Dissertations / Theses on the topic 'Action creativity'

Le constat de départ de cette recherche, souligné par la littérature, est celui du débat permanent au sein des organisations créatives, entre priorités artistiques et créatives d'un côté et intérêts économiques de l'autre côté. Nous interrogeons la manière dont les acteurs créatifs gèrent les contraintes économiques qui les entourent dans ce contexte marqué par la rationalisation. Au travers d'une étude qualitative et approfondie de l'industrie de la mode -entretiens et travail ethnographique, nous avons observé les pratiques quotidiennes des acteurs créatifs du secteur. Premièrement, et au travers du travail de Michel de Certeau, nous révélons ici les différentes tactiques et autres arrangements que ceux-ci développent vis-à-vis des contraintes, une forme d'action qui joue un rôle important dans les organisations créatives. Cette forme d'action, que l'on nomme trouble du créatif, entretient une ambiguïté autour du travail créatif en organisation, nécessaire pour créer. Ensuite, nous révélons les forces socio-matérielles et affectives qui constituent les pratiques créatives de façon intrinsèque, et soulignons le poids de telles forces dans la négociation permanente avec les motifs économiques. Subséquemment, nous proposons le concept de créativité-en-action, une manière à la fois incarnée, matérielle et affective d'agir créatif, au sein des industries créatives
This PhD departs from the research literature that underlines the on-going debate arising in creative companies, between art/creative priorities on the one hand and economic/business interests on the other hand. We wonder how actors involved into the creative process deal with economic and rationalization constraints. Through an in-depth, qualitative study in fashion industry -interviews and ethnographic work, we investigate empirically the daily practices of creative actors. First, and notably through Michel de Certeau's work, we reveal the various tactics and arrangements that they develop towards such constraints, as a form of action that plays an important role in creative organizations. This form of action we call creative fuzziness maintains a necessary ambiguity around creative work. Second, we underline the socio-material and affective forces that inherently constitute creative practices, and how much such forces weigh in the economic negotiation. We then suggest the concept of creativity-in-action, an embodied-material and affective way of acting creative, within creative industries

In the context of a rapidly changing world, higher order thinking skills are necessary for sustainability of U.S. society. Beginning with the premise that U.S. public schools are charged with the constitutional duty of growing children into informed and educated citizens, prepared to thrive in the world of work and to participate in democratic processes; and, that higher order thinking is a core part of that mission, this study examined children’s perspectives on school climate and the environment for the teaching and learning of higher order thinking in twenty five public elementary schools in an urban Connecticut school district. This integrated program of research used an exploratory sequential/concurrent mixed methods design to construct a pair of new psychometric instruments to measure student attitudes toward school climate and the environment for teaching and learning higher order thinking in a public elementary school. The intended uses and interpretations of the scores reported by the Climate4Creativity Elementary (C4C/SPE) and Middle School (C4C/SPM) Student Perspectives measurement instruments, were validated to professional standards. The study concluded that these instruments have utility for public elementary schools, particularly in identifying areas of focus and in the management of strategic and tactical school improvement work as part of a wider program of transformation in a school. Cronbach’s Alpha reliability scores in excess of 0.90 were reported for all measures. This study supported the core idea that safer schools with stronger, more caring communities provide individual students with better learning environments, and that general learning and the learning of creativity are intrinsically linked in the minds of students in public elementary schools, even though these students may not always name these components as such. The environment for learning higher order thinking measure tends to deteriorate from the early grades to middle school grades, implying both raised expectations, and an increase in variability in the data due to more and more variety in classroom settings and teacher practices. Examination of reported bullying experience shows bullying victimization to be a powerful, pervasive determinant of school climate and feelings of safety and community in all grades, but, bullying victimization tends not to penetrate into perceptions of the classroom learning environment to the same degree. By exploring school safety, community, and the structure of the learning environment required for the teaching and learning of higher order thinking in a public elementary school, this work begins the creation of a framework to enable school leaders to make significant, transformational, strategic change in their schools.

This dissertation can broadly be summarized as an examination of the construction and maintenance of a specific type of “authentic” American identity through the lens of folk music. Drawing from interpretive perspectives within the sociology of culture and social psychology, social constructionism and symbolic interactionism in particular, I combine ethnographic research with 61 interviews at two different “folk musicians’ festivals” (festivals where attendees, not hired professionals, produce the music). My principal focus at these festivals concerns the various practices and stories surrounding the creation and performance of original folk music. I use the empirical platform of musicians’ festivals, where folk songwriters are plenty, combined with the theoretical synthesis of music and narrative, to examine how such practices and stories shape, and are shaped by, culture, emotion, and identity. Specifically, I am interested in the cultural “work” accomplished by the interrelationships among music and narrative at festivals, around songwriting, and in songs, particularly as such “work” relates to the (re)production and reception of folk and festival culture, participants’ emotional experiences, the construction and maintenance of participants’ personal and collective identities, and the purposeful evocation of social change. In attending to the importance of process and meaning-making, I examine the process through which one accomplishes authenticity as a folk and festival member, the creative process of songwriting, and the process through which listeners experience and interpret “good songs.” I offer the concepts (and processes) of songwriting as inquiry and songwriting in action to account for how these interrelationships “work” for songwriters and listeners, but also for sociologists, particularly in terms of including the (mostly neglected) lived and embodied dimensions of emotional experience. Throughout, I explore how stories and practices in and around the process of musical production and performance are largely influenced by broader cultural narratives that circulate in and around folk music culture, particularly as they relate to the notion of “authentic identity” through emotionality, creativity, and social justice.

Des de la Segona Guerra Mundial, la investigació científica s’ha organitzat en projectes i s’ha gestionat aplicant els mètodes habituals de la Gestió de Projectes (Project Management). Aquests mètodes presenten importants avantatges però tenen algunes limitacions. Aquesta tesi doctoral és una aportació bàsica al tema de la tensió entre creativitat i productivitat, en la direcció de la investigació científica a través dels mètodes propis de la Gestió de Projectes. I de forma més general, destaca la funció del judici creatiu en l’execució de projectes on les operacions estan clarament especificades i determinen el desenvolupament del projecte. El propòsit de la Gestió de Projectes és controlar i coordinar el projecte de forma racional, això suposa especificar de forma precisa l’objectiu i l’abast de les seves operacions. Aquests requisits no es poden assolir en projectes que tenen un objectiu ambigu i requereixen creativitat. El concepte fenomenològic de projecte mental desenvolupat per Alfred Schutz és més flexible i la seva aplicació amplia els aspectes tècnics de la Gestió de Projectes. La seva teoria de l’acció intencional suposa que cada acció canvia l’estat present de les coses i està composta d’un propòsit, un projecte mental que és un assaig de l’acte futur, i la realització de l’acte. Des d’aquí, introdueix el concepte de subacció i l’enfoc crític de que tota acció repetida és una acció nova, similar a una acció prèviament realitzada. Aquest treball d’investigació emfatitza que els aspectes següents, presents en la gestió de projectes, requereixen judici, i que per lo tant possibiliten espais per a la creativitat. Primer, que el projecte mental d’una nova acció es crea combinant varies subaccions ja realitzades. Segon, la comprensió de que cada acció és similar a les altres accions ja realitzades. I tercer, que el projecte mental pot ser considerat com una hipòtesis del que ocorrerà quan s’executi l’acció. El judici s’ocupa d’aquestes semblances i adverteix a l’actor d’altres temes i desenvolupaments possibles. Addicionalment, aquest treball introdueix una perspectiva nova del concepte de rutina, de la seva evolució i del seu funció en la investigació científica, i manifesta la profunda relació entre retòrica i judici. La investigació empírica està associada al context d’una important infraestructura científica espanyola, el Barcelona Supercomputing Center (BSC). I en primer lloc, desenvolupa la creació d’aquesta organització científica, lo qual permet presentar alguns aspectes importants sobre la tensió entre la estructura organitzativa i la agencia dels investigadors. Seguidament, desenvolupa els temes relacionats amb la tensió entre creativitat i productivitat en l’execució de projectes, que prèviament s’han desenvolupat en el marc conceptual, com son la noció de projecte que tenen els investigadors o la implicació del judici en la execució dels seus projectes. L’aportació de la tesis doctoral, en quan a la gestió científica i de projectes, amplia la gestió de projectes que ofereixen els mètodes habituals de la Gestió de Projectes (Project Management).
Tras la Segunda Guerra mundial, la investigación científica se ha organizado mediante proyectos y ha sido dirigida utilizando los métodos habituales de la Gestión de Proyectos (Project Management). Estos métodos ofrecen importantes ventajas pero tienen algunas limitaciones. La presente tesis doctoral explora la tensión entre creatividad y productividad cuando se dirige la investigación científica con los métodos propios de la Gestión de Proyectos. Y de forma más general, resalta la función del juicio creativo en la ejecución de proyectos cuyas operaciones están claramente especificadas y determinan el desarrollo del proyecto. El propósito de la Gestión de Proyectos es controlar y coordinar el proyecto de forma racional, lo que supone especificar de forma precisa su objetivo y el alcance de sus operaciones. Estos requisitos no se cumplen en proyectos cuyo objetivo es ambiguo y requiere creatividad. El concepto fenomenológico de proyecto mental desarrollado por Alfred Schutz es flexible y su aplicación amplía los aspectos técnicos de la Gestión de Proyectos. Su teoría de la acción intencional supone que cada acción cambia el estado presente de las cosas y está compuesta de un propósito, un proyecto mental que es un ensayo del acto futuro, y el desempeño del acto. Entonces introduce el concepto de subacción y el enfoque crítico de que toda acción repetida es una acción nueva, similar a una acción previamente desempeñada. Este trabajo de investigación enfatiza que los aspectos siguientes, presentes en la gestión de proyectos, requieren de juicio, y que por ello posibilitan espacios para la creatividad. Primero, que el proyecto mental de una nueva acción se crea combinando varias sub-acciones ya desempeñadas. Segundo, la comprensión de que cada acción es a lo sumo similar a otras acciones ya desempeñadas. Y tercero, que el proyecto mental puede ser considerado como una hipótesis de lo que ocurrirá cuando se ejecute la acción. El juicio se ocupa de estas semejanzas y advierte al actor de otros temas y desarrollos posibles. Adicionalmente, este trabajo introduce una perspectiva nueva del concepto de rutina, de su evolución y de su papel en la investigación científica, y descubre la profunda relación entre retórica y juicio. La investigación empírica está asociada al contexto de una importante infraestructura científica española, el Barcelona Supercomputing Center (BSC). Y expone, en primer lugar, la creación de esta organización científica, permitiendo presentar algunos aspectos importantes sobre la tensión entre la estructura organizativa y la agencia de los investigadores. Seguidamente desarrolla los temas relacionados con la tensión entre creatividad y productividad en la ejecución de proyectos y desarrollados en el marco conceptual, como sean la noción de proyecto que tengan los investigadores o la implicación del juicio en la ejecución de sus proyectos. La aportación de esta tesis doctoral, en cuanto a la gestión científica y de proyectos, extiende la gestión de proyectos que ofrecen los métodos habituales de la Gestión de Proyectos (Project Management).
Since World War II, science and research has been organized into projects and managed using the methods of Project Management. These methods offer important advantages, but also have some limitations. This doctoral dissertation presents some basic contributions to the subject of the tension between creativity and productivity in managing research with the methods of Project Management, and, more generally, the subject of the function of creative judgment in the execution of precisely specified projects in any kind of activity, which seem to determine all the operations involved in the development of a project. Project Management aims to rationally controlling and coordinating a project, which involves the clear specification of its goal and operations. These requirements are not fulfilled when dealing with projects whose goal is ambiguous and they require creativity. The phenomenological notion of mental project developed by Alfred Schutz is more flexible and its application extends the technical aspect of Project Management. His theory considers that each intentional action changes the present state of affairs and involves a purpose, a mental project that is a mental rehearsal of a future act, and the performance of the act. He also introduces, the notion of subactions and the critical view that a repeated action is a new action similar to an already performed action. The doctoral research emphasizes that the following aspects of project management involve judgment, creating spaces for creativity to occur: first, the mental project of a new action can be created combining many subactions already performed. Second, the recognition that an action has similarities and differences with already performed actions. Third, the mental project can be considered as a hypothesis about what will happen in the execution of the act. Judgment deals with these differences and it makes the actor aware of other possible subjects and developments. The conceptual research, also introduces a new way of looking at routines, their evolution and their role in scientific research. In this line of thought, it uncovers the deep relationship between rhetoric and judgment. The empirical research is associated to the context of the Barcelona Supercomputing Center (BSC), an important Spanish research infrastructure. And it firstly develops a case study on the creation of this research organization that allows presenting some important aspects about the tension between the structure of the organization and the agency of the researchers. It then develops the subjects related to the tension between creativity and productivity in executing projects, developed in the conceptual framework, such as the notion of projects of the researchers and the judgment involved in the execution of their projects. The contribution of this doctoral dissertation, in managing research institutions and projects, extends the way of managing projects with the common methods of Project Management.

