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Creativity has been studied for a long time and it has become a more significant topic of research in educational fields in recent decades. The present paper outlines a multivariate approach to creativity and substantiates this approach by investigating the creative process and multivariate factors through a creative course for master’s students at the University of Teacher Education in Switzerland. Our goal is to examine more specifically the stages of the creative process and the emerging multivariate factors in different creative activities. The article reports findings from the analysis of students’ creative report process diaries as well as semi-structured interviews. Drawing on experiential learning, this pilot study was conducted in collaboration with master’s student teachers (n = 10). The results show that the different microlevels of the creative process are the subject of variations from one creative experience to another. Most factors of the multivariate approach emerge from this kind of creative training. The discussion will allow for a review of the research results and also a better understanding of the creative process in the pedagogy of creativity.

To facilitate our interactions with the surroundings, the human brain sometimes reshapes the situations that it faces to simplify them. This phenomenon has been widely studied in the context of reasoning, especially through the attribute substitution error. It has however been given much less attention in the field of perception. Recent research on the bat-and-ball problem suggests that reasoners are able to intuitively detect attribute substitution errors. Using a perceptual illusion drawn from the field of magic, we investigate the extent to which a perceptual form of attribute substitution depends on executive resources and can be detected. We also investigate the relationship between susceptibility to attribute substitution error in the flushtration count illusion and in a French adaptation of the bat-and-ball problem. Finally, we investigate the link between the intuitive cognitive style (assessed by the cognitive reflection test) and the susceptibility to the flushtration count illusion. Our results suggest that participants do not detect perceptual attribute substitution error, that this phenomenon could be independent of the executive resources allocated to the task, and could rest on mechanisms distinct from those that produce errors in reasoning. We discuss differences between these two phenomena, and factors that may explain them.

Although diverse European policy initiatives have been developed to integrate young NEETs – “Not in Employment, Education or Training”, it is particularly relevant to question how NEETs are perceiv...

In this chapter, two exercises were presented to help arts students to be more creative during their sculpture courses: one exercise sought to develop the flexibility and the other tried to improve the social interactions. Based on literature review and previous interviews with professional artists, these two factors appear important for creativity. Twenty-five art students participated, split into two groups: a flexibility group and a social group. We tested the effects of each exercise on the creative process and the multivariate factors (cognitive, conative, emotional, and environmental) involved in it.

Cet article presente une etude concernant le developpement de la flexibilite cognitive et des relations interpersonnelles dans le cadre de la resolution d’une tâche de creation artistique. Des exercices ont ete proposes a des etudiants en arts plastiques afin de les aider a developper leur creativite. Grâce a des comparaisons pre-/post-test, cette etude a permis de mettre en evidence la possibilite, par des exercices simples, de modifier des aspects specifiques du processus creatif. Cette recherche illustre des pistes de creation pedagogique afin de favoriser la demarche creative puisque nous avons montre que, selon le profil des etudiants, certains ont besoin de renforcer leur flexibilite et d’autres le lien social. Il s’agit d’une pedagogie differenciee pour la creativite ou l’apprentissage de la creativite serait differencie selon le profil des apprenants.

Since Wallas’ (The art of thought. Harcourt, Brace and Company, New York, 1926) four-stage model, the sequential perspective on the creative process may be questioned. The creative process as a dynamic phenomenon is examined in this chapter. In order to understand how the creative process is dynamic, we start by examining the nature of dynamic processes in other fields such as education, cognitive science, health and social psychology. Based on the understanding of these dynamic processes, we develop hypotheses and observations on the dynamics of the creative process. This approach involves new methods to assess the complexity of the creative process.

Within the literature on creativity in the arts, some authors have focused on the description of the artistic process (Patrick, 1937; Getzels and Csikszentmihalyi, 1976; Mace and Ward, 2002; Yokochi and Okada, 2005) whereas others have focused on the creative process (Wallas, 1926; Osborn, 1953/1963; Runco and Dow, 1999; Howard et al., 2008). These two types of processes may be, however, somewhat distinct from each other because the creative process is not always dedicated to artistic creation, and productive work in the arts may not always involve creativity, in terms of specifically original thinking. Our goal is to identify the specific nature of the artistic creative process, to determine what are the basic stages of this kind of process. This description can then be integrated in a Creative process Report Diary (CRD; Botella et al., 2017) which allows self-observations in situ when participants are creating.

