Nicholas Allott considers Chomsky at ninety. [This is a short introduction to Chomsky's linguistic work, its implications for our knowledge about language and the mind, and its connections with the political philosophy that is implicit in his work on international relations and the media. I argue that Chomsky's contribution to linguistics, cognitive science and philosophy should not be controversial. He has been a major influence on the computational/representational view of the mind that is now taken for granted in serious work (...) in linguistics and cognitive psychology. His work in linguistics revolutionised the field, leading to the discovery of grammatical principles with considerable explanatory power, and has shifted the burden against those who oppose Universal Grammar: an innate, domain-specific system that underlies our linguistic abilities. Chomsky's political work includes detailed critiques of US and other Western policy, particularly foreign policy, and, with Edward Herman, a model that seeks to explain how radical opinions and inconvenient facts are excluded from the media. Chomsky also has a political philosophy, although he does not set it out in detail. He sees human beings as intrinsically creative and with an instinct for freedom, and he takes these features of human nature to favour a libertarian socialist society.]. (shrink)

This paper is a complete student-led, student-edited collective writing project (CWP) conducted virtually in Spring 2022 throughout the course Knowledge Socialism taught by professor Michael Peters for the Faculty of Education, Beijing Normal university. The CWP involves 4 international, 5 domestic Ph.D. students, and 2 senior Western scholars as reviewers, revealing their thoughts, arguments, understanding, and criticisms towards the creative economy status in East Asian countries (Japan and China mostly) higher education as reflected in the knowledge socialism (...) narratives. Xiyuan as the lead author, co-editing with Woraport and Stefan, assigned each section to other authors and successfully devoted themself to organizing, proofreading, and revising the paper. Through a month of collective work, the final version of the paper elaborates on the contribution of East Asian creative universities and the economy as a whole to the knowledge socialism through co(labor)ation, with implications to the creative labors cultivation and shifted roles of students. (shrink)

An important topic in the ethics of technology is the extent to which recent digital technologies undermine user autonomy. Supporting evidence includes the fact that recent digital technologies are known to have an impact on attention, which balances "bottom-up" and "top-down" influences on cognition. As described in numerous papers, these technologies manipulate bottom-up influences through cognitive fluency, intermittent variable rewards, and other techniques, making them more attractive to the user. We further reason that recent digital technologies reduce the user’s (...) class='Hi'>ability to exert top-down attention due to the scale of the content—they provide far more content at a much faster pace than other technologies, which over time reweights the balance of attention in favor of bottom-up influences. After reviewing evidence for these effects, including their temporal duration, we consider their downstream effects on both autonomy and creativity. We find that while the impact of recent digital technologies on top-down attention may allow for more idea generation, that creativity also depends on control, which is undermined by these technologies. We are more circumspect with autonomy, reasoning that in certain cases it might not make sense to see user autonomy as harmed through these effects. We conclude with other ways that recent digital technologies may improve creativity, which may act as an offset to the detrimental impacts of these technologies. (shrink)

One of the foremost scientists and thinkers of our time, David Bohm worked alongside Oppenheimer and Einstein. In Science, Order and Creativity he and physicist F. David Peat propose a return to greater creativity and communication in the sciences. They ask for a renewed emphasis on ideas rather than formulae, on the whole rather than fragments, and on meaning rather than mere mechanics. Tracing the history of science from Aristotle to Einstein, from the Pythagorean theorem to quantum mechanics, the authors (...) offer intriguing new insights into how scientific theories come into being, how to eliminate blocks to creativity and how science can lead to a deeper understanding of society, the human condition and the human mind itself. Science, Order and Creativity looks to the future of science with elegance, hope and enthusiasm. (shrink)

