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  3. Creativity. Theories – Research – Applications

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    • Creativity. Theories – Research – Applications, 2014, Vol. 1, Issue 2 : [15]
    Strona glówna kolekcji Zobacz statystyki

    Content


    1. Maciej Karwowski
      The Creativity Crisis (is not) as Plain as the Nose on Your Face: A Few Introductory Comments


      1. Baer, J. (2011). Why grand theories of creativity distort, distract, and disappoint. International Journal of Creativity and Problem Solving, 21, 73-100.
      2. Galenson, D.W. (2009). Old masters and young geniuses: The two life cycles of human creativity. Journal of Applied Economics, 12, 1-9. DOI
      3. Glăveanu, V.P. (2014). The psychology of creativity: A critical reading. Creativity: Theories – Research – Applications, 1, 10-33, DOI
      4. Glăveanu, V.P. (2013). Rewriting the language of creativity: The Five A's framework. Review of General Psychology, 17, 69-81. DOI
      5. Glăveanu, V.P. (2012). From dichotomous to relational thinking in the psychology of creativity: A review of great debates. Creativity and Leisure: An Intercultural and Cross-disciplinary Journal, 1, 83-97. DOI
      6. Glăveanu, V.P. (2012a). Habitual creativity: revising habit, reconceptualizing creativity. Review of General Psychology, 16, 78-92. DOI
      7. Glăveanu, V.P. (2010). Paradigms in the study of creativity: Introducing the perspective of cultural psychology. New Ideas in Psychology, 28, 79-93. DOI
      8. Glăveanu, V.P. (in press). Creativity as a sociocultural act. Journal of Creative Behavior.
      9. Karwowski, M. (2012). Middle and grand theorizing in the psychology of creativity. Creativity and Leisure: An Intercultural and Cross-disciplinary Journal, 1, 109-115.
      10. Karwowski, M. & Uszynska-Jarmoc, J. (2014). Creativity: The show must go on. Creativity: Theories – Research – Applications, 1, 4-9, DOI
      11. 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
      12. Kirton, M. (1976). Adaptors and innovators: A description and measure. Journal of Applied Psychology, 61, 622-629. DOI
      13. Kuhn, T.S. (1962) The Structure of scientific revolutions, Chicago: University of Chicago Press.
      14. Makel, M.C. (2014). The empirical march: Making science better at self-correction. Psychology of Aesthetics, Creativity, and the Arts, 8, 2-7. DOI
      15. Merton, R.K. (1968). Social theory and social structure. New York: Free Press.
      16. Rickards, T. & De Cock, C. (1999). Sociological paradigms and organizational creativity. In R.E. Purser & A. Montuori (Eds.). Social creativity (vol. II, pp. 235-257). Cresskill, NJ: Hampton Press.
      17. Simonton, D.K. (1998). Donald Campbell's model of the creative process: Creativity as blind variation and selective retention. Journal of Creative Behavior, 32, 153-158. DOI
      18. Simonton, D.K. (1999). Creativity as blind variation and selective retention: Is the creative process Darwinian? Psychological Inquiry, 10, 309-328. DOI
      19. Simonton, D.K. (2011). Creativity and discovery as blind variation and selective retention: Multiple-variant definitions and blind-sighted integration. Psychology of Aesthetics, Creativity, and the Arts, 5, 222-228. DOI
    2. Dean Keith Simonton
      A 45-Year Perspective on Creativity Research: Comments on Glăveanu’s Critique


