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PubMed1977

A cognitive style approach to creative thought.

Creative thinking was explored from several approaches to further understanding of the interrelationship of perception, personality, and cognition. College students (N = 45) were administered the Group Embedded Figures Test (GEFT), the Remote Associates Test (RAT), a questionnaire concerning RAT strategy, and two self-report scales. Field independent subjects were found to be significantly (p less than .001) more creative than field dependents. Correlations between the RAT and GEFT and the self-report measures of conformity and creativity, while largely nonsignificant, were in the predicted directions. Results demonstrated that advanced strategy levels and insightful responses were significantly related to high performance on the RAT. Theoretical links between cognitive style and Piagetian concepts were discussed in regard to creative thought. Overall, these findings support the contention that the creative processes should be studied, not as isolated structures, but with relational and multifaceted emphasis.

Cognition↗
PubMedDate not supplied

Promoting creativity in nursing education.

Shortly after the University of Iowa implemented a new, integrated curriculum in 1974, a study of creativity was initiated because one goal of the process curriculum is to foster creativity. Hypotheses of no difference between beginning and graduating students and between old and new curriculum students were tested by means of Student's t test with Activities 5, 6, and 7 of Verbal Form A, Torrance Tests of Creative Thinking used as the criterion measure. The null hypotheses were rejected in favor of the beginning students and the old curriculum students, respectively (p less than .05). Hypotheses of no relationship between creativity and American College Testing scores and admit grade point average were tested by computing Pearson product moment correlation coefficients. All values of r were nonsignificant. Further research on a number of aspects of creativity in nursing is suggested.

Creativity↗
PubMed1975

Sociocultural context of individual creativity: a transhistorical time-series analysis.

Hypotheses were stated which specify individual creativity as a function of developmental and productive period variables. It was then argued that these hypotheses could be better tested by examining generational fluctuations in creativity. Information from cultural and political archival sources was thus aggregated to form time series spanning 127 generations of European history. Data quality checks, control variables, data transformations, time-lagged comparisons, and trend analyses were used to improve the validity of the causal inferences. While the results varied according to the type of creativity (discursive or presentational) and the degree of achieved eminence, creative development was found to be affected by the following: (a) role model availability, (b) political fragmentation, (c) imperial instability, and (d) political instability.

Achievement↗
PubMed1975

Comparison of social judgments of creativity and intelligence.

Social judgment of creativity and intelligence was investigated by having subjects give trait ratings for stimulus profiles of actual art students based on abilities information alone, based on personality information alone, based on biographical information alone, and finally, based on the total set of all three types of cue information. Regression equations differed depending upon whether intelligence or creativity judgments were being predicted. For all types of information, there was a significant amount of variation unique to creativity judgments which could not be accounted for by intelligence judgments, and vice versa. However, the proposition of variation unique to each type of trait judgment was smallest when subjects had only abilities information available and was approximately four times larger when judgments were based on the total set of three types of cue information. Implications of this finding for the study of creativity are discussed.

Aptitude↗
PubMed1976

A factor analysis of creativity in fraternal and identical twins.

The relationship between intelligence and creativity and their factorial structure have been extensively discussed, with little empirical evidence and less agreement as to the meaning. A study of 117 pairs of like sexed fraternal and identical twins was undertaken, with each twin participating in an extensive battery of creativity tests.A factor analysis indicated three factors for the fraternal twins and two for the identical twins, the results supporting both (a) the notion that the common variance of creativity measures may be accounted for by a general intelligence factor, and (b) the division of creativity into a verbal and a figural domain.

Adolescent↗
PubMed1976

Masculinity-femininity in fathers of creative male adolescents.

This study investigated the relationship of paternal masculinity-femininity to filial creativity in a sample of high school students and their fathers. Thirty-one male high school students were identified as creative on the basis of teacher nominations and scores on the Remote Associates Test. An equal size control group of students matched on sex, educational level, grade point average, and geographical residence was formed. Fathers of both experimental and control students were administered a battery of tests which included a variety of masculinity-femininity measures. The results seem to support the general hypothesis that creativity is related to parental identification as a function of a less conventional sex-role stereotype, and the more specific hypothesis that there is a relation between paternal masculinity-femininity and filial creativity.

Adolescent↗
PubMed1979

The creative arts therapies as "real therapies".

Elements of a standard definition of psychotherapy are used to support the argument that the creative arts therapies should not be characterized as adjunctive therapies, or discredited as not being "real therapies." Two concepts widely acknowledged as important in the application of the creative arts therapies are discussed: first, that the nonverbal media employed by creative arts therapists tap emotional rather than cognitive processes and evoke responses more directly and immediately than traditional verbal therapies, and, second, that creative arts therapies are reality-based and provide a more immediate and real link to a patient's experience than something he can portray only verbally.

Attitude of Health Personnel↗
PubMed1976

Creativity and schizophrenia: an equality of empirical constructs.

The possibility that schizophrenia and creativity are two aspects of the same process is discussed, and parallels between different types of schizophrenia and different factors of creativity are sought. The discussion begins at a theoretical level,but its main thrust is an analysis of the research literature at an empirical level. Similarities are pointed out between tasks used for the purpose of operationally defining the schizophrenic 'deficit' and tasks used to define creativity. Some evidence is found for different subtypes of schizophrenics exhibiting different factors or types of creativity.