The significance of the major claims of Joseph Schumpeter's best‐known work, Capitalism, Socialism and Democracy, have often been misunderstood by readers unattuned to its ironic mode of presentation. The book reaffirms two themes that were central to Schumpeter's thought from its very beginning, namely the significance of creative and extraordinary individuals in social processes, and the resentment created by the innovations they introduce. The thesis that socialism would replace capitalism, but that it would bring about few of (...) the advantages imagined by socialists and many disadvantages with which they had not reckoned, was an ironic proposition, which Schumpeter put forth in a manner designed to overcome intellectuals’ dogmatic resistance to capitalism. (shrink)

Joaquín M. Fuster is an eminent cognitive neuroscientist whose research over the last five decades has made fundamental contributions to our understanding of the neural structures underlying cognition and behaviour. This book provides his view on the eternal question of whether we have free will. Based on his seminal work on the functions of the prefrontal cortex in decision-making, planning, creativity, working memory, and language, Professor Fuster argues that the liberty or freedom to choose between alternatives is a function of (...) the cerebral cortex, under prefrontal control, in its reciprocal interaction with the environment. Freedom is therefore inseparable from that circular relationship. The Neuroscience of Freedom and Creativity is a fascinating inquiry into the cerebral foundation of our ability to choose between alternative actions and to freely lead creative plans to their goal. (shrink)

The ability to improvise represents one of the highest levels of musical achievement. An improviser must master a musical language to such a degree as to be able to spontaneously invent stylistically idiomatic compositions on the spot. This feat is one of the pinnacles of human creativity, and yet its cognitive basis is poorly understood. What musical knowledge is required for improvisation? How does a musician learn to improvise? What are the neural correlates of improvised performance? In 'The Improvising (...) Mind' these questions are explored through an interdisciplinary approach that draws on cognitive neuroscience, study of historical pedagogical treatises on improvisation, interviews with improvisers, and musical analysis of improvised performances. Findings from these treatises and interviews are discussed from the perspective of cognitive psychological theories of learning, memory, and expertise. Musical improvisation has often been compared to 'speaking a musical language.' While past research has focussed on comparisons of music and language perception, few have dealt with this comparison in the performance domain. In this book, learning to improvise is compared with language acquisition, and improvised performance is compared with spontaneous speech from both theoretical and neurobiological perspectives. (shrink)

The ability to be creative is often considered a unique characteristic of conscious beings and many efforts have been directed at demonstrating a relationship between creativity and the personality construct of psychoticism. The present study sought to investigate this link explicitly by focusing on discrete facets of creative cognition, namely the originality/novelty dimension and the practicality/usefulness dimension. Based on Eysenck’s conceptualisation of psychoticism as being characterised by an overinclusive cognitive style, it was expected that higher levels of (...) psychoticism would accompany a greater degree of conceptual expansion and elevated levels of originality in creative imagery, but would be unrelated to the practicality/usefulness of an idea. These hypotheses were confirmed in 80 healthy participants who were contrasted based on their EPQ psychoticism scale scores. Our findings suggest that the link between psychoticism and creativity is based on associative thinking and broader but weak top-down activation patterns rather than on goal-related thinking. (shrink)

This study explores the complex relationships between anomalous experiences, mental health, creativity, and psi within a sample of 113 visual artists in three art schools. The main objective was to assess whether psi could play a role in the emergence of anomalous experiences and their association with mental health and creativity. Participants took part in a retro-priming task, already used by Bem to assess unconscious precognitive abilities. They then completed three questionnaires evaluating anomalous experiences, mental health, and creativity. The results (...) show no significant effect on the retro-priming task, but the number of anomalous experiences reported by each participant was significantly correlated with their retro-priming performance. Creativity did not correlate with retro-priming, except for one subscale, the use of analogies. Anomalous experiences as a whole were correlated with mental health and creativity, in keeping with the high rate of unusual experiences previously reported in artistic populations. The theoretical implication of these findings and possible directions for future studies are discussed. (shrink)

