Research supported by a grant from the U.S. Office of Education to the Harvard Project Zero. (DS)

Describes the problem a creative writer faces when he is associated with only one type of story. (RB)

This article attempts to outline five major areas of components, selected by virtue of the attention paid them in recent writings, which could provide the content for various combinations of art activities. (Author)

Creativity is largely an outgrowth of attitude rather than an activity, a set of predispositions rather than a production line. Author traces the concept of creative development and the role music plays in illustrating the creative process. (Author/RK)

Study conducted to assess the differential effectiveness of two or more creativity instructional programs which purport to develop similar skills and abilities among pupils of the same age. (Authors/CB)

For each of three examples of progressive education, this discussion outlines the underlying theory, describes some practices of teachers and pupils, summarizes evaluations previously completed, and assesses current possibilities and promises. (Author/JH)

Author's discussion is based on the following assumptions: (1) the greater the degree of correspondence between the student's language and his world, the greater are his chances for sanity and survival; and (2) creativity consists of seeing new relationships, forming new organizations, or building new cognitive structures. (Author/MB)

Within some students, creativity lies like a seed seeking nurture and friendly environment. As an organizing, directing, confining presence, the college can stifle creative impulse and destroy its energy. Teachers should be sensitive enough to recognize creative spirit, and tactful enough to keep it alive. (AD)

Paper presented at 18th Annual Meeting of the National Association for Gifted Children, Chicago, Illinois, May 3-5, 1971. (CB)

A good English teacher is one who draws from his students stories that reveal the unique dignity of their personalities and the unique coloring of their experiences. The author shows how this is done, emphasizing use of student writing models as motivation, and stressing sensory diction. (Author/JB)

Creativity training materials were used with a group of elementary school children who exhibited academic, social or emotional problems. Study recommends increased use of such materials, with more time and attention allowed for group discussions and role-playing during these periods. (MK)

Argues that an English teacher should not be so concerned with permitting students' creative expression that he neglects nurturing their critical, evaluative skills. (RD)

Describes how music can be used to evoke creative responses from students. (SW)