      1. Damian, R.I. & Simonton, D.K. (2014, August 4). Psychopathology, adversity, and creativity: Diversifying experiences in the development of eminent African-Americans. Journal of Personality and Social Psychology. Advance online publication. DOI
      2. Ritter, S.M., Damian, R.I., Simonton, D.K., van Baaren, R.B., Strick, M., Derks, J., & Dijksterhuis, A. (2012). Diversifying experiences enhance cognitive flexibility. Journal of Experimental Social Psychology, 48, 961-964. DOI
      3. Simonton, D.K. (2002). It’s absolutely impossible? A longitudinal study of one psychologist’s response to conventional naysayers. In R.J. Sternberg (Ed.), Psychologists defying the crowd: Stories of those who battled the establishment and won (pp. 238-254). Washington, DC: American Psychological Association.
      4. Simonton, D.K. (2010). Creativity as blind-variation and selective-retention: Combinatorial models of exceptional creativity. Physics of Life Reviews, 7, 156-179. DOI
      5. Simonton, D.K. (2012). Taking the US Patent Office creativity criteria seriously: A quantitative three-criterion definition and its implications. Creativity Research Journal, 24, 97-106. DOI
      6. Simonton, D.K. (2013a). Creative thought as blind variation and selective retention: Why sightedness is inversely related to creativity. Journal of Theoretical and Philosophical Psychology, 33, 253-266.
      7. Simonton, D.K. (2013b). Creative thoughts as acts of free will: A two-stage formal integration. Review of General Psychology, 17, 374-383. DOI
      8. Simonton, D.K (2013c). What is a creative idea? Little-c versus Big-C creativity. In J. Chan & K. Thomas (Eds.), Handbook of research on creativity (pp. 69-83). Chelten-ham Glos, UK: Edward Elgar.
      9. Simonton, D.K. (2014a). The mad-genius paradox: Can creative people be more mentally healthy but highly creative people more mentally ill? Perspectives on Psychological Science, 9, 470-480. DOI
      10. 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
    3. Mihaly Csikszentmihalyi, Izabela Lebuda
      Is the Psychology of Creativity in Terminal Crisis? Comments on Glăveanu’s Article “The Psychology of Creativity: A Critical Reading”


      1. Abuhamdeh, S. & Csikszentmihalyi, M. (2012). Attentional involvement and intrinsic motivation. Motivation and Emotion, 3, 257-267. DOI
      2. Amabile, T.M. (1996). Creativity in Context. Boulder, Co: Westview Press.
      3. Brannigan, A. (1981). The Social Basis of Scientific Discoveries. Cambridge: Cambridge University Press
      4. Chan, J. (2013). Researching creativity and creativity research. In K. Thomas & J. Chan (Eds.), Handbook of Research on Creativity (pp. 21-32). Cheltenham, Northampton: Edward Elgar.
      5. Csikszentmihalyi, M. (1988). Society, culture and person: a systems view of creativity. In R. Sternberg (Ed.), The Nature of Creativity: Contemporary Psychological Perspectives (pp. 325-329). New York: Cambridge University Press.
      6. Csikszentmihalyi, M. (1997). Creativity: Flow and the Psychology of Discovery and Innovation. New York: Harper Collins.
      7. Csikszentmihalyi, M. (1999). Implication of a system perspective for the study of creativity. In R. Sternberg (Ed.), Handbook of Creativity (pp. 313-335). Cambridge: Cambridge University Press.
      8. Diener, E., Oishi, S., & Park, J. (2014). An incomplete list of eminent psychologists of the modern era. Archives of Scientific Psychology, 2, 20-32. DOI
      9. Feist, G.J. (1993). A structural model of scientific eminence. Psychological Science, 4, 366-371. DOI
      10. Feist, G.J. (1997). Quantity, quality, and depth of research as influences on scientific eminence: is quantity most important? Creativity Research Journal, 10, 325-335. DOI
      11. Glăveanu, V.P. (2014). The Psychology of Creativity: A Critical Reading. Creativity: Theories — Research — Applications, 1, 10-32. DOI
      12. Hennessey, B.A. & Amabile, T. (2010). Creativity. Annual Review of Psychology, 62, 569-598.
      13. Mayer, R.E. (1999). Fifty years of creativity research. In R.J. Sternberg (Ed.), Handbook of Creativity (pp. 449-460), Cambridge: Cambridge University Press.
      14. Mumford, M.D. (2003). Where have we been, where are we going? Taking stock in creativity research. Creativity Research Journal, 15, 107–120. DOI
      15. Sawyer, R.K. (2012). Explaining Creativity: The Science of Human Innovation. Oxford: Oxford University Press
      16. Simonton, D.K. (1991). Career landmarks in science: individual differences and interdisciplinary contrasts. Developmental Psychology, 1, 119-130. DOI
      17. Simonton, D.K. (2004). Creativity in Science. Cambridge: Cambridge University Press.
      18. Simonton, D.K. (2009). Varieties of (Scientific) Creativity: A Hierarchical Model of Domain-Specific Disposition, Development, an Achievement. Perspectives on Psychological Science, 4, 441-452 DOI
      19. Simonton, D.K (2013). What is a creative idea? Little-c versus Big-C creativity. In J. Chan & K. Thomas (Eds.), Handbook of research on creativity (pp. 69-83). Cheltenham, UK: Edward Elgar.
    4. John Baer
      The Crisis in Creativity Research Stems From Too Little Fragmentation, Not Too Much


