A Survival Kit for Doctoral Students and Their Supervisors offers a hands-on guide to both students and supervisors on the doctoral journey, helping make the process as enjoyable as it is productive. Drawing on research from peer learning groups, contributed narratives, and their own programs, the authors emphasize the value of the doctoral partnership and the ways in which shared knowledge can facilitate a rewarding journey for students and their advisors. Grounded in theoretical and empirical material, the book helps participants navigate the doctoral process with personal stories and examples from a variety of researchers. A discussion of common challenges and the inclusion of practical tips further enhance the book's diverse range of helpful resources.

The legendary artist Pablo Picasso took baths when he was in need of new ideas for his work. Other people take walks in the park or visit an art gallery or watch Youtube - in an attempt to spark their creativity and imagination. This book inspires us to work harder with our creativity - both as individuals and companies. Being creative is now critical in our careers, but most people regard creativity as somewhat mystical, slippery and a rare entity. In fact, all of us are capable of creativity - if that is what we want. Often, it is about having the right mindset and finding the right spark to set off your creativity. This book presents a unique Scandinavian perspective on creativity, and contains wonderful stories of people from different backgrounds - opera, architecture, science, art, drugs, sport, toys, film, technology - and how they find and use their creativity. In doing so, it provides an array of inspirations and tips to help you lead a more creative and imaginative life at work and home.

This book covers topics not commonly associated with creativity that offer us insight into creative action as a social, material, and cultural process. A wide range of specialists within the humanities and social sciences will find this interesting, as well as practitioners who are looking for novel ways of thinking about and doing creative work.

This book sets out a proposal for applying psychological and educational psychology concepts to improve work with children and young people. It also suggests how some of the criticism aimed at pedagogical-psychology practice can be answered. In several respects educational psychology practice seems to be in a transition phase and could even be said to be suffering an identity crisis: educational establishments and education policy alike are looking for different skills than those the psychology profession traditionally provides, and people are generally questioning the relevance and applicability of pedagogical-psychological counseling. The book is based on the fundamental premise that good professional practice is contingent upon circumstances that allow practitioners to apply their knowledge, experience and skills in the specific encounter with a specific task. This means that the ability to act pragmatically and creatively is, and will increasingly be, an important skill not only for educational psychologists, but also for psychologists in general. In other words, psychologists must be able to contribute to tasks in new ways and new contexts when required. Intended primarily for students of psychology, school psychologists and other professional groups that provide counseling in schools, the book is also a valuable resource for the various groups that use pedagogical-psychology tools and insights in their work with children and young people.

This book sets out a proposal for applying psychological and educational psychology concepts to improve work with children and young people. It also suggests how some of the criticism aimed at pedagogical-psychology practice can be answered. In several respects educational psychology practice seems to be in a transition phase and could even be said to be suffering an identity crisis: educational establishments and education policy alike are looking for different skills than those the psychology profession traditionally provides, and people are generally questioning the relevance and applicability of pedagogical-psychological counseling. The book is based on the fundamental premise that good professional practice is contingent upon circumstances that allow practitioners to apply their knowledge, experience and skills in the specific encounter with a specific task. This means that the ability to act pragmatically and creatively is, and will increasingly be, an important skill not only for educational psychologists, but also for psychologists in general. In other words, psychologists must be able to contribute to tasks in new ways and new contexts when required. Intended primarily for students of psychology, school psychologists and other professional groups that provide counseling in schools, the book is also a valuable resource for the various groups that use pedagogical-psychology tools and insights in their work with children and young people.

Creativity — A New Vocabulary proposes a novel approach to the way in which we talk and think about creativity. It covers a variety of topics not commonly associated with creativity that offer us valuable insights and open up new and exciting possibilities for creative action. This second edition includes six new essays which continue to challenge the traditional vocabulary of creativity and its preference for individuals, brains, cognition, personality, divergent thinking, insight, and problem solving. The book proposes a more dynamic and relational perspective that considers creativity as an embodied, social, material, and cultural process. This book will be useful for a wide range of specialists within the humanities and social sciences, as well as practitioners from applied fields who are looking for novel ways, of thinking about and doing creative work.

A volume in Advances in Cultural Psychology Series Editor: Jaan Valsiner, Clark University Some old ideas can become very new. This is the case of the notion of creativity in psychology. Traditionally conceptualized in the narrow framework of the amazing things poets, composers, painters, and scientists do, creativity research had reached an impasse in its efforts to locate creativity within the confines of personality characteristics. This is the time for change. The New Look at creativity that is rooted within the sociocultural tradition in psychology and elaborated in the present book finds creativity in each and every moment of our everyday lives. We are creative when we move around in the streets, dance tango, fool around with our self-images while shopping for clothes, or resist pre-given recipes while cooking dinners. We are being creative even in our bedrooms where we perform the difficult tasks of falling asleep or waking up through arrays of sleep inducers and alarm clocks, not to speak of the time we spend in the very state of sleep. All our actions at night-ranging from what we later call nightmares--or dreams-are arenas of creativity even if we may barely remember what we have done. The present monograph by Lene Tanggaard constitutes a powerful multi-pronged exposition of the New Look at Creativity. Its starting point is in the move to pay attention to the processes of acting in everyday life-rather than start from the classification of products of human actions into classes of "creative" versus "non-creative."

A volume in Advances in Cultural Psychology Series Editor: Jaan Valsiner, Clark University Some old ideas can become very new. This is the case of the notion of creativity in psychology. Traditionally conceptualized in the narrow framework of the amazing things poets, composers, painters, and scientists do, creativity research had reached an impasse in its efforts to locate creativity within the confines of personality characteristics. This is the time for change. The New Look at creativity that is rooted within the sociocultural tradition in psychology and elaborated in the present book finds creativity in each and every moment of our everyday lives. We are creative when we move around in the streets, dance tango, fool around with our self-images while shopping for clothes, or resist pre-given recipes while cooking dinners. We are being creative even in our bedrooms where we perform the difficult tasks of falling asleep or waking up through arrays of sleep inducers and alarm clocks, not to speak of the time we spend in the very state of sleep. All our actions at night-ranging from what we later call nightmares--or dreams-are arenas of creativity even if we may barely remember what we have done. The present monograph by Lene Tanggaard constitutes a powerful multi-pronged exposition of the New Look at Creativity. Its starting point is in the move to pay attention to the processes of acting in everyday life-rather than start from the classification of products of human actions into classes of "creative" versus "non-creative."