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DISCOURSE AS A FORM OF MULTICULTURALISM IN LITERATURE AND COMMUNICATION

SECTION: PSYCHOLOGY AND EDUCATION SCIENCES Arhipelag XXI Press, Tîrgu Mureș, 2015, ISBN: 978-606-8624-21-1

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THE PSYCHOLOGY OF MATHEMATICAL CREATION AND THE EMOTIONAL

INTELLIGENCE

Aurel Pera

Assoc. Prof., PhD, University of Craiova

Abstract: Scientific research puts particular emphasis on contemporary and inventive heuristic basic

elements of scientific progress means and ends. In this context, methodological, psychological and

procedural issues implemented in the education process essential to solve the non-stereotypical character

problems in the learning process, must become strong concern for the psychology of creativity. Moreover,

since a goal of contemporary education is the stewardship student in the educational process, so as to

form those cognitive structures, enabling them to adjust the most of their thinking activities, able to find

the information necessary to transform and build upon its plans and activities worthy of what is called

heuristic.

In this study we aimed revealing the two- way strengths that exist between creation math and

emotional intelligence, analyzing the psychological levels of emotional intelligence training and creation

of mathematical type; how they are perceived, evaluated and expressed emotions as emotional facilitated

mathematical thinking, how to regulate emotions to develop mathematical cognitive behavior type,

finally, how do we define and reveal the relationship between processuality creative performance by

generating new and creative personality; to what extent is relevant psychometric model type by three

groups of factors (intellectuals, attitude, motivational) for creation of mathematical psychology.

Keywords:math creation, emotional intelligence, creative performance, creative personality, creativity

factorial design, psychometric model of creativity.

1. Heuristics and emotional intelligence

We can not analysis the methods and procedures that must form the students in the

educational process, essential to solving non-stereotype problems purpose, differentiating

standard rules (algorithms) of heuristics without making a brief reference may insufficiently



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justified on context, Henri Wallon who has always refused to separate psychological theory and

its applications to the pedagogy and psychology were inseparable since they were considered

two complementary moments of "same experimental attitude"1.

H. Wallon was particularly interested in the relationship between psychology and

education, but refused to believe that they are the relationship between a normative science and

applied one. In his conception, the child can not work in conjunction disclose only by means of

tools that provides both the language and the material objects around him. His work is shaped by

those instruments and fund concepts that builds representation about things that usually precedes

thinking, emerges from this practice.

In this way, H.Wallon stresses that there is a vacuum in between social and individual,

but rather, that demonstrates unfitness are related to system activity whose psychological

structure or structures should be changed instinctive technical or social life.

Understanding the problem be attributed to psychogenic human study, stating that the

child's mental development consists of stages that are not strictly chained to one another, as

stated J. Piaget. Between stages there is only a subordinate and not a functional orientation

identity. Always, old activities are dominated by newer ones.

Among mental functions, integration is more complex and more fragile because it can be

confirmed or compromised substantially through education. This, however, will not be able to

dispense oriented analysis and intellectual development of autonomous decision, for which the

child must be studied in all stages and in all its manifestations2.

1 Regarding the presentation of the life and work of H. Wallon can study the work of M. Tran-Thong, La pensee

pedagogigue d 'Henri Wallon, Paris, PUF 1969. 2 In publications and its preferences, Henri Wallon addressed various issues of pedagogy: developing new

educational movements, sports and loopholes, an integral education needs and conditions; professions training

requirements; misfit pedagogy and mental disabilities; career guidance; modern educational techniques. His

thinking is based on the idea pedagogical total development of the person and the stimulation of creative

activity of the child. Educational mistake he said, is that to "underestimate early stages and enforce child

prematurely ways of thinking and acting that occur at the latest, the adult" (N. Wallon, l'reform of universality,

«Enfance", special Issue: Psychologie et de l'enfance Education, 1969).



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As taken in another context3, a goal of contemporary education is the stewardship

students in the educational process, so as to form those cognitive structures, enabling them to

adjust the most of their thinking activities able to find the necessary information to transform,

develop based on its plans and activities worthy of what is called heuristic.

