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Self-report scales have become the most widely used instruments to capture people's self-perception of creativity. Previous studies, however, provided only a limited insight into the psychometric properties of such measures. This paper reports an extensive item response theory (IRT) analysis of the Short Scale of Creative Self (SSCS): one of the most frequently used scales of creative self-concept. Based on samples from 14 studies (overall N > 26,000), we report IRT parameters of creative self-efficacy and creative personal identity scales' items. We examined whether the scores obtained in the SSCS depend on the length of the response scale (5-versus-7-point Likert scales) and whether latent scores are comparable across different data collection methods (online, paper-and-pencil, phone), age, and gender. The results confirmed the two-factor structure of the SSCS, good psychometric properties of its items, as well as invariance regarding response scales, age, gender, and method of data collection. At the same time, the items (and consequently--scales) were easy in the psychometrical sense, thus providing much more reliable scores among individuals who scored low or medium in creative self-concept. Longer (7-point) and shorter (5-point) Likert scales performed similarly, with some psychometric arguments favoring fewer points on the scale. Gender differences were negligible (Cohen's d between 0.00 and 0.01). We discuss potential ways of further improvement and development of the SSCS.

The aim of the article was to investigate how the family life of highly creative individuals--mainly marriages or romantic relationships--is related to their sense of success and well-being. Previous studies have led to conflicting conclusions. The predominant finding has been that marriage and family constitute an obstacle to creative potential development. Other studies have demonstrated that, regardless of gender, creators lead satisfying family lives, which contributes to their well-being. The study presented in this paper is based on the grounded theory methodology and triangulates two sources: interviews with prominent creators from the USA conducted years ago (Csikszentmihalyi, 1996, N = 91) and interviews with recognized contemporary Polish artists and scientists (N = 34). Based on interactions between the interviewees' perception of themselves as creators and their perception of gender and family roles, the authors identify and discuss five types of relationship between creators' family life and work. They also discuss the factors that hinder or facilitate creators' satisfactory functioning in both areas in each of the five types of relationship.

The aim of this study was to examine the relation of the Big Five personality factors to two self-concept variables of growing importance in creativity literature: creative self-efficacy (CSE) and creative personal identity (CPI). The analysis, conducted on a large (N = 2674, 49.6% women) and varied-in-age (15-59 years old) nationwide sample of Poles, using the structural equation model, demonstrated that personality factors are responsible for 23% of CSE and 21% of CPI variances. CSE and CPI were associated with all five personality dimensions: positively with Openness to Experience, Extraversion and Conscientiousness, negatively with Neuroticism and Agreeableness. The separate analyses conducted on men and women showed the differences among the predictors of CSE and CPI. Although Openness to Experience, Conscientiousness, and Neuroticism predicted CSE among both men and women, Extraversion was positively and Agreeableness negatively related to women's CSE. Conscientiousness was positively related to CPI only among men, and Agreeableness was negatively related to it only among women. Extraversion, Neuroticism, and Openness predicted CPI in the same manner among men and women.

The main goal of this study was to examine the effects of authors' name and gender on judges' assessment of product creativity in 4 different domains (art, science, music, and poetry). A total of 119 participants divided into 5 groups assessed products signed with a fictional author's name (unique vs. typical, male vs. female) or in an anonymous condition. It was observed that depending on the domain, the uniqueness of the author's name and her or his gender was associated with the assessment of creativity of the product. A poem and painting signed with an unusual name and a piece of music whose authorship was attributed to a man with a unique name were assessed as especially creative. In case of scientific theory, works attributed to men were assessed as significantly more creative than those of women. The results are discussed in light of the attributional approach to creativity.

In order to gain an insight into scholars’ concerns emerging from the COVID-19 crisis, we asked scientists from all over the world about their attitudes and predictions regarding the repercussions of this current crisis on academia. Our data showed that the academic world was placed in an unprecedented situation. Results further showed that everybody worked on-line, conducting studies was impossible or highly impeded, and lab work was difficult. Almost a quarter of all scientists participating in our survey were anxious about their scientific employment, and over 25% expected serious financial losses as a consequence of the pandemic. Moreover, we identified sex differences regarding the severity of the COVID-19 impact in the majority of questions. We inferred from this that women perceived to be in a worse situation than men.

Although gender differences do not usually exist when it comes to creative potential, males do exhibit a higher variability of creative ability: the effect that may result in more males than females having both very low and very high creative potential. Two studies examined the greater male variability in creativity hypothesis (GMVC): a cross-sequential investigation conducted on a sample of children (4–7 years old; N = 351) over the span of two years and a cross-sectional study conducted on a sample diverse in age (6–46 years old; N = 3594). In both studies, the Test of Creative Thinking-Drawing Production (TCT-DP; Urban & Jellen, 1996) was used, but unlike previous research, data were analyzed using the latent variables approach: latent growth curve modeling (Study 1) and exploratory and confirmatory factor analyses (Study 2). Greater male variability of creative ability was found across studies and age groups, but while this pattern was characteristic for some aspects of creative ability (originality and unconventionality), higher female variability was observed in the case of the other aspects (adaptiveness). [ABSTRACT FROM AUTHOR]