Considers the model to validate the creative activities of theatre artists as limited, unworkable, and unacceptable. (PD)

The American Library Association (ALA) enlisted the help of design students at the University of Illinois/Chicago to produce an advertising campaign for the nation's libraries. The campaign, which took 15 weeks to prepare, resulted in bold, unusual, sometimes ambiguous, and thought-provoking ads. It embodied the relationship between libraries and…

Gives instructions for a theater exercise that involves a student lip-synching to a song. Cautions that the presentation must be balanced equally, with attention paid to both realism in the actual lip-synching, and to how the performer gives meaning to the song. States that students generally should not try to emulate well-known performers. (PA)

Argues that copywriting students should be taught to recognize and create an advertising concept before learning to write advertising copy. Outlines a teaching method for creating advertising concepts, and discusses criteria for evaluating them. (MM)

There exists a social and educational bias against "practical" activities, and a corresponding snobbery that values theoretical, mainly linguistic intelligence. These misconceptions derive from a misunderstanding of Aristotelian ideas regarding creativity and rationality. (GC)

Adhering to the rule that "costumes are not clothes" and listing 100 musicals under 8 general categories, this guidebook applies a "crossover system" whereby costumes from one show can easily be altered for any other show within the same category. The eight costume styles used in the guide are labeled: Medieval/Shakespearean;…

Suggests the use of foreign films as a teaching aid for foreign language study. However, a thorough knowledge of the film's oral language (or languages) and culture is essential as a first step toward a clear understanding of the film's visual aesthetic. A dependence on subtitles or dubbing is discouraged, due to frequent errors and…

Discusses, from a dean's perspective, the criteria for evaluating the creative activities of teacher-artists, particularly those in the theatre arts. (PD)

The use of guided imagery meshes with recent insights into right and left brain learning. Guided imagery engages the right brain processes such as imagination, emotion, creative, and intuitive activities. While much instruction is concerned with left brain activity, that is, the processsing of information through words, the addition of right brain…

Discusses the benefits of using slide presentations as "cultural unit" teaching tools in the foreign language or foreign culture classroom. By giving students a realistic, visual exposure to the cultural context being studied, their understanding, as well as their motivation to learn, is greatly enhanced. (SL)

Reports on how the evaluation of creative work by faculty members in broadcasting and film is carried out in the 20 institutions rated as having the leading doctoral programs in mass communication. (PD)

Each spring, the Friends of the Library of the University of Waterloo Library invite the campus community to join in an event celebrating the creative process. The event reflects the day-to-day work of the library staff: bringing together information from a diverse range of disciplines for the purpose of creating new knowledge. This book includes…

This study examined the reliability and validity of the Preference Inventory (PI) as a measure of adult creative potential. Capabilities of creatively productive persons include mental examination and manipulation of ideas, curiosity, need to create, and originality. Undergraduates' PI scores were significantly correlated with four other indices…

Three of Guilford's measures of ideational fluency, and the Concept Mastery Test, a traditional verbal intelligence test, were correlated with a creative activities inventory. There were no significant differences between the predictive ability of ideational fluency and verbal intelligence measures. (Author/CP)

First-year college students (n=182) were tested to determine their beliefs about and approaches to creative endeavors. Students self-identified as creative employed a greater number of techniques such as brainstorming and were less motivated by the goal of developing a final product, compared to those identified as least creative. (JDD)