Torrance Journal for Applied Creativity

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Partnership for 21st Century Skills (2011) Framework for 21st Century learning. Retrieved from http://www.p21.org/storage/documents/1.__p21_framework_2-pager.pdf/ Pfeiffer, S. I., & Thompson, T. L (2013). Creativity from talent development perspective. In K.H. Kim, J. C. Kaufman, J. Baer, & B. Sriraman (Eds.), Creatively gifted students are not like other gifted students (pp. 231-255). Boston, MA: Sense Publishers. Piirto, J. (2004). Understanding creativity. Scottsdale, AZ: Great Potential Press, Inc. Piirto, J. (2014). (Ed.). Organic creativity in the classroom: Teaching to intuition in academics and the arts. Waco, TX: Prufrock Press. Renzulli, J. S., & de Wet, C. F. (2010). Developing creative productivity in young people through the pursuit of ideal acts of learning. In R. A. Beghetto & J. C. Kaufman (Eds.), Nurturing creativity in the classroom (pp. 24-72). New York, NY: Cambridge University Press. Seidman, I. (2006). Interviewing as qualitative research (3rd ed.). New York, NY: Teachers College Press. Starko, A. J. (2014). Creativity in the classroom: Schools of curious delight (5th ed.). NewYork, NY: Routledge. Sternberg, R. J. (1996). How to develop student creativity. Alexandria, VA: ASCD. Taylor, C. (1988). Various approaches to and definitions of creativity. In R. J. Sternberg, (Ed.), The nature of creativity: Contemporary psychological perspectives (pp. 99-121). New York, NY: Cambridge University Press. Torrance, E. P. (1970). Encouraging creativity in the classroom: Issues and innovations in education. Dubuque, IA: W. C. Brown. Torrance, E., & Shaughnessy, M. F. (1998). An interview with E. Paul Torrance: About creativity. Educational Psychology Review, 4, 441. Treffinger, D., Schoonover, P., & Selby, E. (2012). Educating for creativity and innovation: A comprehensive guide for research-based practice. Waco, TX: Prufrock Press. Wagner, T. (2012). Creating innovators: The making of young people who will change the world. New York, NY: Scribner. Zhao, Y. (2012). World class learners: Educating creative and entrepreneurial students. Thousand Oaks, CA: Corwin. Lisa Bloom is professor of special education at Western Carolina University. She directs the special education programs. She earned her Ed.D. from West Virginia University in 1989. She is the author of the text, Classroom Management: Creating Positive Outcomes for all Learners. Her research interests include creativity, social and emotional needs of learners, culturally responsive teaching and classroom management. Sharon Dole is a professor of special education at Western Carolina University in Cullowhee, North Carolina where she coordinates the gifted education program. She completed her PhD in special education at the University of Georgia with concentrations in learning disabilities and gifted education. Her research interests include online course design and instruction, creativity, social and emotional needs of adolescents, and teaching diverse students. Kristy Kowalske completed her PhD in Educational Psychology and Instructional Technology specializing in Gifted and Creative Education at the University of Georgia. She works as an adjunct professor for Western Carolina University and has been a teacher of middle school students for 17 years. Her interests are flow in the classroom, problem-based learning, spiritually gifted students, and creativity. Reprints should be addressed to the following: Lisa Bloom, Ed.D., Western Carolina University, School of Teaching and Learning, Cullowhee, NC 28723, bloom@ email.wcu.edu 78
III. Models of Creativity: Torrance Incubation Model and Beyond Odessa Laurie design originate
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Torrance Journal for Applied Creati
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Table of Contents Preface Joan Fran
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Torrance Journal Advisory Board Cyn
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Bonnie Cramond E. Paul Torrance, th
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The TTCT also gave educators a way
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this emphasis may be seen in what K
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Students participating in the year-
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The Man So much of Torrance the man
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References Cramond, B., Matthews-Mo
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How Can Teachers Foster Creativity
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1. What kind of paper money are you
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Little Leaps: Weaving Creativity in
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18 Skill: Enjoy and Use Fantasy •
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References Content: Emancipation Pr
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Creativity Although almost universa
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The Levels of Service approach focu