Abstract Organisational entrepreneurship is an entrepreneurial event. By-products of such events may include the emergence of business organisations. In this study, I discuss the event of organisational entrepreneurship fostered by organisational creativity. An event of organisational entrepreneurship can happen in the context of social spaces for play and innovation. In these social spaces, novelty, movement, and change are outcomes of the role of organisational entrepreneurship in society. The dissertation consists of four essays. Prior research defines organisational entrepreneurship as a relationship between the managerial order and organisational creativity. This particular relationship, rather than being a precise state, is one that problematises the tradition of studying entrepreneurship as a sub-discipline of management. Researchers tend to be drawn to studying the entrepreneurial order, but less so the play and innovation that contribute to the creativity aspect. Whilst permitting space for play and innovation have been acknowledged to be crucial, the role of play and innovation between the discourses of business opportunities and entrepreneurial becoming has not been discussed. The literature review in this study shows that understanding the concepts of entrepreneurial actions and processes is key to explicating organisational entrepreneurship. Hence, the principal research question of this study is: how do entrepreneurial actions and processes frame the very nature of the event of organisational entrepreneurship? There are four sub-questions (one for each essay) that illustrate how an entrepreneurial event is about creation of new spaces for play and innovation. The purpose of this study is to show what role playfulness and innovativeness play in organisational entrepreneurship. I have empirically investigated how international business opportunities may be created through entrepreneurial actions in a multinational collaboration project, and found that social learning is at the heart of the process. In addition, I have examined an entrepreneurial process through the story of an up-and-coming stand-up comedian. This study shows that the entrepreneurial process emerges from the desire to become-Other. The entrepreneurial stories of this qualitative study come from two data sets (conducted in Finland and in Denmark). The research outline problematises the prior research, in which storytelling is rarely used. The dissertation concludes by suggesting that one role of playfulness and innovativeness is to create business opportunities and entrepreneurial becoming
Tiivistelmä Organisatorinen yrittäjyys on yksi yrittäjämäinen tila. Tällaisessa tilassa monenlaisten sivutuotteiden, kuten liikeyrityksen, syntyminen on mahdollista. Organisatorinen luovuus tukee näiden tilojen luomiseen liittyvää tekemistä ja prosesseja. Yrittäjämäiset tilat ovat mahdollisia konteksteissa, joita tässä väitöskirjatutkimuksessa tutkittiin tiloina leikille ja innovaatioille. Näiden tilojen ansiosta uutuus, liike ja muutos ovat mahdollisia ja ne kuvaavat organisatorisen yrittäjyyden roolia yhteiskunnassa. Tämä väitöskirja on neljän esseen kokoelma. Aikaisempi tutkimus määrittelee organisatorisen yrittäjyyden johtajuuden hallinnan ja organisatorisen luovuuden väliseksi suhteeksi. Ennemmin kuin jokin tila tällä jatkumolla suhde sinänsä kyseenalaistaa tradition, joka tutkii yrittäjyyttä johtajuustutkimuksen koulukuntana. Siinä tutkimusintressi on ollut hallinta, mutta ei kovin usein leikki ja innovaatiot. Vaikka leikki ja innovaatiot on nähty tärkeinä asioina, siitä huolimatta niiden roolia linkkinä liiketoimintamahdollisuuksien luomisen ja yrittäjämäiseksi tulemisen välillä ei ole vielä kovin hyvin tutkittu. Tämän tutkimuksen kirjallisuuskatsaus osoittaa, että yrittäjämäiset toiminnot ja prosessit ovat keskeisimmät käsitteet organisatorisessa yrittäjyydessä. Tutkimuksen päätutkimuskysymys kuuluu: kuinka yrittäjämäiset toiminnot ja prosessit rajaavat organisatorisen yrittäjyyden syvimmän luonteen yrittäjämäisenä tapahtumana? Tutkimuksen tarkoitus on näyttää, mikä rooli leikinomaisuudella ja innovatiivisuudella on organisatorisessa yrittäjyydessä silloin, kun se nähdään yrittäjämäisenä tilana. Tutkin empiirisesti kansainvälisten liiketoimintamahdollisuuksien luomista ja sitä, miten se tapahtuu monikansallisessa yhteistyöprojektissa. Tuloksena löysin, että se on sosiaalista oppimista. Lisäksi tutkin yrittäjämäiseksi tulemisen prosessia standup-koomikoksi tulevan henkilön kautta. Se näyttää, että syy yrittäjämäisen prosessin ilmentymiselle on intohimo tulla toiseksi. Tutkimuksen yrittäjämäiset tarinat perustuvat kahdelle aineiston lähteelle (tehty Suomessa ja Tanskassa). Tutkimusasetelma kyseenalaistaa tutkimuksen, jossa tarinankerrontaa on käytetty harvoin. Tulokset osoittavat, että leikinomaisuuden ja innovatiivisuuden rooli on luoda uusia liiketoimintamahdollisuuksia ja yrittäjämäiseksi tulemisen prosesseja

Le Montage Composite Réceptif à visée Projective (MCR-P) est une psychothérapie brève et médiatisée associant technique d’induction musicale et entretien clinique dans l’objectif de lutter contre la dépression hospitalisée. Cette thèse comporte trois études qui ont comme but de montrer l’efficacité thérapeutique du MCR-P contre la dépression en psychiatrie ainsi que d’explorer, valider et permettre de valider les processus thérapeutiques mis en jeu. L’étude n°1 est une recherche sur l’une des composantes du MCR-P, soit le MCR, qui est une technique d’induction musicale qui propose une humeur positive et une relaxation à des personnes dépressives en psychiatrie. Basée sur 37 sujets, les résultats confirment les effets prétendus de la technique. Cet outil peut être utilisé pour favoriser le confort du patient en psychiatrie ou à utiliser avec d’autres psychothérapies pour favoriser l’alliance thérapeutique. L’étude n°2 évalue l’efficacité thérapeutique du MCR-P sur le taux de dépression de personnes dépressives en psychiatrie. De plus, une analyse qualitative a été menée pour identifier les processus thérapeutiques rapportés par les sujets eux-mêmes. Les résultats montrent que les personnes bénéficiant du MCR-P ont moins de dépression que d’autres patients sur trois séances. Les processus identifiés sont d’ordre émotionnel, cognitif, conatif et clinique. Le phénomène le plus prégnant est l’imagination. L’étude n°3 a permis de traduire et de valider psychométriquement un test de créativité : l’Epstein Creativity Competencies Inventory for Individuals version française (ECCI-i-FR). Constitué à partir de 280 individus contactés par internet, les résultats rapportent que l’outil a une validité nomologique et concourante ainsi qu’une fidélité satisfaisante. Ces constats permettent l’utilisation de l’ECCI-i-FR dans de nombreux domaines, notamment en recherche en psychiatrie ou encore pour l’évaluation de thérapies médiatisées, tel que le MCR-P
The Receptive Projective Composite Montage (RPCM) is a short-term psychotherapy which includes a musical medium. The RPCM combines a musical induction technique with a clinical interview in order to help in-patients during the treatment of their depression. This thesis contains three studies which aim at showing the therapeutic efficiency of the RPCM against depression and to explore, confirm and allow the confirmation of the therapeutic processes at stake. The first study is a research project on one of the RPCM components, that is the RCM. It is a musical induction technique that causes a positive state and a relaxation state to in-patients who receive psychiatric treatment for depression. Based on 37 subjects, the results confirm the anticipated effects of the technique. This tool improves the in-patient's comfort and can be used with other psychotherapies to strengthen the therapeutic alliance. The second study evaluates the efficiency of the RPCM on the depression level of in-patients diagnosed with depression. Moreover, a qualitative analysis has been performed in order to identify the therapeutic processes reported from the patients themselves. The results show that in patients who received the RPCM over three sessions have a lower depression level as opposed to other in-patients. The identified processes are: emotional, cognitive, conative and clinical. The most relevant phenomenon is imagination. The third and last study allowed to psychometrically validate a creativity test: the Epstein Creativity Competencies Inventory for Individuals (French version: ECCI-i-FR). Gathered from 280 individuals contacted through the internet, results show that the tool has a nomological and concurrent validity as well as a satisfactory accuracy. These results allow for the usage of the ECCI-i-FR in numerous fields, especially in psychiatric research or for the evaluation of mediatized therapies, such as the RPCM

Adoptant la langue des flux et des fluides, la théorie sociologique caractérisent aujourd’hui les acteurs sociaux comme des êtres composites, prédisposés à changer et capables d’agencements feuilletés. Alors que l’importance de la mobilité pour penser et analyser le social contemporain est généralement reconnue, rare sont les travaux qui se consacre à en développer les modalités fondamentales. L’objectif de cette thèse est de développer une approche plus différenciée et gradualiste des mobilités que celle proposée par les principales options théoriques en vigueur, sans pour autant abandonner la dimension fluctuante, non linéaire et imprévisible du mouvement sur laquelle elles attirent l’attention. Qu’est-ce qu’être mobile ?Une théorie de l’expérience, en l’occurrence celle proposée par la phénoménologie, offrirait-elle des ressources critiques susceptibles d’ouvrir à l’approfondissement des mobilités comme elles sont vécues ?À titre d’hypothèse, cette thèse pose qu’un ensemble de phénomènes demeurent énigmatiques à l’intérieur de la conception généralement admise du social contemporain et qu’une articulation plus explicite du thème de la mobilité à celui de l’action humaine permet d’approfondir les processus du déplacement dans l’espace des sociétés, du passage du temps impliqué par le déplacement et du changement social. Comment émerge du nouveau dans le cours d’actions ?Qu’est-ce que pouvoir agir ?Quelle est la source du changement ?À partir d’une enquête inédite sur des voyageurs se rendant quotidiennement à Bruxelles et des personnages de romans de route étatsuniens, l’auteur explore des questions de fond portant sur l’expérience du transport, autour de l’éloignement des choses et des personnes aimées, du vide du temps d’attente, des aléas aussi insignifiants qu’irritants, de l’étrangeté des rencontres, de la décision de prendre la route et de choisir une orientation nouvelle. Ces moments de vacillation sont importants, soutient l’auteur, car ils nous ramènent aux motivations fondamentales et aux buts ultimes de nos déplacements les plus quotidiens. À une époque marquée par un idéal de mouvement fluide et sans accrocs, cette thèse éclaire ce qui se passe dans l’expérience des mobilités. Elle incite à une réflexion sur ce que nous éprouvons sur la route et aux possibles que cette expérience fait émerger.
Doctorat en Sciences politiques et sociales
info:eu-repo/semantics/nonPublished

