Wyniki wyszukiwania - Biblioteka Nauki

1

Daimonion Sokratesa, neuroza Kierkegaarda, szaleństwo Nietzschego. Psychologia twórczości naukowej, metodologia badań naukowych

100%

Bobryk J.

Zagadnienia Naukoznawstwa

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2011

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tom 47

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nr 1(187)

29-40

EN

(Polish title: Daimonion Sokratesa, neuroza Kierkegaarda, szalenstwo Nietzschego. Psychologia twórczosci naukowej, metodologia badan naukowych). The first part of the paper presents the discussion concerning the relations between psychological development, psychopathology and creativity. Kazimierz Dabrowski's theory of positive disintegration provide the conceptual framework of the undertaken discussion The second part of the paper considers the role of psychological crises and unconsciousness in creative processes and creative behaviors of scientists.

2

THE TRUTH ABOUT SHERLOCK HOLMES

100%

Haraldsen F.

Organon F. medzinárodný časopis pre analytickú filozofiu

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2017

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tom 24

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nr 3

339 - 365

EN

According to possibilism, or non-actualism, fictional characters are possible individuals. Possibilist accounts of fiction do not only assign the intuitively correct truth-conditions to sentences in a fiction, but has the potential to provide powerful explanatory models for a wide range of phenomena associated with fiction (though these two aspects of possibilism are, the author argues, crucially distinct). Apart from the classic defence by David Lewis, the idea of modelling fiction in terms of possible worlds has been widely criticized. In this article, the author provides a defence of a possibilist account against some lines of criticism. To do so, he assumes that names for fictional characters are directly referential and a possible worlds model that accommodates trans-world identity. On this background, he argues, it is possible to construct an elegant model of fictional discourse using familiar models of information exchange in ordinary discourse, and he sketches how this model can be used to i) make a natural distinction between fictional and counterfactual discourse, ii) account for creativity, and iii) sustain a natural definition of truth-in-fiction that avoids certain familiar objections to possibilism. Though he sets aside questions about the metaphysical commitments of a possible-world interpretation here, there is accordingly reason to think that the battle over possibilist treatments of fiction will have to be fought over metaphysical foundations rather than technical shortcomings.

3

TVOŘIVÉ NEVĚDENÍ

100%

Fridmanová M.

Filozofia (Philosophy)

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2013

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tom 68

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nr 5

385 – 392

EN

In this paper, several principles that define the creative condition are formulated. The shift from the everyday attitude to the creative one may be described as a disruption of both normal perception and established structures of meaning. This can happen to us by chance, but it can also be induced deliberately. Creative thinking techniques from Edward De Bono, as well as some improvisational activities, aim intentionally to disturb the natural perception and thus open the area of not-knowing. This is not the Socratic not-knowing which poses a question about what we do not know and thus, at the same time, indicates the direction whence the answer should be expected. Creative not-knowing only opens up the space in which one can afford to delay the question. This paper shows how creative not-knowing differs from the hermeneutical understanding of openness, and why we should learn something new from delaying a question instead of posing it.

4

IDENTITY AND CREATIVE PERSONALITY

100%

Sramova B. , Fichnova K.

Studia Psychologica

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2008

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tom 50

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nr 4

357-369

EN

The present paper discusses the relation between the adolescent identity and the features of creative personality. The concept of identity comes from Berzonsky who, according to the participation of cognitive strategies in identity construction, distinguished three basic processually oriented identity styles: informational, normative, diffuse/avoidant. This author devotes special attention to the extent of that part of formed identity that he calls 'commitment'. The creativity of personality also takes part as a factor in identity formation. The developing creative personality may reach identity redefinition sooner and avoid role diffusion. Goal: To identify how the selected adolescent personality traits contribute to identity construction and to determine the interrelation among the variables. Materials and methods: Identity style questionnaire (Berzonsky), WKOPAY (Khatena, Torrance). Results and conclusions: There is a mutual relationship among the traits of creative personality and adolescent identity styles. The selected traits of creative personality influence identity construction. 'Authority' acceptance and disciplined imagination contribute to identity formation in the sense of obligation. A lower degree of authority acceptance as well as of other personality traits supports the active formation of autonomous adolescent identity. Adolescents with their autonomous formed identity, who rely on themselves to a higher degree in their autonomous identity formation, reject authorities. Vice versa, adolescents with unformed identity tend to uncritical acceptance of the opinions and attitudes of those in authority.

