<?xml version="1.0" encoding="UTF-8"?><xml><records><record><source-app name="Biblio" version="7.x">Drupal-Biblio</source-app><ref-type>17</ref-type><contributors><authors><author><style face="normal" font="default" size="100%">Khatuna Martsksvishvili</style></author><author><style face="normal" font="default" size="100%">Nino Abuladze</style></author><author><style face="normal" font="default" size="100%">Natia Sordia</style></author><author><style face="normal" font="default" size="100%">Aljoscha Neubauer</style></author></authors></contributors><titles><title><style face="normal" font="default" size="100%">EMOTIONAL CREATIVITY INVENTORY: FACTOR STRUCTURE, RELIABILITY AND VALIDITY IN A GEORGIAN-SPEAKING POPULATION</style></title><secondary-title><style face="normal" font="default" size="100%">Problems of Psychology in the 21st Century </style></secondary-title></titles><keywords><keyword><style  face="normal" font="default" size="100%">creative abilities</style></keyword><keyword><style  face="normal" font="default" size="100%">dispositional flow</style></keyword><keyword><style  face="normal" font="default" size="100%">emotional creativity</style></keyword><keyword><style  face="normal" font="default" size="100%">emotional intelligence</style></keyword></keywords><dates><year><style  face="normal" font="default" size="100%">2017</style></year><pub-dates><date><style  face="normal" font="default" size="100%">December/2017</style></date></pub-dates></dates><urls><web-urls><url><style face="normal" font="default" size="100%">http://oaji.net/articles/2017/444-1515690763.pdf</style></url></web-urls></urls><volume><style face="normal" font="default" size="100%">11</style></volume><pages><style face="normal" font="default" size="100%">Continuous</style></pages><language><style face="normal" font="default" size="100%">eng</style></language><abstract><style face="normal" font="default" size="100%">The concept of emotional creativity is based on a social constructivist theory of emotion and refers to an individual’s ability to experience and express novel, sincere, and effective mixtures of emotions. The present research examines the psychometric properties of the Georgian version of Emotional Creativity Inventory (G-ECI; Averill, 1999). 834 individuals across five studies completed the G-ECI. Results from exploratory factor analysis indicate that the factor structure of the original ECI broadly replicates in the Georgian translation. The Cronbach’s alpha reliabilities of the G-ECI scales are mostly acceptable. There are significant gender differences. Examining the construct validity of G-ECI with other constructs (namely, with emotional intelligence, creativity and flow) showed the expected relationships. In conclusion, the Georgian version of the emotional creativity inventory seems well suited for future research purposes. </style></abstract><issue><style face="normal" font="default" size="100%">1</style></issue><work-type><style face="normal" font="default" size="100%">Original article</style></work-type><section><style face="normal" font="default" size="100%">31-41</style></section></record><record><source-app name="Biblio" version="7.x">Drupal-Biblio</source-app><ref-type>17</ref-type><contributors><authors><author><style face="normal" font="default" size="100%">Nino Abuladze</style></author><author><style face="normal" font="default" size="100%">Khatuna Martskvishvili</style></author></authors></contributors><titles><title><style face="normal" font="default" size="100%">NO WORDS FOR EMOTIONS: EMOTIONAL CREATIVITY AND ALEXITHYMIA IN ART</style></title><secondary-title><style face="normal" font="default" size="100%">Problems of Psychology in the 21st Century </style></secondary-title></titles><keywords><keyword><style  face="normal" font="default" size="100%">alexithymia</style></keyword><keyword><style  face="normal" font="default" size="100%">artistic skills</style></keyword><keyword><style  face="normal" font="default" size="100%">emotional creativity</style></keyword></keywords><dates><year><style  face="normal" font="default" size="100%">2016</style></year><pub-dates><date><style  face="normal" font="default" size="100%">December/2016</style></date></pub-dates></dates><urls><web-urls><url><style face="normal" font="default" size="100%">http://oaji.net/articles/2017/444-1484075266.pdf</style></url></web-urls></urls><volume><style face="normal" font="default" size="100%">10</style></volume><pages><style face="normal" font="default" size="100%">Continuous</style></pages><language><style face="normal" font="default" size="100%">eng</style></language><abstract><style face="normal" font="default" size="100%">The present research investigates emotional characteristics of professional culture – artists, examining the difference between art and non-art faculty students in emotional creativity and exploring the relationship between emotional creativity and alexithymia. Emotional creativity refers to the person’s ability to express and experience authentic, original and appropriate combinations of emotions. Art and non-art faculty students from different universities (34 female and 46 males; M of age=20.41, SD=1.64) were administered with the Emotional Creativity Inventory (ECI) along with the 20-Item Toronto Alexithymia Scale (TAS-20) The result showed that art faculty students have higher scores on emotional creativity than students from other faculties. Emotional creativity aspects are negatively related with the alexithymia. In the interpretation of results, emotional creativity is represented as one of the psychological constructs which is an important characteristic for the individuals working in the field of art. There’s an illustration how differently artistic individuals understand and experience emotions. The results have practical implication for social and emotional learning perspective. According to following research not only cognitive but emotional creativity is an important disposition for creative work. This emotional aspect should be identified at school age to contribute the development of individuals’ artistic skills.</style></abstract><issue><style face="normal" font="default" size="100%">2</style></issue><work-type><style face="normal" font="default" size="100%">Original article</style></work-type><section><style face="normal" font="default" size="100%">62-68</style></section></record></records></xml>