bluuebunny/crossref_metadata_2025_split huggingface dataset:
Cerebral mechanisms of experimental hyperalgesia in fibromyalgia
Authors: Burgmer M. , Pfleiderer B. , Maihöfner C. , Gaubitz M. , Wessolleck E. , Heuft G. , Pogatzki‐Zahn E. 
Published: December 2011

AbstractThe present study examined the hyperresponsiveness of the central nervous system in patients with fibromyalgia syndrome (FMS) related to mechanical hyperalgesia. The goals were to differentiate between increased pain ratings and hyperalgesia related either to peripheral or to central sensitization and to correlate with cerebral activation pattern. Seventeen patients and 17 healthy controls were examined, placing an experimental incision in the right volar forearm and causing tonic pain. Experimental pain, primary and secondary hyperalgesia were assessed during the time course of the experimental pain, and the changes in hyperalgesia were correlated to brain activation (functional magnetic resonance imaging). Patients with FMS experienced the experimental pain during the time course as more painful than healthy controls (Fscore = 3.93, pscore = 0.008). While they did not present a different course of primary hyperalgesia (Fscore = 1.01, pscore = 0.40), they did show greater secondary hyperalgesia (Fscore = 5.45, pscore = 0.004). In patients with FMS, the cerebral pattern corresponding to secondary hyperalgesia was altered. The activity in the dorsolateral prefrontal cortex was inversely correlated with secondary hyperalgesia in healthy controls (R = −0.34 p = 0.005); in patients, this correlation was disrupted (R = 0.19
p = 0.12). These findings point to an alteration of pain transmission at the central level in FMS (e.g., loss of inhibition) and might be related to changes in cerebral‐midbrain‐spinal mechanisms of pain inhibition.
Preoperative administration of etoricoxib in patients undergoing hip replacement causes inhibition of inflammatory mediators and pain relief
Authors: Renner B. , Walter G. , Strauss J. , Fromm M.F. , Zacher J. , Brune K. 
Published: December 2011

AbstractObjectiveAdministering cyclooxygenase‐2 inhibitors preoperatively appears attractive since these drugs reduce post‐operative pain, but do not increase the risk of post‐operative bleeds, asthmatic attacks and stress‐related gastrointestinal ulcers. In a former investigation, we could show that post‐operative administration of etoricoxib reduces prostaglandin production in wound fluid, but the onset of action is variable due to delayed post‐operative absorption.MethodsIn this study, we investigated the preoperative administration of etoricoxib in patients undergoing hip replacement. They received 120 mg etoricoxib or placebo 2 h before surgery and 1 day after in a double‐blinded, randomized, parallel group design.ResultsA total of 11 patients were randomized (placebo n = 5; verum n = 6). We found high and constant levels of the drug in blood, central nervous system and wound fluid already at the end of surgery (tmax < 2 h). This was accompanied by inhibition of prostaglandin production in the wound tissue (treatment p < 0.05), suppression of interleukin 6 increase in plasma (treatment p < 0.01), and – despite existing standard pain relief procedures – higher satisfaction with analgesics (time vs. treatment p < 0.05) and less demand for opioids (treatment p < 0.01) and intrathecal bupivacaine (treatment p = 0.05) administration.ConclusionAdministration of etoricoxib 2 h before surgery allows for an effective drug concentration in critical tissues, a reduction of the production of pro‐inflammatory mediators and for better pain relief.
Relative contributions of peripheral versus supraspinal or spinal opioid receptors to the antinociception of systemic opioids
Authors: Khalefa B.I. , Shaqura M. , Al‐Khrasani M. , Fürst S. , Mousa S.A. , Schäfer M. 
Published: December 2011

