This edited collection examines the interrelationships between the psychological concepts of intelligence, creativity, and wisdom, while also presenting a systematic attempt to combine them within the overarching concept of meta-intelligence. Building on Robert J. Sternberg’s previous work, this authoritative volume brings together leading researchers in the field of intelligence, creativity, and wisdom to show the latest advances in this line of research through a selection of 18 chapters. Using a wide range or approaches, including psychological, cognitive, educational, and philosophical perspectives, internationally renowned scholars offer insights into the benefits of re-thinking our understanding of intelligence, creativity, and wisdom, and how they may helpfully be more integrated. This wide-ranging collection will appeal in particular to students and scholars of cognitive, differential, social, developmental, and educational psychology, as well as creativity studies, education, philosophy, and related disciplines.

Lessons in Creativity from Musical Theatre Characters marries art and science with a new and exciting collaboration between one of the world’s leading creativity scholars and an internationally renowned musical theatre composer. This book will help readers tap into their creativity and unleash their own creative potential as they start their careers. Blending cutting-edge research, juicy anecdotes, lived experience, hands-on activities, and gentle advice, authors James C. Kaufman and Dana P. Rowe take readers on a journey to explore and enhance their own creativity. Each chapter addresses a key aspect of creativity, from how to overcome blocks to understanding one’s personal strengths all through the lens of Musical Theatre characters along with insights from those within the industry. Kaufman and Rowe shatter creativity myths (such as the tormented artist or having one big break) that may be harming the reader’s potential growth. Probing questions, fun quizzes, and engaging exercises will help the reader reflect on the material and develop strategies for their next step. All throughout, the readers can learn from the tales of Sweeney Todd, Maria Von Trapp, Alexander Hamilton, Christine Daaé, and countless others to inspire their own creativity. This book is ideal for aspiring theatre professionals, students of performing arts, and theatre and creativity scholars.

This book offers interdisciplinary, multicultural, and international perspectives on the interrelation between culture, innovation, change and creative forces. Its wide-ranging contributions present theoretical and empirical approaches and with reference to different domains across disciplines including psychology, education, social sciences, humanities, and engineering. The authors demonstrate how urgent social, environmental, technological, and economic challenges can benefit from individual, and community creativity to effect change. In this volume, “culture� refers to sociocultural differences, educational culture, media culture, organizational culture, technological culture, ethnic differences within a culture, and digital culture. Its contributors offer fresh insights on how creativity, innovation, and change can propel us forward and offer hope for the future across these many different forms of culture. They offer both granular studies of creativity and innovation at work in particular contexts and macro-level discussion on how they affect organizational culture, the culture of a discipline and society at large. This cross-cultural analysis of creativity, innovation and approaches to change will particularly appeal to practitioners and researchers in the fields of psychology, organizational behavior and education.

Creative teaching as well as teaching creativity are cutting edge issues in psychology today as recent academic and popular media coverage has shown. This volume expands on that interest with chapter authors drawn from interdisciplinary areas. It includes examples of creatively teaching across the education system, including preschool, K-12, undergraduate, and graduate level education. The variety of subjects covered by the chapters include psychology,math, science, and reading. In addition to creative teaching which may lead to enhanced learning and achievement in students, as well enhanced creativity,another focus is teaching with the objective to enhance creativity.

Lessons in Creativity from Musical Theatre Characters marries art and science with a new and exciting collaboration between one of the world’s leading creativity scholars and an internationally renowned musical theatre composer. This book will help readers tap into their creativity and unleash their own creative potential as they start their careers. Blending cutting-edge research, juicy anecdotes, lived experience, hands-on activities, and gentle advice, authors James C. Kaufman and Dana P. Rowe take readers on a journey to explore and enhance their own creativity. Each chapter addresses a key aspect of creativity, from how to overcome blocks to understanding one’s personal strengths all through the lens of Musical Theatre characters along with insights from those within the industry. Kaufman and Rowe shatter creativity myths (such as the tormented artist or having one big break) that may be harming the reader’s potential growth. Probing questions, fun quizzes, and engaging exercises will help the reader reflect on the material and develop strategies for their next step. All throughout, the readers can learn from the tales of Sweeney Todd, Maria Von Trapp, Alexander Hamilton, Christine Daaé, and countless others to inspire their own creativity. This book is ideal for aspiring theatre professionals, students of performing arts, and theatre and creativity scholars.

