LEADER 06152nam 22007572 450 001 9910452494603321 005 20160115112644.0 010 $a1-107-27249-1 010 $a1-139-89106-5 010 $a1-107-27188-6 010 $a1-107-56251-1 010 $a1-107-27520-2 010 $a1-107-27397-8 010 $a1-139-17611-0 010 $a1-107-27846-5 010 $a1-107-27723-X 035 $a(CKB)2550000001108189 035 $a(EBL)1303654 035 $a(OCoLC)854975210 035 $a(SSID)ssj0000949918 035 $a(PQKBManifestationID)12448275 035 $a(PQKBTitleCode)TC0000949918 035 $a(PQKBWorkID)11003576 035 $a(PQKB)10283185 035 $a(UkCbUP)CR9781139176118 035 $a(MiAaPQ)EBC1303654 035 $a(PPN)192275380 035 $a(Au-PeEL)EBL1303654 035 $a(CaPaEBR)ebr10740484 035 $a(CaONFJC)MIL508532 035 $a(EXLCZ)992550000001108189 100 $a20130805d2013|||| uy| 0 101 0 $aeng 135 $aur||||||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aCreativity and crime $ea psychological analysis /$fDavid H. Cropley & Arthur J. Cropley$b[electronic resource] 210 1$aCambridge :$cCambridge University Press,$d2013. 215 $a1 online resource (vii, 250 pages) $cdigital, PDF file(s) 300 $aTitle from publisher's bibliographic system (viewed on 14 Jan 2016). 311 $a1-107-02485-4 311 $a1-299-77281-1 320 $aIncludes bibliographical references and index. 327 $aCover; Creativity and Crime; Title; Copyright; Contents; Figures; Tables; Introduction; Chapter One Creativity and crime; The main thrust of this book; Why study crime and creativity?; Creativity; 'Second-generation' creativity; 'Unhooking' creativity from the arts; Focus on products; Malevolent creativity; The dimensions of malevolence; Types of malevolent creativity; Crime; The relationship between crime and creativity; Social sciences and crime; The cultural approach; The individualistic approach; The rationale of this book; Chapter Two The social science approach to crime 327 $aThe contribution of social sciencesGeography; Sociology; Subcultural deviance; Cultural disorganisation; Anthropology; Forensic anthropology; Cultural anthropology; Design; Urban design; Shop design; Ethnography; Psychological approaches; Forensic psychology; Clinical approaches to crime; Criminogenic factors; Special features of the psychological approach; Structuralist vs individualist approaches; Chapter Three Basic creativity concepts; Creative Products; Novel, relevant, and effective products; Functional creative products; Kinds of creative product; Everyday creativity 327 $aGenerality vs specificity of creativityWhere do creative products come from?; Creativity as a system; The 6Ps of creativity; Press (environmental and social factors); Process; Personal properties; Personal motivation; Personal feelings/mood; The link between the 6Ps and crime; Chapter Four The paradoxes of creativity; Bundles of paradoxes; Paradoxical processes; The paradoxical personality; The Press paradox; The phases of creativity; The extended phase model; Interactions among the 6Ps; Practical implications of the paradoxes; Chapter Five General enchantment with creativity 327 $aFailure to consider the negative dimension of creativityThe bright side of creativity; Creativity is good by definition; Creativity fosters beauty; Creativity encapsulates the essence of humanity; Creativity is of divine origin; The benefits brought by creativity; Benefits for the individual; Benefits for the society; Innovation; Education; Ambivalence about creativity; Ambivalence in school settings; Problems arising from intoxication with creativity; Difficulty taking a stand against crime; Chapter Six The dark side of creativity; The dark/light balance; The subjectivity of benevolence 327 $aThe balance of benefitThe dark side; The dark side of Product; The dark side of Process; The dark side of Person; Moral darkness; The social utility of moral creativity; Chapter Seven Creativity and crime; Process; The social environment and deviance; Person; Creative personal traits and crime; Negative personal traits and creativity; Motivation and feelings/emotions; The fine line between crime and creativity; The lure of self-aggrandisement; The similarities - overview; Common source of positive and negative creativity; Evolutionary psychology; General arousal theory 327 $aWhere do the differences lie? 330 $aCreativity is typically perceived to be a positive, constructive attribute and yet, highly effective, novel crimes are committed which illustrate that creativity can also be utilised to serve a darker and more destructive end. But how can these 'creative criminals' be stopped? Adopting a psychological approach, renowned subject experts Cropley and Cropley draw upon concepts such as 'Person,' 'Process', 'Press' and 'Product' to explain how existing psychological theories of creativity can be applied to a more subtle subset of ingenuity; that is to say criminal behaviour and its consequences. Creativity and Crime does not look at felony involving impulsive, reflexive or merely deviant behaviour, but rather the novel and resourceful measures employed by criminals to more effectively achieve their lawbreaking goals. The book transcends the link between crime and creativity, and proposes a range of preventative measures for law enforcers. Scholars and graduates alike will find this an invaluable and illuminating read. 606 $aCrime$xSociological aspects 606 $aCreative ability 606 $aCreative thinking 615 0$aCrime$xSociological aspects. 615 0$aCreative ability. 615 0$aCreative thinking. 676 $a364.3 700 $aCropley$b David$0852291 702 $aCropley$b Arthur J. 801 0$bUkCbUP 801 1$bUkCbUP 906 $aBOOK 912 $a9910452494603321 996 $aCreativity and crime$91903306 997 $aUNINA