AbstractThe contribution of supraspinal, spinal or peripheral mu‐opioid receptors (MORs) to the overall antinociception of systemic centrally penetrating versus peripherally restricted opioids has not been thoroughly investigated. Therefore, we examined paw pressure thresholds in Wistar rats with complete Freund's adjuvant hindpaw inflammation following different doses of intraplantar (i.pl.) as well as intravenous (i.v.) fentanyl (6.25–50 μg/kg), morphine (1–7.5 mg/kg) or loperamide (1–7.5 mg/kg). Antagonism of the i.v. mu‐opioid agonists by intracerebroventricular (i.c.v.), intrathecal (i.t.) or i.pl. naloxone‐methiodide (NLXM) revealed the relative contributions of supraspinal, spinal and peripheral MOR to the overall antinociceptive effects. In parallel, the MOR density at these three levels of pain transmission was assessed by radioligand binding. Antinociceptive effects of i.v. fentanyl and morphine, but not of the peripherally restricted loperamide were two‐ to threefold greater and longer lasting compared with their i.pl. administration. I.c.v. but not i.pl. NLXM significantly antagonized fentanyl's and morphine's antinociception by 70–80%, whereas i.t. NLXM reduced it by 20–30%. In contrast, antinociception of i.v. loperamide was abolished by i.pl. but not by i.c.v. or i.t. NLXM. In parallel, a respective 32‐ and sixfold higher MOR density in supraspinal and spinal versus peripheral sensory neurons was detected. In conclusion, in comparison with supraspinal and spinal opioid receptors, peripheral opioid receptors do not significantly contribute to the antinociception of systemic fentanyl and morphine during inflammatory pain. Antinociception of their i.v. administration was superior over both i.v and i.pl. loperamide, acting exclusively via peripheral MOR. These findings may guide the future development of novel peripherally restricted opioids.
Creativity and the Rules of Rhetoric
Authors: WALTER OTIS M. 
Published: December 2011

ABSTRACTThe rules of rhetoric do not incorporate the conditions necessary for creativity, and hence some of these rules may stifle. Creativity, however, seems to follow a vague pattern involving relatively long, and sometimes laborious sub‐steps that must be carefully executed if the final product is to be of worth. The speaker or writer must undergo a preparation period, involving both direct preparation and indirect preparation. Usually, he will also experience a plateau period. The moment of insight may occur suddenly, and often while he is indulging in relaxing activity. The period of refining, which is necessary to make the final product perceptably of merit involves checking, proving and stating the insight. These processes do not lead inevitably to creativity, and some of them may be repeated more than others; nevertheless, speakers and writers may be more creative by intentionally trying to follow them.
A Developmental Analysis of Playfulness as a Clue to Cognitive Style1
Authors: LIEBERMAN J. NINA 
Published: December 2011

ABSTRACTA quality of play labeled playfulness is hypothesized to become later a personality trait of the individual relating to cognitive style, particularly divergent thinking. Operationally, playfulness was defined, identified and measured in kindergartners as physical, social and cognitive spontaneity, manifest joy and sense of humor. The importance of exploring a possible developmental transformation in operational correlates of this trait at later age levels is discussed. Special emphasis is put on playfulness as a motivational aspect of divergent thinking during the adolescent years with a view of linking early identification and measurement of playfulness to prediction of creative potential.
Why There Were Relatively Few Eminent Women Creators
Authors: OCHSE RHONA 
Published: December 2011

AbstractResearchers who have studied the characteristics of genius generally agree that the most salient characteristic of eminently creative people is persistent single‐minded dedication to work. It has also been found that eminently creative people tend to develop a particular type of skill at an early age, and to place high value on achievement in that area. Also typical of eminent creators is their need for solitude and lack of interruption.In the past, intellectual achievement in women was little valued or encouraged, and women were given relatively little opportunity to develop skills upon which creative productivity seems to depend. They also enjoyed little uninterrupted solitude. Today, however, women are better able to develop intellectual skills‐but they are still more prey to interruption than men are, not only because their relatively strong need for social contact and intimacy leads them to seek out company.
Creativity and Bilingualism
Authors: RICCIARDELLI LINA A. 
Published: December 2011

