(1) Background: The present study analyzed the need for cognitive closure and narrative creativity in adolescents. The aim was to demonstrate a strong relationship between narrative creativity and the need for cognitive closure. We analyzed a group of participants by applying a lie scale integrated with the Need for Closure Scale to detect potential relationships between students that entered the lie scale group (discarded) and those that were not discarded by exploring the following variables: gender, school type, group condition, and narrative creativity. (2) Methods: The instruments used were the Need for Closure Scale and the Test of Creative Imagination for Young People, PIC-J. Students of English as a foreign language in the 3rd year of secondary education from two schools were selected based on their availability to participate in the project. The students were aged 14 to 16 with a non-probabilistic sampling value of N = 117. (3) Results: Results show a negative correlation between narrative creativity and the need for cognitive closure. The need for cognitive closure is mainly manifested in two of its five dimensions: order and predictability. In addition, the group analysis of the lie scale revealed a higher tendency of male students to be less likely to respond truthfully. Meanwhile, the percentage of participants in the lie scale group was higher in rural schools. (4) Conclusions: In conclusion, students who do not belong to the lie scale group seem to have more creativity than students in the lie scale group, while students in the lie scale group have a lower final course grade than students in the non lie scale group.
The aim of the present study was to analyze the impact of narrative creativity on the subject of written foreign languages in secondary school students. A quasi-experimental longitudinal study was conducted with 117 students of 14–15 years of age in two secondary schools in Andalusia (Spain) with experimental and control groups. The tools used were a writing expression analysis tool designed by the authors and the Creative Imagination for Youngsters Test (Prueba de Imaginación Creativa para Jóvenes, PIC-J). The results showed that the participants of the experimental groups improved in terms of the originality and usage of variables of imaginary elements. We also found gender differences—in favor of female students—in the experimental groups in terms of foreign language improvement during the study. Finally, there was a slight interrelation of students with higher narrative creativity showing greater improvements in their written expression skills.
Los personajes femeninos tienen una presencia importante en las obras teatrales de Antonio Mira de Amescua (1577-1644). Dentro de su obra, recurriendo a la denominación genérica de comedia, como referida a toda producción teatral en el Siglo de Oro, cabe distinguir entre comedias serias y cómicas, atendiendo al tono general de la obra, a las peripecias argumentales y al modo en que concluye. Los personajes femeninos, no obstante, reciben un tratamiento considerablemente diferente, tanto en el pensamiento e imagen sobre la mujer como en la temática a la que sirve de vehículo. La investigación analiza catorce comedias de Mira de Amescua, siete cómicas y siete serias, para extraer el pensamiento, imagen y temática de los personajes femeninos. Se comprueban y contrastan las diferencias existentes entre ambas clases de comedias, presentando una imagen de la mujer mucho más libre en las obras cómicas, llegando incluso en ocasiones a la inversión de roles con el hombre, otorgando el protagonismo a las figuras femeninas y haciendo predominar la libertad de elección en el matrimonio. En las obras serias, en sentido contrario, se observa el predomino de los personajes femeninos como secundarios, la delegación de la elección matrimonio en figuras masculinas de autoridad y una asunción de roles convencionales o hagiográficos.
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