Several meta-analyses have shown that personality traits are associated with creativity. However, different authors have recently raised an issue concerning the dependency of this relationship on the ...used creativity measure. The aim of this study was to examine the relationship between personality and creativity on a Pro-c level, in a sample of a cappella singers, using different measures of creativity, and looking at different levels of the personality hierarchy. In total, 128 subjects (64% female) took part in the study (mean age M = 37.93, SD = 10.08, Mdn = 38.00). Participants were members of 18 conveniently sampled traditional Croatian a cappella, klapa singing groups. Participants reported on their personality, with scores obtained on both factor and facet level of analysis, while assessments of creativity and creative achievements were obtained from the participants and two other members of the group. The results showed that openness as a factor and openness facets were significant and the most important predictors across different creativity measures. Self-reported personality explained more variance in self- than in other-reported creativity measures. Personality facets explained more variance than personality factors for self-reported creativity level and creative achievements, although this increase in the explained variance was significant only for self-reported creativity level. The results of this study indicate that the personality-creativity association differs depending on how creativity is measured.
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In recent decades, research has shown that one set of individual factors contributing to creative self-beliefs are personality traits, with openness showing the strongest relationship. However, these ...associations have been studied at higher levels of the personality hierarchy and mostly in non-musician samples. The aim of this study was to examine the relationship between personality (measured at factor and facet levels) and two types of creative self-beliefs, trait-like creative self-efficacy (tCSE) and creative personal identity (CPI), in a sample of a cappella singers. A total of 128 individuals (64% women) participated in the study. Participants were members of 18 conveniently sampled traditional Croatian a cappella groups. Personality factors and facets were measured with the BFI-2 questionnaire (Soto & John, 2017), while creative self-beliefs were measured with the Short Scale of Creative Self (Karwowski et al., 2018). At the factor level, openness had the highest correlation with both tCSE and CPI. At the facet level, the highest correlations with tCSE were found for creative imagination, an openness facet, and energy level, an extraversion facet, while with CPI for all openness facets, creative imagination, aesthetic sensitivity and intellectual curiosity. In linear regression analyses, the only significant predictors of CPI were openness at the factor level and creative imagination at the facet level. Significant predictors of tCSE were openness and neuroticism at the factor level and creative imagination and sociability at the facet level. Personality facets explained more variance in both types of creative self-beliefs than factors.
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Temeljno obilježje vidnoga radnog pamćenja jest da preciznost dosjećanja opada porastom broja podražaja koji se pamti. Ovaj se nalaz tumači kao posljedica raspodjele ograničene količine resursa, pri ...čemu porastom broja podražaja koji se pamti pada količina resursa pridana svakom podražaju. Nedavna istraživanja pokazuju kako dosjećanje u zadacima vidnoga radnog pamćenja ovisi i o karakteristikama seta podražaja koji se pamti. Konkretno, u zadatku pamćenja jednostavnih vidnih karakteristika dvaju podražaja (npr. orijentacije) dosjećanje jednog podražaja karakterizira sustavna pogreška u smjeru drugog zapamćenog podražaja, tzv. efekt privlačenja. U ovom smo istraživanju željeli provjeriti koliko je ovaj efekt otporan na eksperimentalne manipulacije preciznosti pamćenja podražaja. U četiri su eksperimenta sudionici (N = 33) pamtili i dosjećali se istovremeno prikazanih orijentacija podražaja. U prvom je eksperimentu redoslijed dosjećanja odabiran po slučaju; u drugom su eksperimentu sudionici trebali samostalno birati redoslijed kojim će se dosjećati, a u trećem i četvrtom eksperimentu redoslijed dosjećanja ponovno je odabiran po slučaju, no sudionicima je na svakoj sekvenci unaprijed (eksp. 3) ili unatrag (eksp. 4) signalizirano kojeg će se podražaja najvjerojatnije morati dosjetiti prvog. Efekt privlačenja bio je vidljiv u sva četiri eksperimenta, i to pri dosjećanju obaju podražaja. Ovo istraživanje demonstrira robusnost efekta privlačenja u vidnom radnom pamćenju, što implicira da mehanizmi u podlozi tog efekta nisu podložni korekciji, odnosno da su sastavni dio temeljnih procesa kodiranja vidnih podražaja.
One of the basic characteristics of visual working memory (VWM) is that recall precision declines with the number of items to be memorised. This
finding is interpreted as a consequence of the allocation of a limited pool of resources, whereby the amount of resources allocated to each item drops with each additional stimulus. Recent studies show that recall in VWM tasks also depends on the characteristics of the stimulus set which is to be memorised. Specifically, when memorising simple visual features of two stimuli (e.g. their orientations), the recall of one stimulus's features is marked by a systematic bias towards the other
stimulus's features. In this study, we wanted to examine how robust this effect is to experimental manipulations of memory precision. In four experiments, participants (N = 33) memorised and recalled the orientations of two simultaneously presented stimuli. In the first experiment, the recall order was chosen at random. In the second, participants had to choose the recall order themselves. In the third and
fourth experiments, recall order was again chosen at random, but participants were presented with a cue before (exp. 3) or after (exp. 4)
the stimuli were displayed, which indicated which of the stimuli is most likely to be recalled first. The attraction effect was observed in all four experiments and affected the recall of both stimuli. This study
demonstrates the robustness of the attraction effect in VWM, implying that the mechanisms underlying the effect are not susceptible to correction, or in other words, that it is a part of the fundamental processes of coding visual stimuli.
