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PubMed1999

Assessment of a cooperative-creative program of assertive behavior and self-concept.

This study examined the effects of a game program of assertive behavior, helpful behavior, and self-concept in children aged 8 to 10. A pretest-intervention-posttest design was used with a sample of 126 experimental and 28 control subjects. Three instruments were administered before and after intervention: the Children's Assertive Behavior Scale, Sensitivity Scale, and the Adjective Check List. Assertive behavior, helpful behavior, and self-concept were the dependent variables. Intervention consisted of a group play-session carried out once a week during the whole academic year. The program's games encourage children to cooperate and share, as well as to develop creative play. The program included presentation, communication, help, cooperation, creativity, and emotional expression games. Results of multiple variance analyses suggest that the program caused significant improvement in assertive behavior (p < .001) and self-concept (p < .01). This paper reveals empirical evidence of the positive contribution of cooperative-creative play to child development.

Assertiveness↗
PubMed1986

Social influences on creativity: the effects of contracted-for reward.

Three studies were conducted to examine the effects of reward on children's and adult's creativity. The primary hypothesis was that explicitly contracting to do an activity in order to receive a reward will have negative effects on creativity, but receiving no reward or only a noncontracted-for reward will have no such negative effects. All three studies provided support for this hypothesis. Moreover, this support appears to be strong and generalizable across different subject populations, reward types, reward presentations, and creativity tasks. Possible mechanisms for the phenomenon are discussed.

Achievement↗
PubMed1987

Positive affect facilitates creative problem solving.

Four experiments indicated that positive affect, induced by means of seeing a few minutes of a comedy film or by means of receiving a small bag of candy, improved performance on two tasks that are generally regarded as requiring creative ingenuity: Duncker's (1945) candle task and M. T. Mednick, S. A. Mednick, and E. V. Mednick's (1964) Remote Associates Test. One condition in which negative affect was induced and two in which subjects engaged in physical exercise (intended to represent affectless arousal) failed to produce comparable improvements in creative performance. The influence of positive affect on creativity was discussed in terms of a broader theory of the impact of positive affect on cognitive organization.

Adult↗
PubMed1999

Effects of systematic clinical supervision on psychiatric nurses' sense of coherence, creativity, work-related strain, job satisfaction and view of the effects from clinical supervision: a pre-post test design.

There are few investigations of the type and the outcome of interventions aimed at supporting nurses caring for psychiatric patients. Therefore a prepost-test design study was used in which 22 psychiatric nurses, on a general psychiatric ward were examined before, during and after one year of systematic clinical supervision combined with supervised documented, planned, individualized care. The methods used were the Sense of Coherence scale (SOC), the Creative Climate Questionnaire (CCQ), the Work-Related Strain Inventory and 34 statements from the Satisfaction with Nursing Care and Work Questionnaire (SNCW). In addition 14 statements were developed to evaluate the nurses' view of the effects from clinical supervision. The baseline values for the CCQ indicated a stagnant organization and a high score in the conflict dimension indicated personal and emotional tensions within the organization. The intervention led to a significantly increased creative and innovative climate in the dimensions for trust, idea time and reduced conflicts. However, the organizational climate remained stagnant. The nurses' view of the effects from clinical supervision also increased significantly. There were no significant changes in the nurses' SNCW, WRSI or SOC score. The result of the correlation analysis indicated that a strong sense of coherence was related to low work-related strain but not to unsatisfactory working conditions/milieu. The results gave some support to the idea that systematic clinical supervision and supervised nursing care plans constitute one type of support strategy that improves creativity and the organizational climate. It may, not, however, buffer for interpersonal problems. Further research is required to explore the need for effects of various support systems depending on the circumstances in the organization.

Adult↗
PubMed1980

[Schizophrenia, creativity and art--a contribution to the theoretical understanding of pictures of schizophrenics (author's transl)].

Several opinions on the paintings and drawings of patients with mental disorder are referred. In a historical summary the authors who have a more diagnostical approach are confronted with those who are more interested in creative aspects. Finally the psychodynamical analysis of creative processes is stressed. From this point of view it is attempted to describe the relations between schizophrenia, creativity and art.

Art↗
PubMed1977

Creative potential in schizophrenia.