      1. Baer, J. (1993). Creativity and divergent thinking: A task-specific approach. Hillsdale, NJ: Lawrence Erlbaum Associates
      2. Baer, J. (2010). Is creativity domain specific? In J.C. Kaufman & R.J. Sternberg (Eds.), Cambridge handbook of creativity (pp. 321-341). Cambridge University Press.
      3. Baer, J. (2011). Why grand theories of creativity distort, distract, and disappoint. International Journal of Creativity and Problem Solving, 21(1). 73-100
      4. Baer, J. (in press). Domain specificity in creativity. San Diego: Elsevier
      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. Bartlett, T. (2014, September 19). Madness and the muse. The Chronicle of Higher Education<. Retrieved September 20, 2014 at http://m.chronicle.com/article/Madnessthe-Muse/148845/
      7. Feist, G.J. (2004). The evolved fluid specificity of human creative talent. In R.J. Sternberg, E.L. Grigorenko, & J.L. Singer (Eds.), Creativity: From potential to realization (pp. 57-82). Washington, DC: American Psychological Association.
      8. Glăveanu, V.P. (2014). The psychology of creativity: A critical reading. Creativity: Theories — Research — Applications, 1, 10-32. DOI
      9. Glover, J.A., Ronning, R.R., & Reynolds, C.R. (1989). Handbook of creativity. New York: Plenum Press.
      10. 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.
      11. Kaufman, J.C. & Baer, J. (2005). The Amusement Park Theory of creativity. In J.C. Kaufman & J. Baer (Eds.), Creativity across domains: Faces of the muse (pp. 321-328). Hillsdale, New York: Lawrence Erlbaum Associates.
      12. Neisser, U., Boodoo, G., Bouchard, T.J., Boykin, A.W., Brody, N., Ceci, S.J., Halpern, D.F., Loehlin, J.C., Perloff, R., Sternberg, R.J. & Urbina, S. (1996). Intelligence: Knowns and unknowns. American Psychologist, 51, 77-101. DOI
      13. Simonton, D.K. (2010). So you want to become a creative genius? You must be crazy! In D. Cropley, J. Kaufmann, A. Cropley, & M. Runco (Eds.), The dark side of creativity (pp. 218-234). New York: Cambridge University Press.
      14. Simonton, D.K. (2014). More method in the mad-genius controversy: A historiometric study of 204 historic creators. Psychology of Aesthetics, Creativity, and the Arts, 8(1), 53-61. DOI
      15. Wittgenstein, L. (1953/2001). Philosophical investigations. Oxford: Blackwell Publishing.
    5. Ronald A. Beghetto
      Is The Sky Falling or Expanding? A Promising Turning Point in the Psychology of Creativity


