1. science
2. medicine
3. psychology and psychiatry

The creativity itself is the well a man can draw solace, satisfaction and joy during his
lifetime.
ISBN 978-80-7478-564-1
9 788074 785641
EVA SZOBIOVÁ
CREATIVITY – UNRAVELLING THE MYSTERY
Assoc. Prof. Eva Szobiová, Ph.D., completed the study of psychology
at the Faculty of Arts at the Comenius University in Bratislava. She
worked at the Research Institute of Child Psychology and Patopsychology in Bratislava, where she dealt with the problems of upbringing and education of children and young people at school and nonschool educational facilities (foster care group homes, school children clubs, youth clubs, etc.). For more than two decades she had
acted at the Department of Psychology of the Faculty of Arts Comenius University, since 2000 as an associate professor. Alongside her pedagogic, scientific and research activities and work in the expert institutions she participated in
the UNESCO Social Science Section for 4 years, in the expert group within the study
of OECD PISA 2003 - 2006 at a national level – research of reader’s literacy and the
solving of problems of 15-year old students. After completing the training program
in Adlerian psychotherapy and counselling she also dealt with psychoterapeutic
and counselling activity for adults. She worked at the Centre of Excellence in the Research of Creativity, Intelligence and Cognitions of the Slovak Academy of Sciences.
She also acted as an educational tutor for MENSA Slovakia (the society associating
highly intelligent people).
Nowadays, she works at the Faculty of Psychology of the Pan-European University
in Bratislava, where she teaches Pedagogical Psychology and Educational Psychology in Biodromal Context, Psychology of Creativity, Intelligence and Giftedness. In
practice and research she has been dealing with the domain of creativity, its determination and development for a long time. Today, she focuses on the investigation
of the issue of creativity in the context of life style and resilience in regards to the
dimensions of person with a specific focus on the period of adolescence.
She has worked on a whole range of research tasks and scientific grants and published 2 monographs and more than 120 studies in the field of the determination
and development of creativity and giftedness. She has focused on the creativity since being a student. Moreover, she deals with the questions of motivation,
efficient learning in a traditional and alternative school and in family plus also
assesses intelligence and creativity.
CREATIVITY –
UNRAVELLING THE MYSTERY
Názov projektu:
MEDZINÁRODNOU SPOLUPRÁCOU KU KVALITE VZDELÁVANIA
PEVŠ
Kód ITMS: NFP26140230012
dopytovo - orientovaný projekt
Moderné vzdelávanie pre vedomostnú spoločnosť
Projekt je spolufinancovaný zo zdrojov EÚ
EVA SZOBIOVÁ
Creativity –
unravelling the mystery
2014
Example of citation:
SZOBIOVÁ, Eva. Creativity – unravelling the mystery. 1st ed. Prague: Wolters Kluwer,
2014. ISBN 978-80-7478-564-1.
This publication has been published with the financial support of European Union
within Operational Programme Education as a result of the project under the name
“Quality Education at the Pan-European University with International Cooperation”.
This publication reflects the views only of the author, and the European Union cannot be
held responsible for any use which may be made of the information contained therein.
KATALOGIZACE V KNIZE – NÁRODNÍ KNIHOVNA ČR
Szobiová, Eva
Creativity – unravelling the mystery / Eva Szobiová.
– 1st ed. – Praha : Wolters Kluwer, 2014. – 296 s.
ISBN 978-80-7478-564-1 (brož.)
159.954 * 159.954/.955 * 159.95:165.194 * 159.922
– creative ability
– creative thinking
– cognitive psychology
– developmental psychology
– studies
– kreativita
– tvůrčí myšlení
– kognitivní psychologie
– vývojová psychologie
– studie
153 – Conscious mental processes and intelligence [17]
159.95 – Vyšší duševní procesy [17]
Author:
Language Translation:
Assoc. Prof. Eva Szobiová, Ph.D.
SKRIVANEK SLOVENSKO, s.r.o.
Reviewers: Prof. Miron Zelina, DrSc.