Cette thèse porte sur la mise en place d’un ERP (Enterprise Resource planning) dans un groupe de petites filiales à travers une recherche action canonique multi-cycles menée par le chercheur, directeur de projet ERP durant deux ans. Les filiales sont confrontées à de multiples défis : déployer un ERP standard tout en préservant leur flexibilité, concilier les contraintes groupe et contraintes locales, faire avec les moyens du bord vu les ressources limitées. Ce contexte constitue une opportunité pour approfondir la théorie du bricolage, peu mobilisée dans la littérature ERP. Les résultats montrent des processus de bricolage collectif multi-niveaux : intra-filiales, inter-filiales et groupe. Ces processus de bricolage permettent une amélioration continue de l’ERP et son appropriation, et conduisent au final à la conception et l’usage de solutions difficiles à imiter, ce qui génère un avantage compétitif. Ces processus de bricolage collectif supposent des conditions initiales propices, et une évolution d’une symbolique contraignante (ERP standard, best practices) vers une symbolique habilitante. Chemin faisant, le bricolage contribue à développer le réservoir et les capacités créatives, ce qui décuple en retour le potentiel du bricolage, favorisant simultanément les innovations technologiques et managériales
This PhD thesis focuses on the implementation of an ERP in a group of small subsidiaries through a multi-cycle canonical action research conducted by the researcher, ERP project manager for two years. Subsidiaries face multiple challenges : deploying a standard ERP while preserving their flexibility, reconciling the group constraints and local constraints, making do with means at hand given the limited resources. This context is an opportunity to deepen the theory of bricolage, little mobilized in the ERP literature. The results show multilevel collective bricolage processes: intra-affiliates, inter-affiliates and group. These bricolage processes allow continuous improvement of the ERP and its appropriation, and ultimately lead to the design and use of solutions that are difficult to imitate, which generates a competitive advantage. These collective bricolage processes assume favorable initial conditions and an evolution from a constraining symbolic (standard ERP, best practices) to an enabling symbolic. Along the way, bricolage contributes to developing thecreative reservoir and capacities, which in turn increases the potential of bricolage, while simultaneously promoting technological and managerial innovations

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Conselho Nacional de Desenvolvimento Científico e Tecnológico
This work reflects the present concerns of the humankind, their inventions and their habitat. The destruction of the nature and the future of our planet are in deep jeopardy, however the new technologic discoveries has the possibility to approach man to the nature, of course, if applied rationally, at the same time sensible. The actions of the modern man are consequences of the traditional science, which places the reason as the sole and only way to the truth. Today, we noticed that the absolute truth does not exist. In consequence, by the absence of the truth, the human been, feels abandoned. As long as we try to understand questions such as diversity, the mutation and new technologies, the world becomes more complex to us. To resolve this paradox, the man needs to look deeply around the world and try to find new solutions. The confrontation between man and object on a consistent way is fundamental to build a diverse future. The search for a different world is founded in Ilya Prigogine, Charles Sanders Peirce and Edgar Morin sources of in exhaustive reflection. Prigogine affirms future is not something established in advance, yet in constant construction, he emphasizes that future is possible, if we act properly to change. In his letter, "the future generations", he convoked youngsters to act for a different tomorrow. The art is present in all human being manifestations, it is crucial to redeem the sensibility that has been lost in the tyranny of the reason. Since the beginning of humanity, man and art always been partners, this cannot be forgotten or ignored. We presented 3 artists that amplified the artistic savoir-faire. Lygia Clark proposed to the contemporary man the re-discovery of the body by the sensorial memory, Frans Krajcberg, directed his life to alert against nature destruction, Joseph Beuys invests in the individuals actions, as he considers that all individuals are artists. Thinkers, artists have shown the possibilities of the "re-enchantment of the world" utilizing the creativity and love as "future constructors". Not only them, but also people with refined sensibility are dedicating themselves to modify the future, using esthetics actions
Este trabalho reflete a preocupação atual sobre o homem, suas invenções e seu ambiente. A destruição da natureza e o futuro do planeta estão em jogo. No entanto, as novas descobertas tecnológicas têm a possibilidade de aproximar homem e natureza uma vez que utilizadas de forma racional e, ao mesmo tempo sensível. As ações do homem moderno são conseqüências da ciência tradicional que coloca a razão como o caminho único da verdade. Hoje, percebemos que as verdades absolutas não existem. Em conseqüência disso, pela ausência dessas verdades, o ser humano se sente desamparado. À medida que procuramos entender questões como a diversidade, as mutações e as novas tecnologias, o mundo se torna mais complexo para nós. Para resolver isso, o ser humano precisa olhar a seu redor e procurar por novas soluções. O embate entre o homem e o objeto de forma consistente é fundamental para a criação de um futuro diversificado. A busca por um mundo diferente é defendido por Ilya Prigogine, Charles Sanders Peirce e Edgar Morin. Prigogine afirma que o futuro não é algo estabelecido a priori e, sim, em constante construção. Enfatiza que outro futuro é possível, basta agir para modificá-lo. Em sua Carta às Futuras gerações, ele convoca os jovens a agir por um amanhã diferente. Por estar presente em todas as manifestações do ser humano, a arte é fundamental para o resgate da sensibilidade que se perdeu na tirania da razão. Ao longo da existência da humanidade, homem e arte sempre foram parceiros e isso não pode ser esquecido. Apresentamos três artistas que ampliaram o fazer artístico. Lygia Clark propõe ao homem contemporâneo a redescoberta do corpo por meio de sua memória sensorial, Frans Krajcberg faz de seu percurso de vida um alerta contra a destruição da natureza. Joseph Beuys investe na ação dos indivíduos, pois considera todos os indivíduos artistas. Pensadores, artistas mostram as possibilidades do Reencantamento do Mundo por meio da criatividade e do amor como construtores do futuro. Além, deles, pessoas de sensibilidade apurada se dedicam a modificar o amanhã, por meio de ações estéticas

International education with its multi facets is a fertile soil for research at present mainly due to an ever increasing interest in this field from the market worldwide. The International Baccalaureate Diploma Programme (IBDP) consists of a curriculum for students over sixteen years old. The number of schools that deliver the IBOP is rapidly growing having reached over 2,300 in 2012. At its core is Creativity Action Service (CAS), a compulsory component. One of the claims of the IBOP is that CAS is a 'transforming' agent. CAS was designed to help students develop new talents, values, abilities and skills to become ethical beings at local, national and/or global levels. This study explores how exposure to the Service element of CAS impacts on the lives and career paths of students from one international school who successfully completed the IBOP and enables them to become global citizens. After a thorough review of the literature on international education, service-learning and citizenship, I invited alumni who successfully concluded the IBOP at St. Paul 's School, Sao Paulo, Brazil, over a ten year period, to take part in this study by completing a web-based questionnaire (WBQ). A sample of respondents were also interviewed in order to investigate further issues raised by the WBQ. Rich data were produced from both research tools, some of which brought detailed accounts on characteristics which allowed me to address the research question and objectives. Key findings arose from this research in alignment with current knowledge as described in the literature. Among the limitations of this case study is the fact that it was carried out in one school which operates in a particular cultural context. However, I believe that lessons from such observations shed light onto the wider discussion of the significance of CAS in international education. To conclude, recommendations for future research are made.

Outdoor education in the UK has been growing in popularity and with it a further understanding of its benefits. Research shows that many young people still don’t access natural environments and many educators still struggle with how to provide them. This is particularly prevalent in urban environments where spatial inequality has been linked to a decline in health, well-being and personal development. Community mapping involves a community coming together to create a map of their locality and share local knowledge. This can take many forms. Sometimes it might be a traditional cartographic map while other times it may be stories, sculptures or poems. In this research I explore how community mapping can be used as a pedagogical tool, looking particularly at how it can help educators approach outdoor education in an urban environment. I take a teacher action research approach, inspired by previous art-based approaches to educational inquiry. Through doing a community mapping project with two groups of 8 to 10 year olds on an urban farm in central London I share the visable and often invisible components of our pedagogies, including children’s voices and work as well as the voice of myself and another educators, reflecting on the realities of outdoor education in an urban environment. I discover the cross curricular possibilities that such a project brings, the spaces it opens up for us to learn from children’s voices and the many ways in which community mapping can be used to address aims and goals of the UK primary curriculum. Community mapping can help educators overcome a lack of confidence in how to approach outdoor learning. The child-led nature of projects can allow children and educators to work together to co-create their understanding of the locality, noticing the small details they hadn’t seen before. It can provide a space for educators to learn more about how the young people they work with see the world around them while also providing authentic experiences that can be utilized in wider classroom learning. This research allows other educators to take away what resonates with them, with their experiences and pedagogies, and use these new understandings to enhance their own educational practices in their own settings.

La creatividad es una habilidad de especial interés para el desarrollo humano dado que es una de las dimensiones que permite al individuo y en última instancia a la sociedad enfrentarse a nuevos problemas y retos de forma satisfactoria. Además de entender la creatividad como una serie de factores relativos al individuo creativo, debe tenerse en cuenta que el grado de motivación intrínseca, el entorno y otros factores sociales pueden tener un efecto relevante sobre el desarrollo de esta importante habilidad, por lo que resulta de interés explorarla en el contexto de utilización de tecnologías de la información. En particular, dado que los procesos comunicativos, el intercambio de ideas y la interacción colaborativa entre individuos son un pilar fundamental en los procesos creativos, y también que en gran medida todas ellas son características mayormente facilitadas por las mesas interactivas, una de las principales contribuciones de esta tesis consiste precisamente en la exploración de la idoneidad de las superficies interactivas en tareas creativas colaborativas de construcción en estudiantes adolescentes. Partiendo del estudio realizado, que aporta evidencia empírica acerca de la adecuación de las superficies interactivas como tecnología de potencial para el fomento de la creatividad, esta tesis presenta AGORAS: un middleware para la construcción de ecosistemas de juegos 2D para mesas interactivas, y cuya idea final es entender actividades de aprendizaje más enriquecedoras como aquellas que permiten la propia creación de juegos y su posterior consumo. En el contexto de esta tesis también se ha desarrollado un toolkit básico para construcción de interfaces de usuario para superficies interactivas, se ha desarrollado un modelo de ecosistema basado en entidades que son simulables de acuerdo a leyes físicas; y se ha dotado al modelo de aproximación basada en reglas de comportamiento enriquecidas con expresiones dataflows y de su correspondiente editor para superficies.
Catalá Bolós, A. (2012). AGORAS: Augmented Generation of Reactive Ambients on Surfaces. Towards educational places for action, discussion and reflection to support creative learning on interactive surfaces [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/16695
Palancia