This paper offers an exploration of the socialist principle “From each according to their abilities, to each according to their needs.” The Abilities/Needs Principle is arguably the ethical heart of socialism but, surprisingly, has received almost no attention by political philosophers. I propose an interpretation of the principle and argue that it involves appealing ideas of solidarity, fair reciprocity, recognition of individual differences, and meaningful work. The paper proceeds as follows. First, I analyze Marx’s formulation of the Abilities/Needs Principle. (...) Second, I identify the principle’s initial plausibility, but show that it faces serious problems that cannot be addressed without developing a fresh interpretation of it. Third, I provide an interpretation of the principle that highlights demands concerning opportunities for self-realization in work, positive duties of solidarity, sensitivity to individual differences, and mechanisms of fair reciprocity. Fourth, I discuss a possible institutional implementation of the Abilities/Needs Principle. Finally, I identify some normative puzzles about the transition from capitalism to socialism, and suggest how the Abilities/Needs Principle might gain motivational traction by mobilizing the powerful idea of human dignity. (shrink)

There are three slogans in the history of Socialism that are very close in wording, viz. the famous Cabet-Blanc-Marx slogan: "From each according to his ability; To each according to his needs"; the earlier Saint-Simon-Pecqueur slogan: "To each according to his ability; To each according to his works"; and the later slogan in Stalin’s Soviet Constitution: "From each according to his ability; To each according to his work." We will consider the following questions regarding these slogans: (...) a) What are the earliest occurrences of each of these slogans? b) Where does the inspiration for each half of each slogan come from? c) What do the Saint-Simonians mean by “To each according to his ability”? d) What do they mean by “To each according to his works”? e) What motivates the shift from “To each according to his ability” to “From each according to his ability”? f) How should we envisage the progression toward “To each according to his needs”? g) What is the distinction between from “To each according to his works” and “To each according to his work”? (shrink)

Digital technological innovation is reshaping the pattern of industrial development. Due to the shortage of digital talents and the frequent mobility of these people, the competition for talents will be very fierce for organizations to realize digital transformation. The digitization transformation of China’s service industry is far ahead of that of industry and agriculture. It is of great significance to study the organizational management and talent management of service enterprises to reduce the negative impact of insufficient talent reserve and meet (...) the needs of digital development. Based on 378 valid questionnaires from China’s service industry, this paper applied polynomial regression and a response surface model to analyze the impact of two kinds of person-environment fit on work engagement and individual creativity. The results show that: under the combination of high morality and high talent, work engagement and individual creativity are the highest; individual creativity is stronger under the condition of high morality and low talent than under low morality and high talent; and work engagement mediates the influence of morality and talent on individual creativity. The research reveals the internal mechanism by which morality and talent cooperatively promote individual creativity, which provides theoretical guidance for management practice of service firms to improve individual creativity in the process of digital transformation. (shrink)

[Note by Editors of Voprosy filosofii. A plenum of the Central Committee of the Communist Party of the Soviet Union was held on June 23, 1980. The plenum adopted a resolution to convene the next regular Twenty-sixth Congress of the CPSU on February 23, 1981. The congresses have always opened new horizons for our Party and our country. The congresses of the CPSU, embodying the collective intelligence of the Party, draw conclusions, on the basis of thoroughgoing Marxist- Leninist analysis, respect (...) what has been accomplished, creatively interpret problems of social development ripe for solution, and illuminate with the bright light of their decisions the perspectives of further movement along the road of communist creativity. The preparations for the forthcoming Twenty-sixth Congress, which is called upon to define the strategy and tactics of struggle during the next stage of the building of communism, have from their first days embraced the people as a whole, and are marked by a growth in the creative initiative and energy of the masses. (shrink)

ch. 1. Rolʹ i mesto filosofii v zhizni obshchestva. Formirovanie tvorcheskikh sposobnosteĭ -- ch. 2. Metodologicheskie voprosy tvorchestva. Nauchnoe i tekhnicheskoe tvorchestvo. Khudozhestvennoe tvorchestvo -- ch. 3. Sot︠s︡ialʹnoe tvorchestvo, sot︠s︡ializm i problemy tvorchestva, sot︠s︡ialʹnoe razvitie molodezhi v uslovii︠a︡kh perestroĭki.

