THE DYNAMICS OF CREATIVITY: AN INTERPRETATION OF THE LITERATURE ON CREATIVITY WITH A PROPOSED PROCEDURE FOR OBJECTIVE RESEARCH Item Type text; Dissertation-Reproduction (electronic) Authors Rhodes, James Melvin, 1916- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 07/10/2021 14:28:16 Link to Item http://hdl.handle.net/10150/290034 THE DYNAMICS OF CREATIVITY An Interpretation of the Literature on Creativity with a Proposed Procedure for Objective Research by James Melvin Rhodes A Thesis submitted to the faculty of the Department of Education in partial fulfillment of the requirements for the degree of DOCTOR OP PHILOSOPHY in the Graduate College, University of Arizona 1956 Approved: ^ f W - (G - <5C- Director of Thesis Date This thesis has been submitted in partial fulfillment of requirements for an advanced degree at the University of Arizona and is deposited in the Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that accurate acknowledgment of source is made. Bequests for permission for extended quotation from or re­ production of this manuscript in whole or in part may be granted by the head of the major department or the dean of the Graduate College when in their judgment the proposed use of the material is in the interests of scholarship. In all other instances, however, permission must be obtained from the author. SIGHED TABLE OP CONTENTS Page LIST OF FIGURES v LIST OF PLATES vi Chapter I. INTRODUCTION 1 II. THE PROBLEM OF MEANINGS 8 Meanings of Creativity 12 Meanings of Imagination 18 Meanings of Image, Percept and Concept 23 Meanings of Invention 26 Meanings of Art 32 Meanings of Giftedness 35 Summary 37 III. VARIOUS APPROACHES TO THE STUDY OF CREATIVITY 38 IV. CREATIVE IDEAS 63 Two Universal Art Types 66 Two Classifications of Work in Science 73 Distortions and Stereotypes 73 A System for Classifying Products 76 V. THE CREATIVE PERSON 79 The Nature of Creative Ability 81 Intelligence and Creativity 86 The Nature of the Creative Disposition 99 Interests, Attitudes, and Habits of Creative People 106 Recapitulation 111 VI. THE CREATIVE PROCESS 116 Theories About the Components of Ideas 117 Theories About How Ideas Are Formed 124 Theories About Where Ideas Are Formed 126 iii Chapter Page ~~ The Controversy as to the Various Phases of the Creative Process 138 Viewpoints Concerning Different Kinds of Processes 142 VII. THE MOTIVATION OF CREATIVITY 147 What Arouses Creative Activity? 149 What Determines Choice of Style? 155 What Sustains Creativity 159 Summary 167 VIII. SYNTHESIS 169 IX. A PROPOSED PROCEDURE FOR USE IN INVESTIGATING THE DYNAMICS OF CREATIVITY 175 The Procedure and Its Uses 175 The Mechanics of the Procedure 183 Summary and Recommendations 201 APPENDIX A 204 APPENDIX B . 250 BIBLIOGRAPHY 262 iv LIST OF FIGUHES Figure Page 1. Maritain's Figure 134 2. Green's Figure .. ...... 145 I v LIST OF PLATES Plate Page I. ELF - by T. B 207 II. CROSS SECTION OF ELEPHANT'S TRUNK, MODERN VIEW - by J. C 209 III. DRAWING OF A MAN 211 IV. GEOMETRIC PATTERN - "by P. S. 213 V. DRAWING OF SHIP - by R. R 215 VI. JELLY-FISH JAZZ - by C. C 217 VII. THE VOLCANO MONSTER - by T. R 219 VIII. MOTHER WENT AWAY - by C. H 221 IX. THE SLAIN SAGUARO CACTUS - by V. H. ... 223 X. CLOCK STORE - by G. 0. 225 XI. THE SUN GOD - by B. B 227 XIIo" BIRDS - by C. V 229 XIII. CASPER - by J. R 231 XIV. WATER WHEEL - by S. W 233 XV. CANNON - by R. S 235 XVI. LOCK, PANCAKE TURNER,,AND MICROSCOPE - by B. M 237 XVIIc SLINGSHOT GUN - by F. G 239 XVIII. TELEGRAPH SOUNDER, LIGHT, AND MAGNET - by D. C 241 XIX. TELEGRAPH SET - by V. C 243 XX. SHOTGUN - by B. V 245 vi Plate Page XXI. ROBOT - by D. S 247 XXII. ELECTRICAL DETAIL - by D. S 249 rii r—-- . •- CHAPTER I INTRODUCTION Purpose of the dissertation. The primary purpose of this dissertation is to propose a new procedure for use in studying children who show high potential ability for creativity. The concept on which the procedure is based is that articulated ideas - that is, products, are the only constant factors in the total complex phenomenon known as creativity. The individual who creates is an ever-changing personality; motivation is fleeting; and the mental processes which operate in the construction of any idea are too elu­ sive to be observed. Only the articulated or embodied idea remains the same long enough at any point in time to be grasped and described. Only the articulated or embodied idea among the several factors of the phenomenon of creativity meets the requirements of a control factor such as is essen­ tial to the mechanism of any scientific prooedure. The specific element in the proposed procedure, which is new and different from any element