Heuristic does not propose to examine the analysis, synthesis, generalization that thinking

activities, but the means by which different operations are divided into complex formations are

trying to find logical forms of description, representing the structure of the business as a business

model or as a numerical processing program information, in terms of problem solving, program

and operational structure which is given to solve.

In developing heuristic as pedagogical problem, it is D. Polya (1998) merit which has

two objectives:

• understanding the means by which one may find a viable solution mathematics;

• demonstration that side of mathematics in which it appears to us not as a deductive

system already built, but as something which creates and builds.

Also D. Polya formulates a number of general rules that underlie search methods for

solving a problem and that, in his view, the teacher must take into account when we refer the

student to the independent findings. It is about understanding the problem, write a draft, the

introduction of symbols corresponding to the requirements and conditions carefully studying the

issue, the fragmentation conditions in parts and preparation plan for solving4.

Depending on the content issues, the literature provides two ways to simplify systems

analyzed separation concurrent interactions to determine to diverge and preliminary convergence

of a number of situations. Thus, the methods of heuristic type divergent linked, usually by

customizing the problem, namely the establishment of a certain dependence in a series of cases

and examples particular context in which particular interest is the extreme cases, as dependencies

3 Aurel Pera, ,,Gândirea Matematică – un model de reprezentare, proiectare şi creativitate‘‘, în Cercetări

filosofico-psihologice, nr. 1. Anul III, ianuarie-martie, Bucureşti, Academia Română, 2011. 4 Polya, G., Les Mathematique et le raisonnement „plausible”, Paris, 1998.



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seeker manifested in their critical aspect, specific basic operations that form the structure of

heuristic procedures, determining the content of problematic situations.

Scientific personalities who have dealt the issue of innovation and creativity reveal that

one of the fundamental principles of their concerns in relation to implementation.

For some, creativity lies in "combining concepts" (Leclerc), for others, the ability to

rearrange and networking field elements in an original consciousness (A. Moles), "the

association of related concepts removed" (Mednick), "networking concepts, ideas belonging to

different planes of knowledge or bi-associative "(Koestler). After Einstein, the essential

characteristic of creative thinking is "combinatorial game." Gutenberg invented the technique by

combining two previously non-relational elements. So he combined the grape press technique

with the wood engraving technique (M.Roco, 2001, p.31-32).

Other authors, stated M. Roco, tried to develop methods to stimulate creativity based on

the principle of combining and non-combining: morphological method (Zwicky), the

introduction of mathematics and information process modeling heuristics (G. Kaufmann).

The same author shows that to C. Bernard, based on rational thought was creative. After

Descartes, the discovery is a matter solely by reason. Pascal appreciates the imagination, mistress

of error and falsehood considered not only delay or compromise the creative process. Claude

Bernard has always felt that sense initiative, where the invention is one that generates it intuition,

so important to the creation5.

Freud, Jung, Adler had the merit of being revealed phenomena role «irrational» (those

that are not rational, not dependent on logical thinking) in creation. Bergson emphasized the role

of intuition in creation as revealed H.Poincaré essential contribution of the creative unconscious.

Reflections on the importance of intuition and the unconscious were taken by Lewin, Rogers and

Muchielli group and extended techniques for optimizing and streamlining intra-group relations

(M. Roco, 2001).

5 Amănunte legate de aceste aspecte se găsesc în Roco, M., Creativitate şi inteligenţă emoţională, Iaşi,

Polirom, 2001.



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The main reason for creativity by C. Rogers (1961), is the human tendency to actualize

himself, to become what is potentially the tendency of the body to form new relationships with

the environment, in its endeavor to be more fully «selves» itself6.

Rollo May (1975.1980) consider creativity as a fundamental manifestation of the man

who fulfills his being in the world. He takes over the definition of creativity in Webster and

agreeing that it constitutes a "process of creation", the bringing into existence in this way he

objected vision psychoanalytic creation, showing that creative process needs to be explored not a

product disease, but representing the highest degree of emotional health as an expression of

normal people act in their own updates7.

The same route follows also the approach of Freudian analysis work of art, in general, at

the dream, speaking in this connection of content latent artwork, content aggregating a number of

repressed wishes, investing artist the message of his work.