The purpose of this paper is to demonstrate the presence of creative potential in a group of hospitalized persons who have been categorized as schizophrenic. Previous work (Buck and Kramer, 1973, 1974) has made it obvious that considerable poetic skill exists in this group of people. While creative potential was apparent in large numbers of those we have worked with, it is unnecessary to claim that our present data represent all (or even a majority) of the hospital population. However, we are concerned with providing a more balanced perspective on the ego strength and creativity which are retained in people who are labeled schizophrenic-even those considered to be regressed. In the following selections, we will attempt to demonstrate, first, an openness to fantasy and an access to primary-process thought which is molded by sufficient technical skill to warrant being labeled poetry, and second, an active, reconstructive capacity which includes a clear intention of communicating with an audience. The technical skill and the reconstructive capacity are critical in substantiating the retention of ego strength necessary for the mobilization of secondary-process cognition. We are interested, therefore, in exploring poetry written with clarity, intelligibility, and cohesiveness, where the visual can be translated into the verbal, where the effort is directed toward communication rather than sorcery, and where sponteneity replacesstereotypy. In the case of originality of style-that is, artistic license-these distinctions may not always be clear; but where questions arise, the artist's ability to justify his own intentions becomes critical.

Cognition↗
PubMed1999

Creative collaborations. Writers and editors.

Creativity, which the culture often depicts as a solitary enterprise, is almost always impacted or even dependent upon one or another aspect of a real relationship or an internalized object relationship. This paper utilizes the example of creative collaborations between writers and editors to illustrate aspects of co-creativity, co-construction, and mutual influence. It draws on Howard Gardner's observation, based on a series of biographical studies, that a creator during a time of artistic or intellectual breakthrough requires both an affective support system and a cognitive one. His observation echoes that of child researchers who emphasize that the contour of developmental lines depends not only on an internal dynamic but on interactions with significant others and on cultural and social influences as well. This paper describes both successful and problematic collaborations between writers and editors and demonstrates the strengths of such collaborations and some of their potential faultlines as well.

Creativity↗
PubMed2001

Description of an expert teacher's constructivist-oriented teaching: engaging students' critical thinking in learning creative dance.

The focus of this study was to investigate how an expert teacher implemented constructivist-oriented teaching strategies to engage students'critical thinking skills in learning creative dance. The data were collected through videotaping 16 creative dance lessons taught by an expert teacher to 2 kindergarten, 2 first-grade, and 4 third-grade classes and conducting two formal interviews and several informal interviews with the teacher. In addition, one group interview was conducted with 4 kindergarten students, 4 first-grade students, and 8 third-grade students. The three salient themes were: (a) relating students' knowledge and ideas to lessons to spark dispositions, (b) encouraging and facilitating students' inquiries and creative products, and (c) engaging students' metacognition in refining the quality of dance movement.

Child↗
PubMed2000

Differences in working memory involvement in analytical and creative tasks: an ERP study.

If, as suggested, creative (insight) problem solving is less systematic and employs less planning than analytical problem solving, the former requires substantially less working memory (WM) than the latter. Subjects simultaneously solved problems and counted auditory stimuli (concurrent WM task), in response to which ERPs were recorded. Counting disrupted analytical, but not creative performance. Peak and time-window average P300 were more frontal during analytical problem solving as compared to insight or counting tones only (control). A PCA extracted two factors in the P3 range, one frontal and one broad left-lateralized, which distinguished analytical from creative problem solving. The findings indicate distinct processing pathways for the two types of tasks with more WM involvement in analytical tasks.

Acoustic Stimulation↗
PubMed1976

What happens to creative medical students?

A psychometric index of creative potential was devised by relating test scores to ratings of creativity in samples of architects, engineers, mathematicians, psychologists, and research scientists. A correlation of .45 was obtained between scores on this index and the criterion ratings in the total initial sample of 350 men. The tests used to compute scores on the index were also available for 284 first-year medical students being studied as physicians in a longitudinal inquiry on speciality choice and location of practice. The mean creativity score of the medical students was higher than that for any of the other samples. Within the array of means for medical specialty groups, psychiatrists ranked first and internists second. Students who failed to complete medical school also scored high, suggesting that dropping out is not just a matter of poor academic potential or unsuitability for a career in medicine.

Creativity↗
PubMed2003

Becoming a physician: students' creative projects in a third-year IM clerkship.

PURPOSE: Medical educators have only limited understanding of how integrating humanities-based components into standard curricula contributes to the medical students' professionalism. This study qualitatively analyzed how students used a creative-project assignment during their third-year internal medicine clerkships to explore various aspects of their professional development. METHOD: A total of 277 students from three consecutive classes (1999-2002) at the University of California, Irvine, College of Medicine each completed a creative project reflecting on a particularly problematic or meaningful illness-related incident. Process and content analyses of the 221 projects submitted for analysis were performed. RESULTS: Students' projects employed a wide range of formats, tones, and styles to examine the process of socialization into medicine. Within this framework, their work tended to explore issues such as the proper relationship of medical students to patients, coming to terms with death and dying, understanding the patient's experience of illness, and coping with professional and personal stress. CONCLUSION: A creative-projects course component can be a valuable adjunct to traditional clerkship activities in helping students to reflect on the process of becoming a physician.

