity: A consensual assessment technique.Journal of Personality and Social Psychology, 5, 997-1013.DOI
    3. Baer, J. (1998). The case for domain specificity of creativity. Creativity Research Journal, 11, 173-177.DOI
    4. 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.
    5. Baer, J. & Kaufman, J. C. (2005). Bridging generality and specificity: The Amusement Park Theoretical (APT) Model of Creativity. Roeper Review, 27, 158-163.DOI
    6. 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.
    7. 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
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    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
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    30. Simonton, D. K. (2010). Creativity in highly eminent individuals. In J. C. Kaufman & R. J. Sternberg (Eds.), The Cambridge handbook of creativity (pp. 174-188). New York: Cambridge University Press.
    31. 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
    32. 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
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  5. Michael H. Chruszczewski
    The Creative Side of Mood Disorders


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  6. Part II 'Research'
  7. 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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  8. Joanna Szen-Ziemiańska
    Relationships Between Beliefs about Scientific Work and Creative Achievements in Science: A Preliminary Version of the Orientations Towards Scientific Work Scale


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  9. Aleksandra Chmielińska, Monika Modrzejewska-Świgulska
    Limitations in the Work of Polish Teachers: Report of Research


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  10. Irena Pufal-Struzik, Agnieszka Szewczyk
    Functionality of the Family System in the Perception of Adolescent Students with Different Levels of Creative Attitudes


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  11. Part III 'Applications'
  12. Anna Boguszewska
    The Creative Didactic Activity of Outstanding Artists, Graphic Arts Teachers in Poland


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  13. 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.
  14. 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.
  15. 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