Skip to main content Accessibility help

We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.

Close cookie message
×
Hostname: page-component-586b7cd67f-r5fsc Total loading time: 0 Render date: 2024-12-03T11:07:26.715Z Has data issue: false hasContentIssue false

Creativity and Emotions

Introduction

Published online by Cambridge University Press:  16 February 2023

By
Zorana Ivcevic ,
James C. Kaufman ,
Jessica D. Hoffmann  and
Shengjie Lin
Edited by
Zorana Ivcevic ,
Jessica D. Hoffmann  and
James C. Kaufman
Zorana Ivcevic
Affiliation:
Yale University, Connecticut
Jessica D. Hoffmann
Affiliation:
Yale University, Connecticut
James C. Kaufman
Affiliation:
University of Connecticut
Get access

Summary

In the introductory chapter to the Cambridge Handbook of Creativity and Emotion, we define basic terms in the study of creativity and emotions. We argue about the need for specification of different aspects of creativity under investigation and caution scholars to make conclusions about specific aspects studied, rather than “creativity” in general. This Handbook examined three groups of affective processes: affective states (relatively short-lasting reactions to internal or external stimuli), emotion-related traits (typical ways of feeling), and emotion abilities (capacities to reason about and with emotions, such as in the case of emotional intelligence). Next, we describe the organization of this Handbook into five parts, each addressing a different aspect in the study of creativity, including methodological issues, creative process, creative person, creative product, and creative contexts (school and work). The concluding chapter presents an integrative model of the role of affective processes across aspects of creativity.

Keywords

creativitycreative processcreative personcreative productaffective statesemotion traitsemotional intelligenceemotions
Type
Chapter
Information
The Cambridge Handbook of Creativity and Emotions , pp. 1 - 8
Publisher: Cambridge University Press
Print publication year: 2023