Adaptation, Psychological↗
PubMedDate not supplied

The creative teacher.

The challenge to adequately prepare students for the increasingly diverse profession of nursing is great. Due to a more heterogeneous population of nursing students, educators have to be more flexible in their approaches to education. As a result, educators are searching for more creative approaches to teaching. The authors examined what makes teaching creative. They identified creative nursing educators and examined their common approaches and strategies.

Creativity↗
PubMedDate not supplied

Nursing theories. Creative teaching strategies make this course come alive.

The author describes creative teaching strategies used to teach a nursing theories course. Presentation and term paper assignments encouraged creativity and class participation. A final examination question that places students in a party setting with all of the theorists in attendance allows students to synthesize their knowledge using a creative approach.

Creativity↗
PubMed1990

Alcohol input and creative output.

Is alcohol use a help or a hindrance for creativity? And, conversely, what effect does creative activity have on alcohol use? In order to answer these questions, relevant information was obtained from the biographies of 34 well known, heavy drinking, 20th century writers, artists or composers/performers. Analysis of this information yielded a number of interesting findings. Alcohol use proved detrimental to productivity in over 75% of the sample, especially in the latter phases of their drinking careers. However, it appeared to provide direct benefit for about 9% of the sample, indirect benefit for 50% and no appreciable effect for 40% at different times in their lives. Creative activity, conversely, can also affect drinking behavior, leading, for instance, to increased alcohol consumption in over 30% of the sample. Because of the complexities of this relationship, no simplistic conclusions are possible.

Alcohol Drinking↗
PubMed1987

Creativity and mental illness: prevalence rates in writers and their first-degree relatives.

Rates of mental illness were examined in 30 creative writers, 30 matched control subjects, and the first-degree relatives of both groups. The writers had a substantially higher rate of mental illness, predominantly affective disorder, with a tendency toward the bipolar subtype. There was also a higher prevalence of affective disorder and creativity in the writers' first-degree relatives, suggesting that these traits run together in families and could be genetically mediated. Both writers and control subjects had IQs in the superior range; the writers excelled only on the WAIS vocabulary subtest, confirming previous observations that intelligence and creativity are independent mental abilities.

Adult↗
PubMed1989

Use of a motor creativity test with young learning disabled boys.

The Torrance Test of Thinking Creatively in Action and Movement, developed to measure the motor creativity of children ages 3 to 8 yr., has been subjected to little psychometric study. The purpose of this study was to examine the feasibility of using this instrument with young learning disabled boys and to determine whether differences between learning disabled boys and the test manual's nondisabled normative sample (n = 193) were significant. Subjects were 30 learning disabled boys (M = 8.11 yr.), representing seven different school systems. Significant differences were noted between two groups on fluency, imagination, and total motor creativity but not on originality. Test-retesting over 1 to 14 days gave coefficients of .71 to .89. The alpha coefficient for total test internal consistency was .79.

Child↗
PubMed2000

Pattern of expanding consciousness in midlife women: creative movement and the narrative as modes of expression.

This study is based on Newman's theory of expanding consciousness; it expands Newman's method to include creative movement as a mode of expression. The researcher engaged in two in-depth interviews and one creative movement group experience with each of 17 midlife women. Results demonstrate expanding consciousness at midlife, with patterns of meaning identified in relationships with others, self, and spirit as well as challenges of loss, illness, and threats to relationships. Activities of consciousness were choosing, balancing, accepting, and letting go. Concepts of flow, turbulence, and a movement dialectic were identified in study findings. Creative movement supported self-awareness.

Adult↗
PubMed2006

Reflections on the prairie as a creative teaching-learning place.

In this column, the author reflects on characteristics of the prairie land of South Dakota and how it contributes to a creative teaching-learning place. Attributes of the prairie that are linked with creative teaching-learning include prairie as a space of aloneness and solitude, prairie as a boundless seeing what may be, prairie as contradiction and paradox, and prairie as possibility. These attributes of the prairie are explored through the author's personal experience, theoretical literature on creativity and teaching-learning, and literature from Parse's theory of human becoming.

Awareness↗