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Handbook of Creativity

  • John A. Glover
  • Royce R. Ronning
  • Cecil R. Reynolds

Part of the Perspectives on Individual Differences book series (PIDF)

Table of contents

  1. Front Matter
    Pages i-xxi
  2. The Nature of the Beast

    1. Front Matter
      Pages 1-1
    2. Robert T. Brown
      Pages 3-32
    3. William B. Michael, Claudia R. Wright
      Pages 33-52
    4. Dennis Hocevar, Patricia Bachelor
      Pages 53-75
    5. Richard W. Woodman, Lyle F. Schoenfeldt
      Pages 77-91
    6. P. E. Vernon
      Pages 93-110
    7. Patricia A. Haensly, Cecil R. Reynolds
      Pages 111-132
  3. Cognitive Models of Creativity

    1. Front Matter
      Pages 133-133
    2. John R. Hayes
      Pages 135-145
    3. John H. Flowers, Calvin P. Garbin
      Pages 147-162
    4. Barry S. Stein
      Pages 163-176
    5. Bonnie B. Armbruster
      Pages 177-182
    6. David Moshman, Leslie E. Lukin
      Pages 183-198
    7. Suzanne Benack, Michael Basseches, Thomas Swan
      Pages 199-208
  4. Personalogical Variables and Creativity

    1. Front Matter
      Pages 209-209
    2. Colin Martindale
      Pages 211-232
    3. E. Thomas Dowd
      Pages 233-242
    4. Robert Prentky
      Pages 243-269
    5. P. Paul Heppner, Karen Fitzgerald, Carolyn A. Jones
      Pages 271-280
  5. Applications

    1. Front Matter
      Pages 281-281
    2. Linda J. Carey, Linda Flower
      Pages 283-303
    3. John A. O’Looney, Shawn M. Glynn, Bruce K. Britton, Linda F. Mattocks
      Pages 305-321
    4. Carolyn A. Colvin, Roger Bruning
      Pages 323-339
    5. Shawn M. Glynn, Bruce K. Britton, Margaret Semrud-Clikeman, K. Denise Muth
      Pages 383-398
    6. Elizabeth M. Goetz
      Pages 411-428
    7. Bruce K. Britton, Shawn M. Glynn
      Pages 429-440
  6. Back Matter
    Pages 441-447

About this book

Introduction

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. 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. At the same time, we were casting about for a means of honoring a dear friend, E. Paul Torrance. Our decision was that we might best be able to honor Paul and influence research on creativity by developing a handbook designed to challenge traditional perspectives while offering research agendas based on contemporary psychological views.

Keywords

Motivation cognition creativity happiness intelligence interaction learning memory perception personality

Editors and affiliations

  • John A. Glover
    • 1
  • Royce R. Ronning
    • 2
  • Cecil R. Reynolds
    • 3
  1. 1.Ball State UniversityMuncieUSA
  2. 2.University of NebraskaLincolnUSA
  3. 3.Texas A&M UniversityCollege StationUSA

Bibliographic information