This book is about the basic principles that underlie critical thinking and creativity. The majority of the content is on critical thinking since more topics are naturally involved and since they can be discussed readily and systematically. The last few chapters are devoted to creativity and research methodology, not typical the book's plethora of competition. Each chapter introduces a specific topic, usually by introducing the relevant theories in conjunction with realistic examples that show how the theories can be applied. Each (...) chapter concludes with a set of exercises whose solutions are detailed at the rear of the book. While the writing style is purposefully informal, the presentation is complete, at least with respect to the intended introductory level. (shrink)

The book aims at equipping you with 21st Century Skills key life skills that will drive your future employability, promotion and career success. These are required for effective reasoning, writing and decision-making in changing, evolving environments. You give reasons for what you do and think every day. You argue. You often argue about things that matter to you. For example you might argue that you are the best candidate for promotion, about whether your company should invest in China, about the (...) best way to help a friend or about what the right thing to do is in an ethical dilemma. The list is up to you. If you work your way carefully through this book you will become better at reasoning both in terms of understanding and clarifying other peoples’ arguments and also at producing increasingly sophisticated and compelling arguments of your own. You will learn how to recognize common but often seductive mistakes in reasoning and so be empowered to avoid making these mistakes yourself. Your writing and oral presentations will improve and you will hone your ability to define crucial terms in argument, debate and discussion. As this book is specifically written with everyday language considerations in mind, it is a valuable tool for anyone to understand, evaluate and construct arguments in ordinary language. (shrink)

Since learners’ academic achievement is the ultimate goal of any system of education, multitudes of studies have been conducted on this variable and its determinants. That is, several scholars have explored the effects of student-related and teacher-related factors on learners’ academic achievement. Notwithstanding, a few researchers have investigated the effects of teachers’ self-efficacy and creativity on learners’ academic achievement. Furthermore, no study has reviewed the role of these teacher-related factors in learners’ achievement. Therefore, the present study seeks to bridge the (...) lacunas by delving into the influence of teachers’ self-efficacy and creativity on English as a Foreign Language learners’ academic achievement. The beneficial effects of self-efficacy beliefs and creative teaching were outlined through the existing evidence. This seems to be illuminative for EFL teachers. Given the positive consequences of teachers’ self-efficacy for students’ achievement, EFL teachers should believe in themselves and their abilities to lead their students to academic success. Additionally, with regard to the positive impact of teachers’ creativity on learners’ achievement, EFL teachers are expected to teach the course content creatively. (shrink)

I begin–because I take the history of philosophy seriously–with the Scholastic distinction between categories and transcendentals. A category is a concept applicable to every being except God. A transcendental is a concept applicable to every being including God. Every being, it was thought, can be said to be one, good, and true–the last word meaning that the being can be known, and, at least by God, is known. Sometimes beauty was added to unity, goodness, and truth; sometimes also power, (...) class='Hi'>ability to influence others. I accept all five transcendentals. But I think the Scholastics, like the ancient Greeks, somewhat misconceived the relation of being–also substance–to other fundamental concepts. Being seems to contrast with becoming, which applies to every concrete reality other than God as classically conceived; yet nothing in the five transcendentals explicitly involves becoming, even as a possibility. God was for two millennia defined as immutable perfection; other realities were by comparison imperfect as well as mutable. What in any sense becomes was supposed less than what simply is without becoming–as though the idea of changeable entities was arrived at by subtracting from the idea of immutable perfection! (shrink)