Acute Disease↗
PubMed1977

Communicability and complexity as predictors of creativity: validity of the Barron-Welsh Art Scale.

The construct validity of the Barron-Welsh Art Scale as a measure of creativity was questioned. It was hypothesized that figure preferences of creative subjects are more strongly determined by stimulus communicability than stimulus complexity. In a first study a significant negative relationship between operational measures of communicability and complexity of Barron-Welsh drawing was found. A second study of 24 undergraduate subjects showed communicability to be significantly related to peer ratings of creativity whereas complexity was not. A third study of 60 high school subjects showed that a derived score, reflecting the relative preference for drawings of low communicability and low complexity over those of high communicability and high complexity, was significantly related to staff's ratings of creativity. These results were in direct opposition to an interpretation involving complexity in previous research on the Barron-Welsh Art Scale. An alternative interpretation was discussed.

Creativity↗
PubMed1977

Concrete and verbal reinforcement in creative thinking of disadvantaged cildren.

The effects of verbal and concrete reinforcement on creative thinking were investigated in disadvantaged Israeli seventh-graders (N = 90) in a baseline-treatment design. When compared to a no-incentive condition, both concrete (giving a piece of candy for each response) and verbal reinforcement (giving verbal praise to each response) raised the level of ideational fluency on the abbreviated Wallach and Kogan creativity battery by 114% and 61%, respectively. The high correlations between baseline and incentive creativity scores were interpreted as supporting either cognition or motivation but not exclusively the former as the source of individual differences in creative thinking among these disadvantaged children.

Child↗
PubMed1979

Extent of psychological differentiation and creativity.

Among the extensive array of studies relating Witkin's construct of psychological differentiation to many psychological functions and variables, none seem to have adequately tested its relationship to creativity, although these two variables have personality traits and development characteristics in common and require similar skills for effective performance. Eighty-five male high school students were separated according to Embedded Figures Test, and the extreme groups tested for creativity by eight factorially pure tests developed by Guilford, and by Schaefer and Anastasi's Biographical Inventory. Statistical procedures included analysis of covariance, analysis of variance, and a matrix of intercorrelations. With intelligence controlled, field-independent persons performed significantly better than field-dependent persons on measures of visualization, spontaneous flexibility, adaptive flexibility, and creativity in mathematics and science but not significantly better on the other six creativity tests.

Adolescent↗
PubMed1976

Vicarious effects on the creative behavior of retarded and nonretarded children.

The effects of observing a model's overt display of a creative drawing response and hearing a description of these actions were assessed with 54 retarded and 68 nonretarded children. The modeled creative strategy was designed to be high in the dimension of elaboration. A multivariate research design was employed to assess the target dimension of elaboration, as well as to determine transfer to tasks of varying degrees of similarity to the model's task and to creative dimensions other than elaboration. The overt modeling of a creative strategy was most effective in improving elaboration, although verbal descriptions also aided performance. Retarded children were less able than nonretarded children to discriminate the essential elements of the model's elaboration strategy and displayed less acquisition of the elaboration strategy but showed comparable gradients of transfer.

Child↗
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↗
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↗
PubMed1975

Masculinity-femininity in creative college women.

The possible relationship between masculinity and creativity in college women was investigated through a battery of masculinity-femininity scales that tapped both manifest and latent masculinity, factorially derived clusters, and an ipsative measure. Two samples (n = 45 each) of women who had scored above the 75th percentile and below the 25th percentile respectively on two measures of creativity were used. High creative subjects scored higher on activity and described themselves as more masculine; indications are that they possess a broader, less stereotyped sex-role identity.

Adolescent↗
PubMed1975

The measurement of creativity by the Stroop Color and Word Test.

The development of a valid and reliable measure of creativity has been a challenging problem to psychologists. Gamble and Kellner (1968) have suggested that the Stroop Color and Word Test (SCWT) might be such a measure. The advantages of the Stroop include that it tests basic processes, is stable over long periods of time, and is easy to administer and score. The present study investigated the relationship of the Stroop to three independent measures of creativity: a verbal task, a nonverbal task, and ratings by teachers. In all cases a significant relationship was found between these measures and the Stroop interference score. A concept of creativity as a basic underlying process is discussed by the author as well as implications for further research.

Adolescent↗
PubMed1977

Homosexuality and creativity.

Despite heightened interest in both homosexuality and creativity, as well as theoretical and anecdotal evidence linking the two, there are virtually no empirical data relevant to this hypothesized relationship. Four groups of homosexuals (activists, social homosexuals, clients of a college counseling center, and artistic homosexuals) and four groups of control heterosexuals matched on age, educational level, and verbal intelligence were administered a battery of tests that included nine measures of aspects of creativity. Of the 36 possible comparisons, nine significant mean differences were obtained, but in all cases homosexuals scored lower. There is thus no support for the contention that homosexuals are more creative.

Adult↗
PubMed1975

Relationship of non-verbal rigidity and creative perceptions.

The relationship of rigidity and creative perceptions of 214 Hungarian adolescent males and females was explored using a non-verbal test of rigidity (Breskin Rigidity Test) and a measure of creative perceptions (Something About Myself). Males and females were divided into Moderately Rigid and Low Rigid groups. An analysis of variance of the data showed no significant differences in creative perceptions relative to rigidity level, sex, or interaction of rigidity level and sex.

Adolescent↗