      1. Beghetto, R.A. (2014). Toward avoiding an empirical march to nowhere. Psychology of Aesthetics, Creativity, and the Arts, 8, 18-20. DOI
      2. Craft, A. (2010). Possibility Thinking and Wise Creativity: Educational Futures in England? (pp. 289-312). In R.A. Beghetto & J.C. Kaufman (Eds.). Nurturing Creativity in the Classroom. New York: Cambridge University Press.
      3. Engestrom, Y. (1999). Activity theory and individual and social transformation. In Y. Engestrom, R. Miettinen, & R.L. Punamaki (Eds.). Perspectives on activity theory. Cambridge: Cambridge University Press.
      4. Gilson, L.L. & Shalley, C.E. (2004). A little creativity goes a long way: An examination of teams’ engagement in creative processes. Journal of Management, 30, 453-470 DOI
      5. Glăveanu, V.P. (2014). The psychology of creativity: A critical reading. Creativity: Theories — Research — Applications, 1, 10-32 DOI
      6. Lacan, J. (2007). Ecrits: The first complete edition in English. New York: W.W. Norton & Company
      7. Makel, M.C. (2014). The empirical march: Making science better at self-correction. Psychology of Aesthetics, Creativity, and the Arts, 8, 2-7. DOI
      8. Renzulli, J.S. & Beghetto, R.A. (2014). The school imagination, creativity, and innovation index and portfolio. Unpublished proposal, Department of Educational Psychology, University of Connecticut, Storrs, Connecticut
      9. Ward, T.B. (1994). Structured imagination: The role of category structure in exemplar generation. Cognitive Psychology, 27, 1-40. DOI
    6. Mathias Benedek, Emanuel Jauk
      Creativity - Lost in Simplification?