The formal governance structure is more complex in trade unions than in many other organizations. Trade union researchers have drawn attention to the tensions between union administrative and representative systems and the fact that control in unions is bi-directional from leaders to members (through formal control systems), and from members to leaders (through democratic structures). This study has shown that the utilization of market orientation methods has the capacity to strengthen the administrative system without interfering with or being hindered by the representative system. The findings related to market orientation methods presented in this thesis are not of such a character that they can be deemed to be specific for trade unions. Therefore, as a general rule, market orientation methods need no trade union-specific adaptation to be utilized. The setting for this study is Sif, a major industrial white-collar trade union in Sweden. The change process of Sif described in the thesis suggests an increased degree of market orientation. The study has focused on two specific tools/techniques; The Sif Barometer - an annual membership satisfaction survey, and The Design Dialogue Methodology – an internally developed group interview method. These methods have contributed to an enhanced level of market orientation. Propositions for better contributions to strategic positioning and service innovation are presented in terms of design principles. An identified problem is that the potential for double-loop learning has been limited in the organization. Some propositions for enhancing double-loop learning are set out: Knowledge enhances learning: the utilization of market information requires knowledge among managers and employees about the instruments used to ensure accurate interpretations and utilization of the results acquired. Knowledge thus has a role in breaking down the barriers preventing accurate utilization of market information. Task alignment is a viable strategy for the creation of learning micro-climates:  Learning through the change of work behaviors is the core element of a task alignment strategy. Task alignment is a strategy targeting learning capabilities in the organization that is not only an approach for solving problems in the long term, but also an immediate response to tangible business problems. Action research may contribute to double-loop learning: The action research method has inherent change properties connected to its "learning by change" approach. Actors should consider the discrepancies between espoused theories and theories-in-use: Various political behaviors hampering double-loop learning have been traced. A broad level of participation and involvement of managers and employees during the development or adaptation of the market orientation instrument can enable open and trustful discussions for enhancing double-loop learning.
Diss. Stockholm : Handelshögskolan, 2005

Using action research within a critical paradigm framework the author investigated young people’s ability to develop a programme of work that raises awareness of bullying in schools. The research group was made up of six young people, to whom the author and other specialists offered anti-bullying and participatory training techniques. The group eventually designed their own anti-bullying activity programme, which they delivered in creative workshop style sessions to other young people in schools. The author located this research in critical enquiry, engaging the group in a self-reflective process that aimed to be democratic, equitable, liberating and life enhancing. This report is written in the form of a narrative and evaluates the author’s practice as an educative theatre practitioner. Central themes to this research are bullying, power, creative activity and youth participation. Schools, teachers and adults are often described as sucking out the creativity of young people and thus not allowing many of them achieve their full potential. In this context young people are often powerless to deal with some of the difficult issues in their lives such as bullying. The author suggests that peer support is a key strategy to deal with bullying in schools. The author introduces a new concept of peer support called external peer support, which he has evaluated against the current literature. The definition of bullying is explored in depth, as is its relationship to power. The author suggests peer support to be a key strategy in youth participation and ultimately helping youth empowerment.

La créativité comme prévention du stress et de la souffrance au travail. De l’analyse des « pathologies de la communication » du cas des aides à domicile à celle de l’expérience de créativité collective chez les employés de DassaultComment comprendre et agir contre les malaises, ‒ du stress à la souffrance ‒, et les dysfonctionnements internes de l’entreprise moderne ?Nous montrons comment la créativité peut être une démarche communicationnelle préventive et omnipotente, une alternative capable de résorber une communication pathogène engendrée par le management, au profit d’une communication sociale moins instrumentale qu’institutionnelle et formelle.Notre démonstration se structure en 3 parties, chaque partie faisant émerger un paradoxe.Le premier est repéré à partir d’une lecture socio-historique réinterrogeant le travail d’antan. Il s’inscrit certes comme un lieu de souffrance, mais aussi de plaisir, présent dans la notion clé d’otium. Le second provient de l’univers pathogène de l’entreprise et apparait à la lecture de cet espace à partir du paradigme habermassien des « pathologies de la communication ». Le cas d’aides à domicile en situation de stress mais aussi de souffrance a été soumis à cette nouvelle "grille" de lecture. L’analyse est complétée d’une approche winnicotienne, permettant d’y voir les mécanismes inconscients générés par le néomanagement défaillant.Dans la troisième partie, au cœur des mouvements du processus créatif, via une approche socio-psychanalytique, nous partons des théories de Winnicott sur la créativité, pour la transposer et la dépasser, dans la vie interne de l’entreprise.Cette théorie est articulée et complétée par une étude empirique menée auprès d’employés Dassault qui ont fait cette insolite expérience de la création d’un « espace transitionnel hétérotopique », permettant paradoxalement de s’affranchir du cadre du travail tout en y étant lié
Creativity as prevention of stress and suffering at work Analysis of "pathologies of communication": the case of care assistants among employees of Dassault into the experience of collective creativityHow to understand and act against discomfort – from stress to suffering - and the internal problems of modern business?We show how creativity can be a preventive and omnipotent communication approach, an alternative that can reduce a communication pathogen caused by management, in favor of a less instrumental than institutional and formal communication social.Our proof is structured in three parts, each bringing forth a paradox.The first is identified from a socio-historical examination of traditional work. Indeed, it enrolled as a place of suffering, but also of joy, present in the key concept of otium.The second comes from the pathogen world of business and appears from the examination of this space from the Habermassian paradigm of "pathologies of communication." The case of care assistants under stress but also suffering has been subjected to this new reading report. The analysis is complemented by a Winnicotian approach, allowing perceiving the unconscious mechanisms generated by the failed neomanagement.In the third part, in the middle of the movement about creative process, through a socio-psychoanalytic approach, we start with Winnicot theories about creativity, to transpose and beyond, in the internal life of the company.This theory is articulated and supplemented by an empirical study with Dassault employees who made the unusual experience of creating a 'transitional space heterotopic "paradoxically allowing to get rid of the work area and in the the same tine to be connected to it

Social, economic and global changes make it difficult to predict what the future might hold. Creativity is one possible response to these changes. Indeed, creative skills enable students to face the complex nature of life. As a result, creativity has become significant in education, and is regarded as an important objective to be addressed in the curriculum. Nevertheless, creativity is not always promoted in schools. Rather, there are those who claim that many educational systems hinder creativity. Indeed, institutional pressures often prevent teachers from engaging in creative teaching practices. Furthermore, there is a lack of guidelines for helping teachers to adopt pedagogical strategies that foster creativity. Hence, the need has emerged for teachers to have models and tools for including creativity in their daily practices. In this context, the present study seeks to provide new models for promoting teachers’ and learners’ creativity. The thesis investigates the potential of Game-Based Learning (GBL) for promoting creative teaching practices. Indeed, digital games, when applied to educational contexts, can promote creative pedagogies: they have proved to enhance students’ intrinsic motivation towards learning; they are interactive systems which promote learning by doing processes; they also provide meaningful learning experiences by simulating highly interactive scenarios where students face real-world problems; finally, they provide risk-free environments which enable learners to explore and experiment. Literature identifies some barriers to the implementation of digital games in formal educational settings, such as the difficulty to reach a balance between fun and learning, as well as to align games with curriculum requirements. To tackle these obstacles, my research proposes an approach in which teachers create their own learning games, specially designed to reach their specific teaching outcomes. My study answers the following question: how can teachers’ creativity be enhanced by an approach where they design and apply their own learning games? It attempts to contribute to a greater comprehension of the phenomenon of creativity as applied in educational contexts, through a game design approach. It also aims to contribute to bridging the current literature gap regarding the possibilities of educational game design by teachers. Finally, it intends to provide educational practitioners with concrete examples of creative practices, based on innovative approaches in which teachers design their own educational resources. In the context of a multiple case study, nine Spanish primary and secondary school teachers designed their own learning games, especially tailored to their educational contexts, and applied them with their students. Within four cases, my research investigated teachers’ creativity according to three different dimensions: (a) process (the different stages of educational game design); (b) product (the learning games created); and (c) teaching (the practices at stake during the application of the games). My study proposes and validates the CEGAD model (Creative Educational GAme Design), which represents the different stages of educational game design by teachers, as well as the influences of the personal and environmental components, from the perspective of creativity. Furthermore, results show that many characteristics of creative pedagogies are supported by the game design approach. Finally, the research highlights the opportunities, facilitators and challenges to the approach, proposing new research directions in the field.
Los cambios sociales y económicos hacen que sea difícil predecir lo que el futuro puede deparar. La creatividad se considera una posible respuesta a estas transformaciones. Las capacidades creativas permiten a los estudiantes enfrentarse a la compleja naturaleza de la vida. La creatividad se ha convertido, así, en un concepto importante en la educación. Sin embargo, la creatividad no siempre se promueve en la escuela. Las presiones institucionales impiden que los profesores empleen prácticas de enseñanza creativa. Por lo tanto, surge la necesidad, para el profesorado, de tener modelos y herramientas para la integración de la creatividad en el aula. En este contexto, la presente investigación tiene como objetivo proporcionar nuevos modelos para el desarrollo de la creatividad del profesorado, y por ende, la del alumnado. La tesis investiga el potencial de las metodologías de aprendizaje basado en juegos para la promoción de prácticas de enseñanza creativa. En efecto, pueden promover pedagogías creativas, aumentando la motivación de los estudiantes hacia el aprendizaje y promoviendo procesos de aprendizaje activo. La literatura científica identifica algunas barreras para la implementación de videojuegos en contextos educativos formales, tal como la dificultad para llegar a un equilibrio entre la diversión y el aprendizaje, así como adecuar los juegos a los requisitos curriculares. Para superar estos obstáculos, esta investigación propone un enfoque en el que los profesores crean sus propios videojuegos educativos, especialmente diseñados para sus contextos de enseñanza. En un estudio de casos múltiples, nueve profesores y profesoras de educación primaria y secundaria diseñaron y realizaron sus propios videojuegos educativos y los aplicaron con sus alumnos. La tesis investiga la creatividad de los docentes en función de tres dimensiones distintas: (a) proceso (las diferentes etapas de diseño de videojuegos educativos), (b) producto (los videojuegos educativos creados), y (c) enseñanza (las prácticas de enseñanza durante la aplicación de los videojuegos en el aula). La tesis propone y valida el modelo CEGAD (Creative Eduducational GAme Design - diseño creativo de juegos educativos), que representa las diferentes etapas del diseño de videojuegos educativos por el profesorado. Además, los resultados ponen de manifiesto que el enfoque de diseño de videojuegos educativos potencia pedagogías creativas. Finalmente, la tesis destaca las oportunidades, facilitadores y retos propios de este enfoque.