Although creativity has drawn the attention of researchers during the past century, collaborative processes have barely been investigated. In this article, the collective dimension of a creative process is investigated, based on a dynamic and ecological approach that includes an affective component. Dynamic means that the creative process is no longer considered as sequential, and ecological, that the individuals were observed in their normal place of creation. This study was conducted with science students that were required to carry on a research project during 15 weeks in small groups. The results tend to confirm the hypothesis of a nonlinear process, with important variations of the affects depending on the stage. Moreover, each group creative process seems to be specific. The relation between the social functioning of the group and the process is also discussed. Finally, because it is a part of any teamwork, verbalization is proposed as a new powerful tool to investigate creative process.

The visual arts have traditionally been treated as a major domain of creative activity and were the subject of some of the first empirical studies of creativity, such as Patrick’s seminal research (Patrick in Archives of Psychology 178:1–74, 1935; Journal of Psychology 4:35–73, 1937). In this chapter, the artistic creative process will be examined through: (1) interviews of professional artists, (2) observations of art students in real contexts, and (3) exercises proposed to art students to develop their creative process; the creative process will be examined with a particular attention paid to the factors involved in artistic creativity using the multivariate approach to creativity. This approach describes four main categories of factors: cognitive, conative, emotional, and environmental factors (Lubart et al. in Psychologie de la creativite. Armand Colin, Paris, 2015).

Creativity is often described as an essential aspect of the innovative design process. As such, many authors have proposed models aiming to describe existing creative practices, both at the macro level—i.e. the stages involved in a creative process—and at the micro level—i.e. the underlying cognitive processes. Conversely, many other models are of a prescriptive nature: their goal is not to describe existing practices, but to structure them in order to help professionals deal with the uncertainty that is inherent to creativity. Whatever the type, such models aim to answer the following question: how can creative work be structured in order to ensure the optimal deployment of creative potential? The multivariate approach posits that creative behaviour is made possible by interactions between multiple resources including cognitive, conative, emotional and environmental factors. Like existing models, the multivariate approach has shown potential for both descriptive and prescriptive modelling of the creative process. In this chapter, we will review existing research on the multivariate approach of creativity. We will begin by describing the theoretical and methodological background of such models. We will then go on to describe some of the results obtained by multivariate modelling of the creative process in recent years. Finally, we describe some prospects for future research, specifically concerning prescriptive modelling—that is, the design of the creative process.

Research on creative artists has examined mainly their personality traits or cognitive abilities. However, it seems important to explore also their emotional traits to complete the profile. This study examines two emotional characteristics: alexithymia and affect intensity. Even if most research suggests that artists are less alexithymic and experience more intensively their emotions, Botella, M., Zenasni, F., and Lubart, T. (Psychology of Aesthetics, Creativity, and the Arts, 5, 251, 2011) observed that art students were as alexithymic as psychology students and more alexithymic than a normative population. The aim of this study was to examine these issues with artists and non-artists and to compare artists to art students. Results indicate that artists are less alexithymic and present higher affect intensity than non-artists. Moreover, results show that art students present more difficulties processing their emotions than artists.