Summary of StudiesA number of studies have investigated the relationship between creativity and bilingualism. Twenty‐four such studies have been surveyed by the author and these are summarized in Table 1. Twenty of these have found bilinguals to perform better than monolinguals on creativity. Only one study by Withey (1974) has found no differences between the bilinguals and monolinguals, whilst three studies, on the whole, have found a monolingual superiority (Gowan & Torrance, 1965; Lemmon & Goggin, 1989; Torrance, Wu, Gowan & Aliotti, 1970).
Sensational Thinking A Teaching/Learning Model for Creativity
Authors: O'NEILL SHARON , SHALLCROSS DORIS 
Published: December 2011

ABSTRACTChange, the acknowledged constant: The paradox of two seeming opposites contained as one. In the world today we find ourselves challenged by a multitude of paradoxical problems and our need to resolve these issues drives a change process, the nature of which is dynamic and complex. Dynamic change is recognized as a process of moving from one state or form to another, in ways that appear chaotic, non‐linear, and unpredictable (Gleick, 1987). This results from the interactions between and among individual component parts of a system (Gleick, 1987; Bohm & Peat, 1987; Goodwin, 1991), and studies to understand how and why this type of change occurs have found that dynamic change is a creative process that occurs naturally in physical, biological and social systems.
A Two Factor Taxonomy of Creative Bechavior
Authors: GUASTELLO STEPHEN J. , SHISSLER JAMES E. 
Published: December 2011

AbstractTwo empirical studies examined the similarities and differences between creative professionals in science and art. In the first, 16PF personality profiles of industrial scientists, musicians and artists, and general undergraduates (N = 99) showed no difference between scientific and artistic groups on the Creativity composite index, and both groups differed significantly from general undergraduates. There were a few significant differences on specific traits, however. In the second study, self‐reports of involvement in creative behavior collected from larger similar samples (N = 590) were factor analyzed. Two distinct but correlated factors (r = .32) emerged that separated artistic from scientific and business activity. The results indicated that people who specialize in one content domain often make contributions in other domains as well.
Personality Correlates of Depressive Style in Autobiographies of Creative Achievers
Authors: WALKER A. MARIE , KOESTNER RICHARD , HUM ANDREW 
Published: December 2011

ABSTRACTThis study compared neurotic and depressive personality characteristics in creative achievers versus eminent but non‐creative achievers. Forty‐eight subjects' (25 men, 23 women) autobiographies were assessed by trained raters on personality using the California Q‐Set. Creative achievers included literary and visual artists whereas the control group consisted of political, military and social leaders. The Q‐Set ratings were used to assess the five factors of personality (neuroticism, extroversion, openness to experience, agreeableness and conscientiousness). Neuroticism was further divided into subscales that assessed depressive style, impulsivity and anxiety. Results showed that creative achievers were rated significantly higher than controls on general neuroticism, as well as on depressive style and impulsivity. Creative achievers did not differ from controls in anxiety. It was also found that creative achievers were rated significantly higher than controls on openness to experience and agreeableness, but lower on conscientiousness. None of the effects for creativity was affected by subjects' sex.
The Effects of Musical Mood Induction on Creativity
Authors: ADAMAN JILL E. , BLANEY PAUL H. 
Published: December 2011

ABSTRACTA music mood induction was used to induce either elated, depressed, or neutral mood in 71 college undergraduates. The elated group scored significantly higher than the depressed group on mood ratings. Creativity measures administered to each group revealed that subjects in the elated and depressed groups showed significantly greater creativity than subjects in the neutral group. Findings were interpreted in light of existing research on the relationship between mood and creativity.
Creatively Intelligent: Post‐Industrial Organizations and Intellectually Impaired Bureaucracies
Authors: AMBROSE DON 
Published: December 2011