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Amabile, T. M. (1996). Creativity in Context: Update to the Social Psychology of Creativity. Westview Press.Google Scholar
Amabile, T. M., Barsade, S. G., Mueller, J. S., & Staw, B. M. (2005). Affect and creativity at work. Administrative Science Quarterly, 50(2), 367–403. https://doi.org/10.2189/asqu.2005.50.3.367Google Scholar
Averill, J. R. (1999). Individual differences in emotional creativity: Structure and correlates. Journal of Personality, 67(2), 331–371. https://doi.org/10.1111/1467-6494.00058CrossRefGoogle ScholarPubMed
Averill, J. R., & Thomas-Knowles, C. (1991). Emotional creativity. In Strongman, K. T. (Ed.), International Review of Studies on Emotion (vol. 1, pp. 269–299). Wiley.Google Scholar
Baas, M., De Dreu, C. K. W., & Nijstad, B. A. (2008). A meta-analysis of 25 years of mood-creativity research: Hedonic tone, activation, or regulatory focus? Psychological Bulletin, 134(6), 779–806. https://doi.org/10.1037/a0012815Google Scholar
Baer, J. (1998). The case for domain specificity in creativity. Creativity Research Journal, 11, 173–177. https://doi.org/10.1207/s15326934crj1102_7Google Scholar
Barbot, B., Besançon, M., & Lubart, T. (2016). The generality-specificity of creativity: Exploring the structure of creative potential with EPoC. Learning and Individual Differences, 52, 178–187. https://doi.org/10.1016/j.lindif.2016.06.005Google Scholar
Barrett, L. F. (2006). Solving the emotion paradox: Categorization and the experience of emotion. Personality and Social Psychology Review, 10(1), 20–46. https://doi.org/10.1207/s15327957pspr1001_2Google Scholar
Bourgeois-Bougrine, S., Glăveanu, V., Botella, M., et al. (2014). The creativity maze: Exploring creativity in screenplay writing. Psychology of Aesthetics, Creativity, and the Arts, 8(4), 384–399. https://doi.org/10.1037/a0037839Google Scholar
Carson, S. H., Peterson, J. B., & Higgins, D. M. (2005). Reliability, validity, and factor structure of the Creative Achievement Questionnaire. Creativity Research Journal, 17(1), 37–50. https://doi.org/10.1207/s15326934crj1701_4Google Scholar
Diedrich, J., Jauk, E., Silvia, P. J., et al. (2018). Assessment of real-life creativity: The Inventory of Creative Activities and Achievements (ICAA). Psychology of Aesthetics, Creativity, and the Arts, 12(3), 304–316. https://doi.org/10.1037/aca0000137Google Scholar
Ellsworth, P. C., & Scherer, K. R. (2003). Appraisal processes in emotion. In Davidson, R. J., Scherer, K. R., & Goldsmith, H. H. (Eds.), Handbook of Affective Sciences (pp. 572–595). Oxford University Press.Google Scholar
Farmer, S. M., & Tierney, P. (2017). Considering creative self-efficacy: Its current state and ideas for future inquiry. In Karwowski, M. & Kaufman, J. C. (Eds.), The Creative Self: Effect of Beliefs, Self-Efficacy, Mindset, and Identity (pp. 23–47). Elsevier Academic Press. https://doi.org/10.1016/B978–0-12-809790-8.00002-9Google Scholar
Feist, G. J. (1998). A meta-analysis of personality in scientific and artistic creativity. Personality and Social Psychology Review, 2(4), 290–309. https://doi.org/10.1207/s15327957pspr0204_5CrossRefGoogle ScholarPubMed
Forgeard, M. J., & Kaufman, J. C. (2016). Who cares about imagination, creativity, and innovation, and why? A review. Psychology of Aesthetics, Creativity, and the Arts, 10, 250–269. https://doi.org/10.1037/aca0000042Google Scholar
Glăveanu, V. P., Hanson, M. H., Baer, J., et al. (2020). Advancing creativity theory and research: A socio-cultural manifesto. Journal of Creative Behavior, 54(3), 741–745. https://doi.org/10.1002/jocb.395Google Scholar
Gough, H. G. (1979). A creative personality scale for the Adjective Check List. Journal of Personality and Social Psychology, 37(8), 1398–1405. https://doi.org/10.1037/0022-3514.37.8.1398Google Scholar
Grohman, M. G., Ivcevic, Z., Silvia, P., & Kaufman, S. B. (2017). The role of passion and persistence in creativity. Psychology of Aesthetics, Creativity, and the Arts, 11(4), 376–385. https://doi.org/10.1037/aca0000121Google Scholar
Higgins, E. T. (2006). Value from hedonic experience and engagement. Psychological Review, 113(3), 439–460. https://doi.org/10.1037/0033-295X.113.3.439CrossRefGoogle ScholarPubMed
Ivcevic, Z., & Brackett, M. A. (2015). Predicting creativity: Interactive effects of openness to experience and emotion regulation ability. Psychology of Aesthetics, Creativity, and the Arts, 9(4), 480–487. https://doi.org/10.1037/a0039826Google Scholar
