This chapter examines the role of emotion traits in creativity. Here, creativity is defined as a syndrome that involves attitudinal, cognitive, and behavioral components. Emotion traits most centrally affect aspects of the creativity syndrome that are manifested across situations and time. Specifically, the chapter reviews evidence of emotion traits influencing the creative decision, creative process engagement, domain-specific performance, and frequency of creative activities and achievement. The function of emotion traits is to direct attention, energize, and lower the threshold for behavior. The chapter suggests future directions in the study of emotion traits and creativity.

Emotions describe a transitory, short-term, and intense state in response to a stimulus. This state will have physiological, cognitive, and behavioral manifestations (Luminet, 2002; Scherer, 2000). It is possible to regulate an emotional state by directly interacting with the stimulus (Gross, 2007). The creative process describes the sequence of thoughts and actions that produces an idea that is both original and contextually appropriate (Lubart et al., 2015). This process is "dynamic by its components itself, their organization, their combination, the successive interactions it maintains with the environment, the unfolding nature of a phenomenon over time and its cyclical nature" (Botella & Lubart, 2019, p. 272). Thus, if we cross the definitions of the emotions and the creative process, two dynamic phenomena, we understand that they will influence each other and vary over time. But how will emotions vary during the creative process? In this chapter, we will lead a literature review to answer this question and we will also discuss these emotional variations according to the creative domain. Indeed, the process is not similar in art, science, design, theater, music, etc. (Glăveanu et al., 2013). We will see how models of the creative process integrate emotions across domains of creativity.

Gender differences in creativity and gender differences in emotions are both research topics for which existing literature is inconclusive. Although empirical evidence in both areas points to minimal gender differences overall, the results of individual studies are inconsistent and sometimes conflicting. This chapter provides an overview of research examining gender differences in creativity and gender differences in emotions, highlighting how discrepant findings may be due, in part, to distinct characteristics of the studies (e.g., which indicators of creativity or emotions are assessed). Understanding in which contexts gender differences in creativity and emotions are more – or less – likely to be found is essential for identifying how these two lines of research may relate to one another. How the two may be reciprocally linked is outlined by answering the question: What does research showing an emotions-creativity link mean for gender differences in creativity and emotions?

The role of affect in individual creativity is well established in extensive theory and empirical research. Scholars have proven that positive and negative feelings can promote creativity due to psychological processes associated with information processing and motivation. However, the function of group-level affect, namely, the shared feelings experienced among members of the same groups, for the same outcomes, have received limited attention in research and practice. This chapter addresses this dearth of knowledge by examining and summarizing the studies available in this field of inquiry and proposing a theoretical elaboration to better understand why group-level affect matters for creativity in groups. Based on this work, we propose that the influences of group affect on creativity outcomes occur through social integration mechanisms such as cohesion, trust, and collaboration. Finally, we identify and suggest future opportunities for research.

This chapter explores the broader topic of creativity and positive outcomes, of which positive emotions are one. The other positive outcomes we focus on include socialization, personal growth, meaning/legacy, and flow. We first describe the various models of well-being that feature these outcomes, such as subjective well-being (SWB; Diener, 1984), psychological well-being (Ryff, 1995), flourishing (Seligman, 2011), and self-determination theory (Ryan & Deci, 2017). In the bulk of this chapter, we discuss the existing research in the creativity field related to each of these five outcomes. Major progress on this topic has been made in recent years, offering much to discuss.

Emotions and creativity are seemingly ubiquitous in our everyday lives. If so, why aren’t observational methods used to study them more frequently? This chapter first provides a brief history of observation science and differentiates between quantitative and naturalistic observations. Four observation challenges are outlined. Tips for planning, designing and implementing observation studies of creativity and emotions include clarifying definitions creativity and emotion that can be adequately operationalized for the purposes of observation, connecting the theoretical framework to the observation method of choice, developing observation protocols, clarifying the observer role and addressing validity, reliability and principles of generalizability and transferability. Observation protocols are described for studying theatrical performance (quantitative), creative engagement in science-based instruction (mixed methods) and empathy development in leaders’ creative problem solving using improvisational theatre (qualitative). The conclusion discusses the importance of the contribution of observation to the continued growth of the field of creativity studies and emotion research

Psychological safety has been found to have significant effects on both individual and team creativity. There are a number of mechanisms and pathways through which psychological safety has been shown to positively affect creativity, such as through increasing individual engagement, team trust, and team communication, among other variables. In this chapter we review the literature regarding psychological safety and creativity. In addition, we review the potential antecedents of psychological safety, particularly leadership, team and organizational structure, and social processes, and how these antecedents influence the emergence of psychological safety.