Do people have free will, or this universal belief an illusion? If free will is more than an illusion, what kind of free will do people have? How can free will influence behavior? Can free will be studied, verified, and understood scientifically? How and why might a sense of free will have evolved? These are a few of the questions this book attempts to answer.
People generally act as though they believe in their own free will: they don't feel like automatons, and they don't treat one another as they might treat robots. While acknowledging many constraints and influences on behavior, people nonetheless act as if they (and their neighbors) are largely in control of many if not most of the decisions they make. Belief in free will also underpins the sense that people are responsible for their actions. Psychological explanations of behavior rarely mention free will as a factor, however. Can psychological science find room for free will? How do leading psychologists conceptualize free will, and what role do they believe free will plays in shaping behavior?
In recent years a number of psychologists have tried to solve one or more of the puzzles surrounding free will. This book looks both at recent experimental and theoretical work directly related to free will and at ways leading psychologists from all branches of psychology deal with the philosophical problems long associated with the question of free will, such as the relationship between determinism and free will and the importance of consciousness in free will. It also includes commentaries by leading philosophers on what psychologists can contribute to long-running philosophical struggles with this most distinctly human belief.These essays should be of interest not only to social scientists, but to intelligent and thoughtful readers everywhere.

How is one to understand the nature of intelligence? One approach is through psychometric testing, but such an approach often puts the "cart before the horse"--the test before the theory. Another approach is to use evolutionary theory. This criterion has been suggested by a number of individuals in the past, from Charles Darwin in the more distant past to Howard Gardner, Stephen Gould, Steven Pinker, Carl Sagan, David Stenhouse, and many others. The chapters in this book address three major questions: 1. Does evolutionary theory help us understand the nature of human intelligence? 2. If so, what does it tell us about the nature of human intelligence? 3. And if so, how has intelligence evolved? The goal of this book is to present diverse points of view on the evolution of intelligence as offered by leading experts in the field. In particular, it may be possible to better understand the nature and societal implications of intelligence by understanding how and why it has evolved as it has. This book is unique in offering a diversity of points of view on the topic of the evolution of human intelligence.

How is one to understand the nature of intelligence? One approach is through psychometric testing, but such an approach often puts the "cart before the horse"--the test before the theory. Another approach is to use evolutionary theory. This criterion has been suggested by a number of individuals in the past, from Charles Darwin in the more distant past to Howard Gardner, Stephen Gould, Steven Pinker, Carl Sagan, David Stenhouse, and many others. The chapters in this book address three major questions:
1. Does evolutionary theory help us understand the nature of human intelligence?
2. If so, what does it tell us about the nature of human intelligence?
3. And if so, how has intelligence evolved?
The goal of this book is to present diverse points of view on the evolution of intelligence as offered by leading experts in the field. In particular, it may be possible to better understand the nature and societal implications of intelligence by understanding how and why it has evolved as it has. This book is unique in offering a diversity of points of view on the topic of the evolution of human intelligence.

This book provides an overview of the approaches of leading scholars to understanding the nature of creativity, its measurement, its investigation, its development, and its importance to society. The authors are the twenty-four psychological scientists who are most frequently cited in the four major textbooks on creativity, and they can thus be considered among the most eminent living scholars in the field. Authors discuss how they define creativity, the kinds of questions they have addressed, theories they have proposed, and a description of their research and the most interesting empirical results it has produced. The chapters represent a wide range of substantive and methodological emphases, including psychometric, cognitive, expertise-based, developmental, neuropsychological, cultural, systems, and group-difference approaches. The Nature of Human Creativity brings together an incredible diversity of viewpoints, helping students and researchers to see the points of consensus as well as the differences in contemporary perspectives.

This book explores the development of cognitive skills related to reasoning and creativity, two strands that can intertwine to work together at times but may also be at odds. Spontaneity and freedom from constraint, characteristic of the thinking of young children, may be essential to creativity, which has prompted many to question how much we lose as we progress through childhood. Research and common sense tell us that effort, practice, and study are necessary for the highest levels of creative accomplishment, yet such intentional exertions seem antithetical to these hallmarks of creativity. In this revised and expanded second edition, leading scholars shed new light on creativity's complex relationship to the acquisition of domain-based skills and the development of more general logical reasoning skills. Creativity and Reason in Cognitive Development will be an essential reference for researchers, psychologists, and teachers seeking to better understand the most up-to-date work in the field.

