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Siga este link para ver outros tipos de publicações sobre o tema: Creativity.

Livros sobre o tema "Creativity"

Autor: Grafiati

Publicado: 4 de junho de 2021

Última modificação: 12 de julho de 2025

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1

Gregerson, Mary Banks, James C. Kaufman, and Heather T. Snyder, eds. Teaching Creatively and Teaching Creativity. New York, NY: Springer New York, 2013. http://dx.doi.org/10.1007/978-1-4614-5185-3.

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2

Hui, Desmond. Architettura e creatività: Architecture and creativity. Firenze: Alinea, 2008.

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3

Meyers, Herbert, and Richard Gerstman, eds. Creativity. London: Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1057/9780230592728.

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4

Hawkins, Harriet. Creativity. Abingdon, Oxon ; New York, NY : Routledge, 2017. |: Routledge, 2016. http://dx.doi.org/10.4324/9781315748153.

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5

ill, Lewis Earl B., ed. Creativity. New York: Clarion Books, 1997.

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6

Lerner, Helene. Creativity. New York, NY: HarperCollins Publishers, 1993.

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7

Dale, Timpe A., ed. Creativity. New York, N.Y: Facts on File Publications, 1987.

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8

Mihaly, Csikszentmihalyi. Creativity. New York: HarperCollins, 2007.

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9

1941-, Brockman John, ed. Creativity. New York: Simon & Schuster, 1993.

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10

A, Runco Mark, and Richards Ruth, eds. Eminent creativity, everyday creativity, and health. Greenwich, Conn: Ablex Pub. Corp., 1997.

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11

Weisberg, Robert W. Creativity: Beyond themyth of genius. New York: W.H. Freeman, 1993.

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12

Sporton, Gregory. Digital Creativity. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137486417.

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13

Gogatz, Arthur, and Reuben Mondejar. Business Creativity. London: Palgrave Macmillan UK, 2005. http://dx.doi.org/10.1057/9780230510265.

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14

Sauber, Tim, and Hugo Tschirky. Structured Creativity. London: Palgrave Macmillan UK, 2006. http://dx.doi.org/10.1057/9780230513242.

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15

Clapp, Edward P. Participatory Creativity. New York, NY : Routledge, 2016.: Routledge, 2016. http://dx.doi.org/10.4324/9781315671512.

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16

Gregerson, Mary Banks. Teaching Creatively and Teaching Creativity. Springer, 2012.

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17

Kaufman, James C., Mary Banks Gregerson, and Heather T. Snyder. Teaching Creatively and Teaching Creativity. Springer London, Limited, 2012.

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18

Kaufman, James C., Mary Banks Gregerson, and Heather T. Snyder. Teaching Creatively and Teaching Creativity. Springer, 2014.

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19

Teaching creatively and teaching creativity. New York, NY: Springer, 2013.

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20

Carter, David E. Creativity 34 (Creativity). Collins Design, 2005.

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21

Creativity 33 (Creativity). Collins Design, 2004.

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22

Creativity 35 (Creativity). Collins Design, 2006.

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23

Creativity 36 (Creativity). Collins Design, 2007.

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24

Carter, David E. Creativity 34 (Creativity). Collins Design, 2005.

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25

Carter, David E. Creativity 36 (Creativity). Collins Design, 2007.

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26

Carter, David E. Creativity 35 (Creativity). Collins Design, 2006.

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27

Barron, Don. Creativity Fifteen (Creativity). Art Direction Book Company, 1986.

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28

Carter, David E. Creativity 31 (Creativity). Watson-Guptill Publications, 2002.

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29

Carter, David E. Creativity 33 (Creativity). Collins Design, 2004.

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30

Creativity 31 (Creativity). Watson-Guptill Publications, 2002.

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31

Creativity 26 (Creativity). Art Direction Book Co, 1997.

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32

Creativity 38 Creativity. Collins Design, 2009.

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33

Debaise, Didier. Actualising Creativity. Translated by Tomas Weber. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474423045.003.0004.

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The description of the general components of creativity led to the following key proposition of Process and Reality: creativity exists only through its actualisations. But what does it mean to exist through actualisations? First of all, staying true to the literal meaning of what is posed, it implies that, strictly speaking, creativity does not exist, or at least, it does not exist outside of the operation of actualisation. As a result, creativity cannot be treated in itself, it cannot be considered in its own being, since this would presuppose its existence. This leads to a highly distinctive approach to existence with regard to creativity: it appears that existence is something added to creativity, something that happens to it within a process. If it were internal, Whitehead would have said that only one of the forms of creativity’s existence is to be found in its actualisations, which would imply other forms belonging to it, relativising existence through actualisation. Whitehead’s proposition, however, is the opposite: creativity’s existence is related to its actualisations; it is drawn towards distinct things. It could be said, then, and without getting too involved in this point for now, that there is a difference between creativity and existence. It is a common metaphysical error, according to Whitehead, to confuse the ultimate with existence, making the latter into an attribute of the ultimate (in the form of substance, for instance, or of an atom).

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34

Stephensen, Jan Løhmann. Creativity. Aarhus University Press, 2021.

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35

Runco, Mark A. Creativity. Taylor & Francis Group, 2010.

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36

Parker, Rachel. Creativity. CreateSpace Independent Publishing Platform, 2015.

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37

Lau, Sing, Anna N. N. Hui, and Grace Y. C. Ng. Creativity. WORLD SCIENTIFIC, 2004. http://dx.doi.org/10.1142/5524.

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38

Wilson, E. Creativity. National Council of Teachers of English, 1986.

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39

Creativity. Scarborough, Ont: Prentice-Hall Canada, 1993.

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40

Steptoe, John. Creativity. Turtleback Books Distributed by Demco Media, 2003.

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41

Hussain, Shamshad. Creativity. Motilal Banarsidass,, 1988.

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42

Steptoe, John. Creativity. Tandem Library, 2003.

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43

Kaufman, James C., and Robert J. Sternberg, eds. Creativity. Cambridge University Press, 2021. http://dx.doi.org/10.1017/9781108776721.

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44

Creativity. Elsevier, 2014. http://dx.doi.org/10.1016/c2012-0-06920-7.

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45

Creativity. Elsevier, 2007. http://dx.doi.org/10.1016/b978-0-12-602400-5.x5000-x.

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46

Baer, John. Creativity. Edited by Angela O'Donnell. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780199841332.013.12.

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This article reviews research and theory dealing with the psychology of creativity. It begins with a discussion of the most influential and widely known theory of creativity, which is based on the structure of the intellect model. It then considers four aspects of divergent thinking that are frequently mentioned in the literature, along with two models for classifying creativity: the “four P” model and the four C model. The article describes other theories of creativity, including the chance configuration theory, the propulsion model, and the five-factor theory of personality. Finally, it examines other important issues in creativity research, such as mental illness, gender differences, birth order, and IQ. It also looks at some of the approaches used in the assessment of creativity, including the Torrance Tests of Creative Thinking and the consensual assessment technique. Finally, it explores the issue of teaching creativity.

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47

Simonton, Dean Keith, and Rodica Ioana Damian. Creativity. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780195376746.013.0050.

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48

Gamez, George. Creativity. Jaico Publishing House, 2005.

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49

Mitson, Eileen. Creativity. Soc for Promoting Christian, 1989.

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50

Pope, Rob. Creativity. Routledge, 2005. http://dx.doi.org/10.4324/9780203695319.

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