5

A PROBE INTO INTRAPSYCHIC BONDS OF COPING, RIGIDITY AND CREATIVITY

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Kovac T. , Benedikovicova J.

Studia Psychologica

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2004

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tom 46

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nr 2

127-135

EN

The study can be seen as a pilot one to investigate the intrapsychic bonds of coping strategies, rigidity and a part of creativity (divergent thinking). The main results show, that more rigid individuals have tendencies to be submissive and nonintrusive in social relationships, they are emotionally instable, hostile and not confident to their environment. Creativity can be an effective regulator of successful coping. Prosocial fulfillment can boost successful coping with demanding situations, it is an important precondition of effective 'functioning' of a healthy and integrated personality. This obviously assumes increased level of flexibility and it means that by a slow removal of manifestations of an individual's rigidity, by a more effective education, the selection of coping strategies can be channeled in an adequate direction. And this is the reason why it is also inevitable further to observe and examine their intrapsychic bonds.

6

TVORBA A SEBAKRITIKA

100%

Palúch M.

Slovenské divadlo (Slovak Theatre)

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2011

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tom 59

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nr 4

343 – 348

EN

The study attempts to trace self-critical elements related to the reflection of film art on the three examples. The first example refers to the debutants of the French new wave, who began their career as film critics around the magazine Cahiers du Cinema. Later they moved from critical reflection of contemporary cinema to self-critical new film making, trying no longer repeat the past mistakes, which were in the sharp contrast to their own definition of film making. The second example relates to the functioning of self-critical reflection of the author who discusses his work from the adequate time perspective, as in the book of interviews between F. Truffaut and A. Hitchcock. A third example, the film by Korean director Kim Ki Duk Arirang (2011), critically describes his current situation which the author controls the best through the communication medium.

7

Kim jest geniusz?

100%

Benisławska A.

Zagadnienia Naukoznawstwa

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2011

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tom 47

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nr 4(190)

667-681

EN

Cesare Lombroso created a basis of the consideration about genius as phenomenon. The similar subject analysed Ernst Kretschmer. The both authors underlined duality of genius nature distinctly. On the one hand genius is an emanation of unusual talent, on the other hand genius is connected with element of psychopatology and social rejection. Finding a new way of thinking will be possible, if a talented person’s mental structure is loosen. It means: previous solution must be rejection, researcher revolts against the authorities and he can come into conflict with a professional environment. From this point of view life of genius is full of dramatic evidences, the same like life of a polish researcher Julian Ochorowicz. In Ochorowicz case the most controversial were his studies over hypnotism and mediumism. These researches were a from of analyzing of human cognitional skills, special in the case of hysterics.

8

Cognitive dimensions of creativity: What makes the difference between creative and non-creative university students?

100%

Morais M. d. F. , Almeida L. S. , Azevedo M. I. , Necka E.

Polish Psychological Bulletin

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2009

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tom 40

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nr 2

55-61

EN

This paper analyses the contribution of specific cognitive functions on creative performance. The main question was which cognitive variables differentiate extreme levels of creative performance and therefore can characterize highly creative college students. A sample of Portuguese university students of Fine Arts and Literature (n=166) took part in this study. A battery of verbal and figural cognitive tasks, as well as two kinds of creative tasks (text and poster production) have been considered. Results showed that there were mostly the same cognitive dimensions (figurative reasoning, divergent thinking, insight problem solving, and problem-finding), which differentiate extreme levels of creative performance in both text and poster productions. These results are discussed considering the relevance of the cognitive approach to explain creativity. Some practical ideas, possible to put into the educational context, are also discussed.