known to be a part of other pro­ cedures for studying creativity, is a system for classifying and cataloging products of various sorts (by media of ex­ pression) into categories which, in relation to each other, form a continuum of values ranging from new concepts in pure science to new concepts in pure fantasy. The total proce­ dural plan, including the classification element described above, differs from other known plans (intended for a similar purpose) in the detail of its design which calls foi* inten­ sive, longitudinal case studies of child creators wherein the focal point of every inquiry is a specific product which the child created. The questions to be asked concerning each product are intended to obtain information concerning the creator's interpretation of his product, the circum­ stances and motivating forces which led to its creation, and facts and insights concerning the personality structure of the creator. Purpose behind the dissertation. The basic purpose which the proposed procedure is to serve is to learn why some children can produce original ideas while other children of apparently comparable ability and similar circumstances can think only in well-worn patterns'. Other objectives to be approached through use of the proposed procedure are: (l) to observe the developmental trend and nature of crea­ tivity in relation to specific opportunities and experiences of each subject, (2) to observe influences which affect choice of style and medium of expression, and (3) to compare children of different quadrants when the quadrants are formed by bi­ secting the axis of the continuum of any given variable, for example intelligence test scores, amount of training, body build, etc., with an ordinate representing steps in a continuum 3 of perceptual orientation. The continuum of perceptual orientation is conceived as reaching out in one direction, from a central position of so-called normal perceptual awareness, to an infinite point of interest in the realm of pure science. In the opposite direction, from center, the continuum reaches toward an infinite point of interest in the realm of fantasy, or what might be called the realm of pure imagination. It is postulated that, other factors be­ ing equal (such as intelligence, opportunity, health, eto.), individuals are creative in relation to degree of perceptual awareness and in the distance, from center, of personal orientation. Orientation of interest toward external things leads to discovery of new concepts in the realm of reality. Orientation of interest toward self leads to new interpre­ tations of experience and to new concepts in the realm of fantasy (or imagination). Need for theoretical foundations. The details of the proposed procedure, for testing the postulate stated above (under point (3)) and for accomplishing the other objectives, are withheld until Chapter IX because of the prerequisite need to define terms and to establish a theoretical frame­ work about the nature of creativity. A survey of the litera­ ture on creativity and related concepts reveals the existence of a mass of materials which have not been integrated or organized. Apparently no one has formulated a comprehensive theory about creativity which serves to guide investigation 4 or to order the classification and filing of new materials as they are gathered. This lack of theoretical structure leaves a serious gap in knowledge which calls for closure before additional studies are added to the shelves. In recognition of this need the next six chapters are included as a tangential study pursued in the interest of trying to organize and analyze a collection of ideas about creativity so as to make possible the writing of a theory. Such a theory is formulated in Chapter VIII, entitled Synthesis. Heed for analysis of concepts. Analysis of the lit­ erature reveals that the term creativity is a complex concept composed essentially of four interwoven, integrated strands. One strand pertains essentially to articulated ideas in the form of products; another strand pertains to the personality structure of individuals who oreate; a third strand pertains to the mental processes that are operative in creative think­ ing; while the fourth strand pertains to the foroes which motivate creative thinking and ensuing activity. These four strands are discussed separately in the following pages; a chapter is devoted to each strand with the objective of bringing to light information and insights which might ad­ here harmoniously in the construction of a plausible theory. Need for research. The need for studies of creativity has been felt for some time. In 1931, Hutchinson"1' wrote 1.