A presente investigação debruça-se sobre a questão da eficácia terapêutica dos processos de criação simbólica, pensando-a a partir da filosofia das formas simbólicas de Ernst Cassirer. Começa-se dando destaque ao papel dos dinamismos de produção simbólica na constituição e na definição do humano. Primeiro elabora-se uma reflexão acerca da contemporaneidade, focando alguns dos aspectos das sociedades actuais que revelam a desagregação dos referenciais tradicionais de sentido, o enfraquecimento da capacidade simbólica e uma concomitante fragmentação do homem. Depois, sublinhando a importância da Antropologia Filosófica para um prolongamento crítico dessa análise, reconhece-se a pertinência da filosofia das formas simbólicas de Cassirer, assen-te sobre a sua visão do homem enquanto animal symbolicum, como base teórica para conceptualizar a reabilitação do simbólico e o carácter terapêutico da produção de sentido, no contexto da busca de possíveis caminhos de (re)construção do sujeito e da subjectividade na época contemporânea. De seguida, sistematizando a concepção antropológica de Cassirer, são examinados os concei-tos cassirerianos mais relevantes para considerar a relação entre criação simbólica e terapia: os con-ceitos de função simbólica, pregnância simbólica e forma simbólica. Dilucida-se, então, a abordagem de Cassirer àquilo a que chama «patologias da consciência simbólica», e define-se, na sequência disso, o conceito de «patologias da práxis simbólica». Este, em contraste com o primeiro, referente às perturbações mentais estruturais, pretende incidir sobre as patologias mentais funcionais, interpretando-as como variedades da reificação da função simbólica associadas à erosão dos processos de simbolização dependentes da mobilização da vontade, e, por-tanto, da intervenção e do envolvimento activo e criativo do sujeito na construção do seu mundo interno e relacional. Atendendo ao conceito de patologias da práxis simbólica e à sua inerente valorização da dimensão propriamente criativa dos dinamismos de simbolização, estabelece-se, por fim, com o objectivo de compreender as interconexões entre os âmbitos do criar, do cuidar e do curar, um diálogo entre o pensamento de Cassirer e as modernas ciências psicológicas e psicanalíticas e as neurociências; The Freedom of Meaning. The Symbolic on the Horizons of Caring and Healing Abstract: The present research analyses the question of the therapeutic effectiveness of the processes of symbolic creation, having as theoretical framework Ernst Cassirer’s philosophy of symbolic forms. It begins by highlighting the role played by the processes of symbolic production in the consti-tution and definition of the human. In the first place, a reflection is made on contemporaneity, fo-cusing some characteristics of today’s societies which reveal the disintegration of the traditional frameworks of meaning, the weakening of the symbolic ability and a simultaneous fragmentation of man. In the next place, underlining the importance of Philosophical Anthropology to a further criti-cal analysis, it is recognized the relevancy of Cassirer’s philosophy of symbolic forms, which has its foundation on the author’s view of man as an animal symbolicum, as a theoretical basis to conceptual-ize the rehabilitation of the symbolic and the therapeutic effectiveness of the production of mean-ing, in the context of the search for possible paths to the (re)construction of the subject and subjec-tivity in the contemporary age. Cassirer’s anthropology is then systematized, examining the most relevant cassirerian concepts for an understanding of the link between symbolic creation and therapy: the concepts of symbolic function, symbolic pregnancy and symbolic form. The work continues with an analysis of Cassirer’s approach to what he calls «pathologies of symbolic consciousness». Subsequently, the concept of «pathologies of symbolic praxis» is defined. This concept, unlike the first, which refers to structural mental disorders, focuses functional mental pathologies, interpreting these pathologies as varieties of the reification of the symbolic function resulting from the erosion of the symbolic processes directly related with the exercise of the will and, therefore, the intervention and active and creative involvement of the subject in the construction of his internal and relational world. Retaining the concept of pathologies of symbolic praxis and its inherent stress on the properly creative dimension of the symbolic processes, it is, in the end, established a dialogue between Cassi-rer’s thought and the modern psychological and psychoanalytic sciences and neuroscience, with the aim of investigating the interconnections between the realms of creating, caring and healing.

Philosophy
Ph.D.
In this dissertation I argue that creativity should be understood as a situated and distributed process. As I develop my approach to understanding creativity over the course of this dissertation, three core claims emerge: 1) that the creative powers of particular agents are constituted within the concrete circumstances (both social and material) in which they are situated, 2) that the creative process itself unfolds across networks of associating actors, and 3) that these networks of associating actors include nonhumans of diverse sorts as active participants in the creative process. Understanding the creative process in this way distinguishes my approach from the ways in which creativity has traditionally been understood, which I argue are marked by a deep Cartesianism. This Cartesianism manifests itself in the way that creativity is predominantly studied and conceived of as a cognitive process that occurs within the minds of individuals. Because creativity is seen to occur within the minds of individuals, and because these minds are seen to function autonomously of their context, there is a resulting lack of attention to how the creative process is shaped by and extended out into the material and social environment. Furthermore, because creativity is understood to be solely a manifestation of human agency and human intentions, the active role of nonhumans in the creative process has not been taking into account. Drawing upon literature within feminist epistemology, cognitive science, science and technology studies, disability theory, and situated action theory, I argue that to better understand creativity, we must consider the creative process as it occurs within particular social and material environments, as it is distributed across diverse networks of actors, and as it is shaped in essential ways by nonhuman actors. It is only by considering creativity in its context, out in the world and in the interactions between things, that we can get an adequate understanding of the creative process.
Temple University--Theses

This study developed new mapping techniques and methodologies for understanding creativity in terms of connectivity and interaction between human and non-human actors in a design classroom. The researcher applied qualitative methods of data collection combining both observation of classroom activities and focus group interviews in order to map a creativity network. The findings indicate that creativity is a complex weather-like system (or what I call "creative climate") composed of many sub-networks and diffused networks. Four interactions emerged from the study: (a) the creative climate is composed of the circulation of bodies and objects forming networks and sub-networks, (b) centers and corners/edges are a measure of connectivity and interaction in classroom space design, (c) roundness is a measure of classroom style and the space of connectivity usage, and (d) plugs-in creativity is a measure of technology consolidation. This study attempted to fill the gap in the literature on creativity and classroom design by explaining the role of non-human actors in shaping the creative climate in the classroom, especially the role of the classroom space itself as an actor. The implication of this study in art education opens a new opportunity for research in designing innovative classrooms. Also, it will allow future investigation of the phenomenon of creativity as a climate system based on the interaction between human and non-human actors.

The Foundation Phase in education provides the primary building blocks for young learners’ fundamental intellectual, social, physical and emotional basis of development. Holistic development is critical during the early years of the emergent learner’s life. Research has shown that it is imperative for young learners to make choices of their own accord, as room for independent decision making affords them the right to a “voice” and the opportunity to raise their own opinions which can contribute incrementally to their educational development. Exercising personal choices demands self-confidence and resolution. Indecisiveness implies a lack of taking a stance at all, as passive learners who constantly vacillate cannot succeed in accomplishing the task at hand. Various internal and external factors contribute to young learners’ indecisive behaviour and this, in turn, leads to a lack of self-confidence and fear. One of the main external factors identified is the child-rearing style of caregivers and parents. When learners experience fear and a lack of self-confidence, their educational experiences are also negatively impacted and therefore holistic development cannot take place. Research has indicated that visual art activities benefit young learners tremendously as they endow the learners with a more relaxed approach during activities due to the enjoyable character thereof. The focus in this study is consequently on rectifying young learners’ indecisiveness during visual art activities. All young learners dispose of the inherent potential to be creative and to express themselves through engaging with artwork, but when they lack self-confidence, they will be overcome with fear, hesitance and indecision. Social interaction as teaching strategy, as proposed by Lev Vygotsky (1896-1934) supports learners who have not yet reached their full potential, therefore group work can be introduced where a decisive learner can support indecisive peers to gain self-confidence, giving rise to a more enterprising and venturesome approach. (Van der Veer, 2007: 114–115; Newman & Holzman, 1993: 67).
Dissertation (MEd)--University of Pretoria, 2014.
tm2015
Early Childhood Education
MEd
Unrestricted

En 2010, 1 500 chefs d'entreprise ont identifié la créativité des managers comme le facteur le plus important pour les réussites futures des organisations. Cependant, l'engagement des managers dans des actions créatives est en constante concurrence avec des comportements de routine qui impliquent moins de prise de risque, d'incertitude et de possibilité d'échec. La thèse présente trois axes de recherche pour étudier et comprendre la décision des managers de s'engager dans des actions créatives. Le premier se concentre sur la façon dont les managers conçoivent la créativité et l'innovation lorsqu'elles s'appliquent à leur activité. Elle étudie aussi la façon dont les conceptions des managers peuvent influencer leurs propres comportements créatifs et leur évaluation de pratiques managériales et de managers créatifs. Le second axe montre que les actions créatives résultent d'un processus décisionnel qui évalue la pertinence de la créativité dans des situations spécifiques et prend en compte les prédispositions individuelles comme les caractéristiques favorables de l'organisation. Le troisième axe établit comment la complémentarité ou l'inadéquation entre les caractéristiques des managers et de leurs organisations peuvent déclencher des comportements créatifs. Les conclusions de cette recherche réaffirment l'intérêt des approches multivariées et interactionnistes de la créativité dans les organisations. Elle souligne également l'importance de considérer l'évaluation par les managers de la pertinence et de l'efficacité d'actions créatives dans des situations de travail spécifiques. Enfin, la plupart des recherches tendent à concevoir que la créativité émerge de circonstances positives et encourageantes. Au contraire, la présente recherche atteste que les managers sont le plus souvent amené à adopter des comportements créatifs dans des situations de travail qui ne sont pas optimales et satisfaisantes
In 2010, 1,500 Chief Executive Officers identified managers' creativity as the most crucial factor for future organizational success. However, managers' engagement in creative actions is constantly competing with routine behaviors that imply less risk taking, uncertainty and possibility of failure. This dissertation explores three potential avenues to understand managers' decisions to engage in creative actions. The first one focuses on managers' conceptions of creativity and innovation as antecedents of their own creative behaviors and their evaluation of creative managers and managerial practices. The second avenue examines how creative actions result from a decision-making process that evaluates the relevance of creativity in specific situations and takes into account individual predispositions and organizational characteristics. The third avenue investigates the extent to which a fit or misfit between managers and their organizations can trigger creative behaviors. This research reaffirms the relevance of the multivariate and interactionnist approaches to organizational creativity. It highlights also the importance of considering managers' evaluation of the appropriateness and effectiveness of specific creative actions in specific situations. Finally, most research tends to conceive that managerial creativity emerges from positive and encouraging circumstances. In contrast, the present research highlights that managerial creativity can emerge as a response to situations of misfit and dissatisfaction

Cette thèse prend pour objet la mise en œuvre d’un programme européen de financement de projets culturels intitulé Europe Créative, adopté en 2013 par l’Union européenne (UE). La recherche donne à voir les conditions de la réforme des politiques européennes pour la culture et montre comment celle-ci s’inscrit dans un processus au long cours de métamorphose de l’action publique en Europe. La littérature académique portant sur les réformes récentes de la politique culturelle de l’UE décrit souvent un « tournant néolibéral » associé à un « tournant créatif ». La redéfinition des politiques culturelles européennes au nom de la « créativité » s’accompagne en effet d’une généralisation du financement par projets et de l’introduction d’un lexique entrepreneurial et d’outils propres au nouveau management public pour encadrer le subventionnement de la culture. Ces travaux se limitent néanmoins généralement à traiter le changement de politique sous l’angle conceptuel, discursif ou strictement formel des transformations engendrées. Notre enquête cherche a contrario à questionner l’hypothèse d’un « tournant » en explorant les traductions pratiques de ces transformations. Ce faisant, l’étude de la réforme de la politique européenne permet d’aborder les processus concrets à l’œuvre dans ce que l’on a coutume de présenter comme une « néolibéralisation » des politiques publiques.Nous mettons en lien trois niveaux d’observation : celui des cadres cognitifs qui justifient une politique publique et sa réforme, celui de l’élaboration des instruments politiques qui lui donne corps et celui de la mise en œuvre concrète de ces instruments. Notre cadre théorique mêle la sociologie de la justification, la sociologie politique des instruments de l’action publique et des outils de gestion ainsi que la sociologie de la traduction. Notre matériau se fonde sur une analyse de la littérature académique traitant du « tournant créatif » et de la littérature grise produite par les institutions européennes, ainsi que sur une série d’entretiens et d’observations ethnographiques – dont plusieurs semaines au sein des points de contact du programme Europe Créative, et de nombreux mois au sein d’un lobby pour la culture à Bruxelles.Cette thèse contribue à montrer que l’entreprise réformatrice induit une appropriation plurielle et contradictoire des politiques par les acteurs concernés. Nous préférons alors, au terme homogénéisant de « néolibéralisation », celui de « modernisation » pour souligner les conflits et les compromis émergeant de ces appropriations dissonantes. À chacun des trois niveaux d’observation, nous révélons les efforts réalisés par les acteurs pour interpréter, modeler et renégocier localement le sens des réformes. Nous donnons à voir les disputes relatives à ce que serait une « bonne » politique culturelle et le travail d’interprétation du programme réalisé au guichet des institutions européennes, ou encore la malléabilité du sens donné à la notion de « projet ». Nous mettons en exergue la façon dont le financement par projets transforme non seulement les modalités de travail des organisations culturelles financées, mais également leur capacité à élaborer une prise de position critique vis-à-vis de la politique menée par l’UE
This thesis examines the implementation of Creative Europe, the European cultural funding programme that was adopted in 2013 by the European Union (EU). The research reveals the context and what made possible the reform of european policies for culture, showing how this process is inscribed within a long-term metamorphosis of public action in Europe.Scholarly literature focused on recent EU cultural policy reforms often describes a "neoliberal turning point" associated with a "creative turn". The redefinition of european cultural policies in the name of "creativity" is accompanied by a generalisation of project-based funding as well as the introduction of an entrepreneurial lexicon and tools specific to new public management to oversee the process of subsidising culture. However, this work tends to be limited to analysing the policy changes that are generated by these processes from a conceptual, discursive or a strictly formal perspective. On the contrary, our analysis seeks to question the hypothesis of a "turning point" by exploring the practical implictions of these changes. In doing so, the analysis of the reform of european policy makes it possible to identify the concrete processes that are at work in what tends to be discussed as the "neoliberalisation" of public policies.We connect three levels of analysis: the cognitive frameworks that justify a public policy and its reform, the elaboration of the political instruments that give it substance, and the concrete implementation of the latter. Our theoretical framework combines sociology of justification with political sociology of the instruments of public action and management tools, and sociology of translation. Our material is based on an analysis of the academic literature on the "creative turn" and grey literature produced by the european institutions, as well as a series of ethnographic interviews and observations – including several weeks in the context of a contact desk of the Creative Europe programme and many months in a cultural lobbbying organisation in Brussels.The thesis contributes to demonstrating that this reforming enterprise induces a plural and contradictory appropriation of policies by the involved actors. Rather than the homogenising term of "neoliberalisation", we therefore prefer that of "modernisation" to underline the conflicts and the compromises that emerge from this incongrous process of appropriation. At each of the three levels of observation, we reveal the efforts made by actors to interpret, model and renegotiate the meaning of the reforms locally. We show the disagremeents around what a "good" cultural policy is and the work of interpreting the programme at the desks of european institutions, or even the malleability of the meaning that is given to the notion of "project". We highlight how project-based funding is transforming not only the working arrangements of cultural organisations that receive such funding but also their ability to develop a critical stance towards EU policy