Assoc. Prof. Magdaléna Ďuričeková, Ph.D.
Assoc. Prof. Šárka Portešová, Ph.D.
First edition
© Copyright Pan-European University Slovakia, 2014
© Copyright Eva Szobiová, 2014
ISBN 978-80-7478-564-1
CONTENTS
PREFACE ................................................................................................................... 7
Introduction ................................................................................................. 13
1 The Concept of Creativity in Past and Today ........................ 15
1.1 Narrower and Wider Comprehension of Creativity .................................... 18
1.2 Little and Big Creativity ............................................................................. 19
1.3 Creativity of P Type and H Type ................................................................ 21
1.4 Rationale of Creativity and Its Definition Attempt ..................................... 22
1.4.1 The Most Typical Rationale of Creativity .......................................... 22
1.4.2 The Definition of Creativity ............................................................. 27
2 Major Aspects and Factors of Creativity: “4+2 P” ................. 30
2.1 Creative Product ......................................................................................... 31
2.2 Creative Process .......................................................................................... 38
2.3 Creative Personality .................................................................................... 46
2.3.1 Developing Personality of Creative Child ......................................... 52
2.3.2 Intersexual Differences in Creativity ................................................. 55
2.3.3 Creativity and Mental Illnesses ......................................................... 58
2.3.4 The Overall Characteristic of Creative Personality ............................ 71
2.4 Creative Place ............................................................................................. 75
2.4.1 Macrosocial Level ............................................................................. 76
2.4.2.1 Microsocial Level – Family .................................................. 83
2.4.2.2 Microsocial Level – School .................................................. 93
2.5Persuasion ................................................................................................. 103
2.6Potential ................................................................................................... 104
3 Cognitive Fundamentals of Creativity ................................... 105
3.1Intelligence ............................................................................................... 106
3.2 Perception ................................................................................................ 113
3.3Attention .................................................................................................. 117
3.4Memory ................................................................................................... 120
3.4.1 Negative Effects of Memory on Creativity ...................................... 121
3.4.2 Positive Effects of Memory on Creativity ........................................ 122
3.5Fantasy ..................................................................................................... 124
3.6Thinking ................................................................................................... 128
3.7 Creativity and Cognitive Style .................................................................. 137
3.7.1 Creative and Less Creative Style ..................................................... 140
3.7.2 Heuristic versus Algorithmic Orientation ....................................... 140
3.7.3 Dependence and Independence upon the Field .............................. 141
3.7.4 Impulsiveness versus Reflectiveness ................................................. 142
3.7.5 Adaption – Innovation Preference .................................................. 142
4 Motivation Sources of Creativity .............................................. 147
4.1 Intrinsic Motivation ................................................................................. 155
4.2 External Motivation .................................................................................. 163
5 Emotions as the Source of Creativity ..................................... 166
5.1 Impact of Positive and Negative Mood ..................................................... 171
5.2 Expression of Various Emotions in Creativity ........................................... 174
6Development of Creativity ............................................................ 180
6.1 Preschool Age ........................................................................................... 184
6.2 School Age ............................................................................................... 186
6.3 Adolescence – Puberty Period ................................................................... 188
6.4 Middle and Late Adolescence ................................................................... 189
6.5Adulthood ................................................................................................ 194
6.6 Old Age Period ......................................................................................... 196
7 Creativity as Part of Giftedness .................................................. 203
8 Psychological Approaches to Creativity .............................. 213
8.1 Association Theories ................................................................................. 215
8.2 Psychodynamic Approach ......................................................................... 217
8.3 Gestalt Psychology .................................................................................... 218
8.4 Humanistic Concepts ............................................................................... 219
8.5 Cognitive and Neuropsychological Approaches ........................................ 223
8.6 Modern Approaches to Creativity ............................................................. 232
8.7 Contemporary Approaches to Creativity ................................................... 240
8.7.1 Developmental Theories ................................................................. 240
8.7.2 Economic Theories ......................................................................... 242
8.7.3 Stage and Componential Process Theories ...................................... 243
8.7.4 Contemporary Cognitive Theories ................................................. 244
8.7.5 Theories Based on Problem Solving and Expertise .......................... 245
8.7.6 Problem-Finding Theories .............................................................. 245
8.7.7 Evolutionary Theories ..................................................................... 246
8.7.8 Typological Theories ....................................................................... 248
8.7.9 Systems Theories ............................................................................ 249
9 Approaches to Creativity in Slovakia ....................................... 254
Bibliography ................................................................................................. 263
PREFACE
Art is man’s nature; nature is God’s art.