How humans and technology evolve together in a creative partnership. In this book, Edward Ashford Lee makes a bold claim: that the creators of digital technology have an unsurpassed medium for creativity. Technology has advanced to the point where progress seems limited not by physical constraints but the human imagination. Writing for both literate technologists and numerate humanists, Lee makes a case for engineering—creating technology—as a deeply intellectual and fundamentally creative process. Explaining why digital technology has been so (...) transformative and so liberating, Lee argues that the real power of technology stems from its partnership with humans. Lee explores the ways that engineers use models and abstraction to build inventive artificial worlds and to give us things that we never dreamed of—for example, the ability to carry in our pockets everything humans have ever published. But he also attempts to counter the runaway enthusiasm of some technology boosters who claim everything in the physical world is a computation—that even such complex phenomena as human cognition are software operating on digital data. Lee argues that the evidence for this is weak, and the likelihood that nature has limited itself to processes that conform to today's notion of digital computation is remote. Lee goes on to argue that artificial intelligence's goal of reproducing human cognitive functions in computers vastly underestimates the potential of computers. In his view, technology is coevolving with humans. It augments our cognitive and physical capabilities while we nurture, develop, and propagate the technology itself. Complementarity is more likely than competition. (shrink)

The present study examined gender differences in the distribution of creative abilities through the lens of the greater male variability hypothesis, which postulated that men showed greater interindividual variability than women in both physical and psychological attributes. Two hundred and six undergraduate students in Hong Kong completed two creativity measures that evaluated different aspects of creativity, including: a divergent thinking test that aimed to assess idea generation and a creative problem-solving test that aimed to assess restructuring ability. (...) The present findings extended the research of greater male variability in creativity by showing that men generally exhibited greater variance than women in the overall distribution of the creativity scores in both divergent thinking and creative problem solving, despite trivial gender differences in mean scores. The findings further enriched the discourse of the greater male variability hypothesis by showing interesting domain-specific gendered patterns: greater male variability was more likely to occur in figural forms of creativity, with larger effect sizes, when compared to the variability in verbal forms of creativity; and mixed gendered patterns were found in the upper tails of the creativity score distribution with respect to the verbal domain but not the figural one, despite greater male representation being consistently observed in the lower tail of the distribution. Possible underlying mechanisms and implications were discussed. (shrink)

Miscreants, in the form of deviants and dark personalities, impact organizations more than we realize. Most management instruction on ethics issues focuses on helping students to understand how to evaluate difficult situations, make ethical decisions, and engage in ethical actions. While this approach works well for the individual decision maker, it fails to help students learn how to anticipate and proactively prevent the unethical actions of others. Using ethical codes as a backdrop, “Thinking Like a Bad Guy” is a provocative (...) classroom activity to elicit critical and creative thinking among business students. The goal of this exercise is to facilitate student learning so they can anticipate the behaviors of bad actors and alter organizational processes and procedures to mitigate the ability of others to violate organizational ethical standards. (shrink)