Ivcevic, Z., Brackett, M. A., & Mayer, J. D. (2007). Emotional intelligence and emotional creativity. Journal of Personality, 75(2), 199–236. https://doi.org/10.1111/j.1467-6494.2007.00437.xGoogle Scholar
Ivcevic, Z., & Hoffmann, J. D. (2021). The creativity dare: Attitudes toward creativity and prediction of creative behavior in school. The Journal of Creative Behavior. https://doi.org/10.1002/jocb.527Google Scholar
Kappas, A. (2011). Emotion and regulation are one!. Emotion Review, 3(1), 17–25. https://doi.org/10.1177/1754073910380971CrossRefGoogle Scholar
Kashdan, T. B., & Steger, M. F. (2007). Curiosity and pathways to well-being and meaning in life: Traits, states, and everyday behaviors. Motivation and Emotion, 31(3), 159–173. https://doi.org/10.1007/s11031–007-9068-7Google Scholar
Kaufman, J. C., Glăveanu, V. P., & Baer, J. (2017). The Cambridge Handbook of Creativity across Domains. Cambridge University Press.Google Scholar
Klenk, M. M., Strauman, T. J., & Higgins, E. T. (2011). Regulatory focus and anxiety: A self-regulatory model of GAD-depression comorbidity. Personality and Individual Differences, 50(7), 935–943. https://doi.org/10.1016/j.paid.2010.12.003Google Scholar
Martin, L. L., Ward, D. W., Achee, J. W., & Wyer, R. S. (1993). Mood as input: People have to interpret the motivational implications of their moods. Journal of Personality and Social Psychology, 64(3), 317–326. https://doi.org/10.1037/0022-3514.64.3.317Google Scholar
Mayer, J. D., Caruso, D. R., & Salovey, P. (2016). The ability model of emotional intelligence: Principles and updates. Emotion Review, 8(4), 290–300. https://doi.org/10.1177/1754073916639667Google Scholar
Mayer, J. D., Roberts, R. D., & Barsade, S. G. (2008). Human abilities: Emotional intelligence. Annual Review of Psychology, 59(1), 507–536. https://doi.org/10.1146/annurev.psych.59.103006.093646Google Scholar
Mayer, J. D., & Salovey, P. (1995). Emotional intelligence and the construction and regulation of feelings. Applied and Preventive Psychology, 4(3), 197–208. https://doi.org/10.1016/s0962-1849(05)80058-7Google Scholar
Mumford, M. D., Mobley, M. F., Uhlman, C. E., Reiter-Palmon, R., & Doares, L. (1991). Process analytic models of creative thought. Creativity Research Journal, 4, 91–122. https://doi.org/10.1080/10400419109534380CrossRefGoogle Scholar
Rhodes, M. (1961). An analysis of creativity. Phi Delta Kappan, 42, 305–311.Google Scholar
Runco, M. A., & Jaeger, G. J. (2012). The standard definition of creativity. Creativity Research Journal, 24(1), 92–96. https://doi.org/10.1080/10400419.2012.650092Google Scholar
Salovey, P., & Mayer, J. D. (1990). Emotional intelligence. Imagination, Cognition, and Personality, 9, 185–211. https://doi.org/10.2190/DUGG-P24E-52WK-6CDGGoogle Scholar
Schwarz, N. (2012). Feelings-as-information theory. In Van Lange, P. A. M., Kruglanski, A., & Higgins, E. T. (Eds.), Handbook of Theories of Social Psychology (pp. 289–308). Sage.CrossRefGoogle Scholar
Silvia, P. J., Rodriguez, R. M., Beaty, R. E., et al. (2021). Measuring everyday creativity: A Rasch model analysis of the Biographical Inventory of Creative Behaviors (BICB) scale. Thinking Skills and Creativity, 39, 100797. https://doi.org/10.1016/j.tsc.2021.100797CrossRefGoogle Scholar
Watson, D., & Clark, L. A. (1997). Extraversion and its positive emotional core. In Hogan, R., Johnson, J. A., & Briggs, S. R. (Eds.), Handbook of Personality Psychology (pp. 767–793). Academic Press. https://doi.org/10.1016/B978–012134645-4/50030-5Google Scholar
Widiger, T. A. (2009). Neuroticism. In Leary, M. R. & Hoyle, R. H. (Eds.), Handbook of Individual Differences in Social Behavior (pp. 129–146). Guilford Press.Google Scholar
Wong, C.-S., & Law, K. S. (2002). The effects of leader and follower emotional intelligence on performance and attitude: An exploratory study. The Leadership Quarterly, 13(3), 243–274. https://doi.org/10.1016/S1048–9843(02)00099-1CrossRefGoogle Scholar
Zhou, J., & George, J. M. (2001). When job dissatisfaction leads to creativity: Encouraging the expression of voice. Academy of Management Journal, 44(4), 682–696. https://doi.org/10.2307/3069410Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure no-reply@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×