      1. Abraham, A. (2013). The promises and perils of the neuroscience of creativity. Frontiers in Human Neuroscience, 7, 246 DOI
      2. Abraham, A., Pieritz, K., Thybush, K., Rutter, B., Kröger, S., Schweckendiek, J., Stark, R., Windmann, S., & Hermann, C. (2012). Creativity and the brain: Uncovering the neural signature of conceptual expansion. Neuropsychologia, 50, 1906-1917. DOI
      3. Amabile, T.M. (1983). The social psychology of creativity: A componential conceptualization.Journal of Personality and Social Psychology, 45, 357–376 DOI
      4. Arden, R., Chavez, R.S., Grazioplene, R., & Jung, R.E. (2010). Neuroimaging creativity: A psychometric view. Behavioral Brain Research, 214, 143-156. DOI
      5. Baer, J. (1998). The case for domain specificity of creativity.Creativity Research Journal, 11, 173-177. DOI
      6. Beaty, R.E., Smeekens, B.A., Silvia, P.J., Hodges, D.A., & Kane, M.J. (2013). A first look at the role of domain-general cognitive and creative abilities in jazz improvisation. Psychomusicology: Music, Mind, and Brain, 23, 262-268. DOI
      7. Beaty, R.E., Nusbaum, E.C., & Silvia, P.J. (2014). Does insight problem solving predict real-world creativity? Psychology of Aesthetics, Creativity, and the Arts, 8, 287-292 DOI
      8. Benedek, M., Borovnjak, B., Neubauer, A.C., & Kruse-Weber, S. (2014). Creativity and personality in classical, jazz and folk musicians. Personality and Individual Differences, 63, 117-121. DOI
      9. Benedek, M., Jauk, E., Fink, A., Koschutnig, K., Reishofer, G., Ebner, F., & Neubauer, A.C. (2014). To create or to recall? Neural mechanisms underlying the generation of creative new ideas. NeuroImage, 88, 125-133 DOI
      10. Benedek, M., Mühlmann, C., Jauk, E., & Neubauer, A.C. (2013). Assessment of Divergent Thinking by means of the Subjective Top-Scoring Method: Effects of the Number of Top-Ideas and Time-on-Task on Reliability and Validity. Psychology of Aesthetics, Creativity, and the Arts, 7, 341-349. DOI
      11. Dietrich, A. & Kanso, R. (2010). A Review of EEG, ERP, and Neuroimaging Studies of Creativity and Insight. Psychological Bulletin, 136, 822-848, 50, 1906-1917. DOI
      12. Eysenck, H.J. (1995). Genius. The natural history of creativity. Cambridge, UK: Cambridge University Press
      13. Fink, A. & Benedek, M. (2014). EEG alpha power and creative ideation. Neuroscience and Biobehavioral Reviews, 44, 111-123. DOI
      14. Glăveanu, V.P. (2014). The psychology of creativity: a critical reading. Creativity: Theories — Research — Applications, 1, 10-32. DOI
      15. Glover, J.A., Ronning, R.R. & Reynolds, C.R. (1989).Handbook of creativity. New York: Plenum Press.
      16. Hennesey, B.A. & Amabile, T.M. (2010). Creativity. Annual Review of Psychology, 61 ,569-598 DOI
      17. Jauk, E., Benedek, M. & Neubauer, A.C. (2014). The Road to Creative Achievement: A Latent Variable Model of Ability and Personality Predictors. European Journal of Personality, 28, 95-105. DOI
      18. Karwowski, M. (2012). Middle and grand theorizing in the psychology of creativity. Creativity and Leisure. An Intercultural and Cross-disciplinary Journal, 1, 109-115.
      19. 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
      20. King, L.A., Walker, L.M., & Broyles, S.J. (1996). Creativity and the five-factor model. Journal of Research in Personality, 30, 189-203 DOI
      21. Kuhn, T.S. (1962). The structure of scientific revolutions. Chicago: University of Chicago Press
      22. Lee, C.S., Huggins, A.C., & Therriault, D.J. (2014). A measure of creativity or intelligence? Examining internal and external structure validity evidence of the Remote Associates Test. Psychology of Aesthetics, Creativity, and the Arts, 8, 446-460. DOI
      23. Mischel, W. (2005). Alternative futures for our science. APS Observer, 18(3). Retrieved from http://www.psychologicalscience.org/index.php/publications/observer/2005/march-05/alternative-futures-for-ourscience.html
      24. Mumford, M.D. (2003). Where have we been, where are we going? Taking stock in creativity research. Creativity Research Journal, 15, 107-120. DOI
      25. Plucker, J.A. (1999). Is the proof in the pudding? Reanalyses of Torrance’s (1958 to present) longitudinal data. Creativity Research Journal, 12, 103-114.
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      26. Plucker, J.A., Qian, M. & Wang, S. (2011). Is originality in the eye of the beholder? Comparison of scoring techniques in the assessment of divergent thinking. The Journal of Creative Behavior, 45, 1-22 DOI
      27. Silvia, P.J., Winterstein, B.B., Willse, J.T., Barona, C.M., Cram, J.T., Hess, K.I., & Richard, C.A. (2008). Assessing creativity with divergent thinking tasks: Exploring the reliability and validity of new subjective scoring methods. Psychology of Aesthetics, Creativity, and the Arts, 2, 68-85 DOI
      28. Simonton, D.K. (2000). Creativity. Cognitive, personal, developmental, and social aspects. American Psychologist, 55, 151-158 DOI
      29. Simonton, D.K. (2014). Creative performance, expertise acquisition, individual differences, and developmental antecedents: An integrative research agenda. Intelligence, 42, 66-73. DOI
      30. Torrance, E.P. (1993). The beyonders in a thirty year longitudinal study of creativity achievement. Roeper Review, 15, 131-135 DOI
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      32. Vartanian, O. (2014). Toward a cumulative psychological science of aesthetics, creativity, and the arts. Psychology of Aesthetics, Creativity, and the Arts, 8, 15-17. DOI
      33. Vartanian, O., Bristaol, A.S., & Kaufman, J.C. (Eds.) (2013). Neuroscience of creativity. Cambridge, MA: MIT Press
    7. James C. Kaufman
      Joining the Conversation: A Commentary on Glăveanu’s Critical Reading