In this dissertation, I will be looking at the actor as a craftsperson and artist from both a secular and a theological standpoint in order to determine if the labour of acting can be considered both as work, a “proper job”; and as a calling from God, a vocation. The main questions prompting and shaping this dissertation have arisen out of my own personal experience as an actor struggling both in the performing arts business and with my Christian faith. So, the opening chapter will introduce a personal background approach to the dissertation. It will summarize the experiences that brought me to the place of asking these two questions. It will also serve as an introduction to the life of Dorothy L. Sayers, outlining her own life and demonstrating why she is important to our work as actors. Chapter Two will then cover historical data on Anti-Theatrical Prejudice, laying the foundation for the ongoing discomfort with and misunderstanding regarding the actor's craft. Chapters Three and Four will examine separately our notions of work (Three) and then of vocation (Four) in order to gain a broader view of these two terms. At this point, we will have laid the path to reintroduce Dorothy L. Sayers in Chapters Five, Six and Seven, both as a partner in conversation and as one who held this broader understanding of the terms work and vocation and applied them to creative activities, in particular acting. The final chapter will look at acting as connected to the basic features of life. It, among other things, will revisit some of the anti-theatre argument; pick up on ideas such as the imagination's ability to rehearse life; and will examine some uses of acting as a means of human exploration and social change. Finally, we will explore the artistry, technique, and craft of the actor, to firmly establish the place of acting in society as an important task, a “proper job,” and a Christian vocation.

This research examines the nature of visual poetry and its educational potential in the processes of teaching and learning reading and writing in primary education. The first part looks into the internal and external logic of visual poetry, its cultural, historical and technical characteristics, and a knowledge goal is provisionally defined, which is then analyzed as a teaching and learning goal. It reviews the historicist approaches to visual poetry; it examines the definitions that have been established especially regarding its intermedia nature, and also the most interesting definitions that have been made by visual poets themselves. Following on from this, there is a historical overview of this poetic form, focusing mainly on the Western European tradition and on Catalonia from the twentieth century onwards. The second part of the thesis is the empirical research that justifies, applies and interprets the description and analysis of a didactic sequence of a teacher in a classroom in year two of primary education within the methodological and theoretical framework of contemporary research on specific didactics. Above all, it uses the theoretical foundations of comparative didactics and clinical methodologies. Based on close and participatory observation and an all-encompassing analysis of educational action, some interpretations are compared with the overall framework of knowledge of language and literature didactic. Hence the intrinsic cultural value of visual poetry is claimed as a catalyst to encourage the improvement of the reading and writing skills itself, while this teaching goal also serves as a pretext to consider and purpose new ways of teaching and learning reading and writing, in a richer and more complex way, especially in the field of critical literacy, creativity and intermediality
Aquesta investigació es planteja la naturalesa de la poesia visual i el seu potencial didàctic en els processos d’ensenyament-aprenentatge de la lectura i l’escriptura a Educació Primària. La primera part investiga la lògica interna i externa de la poesia visual, els seus trets culturals, històrics i tècnics i es delimita provisionalment un objecte de saber, el qual a continuació s’analitza com a objecte a ensenyar i objecte ensenyat. Es revisen les aproximacions històriques a la poesia visual; s’examinen les definicions que s’han fixat sobretot en el seu caràcter intermedial i també les definicions més interessants que n’han fet els mateixos poetes visuals. A continuació es fa una síntesi històrica d’aquesta forma poètica, centrant-se sobretot en la tradició europea occidental i, a partir del segle xx, a Catalunya. La segona part o recerca empírica justifica, aplica, i interpreta la descripció i anàlisi d'una seqüència didàctica d'una mestra en una aula de cicle inicial d’Educació Primària, dins del marc metodològic i teòric de les investigacions contemporànies en didàctiques específiques, servint-se sobretot dels fonaments teòrics de les didàctiques comparades i les metodologies clíniques. A partir de l'observació atenta i l’anàlisi global de l'acció didàctica, se n’extreuen unes interpretacions que es confronten amb el marc global del saber de les didàctiques de la llengua i la literatura. Així, es reivindica el valor cultural intrínsec de la poesia visual com a revulsiu per fomentar la lectura i l’expressió escrita per se però alhora aquest objecte d’ensenyament serveix de pretext per reflexionar i proposar noves formes d’ensenyar i aprendre la lectura i l’escriptura de forma més rica i complexa, sobretot en l'àmbit de la literacitat crítica, la creativitat i la intermedialitat.
Bei dieser Untersuchung wird die Frage über die visuelle Poesie und deren didaktischem Potential bei den Bildungs- und Lernprozessen beim Lesen und Schreiben in der Grundschule aufgeworfen, die diese Fähigkeiten in ihrem gesamten Umfang zu Beginn des 21. Jahrhunderts nach sich ziehen.

Social learning has given us insight into how children learn actions from others across different domains (e.g., actions on objects, pretend play, and tool use). However, little research exists to confirm whether young children can generate their own novel actions. Three different settings were chosen to offer a varied investigation of children’s ability to generate novel actions: generating multiple actions with novel objects; generating iconic gestures in order to communicate; and generating pretend actions using object substitution. Generating multiple actions with novel objects: The Unusual Box test was developed to investigate children’s ability to generate multiple actions with novel objects (Chapter 2). The Unusual Box test involves children playing with a wooden box that contains many different features (e.g., rings, stairs, strings), and five novel objects. The number of different actions performed on the box and with the objects (i.e., fluency) was used as a measure of their individual learning. Positive correlations between the fluency scores of 24 3- and 4-year-olds on the Unusual Box test and two existing measures of divergent thinking were found. Divergent thinking relates to the ability to think of multiple answers based on one premise. Furthermore, a large range of fluency scores indicated individual differences in children’s ability to generate multiple actions with novel objects. In addition, 16 2-year-olds were assessed on the Unusual Box test, twice two weeks apart, to investigate test-retest reliability and the possibility that the Unusual Box test could be used with children younger than 3 years. A strong positive correlation between the scores on the two assessments showed high test-retest reliability, while individual differences in fluency scores and the absence of a floor effect indicated that the Unusual Box test was usable in children from 2 years of age. Generating iconic gestures in order to communicate: Children’s ability to generate iconic gestures in order to communicate was assessed using a game to request stickers from an experimenter (N = 20, Chapter 3). In order to get a sticker children had to communicate to the experimenter which out of two objects they wanted (only one object had a sticker attached to it). Children’s use of speech or pointing was ineffective; therefore only generating an iconic gesture was sufficient to retrieve the sticker. Children generated a correct iconic gesture on 71% of the trials. These findings indicate that children generate their own iconic gestures in order to communicate; and that they understand the representational nature of iconic gestures, and use this in their own generation of iconic gestures. Generating pretend actions using object substitution: In order to determine whether children are able to generate their own object substitution actions and understand the representational nature of these actions, 45 3- and 4-year-olds were familiarized with the goal of a task through modelling actions. Children distinguished between the intentions of an experimenter to pretend, or try and perform a correct action. Children mainly imitated the pretend actions, while correcting the trying actions. Next, children were presented with objects for which they had to generate their own object substitution actions without being shown a model. When children had previously been shown pretend actions, children generated their own object substitution actions. This indicates that children generate their own object substitution actions, and that they understand the representational nature of these actions. An additional study with 34 3-year-olds, revealed no significant correlations between divergent thinking, inhibitory control, or children’s object substitution in a free play setting, and children’s ability to generate object substitution actions in the experimental setting.

This is the thorough examination of Allyson Malandra's process of becoming a character, and the many different challenges and triumphs she has faced throughout the past three years of developing her craft. It also aims to bring into focus where the work will be headed throughout the many years to come. The goal of this process paper is to examine the many different details and intricacies that go into a role, and also how to troubleshoot problems that may arise throughout the journey. Our process is how we, as actors, attempt to create life on stage, and discover and unfold the underlying truth that connects all human beings. It is understood that each role for an actor will present a different set of chges, and therefore it is important to understand a baseline process that gets at the core of the actor's work. Through examination of this process, previous and current chges in the work will be discussed, as well as ways to move through these issues. Ideas on what is valuable in acting will be discussed, as a way of staying centered and focused, and also retaining quality in the craft. The examination will also explore three main pillars of the work--breathe, listen, and play--and how these anchor Allyson's artistry. The ultimate goals of this examination are to create a support for the process, to chge her work in the future, and to help her continue to grow and expand, both as an artist and as a person.

Leadership is often ascribed as a quality one either possess or doesn’t. We often hear phrases like “She is born leader” or “All eyes are on you”, these are thrown around without discretion in the classroom, conference rooms, social gatherings, and business meetings. This work contends that leadership and in particular leadership that grows and transforms its participants is less an inherent character trait, than an outlook and set of core principles that lead to transformation. Through the application of current and developing business leadership theory and its effect on creativity and a cross analysis of “Best in Class” theatre directors and choreographers that I have worked with, I intend to show that the surest way to a theatrically innovative and engaging production is through a dedication to collaboration, selflessness, and directorial clarity.

