Understanding Creativity: Past, Present and Future Perspectives

Roger L. Cuadra (Editor)

Series: Expressive Arts Therapies
BISAC: PSY034000

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Volume 10

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Special issue: Resilience in breaking the cycle of children’s environmental health disparities
Edited by I Leslie Rubin, Robert J Geller, Abby Mutic, Benjamin A Gitterman, Nathan Mutic, Wayne Garfinkel, Claire D Coles, Kurt Martinuzzi, and Joav Merrick

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Understanding Creativity: Past, Present and Future Perspectives explores the symbiotic relationship between culture and creativity, particularly exploring how resources and cultural values within a society can foster or hinder creativity.

Next, this compilation proposes a new method for measuring product creativity with verification of its metric characteristics. This approach entails the construction of a creativity coefficient and a uniqueness coefficient, which are based on the assessment of the originality of the answers provided by respondents.

The connection between objective indicators of creativity and its representation on the level of self-consciousness is also discussed by way of a new questionnaire for implicit theories of creativity that diagnoses four scales: originality, intelligence and personal potential, novelty and activity.

The authors propose and demonstrate how a student must perceive that the ability to self-correct any discrepancies between actual and desired performance is possible and achievable in order to exhibit a positive response to feedback.

“Zones of in-between” are defined as organizational, social and physical spaces at school that have the potential to allow for something else than their ostensible purposes in teaching and teacher-pupil relations. Different types of presence, interactions and expressions occur when pupils have a pause from teaching and interact with other pupils. This kind of creativity is formed by and takes place in sociocultural margins and peripheries.

The final paper is a qualitative narrative examination of undergraduate students’ experiences in a fully online learning community, describing how a community of 90 students divided into three sections of 30 participated in a blended course for 12 weeks which used flipped classroom video podcasts, online discussion boards, and weekly synchronous Adobe Connect conferencing.
(Imprint: Nova)

Preface

Chapter 1. Creativity and Culture: An Inseparable Symbiosis
(Ciarán T. Dunne, School of Applied Language and Intercultural Studies, Dublin City University, Ireland)

Chapter 2. Construction and Validation of the Creativity Coefficient
(Miloš Milošević and Irena J. Ristić, Faculty of Dramatic Arts, University of Arts in Belgrade, Belgrade, Serbia)

Chapter 3. Implicit Theories and Self-Esteem of Creativity in the Structure of Self-Consciousness
(Elizaveta Pavlova and Tatiana Kornilova, Lomonosov Moscow State University, Department of Psychology, Moscow, Russian Federation)

Chapter 4. Facilitating and Motivating Students’ Verbal and Visual Creativity in Higher Education through Assessment Feedback
(Sylvie Studente, PhD, and Filia J. Garivaldis, PhD, Faculty of Business and Management, Regent’s University London, London, United Kingdom, and others)

Chapter 5. Zones of In-Between as Creative Spaces in Pupils’ Interactions at School
(Margit Saltofte, PhD, Department of Learning and Philosophy, Aalborg University, Denmark)

Chapter 6. Creative Online Learning Communities: Arts-Based Social Interaction through Digital Moments
(Wendy Barber, PhD, Faculty of Education, Ontario Tech University, Oshawa, Canada)

Index

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