This book looks closely at discourses of creativity in the lifelong learning sector from the perspective of a teacher educator. It reworks the idea of creativity for lifelong learning using an analysis of the cinema of Michelangelo Antonioni as a basis. The book argues that ethics and creativity are indissociable and that more relevant practices in teaching, learning and research can be developed from and with them. To do this, the book examines Deleuze's notion of counter-actualization as a form of (...) creative practice and establishes ethical and practical consequences for this diverse sector. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Dostoevsky and Schiller:National Renewal Through Aesthetic EducationSusan McReynoldsDostoevsky's novels pivot upon scenes of spiritual transformation, moments of revelation that resolve dilemmas for which no logical solution can be found. Raskolnikov, for example, analyzes his crime from philosophical and sociological angles until he almost dies; he is saved by his dream of the plague and by the image of Sonia's face. When insight and progress come to Dostoevsky's fictional characters, (...) they come as dream, memory, and rapture before images of beauty and suffering. The choice between spiritual and logical solutions confronting Dostoevsky's characters is also a choice between Russia and the West. The rationalism and corollary doctrine of egoism that drives characters like Svidrigailov, Stavrogin, and Ivan Karamazov to madness and death are clearly associated in Dostoevsky's novels with Western philosophy. The ability to surrender to the beneficial power of images is associated with characters like Dmitry Karamazov, who is able to accept the primacy of spiritual truth—the truth of his need for expiation—over the fact of his legal innocence of his father's murder. The breadth of spirit that renders Dmitry receptive to the truth revealed in his dream image of the suffering child is clearly identified in The Brothers Karamazov as a distinctively Russian national trait.The contrast between reason, death, and the West, on the one hand, and receptiveness to imagistic truth, salvation, and Russia, on the other, [End Page 353] drives the plots of Dostoevsky's novels. This familiar feature of Dostoevsky's art is first articulated in texts unfamiliar to most readers; the historical essays of the early 1860s that were among his first published works after his return from exile. In 1849, Dostoevsky was arrested as a member of the Petrashevsky Circle, an association dedicated to disseminating the tenets of Western socialism in Russia. For his participation in the Circle, Dostoevsky was initially condemned to death; the sentence was commuted to four years of hard labor in Siberian prison camp, to be followed by an indefinite period of military service in Siberian exile.When Dostoevsky returned to St. Petersburg and public life in 1860, he and his older brother Mikhail launched the journal Time. Mikhail served as editor. Dostoevsky would publish The Insulted and Injured and Notes from the House of the Dead in its pages, in addition to numerous essays dedicated to contemporary literature and events. The essays on Russia and Europe published in Time were a creative workshop in which some basic features of his later novels—most notably the contrast between Western positivism and Russian spirituality, conceived as the capacity to embrace imagistic revelations of the truth—were first developed. The pressure of Dostoevsky's developing artistic craft is clearly apparent in these non-fictional texts from the early 1860s, which narrate modern Russian and European history as a story structured by a dual plot of death and redemption.Before Dostoevsky wrote novels structured around the contrast between characters like Dmitry and Ivan Karamazov, he wrote essays structured around the contrast between Russia and Western nations like France and England. Before Crime and Punishment portrayed Raskolnikov's resurrection as the surrender to images offering glimpses of something that eludes rational analysis, Dostoevsky's essays in Time predicted national renewal for Russia through her embrace of the truths conveyed by the images of fine art. Some essays in Time compose a plot of national rebirth through the effects of artistic images for Russia, but others admonish readers with what Dostoevsky believed would be the terrible consequences of positivism for the West. Winter Notes on Summer Impressions, published in Time in 1863, casts France and England as mortally ill victims of a materialist worldview that can only grasp the challenges of modernity as scientific and political problems. The spiritual solutions that will be revealed to Russia through images of beauty, Dostoevsky warns, will elude nations ensnared in rational approaches to their problems. [End Page 354]Throughout his post-exile life, Dostoevsky believed that political improvement results from changes in the moral condition of individuals, inner changes that are catalyzed by images, not reached through rational deliberation. In 1861, he writes of the Imperial edict... (shrink)

The article examines the phenomenon of conformism in the context of socialist realism, which for a long time was the main direction for the Soviet art sphere. Conformism is interpreted as an effective way for the artist to optimize relations with the authorities and society, giving the opportunity for social self-preservation. Conformism is a kind of strategy for artists, thanks to which they manage to achieve their creative goals and successfully exist within the established cultural framework. The author of (...) the article argues that conformism helped artists who put their creativity at the service of socialist realism to find some basis for their activities, because socialist realism did not initially have such a basis. The author comes to the conclusion that in the conditions of constant transformation of cultural requirements and the need to fully comply with them, conformism becomes for the artist not just a tactic in achieving creative goals, but also a kind of self-defense mechanism that allows to preserve mental and physical health. The most successful Soviet artists were able to realize their talent by creating many bright works of art due to the fact that they created precisely in the mainstream of socialist realism, and if it were not for it, perhaps the world would never have known about some outstanding Soviet artists, as well as not seen their works of art, since the realization of Soviet artists in another cultural environment might well not have taken place. (shrink)