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Nesta pesquisa é problematizada a “educação do educador”, tendo como ponto de partida a crítica ao currículo e às concepções vigentes nos processos de ensino e aprendizagem e como tais processos são mediados nos cursos de formação de professores na educação superior. Neste contexto, busco estabelecer uma compreensão das bases filosóficas dos processos formativos de professores empreendidos pela pedagogia na atualidade, ao mesmo tempo em que proponho, como objetivo específico, a possibilidade de (re)construção destes saberes visando a elaboração do que denominei de “ação pedagógica formadora-criadora”. Para tanto, igualmente defino e discuto especificamente os conceitos de (a) “conhecimento-de-si-mundo” e (b) “subjetividade criadora”, em minha compreensão como próprios da condição humana, e cuja articulação se constitui no fundamento da ação pedagógica formadora-criadora. A relação entre a minha experiência profissional nas escolas do campo e no curso de Pedagogia da Universidade Federal do Recôncavo da Bahia (dimensão prática ou concreta desta pesquisa que foi teorizada), a análise do currículo em seus aspectos subjetivos (dimensão teórica a ser posta em prática) e o objeto de estudo que foi investigado, tornam-se elementos motivadores para o desenvolvimento do conceito de “ação pedagógica formadora-criadora”. Busquei este modo, possíveis caminhos para uma aproximação entre o processo formativo do educador (futuro professor) e sua ação pedagógica no chão da escola básica, tendo como elemento de ligação e catalisador a criatividade.
ABSTRACT In this research I discuss the “education of educators”, having as a starting point a critique of the curriculum and existing concepts in teaching and learning processes, and how such processes are mediated in teachers’ training courses in higher education. In this context, I seek to establish an understanding of the philosophical bases of teachers’ training courses undertaken by modern Brazilian pedagogy while proposing, as a specific objective, the possibility of (re)construction of this knowledge for the development of what I will call “a formative-creative educational action.” To this end, I intend not only to define but also to specifically discuss the concepts of (a) “Self-world knowledge,” and (b) “creative subjectivity,” to my mind characteristic of the human condition, whose articulation is the basic principle of a formative-creative educational action. The interweaving of my professional experience in field schools and in the pedagogy course at the Federal University of the Recôncavo of Bahia (the practical or concrete dimension of this research to be theorized), the curriculum analysis in its subjective aspects (theoretical dimension to be put into practice), and the main object of the study to be investigated, become the motivating factors for the development of the concept of “formative-creative educational action.” Through this method, I intend to find possible paths to bring the formative process of educators (future teachers) closer to their pedagogical action at the grassroots of the basic school, having creativity as a catalyzing and connecting factor.
RESUMEN En esta investigación es problematizada la “educación del educador”, teniendo como punto de partida la crítica a la hoja de vida y las concepciones vigentes en los procesos de enseñanza y aprendizaje y como tales procesos son mediados en los cursos de formación de profesores de educación superior. En este contexto, se buscó establecer una compresión de las bases filosóficas de los procesos formativos de los profesores emprendidos por la pedagogía en el Brasil actual, al mismo tiempo en el que propongo, como objetivo específico, la posibilidad de (re)construcción de estos saberes teniendo en vista la elaboración de lo que denominare de “acción pedagógica formadora-creadora”. Para tanto, pretendo igualmente definir y discutir específicamente los conceptos (a) “conocimiento-de-si-mundo” e (b) “subjetividad creadora”, en mi entender como propios de la condición humana, y cuya articulación se constituyó en el fundamento de la acción pedagógica formadora-creadora. El entrelazamiento entre mi experiencia profesional en las escuelas del campo e en curso de Pedagogía de la Universidad Federal del Reconcavo de la Bahia (dimensión práctica o concreta de esta investigación a ser teorizada), el análisis de la hoja de vida en sus aspectos subjetivos (dimensión teórica a ser puesta en práctica) y el objeto de estudio a ser investigado, se convierte en elemento motivador para el desarrollo del concepto de “acción pedagógica formadora-creadora”. Busco de este modo, posibles caminos para una aproximación entre el proceso formativo del educador (futuro profesor) y su acción pedagógica la base de la escuela elementar, teniendo como dispositivo de enlace y catalización la creatividad.

This research investigates the drama eduction form of playbuilding, and particularly the phenomenon of kinaesthetic teaching and learning which is aimed at enhancing group imagination and creativity. Playbuilding is a process whereby groups of students devise and act in their own plays using a variety of dramatic elements and theatrical conventions. This research explores the playbuilding learning experiences of two secondary school drama classes and the playbuilding teaching experiences of four drama teachers. The research underpins current drama and theatre education praxis that relates to learning through embodiment, symbolic creativity, and the purpose and function of metaxis in a secondary drama classroom. The study relied on qualitative research grounded theory techniques, focus groups, student workbooks, classrooms practices, closed questionnaires, face to face interviews and videotaped materials. Central to this research are the phenomena of imagining and creating that occur in secondary drama playbuilding groups learning through a group kinaesthetic paradigm. This study concludes that there is a paradigm which identifies secondary drama students as group kinaesthetic learners, and that kinaesthetic teaching and learning practices open up pedagogic spaces in playbuilding that significantly improve the effectiveness of group embodied learning in drama education
Doctor of Philosophy (PhD)

Research in extracurricular activities and arts education demonstrate how experiences in those areas contribute to the well-being and ongoing development of students in higher education. Although practiced and performed across the United States, theatrical improvisation, as an art form or extracurricular activity, lacks investigation within the context of higher education. Without an understanding from the student perspective, higher educational stakeholders miss an opportunity to incorporate experiences that address the institutions' mission and learning goals or worse, inadvertently produce student disenfranchisement. The purpose of this phenomenological study was to explore and describe the experience of improvisational acting training, practice, and performance of 7 college students who participated in an improvisation group. Huizinga and Caillois's theories of play and Csikszentmihalyi's theory of flow served as the conceptual framework for the study. Data collection occurred at a community college in the mid-Atlantic region through 2 interviews with each participant and 1 focus group until reaching saturation of data. Data were analyzed through iterative coding of significant statements through which themes emerged. Themes included attraction to the activity, practice of the craft, applications of skills to life, and a continuance of improvisation in the participants' lives and at college. The findings lend credibility to other research supporting arts and extracurricular activities and provide educational stakeholders with insights from students on what they value in their educational experience. Positive social change can come from providing students with an education that includes fun, creativity, and socialization for a successful future.

The evaluation of creative participatory community projects remains a controversial issue in politics, policy and the arts, its focus sharpened by the reality or rhetoric of austerity. Despite the recent plethora of policy documents and reviews there is little consensus about how projects should be evaluated or what constitutes good evidence about the impact on individual and collective wellbeing of ‘being creative’. This research set out to develop and trial feasible and effective evaluations for small to medium sized projects in the West Midlands of the UK based on field research into how impact is produced. Through mainly qualitative research in diverse contexts it was able to identify a range of conditions in projects reflecting the interrelationship of creativity and participation in which positive impact could be maximised. The research sought to theorise the impact of these conditions using elements of Actor Network Theory and Freire’s concept of praxis, concluding that impact is likely to be incremental, partial and non-linear. Central to this theorisation was the synthesis of evidence about the impact of creativity and embodied making on thinking, affect and a sense of agency, with ideas about how people change, producing a new evidence-based theory of change. In a practice-led approach, new creative methods were trialled in which data produced by participants had aesthetic as well as communicative value and the evaluation process itself contributed to positive impact. While it was possible to evaluate aspects of this impact through episodic interventions, field trials showed that it was more effective to develop a systemic evaluation strategy. Such a strategy needed to be participatory and integrated into project planning, in order to respond to the stochastic systems creativity inevitably provokes. This proved to offer two advantages: the potential to engage many stakeholders, not just as respondents but also as agents actively defining and measuring evaluation outcomes; and the potential for reflection about impact as process rather than outcome. These findings were then implemented in a number of projects, including trials of the Arts Council UK’s developmental Children and Young People’s Quality Principles. The method has been identified as ‘improving the conversation’ amongst partners, stakeholders and artists who can re-position themselves as active agents of evaluation rather than mere respondents, using the tropes, practices and materials of their own professional practices.

So many people do not tell their own stories, paint their own pictures, dance or sing to their own tunes, that it is hard, but not impossible I hope, to separate the authentic from the empty rhetoric. Authenticity of both process and experience was something actively sought within this research drawing as it did on a critical community psychology approach. In what I hoped would be a participatory action research process, an evaluation of a community organisation, led by people with lived experience of mental distress (myself included) was undertaken. Research questions focused on: the outcomes that mattered most to diverse member’s; and the fit of the participatory process with members of the newly formed So What’s Changed? Evaluation Team (SWC?ET). Whilst Participatory Video Production was the initial choice, collectively becoming stuck led to the co-development of a Body-mapping Evaluation Tool (B-mET). This supported co-researchers in documenting their past, present and hoped for future in relation to both them-selves and the organisation. A transactional analysis developmental theory Cycles of Power (Levin-Landheer, 1982) was used as a framework to map the PAR cycles that took place within this evaluation process. In addition, multi-modal thematic data analysis led to the creation of collective communication collages that privilege the visual and the voices of the co-researchers. The Universal Declaration of Human Rights was tentatively suggested as a framework for the outcomes that mattered most to members. What the participatory process offered was a shared, safe space in which to explore the ways in which members wanted to represent their experience. PVP initially proved useful and fitted as a tool to use within the group process. However, it did not fit when used individually. The body-mapping fitted with most though not all members. The knowledge gained, despite the challenges, supported members in the development of inter-personal relationships, awareness of self and others, knowledge and use of power and the subsequent activist and advocacy actions taken by SWC?ET members and for some within the wider community. Further research is planned to explore the use of creative methods, including digitisation of the B-mET tool, in evaluative work as a critical community psychologist in both an academic and an activist role.

The core concern of my thesis is with shifting the focus from the description on how innovation is done (predominantly STS accounts of innovation in-the-making) to what designers do with conceptions of innovation. The thesis is based on ethnographic fieldwork within a group of interaction designers of Milan. Despite the different conceptions and traditions of innovation that these designers bring in – the artistic and technological ones – I observed that a design-centered conception of innovation is reproduced, as well as the idea that plans and intentions precede things. However, another key idea of my fieldwork is the importance designers give to imagining things as they might be, rather than focusing on how things are. This is where different models of action, planned and open ones coexist in creative ways: it is these processes that the ethnography details.

To achieve and maintain a superior competitive position, firms must develop market sensing capability-the ability to sense events and trends in markets ahead of competitors (Day 1994a). According to Day, in firms with superior market sensing capability, "the processes for gathering, interpreting, and using market information are more systematic, thoughtful, and anticipatory than in other firms" [emphasis added]. Although Day asserted that market orientation captures the essence of a market sensing capability, researchers have suggested that market orientation, by itself, does not provide the requisite ability to develop competitive advantage because of its focus on detecting rather than anticipating market trends. While prior research, most notably pertaining to market orientation, has addressed the detection of current market trends, a gap in our knowledge remains regarding the ability to anticipate future market conditions. This research seeks to address this lacuna by exploring a firm's market foresight capability, defined as the organizational capability that allows the firm to anticipate emerging shifts in the market before they are evident to competitors. Organizations possessing superior market foresight capability derive a multitude of benefits from having greater insight into future market conditions. These benefits include the ability to determine which future market trends warrant further exploration and exploitation, the identification of critical resources that will be needed in the future, and-of primary interest in this dissertation-the ability to develop new products that meet customer needs in the future. This research seeks to better inform managers as to the organizational characteristics that enhance the firm's ability to anticipate future markets by developing and testing a model of the antecedents and new product outcomes of a firm's market foresight capability. The constructs selected as determinants of market foresight capability are supported by dynamic capability theory, which focuses on the organization's information processes, learning culture, and coordination/integration influences that elevate lower-level capabilities of individuals and teams to an organization-level or dynamic capability. The organizational information processes that are hypothesized to positively impact market foresight capability include active scanning, market experimentation, and lead user collaboration. The impact of information processes on market foresight capability is contingent on an organization's learning culture (future orientation and learning orientation) and interdepartmental connectedness, which influence the coordination and integration of information between organizational actors. A firm's potential for long-term competitive advantage lies in using the insights resulting from its market foresight capability to create advantageous resource configurations. To create valuable resource configurations, the firm with superior market foresight capability must capitalize on its ability to anticipate change through the development of new product and service offerings that better serve the needs of customers. It is hypothesized that superior market foresight capability results in heightened new product creativity, faster speed to market, and better market-entry timing. These new product outcomes of market foresight capability are further hypothesized to lead to superior new product financial performance. Of course, firms cannot realize the hypothesized new product benefits unless they are able to capitalize on market opportunities. Therefore, the relationships between market foresight capability and new product outcomes are hypothesized to be contingent on organizational inertia.
Ph.D.
Department of Marketing
Business Administration
Business Administration: Ph.D.