F. J. Bailey
I attempted to outline some of the important scopes of questions naturally and
inevitably emerging in regards to the creativity in this book I am presenting
thanks to Operation Project of Education. As its title itself suggests, the book
represents an attempt to get behind the scenes of the mysteriousness and at least
reveal a bit of some of the sources of the mysterious force, creativity is considered
to be by many people even today.
The aim of the book is to explain the gradual development of knowledge in creativity, in particular, from the point of view of one of the human sciences – from
the point of view of psychology. I strived to show how opinion has changed for
almost sixty-five years in the development of research of creativity in both common and exceptional people. I wanted to make the reader familiar with the basic
factors participating in creativity and to point out the most important knowledge achieved in today already classic research as well as also in new research
dealing with creativity. I also incorporated the results of my own research focused
on the creativity of various age groups in it.
The book is divided into seven chapters, out of which the first one is devoted to
the definition of creativity. It also describes the development of the interpretation of the term “creativity” from a narrower concept of the activity of extraordinary creative and gifted individuals to a wider concept of the characteristics
intrinsic to every human. In common sense, the word “creativity” relates to the
works of the giants such as Michelangelo, Einstein, and Shakespeare. Thus “creativity” has at least two meanings. One regards the production of new products
from a time point of view – they only originated recently or nowadays (the spon-
8
PREFACE
taneous and emotive kid drawings made in several minutes are usually of that
kind). This “psychological” form of creativity contrasts with the “historical” one
related to great pieces of work that are new in the sense of the prospects of the
entire human history. We may differentiate the “magnificent, big” creativity and
the “common, everyday” creativity this way. Despite that, we can also see the
“big” creativity in some children, it is rather rare. How is it with the creativity
of adults? Many of them capture with their ideas and works that are new at least
to them or their surroundings (the example may be the “creative hobby” – the
artistic sphere with naive art that is a rather respected art form of today).
Despite that, psychologists systematically started to investigate creativity more
than sixty years ago, a lot of definitions were produced at that time. The definitions are inclined to emphasise a certain component of creativity in a majority of
cases. It is possible to create several groups, according to what is considered to be
the basis of creativity or what its part is considered to be substantial.
I shall not go into details as for the problems with the definition of creativity due to its complexness, yet I shall state a shortened definition from one of
the pioneers of research in the field of creativity, E. P. Torrance for illustration.
“Creativity is the process of becoming sensitive to gaps and deficiencies, the
gaps in knowledge, missing elements, identifying the problems, searching for
new, original solutions and finally communicating the results.” (Torrance, 1966,
p. 6). The extensiveness and multiple meaning of the term “creativity” led Torrance to the formulation of the definition for the case of “survival”. It applies to
the situations where man has not a tested solution available and would not survive without creativity. In addition to the definition for the needs of research and
“survival, Torrance also states the “artistic” definition of creativity, expressed by
artistic descriptions characterising the complexity of its essence using paradoxes
– oxymorons. Creativity is:
•• a known surprise, an expected amazement, a regular finding, a generous egoism, an unexpected certainty, a substantial triviality, a foreseeable gamble,
a temporary fortress, a unifying difference, a disciplined freedom, a miraculous expectation, an accustomed surprise.
As you can see, some theoreticians are aware of the difficulties with the definition
of creativity, therefore they use a metaphorical language in order to give a true
picture of its essence in a more accomplished and complex way.
