Provides concrete guidance, grounded in scientific literature, for researchers to build creative confidence in their work.

For years the research on creativity has been divided into person, process, product and press (environment) foci. However, the field is now much more extensive and diverse than it was when this scheme was proposed, and these four categories no longer catpure its essence. ""The Creativity Research Handbook"" shows how extensive and diverse the field has become. ""The Handbook"" contains extensive reviews and is intended to provide a comprehensive review of creativity research, first by the breadth of coverage of the chapters and second, by the depth and coverage within each chapter. ""The Handbook"" is divided into two parts, the first disciplinary and the second topical. The approach is a comprehensive one - authors do not focus on their own models or theories but instead give complete overviews. The disciplinary structure allows a more sensitive and accurate placement of research. The disciplinary framework also facilitates exchanges with the wider scholarly community - research on creative thinking, for example, shares assumptions with the cognitive sciences, and the disciplinary assignment can help individuals studying creativity to benefit from those sciences. Several of the contributions demonstrate how creativity research has benefited from such disciplinary connections. Part 2 contains six topical chapters; each of them focuses on one critical topic.

This cutting-edge Handbook takes stock of a diverse set of theoretical and methodological perspectives that address creativity, innovation, and the ways in which they intersect. Considering the development of the field, the Handbook examines current trends to chart a path forward for promising future research.

As individual subjects, creativity and personality have been the focus of much research and many publications. This Cambridge Handbook is the first to bring together these two topics and explores how personality and behavior affects creativity. Contributors from around the globe present cutting-edge research about how personality traits and motives make creative behavior more likely. Many aspects of personality and behavior are examined in the chapters, including genius, emotions, psychopathology, entrepreneurship, and multiculturalism, to analyse the impact of these on creativity. The Cambridge Handbook of Creativity and Personality Research will be the definitive resource for researchers, students and academics who study psychology, personality, and creativity.

This groundbreaking Handbook brings together leading international experts in creativity and culture research to provide an overview of current debates. It showcases the wealth of topics, approaches and definitions specific for this new, interdisciplinary field within creativity research. The theoretical and methodological innovations emerging from the joint study of creativity and culture highlight the role of creativity within today's innovation-based, multicultural societies. Drawing on theoretical and empirical reflections, including case studies from different continents and different creative domains, this Handbook provides a truly global outlook on current creativity research within an emergent, interdisciplinary field. This variety is highlighted by the Handbook's structure as it is divided into five sections: Creativity and Culture in the Psychology of Creativity; Creativity in Socio-Cultural Psychology; Creativity in Cultural Context; Creativity and Culture in Applied Domains; Cross-disciplinary Perspectives on Creativity and Culture. These sections provide a clear overview of the debates and questions of this research area as contributors share their interest in creativity not only as an individual but also a social and cultural phenomenon, and in culture as both the foundation and outcome of creative action. The Handbook will be an essential resource for researchers, particularly those based in social science and humanities disciplines.

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.

The rapid pace of technological change and globalization of products, competition and services have conspired to place a new premium on innovation for firms across the world. Although many variables influence creativity and innovation, the effective leadership of creative teams has proved especially important. This timely Handbook presents the state of the art for what leaders must do to lead creative teams and how they should do it.