High IQs don't improve the world. Adaptive intelligence does, because it prioritizes the common good over individual success.

The need for new thinking in the world, both official leadership and for all participating members of society has been a glaring reality in recent times. The idea of teaching students how to use the full potential of their thinking apparatus is not absurd-simply logical and timely. Opportunities for creative expression are central to the development of a sense of personal identity and significance when creative thinking and expression are valued by the powers that be. In this book, the author stresses the importance of radical change in educational practices as a necessity.

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.

In Perspectives in Creativity experts in the psychology of creativity take stock of the field by examining their own experiences. The contributors relate how they embarked on their work, how their ideas developed, what in their thinking remained the same, what had changed, and how they evaluate their successes and failures. The introductory chapter provides a historical context for subsequent contributions. J. P. Guilford then describes the development of the field of creativity from the perspective of the Structure of Intellect model. Donald W. MacKinnon describes his work at the Institute of Personality Assessment and Research. J. W. Getzels and Mihalyi Csikszentmihalyi recount in the following chapter how, though starting with a conception of creativity as a problem-solving process, they were driven through their work with artists to a conception of creativity as also a problem-finding process. In the fifth chapter, Frank M. Andrews describes his investigations of the social and psychological factors in scientific laboratories. Frank Barron examines the problem of creativity and alienation. Anne Roe analyzes the sources and development of paintings as reported by twenty artists. In the following chapter, Salvatore Maddi examines the widely held belief that social integration and a permissive environment are conducive to creative endeavor. In chapter 9, Calvin Taylor and Richard Ellison describe the development of the Utah program of assessment and intervention with regard to the creativity of children in the classroom. Next, Sidney Parnes discusses his work on "brainstorming" and its emphasis on a balance between imagination and judgment, freedom, and discipline. George Prince tells of the development of "synectics" since its early formulation and recounts its application to creative production in industry. E. Paul Torrance then examines recent creativity in the schools and describes his own efforts in devising diagnostic tests and educati

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.

Playfulness: Its Relationship to Imagination and Creativity focuses on a discussion of the play element in play. This book discusses the differentiation between play and exploratory behavior based on familiar versus novel aspects in the factual givens. Organized into seven chapters, this book begins with an overview of the role of play, imagination, and creativity in psychological research. This text then examines the theoretical model that indicates the role of playfulness in affective, cognitive, and social functioning, and particularly relates these links to creativity and imagination. Other chapters consider playfulness as behavior at later stages of development. This book discusses as well some of the variables considered in relation to playfulness, including sex differences, social class, and level of intelligence. This book is intended to be suitable for professionals and advanced students in a number of disciplines. Developmental and educational psychologists as well as educators will also find this book useful.

This text reviews and synthesizes the theories, research, and empirical evidence between human flourishing and the humanities broadly, including history, literary studies, philosophy, religious studies, music, art, theatre, and film. Via multidisciplinary essays, this book expands our understanding of how the humanities contribute to the theory and science of well-being by considering historical trends, conceptual ideas, and wide-ranging interdisciplinary drivers between positive psychology and the arts.

Reignite your creative-thinking skills to produce innovative solutions Organizational Creativity: A Practical Guide for Innovators and Entrepreneurs by Gerard J. Puccio, John F. Cabra, and Nathan Schwagler, is a compelling new text designed to transform the reader into a creative thinker and leader. Arguing that creativity is an essential skill that must be developed, the authors take a highly practical approach, providing strategies, tools, and cases to help readers hone their creative abilities. Whether students are preparing to become entrepreneurs or to work in an established firm, this text will help them survive and thrive in an era of innovation and change.

Contributing to the discussion over China’s higher education development, this book takes a theoretical approach to address the topic of university academics’ innovation by introducing an academic innovation competency model, exploring the contexts, concepts and practices. The innovation competency model comprises three interdependent dimensions, including the academic internal drive vitality, the academic synthesizing refined ability and the academic suspected and introspective ability. By enriching the theory of professional development of university teachers, these three dimensions will help advance the reform of college personnel systems and ultimately improve the quality of China's higher education. The book will be valuable to researchers, students and stakeholders hoping to learn about education reform in China, or to those who study higher education management and comparative education.