The merit of having examined the dynamics of the creative process, creative interaction

unconscious conscious, it comes nevertheless to psychoanalysts. Regarding the role of emotional

intelligence in the act of creation, Steve Hein (1996) put a presentation of it by consulting the

latest works. In his view, there are many people who offer their own definitions of emotional

intelligence8.

Peter Salovey and John Mayer published the first precise definition of emotional

intelligence in 1990. At that time, Mayer and Salovey with M. Di Paolo published the first test of

emotional intelligence skills. Since then, Mayer and Salovey have been placed at the forefront of

scientific approach to the problem, their names are often associated with this concept9.

6 Dincă, M., „Direcţii teoretice în abordarea creativităţii", în Studii şi sinteze de psihologie contemporană,

Bucureşti, Editura Academiei Române, 2000, p. 50. 7 May, R., The Courage to Create, Toronto, New York, Londra, Sidney, Bantam Books, 1980. 8 Dincă, M., op.cit. p. 54. 9Ibidem, p. 57.



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In his 1995 book, Daniel Goleman10

has formulated the definition of emotional

intelligence based on the work of Mayer and Salovey from 1990's. However, Goleman added

much to what he described as emotional intelligence, making it alone, without the support or

consent of the academic community. So he added a few variables that could be better called

'personality and character traits "only components of emotional intelligence. For example, he

showed optimism, perseverance and the ability to defer gratifications as major aspects of

emotional intelligence.

It included also one of his favorite research themes, which he calls "flow" (flow). It is

written on a subject that you study meditation, Eastern religions and transformed states of

consciousness. He concludes that emotions have a role in its reasoning. Emotional capacity

guides the moment of decisions, working in collaboration with the rational mind helping - or

conversely - thinking. ,, The logic of the emotional mind, he says, is associative; it involves

elements that symbolize reality or trigger a memory that correspond to this reality. Therefore

smiles, metaphors and images directly addresses the emotional mind, like fine arts, novels, film,

poetry, music, theater, opera (D. Goleman, 2005, p. 363).

Goleman's book about emotional intelligence has managed to become known, many

accepting the broad definition of emotional intelligence developed by it.

Currently, there is still disagreement: whether emotional intelligence is more innate

potential, or whether it represents a set of skills, competencies and skills learned. The author

argues that, unlike the degree of intelligence, which remains the same throughout life or

personality that does not change based on emotional intelligence skills are learned skills. ,, While

emotional intelligence determines our potential to learn the fundamentals of self and other, our

emotional competence shows how much of that potential we have accumulated forms that can be

translated into practically applicable skills" (Goleman D., 2005 p. 15).

10 Lucrarea lui D. Goleman a apărut şi în limba română, în două ediţii, Inteligenţa emoţională, Bucureşti,

Curtea Veche, 2001, 2005.



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If Peter Salovey's model and John Mayer is well rooted in the tradition of intelligence and

Reuven Bar-On's model is based on his study of personal welfare, as after Daniel Goleman

himself acknowledges, his model of emotional intelligence,, focuses on achieving performance

in the workplace and on ability to drive organizational combining IE theory with decades of

research on modeling skills delineating peak performers middle men"(p. 12).

S. Hein, analyzing D. Goleman's statement recorded before, considers that it omits the

first existence of differences in innate genetic potential for emotional intelligence. On the other

hand, Goleman's assertion that personality does not change throughout life, is at odds with his

vision about emotional intelligence in personality structure that includes aspects such as

optimism and perseverance. In other words, according to Goleman, any man can raise the level

of emotional intelligence through education and exercises, but some components of emotional

intelligence are treated as attributes of personality and so it might change during the life of the

individual (Goleman, 2005).

Salovey, P. and Sluyter, D. (1997) showed that emotional intelligence is defined in terms

of the skills involved. Thus, in one of the first definitions considered emotional intelligence as

"the ability to control their own feelings and the feelings of others, the ability to distinguish

between them and use this information to guide their own way of thinking and their actions"11

.