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Beghetto, R. A., Kaufman, J. C., &
Page 35 and 36: Over the years, a body of literatur
Page 37 and 38: keep a climate of openness to stude
Page 39 and 40: II. Creative Intelligence: Fosterin
Page 41 and 42: Inspiring Creativity in Teachers to
Page 43 and 44: These tools provide guidelines to f
Page 45 and 46: • Journals There are many types o
Page 47 and 48: The Importance of IQ, MIQ, EQ, HQ &
Page 49 and 50: the Multiple Intelligences can lead
Page 51 and 52: Happiness is also a somewhat surpri
Page 53 and 54: To help parents and educators under
Page 55 and 56: Question: What if these Q “subjec
Page 57 and 58: childhood state‐of‐mind—being
Page 59 and 60: Walt Whitman (1819-92), Master of P
Page 61 and 62: Krall and Diana Ross. “Lady Day
Page 63 and 64: Stuart Little by E.B. White: A Tale
Page 65 and 66: Red Skelton. Great satirist, pantom
Page 67 and 68: Movie Actors and Actresses Lauren B
Page 69 and 70: Concept of Synergy as a Major Facto
Page 71 and 72: Fisher, Maurice D. (2000). Multiple
Page 73 and 74: The Learner-Directed Studio-Classro
Page 75 and 76: Borrowing Torrance’s words to pro
Page 77 and 78: Curious about the degree to which s
Page 79 and 80: the next few years of the rigor it
Page 81 and 82: Cerulean Hero by Karen Morse I know
Page 83 and 84: Purpose of the Study We thought the
Page 85: Benefits of Creativity Many student
Page 89 and 90: Lessons with No Conclusions: Using
Page 91 and 92: Table 1: Stage II Information Proce
Page 93 and 94: Allowing the lesson to trickle over
Page 95 and 96: Breaking Boundaries When my family
Page 97 and 98: Stage One: Heightening Anticipation
Page 99 and 100: TIM (Torrance Incubation Model) in
Page 101 and 102: nity elders in learning basic horti
Page 103 and 104: TIM and the Creative Coach: Using t
Page 105 and 106: Yet, the directive style is so perv
Page 107 and 108: Table 9:Deepening Expectations Stra
Page 109 and 110: Table 9: (Continued) Deepening Expe
Page 111 and 112: Table 10: (Continued) Extending Lea
Page 113 and 114: The KJ-Ho and The W-shaped Problem
Page 115 and 116: sentences. This is called the nega-
Page 117 and 118: References Kawakita J. (1966). Hass
Page 119 and 120: Connie Phelps Cornerstones in Appli
Page 121 and 122: dren and adults through games, stor
Page 123 and 124: References Boyd, N. (n. d.). The th
Page 125 and 126: precise use of words. Moreover, muc
Page 127 and 128: Creative Student Catalogs Expect fi
Page 129 and 130: The following vocabulary represents
Page 131 and 132: Predicting Adult Innovation Adult c
Page 133 and 134: creative young men and women who ca
Page 135 and 136: How can the Maker movement help dev
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Drawing While Talking and Thinking:
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one’s thinking about school chang
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aspects of Thomas and Brown’s (20
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Significance In these two studies,
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Relevance in the Gifted Classroom-
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ideas and conducting a mock public
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It’s called the car; and we certa
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five creative strengths] are valuab
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Creativity and Innovation in an Int
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spices, textures, flavors, and sund
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Schmid, T. (2005a). Promoting healt
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Sylvia B. Rimm The Fashion of Passi
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pressures. Now adults have added a
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Too High Expectations Lead to Under
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Graduation Message I have heard man
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Foundation of Psychology The theori
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students makes moral dilemmas a use
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Seven Ways to Develop or Raise Spir
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Studies in Psychology: Promoting Aw
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Purpose of the Study This study sou
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Excessive Worry. Numerous students
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One boy described how both his fath
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A Glimpse Into My Clinic: The “As
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TV characters just like other child
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Thus, Guy was willing not just to c
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References Bailey, C.L. (2011). An
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Midwest Torrance Center for Creativ
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Torrance Journal for Applied Creativity

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