The Psychology of Creative Writing takes a scholarly, psychological look at multiple aspects of creative writing, including the creative writer as a person, the text itself, the creative process, the writer s development, the link between creative writing and mental illness, the personality traits of comedy and screen writers, and how to teach creative writing. This book will appeal to psychologists interested in creativity, writers who want to understand more about the magic behind their talents, and educated laypeople who enjoy reading, writing, or both. From scholars to bloggers to artists, The Psychology of Creative Writing has something for everyone.

What is creativity? How does it work? How does it flourish in individuals and organizations? Now in its second edition, this bestselling introductory text--written by one of the world's leading experts on the psychology of creativity--is completely updated and expanded to reflect the tremendous growth in this field. In a redesigned, reader-friendly format, the text surveys the latest theories and research to provide key information about what we know (and don't know) about creativity including its many definitions and measures. It addresses how creativity operates on individual and social/environmental levels, and the effects and outcomes of the creative mind. This much-praised book is an ideal brief text for courses on creativity in psychology, education, business, and other fields, as well as cross-disciplinary seminars and programs in creativity studies.

This textbook is a systematic and straightforward introduction to the interdisciplinary study of creativity. Each chapter is written by one or more of the world's experts and features the latest research developments, alongside foundational knowledge. Each chapter also includes an introduction, key terms, and critical thought questions to promote active learning. Topics and authors have been selected to represent a comprehensive and balanced overview. Any reader will come away with a deeper understanding of how creativity is studied - and how they can improve their own creativity.

The Routledge International Handbook of Research on Teaching Thinking is a comprehensive guide to research on teaching thinking. Teaching thinking is key to growing a more successful economy, is needed for increased democratic engagement and is vital for the well-being of individuals faced with the complexity of a globalised world. However, there are questions about what we mean by 'thinking', how best to teach it and how best to assess it, and it is these questions that this handbook explores and addresses. Containing surveys and summaries of international, cutting-edge research on every aspect of teaching thinking in a range of contexts, the handbook is thorough in its delivery, examining many different approaches and methods to help readers understand what teaching thinking is and how we can best take this movement forward. Key topics include: * Theoretical perspectives on teaching thinking * Approaches for teaching thinking * Developing creative thinking * Developing critical thinking and metacognition * The assessment of thinking * Teaching thinking in the context of STEM * Collaborative thinking and new technology * Neuro-educational research on teaching thinking This book is an essential guide for policy-makers, teachers and researchers who are interested in teaching thinking

Creativity is of rising interest to scholars and laypeople alike. Creativity in the arts, however, is very different from creativity in science, business, sports, cooking, or teaching. This book brings together top experts in the field from around the world to discuss creativity across many different domains. Each chapter includes clear definitions, intriguing research, potential measures, and suggestions for development or future directions. After a broad discussion of creativity across different domains, subsequent chapters look deeper into those individual domains (traditional arts, sciences, business, newer domains, and everyday life) to explore how creativity varies when expressed in different ways. Ultimately, the book offers a future-looking perspective integrating the different variations of creativity across domains.

The Cambridge Handbook of Creativity and Emotions provides a state-of-the-art review of research on the role of emotions in creativity. This volume presents the insights and perspectives of sixty creativity scholars from thirteen countries who span multiple disciplines, including developmental, social, and personality psychology; industrial and organizational psychology; neuroscience; education; art therapy, and sociology. It discusses affective processes - emotion states, traits, and emotion abilities - in relation to the creative process, person, and product, as well as two major contexts for expression of creativity: school, and work. It is a go-to source for scholars who need to enhance their understanding of a specific topic relating to creativity and emotion, and it provides students and researchers with a comprehensive introduction to creativity and emotion broadly.

The Cambridge Handbook of Creativity and Emotions provides a state-of-the-art review of research on the role of emotions in creativity. This volume presents the insights and perspectives of sixty creativity scholars from thirteen countries who span multiple disciplines, including developmental, social, and personality psychology; industrial and organizational psychology; neuroscience; education; art therapy, and sociology. It discusses affective processes - emotion states, traits, and emotion abilities - in relation to the creative process, person, and product, as well as two major contexts for expression of creativity: school, and work. It is a go-to source for scholars who need to enhance their understanding of a specific topic relating to creativity and emotion, and it provides students and researchers with a comprehensive introduction to creativity and emotion broadly.