John Mayer of the University of New Hampshire and Peter Salovey of Yale University to

have fest those who provided the first formulation of a concept that they called it emotional

intelligence, acknowledged even by D. Goleman in the Introduction of his work (p.7) and tried

to highlight several levels of emotional intelligence training, namely:

• Perceptive evaluation and expression of emotion;

• Emotional facilitation of thinking;

• Understanding and analyzing emotions and use emotional knowledge;

11 Salovey, P., Sluyter, D., Emotional Development and Emotional Intelligence: Educational Implications,

New York, Basic Books, 1997.



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• Regulation of emotions to cause emotional and intellectual growth12

.

In each level, there are several steps, as follows:

I. Perception, evaluation and expressing emotions;

Ability to identify emotion in their thoughts, feelings and physical states;

Ability to identify emotions in others, projects, artwork, language, sound, behavior;

Ability to express emotions as accurately and express feelings related needs;

Ability to distinguish between accurate and inaccurate or sincere and insincere

feelings.

This first layer is the accuracy with which an individual can identify emotions and

emotional content, both to itself and to the surrounding his accuracy of expression and

manifestation of emotions.

II. Facilitating emotional thinking

emotions give priority to thinking by directing attention to important information;

emotions are sufficiently clear and accessible that can be generated as aid for judgment

and memory concerning feelings;

oscillation emotional states change the subject from the perspective of optimism to

pessimism, prompting consideration of multiple viewpoints;

different emotions encourages a certain way of solving when happiness facilitates

inductive reasons for creativity.

At this level, thinking positively influences emotion. If the early years emotion acts

mainly as a way of signaling and alerting the individual, ensuring its survival, as a man matures,

emotions begin to shape thinking, to influence, calling his attention to the changes major interior

12 Mayer, J.D., Salovey, P., Emotional Intelligence. Imagination, Cognition and Personality, nr. 9, 1990, p.

185-211.



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or the environment changes needed to adapt smoothly. The ability to generate emotions can

facilitate thinking in that anticipating how they might feel in certain situations an individual can

help him in making decisions in directing his behavior in one direction or another.

On the other hand, the emotional state of a person causes a certain way of looking at

things. Thus, a positive emotional mood leads to optimistic thinking, while negative mood

generates pessimism. If people realize this, they will be able to change their momentary

emotional state and, indirectly, the vision of the situation, how to act and react13

.

III. Understanding and analyzing emotions. Using emotional knowledge

ability to understand emotions and use words about emotions;

recognizing similarities and differences between emotional states (eg, between liking

and loving, between upset and angry);

knowledge of the emotional significance depending on the circumstances and the

complex relationships that occur (eg, the connection between sadness and loss);

recognition of complex emotions, contradictory depending on the situations that arise

(eg love and hate toward the same person);

recognition of mixers, combinations of emotions (eg, hope is a combination of

confidence and optimism);

knowledge of the evolution and transformation of emotions depending on the situation

(eg, anger may increase and change in anger, turning later in satisfaction or, conversely, the guilt

etc.) and focus attention on specific links that can There are between emotions;

ability to interpret meaning in relationships emotions such as sadness, which installs as

a result of losses;

13 Roco, M., op.cit., p. 144.



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ability to understand complex or the simultaneous feelings such as love and hate or

thrill to be seen as a combination of fear and surprise;

ability to recognize possible transit from one emotion to another, for example, shifting

from anger to satisfaction or from anger to shame.

IV. Adjusting emotions to promote emotional and intellectual growth

ability to be open to accept both pleasant feelings and unpleasant ones;

Ability to use or to relieve them of emotion at will, depending on its usefulness or

importance;

ability to monitor emotions in relation to himself or others so that the subject can

recognize how are they precise Typical influence or reasonable;

ability to handle both its own emotion and the others by moderating negative emotions

and stress (highlight) plated without repressing or exaggerating information they contain.

Training in emotional intelligence is largely dependent of learned habits and automatic

behavior, based on emotional designs in the family or at school. Academic intelligence, a

concept which relates to models of scientific knowledge, is more flexible, independent of the

specific contexts in which it builds. In this regard, M. Roco notes that both natural sensitivity,

emotional intelligence and general intelligence or traditional are of adaptive ensuring the survival

of the individual14

.