      1. Cropley D.A. (in press). Teaching engineers to think creatively: Barriers and challenges in STEM disciplines. To appear in R. Wegerif, L.Li, & J.C. Kaufman (Eds.), The Routledge international handbook of research on teaching thinking. London: Routledge
      2. Glăveanu, V.P. (2014). The psychology of creativity: A critical reading. Creativity: Theories — Research — Applications, 1, 10-32 DOI
      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. Kaufman, J.C., & Beghetto, R.A. (2013). In praise of Clark Kent: Creative metacognition and the importance of teaching kids when (not) to be creative. Roeper Review, 35, 155-165 DOI
      5. 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, 83-96. DOI
      6. Reiter-Palmon, R., Beghetto, R.A., & Kaufman, J.C. (2014). Looking at creativity through a Business-Psychology-Education (BPE) lens: The challenge and benefits of listening to each other. In E. Shiu (Ed.), Creativity research: An interdisciplinary and multidisciplinary research handbook (pp. 9-30). New York: Routledge.
    8. David H. Cropley
      Commentary on The Psychology of Creativity: A Critical Reading by Vlad P. Glăveanu


      1. Cropley, D.H. (2015). Creativity in Engineering: Novel solutions to complex problems. San Diego: Academic Press
      2. Glăveanu, V.P. (2014). The psychology of creativity: A critical reading. Creativity: Theories — Research — Applications, 1, 10-32 DOI
      3. Makel, M.C. (2014). The empirical march: Making science better at self-correction. Psychology of Aesthetics, Creativity, and the Arts, 8, 1, 2-7 DOI
      4. Simonton, D.K. (2014). Significant Samples - Not Significant Tests! The Often Overlooked Solution to the Replication Problem. Psychology of Aesthetics, Creativity, and the Arts, 8, 1, 11-12.
    9. Jonathan A. Plucker
      A Critical Response to “The Psychology of Creativity: A Critical Reading”


      1. Glăveanu, V.P. (2014a). Distributed creativity: Thinking outside the box of the creative individual. London: Springer.
      2. Glăveanu, V.P. (2014). The psychology of creativity: A critical reading. Creativity: Theories — Research — Applications, 1, 10-32 DOI
      3. Makel, M.C., Plucker, J. & Hegarty, C.B. (2012). Replications in psychology research: How often do they really occur? Perspectives on Psychological Science, 7, 537-542 DOI
      4. Makel, M.C. & Plucker, J. (2014a). Facts are more important than novelty: Replication in the education sciences. Educational Researcher, 43, 304-316. DOI
      5. Makel, M.C. & Plucker, J. (2014b). Creativity is more than novelty: Reconsidering replication as a creativity act. Psychology of Aesthetics, Creativity, and the Arts, 8, 27-29. DOI
      6. McWilliams, J. & Plucker, J. (2014). Brain cancer, meat glue, and shifting models of outstanding human behavior: Smart contexts for the 21st century. Talent Development and Excellence, 6, 1, 47-55.
      7. 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
      8. Plucker, J. & Barab, S.A. (2005). The importance of contexts in theories of giftedness: Learning to embrace the messy joys of subjectivity. In R.J. Sternberg & J.A. Davidson (Eds.), Conceptions of giftedness (2nd ed.) (pp. 201-216). New York: Cambridge University Press.
      9. Simonton, D.K. (2012). Taking the US Patent Office criteria seriously: A quantitative three-criterion creativity definition and its implications. Creativity Research Journal, 24, 2-3, 97-106. DOI
      10. Stein, M. (1953). Creativity and culture. Journal of Psychology, 36, 311-322. DOI
      11. Torrance, E.P. (1968). A longitudinal examination of the fourth grade slump in creativity. Gifted Child Quarterly, 12, 4, 195-199 DOI
      12. Vartanian, O. (2014). Toward a cumulative psychological science of aesthetics, creativity, and the arts. Psychology of Aesthetics, Creativity, and the Arts, 8, 1, 15-17. DOI
      13. Yi, X., Hu, X., Plucker, J., & McWilliams, J. (2013). Is there a developmental slump in creativity in China? The relationship between organizational climate and creativity development in Chinese adolescents. Journal of Creative Behavior, 47, 22-40. DOI
    10. Paul J. Silvia
      Why Big Theories are Fruitless, Fragmentation is Ideal, Defining Creativity is Overrated and Method-Driven Research is Urgent: Some Thoughts on the Flourishing State of Creativity Science


