Discusses how writing is the combination of two voices, "creator" and "critic," and how writers use these voices to create a recognizable yet variable pattern. Presents two story beginnings by Rachel McCaleb Watts that illustrate the repetitions and variations in one writer's work. (ARH)

A literature review on families of gifted and talented individuals sought to determine the importance of several broad areas on talent development (structural or demographic characteristics, family climate or environment, values espoused and/or enacted by parents). Family climate variables differed between individuals exhibiting creative versus…

States that creativity has a role to play in all secondary school subjects, not just art. Urges curriculum planners to support subjects which emphasize creativity. (BSR)

To support the statement that intuitive process is as important as the scientific, two axioms are explored by the violinist: no phenomenon discovered or created by science is possible unless its equivalent has already existed in nature; and the basic revelations of science can be formulated by intuition through meditation. (Author/KM)

Historical views of play are summarized. Research on the role of childhood play in developmental and learning processes is reviewed. Implications from research and suggestions to promote a play environment are listed. (MT)

An illustrator who specializes in children's classics, such as "Alice in Wonderland" and the "Wonderful Wizard of Oz" describes his work process, reveals his ideas about art, and considers some of the projects he has worked on. (NKA)

A comparison was made of the implicit theories for scientific creativity, artistic creativity, everyday creativity, and noncreativity among a group of amateur and professional artists (N=36) and a control group (N=52). Groups did not differ significantly for number of characteristics or unique characteristics generated though specific…

It is argued that creative behavior is a product of the uniquely human capacity to will and requires activation of the prefrontal lobe "cells of will" to facilitate the harmonious functioning of all parts of the brain. (DB)

Although creativity courses in the academic community often are not taken seriously, they can and should be a transformational journey for the student, involving exciting but sometimes painful unlearning of old structures and development of new conceptual systems. (DB)

The article describes the life and work of E. Paul Torrance, long associated with gifted education. His career is traced and his beliefs in the importance of identifying and developing creativity are discussed. (CL)

Classroom teachers can provide more creative opportunities in the classroom by providing an atmosphere of psychological safety and by presenting material that encourages divergent thinking. Examples of the bull's eye strategy, brainstorming, and checklisting activities to stimulate imaginative ideas are offered. (CL)

Puppets can serve as educational and therapeutic aids in working with children who have learning and/or emotional problems. Puppets help children express feelings, experience creativity, engage in role playing, and act out dreams. (CL)

Teachers should design individual project ideas to provide creative motivations for creatively gifted students in regular school classrooms. Examples of project ideas are cited in three case studies. (CL)

Traditionally, classroom drama is a safe literary activity that involves students in reading or writing scripts. The newer methods that have the students out of their seats improvising drama require training that few teachers have had. Current teacher training methods are described, and alternative methods are suggested. (MT)

The article describes the Creative Inventory, a means of finding out the conditions under which creative potential is liberated. Exercises to discover these conditions are described and it is suggested that they can be beneficial for older children. (Author/CL)