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Angela K.-y. Leung, Letty Kwan, and Shyhnan Liou

The genetic basis of creativity: a multivariate approach Baptiste Barbot and Henry Eff; 8.

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Neuroscience of creativity Oshin Vartanian; Section 2. Cognitive Underpinnings of Creativity: 9.

The Routledge International Handbook of Creative Learning

Creative cognition Thomas B. Ward and Yuliya Kolomyts; Creativity and cognitive control Mathias Benedek and Emanuel Jauk; Divergent thinking Mark A. Runco and Selcuk Acar; Section 3. Affective Underpinnings of Creativity: In the mood for creativity Matthijs Baas; Emotions and creativity: from process to person and product Zorana Ivcevic and Jessica Hoffmann; Creativity and mental illness Shelley H.

Carson; Differential Bases for Creativity; Section 1. Individual Differences in Creativity: The relation of creativity to intelligence and wisdom Robert J. Sternberg, James C.

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  • Kaufman and Anne M. Roberts; The function of personality in creativity: updates on the creative personality Gregory J. Feist; Motivation and creativity Beth A. Hennessey; Beghetto; Section 2. Environmental Differences in Creativity: Cultural perspectives on creativity Todd Lubart, Vlad P. Eastern-Western views of creativity Weihua Niu; Creativity's role in society Dean Keith Simonton; Creativity in the World; Section 1. Collaborative Creativity: Improving creativity in organizational settings: applying research on creativity to organizations Roni Reiter-Palmon, Kevin S.

    Mitchell and Ryan Royston; Leading for creativity: a tripartite model Michael D. Individual and group creativity R. Keith Sawyer; Section 2.

    Handbook of Culture and Creativity: Basic Processes and Applied Innovations

    Contexts for Creativity: Creativity in classrooms Ronald A. Beghetto; Play and creativity Sandra W.

    What is Creativity? - Philosophy Tube

    Russ and Ellen A. Doernberg; The creative city Richard Florida; Creativity's role in everyday life Katherine N. Cotter, Alexander P.

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    Christensen and Paul J. Silvia; Section 3.

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    Manifestations of Creativity: Handbook of Creativity. John A. Glover , Royce R. Ronning , Cecil Reynolds.

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    • The motivation underlying our development of a "handbook" of creativity was different from what usually is described by editors of other such volumes. Our sense that a handbook was needed sprang not from a deluge of highly erudite studies calling out for organization, nor did it stem from a belief that the field had become so fully articulated that such a book was necessary to provide summation and reference.

      The Routledge International Handbook of Creative Learning: 1st Edition (Hardback) - Routledge

      Instead, this handbook was conceptualized as an attempt to provide structure and organization for a field of study that, from our perspective, had come to be a large-scale example of a "degenerating" research program see Brown, Chapter 1. The handbook grew out of a series of discussions that spanned several years.

      At the heart of most of our interactions was a profound unhappiness with the state of research on creativity. Our consensus was that the number of "good" works published on creativity each year was small and growing smaller. Further, we could not point to a journal, text, or professional organization that was providing leadership for the field in shaping a scientifically sound framework for the development of research programs in creativity.