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      4. Burgin, C.J., Silvia, P.J., Eddington, K.M., & Kwapil, T.R. (2013). Palm or cell? Comparing personal digital assistants and cell phones for experience sampling research. Social Science Computer Review, 31, 244-251. DOI
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      9. Glăveanu, V.P. (2014). The psychology of creativity: A critical reading. Creativity: Theories — Research — Applications, 1, 10-32. DOI
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      18. Silvia, P.J., Beaty, R.E., Nusbaum, E.C., Eddington, K.M., Levin-Aspenson, H., & Kwapil, T.R. (2014). Everyday creativity in daily life: An experience-sampling study of “little c” creativity. Psychology of Aesthetics, Creativity, and the Arts, 8, 183-188. DOI
      19. Silvia, P.J., Kwapil, T.R., Walsh, M.A. & Myin-Germeys, I. (2014). Planned missing data designs in experience sampling research: Monte Carlo simulations of efficient designs for assessing within-person constructs. Behavior Research Methods, 46, 41-54. DOI
    11. Michael H. Chruszczewski
      Boredom, Messianism, and Primordial Broth


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    12. Alfonso Montuori
      Transdisciplinary Reflections on Glăveanu’s “Crisis” of the Psychology of Creativity


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    13. Roni Reiter-Palmon
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    14. Eric Shiu
      A Commentary on a Manuscript Entitled The Psychology of Creativity: A Critical Reading


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    15. Vlad Petre Glăveanu
      Theory and Context / Theory in Context: Towards an Expanded View of the Creativity Field


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    Collection's Items (Sortowane przez Data zamieszczenia w Malejąco kolejnośi): 1 do 15 z 15
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    gru-2014Theory and Context / Theory in Context: Towards an Expanded View of the Creativity FieldGlăveanu, Vlad Petre--
    gru-2014A Commentary on a Manuscript Entitled The Psychology of Creativity: A Critical ReadingShiu, Eric--
    gru-2014Can we Really Have an Integrative Theory of Creativity? The Case of Creative CognitionReiter-Palmon, Roni--
    gru-2014Transdisciplinary Reflections on Glăveanu’s “Crisis” of the Psychology of CreativityMontuori, Alfonso--
    gru-2014Boredom, Messianism, and Primordial BrothChruszczewski, Michael H.--
    gru-2014Why Big Theories are Fruitless, Fragmentation is Ideal, Defining Creativity is Overrated and Method-Driven Research is Urgent: Some Thoughts on the Flourishing State of Creativity ScienceSilvia, Paul J.--
    gru-2014A Critical Response to “The Psychology of Creativity: A Critical Reading”Plucker, Jonathan A.--
    gru-2014Commentary on The Psychology of Creativity: A Critical Reading by Vlad P. GlăveanuCropley, David H.--
    gru-2014Joining the Conversation: A Commentary on Glăveanu’s Critical ReadingKaufman, James C.--
    gru-2014Creativity - Lost in Simplification?Benedek, Mathias; Jauk, Emanuel--
    gru-2014Is The Sky Falling or Expanding? A Promising Turning Point in the Psychology of CreativityBeghetto, Ronald A.--
    gru-2014The Crisis in Creativity Research Stems From Too Little Fragmentation, Not Too MuchBaer, John--
    gru-2014Is the Psychology of Creativity in Terminal Crisis? Comments on Glăveanu’s Article “The Psychology of Creativity: A Critical Reading”Csikszentmihalyi, Mihaly; Lebuda, Izabela--
    gru-2014A 45-Year Perspective on Creativity Research: Comments on Glăveanu’s CritiqueSimonton, Dean Keith--
    gru-2014The Creativity Crisis (is not) as Plain as the Nose on Your Face: A Few Introductory CommentsKarwowski, Maciej--
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