Depuis les années 2000, le nombre de publications sur les liens entre émotion et cognition ne cesse de croitre, confirmant une intuition vieille de plusieurs siècles selon laquelle l’émotion est un paramètre incontournable du processus d’apprentissage. Dans le domaine de la didactique des langues, c’est la perspective actionnelle qui est mise à l’honneur par les auteurs du Cadre européen commun de référence pour les langues : apprendre, enseigner, évaluer (CECR) depuis 2001. Or, la pédagogie par le projet s’inscrit dans cette visée actionnelle qui consiste à apprendre par l’agir, en effectuant des tâches qui répondent à un besoin et ont un sens (CECR, 2001, p. 16). Quel est l’impact de la pédagogie par le projet sur le climat émotionnel dans lequel se déroule l’apprentissage linguistique ?L’objet de cet article est de présenter les résultats d’une enquête menée auprès d’une centaine d’étudiants suivant les cours de langues à l’Institut des langues vivantes de l’Université catholique de Louvain (UCL), à Louvain-la-Neuve (Belgique). La recherche a permis de mesurer les émotions (émotions positives et négatives, ainsi que le stress) et les caractéristiques sociales des étudiants (estime de soi et support social) avant et après leur implication dans la création d’évènements « hors classe » en langue cible et intégrés dans le cursus scolaire. Les résultats montrent que la pédagogie par le projet a un impact émotionnel positif si le produit final de l’activité est clairement visualisé par les étudiants et si le projet proposé est en adéquation avec la filière professionnelle de ceux-ci. Since the year 2000, the number of publications on the links between emotion and cognition has grown and grown, confirming an intuition several centuries old that emotion is an important variable in the learning process. At the same time, in the field of language didactics the action-oriented approach is recommended by the Common European Framework of Reference for Languages: Learning, Teaching, Assessment (CEFR, 2001). Project-based learning uses this action-oriented approach, which involves learning by doing, carrying out tasks that respond to a need and which have a purpose or sense (CECR, 2001, p. 16). What is the impact of project-based learning on the emotional climate in which language learning takes place?The aim of this article is to present the results of a survey conducted with 100 students of the Institute of Modern Languages (ILV) of the Université catholique de Louvain (UCL) in Louvain-la-Neuve (Belgium). The survey measured positive and negative emotions, self-esteem, stress and social support before and after participating in a project which takes place outside the classroom but is intergrated into the school curriculum—in the target language. The results show that action-oriented pedagogy has a good emotional impact if the aims of the project are clearly defined and if it bears some relation to the students’ chosen career path.

The creative process in artistic work is examined. The creative process has often been considered in terms of a sequence of stages that leads to a creative product. A dynamic approach to the artistic creative process, including an affective component is proposed. Two studies with art students were conducted. Results support our hypothesis that the creative artistic process is not exclusively sequential and linear. Moreover, students' affects tended to vary at each phase of the creative process.

This article aims to validate the factorial structure of the perceived stress scale (PSS10) within the French working population. The analyses conducted confirmed the presence of two distinct factors, interpreted in terms of perceived work overload and perceived personal efficacy. Both factors presented good internal consistency and adequate validity of construct. The authors show and illustrate the predicted link between the two factors and the levels of anxiety and depression. Thus, the PSS 10 is a bi-dimensional scale with satisfactory psychometric proprieties. The results are discussed in the light of their theoretical and practical implications.

Hyperthermic intraperitoneal chemotherapy (HIPEC) after complete surgical resection is currently accepted as a therapeutic option for peritoneal carcinomatosis. However, considerable morbidity is reported after HIPEC.We aimed to evaluate the impact of HIPEC on the quality of life (QoL) of survivors without recurrences of disease according to socio-demographic and medical variables. For that purpose, HIPEC was used as a global concept including the surgical procedure effects.A cross-sectional study was performed by analyzing questionnaires concerning socio-demographic data, the psychological status, and general and specific QoL scores.Sixty-eight patients (86% of those contacted) completed and returned mailed questionnaires. For 19/21 QoL dimensions explored, survivors reported good to very good QoL with a median score/=67%. The two adversely affected dimensions were future prospects and sexual functioning with a mean score of 57% and 23%, respectively. The burden of carcinomatosis, evaluated by a peritoneal index, was not correlated with statistically identified sequels in QoL. The extent of morbidity due to HIPEC, evaluated by the hospital stay, was statistically correlated with only one score, namely, embarrassment during social activities (p = 0.01) but not during familial life.Even though HIPEC is considered as an aggressive treatment, survivors reported good to very good QoL. However, specific care for the psychological aspect, as reflected by anxiety regarding future prospects and sexual activity, needs to be developed for survivors.

