The Social Psychology of Creativity
Springer New York, 13 jul 1983 - 245 páginas
The ideas presented in this book have been incubating for over 25 years. I was in the first grade, I believe, when the ideas that eventually developed into this social psychology of creativity first began to germinate. The occasion was art class, a weekly Friday afternoon event during which we were given small reproductions of the great masterworks and asked to copy them on notepaper using the standard set of eight Crayola® crayons. I had left kindergarten the year before with encour agement from the teacher about developing my potential for artistic creativity. During these Friday afternoon exercises, however, I developed nothing but frus tration. Somehow, Da Vinci's "Adoration of the Magi" looked wrong after I'd fin ished with it. I wondered where that promised creativity had gone. I began to believe then that the restrictions placed on my artistic endeavors contributed to my loss of interest and spontaneity in art. When, as a social psy chologist, I began to study intrinsic motivation, it seemed to me that this moti vation to do something for its own sake was the ingredient that had been missing in those strictly regimented art classes. It seemed that intrinsic motivation, as defined by social psychologists, might be essential to creativity. My research pro gram since then has given considerable support to that notion. As a result, the social psychology of creativity presented in this book gives prominence to social variables that affect motivational orientation.
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The Case for a Social Psychology of Creativity
The Meaning and Measurement of Creativity
A Consensual Technique for Creativity Assessment
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ability according achieved activity addition algorithmic appears appropriate artists asked aspects assessment behavior Chapter choice classrooms clear clearly cognitive collages complete components considered constraints correlated creativity tests definition described determine dimensions domain effects enhance environments evaluation evidence examined example expected experience experimental external extrinsic factors Finally finding focus given goal heuristic high levels higher ideas important included increase individual influence initial interest intrinsic interest intrinsic motivation involved judges judgments lead learning less means measures negative observers obtained originality particular performance personality play poems positive possible presented problem proposed psychology of creativity question ratings reasons relatively reliability responses reward scores showed significant significantly similar skills social facilitation social psychology solution specific subjects suggested task task engagement teachers technical technique thinking told traits undermine variables writing
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