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daisy.gibson English 48 cards

Cards in this deck (48)

  1. 1Sternberg (1985)list characteristics of intelligent, clever person.
    Creativity = nonentrenchment, integration, intellectuality, aesthetic taste, imagination, deicisional skill, flexibility
  2. 2Systematic implicit theoriesconstructions by people that reside in the minds of these persons
  3. 3Runco & Sakamoto (1999)creativity most complex psychological constructs within western psychology
  4. 4Levin, Galin & Zywiak (1991)heterogeneous, poly-faceted concept
  5. 5Dacet & Madus (1969)creativity so complex it 'mitigates against a universally acceptable definiton'
  6. 6Barron (1979)Creativity = ability & propensity to bring something new into existence, drive or motivation to create rather than the production of a particular outcome. Human creativity may be eminent or everyday, and mental or externally manifested
  7. 7Treffinger, Renzulli & Feldusen (1971)'Semantic Fog' = vast array of conceptual approaches & definitions that hover around creativity research.
    Creativity cultural or individual? Domain specific or general?
  8. 8Adaptive Noveltydifficult to measure/operationalise
    creativity is a process whereby new products/performances emerge,
    they are 1) original novel, 2) useful, valuable or adaptive
  9. 9Simonton (2000)investigated adaptive novelty
    The 4P's of Creativity
    1) cog processes involved in the creative act
    2) the characteristics of the creative person
    3) development/manifestation of creativity across lifespan
    4) social environments most strongly associated with creative activity
  10. 10Mooney (1963)four main differential approaches to creativity
    1) person = personality
    2) process = cognitive mechanisms
    3) press = context/environment
    4) product = creations, creative outcomes
  11. 11Models of Creativityinteraction between cognition, personality and environmental variables
  12. 12The Creative Process Lubart (2000)'sequences of thoughts and actions that lead to a novel, adaptive production
  13. 13Wallas (1926) - 4 Phase Model1) Preparation
    2) Incubation
    3) Illumination
    4) Verification
  14. 14Evaluationnot all empirical research supports the model
    model to be extended to include additional stages - such as problem finding
    implication that creative process involves experiential shifts is clear
    stage models are superficial (Guilford, 1950)
  15. 15Guilford (1950)became the first leading figure in creativity research,
    importance of increasing creativity research, 186/121000
  16. 16Sternberg & O'Hara (2000)5 possible ways in which creativity and intelligence are linked
  17. 17Creativity as a form of IntelligenceC a subset or form of intelligence is not new, C associated with novel/appropriate responses = clear component of I in creative thinking
  18. 18Guilford (1967)multi-dimensional model - intellectual operation was divergent production
    multiple solutions to problems
    if DP represents aspect of I, C is a subset
  19. 19Problem?DT cannot be measured using MCQ's
    objective scoring almost impossible
  20. 20Cattell (1971)C is combination of primary skills (sensitivity, motor speed, rhythm, timing, judgement) = subset of fluid intelligence (gf)
  21. 21Gardner (1993)theory of multiple intelligences
    C individuals = high levels of domain-revlevant abilities
  22. 22Investment Theoryparadigmatic model, C precondition for I - extra ordinary ability to invest in ideas
    'think differently & defy crowd'
  23. 23Sternberg & O'Hara (2000)C helps individuals redefine problems - solve problems in new ways
    3 aspects of I (synthetic, analytical, practical) underlie ID in C
  24. 24Haensly & Reynolds (1989)C & I 'unitary phenomenon' - C ultimate manifestation of intellectual ability
  25. 25Weisberg & Alba (1981)no quali differences exist between C & I - same cog mechanisms employed when solving C & I problems
  26. 26Creativity and Intelligence unrelated constructsambigious empirical evidence, mutually exclusive almost - response = I, not C
    need low unsig correlations but findings are opposite
  27. 27Cox (1926)correlation between creative impact & intelligence sig but modest (r=.16)
  28. 28Barron (1963)correlations between I & C = r=.40
    IQ higher than 120, scores poor predictor of C
  29. 29Threshold Theorymin level of I required to be C.
    I necessary but not sufficient for creative thinking (Schubert, 1973)
  30. 30Barron (1963)creative, low intellect = affected, aggressive, demanding, dependent, forceful, impatient
    high intelligence, low creativity = mild, optimistic, pleasant, quiet, unselfish
  31. 31Eysenck (1999)substantial overlap between processes underpinning creative & psychopathological thinking
  32. 32Maslow (1971)humanistic psychologist
    C associated with psychological health rather than mental disorders
    C indiv = greater sense of self actualisation, longevity = associated with good physical health
  33. 33Barron & Welsh (1952)psychoticism relate to aesthetic preference rather than creative output
    no sig correlation between C & P, dislike art more than less psychotics
  34. 34Merton & Fischer (1999)psychoticism levels significantly higher in 'creative' professions
  35. 35Chamorro-Premuzic & Furnham (2005)openness to experience - aesthetic preferences, values, fantasy, feelings, actions
    should be interpreted as self reported measure of creativity
  36. 36King, Walker & Broyles (1996)verbal creativity positively correlated with extraversion, openness, negatively correlated with agreeableness
  37. 37Feist (1998)traits most strongly distinguished creative from less creative were extraversion and openness
    meta analysis
  38. 38Chamorro-Premuzic & Furnham (2005)N, E & O + linked to C
    A & C - correlated to C
    combination of both personality & intelligence needed to explain & predict ID in creativity
  39. 39Alternate Uses Testname all the things you can do with x object
    scored in terms of orginality, fluency, flexibility & elaboration
  40. 40Remote Associations Test30 item, psychometric test, single correct response between word groups;
    remote/unusual associations indicate capacity to generate novel ideas
  41. 41Torrance Test of Creativity & Thinking (TTCT)measures divergent production of semantic units
    uses picture based and word based exercises to assess fluency, flexibility, originality, elaboration
  42. 42Behavioural Paradigmnovel associations, insight, effects of experience, creativity is latent
  43. 43Biological Paradigmphysiological, brain structures, neural processes, right or left hemispherical activity, original ideas = lower levels of cortical arousal, creativity needs both
  44. 44Clinical Paradigmabnormal behaviour, cause/consequence of psychological disorder, 'mad-genius hypothesis' - connection between insanity & artistic creativity
  45. 45Cognitive Paradigmrole of cog processes, attention, memory, broader attention beneficial for C, expertise needed for CT as reduces flexibility
  46. 46Developmental Paradigmchanges in C throughout lifespan, characteristics of family influence C levels, gender & C = androgynous individuals - more flexible, more creative
  47. 47Educational Paradigmcontext of formal education, assess different teaching modalities influence C, policy & designing interventions, CT rather than divergent thinking
  48. 48Differential/Psychometric Paradigmleading approach, personality traits, independent area of ID, four major perspectives: person, process, product, press

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Flashcards on Untitled, created by daisy.gibson on 11/05/2014.
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