Serendipity and pseudoserendipity in scientific discovery are distinguished with examples. True serendipity is seen to involve purely accidental discovery of things not sought, whereas pseudoserendipity involves accidental discoveries of ways to achieve an end that was sought. (DB)

This bibliography lists, in alphabetical order by author, over 100 English-language books on creativity and problem solving, published in 1990 and 1991. In addition to the bibliographic information provided, one or two subject descriptor terms are included to note the content area of each book. (JDD)

Provides a perspective on the integrative healing aspects of poetry. Suggests that poetry calls things together, contains things, brings things to light, and shows how things are already whole, healed, one. (RS)

The role of serendipity or "chance in all its forms" in scientific discovery is considered. The need to differentiate between purely accidental events and Rothenberg's "articulations of error" when discussing scientific discoveries is stressed. Examples of articulations of errors are noted, including Fleming (penicillin),…

Outlines concept of aging of Leos Janacek, a composer remembered primarily for works that he composed in the last decade of his life. Describes Janacek's subjects of his late operas; composer's comments during this period; and shape of his musical structures. Questions concept of "late style" and notes problems of applying models to…

Thomas Young was a renowned genius in his time who did important work in many scientific disciplines. In today's specialized environment, scientists in each discipline do not appreciate his work. Despite his current obscurity, Young exemplifies traits found in a first-order genius (analogical thinking, high intelligence, hard work, wide interests,…

Explores the use of conceptual combination in Stephen Donaldson's development of ideas for his fantasy books. Uses Donaldson's own account to illustrate the general principles of a creative cognition approach to understanding creativity and the role of the process of conceptual combination. Assesses links between Donaldson's and others' anecdotal…

Ways that trainers use humor to diffuse stress and stimulate creativity are described. Discuses how humor engages people, allows failure, and overcomes defenses and resistance. (SK)

Defines types of creativity: type B, a special set of mental traits or concepts; and type A, a mind free from habit, leading to innovation and invention. Describes levels of teaching creativity. (JOW)

Presents case histories of late-life creativity in literature (May Sarton), painting (Marcel Duchamp), music (Leos Janacek), dance (Martha Graham), and theatre (Jessica Tandy). Offers suggestions for a course on humanistic creativity in later life. (Contains 74 references.) (SK)

This paper explores some of the value of creativity in educational practice arguing that its relevance has less to do with any standardized, reductive and predetermined model that is constructed for it and more to do with how it speaks to me in what Maurice Merleau-Ponty thought of as a depth of being open to the world.

Jacques Ellul's claim that technique became an autonomous phenomenon during the middle of the 20th century, and subsequently a system, means that the influence people have on technique is much less decisive than the influence technique has on people. As a sociohistorical description of the relationship between technique and society, it can be…

In this lively account of a special school's involvement with the government-funded Creative Partnership programme, Maria Balshaw provides a helpful overview of that programme and demonstrates the exciting potential for inclusive practice when schools work in partnership with creative professionals.

The article problematizes in aphoristic condensation the heterogeneous concepts of creativity in philosophy, psychology and sociology and outlines their paradoxes. Creativity in these concepts is tied to the human potential to bring into being something new and to the capacity of drawing differences. In its contingency, creativity is ambivalent to…

Traditional composition classes teach the tools of choreographic craft, yet leave students in an odd limbo in which they create a special breed of "college dance" that has little to do with the current dance world. In the twenty-first century, choreography teachers must go beyond an emphasis on traditional craft and help students find their own…