Les objectifs de cette recherche sont de (1) presenter l’adaptation francaise du Patient Generated Index (PGI, [17]), (2) tester ses qualites psychometriques et (3) d’examiner les limites pratiques de cet outil. Pour ce faire, deux etudes ont ete conduites. La premiere est une etude qualitative avec 18 participants qui ont indique leurs difficultes et leurs commentaires pour completer la premiere traduction a rebours du questionnaire. La seconde etude teste les qualites psychometriques de la version francaise adaptee et revisee du PGI sur 97 patients traites pour un cancer. Pour tester la validite de critere de l’outil, ils ont aussi rempli le Quality of Life Questionnaire C30 (QLQ-C30), le Profile Of Mood States (POMS) et le Satisfaction With Life Scale (SWLS). Au regard des resultats, le PGI presente une bonne sensibilite et validite. Neanmoins une stabilite test-retest semble etre a ameliorer.

Since Wallas (1926), the description of the stages of the creative process concerned creativity in general, including art, science, design or music. But what about differences in the creative process between different fields of endeavor? The objectives of this chapter are to describe creative processes respecting an ecological approach by observing the process in its natural context. Analyses of the transitions between process stages, by domain and across domains, show specific patterns underlying creative work. In this chapter, a new vision of the creative process across fields is offered. Issues of process-related domain specificity are discussed.

Some studies have shown that burnout may have a negative impact on clinical empathy during internship. However, clinical empathy may also be a protective factor, preventing residents from experiencing burnout. Although several quantitative studies have been conducted to examine these relationships between burnout and empathy, no qualitative studies have been carried out. To examine how residents in general practice evaluate the link between burnout and empathy, 24 of them participated in a semi-structured interview. A thematic analysis was carried out to examine residents' discourses and answers to closed questions. The results indicated that residents thought that empathy and burnout were clearly related in different ways. They identified five types of relationship: regulation strategy, empathy as protection, psychological balance/imbalance, fatigue and moderating factors.

Overexcitability corresponds to an overall response to stimulations in 5 domains: psychomotor, sensual, intellectual, imaginational, and emotional. The aim of this study was to develop a French version of the Overexcitability Questionnaire 2 (OEQ2) and to expand its psychometric properties. Two studies were conducted: one with a sample of 474 adolescents and another with a sample of 436 adults. Internal consistency, factorial structure, and validity (correlations with intelligence, personality, and alexithymia) were examined. The French OEQ2 showed satisfactory psychometric properties, thus advocating for its use in further research on overexcitability and in clinical practice.

Resume Les mesures de satisfaction au travail en un seul item presentent plusieurs avantages, neanmoins il existe encore des debats sur leur utilisation. Dans cet article, nous discuterons les avantages et les inconvenients de ce type de mesure, puis nous presenterons trois etudes empiriques qui visent a comparer les resultats de l’evaluation de la satisfaction au travail avec des mesures qui, en theorie, doivent etre liees avec elle (stress percu, detresse psychologique, satisfaction avec la vie). Les resultats tendent a mettre en evidence que la mesure de la satisfaction au travail en un item demeure une evaluation valide. En effet, d’une part, les correlations observees entre la mesure en un item et les mesures globales et multifactorielles de la satisfaction au travail sont satisfaisantes (.65 a .85). D’autre part, les correlations observees sur d’autres mesures pertinentes au domaine de la sante au travail sont toutes significatives (p

Quality of life at work: A goal to pursue or a concept to be assessed? J.L. Tavani *, G. Lo Monaco , L. Hoffmann-Herve , M. Botella , J. Collange a,c a EA 4469, laboratoire adaptations travail-individu, universite Paris Descartes, 71, avenue Edouard-Vaillant, 92774 Boulogne-Billancourt cedex, France b LPS EA 849, Aix-Marseille universite, 13621 Aix-en-Provence, France c Universite Paris Descartes, 71, avenue Edouard-Vaillant, 92774 Boulogne-Billancourt cedex, France Recu le 24 decembre 2013 ; accepte le 1 janvier 2014

This article aims to validate the factorial structure of the perceived stress scale (PSS10) within the French working population. The analyses conducted confirmed the presence of two distinct factors, interpreted in terms of perceived work overload and perceived personal efficacy. Both factors presented good internal consistency and adequate validity of construct. The authors show and illustrate the predicted link between the two factors and the levels of anxiety and depression. Thus, the PSS 10 is a bi-dimensional scale with satisfactory psychometric proprieties. The results are discussed in the light of their theoretical and practical implications.