9

Różne nasilenie postawy twórczej a kompetencje społeczne i style radzenia sobie ze stresem u studentów pierwszego roku

100%

Małkiewicz M. M. , Piskozub M.

Studia Psychologica

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2011

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nr 11/1

19-32

EN

The aim of the study was to investigate the relationship between different intensity of creative attitudes and the level of social competences and coping with stress style among first-year students. The theoretical basis was the Stanislaw Popek Theory of Creative Attitudes, Anna Matczak Theory of Social Competences and N.S. Endler and J.D. Parker Theory of Coping with Stress Style. There were 130 students evaluated by Creative Behaviour Questionnaire KANH by S. Popek, Social Competences Inventory KKS by A. Matczak and Stress Coping Strategies Questionnaire CISS by N.S. Endler and J.D. Parker, in Polish adaptation by Szczepaniak, Wrześniewski. It was found that, there are differences in social competence levels and coping style among participants with different intensity of creative attitude. In general, creative people have higher social skills than the people with imitative attitudes. They have higher scores in KKS Inventory than once with imitative attitudes in the following scales: social exposure situations behavior (ES), situations requiring assertive behavior (A) and in the overall result (WL). Also people with medium intensity of creativity have higher social competences than those with imitative attitudes. Participants with creative attitudes are more problems oriented than people with imitative attitudes and with medium level of creativity. They also have lower scores in CISS Questionnaire, in scales: emotion-focused coping, avoidance-focused coping, including involving into substitute activities, like watching TV or playing computer games.

10

Twórcze wychowanie w ujęciu systemowym

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Magda-Adamowicz M.

Studia z Teorii Wychowania

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2012

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nr 1(4)

99-112

EN

As upbringing means: 1) to prepare an individual to live in a constantly changing society, 2) to discover human’s strengths, and to inspire him creatively, 3) to enhance independence in the urge to achieve valuable individual and social goals, 4) “team creativity” which brings unexpected results, 5) valuable changes and 6) to precise an ideal, which leads the way in upbringing, and which is the focus of imagination and actions of educational subjects, the author of the text adopted the idea of upbringing as a synonym of creativity. On the basis of a historical evolution of the term creativity, she showed important aspects in modern understanding of this concept of creativity. As creativity and upbringing are conditioned by exo- and endogenous factors, she presented the meaning of systematology for the pedagogy of creativity and the role of a pedagogically creative teacher in the upbringing of an individual. In the course of divagations she accounted for creative upbringing in a systemic depiction.

11

BIRTH ORDER, SIBLING CONSTELLATION, CREATIVITY AND PERSONALITY DIMENSIONS OF ADOLESCENTS

100%

Szobiova E.

Studia Psychologica

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2008

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tom 50

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nr 4

371-381

EN

The study focuses on the connection between the birth-order in a sibling constellation and the creativity and personality traits of adolescents. The study searches for the answer to questions of whether creativity is connected with the birth-order in the sibling constellation (in the sense of the position among siblings and gender) and what personality traits it is connected to. The personality traits of the individual positions in the birth-order (first-born, second-born, the middle, the youngest and the only child) are compared. The Torrance Test of Creative Thinking (TTCT) and the Urban Creative Thinking Test (TSD-Z) were applied for creativity identification. To measure personality dimensions, the NEO Five-Factor Inventory was applied to a sample of 158 adolescents - University students of humanities and artistic-technical departments (mean age 19.91 years). The data on family constellation (birth-order, size of family, family and sibling constellation, age differences, etc.) were gathered, based on our own Questionnaire of Family Constellation. Our results confirmed the higher performance of the second-born adolescents in the Torrance Creative Thinking Test. The adolescents that grew up with a sibling of the same gender were more conscientious and more extravert. The creativity performance of a woman was higher if she grew up with a brother and a sister. The men growing up with a brother and a sister were more agreeable than the women in the same sibling constellation.

