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The Amusement Park Theory of Creativity, which represents both domain-specific and domain-general perspectives of creativity, calls for more research on how individual difference constructs are related to creativity at all ends of the domain-specificity and general spectrum. Toward this goal, this study examined emotional intelligence (using the Emotional Intelligence Scale) in relationship with both a domain-general measure (the Abbreviated Torrance Test for Adults) and a domain-specific measure (Kaufman Domains of Creativity Scale) in a sample of 281 Chinese undergraduates. Although emotional intelligence demonstrated no relationship with divergent thinking, it did positively predict all five domains of creativity on the self-report measure (ranging from 0.52 to 0.77). These findings add to the nuanced relationship between emotional intelligence and creativity and serve as a call for more work of this nature.

To study implicit concepts of creativity in computer science in the United States and mainland China, we first asked 308 Chinese computer scientists for adjectives that would describe a creative computer scientist. Computer scientists and non-computer scientists from China (N = 1069) and the United States (N = 971) then rated how well those adjectives described creative computer scientists using a 5-point Likert Scale. Factor analysis revealed that the concept of a creative computer scientist had four dimensions: (1) smart/effective, (2) outgoing, (3) creative thinking and (4) unsociable. Differences in the implicit concepts across disciplines, ethnicity, gender, age, and working experience were analyzed. We discuss the implications of these findings for our understanding of the domain specificity of creativity.

The present study examines the factor structure of a Chinese version of the Revised Creativity Domain Questionnaire (CDQ-R; Kaufman, Waterstreet, Ailaouni, Whitcomb, Roe, & Riggs, 2009) as well as its relation to Big Five personality traits within a Chinese sample (N = 787). Analyses indicate the appropriateness of the Chinese version of the CDQ-R in terms of internal consistency, factorial validity as well as convergent and divergent validity concerning the Big Five personality factors. Revealing some culture-specific variation, confirmatory factor analysis indicated a slight superiority of a five-factor model for this Chinese sample over the existing four-factor model established with American samples. This higher level of differentiation in terms of one factor of the creativity domain could be explained on the basis of the specific characteristics of the Chinese culture.

The "Learn to Think" (LTT) Intervention Program was developed for raising thinking abilities of primary and secondary school students. It has been implemented in more than 300 schools, and more than 200,000 students took part in the experiment over a 10"year span. Several longitudinal intervention studies showed that LTT could promote the development of students' thinking ability, learning motivation, and learning strategy as well as raise academic performance in primary schools. This article describes a study of the influence and the delayed effects of LTT on the scientific creativity of secondary school students. One hundred and seven students were selected from a secondary school, 54 of them participated in the LTT every 2 weeks and the rest had not. The intervention lasted 2 years, and the delayed effect was explored half a year after terminating the intervention. The Scientific Creativity Test for Secondary School Students was used four times from pre-test to delayed post-test. The results indicated that the LTT did promote the development of scientific creativity of secondary school students, and the effects on the scientific creativity were not necessarily immediate, but tended to be long-lasting. (Contains 7 tables and 7 figures.)

The article integrates the seven papers of the two special issues with a special focus on discussing the differences in people's beliefs about creativity between the Chinese and American cultures: How it is conceived, evaluated, and nurtured. It uses three metaphors to capture major differences in these aspects, and highlights areas with profound cultural variations in conceptions and creative education for future research.

Most studies of writers have focused on Western writers, including studies of personal characteristics and success. The Chinese culture has traditionally had a much different view of creativity. Would a study of modern Chinese writers mirror past Western findings, indicating that Chinese and Western conceptions of creativity may be converging, or would there be different results? This study examined 722 twentieth-century Chinese writers and yielded two main findings, which generally correspond to past, Western-based research. First, female writers, particularly poets and fiction writers, were more likely to suffer a personal tragedy than male writers. Second, writers who were politically persecuted were more likely to eventually receive an award than those not politically persecuted. Explanations and implications for future studies are then discussed. (Contains 4 tables.)

For much of 2020, countries around the world fought against the COVID-19 pandemic. Many countries went into lockdown to control the fast spread of the virus. The unusual restrictions and confinement of the lockdown brought about new challenges for people's everyday lives. With flexibility, adaptability, and problem-solving at the core of its nature, creativity has the potential to help people cope with harsh and uncertain circumstances. Were people more, the same, or less creative in their everyday life during the period of lockdown, and in which ways? What are the emotions and motivations underlying their creative or non-creative behaviors? The current study aims to explore these questions from a cross-cultural perspective. A total of 754 comparable employee samples from three Chinese and three German cities were asked about their moods during the lockdown period, their self-rated level of creativity in daily lives before and during the lockdown, and their motivations behind their creative activities. Significant increases in creativity were observed in all everyday activities in both countries with only two exceptions in the German sample. Despite minor differences, a common pattern was found across cultures: whereas the activating positive mood could directly lead to the increase in creativity in some everyday activities, such a direct Mood-Creativity link was limited in the activating negative mood circumstances. In such circumstances, motivation intervened to enable the link to creativity. It was also found that this indirect effect of motivation between mood and creativity was more pronounced with the German participants. [ABSTRACT FROM AUTHOR]

Although several investigations have found that poets tend to die younger than other types of writers, these studies often do not take into account variables of gender and culture. This study examines 1,987 deceased writers from four different cultures: American, Chinese, Turkish, and Eastern European. Both male and female poets had the shortest life spans of all four types of writers (fiction writers, poets, playwrights, and non-fiction writers), and poets had the shortest life spans in three of the four cultures (and the second shortest life span among Eastern European writers). Possible reasons for the poet's shorter life span are then discussed.