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

"This is a blockbuster of a book. It allows teachers to follow standards, but provides space for them to develop students′ wisdom, intelligence, and creativity (and of course success). Both teachers and students will come to understand themselves and their values better." —William E. Doll, Jr., Professor Emeritus Louisiana State University The essential guide for teaching beyond the test! Students with strong higher-order thinking skills are more likely to become successful, lifelong learners. Based on extensive, collaborative research by leading authorities in the field, this book shows how to implement teaching and learning strategies that nurture intelligence, creativity, and wisdom. This practical teaching manual offers an overview of the WICS model—Wisdom, Intelligence, Creativity, Synthesized—which helps teachers foster students′ capacities for effective learning and problem solving. Teachers will find examples for language arts, history, mathematics, and science in Grades K–12, as well as: Hands-on strategies for enhancing students′ memory, analytical, creative, and practical skills Guidelines on teaching and assessing for successful intelligence Details on how to apply the model in the classroom Teacher reflection sections, suggested readings, and sample planning checklists Teaching for Wisdom, Intelligence, Creativity, and Success is ideal for educators seeking to broaden their teaching repertoire as they expand the skills and abilities of students at all levels.

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

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.