Contemporary argumentation theories highlight the importance of Others for contributing to and critiquing an individual’s reasoning and/or argumentation. Reasoners and arguers are encouraged to interact with imagined constructs such as a community of model interlocutors or universal audience. These model interlocutors are theoretically meant to bring to mind reasons and counter-considerations that may not have been conceived of otherwise so as to improve the overall quality of an instance of reasoning or argumentation. Overlooked, however, is the impact of differing individual’s (...) imaginative abilities. This paper argues that more important than relying on an Other, real or imagined, reasoners and arguers would do just as well to improve their own creative abilities first. Consulting a real or imagined Other may help in some cases help, but such a strong reliance on Others comes with serious limitations. (shrink)

A cross-cultural comparsion of creativity that introduces Neo-Confucian discourse as a sophisticated dialogue partner with modern western speculative philosophy and theology.

Research has independently highlighted the roles of semantic memory and associative abilities in creative thinking. However, it remains unclear how these two capacities relate to each other, nor ho...

In a well-known paper “Illusion and well-being”, Taylor and Brown maintain that positive illusions about the self play a significant role in the maintenance of mental health, as well as in the ability to maintain caring inter-personal relations and a sense of well-being. These illusions include unrealistically positive self-evaluations, exaggerated perceptions of personal control, and unrealistic optimism about one's future. Accurate self-knowledge, they maintain, is not an indispensable ingredient of mental health and well-being. Two lines of criticism are directed (...) against the creative self-deception hypothesis, one methodological and one substantive. First, it is argued that Taylor and Brown's method of eliciting experimental subjects' self-reports and comparative self-ratings under artificial experimental conditions lacks ecological validity and phenomenological realism. Second, it is argued that positive illusions diminish the range of reactive other-regarding attitudes and emotions that people can adopt. A literary case history (Ibsen's The wild duck ) which satisfies the criteria of ecological adequacy is used to illustrate the latter point. (shrink)

This book explores the phenomenon of creativity and creation from a psychoanalytic point of view, focusing on understanding the psycho-emotional dynamics underlying the artistic creative activities, such as theatre, literature, and painting. Throughout, Delgado considers these works of art through a Bionian, Kleinian and Freudian lens. He uses three major psychoanalytic models of the creative process, two of them classic: the first, Freudian, based on the theory of conflict between impulse and defense, the result of the effort to (...) manage an excessive drive activity, and in which the concept of sublimation is central; the second, Kleinian, based on the attachment theory, in which creative effort corresponds to an attempt to repair the damage done to the object or to the self; and the third, more recent, affiliated with the more expanded attachment relationship theory, based on W. Bion's theory of thinking, and emphasising the continent's capacity for psyche and the oscillation between schizo-paranoid and depressive positions. With illustrations throughout, this book will be vital reading for anyone interested in the intersection of creativity, the Arts, and psychoanalysis. (shrink)

The article is dedicated to the problem of the crisis in traditional educational relations and to the development of progressive educational relations at the level of the philosophy of life and the pedagogy of common concerns. The connecting nature of the relationship between teachers and their pupils and the development of creative abilities of children in a social life is discussed. Thus the author’s conception of Doctor of Pedagogical Sciences Igor Petrovich Ivanov is brought out in the current article.

