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Creativity: Theory, History, Practice Paperback – April 25, 2005

ISBN-13: 978-0415349161 ISBN-10: 0415349168 Edition: 1st
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Editorial Reviews


'This varied and provocative book takes a multi-lensed instrument to the many historical and theoretical facets of creativity. Pope's scope is immense, his method discursive.' – Writing in Education

'For an author to achieve the rigour and practical applicability of a text-book as well as the academic and depth-informed qualities of a monograph, while creating at the same time ample room for discursive and associative play, is no mean feat - but this is Pope's ongoing signature and  para phase' – Writing in Education

'This is a valuable book that ought to be read by anyone in the humanities working on notions of the creative ... The book will provide valuable service to numerous readers as an intellectual workout on the diversity of its field.' –British Association for Romantic Studies

About the Author

Rob Pope is Professor of English Studies at Oxford Brookes University. His previous books include Textual Intervention: Critical and Creative Strategies for Literary Studies (Routledge 1995) and The English Studies Book (Routledge 1998). --This text refers to an out of print or unavailable edition of this title.

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Product Details

  • Paperback: 320 pages
  • Publisher: Routledge; 1 edition (June 8, 2005)
  • Language: English
  • ISBN-10: 0415349168
  • ISBN-13: 978-0415349161
  • Product Dimensions: 6.1 x 0.7 x 9.2 inches
  • Shipping Weight: 1.4 pounds (View shipping rates and policies)
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Best Sellers Rank: #1,972,199 in Books (See Top 100 in Books)

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2 of 3 people found the following review helpful By b'ham reader on November 14, 2007
Format: Paperback Verified Purchase
Pope's discussion of creativity is good. He covers a lot of ground here, including much of the relevant psychological literature and related issues in literature and cultural studies. His discussion of creation myths is particularly insightful. He provides some wonderful alternatives to stagnant models of creativity as well. But his prose is sometimes so dense and demands so much knowledge on the part of readers that it can be difficult to follow his arguments unless you are already familar with the people and ideas under discussion. In short, this book is for experts who already know a great deal in the field of cultural studies and critical theory.
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