12

IRISH BEALTAINE FESTIVAL AS EXAMPLE OF SUPPORTING CREATIVE ACTIVITY OF THE ELDERLY (Irlandzki Festiwal Bealtaine jako przyklad wspierania twórczej aktywnosci osób starszych)

100%

Gromadzka M.

Dyskursy Młodych Andragogów / Adult Education Discourses

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2009

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tom 10

271-278

EN

The paper is of an informative character and presents a unique phenomenon, namely the Bealtaine Festival. In the first part, the authoress cites demography of Irish society and refers to the forecasts concerning the ageing of the world's population. The second part of the article entitled Bealtaine - general information covers the key organizational assumptions of the Festival. Furthermore, the authoress mentions some of the projects and events that took place during the 2006 and 2007 Festivals. Next part of the article entitled Bealtaine 2008 is devoted to some basic information about the 2008 Festival. Given the nationwide nature of the Bealtaine Festival, the paper does not cover all of the events taking place there limiting the description to two unique projects. Moreover, the authoress notes that although the Bealtaine might have been a pioneering venture, the idea of such events had already been put into practice in Wales and the Netherlands. Finally, a brief summary stresses the importance of the Festival for socio-cultural life in the Republic of Ireland.

13

PSYCHOLOGY OF CREATIVE ADVERTISING AND ITS AUTHORS

100%

Falat M.

Studia Psychologica

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2004

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tom 46

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nr 4

305-310

EN

Contribution to the conceptualization of a new research area is lying at the interface of psychology of creativity and of advertising. The object of investigation of the psychology of creative advertising is not merely a study of the authors of advertising as such, but also an analysis of creative expressions in the advertising products. Here we shall focus on a theoretical definition of the object of investigation in the psychology of advertising, on indicators of creative force and a search for common criteria of creativity in a consensual assessment of creativity by experts. Next, we shall outline the selected research procedures and methods taking support primarily in a qualitative analysis of interviews with the 'artificers of advertising' - the copywriters.

14

Problem twórczości w koncepcji Jana Mazurkiewicza

100%

Hetman G.

Zagadnienia Naukoznawstwa

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2011

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tom 47

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nr 4(190)

687-701

EN

Jan Mazurkiewicz (1871-1947), pioneer of the Polish school in psychiatry, linked the problem of the genius and creator with the level of development of the nervous system and its emotional function. The nervous system and its anatomical basis display vertical hierarchy. Due to that special structure, emotional and cognitive dynamisms are transformed and due to features of the cerebral cortex and specific emotionality bound with this structure (the frontal lobes) man is able to create science, culture, and art. When the control of the higher nerve centers is in disorder, the person goes mad, often destructive in realm of culture and society. Thus the genius, present in culture of many generations, fights with madness that destroys and kills. The function of the frontal-logical dynamisms is stronger, however structurally and developmentally it is the weakest. The results obtained by J. Mazurkiewicz seem to be, as compared with contemporary state of the art in science, still actual since they are based on relevant clinical evidence.

15

Ambivalentní odkaz Millsovy Sociologické imaginace

88%

Balon J.

Sociologický časopis. Czech Sociological Review

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2009

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tom 45

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nr 5

1055-1073

EN

Charles Wright Mills wrote his renowned and bestselling The Sociological Imagination fifty years ago with the ambition of providing an alternative to the theoretically unsubstantial and methodologically inhibiting approaches that predominated at that time. His battle against the idea of a politically and morally neutral understanding of social inquiry was rhetorically compelling and anticipated the radical voices that would be heard in the late 1960s. It is argued in this article that probably the best lesson we can get from Mills has to do with his understanding of 'sociology as a profession'. His argument addresses crucially important questions about the public relevance of social inquiry and the underlying themes of social-scientific reflexivity, creativity, and non-conformity. However, despite his rhetorical force and stylistic brilliance, Mills' overall message is considered ambivalent. His concept of social inquiry based on identification of morally and politically relevant problems ultimately leads to the vaporisation of the very substance of social inquiry and to the institutional debilitation of the field as such. The resulting uncertainty concerning the basic means and ends of sociology, together with a hyper-tolerance towards the delineation of sociological research area, often leads to the identification of relevant problems on the basis of individual choice, inspiration, creativity, or imagination. It is suggested that this understanding of Mills' legacy usually results in the trivialisation and parody of the overall message embodied in The Sociological Imagination.

