Contemporary Studies on the Concept of Creativity: the East and the West

By W. Niu, Robert J. Sternberg. 2002

258 citations recorded by the source corpus.

Subfields: Experimental and Cognitive Psychology, Social Psychology

View Paper: https://www.semanticscholar.org/paper/4617ccb638b928c272276a03d5c56f702674bdf8

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In Experimental and Cognitive Psychology

In Social Psychology

Citations in the corpus

The Dark Side of Creativity (2015, background): “Cultures vary on the value placed on different facets of creativity; eastern cultures particularly consider moral goodness to be a key component [2].”
A Missing Piece of the Puzzle: The Organizational Context in Cultural Patterns of Creativity (2010, background): “Several critiques of this literature raised in a review by Niu and Sternberg (2002) are worth reiterating.”
Implicit Theories of Creative Ideas: How Culture Guides Creativity Assessments (2016, background): “For example, Niu and Sternberg (2002) identified that critics in China described the movie “Crouching Tiger, Hidden Dragon” as pedestrian, whereas American critics described the movie as highly creative, presumably because Chinese audiences had beenexposed tomany similar types ofmovies before,…”
Beyond Big and Little: The Four C Model of Creativity (2009, background): “Eastern conceptions, much more than Westerners, value the characteristic of “goodness,” including “moral goodness,” “contribution to the society,” as well as the “connections between old and new knowledge” (Niu & Sternberg, 2002; Rudowicz & Yue, 2000).”
Creativity of Chinese and American Cultures: A Synthetic Analysis. (2013, background): “Cultural variation may be relatively small and only expressed in certain areas (such as arts) or historical times (Niu & Sternberg, 2002, 2006; Rudowicz, 2003, 2004).”
Creativity.4in1: Four-Criterion Construct of Creativity (2014, result): “…participants compared with their Eastern counterparts (e.g., Jaquish & Ripple, 1985; Jellen & Urban, 1989; Kharkhurin & Samadpour Motalleebi, 2008; Niu & Sternberg, 2001; but see Niu & Sternberg, 2002, for a literature review showing opposite effect) could fall a victim to this conceptual flaw.”
Implicit Theories of Creativity Across Cultures (2008, background): “…in examining conceptions of creativity across and within cultures, particularly within the United States and East Asia (e.g., Chan & Chan, 1999; Niu & Sternberg, 2002; Rudowicz & Hui, 1997; Rudowicz & Yue, 2000; Runco, 1984; Runco & Bahleda, 1986; Sternberg, 1985, 1988; Sternberg, Conway,…”
Employee learning orientation, transformational leadership, and employee creativity: the mediating role of employee creative self-efficacy (2009, methodology): “Because the meaning of creativity varies in different cultures and domains (e.g., Niu & Sternberg, 2002), we conducted a focus group interview and developed four creativity items for insurance sales jobs in the company.”
The Impact of Culture on Creativity (2015, background): “…cultural differences in creative performance, often finding individuals from Asia (e.g., Japan and China) to be less creative than those from the West (e.g., U.S.) at a variety of laboratory tasks (Torrance, 1969; Ng, 2000; Niu and Sternberg, 2001, 2002, 2003; Noriko, Fan, and Van Dusen, 2001).”
The philosophical roots of Western and Eastern conceptions of creativity. (2006, background): “It has attracted the interest of many psychologists (e.g., Lubart, 1999; Niu & Sternberg, 2002; Lau, Hui & Ng, 2004; Rudowicz & Hui, 1997; Rudowicz & Yue, 2000).”
Counting the Muses: Development of the Kaufman Domains of Creativity Scale (K-DOCS) (2012, background): “Eastern conceptions are more likely to encompass moral goodness, societal contributions, and connections between old and new knowledge (Niu & Sternberg, 2002; Rudowicz & Hui, 1997; Rudowicz & Yue, 2000).”
A Dynamic Definition of Creativity (2019, background): “Some definitional proposals add additional criteria, that is, high quality (Sternberg & Lubart, 1995), contrasting with conformity (Niu & Sternberg, 2002), surprise (Boden, 2004), non-obviousness (Simonton, 2012), aesthetic and authentic (Kharkhurin, 2014).”