Creativity Or Creativities: a Study of Domain Generality and Specificity
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University of New Hampshire University of New Hampshire Scholars' Repository Doctoral Dissertations Student Scholarship Fall 2005 Creativity or creativities: A study of domain generality and specificity Zorana Ivcevic University of New Hampshire, Durham Follow this and additional works at: https://scholars.unh.edu/dissertation Recommended Citation Ivcevic, Zorana, "Creativity or creativities: A study of domain generality and specificity" (2005). Doctoral Dissertations. 287. https://scholars.unh.edu/dissertation/287 This Dissertation is brought to you for free and open access by the Student Scholarship at University of New Hampshire Scholars' Repository. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of University of New Hampshire Scholars' Repository. For more information, please contact [email protected]. CREATIVITY OR CREATIVITIES: A STUDY OF DOMAIN GENERALITY AND SPECIFICITY BY ZORANAIVCEVIC B.A., University of Zagreb, 1999 M.A., University of New Hampshire, 2001 DISSERTATION Submitted to the University of New Hampshire in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Psychology September, 2005 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number: 3183901 Copyright 2005 by Ivcevic, Zorana All rights reserved. INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. UMI UMI Microform 3183901 Copyright 2005 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Ml 48106-1346 Reproduced witfi permission of tfie copyrigfit owner. Furtfier reproduction profiibited witfiout permission. This dissertation has been examined and approved. Dissertation Director, John D. Mayer, Professor of Psychology David B. Pillemer, Dr. Samuel E. Paul Professor of Developmental Psychology k%.jasuAA ÏÏI WOPJWX^ Rebecca M. Warner, Professor of Psychology U cluuJ^ C'i^L L Michael J. Middleton, Assistant Professor of Education Robert J. Stember|^TBM P rol^gor of Psychology and Education, Yale University Date Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. DEDICATION I would like to dedicate this dissertation to my grandparents, Radojka Restovic, Mate Restovic, Vinka Ivcevic, Pjero Ivcevic, and Katy Vidovich. I remember inventing games with grandmother Radojka under the kitchen table and I remember my awe of the giant my grandfather Mate could summon from a tree. I can still smell grandmother Vinka's pasta sauce and remember reading my school essays to grandfather Pjero. Finally, I was inspired by the endless energy of my grandmother Katy. They taught me to take risks and expressed the love that makes it possible for me to take these risks. Ill Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ACKNOWLEDGEMENTS First, I would like to thank the members of my dissertation committee, who brought valuable perspectives to this research. Dr. Jack Mayer, my advisor, shaped my thinking about personality and was a true model of original thinking. Dr. Rebecca Warner was always a great source of statistical, social psychological and social-emotional support. Dr s. David Pillemer and Michael Middleton brought valuable new perspectives to my thinking and inspired new lines of research. Dr. Robert Sternberg inspired my interest in creativity, and forced me to challenge my ideas about the possible kinds of creativity. I am indebted to Marc Brackett for late night conversations about psychology and our place in it. He was a graduate student colleague, he is a collaborator, and I believe that he will be a lifelong friend. I would like also to thank my parents Dragana Ivcevic-Restovic and Zoran Ivcevic, my brother Dragan Ivcevic, and numerous friends who always believed in me. There are no adequate words to express my appreciation and love for Jamie Pringle, who has enriched and changed my life in profound ways. This research was supported by the Dissertation Year Fellowship from the Graduate School at the University of New Hampshire, the Institute for Policy and Social Science Research, and the Department of Psychology. IV Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. TABLE OF CONTENTS DEDICATION ..................................................................................................................... üi ACKNOWLEDGEMENTS ............................................................................................... iv LIST OF TABLES .............................................................................................................. xi LIST OF FIGURES............................................................................................................ xiii ABSTRACT ...................................................................................................................... xiv CHAPTER PAGE INTRODUCTION ................................................................................................................. 1 I. WHAT IS CREATIVITY? ..............................................................................................4 Creativity is Observable in a Person’s Life ..........................................................................4 Domains and Areas of Creativity ...........................................................................................6 Structure of Creativity .............................................................................................................7 General Creativity ................................................................................................................... 8 Domain Specificity in Creativity .........................................................................................10 Have we Been Asking a Wrong Question? ...................................................................... 13 Creativity and Personality .................................................................................................. 14 Global Personality Traits ................................................... 16 Emotion and Motivation .......................................................................................................17 Cognition ....................................................................... 18 Social Expression ............................................................................................................... 20 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Self-Regulation .................................................................................................................. 21 Introduction to Present Studies ......................................................................................... 23 II. PRELIMINARY STUDIES ...................................................................................... 25 Study 1 : Act Nominations ................................................................................................. 25 Methods ............................................................................................................................... 25 Participants .......................................................................................................................... 25 Procedure ............................................................................................................................. 26 Results ................................................................................................................................. 26 Study 2: Prototypicality Ratings ....................................................................................... 26 Methods ............................................................................................................................... 27 Participants .......................................................................................................................... 27 Procedure ............................................................................................................................. 27 Results ................................ ................................................................................................ 28 Reliability of the Prototypicality Ratings ......................................................................... 28 High and Low Prototypicality Acts of Artistic and Everyday Creativity ...................... 29 Endorsement of Everyday and Artistic Creativity Acts .................................................. 30 Study 3: Gathering Life-Space Items ................................................................................ 31 Methods ..............................................................................................................................