Creativity Across Domains: Faces of the Muse sorts through the sometimes-confusing theoretical diversity that domain specificity has spawned. It also brings together writers who have studied creative thinkers in different areas, such as the various arts, sciences, and communication/leadership. Each contributor explains what is known about the cognitive processes, ways of conceptualizing and solving problems, personality and motivational attributes, guiding metaphors, and work habits or styles that best characterize creative people within the domain he or she has investigated. In addition, this book features: *an examination of how creativity is similar and different in diverse domains; *chapters written by an expert on creativity in the domain about which he or she is writing; *a chapter on creativity in psychology which examines patterns of performance leading to creative eminence in different areas of psychology; and *a final chapter proposing a new theory of creativity--the Amusement Park Theoretical Model. This book appeals to creativity researchers and students of creativity; cognitive, education, social, and developmental psychologists; and educated laypeople interested in exploring their own creativity.

People tend to think of creativity as a trait, a single attribute with which we are born that is fixed in quantity. Many people think of creativity as something that only very gifted people possess. This book challenges all of these notions.

This handbook focuses on the development and nurturance of creativity across the lifespan, from early childhood to adolescence, adulthood, and later life. It answers the question: how can we help individuals turn their creative potential into achievement? Each chapter examines various contexts in which creativity exists, including school, workplace, community spaces, and family life. It covers various modalities for fostering creativity such as play, storytelling, explicit training procedures, shifting of attitudes about creative capacity, and many others. The authors review research findings across disciplines, encompassing the work of psychologists, educators, neuroscientists, and creators themselves, to describe the best practices for fostering creativity at each stage of development.

This handbook focuses on the development and nurturance of creativity across the lifespan, from early childhood to adolescence, adulthood, and later life. It answers the question: how can we help individuals turn their creative potential into achievement? Each chapter examines various contexts in which creativity exists, including school, workplace, community spaces, and family life. It covers various modalities for fostering creativity such as play, storytelling, explicit training procedures, shifting of attitudes about creative capacity, and many others. The authors review research findings across disciplines, encompassing the work of psychologists, educators, neuroscientists, and creators themselves, to describe the best practices for fostering creativity at each stage of development.

"Creativity Across Domains: Faces of the Muse" sorts through the sometimes-confusing theoretical diversity that domain specificity has spawned. It also brings together writers who have studied creative thinkers in different areas, such as the various arts, sciences, and communication/leadership. Each contributor explains what is known about the cognitive processes, ways of conceptualizing and solving problems, personality and motivational attributes, guiding metaphors, and work habits or styles that best characterize creative people within the domain he or she has investigated.
In addition, this book features:
*an examination of how creativity is similar and different in diverse domains;
*chapters written by an expert on creativity in the domain about which he or she is writing;
*a chapter on creativity in psychology which examines patterns of performance leading to creative eminence in different areas of psychology; and
*a final chapter proposing a new theory of creativity--the Amusement Park Theoretical Model.
This book appeals to creativity researchers and students of creativity; cognitive, education, social, and developmental psychologists; and educated laypeople interested in exploring their own creativity.

People tend to think of creativity as a trait - a single attribute with which we are born that is relatively fixed in quantity. Many people also think of creativity as something that only very gifted people possess. This book challenges all of these notions. The basic idea is that there are multiple kinds of creativity, and that everyone can develop at least some of these kinds of creativity. The book considers the various kinds of creativity as they apply in domains such as science, literature, the arts, government, business, and sports.
The most common kind of creativity may be conceptual replication, whereby someone produces a minor variant of work that has been produced before. This kind of creativity represents a "limiting case" of creative thought. Most successful inventions and scientific discoveries represent "forward incrementations," which basically take existing ideas and move them to the next step in the direction the field is already going. Often more radical are redirections, which take a field in a new direction, and reinitiations, which represent essentially a "starting over" of how people think about a given problem.
The book discusses eight kinds of creativity, and how they are similar to and different from each other. It is illustrated with many examples, and describes why it is necessary to distinguish among the kinds of creativity.
Anyone who reads the book will no longer think of creativity as "a thing". Rather, it manifests itself in eight different ways.

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