A Cognitive Style Approach to Creative Thought

Noppe, Lloyd D.; Gallagher, Jeanette McCarthy

doi:10.1207/s15327752jpa4101_14

Cited by 43 publications

(31 citation statements)

References 9 publications

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“…L. Miller, 2007;Noppe & Gallagher, 1977;Puccio, Wheeler, & Cassandro, 2004). However, cognitive styles have seldom been offered as an explanation to account for gender differences in creativity.…”

Section: Gender and Cognitive Strategymentioning

confidence: 99%

Gender and creativity: an overview of psychological and neuroscientific literature

Abraham

2015

Brain Imaging and Behavior

177

110

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The topic of gender differences in creativity generates substantial scientific and public interest, but also courts considerable controversy. Owing to the heterogeneous nature of the findings associated with this line of research, the general picture often appears puzzling or obscure. The present article presents a selective overview of psychological and neuroscientific literature that has a relevant bearing on the theme of gender and creativity. Topics that are explored include the definition and methods of assessing creativity, a summary of behavioral investigations on gender in relation to creativity, postulations that have been forwarded to understand gender differences in creative achievement, gender-based differences in the structure and function of the brain, gender-related differences in behavioral performance on tasks of normative cognition, and neuroscientific studies of gender and creativity. The final section of the overview presents a detailed discussion of the idea that differences between men and women in creative cognition are best explained with reference to the gender-dependent adopted strategies or cognitive style when faced with generative tasks. Gender and Creativity 3Creativity refers to the singularly complex human ability to produce novel ideas, generate new solutions, and express oneself in a unique manner. Although prominent works of art and astounding scientific discoveries are the customary associations that are readily evoked when we consider the concept of creativity, our capacity to be creative is evident in virtually all aspects of human life when engaged in language and communication, choice and decision making, as well as planning and organization (Mark A. Runco & Pritzker, 2011;Sawyer, 2012). While the potential to be creative exists within each person, there is considerable individual variability in both the type and amount of creative output that is eventually produced over our lifetimes. A substantial proportion of the empirical investigations in creativity are directed at uncovering which variables have a positive or negative impact on creativity. Gender is one factor that has been explored in this regard within psychological research. This paper provides a general overview of psychological and neuroscientific research that has a direct or indirect bearing on the topic of gender and creativity. The first part of this paper is devoted to understanding what is meant by creativity in terms of definition and methods of assessment. This is followed by a summary of behavioral findings on gender-related differences in creative thinking and a discussion of the explanations that have been forwarded to understand such differences. Current knowledge concerning gender-based behavioral and neurobiological differences in other (non-creative) aspects of cognition is then explored. In the final part of the paper, implications of findings from neuroscientific studies of gender differences in creative thinking are discussed.Gender and Creativity 4

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Section: Gender and Cognitive Strategymentioning

confidence: 99%

Gender and creativity: an overview of psychological and neuroscientific literature

Abraham

2015

Brain Imaging and Behavior

177

110

View full text Add to dashboard Cite

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“…The author discovered a significant relationship between the LSI divergent/convergent styles and the combinations of intuition-perceiving and sensing-judging types. Jonassen (1980) found that field independence was the best predictor of students' performance on divergent tasks in an introductory instructional media course (see also Bloomberg, 1971;Noppe and Gallagher, 1977).…”

Section: Divergent-convergent Thinking and Its Measurementmentioning

confidence: 99%

A Threefold Model of Intellectual Styles

2005

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The field of styles presents three major controversial issues: styles as valueladen versus value-free, styles as traits versus states, and styles as different constructs versus similar constructs with different labels. We address these issues by proposing an integrative model of styles-the Threefold Model of Intellectual Styles-which divides all styles into three basic kinds. The foundation of this model is Sternberg and Zhang's body of empirical investigations into the thinking styles proposed in the theory of mental self-government. The model also draws upon others' previous empirical findings in the literature.The model argues that most styles are value-laden rather than value-free; that they have both trait-like and state-like aspects, but for the most part are modifiable and hence more state-like; and that they overlap highly across theories.

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“…Much of this work centered on the Mednicks' Remote Associates Test (Mednick & Mednick 1967). Rather than attempt a superfi cial review of the substantial work using this measure, we refer the reader to test reviews by Baird (1972), Bennett (1972), Vernon (1972a), and Backman & Tuckman (1978), to Worthen & Clark (1971) for a critique of the RAT and a possibly improved measure of remote associational ability, to Mendelsohn (1976) for a good review of his studies of attentional processes presumably underlying RAT performance, to Noppe & Gallagher (1977) for a cognitive-style ap proach to the RAT, and to Sobel (1978) for a very recent review of 18 studies examining the remote associates theory of creativity.…”

Section: Creativity and Other Sp Ecial Abilitiesmentioning

confidence: 99%