ABSTRACTToday's successful organizations function much like creatively intelligent, individual brain‐mind systems. Unfortunately, many of the bureaucratic organizations we inherited from the industrial era function like individual minds of lesser intelligence. A metaphorical comparison of our organizations with the human brain‐mind system illuminates organizational configurations and behaviors that promote success in today's turbulent economic and sociopolitical conditions. Both the creatively intelligent post‐industrial organization and the highly developed human brain‐mind are integrated clusters of dynamically evolving subsystems. Their functional dynamism enables them to perceive patterns in chaos, and to create effective long‐term plans derived from those patterns.Imagine the organization in which you work as a giant brain. The human brain‐mind system consists of a number of subsystems that work together to produce our thoughts, feelings, and actions. In a similar way, most of our institutions and businesses consist of departments that work together to create and distribute products or services. A wide variety of thought processes and behaviors are common to both the human brain‐mind and the typical organization. Some of these include planning, analysis, abstract thought, emotional responses, ritualistic behaviors, and creative idea generation. A creatively intelligent person produces and integrates a blend of these thought processes and actions that is best suited to success in his or her environment. In a similar manner, today's successful organizations generate optimal blends of thought processes and actions that enable them to flourish in the midst of uncertain conditions.We can identify opportunities for greater organizational creativity and efficiency by using a brain metaphor to analyze the nature of today's most effective organizations. This paper compares the human brain‐mind system to the organizations that are surviving and thriving in today's turbulent socioeconomic climate. There are some remarkable parallels. In many ways, today's most effective organizations closely mirror the functioning of the optimally developed human brain‐mind. Similarly, our least effective organizations operate much like individual minds of lesser creative intelligence. The brain metaphor suggests that, in today's post‐industrial organizational climate, some institutions and businesses are suffering from brain damage while others are on their way to becoming creatively intelligent geniuses.
Creative Style and Divergent Production
Authors: GELADE GARRY 
Published: December 2011

ABSTRACTIn a sample of British working men and women, scores on the Kirton Adaption‐Innovation Inventory (MI) were compared with divergent production scores on Guilford's Consequences and Alternate Uses tests. On the Consequences test, adaptors and innovators produced approximately equal numbers of common responses, but the innovators produced a higher number of uncommon (remote) responses, and a higher number of responses in total. Innovators also produced more responses than adaptors on the Alternate Uses test. The results are discussed with reference to the distinction between creative style and creative level. Creative style appears to be more strongly, related to some measures of creative level than to others, and the results are consistent with Kirton's view that when solving problems, innovators access a larger cognitive domain than adaptors.
Goal Structures in Creative Motivation
Authors: MEHR DAVID G. , SHAVER PHILLIP R. 
Published: December 2011

ABSTRACTOur culture, as reflected in the creativity literature, has focused on products and productivity. We know relatively little about motives related to other creativity goals or to multiple‐goal structures. We studied differences in goal structures between high and low creative individuals, across creative and routine situations, in four categories: person, process, situation, product. Creativity potential was assessed with a composite of four scales. Goal structures in creative and routine situations were assessed with a self‐report measure. Nearly all subjects used all four goal categories to describe their motivation in both situations. Only about 34% of subjects' motivation was product‐related. There were several differences between high and low creatives: (a) high creatives made more use of the full range of goal categories; (b) in creative situations, high creatives put more emphasis on person and less on product; (c) they also put less emphasis on product than low creatives did in either situation; (d) high creatives reported significantly higher motivation than low creatives in both situations.
Creative Behavior through Basic Inferences: Evidence from Person‐Computer Interactions
Authors: WAGNER CHRISTIAN 
Published: December 2011

ABSTRACTThis article reviews the contributions of basic reasoning mechanisms to the generation of creative ideas. The investigated reasoning mechanisms are deduction, induction, abduction, specialization/generalization, and elementary memory associations. The article claims that if we measure creativity by outcomes, that is, by the quality of the resulting ideas, then these basic forms of reasoning can be considered at least mildly creative. The claim is backed by references to computer programs which have generated creative outcomes, and by the outcomes of computer based reasoning activities shown in the article. Limitations of this approach to creativity are also discussed, particularly, difficulties in the recognition of creative ideas.
Thinking Creatively at Work: Organization Influences on Creative Problem Solving
Authors: MUMFORD MICHAEL D. , WHETZEL DEBORAH L. , REITER‐PALMON RONI 
Published: December 2011

