REPOZYTORIUM UNIWERSYTETU
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dc.contributor.authorTanggaard, Lene-
dc.date.accessioned2026-03-17T07:34:54Z-
dc.date.available2026-03-17T07:34:54Z-
dc.date.issued2015-
dc.identifier.citationCreativity. Theories – Research – Applications, Vol. 2, Issue 1, 2015, pp. 75-78pl
dc.identifier.urihttp://hdl.handle.net/11320/19838-
dc.description.abstractIn recent years, a move towards social, culturalpsychological and distributed research perspectives on creativity has been witnessed within the social- and human sciences. Glăveanu is one of the most prominent advocates for this new line of research. In the present commentary, I will share my concerns as to why this move is important and vital for the field of creativity research, but I will also raise my sense of fear by the proposed direction of model unity and coherence as suggested by Glăveanu. On the contrary, we may need to tolerate and respect the diversity of perspectives and enjoy the fruits of cross-disciplinarily research, not needing to reach any state of unity. In this sense, a way out of ‘crisis’ could be that we respect, variations and even differences, and instead of coherence establish meeting places and spots where divergent perspectives can be celebrated.pl
dc.language.isoenpl
dc.publisherUniversity of Białystokpl
dc.rightsCreative Commons Attribution-NonCommercial-NoDerivatives 3.0 License-
dc.rights.urihttps://creativecommons.org/licenses/by-nc-nd/3.0/-
dc.subjectEveryday creativitypl
dc.subjectCultural psychology of creativitypl
dc.subjectSociomateriality of creativitypl
dc.titleReaching Out For Everyday Life Creativitypl
dc.typeArticlepl
dc.rights.holder© 2015 Lene Tanggaard, published by University of Białystok.pl
dc.rights.holderThis work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.pl
dc.identifier.doi10.1515/ctra-2015-0011-
dc.description.Emaillenet@id.aau.dkpl
dc.description.AffiliationAalborg University, Denmarkpl
dc.description.referencesGlăveanu, V. (2014). The Psychology of Creativity: A Critical Reading Creativity. Theories – Research – Applications, 1, 1, 10-32; DOI: 10.15290/ctra.2014.01.01.02.pl
dc.description.referencesHutchins, E. (1995). Cognition in the wild. Cambridge, MA: MIT Press.pl
dc.description.referencesIngold, 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.pl
dc.description.referencesPlucker, 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.pl
dc.description.referencesPope, R. (2005). Creativity: Theory, history, practice. London & New York, NY: Routledge.pl
dc.description.referencesTanggaard, L. (2013). The sociomateriality of creativity in everyday life. Culture & Psychology, 19, 1, 20-32.pl
dc.description.referencesTanggaard, L. (2014). Fooling around: Creative learning pathways. Charlotte: Information Age Publishers.pl
dc.identifier.eissn2354-0036-
dc.description.volume2pl
dc.description.issue1pl
dc.description.firstpage75pl
dc.description.lastpage78pl
dc.identifier.citation2Creativity. Theories – Research – Applicationspl
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