The chapter summarizes the conceptual foundations of, and research on, emotional creativity (EC). Emotional creativity is defined as a pattern of cognitive abilities and personality traits related to originality and appropriateness in emotional experience. Emotional creativity is related to personality traits (e.g., openness to experience), positive affect, post-traumatic growth, and engagement in creative leisure activities. In applied settings, emotional creativity is related to innovative performance of employees as well as higher teaching efficacy. Meta-analysis revealed that women showed higher emotional creativity than men. Emotional creativity is also lower in older adulthood compared to younger age. Because the levels of EC are sensitive to the decline of cognitive functions in older adults, their decrease can be considered as one of the indicators of cognitive aging. Recent research in clinical neuropsychology has also revealed that older adults in the early stages of Parkinson’s disease showed decreased emotional creativity compared to healthy older adults. Several directions and research questions for future research are developed.

The idea of a material constitution has become influential for at least two reasons. The first reason is the absence of coincidence between the scope of the rules of the formal or written constitution and the wider field of constitutional rules. Second, the idea of a material constitution also comes into play as some authors will define the constitution by a specific content or ’matter’. This chapters aims at clarifying the uses of the reference to a constitutional matter by exploring the form versus matter distinction. The core of our case can be summed up as follows: the form of the constitution is law; the matter of the constitution is politics. Politics, as a social activity, influences law as much as law, in turn, can govern political action to a certain degree. In this process, legal substance is as relevant as legal form. What matters, thus, is a relative degree of fitness between political activity (or matter) and law. A (sufficiently) ’good’ constitution allows for political activity to take place, while shaping it in keeping with basic constitutionalist values and principles. Such a constitution can be defined as a principled instrument of self-government.

The aims of this chapter are, first, to track the development of the notion of the material constitution in selected authors associated with Western Marxism and, second, to explain its intermittent presence in the Marxist canon.The chapter focuses on four turning points in the social and intellectual history of the material constitution: its Marxist origins in the second half of the nineteenth century (Karl Marx and Ferdinand Lassalle, who coined the term); the crucial years of the Soviet revolution and the First World War(Vladimir Lenin and Rosa Luxemburg); the interwar period (Antonio Gramsci); and the tail end of the twentieth century (Étienne Balibar and Antonio Negri). At each turning point, a certain slack between the concrete constitutional order and the codified or written constitution has pushed scholars to revisit the material constitution. Although the chapter registers the decline of interest in the material constitution after the Second World War, it also underscores that the series of crises over the last two decades have again pushed the notion to the centre stage of constitutional enquiry. The chapter thus highlights the insight offered by these authors for understanding the material constitution in the twenty-first century.

This chapter makes a case against a substantive understanding of the material constitution. It first centres on Carl Schmitt’s concrete-order thinking as a glaring example of a theory that attaches priority to the material over the formal and yet fails to explain where matter comes from. Materiality turns out to be a shorthand for the social, while what the social is remains mostly under-developed and eventually takes up communitarian and identitarian connotations. By building on Santi Romano’s and Karl Llewellyn’s theories, the author unearths an alternative notion of the material. The constitution is an institution in the sense of a set of organisational practices as practices, not their sedimented outcomes, such as behavioural standards, normative values or fundamental principles. Unlike substantive conceptions, the processual understanding easily accounts for how collectives make room for change of their substantive contents while preserving their collective character.

Constitutionalism in the decolonising world was not merely an adoption of a set of norms pre-fabricated in the West. A materialist analysis of the Indian constitution argues for the socio-historical specificity of the post-colonial constituent project. Externally the goal of decolonisation was not just political freedom but also economic sovereignty. Internally an under-developed and unequal society posed a persistent danger of unrest for the new regime. Across much of the post-colonial world the solution was a project of planned state-led development and social transformation. The post-colonial constitution was designed to facilitate and realise this goal. These projects demanded the primacy of sovereignty over property and, hence, the constitution differentiated from metropolitan norms privileging property and constraining state interventions. It was a constitution by and for administrators and planners who were the vanguards of Third Worldism. Sans a popular mobilisation, however, a top down project of transformation through constitution failed. As the fortunes of planning declined and the Third World was ‘liberalised’, lawyers supplanted the administrators as the primary custodians of the post-colonial constitutions. Projects of planned transformation gave way to social rights litigation.