Emotions and Creativity

Ivčević, Zorana; Hoffmann, Jessica

doi:10.1017/9781316228036.011

Cited by 14 publications

(6 citation statements)

References 97 publications

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“…This definition encompasses major elements of creativity—novelty or originality and usefulness, either driven by individuals or small groups. Emotions are integral to the creative process from the desire and decision to be creative, to working through ups and downs of idea generation and development, to risks and pressures of product completion and presentation (Ivcevic & Hoffmann, 2017). The study of emotional intelligence in relation to creativity explicitly takes into account that people have agency in relation to their emotions and emotions of those around them; we posit that people can influence the course of their own emotions and emotions of others (such as when supervisors influence employees), as well as actively harness their emotions in the service of their goals (such as creativity and innovation).…”

Section: Defining Emotional Intelligencementioning

confidence: 99%

Supervisor Emotionally Intelligent Behavior and Employee Creativity

Ivčević

Moeller

Menges

et al. 2020

Journal of Creative Behavior

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In a national study of employees across industries (N = 14,645), we examined the role of supervisor emotionally intelligent behavior for employee opportunity to grow, their affect at work, and creativity/innovation at work. Employees reported on their supervisors' emotionally intelligent behavior (perceiving, using, understanding, and managing emotions), and self‐reported about their job experiences and creativity/innovation at work. Supervisor emotionally intelligent behavior was related to employee affect at work assessed using both open‐ended questions and emotion rating scales. Furthermore, supervisor emotionally intelligent behavior was linked to employee creativity/innovation through its effect on employee opportunity to grow and higher experience of positive affect (supporting a serial mediation model). We discuss the implications of the results for creativity/innovation research and innovation management.

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Section: Defining Emotional Intelligencementioning

confidence: 99%

Supervisor Emotionally Intelligent Behavior and Employee Creativity

Ivčević

Moeller

Menges

et al. 2020

Journal of Creative Behavior

Self Cite

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“…First, studies that select for mental health criteria are much less common than the other two sampling designs (Taylor, 2017). Second, positive affect, approach motivation, and self‐regulation are prominent in the larger creativity literature (Baas et al, 2016; Ivcevic & Hoffmann, 2017; Karwowski & Beghetto, 2019), so it is worth exploring links between creativity and anhedonia.…”

Section: Discussionmentioning

confidence: 99%

“…Many models of creativity are motivational, such as creativity as a form of approach motivation (Baas et al, 2016) and creativity as a process involving goal‐seeking, confidence beliefs, and emotion regulation (Benedek, Bruckdorfer, & Jauk, 2020; Karwowski & Beghetto, 2019; Karwowski & Lebuda, 2017). In these models, the creative process is largely appetitive and approach‐oriented, in which people engage appetitive motivation and positive emotions to pursue creative goals and to serve as counterweights to negative emotions like anxiety and frustration (Ivcevic & Hoffmann, 2017). These models have many differences, but none would see reduced sensitivity to rewards and diminished approach motivation as a context for greater creative activity.…”

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confidence: 99%

Depressive Anhedonia and Creative Self‐concepts, Behaviors, and Achievements

Silvia

Eddington

Harper

et al. 2020

Journal of Creative Behavior

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In the large literature on creativity and mental illness, relatively few studies have explored anhedonia-impairments in anticipating, seeking, and experiencing rewards. This project explored self-reported creativity in a sample of adults who differed in depressive anhedonia, determined via face-to-face structured clinical interviews. Participants completed measures of everyday creativity (engaging in common creative behaviors and hobbies), creative self-concepts (creative self-efficacy, creative personal identity, and self-rated creativity in different domains), and creative achievements. Compared to the control group (n = 52), people in the anhedonia group (n = 22) had significantly higher engagement in little-c creative activities (medium effect size). Effect sizes for self-rated creativity and creative achievement were either small or nearzero. Taken together, the findings suggest that anhedonia deserves more attention in future research on motivational aspects of creativity.

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“…In the universalist camp, scholars have argued that at least some "basic" emotions are universally experienced by all humans in the same way (Ekman et al, 1969;Ekman & Friesen, 1971;Ekman, 1999;2007). This has encouraged psychological approaches to the study of the link between emotions and creativity that focus primarily on individual-level variables (Isen et al, 1987;Russ, 1993;Averill, 1999;Radford, 2004;Ivcevic & Hoffmann, 2017). Scholars working in this paradigm have tended to investigate the link between emotion and creativity by isolating variables pertaining to either or both concepts and then testing how they interact (Russ, 2020).…”

Section: Research On Emotion and Creativity: Historical Complexitiesmentioning

confidence: 99%

Emotion as creative practice: Linking creativity and wellbeing through the history and sociology of emotion

Kiernan

2020

Intnl. J. Wellbeing

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This article draws on recent developments in the history of emotion and the sociology of creativity to argue that emotions themselves may be viewed as creative practices. After an initial, broad overview of key historical and epistemological complexities in emotions research, it describes a framework for understanding emotion (and the history of emotion) proposed by Monique Scheer (2012), which is grounded in the practice theory of French sociologist Pierre Bourdieu. In Scheer's view, emotions should not be viewed as fundamentally internal physiological or psychological states, but as the practices to which those states are inextricably linked, and by which they are mobilized, named, communicated and regulated. The article then describes a sociological framework for understanding creativity proposed by Janet Chan (2016), which is also underpinned by Bourdieu's practice theory, and which posits that creativity is an inherent feature of all social action and may generate social change via institutionalized cultural practice or cultural revolt, the latter of which may itself take at least three forms. It then links Scheer's and Chan's frameworks together, explaining how, from this sociological perspective, emotions can be understood as creative practices, as embodied acts of thinking performed in habituated ways and which themselves generate change by doing different types of creative work. It proposes a new four-part framework for categorizing emotions as creative practices, based on Chan's framework for creativity: 1) emotion as institutionalized cultural practice; 2) emotion as cultural edgework; 3) emotion as cultural transcendence; and 4) emotion as cultural transformation. It concludes by suggesting that this framework provides an original and useful way of explaining the role of emotion in generating social and historical change, and of explaining the link between creativity and wellbeing from a sociological perspective.

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Emotions and Creativity

Abstract: We piloted a new mechanism to measure physiological arousal (frustration, anxiety, excitement, etc.)

Cited by 14 publications

References 97 publications

Supervisor Emotionally Intelligent Behavior and Employee Creativity

Supervisor Emotionally Intelligent Behavior and Employee Creativity

Depressive Anhedonia and Creative Self‐concepts, Behaviors, and Achievements

Emotion as creative practice: Linking creativity and wellbeing through the history and sociology of emotion

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