Emotional creativity (EC) is a pattern of cognitive abilities and personality traits related to originality and appropriateness in emotional experience. EC has been found to be related to various constructs across different fields of psychology during the past 30 years, but a comprehensive examination of previous research is still lacking. The goal of this review is to explore the reliability of use of the Emotional Creativity Inventory (ECI) across studies, to test gender differences and to compare levels of EC in (...) different countries. Thirty-five empirical studies focused on EC were retrieved and the coefficients required for the meta-analysis extracted. The meta-analysis revealed that women showed significantly higher EC than men (total N = 3,555). The same gender differences were also found when testing scores from three ECI subscales, i.e. emotional novelty, emotional preparedness and emotional effectiveness/authenticity. When comparing EC in 10 different countries (total N = 4,375), several cross-cultural differences were revealed. The Chinese sample showed a significantly lower average ECI total score than all the other countries. Based on the integration of results, the avenues for future research on EC and the breadth of influence of the concept of EC across different fields of psychology are discussed. Keywords: Emotional Creativity, Review, Meta-Analyses, Meta-Analysis, Definition, Emotional Creativity Inventory, ECI, Reliability, Gender Differences, Cross-cultural, Cross-culture, Personality Traits, NEO Personality Inventory, Big Five, Extraversion, Agreeableness, Openness to Experience, Introversion, Neuroticism, Emotions, Creativity, Cognition, Cognitive Abilities, Affect, Fantasy, Coping, Alexithymia, Anhedonia, Self-understanding, Motivation, Creativeness, Innovative Performance, Creative Ability, Artistic Creativity, Creative Thinking. MeSH Headings: Emotions, Creativity, Affect, Affective Symptoms, Gender, Sex, Gender Identity, Cross-Cultural Comparison, Transcultural Studies, Temperament, Extraversion, Neuroticism, Anhedonia, Creativeness, Cognition, Cognitive Function, Artistic Creativity, Creative Ability, Creative Thinking. (shrink)

Emotional creativity refers to cognitive abilities and personality traits related to the originality of emotional experience and expression. Previous studies have found that the COVID-19 epidemic and the restrictions imposed increased the levels of negative emotions, which obstructed adaptation. This research suggests that EC predicts the motivation for innovative adaptive behavior under the restrictions of COVID-19. In the case study of university professors, we show that EC predicts the motivation to creatively capitalize on the imposed online teaching in looking for (...) innovative research and personal development. Methodologically, we rely on the Emotional Creativity Inventory administered to a sample of 463 university professors from the Czech Republic, Slovak Republic, and Russia. The indicators for motivation for innovative performance included motivations to use distant methods of scientific research, to look for partners for conducting scientific research in other cities or abroad, to conduct interdisciplinary research, starting distance learning to enhance qualifications, and the perception that due to online teaching, there is more time for personal development. We employ a set of ordinal regression analyses controlling for age, gender, position, type of science, and country. The results suggest that Emotional Creativity and its three components predict the motivation of university professors to creatively capitalize on the imposed online teaching in looking for innovative research and personal development under the conditions of COVID-19. Furthermore, our results confirmed the gender and age differences in EC. The differences in EC according to position and type of science were not statistically significant. These results compel us to be aware of the importance of the emotional side of creativity to optimize stress-related behavior under the conditions of limited abilities to continue as usual. More space devoted to the manifestation of all the aspects of emotional creativity would improve adaptation to challenging circumstances and even allow one to capitalize on new opportunities. Moreover, we suggest that if personal intrinsic Emotional Creativity is high, the crises, such as the COVID-19 epidemic, may improve adaptation and trigger creative outcomes. (shrink)

The associative theory of creativity states that creativity is associated with differences in the structure of semantic memory, whereas the executive theory of creativity emphasises the role of top-down control for creative thought. For a powerful test of these accounts, individual semantic memory structure was modelled with a novel method based on semantic relatedness judgements and different criteria for network filtering were compared. The executive account was supported by a correlation between creative ability and broad retrieval (...) class='Hi'>ability. The associative account was independently supported, when network filtering was based on a relatedness threshold, but not when it was based on a fixed edge number or on the analysis of weighted networks. In the former case, creative ability was associated with shorter average path lengths and higher clustering of the network, suggesting that the semantic networks of creative people show higher small-worldness. (shrink)