PREFACE
9
The second chapter analyses the “4+2 P” major aspects of creativity: product,
process, person and place, complemented by potential and persuasion in the
last decade. Within the creative product, its basic features (novelty, acceptability,
elaboration and synthesis), the distinguishing of objective and creative products
are described. The sub-chapter devoted to the creative process outlines the stages
of preparation, incubation, illumination and verification, as they are segmented
in the Wallas model of creative process. They represent the basis for creative
problem solving that is compared with routine procedure in problem solving.
Also, the differences in duration of the individual phases in relation to the personality of the creator.
The other sub-chapter devotes to the psychological characteristics of creative personality, in particular those ones considered to be the relatively stable parts of
creative performances. It analyses the specificities of creative kids, the characteristics of their childhood, the importance of interests, hard work and will of creative and gifted children, the role of self-reliance, independence, self-confidence,
curiosity, sense of humour. Notable attention is also paid to the intersexual differences while pointing out the higher sensitivity and lower aggressiveness of
creative men, to the higher dominance and intractability of creative women.
From the point of view of creativity, the concept of androgyny – representing the
“psychological bisexuality” worth noticing. It means to have both feminine and
masculine properties at the same time – it seems to be suitable to combine the
strengths of both sexes for creativity.
Another section of the book is devoted to the problem of mental health and
mental illnesses in relation to creativity. It is based on a lot of works oriented for
a long time to the response to the question, whether and to what degree creativity is conditioned by mental health, mental illness or disorder.
The part named Place supporting and hampering creativity deals with the possible impacts of various factors on creativity. Firstly, it analyses the impact of wider
social macro-context and the basic features of the creativogenic environment.
The attention at micro-social level is paid to family, participation of both parents
in the upbringing of a creative child. In the wider world surrounding a family,
the creative climate is analysed as the part of the environmental stimulation of
creativity and on the other hand the internal and external barriers in the manifestation of creativity affecting the development of creative potential in a negative
way. The effect of the educational system, school climate, creative education and
the personality of a teacher on the creativity of pupils is analysed at a microsocial
10
PREFACE 
level. The impact of a working and organisational environment on creativity and
the impact of a group on the creator are not omitted as well.
Since newer views on creativity devote to the other “2Ps”: potential and persuasion as the significant factors of creativity manifestation, we outline their
detailed characteristics.
Another chapter is dedicated to the cognition processes participating in creativity. The relationship of the cognition processes to creativity, the interconnection of certain characteristics of attention with creative process, the negative and
positive impacts of memory to creativity, the role of fantasy as spontaneous, the
motivating force in the form of pictures in creative thinking are analysed. With
regard to thinking, Guilford´s model of intellect structure and divergent thinking features are not missing. The importance of the integration and combination
of convergent and divergent thinking in creative process is emphasised. The analysis of the role of intuition as one of the most mysterious components of creative process is not missing. We also bring you a more detailed view of creativity
in relation to intelligence, either the traditionally understood one or the newest
views and concepts. The specific perspective on creativity also emerges in relation
to cognitive styles bridging the space between intellectual and personal qualities
of a man. In psychology, they represent the way of reception, acquisition, processing and the use of information by man, of his way of problem understanding and solving. In the field of creativity it means the method of presenting the
output of an individual.
The other chapter focuses on the motivation sources of creativity, while providing, in addition to the major terms of motivation, the overview of the basic concepts in regards to the intrinsic motivation, the factors supporting and hampering creativity from outside and appreciating the synergic effect of internal and
extrinsic motivation.
Emotions are considered to be one of the substantial sources of creativity; therefore special attention is paid on the impact of positive emotions. The stamp of
negative emotions, such as fear, qualms, pessimism or aggression in creativity is
analysed as well.
Another chapter presents the development characteristics and stages of creativity within the entire life cycle: from childhood, through puberty, adolescence,
adulthood up to old age. We differentiate the phases of creativity, as they were
identified by K. Urban in the research of children, as well as the other authors.