ABSTRACTIn this article, we consider how peoples' creative problem solving efforts are influenced by characteristics of the organizations in which they work. We begin examining the situations which call for creative problem solving at work. We then consider the kinds of processes people must apply to solve these problems. Additionally, we describe certain organizational variables that might help or hinder effective application of these processes.' Some conclusions‐are drawn concerning how these variables act to influence creative problem solving at work. The implications of these observations for future research are discussed.
Influences of Organizational Culture and Climate on Individual Creativity
Authors: TESLUK PAUL E. , FARR JAMES L. , KLEIN STEPHANIE R. 
Published: December 2011

ABSTRACTThis paper provides a framework for conceptualizing and reviewing the literature on the influences of organizational culture and climate on individual creativity. Although often treated interchangeably, culture and climate are distinct constructs operating at different levels of meaning; yet at the same time, they are closely interrelated. Culture is the beliefs and values held by management and communicated to employees through norms, stories, socialization processes, and observations of managerial responses to critical events. The beliefs and values that typify a culture for creativity become manifested in organizational structures, practices, and policies. In turn, these structures, practices, and policies guide and shape individual creativity by creating a climate that communicates both the organization's goals regarding creativity and the means to achieve those goals. The paper concludes with a discussion of issues relating to the development of cultures and climates for creativity and potential new directions for future research.
A Framework for the Study of Relationships Between Organizational Characteristics and Organizational Innovation
Authors: ARAD SHARON , HANSON MARY ANN , SCHNEIDER ROBERT J. 
Published: December 2011

ABSTRACTThis paper presents a taxonomy of organizational characteristics that was developed as part of a large scale job analysis project conducted for the Department of Labor (DOL). Based on research and theory related to organizations, a hierarchical taxonomy of organizational characteristics was developed with six construct domains at the highest level: organizational structure, leadership, human resources (HR) systems and practices, goals, and organizational values. The taxonomy has been empirically tested using data from over 300 organizations, and a summary of these results is presented. This taxonomy is then used to organize and review research on the relationships between organizational variables and innovation. Implications of the taxonomy for understanding relationships between organizational size, industry type, “high‐performance” practices, and innovation are discussed.
Methodological Requirements for Studying Creativity in Organizations
Authors: SCHOENFELDT LYLE F. , JANSEN KAREN J. 
Published: December 2011

ABSTRACTThis article begins by broadly defining creativity and then more narrowly focusing on the definition of this construct. The broad methodological issues associated with organizational creativity are then discussed. To a large extent, the methodological requirements for studying organizational creativity depend on theoretical models. The most relevant theoretical models are reviewed. Specific methodological requirements for studying creativity in organizations are then reviewed, with emphasis on issues of validity and reliability. Finally, the article considers how organizational creativity research might be studied in a manner consistent with the methodological issues raised.
Theory of Mind and the Origin of Divergent Thinking
Authors: SUDDENDORF THOMAS , FLETCHER‐FLINN CLAIRE M. 
Published: December 2011

ABSTRACTThe development ofa“theory of mind” may not only be important for understanding the minds of others but also for using one's own mind. To investigate this supposition, 40 children between the ages of three and four were given false‐belief and creativity tasks. The numbers of appropriate and of original responses in the creativity test were found to correlate positively with performance on false‐belief tasks. This association was robust, as it continued to be strong and significant even when age and verbal intelligence were partialled out. The results support the hypothesis that the metarepresentational skills involved in theory of mind also affect the way children can access and scan their own mental repertoire beyond the areas of currently activated content (i.e. divergent thinking). With the advent of theory of mind a basic cognitive shift takes place in human development, and possibly took place in cognitive evolution.