Kirjahaku

Recent research findings have challenged the idea that creativity is domain-general. Domain Specificity of Creativity brings together the research information on domain specificity in creativity -- both the research that supports it and answers to research arguments that might seem to challenge it. The implications for domain specificity affect how we move forward with theories of creativity, testing for creativity, and teaching for creativity. The book outlines what these changes are and how creativity research and applications of that research will change in light of these new findings.

Do general-purpose creative-thinking skills -- skills like divergent thinking, which is touted as an important component of creative thinking no matter what the task domain -- actually make much of a contribution to creative performance? Although much recent research argues against such domain-transcending skills -- including several new studies reported in this book -- the appeal of such general skills remains strong, probably because of the theoretical economy and power such skills would provide. Divergent thinking, in particular, has had an incredible staying power. Despite its many flaws, divergent thinking remains the most frequently used indicator of creativity in both creativity research and educational practice, and divergent thinking theory has a strong hold on everyday conceptions of what it means to be creative. Reviewing the available research on divergent thinking, this book presents a framework for understanding other major theories of creativity, including Mednick's associative theory and a possible connectionist approach of creativity. It reports a series of studies (including the study that won APA's 1992 Berlyne Prize) that demonstrate the absence of effects of general creative-thinking skills across a range of creativity-relevant tasks, but indicate that training in divergent thinking does in fact improve creative performance across diverse task domains. The book then ties these findings together with a multi-level theory, in which a task-specific approach to creativity is strengthened by recasting some divergent-thinking concepts into domain- and task-specific forms. This book fills the gap between divergent-thinking theory and more recent, modular conceptions of creativity. Rather than advocate that we simply discard divergent thinking -- an approach that hasn't worked, or at least hasn't happened, because of many attacks on its validity and usefulness -- this book shows how to separate what is useful in divergent-thinking theory and practice from what is not. It shows that divergent-thinking training can be valuable, although often not for the reasons trainers think it works. And it offers specific suggestions about the kinds of creativity research most needed today.

Most people (including creativity researchers) act as if they believe that creativity is not simply a useful category or label but a real thing with its own essence (just as Plato would argue that an ideal triangle has an essence that is shared with all actual triangles). Most people (including creativity researchers) also believe that there is a set of general creativity-relevant skills that can be applied to most problems in ways that will lead to more creative outcomes. Creativity research now calls these beliefs into question. A domain-general misunderstanding of the nature of creativity-relevant skills and the equally mistaken belief that creativity exists independently of actual creative things and ideas have together hindered creativity theory, research, assessment, and training. A more domain-specific and nominalist understanding of creativity will free creativity researchers to make progress in areas where it is currently stymied.

Do general-purpose creative-thinking skills -- skills like divergent thinking, which is touted as an important component of creative thinking no matter what the task domain -- actually make much of a contribution to creative performance? Although much recent research argues against such domain-transcending skills -- including several new studies reported in this book -- the appeal of such general skills remains strong, probably because of the theoretical economy and power such skills would provide. Divergent thinking, in particular, has had an incredible staying power. Despite its many flaws, divergent thinking remains the most frequently used indicator of creativity in both creativity research and educational practice, and divergent thinking theory has a strong hold on everyday conceptions of what it means to be creative. Reviewing the available research on divergent thinking, this book presents a framework for understanding other major theories of creativity, including Mednick's associative theory and a possible connectionist approach of creativity. It reports a series of studies (including the study that won APA's 1992 Berlyne Prize) that demonstrate the absence of effects of general creative-thinking skills across a range of creativity-relevant tasks, but indicate that training in divergent thinking does in fact improve creative performance across diverse task domains. The book then ties these findings together with a multi-level theory, in which a task-specific approach to creativity is strengthened by recasting some divergent-thinking concepts into domain- and task-specific forms. This book fills the gap between divergent-thinking theory and more recent, modular conceptions of creativity. Rather than advocate that we simply discard divergent thinking -- an approach that hasn't worked, or at least hasn't happened, because of many attacks on its validity and usefulness -- this book shows how to separate what is useful in divergent-thinking theory and practice from what is not. It shows that divergent-thinking training can be valuable, although often not for the reasons trainers think it works. And it offers specific suggestions about the kinds of creativity research most needed today.

Pennsylvania, first home of the Declaration of Independence and the Constitution, has a tradition of political progress. However, along with the good, the political playground of Pennsylvania has also seen the brazenly bad behavior of its political leaders. For over twenty-five years, political columnist John Baer has had a front-row seat to the foibles and follies of the Keystone State's political system. Baer takes readers through his memories of covering state politics for the last quarter century, from Democratic governor Milton Shapp's short-lived run for president--in which he finished behind no preference" in the Florida primary--to highlights of some of the game-changing campaign missteps and maneuvers that moved administrations in and out of the capital. With a delightfully gruff wit, Baer gives readers a behind-the-scenes view of the politics and personalities that have passed through Harrisburg."

Discover practical, step-by-step instructions for accurately and effectively assessing creativity with Essentials of Creativity Assessment, a guide that provides useful information about using solid theoretical and research-based evidence for creativity assessment. Quickly acquire the knowledge and skills you need to effectively assess creativity, a popular measure of cognitive ability correlated with intelligence. Receive an overview of the wide variety of assessments that can be used to gauge creativity, enabling you to select the creativity assessment method that best fits the situations, groups of people, and programs that are involved.

Creativity and the Common Core State Standards are both important to today’s teachers. Yet, for many educators, nurturing students’ creativity seems to conflict with ensuring that they learn specific skills and content. In this book, the authors outline ways to adapt existing lessons and mandated curricula to encourage the development of student creativity alongside more traditional academic skills. Based on cutting-edge psychological research on creativity, the text debunks common misconceptions about creativity and describes how learning environments can support both creativity and the Common Core; offers creative lessons and insights for teaching English language arts and mathematics; and includes assessments for creativity and Common Core learning. Featuring numerous classroom examples, this practical resource will empower teachers to think of the Common Core and creativity as encompassing complementary, rather than mutually exclusive, goals.

Creativity and the Common Core State Standards are both important to today’s teachers. Yet, for many educators, nurturing students’ creativity seems to conflict with ensuring that they learn specific skills and content. In this book, the authors outline ways to adapt existing lessons and mandated curricula to encourage the development of student creativity alongside more traditional academic skills. Based on cutting-edge psychological research on creativity, the text debunks common misconceptions about creativity and describes how learning environments can support both creativity and the Common Core; offers creative lessons and insights for teaching English language arts and mathematics; and includes assessments for creativity and Common Core learning. Featuring numerous classroom examples, this practical resource will empower teachers to think of the Common Core and creativity as encompassing complementary, rather than mutually exclusive, goals.