Some psychologists have studied the creative potential considering that indicate a certain

structure of the substrate neurophysiological, namely: Bono (1970), Ornstein (1975), Galin &

Ellis (1975), Hermann (1982), Taggart & Torrance (1992 ). The method used most frequently for

the presence of potential, has been the electroencephalographic measurements. E. P. Torrance

concerned about the definition of creativity as a processuality believes that creative process

14 Roco, M., „Dominaţia cerebrală şi creativitatea‖, în Revista de psihologie, vol. 41, nr. 2, 1995, p. 115-

126;



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involves a total brain activation that includes three spheres of psyche: cognitive, affective and

intuitive, with their physiological correlates in the brain15

.

15 Roco, M., „Cercetări asupra persoanelor înalt creatoare din domeniul matematicii‖, în Revista de

psihologie, vol. 13, nr. 3-4, 1997, p. 189-200.



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In the different approaches are found frequently two criteria creativity. First, it is the

mental processes associated with performance (Guilford, 1950; Rosca and Zörgö, 1972; Stoica,

1983; Facaoaru, 1973; Torrance, 1988). The second criterion is how to structure the personality

traits (Barron, 1989; Roco, 1993; Popescu Neveanu 1971; Maslow, 1986). It must naturally

question which of the two criteria enables best delineation of individual differences in creativity.

Margareta Dincă (2000) believes that creative performance is defined by the relationship

between processuality generating new and creative personality and believes that the two

positions are not mutually exclusive, but complement, representing two complementary facets. In

this context, further research is required both positions psychologists found creative process and

partisans creativity as a personality structure.

Research on creativity as a process, been intended to establish the intelligence, describing

the stages through which information passes from the usual original characterization that time

insight into potential becomes manifest, intellectuals and operational description of the factors

involved in creative processuality.

Relatively contradictory opinions listed above, causes the Margareta Dincă to conclude

not only the complexity of cognitive activities involved in the creative process, and especially

the need to consider the whole psyche, personality completely when addressing the problem of

creativity.

Processuality creative can not be separated, by integrating creative personality structure.

Because the creative process can be conducted with maximum performance, it required a number

of personality characteristics (style, skills and cognitive traits) to support it. Therefore, an

integrative approach to the personality procedural characteristics as complementary facets, is in

line with modern research in creativity16

.

16 Dincă, M., op.cit. p. 57.



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2. Creative Personality

Characteristic of conflict, as indicated in the description of an mental processuality

experience involved in generating new, was explained in the personality of creative approaches

are at the crossroads of trends and social constraints caused by subconscious or individual non-

conformism and conformism of society. In psychoanalytic theories often we find references to

the capabilities imaginative, creative human being. For S. Freud (1992), the origin of biological

personality is represented by three interacting systems: id, ego and super-ego. Id is unconscious

segment, ego - conscious segment, super-ego - personality social segment. Behaviors are

determined by the relationship between id and super-ego, the ultimate goal of human

development is to reduce the tensions that arise in this interaction.

Creative behavior is a defense mechanism generated by the id is a sublimation, that

alteration or removal of original id impulses (or unconsciously) by the expressions that society

considers acceptable. Freud states: "sexual energy (generated by id) causes anxiety, which is

sublimated or transformed into creative component. This is one way to reduce tension and hence

the feelings of anxiety "17

.

A. Adler's theory (1986) differs from that of Freud by focusing on a person's social

uniqueness. Important in human development data usage is innate.

Each person is able to consciously build their own personality, the ultimate goal is

perfection, present during development through sets of expectations. Model or purpose to be

achieved is dependent on social context. The company is a structuring factor model and at the

same time a factor that hinders you, because social interests may oppose individual expectations,

leading to the emergence of inferiority complexes.

Clearing is the mechanism by which structured lifestyle, defined as a set of behaviors and

habits, releasing energy and ensures overcome inferiority complexes. Compensation complexes

17 Adler, A., «The Neopsychanalytic Approach» în D. Schultz (ed.), Theories of Personality, California,

Brooks, Cole Publishing Company, Pacific Grove, 1986, p. 74.



