By Mark A. Runco
''Mark A. Runco's first-class ebook
Creativity: Theories and subject matters: learn, improvement, and Practicecould be a method to deliver creativity again into relevance in psychology. This impressive e-book essentially units the level for these taken with creativity learn, for these eager to get into this fascinating and intricate zone, or just should you wish an up to date quantity at the box from one of many major researchers within the area.'' --PsycCritiques (Oct 10, 2007, Vol fifty two, unencumber forty-one, Article eight)
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An integrative advent to the theories and subject matters in learn on creativity, this e-book is either a reference paintings and textual content for classes during this burgeoning quarter of analysis. The ebook starts with a dialogue of the theories of creativity (Person, Product, technique, Place), the final query of no matter if creativity is stimulated via nature or nurture, what examine has indicated of the character and elegance of inventive members from a character research viewpoint, how social context impacts creativity, after which insurance of concerns like gender changes, even if creativity should be stronger, if creativity is said to terrible psychological or actual overall healthiness, and so on.
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Additional resources for Creativity. Research, Development, and Practice
Some theories of creativity also describe development as discontinuous. For the present purposes the most useful discontinuity theory is that which focuses on changes in conventionality. This theory was developed in studies of the development of moral reasoning (Kohlberg 1987) but has proven to be useful in work on art (Rosenblatt & Winner 1988), divergent thinking (Runco & Charles 1993), language (Gardner 1982), and various other areas with connections to creativity. Obviously it hinges on the concept of conventions—but what is a convention?
369). He had special concerns about fathers and described how in “samples of highly creative subjects . . some endured the most brutal treatment at the hands of sadistic fathers” (p. 375). MacKinnon’s work is notable in part because he not only identiﬁed the adversity but had an explanation for how it was related to creative efforts. In his words, “the creative individual has the capacity to tolerate the tension created in him by the strong opposing values, and in his life and work he effects some reconciliation of them” (p.
A number of tactics are presented in Chapter 10, which deals with the enhancement of creativity. Metacognition develops only in adolescence (Elkind 1981). Children therefore cannot be tactical about their creativity (see Chapter 2). Then again, they do not need to be tactical: they are spontaneous and uninhibited and do not use as many assumptions and routines as adults. Adults rely on routine and may need tactics to solve problems in a creative fashion and to avoid ﬁ xity. PERCEPTION AND CREATIVITY Two very different views of creative cognition have been described.