PREFACE
11
This section presents newer findings regarding the possibility of preservation of
creative forces to a later age. It also deals with various models in the development
of creativity in life.
The overview of knowledge in the relation of creativity to aptitude and talent
from traditional up to the newest standpoints is brought by another chapter. It
also explains the aptitude in disabled people and people with various learning
disorders of various creativity types.
The work analyses the standpoints of the most influential psychological lines,
schools and personalities through the researches focused on the biological fundamentals and hemispheric dominance in the up-to-date concepts of creativity by
Amabile, Dacey and Lennon, Urban, Sternberg or Gardner, Csikszentmihalyi,
Florida, Simonton, etc. It also deals with some theories of creativity by Czech
and Slovak authors.
Readers interested in the issue of creativity, students and professionals from the
field of humanities, e.g. psychology and related fields or students of various fields
of art as well as economy would gain from the book. As well as those with an
indifferent attitude to creativity or children, young people, adult and seniors
entrusted to them (teachers, guardians, parents, social employees, employers)
and their own creative abilities.
Introduction
Present-day man encounters the term “creativity” at every turn and more and
more often. It is reflected in all cases; it is a favourite adjective for the production
of man struck by the dynamics of the revolutionary changes of the era we live in.
And the changes progressively acquire greater speed, while their consequences
are unforeseeable to a great extent.
Today, not only adults, but also children are forced to receive a huge amount of
information they are unable to process and they must make prompt decisions. To
be able to respond to constant changes in new, adaptive way means to respond
creatively. The flexibility of thinking and the ability to tolerate the complexity
and irregularity in a new, unknown situation allows to actively change both oneself and the world around it. Thus, the importance of creativity in a contemporary chaotic world increases, not only in the life of an individual, but also society.
What would the world look like at the moment if responsibility for it shall be
assumed by children of today? It is probable it would significantly differ from
the world we know today and it would be totally transformed. To prepare children for this role from a view of the future means to reveal the hidden potential
in their creativity and develop it, since to be creative in the contemporary word
means to have greater ability to efficiently perform in favour of ourselves, other
people and in favour of society.
What does the creative human look like? What does it mean to show, live in
a creative way? Is there an answer to the question what is and what is not creative? Is it possible to differentiate the creative process from the routine one? Can
you find the features in environment that may be responsible for creativity or
“non-creativity”? What are the conditions for manifestation, enforcement, development or “blockage” of creativity? What intellect and personality preconditions
belong to creativity? Is there a way and style how one could efficiently and suc-
14
INTRODUCTION
cessfully create? Do the specific processes leading to creative results exist? How
does human creativity develop in various life eras? How did the psychologists
describe, explain, determine and support creativity? What is the degree of success of the experiments of Czech and Slovak authors when “cracking hard nuts”
incorporated in the research of creativity.
This book tries to respond to the questions asked, but in no way is it the ambition
to generally provide valid answers to them. The idea of the book has emerged
gradually. It was driven by the effort to explain the hitherto the understanding of
creativity to the interested parties in the field the most, and thus to point out that
part of psychological knowledge that regards the mystic and variable expression,
creativity surely is. From this point of view, the birth of the book is the attempt
to explain the basic terms related to creativity and conditioning it (product, process, personality, place, potential, persuasion, intelligence, perception, attention,
memory, fantasy, thinking, intuition, motivation, emotions, aptitude, etc.) as
well as both known and newer theories of creativity by foreign and Czech and
Slovak authors. In addition, the work analyses in details the development characteristics and stages of creativity during the entire life cycle in kids, youth, adults
and elderly people.
I do believe the work may inspire to think when getting familiar with the problems in the field of creativity, as well as when solving them. It may also be a suitable guide when looking for a way to the mystic forbidden room and turning
the key just a little bit when unlocking the door to the cognizance of creativity.
I hope it may be useful to all having an interest in learning not only in the field
of creativity, since it may encourage them to an innovative approach in creation
and use of their own ideas.
Author
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