Creativity Development英文学习资料.pdfVIP

PREFACE: PERSPECTIVES ON CREATIVITY DEVELOPMENT Twenty years ago, New Directions for Child and Adolescent Development (NDCAD) published an inluential volume on the development of creativ- ity (1996, vol. 72) under the editorship of Mark Runco, featuring land- mark contributions such as those by Robert Albert, Sandra Russ, and Ruth Richards. Two decades later, it is evident that much has happened in this line of work at the intersection of creativity research and developmen- tal science. Up to this point, creativity development was already under- stood as a nonlinear process (illustrated by “slumps” research triggered by Torrance, 1968), which begins early in life (as manifested in play and other antecedents of creativity described early on by developmentalists). As the environmental and sociocultural roots of creativity began to be acknowl- edged (e.g., Amabile, 1996), so did its multifaceted and partly domain- speciic nature (e.g., Baer, 1991; Sternberg Lubart, 1991). This had important implications for understanding creativity development. What did the past two decades bring into this picture? Certainly a great deal of depth to the various “facets” of creativity development, which some may interpret as a fragmentation of the ield. These advances occurred at the same time as the emergence of (developmental) neuroscience perspec- tives on creativity that have greatly colored the theoretical landscape in re- cent years. This volume attempts to represent and integrate these various perspectives on the development of creativity, a challenging, yet very much needed endeavor for researchers and practitioners who seek to promote cre- ativity development in children and adolescents. Speciically, Baer (Article 1) makes the case for the domain speciicity of creativity as the basic condition for understanding its development and for nurturing it in children and adolescents. Russ (Arti