16

The dual paths to innovation and economic revival

88%

Kilgour M. , Melnyk V.

Mekhanizm Rehuluvannya Economiky

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2011

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tom 3 (53)

38-46

EN

This article is engaged in the problem of educational system development to improve workforce skills to adapt and innovate. The Creative Combination Model is considered to depict the influence of creativity contribution on the results of cognitive processes. The difference between eminent and incremental creativity is considered. The possibility and the conditions of considered issues implication in educational system are described in the proposed balanced approach.

17

SYSTEM OF INTELLECTUAL PROPERTY LAW IN THE CONTEXT OF THE RECODIFICATION OF PRIVATE LAW (System prava dusevneho vlastnictva v kontexte rekodifikacie sukromneho prava)

88%

Skreko A.

Právny obzor. Teoretický časopis pre otázky štátu a práva (Juridical Review. Theoretical journal for the questions of state and law)

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2010

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tom 93

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nr 3

230-244

EN

The intellectual property law is a special area of private law, to which we will classify the legal regulation of rights attached to intellectual property. It is basically an open (i.e. developing) area of legal regulation, the subject of which are so-called ideal objects (also referred to as intangible assets) characterized by stable ideal structure in the unity of the form and content, which can exist independently as an ideal object of legal relations, apart from a particular, individually determined material carrier - tangible thing in which the ideal object is materialized. The paper deals with description of the system of intellectual property law, using the system criteria of the nature of the object (legal relations), nature of rights attached to the object, and creativity as a legal criterion, and refers to the system classification of the area of intellectual property to the private law, also in the context of recodification of private law in the Slovak Republic.

18

SOCIAL BENEFITS OF BEING CREATIVE: CREATIVITY AS A POSITIVE DEVIANCE

88%

Kusa D.

Studia Psychologica

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2006

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tom 48

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nr 3

229-240

EN

The paper is focused on the social facets of the creativity that were investigated in CEVIT studies. The term positive deviance is applied in considerations of a) creativity in the interpersonal contents and processes, b) dilemmas of creator's otherness and motivation, and c) creativity little and creativity big. The analysis of the benefits and costs of creativity is related to the contents that were either designed by researcher or inferred from the participants' reports. The concept of little and big creativity which is introduced within the frame of dynamic model of creativity and its implications for value-led research of creativity is considered.

19

INTERPRETÁCIA, KREATIVITA A HRANICE UMELECKÉHO DIELA

88%

Šedík M.

Filozofia (Philosophy)

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2013

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tom 68

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nr 7

583 – 594

EN

This paper examines some of the philosophical positions explaining the interpretation of artwork as related to its ontology and the concept of creativity. A theory of interpretation necessarily involves a certain ontological position answering questions such as: What is the object of interpretation?; What is a work of art? One can find the same close relation between a theory of interpretation and the creativity, i.e. the questions such as In what sense (if at all) is a work of art created?; What is created by an artist and what by the observer/reader/listener of a work of art?. Our interpretation and its results depend on answers to these questions. In conclusion the author gives an outline of his own position on the interpretation of a work of art in the context of the creativity and the ontology of the former.

20

Twórczość z punktu widzenia teorii czynności. Twórca czy szaleniec? Demiurg czy bricoleur?

75%

Bobryk J.

Zagadnienia Naukoznawstwa

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2011

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tom 47

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nr 4(190)

533-541

EN

The main aim of the paper is rethinking Descartes’s concept of cogito in the framework of the theory of actions and products and the general theory of human creativity. The final conclusion is that Descartes’s cogito is not a subject but an act. It is the act (or the string of acts) connecting the subject with the object. This conclusion is a bridge between Cartesian methodological skepticism and Brentano’s theory of intentional acts.