This book examines the paradox of creativity in art education and proposes a possible resolution. Based on the findings of a longitudinal ethnographic study as a particular case of creative practice in art education, this book is underpinned by Bourdieu’s concepts of the habitus, symbolic capital and misrecognition. The author offers an insightful account of social reasoning within creative practice in the senior school art classroom, examining ongoing exchanges between students and their teacher. Ultimately, these exchanges culminate in actions, beliefs and desires about what is creatively conceivable in the making of art, while providing confirmation without corruption of the pedagogical role of the art teacher. Allowing the context of creative agency to emerge afresh, this book will be of interest and value to art educators and teachers committed to fostering the creative performances of students in any field.

This book examines the paradox of creativity in art education and proposes a possible resolution. Based on the findings of a longitudinal ethnographic study as a particular case of creative practice in art education, this book is underpinned by Bourdieu’s concepts of the habitus, symbolic capital and misrecognition. The author offers an insightful account of social reasoning within creative practice in the senior school art classroom, examining ongoing exchanges between students and their teacher. Ultimately, these exchanges culminate in actions, beliefs and desires about what is creatively conceivable in the making of art, while providing confirmation without corruption of the pedagogical role of the art teacher. Allowing the context of creative agency to emerge afresh, this book will be of interest and value to art educators and teachers committed to fostering the creative performances of students in any field.

Creative criminals commit highly effective, novel crimes. From consumer fraud to terrorism, how can these creative criminals be stopped?

Higher education should be a place for students to innovate, create, and expand their horizons, and in order to create an environment which allows for all these things, tutors need to be able and willing to do the same. This practical and informative book explores how a diverse range of tutors working in the Arts and Humanities disciplines have succeeded in thinking creatively about their teaching, module design, and extra-curricular activities without losing sight of necessary academic rigour. The book explores: · experimental learning environments · student and lecturer collaborations · the development of students' employability and transferable skills · creative and imaginative assessment design · embedding mental wellbeing techniques into curricula The varied roles, subjects, and locations of the contributors enables rigorous and diverse international exploration of creative pedagogy in higher education and the book will particularly appeal to those looking to bring creativity to higher education.

With few exceptions, scholarship on creativity has focused on its positive aspects while largely ignoring its dark side. This includes not only creativity deliberately aimed at hurting others, such as crime or terrorism, or at gaining unfair advantages, but also the accidental negative side effects of well-intentioned acts. This book brings together essays written by experts from various fields (psychology, criminal justice, sociology, engineering, education, history, and design) and with different interests (personality development, mental health, deviant behavior, law enforcement, and counter-terrorism) to illustrate the nature of negative creativity, examine its variants, call attention to its dangers, and draw conclusions about how to prevent it or protect society from its effects.

The notion of paradox dates back to ancient philosophy, yet only recently have scholars started to explore this idea in organizational phenomena. Two decades ago, a handful of provocative theorists urged researchers to take seriously the study of paradox, and thereby deepen our understanding of plurality, tensions, and contradictions in organizational life. Studies of organizational paradox have grown exponentially over the past two decades, canvassing varied phenomena, methods, and levels of analysis. These studies have explored such tensions as today and tomorrow, global integration and local distinctions, collaboration and competition, self and others, mission and markets. Yet even with both the depth and breadth of interest in organizational paradoxes, key issues around definitions and application remain. This Handbook seeks to aid, engage, and fuel the expanding interest in organizational paradox. Contributions to this volume depict how paradox studies inform, and are informed, by other theoretical perspectives, while creating a resource that enables scholars to learn about and apply this lens across varied organizational phenomena. The increasing complexity, volatility, and ambiguity in our world continually surfaces paradoxical dynamics. Thus, this Handbook offers insights to scholars across organizational theory.

This book explores why and how the personal creative practice of arts teachers in school matters. It responds to ethnographic research that considers specific works-of-art created by teachers within the context of their classrooms. Through a classroom-based ethnographic investigation, the book proposes that the potential impact of artist-teacher practice in the classroom can only be understood in relation to the flows of power and policy that concurrently shape the classroom. It shows how artist-teacher practice functions as a creative practice of freedom tending to the present and future aesthetic life of the classroom, countering the effects of neoliberal schooling and austerity politics. The book questions what the artist-teacher can produce within that context. Through the unique focus on artist-teacher practice, the book explores the changing nature of the classroom and the social and political dimensions of the school. It will be key reading for researchers and postgraduate students of arts education, critical pedagogy, teacher identity and aesthetics. It will also be of interest to art and design educators.