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U ovom preglednom radu iznose se aktualne definicije i suvremena saznanja o etiologiji narcističkog poremećaja
ličnosti. Obuhvaćanjem literature bazirane na subkliničkim, kao i one koja se temelji na ...kliničkim manifestacijama
narcizma ovaj rad nastoji pružiti cjelovitu sliku narcizma kao dimenzije individualnih razlika u široj populaciji
čije razvojne putanje mogu rezultirati ekstremnim ponašajnim obrascima službeno prepoznatima dijagnozom
narcističkog poremećaja ličnosti. Glavna svojstva narcizma predstavljena su u okviru strukturnih i procesnih
konceptualizacija, uz poseban naglasak na distinkciju između njegovih grandioznih i vulnerabilnih aspekata,
te njihovu paradoksalnu simultanu ekspresiju kod kliničkih slučajeva. Razmatranja multifaktorske etiologije
narcističkog poremećaja ličnosti, koja se najbolje može razumjeti unutar šireg konteksta razvoja ličnosti, organizirana
su prema dijateza-stres modelu po kojemu maladaptivna socijalizacijska iskustva aktiviraju latentne genetičke i
temperamentne predispozicije za razvoj narcističkih crta.
In recent decades, research has shown that one set of individual factors contributing to creative self-beliefs are personality traits, with openness showing the strongest relationship. However, these ...associations have been studied at higher levels of the personality hierarchy and mostly in non-musician samples. The aim of this study was to examine the relationship between personality (measured at factor and facet levels) and two types of creative self-beliefs, trait-like creative self-efficacy (tCSE) and creative personal identity (CPI), in a sample of a cappella singers. A total of 128 individuals (64% women) participated in the study. Participants were members of 18 conveniently sampled traditional Croatian a cappella groups. Personality factors and facets were measured with the BFI-2 questionnaire (Soto & John, 2017), while creative self-beliefs were measured with the Short Scale of Creative Self (Karwowski et al., 2018). At the factor level, openness had the highest correlation with both tCSE and CPI. At the facet level, the highest correlations with tCSE were found for creative imagination, an openness facet, and energy level, an extraversion facet, while with CPI for all openness facets, creative imagination, aesthetic sensitivity and intellectual curiosity. In linear regression analyses, the only significant predictors of CPI were openness at the factor level and creative imagination at the facet level. Significant predictors of tCSE were openness and neuroticism at the factor level and creative imagination and sociability at the facet level. Personality facets explained more variance in both types of creative self-beliefs than factors.
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Temeljno obilježje vidnoga radnog pamćenja jest da preciznost dosjećanja opada porastom broja podražaja koji se pamti. Ovaj se nalaz tumači kao posljedica raspodjele ograničene količine resursa, pri ...čemu porastom broja podražaja koji se pamti pada količina resursa pridana svakom podražaju. Nedavna istraživanja pokazuju kako dosjećanje u zadacima vidnoga radnog pamćenja ovisi i o karakteristikama seta podražaja koji se pamti. Konkretno, u zadatku pamćenja jednostavnih vidnih karakteristika dvaju podražaja (npr. orijentacije) dosjećanje jednog podražaja karakterizira sustavna pogreška u smjeru drugog zapamćenog podražaja, tzv. efekt privlačenja. U ovom smo istraživanju željeli provjeriti koliko je ovaj efekt otporan na eksperimentalne manipulacije preciznosti pamćenja podražaja. U četiri su eksperimenta sudionici (N = 33) pamtili i dosjećali se istovremeno prikazanih orijentacija podražaja. U prvom je eksperimentu redoslijed dosjećanja odabiran po slučaju; u drugom su eksperimentu sudionici trebali samostalno birati redoslijed kojim će se dosjećati, a u trećem i četvrtom eksperimentu redoslijed dosjećanja ponovno je odabiran po slučaju, no sudionicima je na svakoj sekvenci unaprijed (eksp. 3) ili unatrag (eksp. 4) signalizirano kojeg će se podražaja najvjerojatnije morati dosjetiti prvog. Efekt privlačenja bio je vidljiv u sva četiri eksperimenta, i to pri dosjećanju obaju podražaja. Ovo istraživanje demonstrira robusnost efekta privlačenja u vidnom radnom pamćenju, što implicira da mehanizmi u podlozi tog efekta nisu podložni korekciji, odnosno da su sastavni dio temeljnih procesa kodiranja vidnih podražaja.
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