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requires creativity. Adler emphasizes the creative power of the individual innate ability to shape

their lives strongly in the importance of social goals18

.

CG Jung (1986) introduces the concept of the collective unconscious and archetypes to

explain human development. Collective Unconscious is defined as the deepest levels of the

psyche, which contains the cumulative experiences of human and prehuman species. These

archetypes are structured experiences, innate predispositions that works in synchronicity with the

behavior. Archetypes are internalized social models.

Behavior derives from the interaction of unconscious forces, channeled id, ego-driven

conscious forces. Depending on the intensity ratio conscious-unconscious, described eight kinds

of personalities. Two of them are creative and provides overcoming archetypal patterns, they are

characterized by intuition plus a component temperamental on sociability namely type-intuitive

extravert, who is described as sociable and creative type-intuitive introvert, detached, sensitive,

slightly sociable, focusing on insights19

.

If Freud creativity has a home individual biological, it is a defense against social and

involves a component unconscious and emotional involvement, in theory Adlerian creativity has

a different potential, innate, to shape and develop correlative social conditions. Finally, Jung role

of creativity is to overcome the archetypal patterns, ie social models checked and internalized by

the individual.

Summarizing, we can say that in psychoanalytic theory, creativity is an innate ability, a

potentiality evolving at an unconscious level, that is generating and generated a tense conflict

situations, and enabling the development of a genuine lifestyle.

G.W Allport20

proposes a theory of personality factor. He believes that psychoanalysts

and neo-psychoanalysts have exaggerated the role of the unconscious as the only active force

adult personality, but admits the existence of unconscious motivational elements belonging. The

18 Freud, S.,Introducere în psihanaliză, Bucureşti, Editura Didactică şi Pedagogică, 1992. 19 Jung, C.G.,«The Neopsychanalytic Approach», în D. Schultz (ed.), Theories of Personality, California,

Brooks, Cole Publishing Company, Pacific Grove, 1986, p. 74-98. 20 Allport, G.W.,Structura şi dezvoltarea personalităţii, Bucureşti, Editura Didactică şi Pedagogică, 1981.



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adult is not a prisoner of childhood conflicts, ego structure is also based on present experiences

and future expectations.

If Freud's personality just has a genetic basis and therefore sources of anxiety are

identical to the archetypes of Jung also have a common denominator, which allows some

behavior generalization.

Allport insists on the uniqueness of personalities who are structured on the basis of innate

data, but with developments on the experience of each individual. The author believes human

personalities as unique structures which have components with different levels of generality

traits. Each person builds creatively own behavior or lifestyle.

Motivation is characterized by functional autonomy, that is not dependent childhood, but

today and now suitability. Acknowledging the capacity for self-build awareness of the human

person, aimed use of all potentialities in a creative way, Allport approaching humanistic

approach and defines creativity as "a lifestyle that allows full operation of personality" (Allport,

1981 ).

Creativity is considered a general feature of adults, a substructure of personality. For

Allport psychic substratum of creation is "a new provision to a certain organization processes in

the system of personality".

The Romanian psychology, personality creative-process relationship was a constant area

of interest. P. Popescu Neveanu, considered the initiator of important research in the field of

creativity, is the author of two-factor theory type (vectors and operations) that places creativity in

the context and the most comprehensive level of human psychic system.

Bifactorial theory of creativity puts creativity and Consubstantiality optimal interaction

between skills and attitudes. According to this theory, general and special skills, of at least

medium, is a necessary but not sufficient condition for creativity. Creative attitudes presence is

indispensable. They can act as vectors causes and triggers cycles operators (skills), piloting them

constructively.



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They were instrumental skills of creativity, while attitudes act as vectors guiding and

energize activity. The author recalls a characteristic creativity, which he insisted a lot in his

studies, namely unconscious. Do not forget, however, that any psychic act requires some

cooperation between unconscious and conscious, the latter being essential.

Bejat M. (1981) proposes a factorial design creativity. Three types of factors involved in

creating the new:

a. Psychological factors intellectuals, non-intellectuals and special skills;

b. Biological factors: heredity, age, sex;

c. social factors: socio-economic and cultural, educational conditions21

.

