By James C. Kaufman
The Cambridge guide of Creativity is a finished scholarly instruction manual on creativity from the main revered psychologists, researchers, and educators. This instruction manual serves either as a radical creation to the sector of creativity and as a useful reference and present resource of vital details. It covers such different subject matters because the mind, schooling, company, and global cultures. the 1st part, "Basic Concepts," is designed to introduce readers to either the background of and key techniques within the box of creativity. the following part, "Diverse views of Creativity," comprises chapters at the many ways of drawing close creativity. numerous of those methods, equivalent to the practical, evolutionary, and neuroscientific ways, were invented or drastically reconceptualized within the final decade. The 3rd part, "Contemporary Debates," highlights ongoing issues that also encourage dialogue. eventually, the editors summarize and speak about vital innovations from the booklet and glance to what lies forward.
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Additional info for The Cambridge Handbook of Creativity (Cambridge Handbooks in Psychology)
It is only after Darwin worked out the processes underlying natural selection that several basic characteristics of creativity were brought into sharp focus, especially its value in 12 MARK A. RUNCO AND ROBERT S. ALBERT adaptation. One role of importance that creativity has had since Darwin was in solving problems and “successful” adaptations, “individual” in character. We can understand this by recognizing that evolutionary theory’s basic principles are diversity and adaptation and the relationship they have with each other and to natural selection: “The generation of adaptations and the generation of diversity .
14–15). Although there were limits to its perspective and emphasis on “practical” results, it is through Terman’s interest in Galton that the latter had so much influence on Cox’s research (1926). Galton’s (1869) research was both a stimulus and the model for her monumental study of 300 historically eminent men. ” In fact, all three – Galton, Terman, and Cox – took for granted that achievement was a valid measure of “mental capacity,” which helps explain why Terman and Cox start their research where Galton’s ended – believing creativity to be an integral part of intelligence.
No one doubts that these questions are important questions for understanding creativity, but at the time only Galton made real progress in suggesting how they could be answered. It is not so much asking these questions, all with some merit, but asking how one goes about answering them that matters the most in science. We have two illustrations of this. As early as 1827 Bethune was interested in the ability for “originating new combinations of thought” and felt creative genius could “store away ideas for future combinations” (see Becker, 1995).
The Cambridge Handbook of Creativity (Cambridge Handbooks in Psychology) by James C. Kaufman