Principles for a Cultural Psychology of Creativity

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Children’s Creativity: A Theoretical Framework and Systematic Review (2018, background): “The way in which Csikszentmihalyi and other sociocultural theorists of creativity (Glǎveanu, 2010, 2014; Sawyer, 1999) describe creativity as nested within various levels of social organization already corresponds closely with the mechanisms and principles of a complex dynamic systems perspective.”
Potential Originality and Effectiveness: The Dynamic Definition of Creativity (2016, background): “Although this line of research has continued to be fruitfully pursued (Albert, 1983; Eysenck, 1995; Simonton, 1984, 1988), since Guilford’s presidential address (1950) attention has progressively shifted to the democratization of the phenomenon, comprising the study of qualities and abilities that c”
Creativity and innovation: Skills for the 21st Century (2018, background): “An important question is posited by Glaveanu (2010): Novelty? for whom? useful for whom?”
The psychology of creativity: A critical reading (2014, background): “This observation led me, previously, to define three main paradigms within creativity research: the He, the I, and the We (see Glăveanu, 2010a).”
The sociomateriality of creativity in everyday life (2013, background): “However, creativity research has long been characterized by what Glâveanu (2010) calls ‘‘he-creativity’’ and ‘‘Icreativity’’ respectively.”