In terms of the first type, the author believes that intellectuals determining factors for

creativity subsumes the concept of perceptive style. This is a factor which designates how

cognitive response to the problem to be solved. There are two types of cognitive styles: synthetic

and analytical, plus extreme variants, hyperanalitic and hypersintetic. Creatives belong mostly

synthetic type, followed by hypersintetic and least creative style is analytical. Hyperanalitics are

not creative. Ideal for creativity remains mixed sintetico- perceptive analytical type (M.Roco,

2001).

The author proposes a psychometric model for creativity. In the evolution of creative

personality involved three groups of factors:

a. intellectuals factors, including intelligence, cognitive curiosity, creative imagination,

flexibility, capacity of observation, professional passion;

b. attitudinal factors, which require perseverance, independence of thought and action,

responsiveness and openness to new things, respect for the truth, initiative;

21 Bejat, M., Talent, inteligenţă, creativitate, Bucureşti, Editura Ştiinţifică, 1981.



114

c. motivators, which refers to the importance and usefulness of the results of work carried

out, opening information and professional self-supporting capacity and the need to be probed,

encourage professional people with ideas and initiatives, favorable intellectual climate.

There is described a number of less important factors in the development of creativity,

grouped in the same category. Such factors intellectuals, whose presence is crucial in achieving

creative science performances are: spatial skills, numerical skills, verbal fluency; attitudinal

factors: dominance, tolerance for ambiguity and contradictions, selective and reserved attitude in

interpersonal relations; motivational factors: the certainty of a job, rewarding opportunities, high

wages and high social status in employment in the institution (Roco, 2001).

In his studies, I. Mânzat (1981), is concerned in particular the training of creative issues.

On line prefigured by G. Polya, author deals with investigative capacity or creative ability as a

privileged mechanism heuristics. Privileged method for practicing the investigative capacity of

the student is directed discovery learning22

.

F. Barron23

describes synthetic personality profiles of creativity and non-creativity. Non-

creatives are conformists, apathetic, firm, conventional and rigid. Creatives are well informed,

interested in fundamental issues, talkative, well-stated figures, enterprising, entrepreneurial,

energetic, humorous. Humor allows the creator, and not only him, to distance themselves from

reality to protect themselves from the risk of contamination with characteristics of adult ego (see

transactional analysis) remain closed between formal barriers of rationality, functionality,

objectivity.

In conclusion, creative personality assumes a dual determination: individual - and social

innate. A number of energizing elements, individually-determined ratio innate expectations -

social permissiveness, underlying mental processes in the system structuring skills, or abilities.

An important role of the unconscious, as a primary energy force, intuition and archetypes that

22 Mânzat, I., «Formarea capacităţii de investigare şi descoperire ştiinţifică la elevi», în Bejat,

M.,Creativitatea în ştiinţă, tehnică şi învăţământ, Bucureşti, Editura Didactică şi Pedagogică, 1981,

p.54-67. 23 Barron, F., « Putting Creativity to Work», în R. Sternberg (coord.), The Nature of Creativity, Cambridge,

Cambridge University Press, 1989, p. 76-99.



115

element internalized socio-cultural factors in the development of creative behavior and tensions

as frustrating element that foments compensation.

BIBLIOGRAPHY:

1. Adler, A., «The Neopsychanalytic Approach» în D. Schultz (ed.), Theories of

Personality, California, Brooks, Cole Publishing Company, Pacific Grove, 1986.

2. Allport, G.W.,Structura şi dezvoltarea personalităţii, Bucureşti, Editura Didactică şi

Pedagogică, 1981.

3. Pera, A., ,,Gândirea Matematică – un model de reprezentare, proiectare şi

creativitate‘‘, în Cercetări filosofico-psihologice, nr. 1. Anul III, ianuarie-martie, Bucureşti,

Academia Română, 2011.

4. Barron, F., « Putting Creativity to Work», în R. Sternberg (coord.), The Nature of

Creativity, Cambridge, Cambridge University Press, 1989, p. 76-99.

5. Bejat, M., Talent, inteligenţă, creativitate, Bucureşti, Editura Ştiinţifică, 1981.

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