La pregunta que ens plantegem en aquest estudi es si es pot utilitzar un mètode de treball corporal creatiu per desenvolupar el programa de llengua italiana durant els primers anys de l'escola primària, aconseguint els objectius i les fites proposades. Des del punt de vista teòric, per dur a terme la nostra investigació, hem fet referència als autors que han explorat les diferents àrees de treball corporal, la dansa (Guerber-Walsh, Leray i Macouvert, 2000, Govoni, 1998), l'expressió corporal (Schinca, 1989, Strokoe, 1967, Brikman, 1975), la psicomotricitat (Lapierre, 1984, Aucouturier, 1985, Chokler, 1988, Sassano, 2003, Maude, ,1988) amb el moviment autèntic (Zocca, 2004, Pallaro, 2003, Kestenberg, 1965) i altres mètodes o tècniques (Feldenkrais, 1980, Rolf, 1977, Hengstenberg, 1994, Pikler, 1985, Guerra Lisi, 1991), mentre que des del punt de vista epistemològic situem el nostre treball en el marc del pensament constructivista (Piaget, 1967, Vigostki, 1979, Ausubel, 1983). Respecte al punt de vista metodològic hem dut a terme un estudi de cas, realitzant el treball de camp en una escola primària italiana durant dos anys lectius, respectivament, al primer i segon curs, en un context: d’ensenyament en què una professora aplica una metodologia específica basada en el treball corporal i el joc. En relació a les eines emprades, en tractar-se d'una investigació qualitativa s'han realitzat entrevistes, diari de camp, fotografies i gravacions de vídeo. Posteriorment s'han emprat alguns elements quantitatius par a l'avaluació i l'organització de dades. En comparar els resultats s'ha posat de manifest que aquests procediments es poden desenvolupar amb el programa ministerial, donant lloc a nombrosos estímuls i produint una forta motivació per a l'aprenentatge. També es millora l'ambient a l’aula i les relacions entre l'individu i el grup alhora que s'aconsegueix un bon nivell d'inclusió i participació activa de tots els nens. Amb la intenció d'indagar sobre el pensament dels docents en relació a aquest tipus de metodologia aplicada a l'escola primària, s'han realitzat entrevistes a diferents professors de la mateixa ciutat impulsats en un projecte d'art de difusió internacional, el projecte Mus-e. Durant el desenvolupament de l'estudi de cas van sorgir dificultats en relació a l’estructura de l'escola, l'organització i els canvis decidits a causa de la recent reforma. Intentar emprar també les eines quantitatives per avaluar els resultats aconseguits pels nens no ha demostrat ser útil per documentar el procés d'aprenentatge i d'avaluació, mentre que l’anàlisi de dades qualitatives ha fet palès clarament els avenços i assoliment dels nens i la influència del mètode escollit per la professora, en relació amb l'aprenentatge i les relacions. Considerem que aquesta metodologia activa utilitzada a les escoles primàries ofereix les mateixes oportunitats a tots els nens, independentment dels seus condicionaments socioculturals, o fins i tot de les seves habilitats innates, Creiem que tots els nens se senten involucrats quan reben propostes per al moviment creatiu, que la seva utilització permet fer front a les dificultats d'aprenentatge, la motivació i l'avorriment que molt sovint es donen a l'escola. Creiem que aquesta investigació pot ser desenvolupada i ampliada mitjançant l'extensió de la nostra hipòtesi a altres matèries escolars.
La domanda che si pone iI presente studio è se sia possibile usare un metodo di lavoro corporeo creativo per svolgere il programma di lingua italiana nel primo ciclo della scuola elementare, permettendo il raggiungimento degli obiettivi e dei risultati proposti. Da un punto di vista teorico, per condurre la nostra ricerca abbiamo fatto riferimento ad autori che hanno esplorato diverse aree del lavoro corporeo, dalla danza (Guerber-Walsh, Leray e Macouvert, 2000, Govoni, '1998) all'espressione corporea (Schinca, 1989, Stokoe,1967, Brikman, 1975), alla psicomotricità (Lapierre y Aucouturier, '1984, Chokler, '1988, Sassano, 2003, Maudir, 1988) al movimento autentico (Zocca, 2004, Paliara, 2003, Kestenberg, 1965) e ad altre tecniche o metodi (Feldenkrais, 1980, Rolf,1977, Hengstenberg,1994, Pikler, 1985, Guerra Lisi, 1991), mentre dal punto di vista epistemologico abbiamo inserito il nostro lavoro nel quadro del pensiero costruttivista (Piaget,1967, Vigotskj, 1979, Ausubel, 1983). Dal punto di vista metodologico la scelta è stata di sviluppare uno studio di caso. Le osservazioni sono state raccolte sistematicamente durante due anni scolastici in una scuola elementare italiana rispettivamente nelle classi prima e seconda, documentando in profondità un contesto didattico dove l'insegnante applica una metodologia integrata basata sul lavoro corporeo e teatrale. Trattandosi di ricerca qualitativa gli strumenti utilizzati sono stati interviste, diario di campo, fotografie e videoregistrazioni. Per la comparazione e la sistemazione dei materiali di ricerca sono stati d'ausilio anche alcuni elementi di organizzazione dei dati di tipo quantitativo. I risultati di ricerca mostrano con chiarezza che con l'uso di questa metodologia di insegnamento gli obiettivi previsti dal programma ministeriale par quanto riguarda I'apprendimento dalla lingua vengono pienamente realizzati attraverso molteplici stimoli e con una forte motivazione all'apprendimento. Si migliora il clima della classe e le relazioni individuali e di gruppo. Si ha un ottimo livello di inserimento e di partecipazione atliva di tutti i bambini. Dall'analisi dei dati qualitativi emergono puntualmente i progressi ed i risultati raggiunti dai bambini nonché l'influenza del metodo scelto dall'insegnante in ambito cognitivo e relazionale. Nell'intento di indagare sul pensiero di altri insegnanti in relazione all'uso di una metodologia di lavoro corporeo creativo nella scuola elementare sono stati intervistati altri docenti delia stessa citta, coinvolti nel progetto Mus-e, un progetto artistico di diffusione internazionale. Nello svolgimento del lavoro di campo sono state riscontrate alcune difficoltà legate alla struttura scolastica, all'organizzazione, ai cambiamenti decisi dalla recente riforma. iI tentativo di usare anche strumenti quantitativi per la valutazione dei risultati raggiunti dai bambini non si è rivelato utile a documentare i processi di re!azione a di apprendimento. Mentre nell'analisi dei dati qualitativi emergono chiaramente i progressi e i risultati raggiunti a! bambini nonché l’influenza de! metodo scelto dall'insegnante riguardo all'apprendimento e al!e relazioni. Consideriamo che questa metodologia attiva usata nella scuola elementare offra condizioni di pari opportunità a tutti i bambini, senza tener conto della loro condizione socio-culturale, né delle loro innate attitudini. Crediamo che tutti i bambini si sentano coinvolti quando ricevono proposta di movimento creativo, il che permette di affrontare difficoltà di apprendimento, demotivazione e noia che si riscontrano spesso a scuola. Riteniamo che questa ricerca possa essere ulteriormente sviluppata ed ampilata, estendendo la nostra ipotesi anche ad altre discipline scolastiche.
The question that arises is whether this study can use a method of body work creatively to teach the Italian language in the first years of primary school, allowing the achievement of the expected objectives and targets. From a theoretical point of view, to conduct our research, we made reference to authors who have explored different areas of the body work, dance (Guerber-Walsh, Macouvert and Leray, 2000, Govoni, 1998), expression body (Schinca, 1989, Stokoe, 1967, Brikman, 1975), Locomotion (Lapierre, 1984, Aucouturier, 1985, Chokier, 1988, Sassano, 2003, Maude, 1988) to the real movement (Zocca, 2004, Pallaro, 2003, Kestenberg, 1965) and other methods or techniques (Feldenkrais, 1980, Rolf, 1977, Hengstenberg, 1994, Pikler, 1985, Guerra Lisi, 1991), while from the epistemological point of view we put our work in the framework of constructivist thought (Piaget, 1967, Vigotskj, 1979, Ausubel, '1983). In relation to methods and materials to develop the research we have dealt with a case study, conducting fieldwork in an Italian primary school over two school years, respectively in the first and second classes, teaching in a context where a teacher applies a particular methodology based on body work and play. For this qualitative research, the tools used were interviews, field journal, photographs and video recordings, and, subsequently, some elements of evaluation and organization of quantitative data. The results show clearly that these procedures allow to achieve in full the objectives expected in the ministerial program on learning of Italian language, using several inputs, producing a strong motivation for learning, improving classroom climate and relationships of individuals and groups. It is also possible to reach an optimum level of inclusion and active participation by all children. It was also used an internationally spread art project as a basis to investigate what the teachers think in relation to this kind of methodology. In the performance of the field work there were also difficulties with the school structure, organization, changes decided by the recent reform The .attempt to also use quantitative tools to assess the results achieved by children has not proved useful to document the process of reporting and learning. The analysis of qualitative data shows clearly the progress and achievements of children and the influence of the method chosen by the teacher in relation to learning and relationships. We consider that this active methodology used in primary schools can offer an equal opportunity to all children, regardless of their socio-cultural, or even their innate abilities. We believe that all children feel involved when they receive proposals for creative movement, which allows to face difficulty in learning, motivation and boredom that often occur at school. We believe that this research can be further developed and expanded by extending our hypothesis to other school subjects.
La pregunta que nos planteamos en este estudio es si se puede utilizar un método de trabajo corporal creativo para desarrollar el programa de lengua italiana en los primeros años de la escuela primaria, consiguiendo los objetivos y metas propuestas. Desde el punto de vista teórico, para llevar a cabo nuestra investigación, hemos hecho referencia a los autores que han explorado las diferentes áreas del trabajo corporal, la danza (Guerber-VValsh, leray y Macouvert, 2000, Govoni, 1998) la expresión corporal (Schinca, 1989, Stokoe, 1967, Brikman, 1975), la psicomotricidad (Lapierre y Aucouturier, 1984, Chokler, '1988, Sassano, 2003, Maudir, 1988) con el movimiento auténtico (Zocca, 2004, Paliare, de 2003, Kestenberg, 1965) y otros métodos o técnicas (Feldenkrais, 1980, Rolf, 1977, Hengstenberg, 1994, Plkler, 1985, Guerra Lisi, 1991), mientras que desde el punto de vista epistemológico colocamos nuestro trabajo en el marco del pensamiento constructivista (Piaget, 1967, Vigotskj de '1979, Ausubel, 1983). Desde el punto de vista metodológico hemos optado por el estudio de caso, realizando el trabajo de campo en una escuela primaria italiana durante dos años lectivos, respectivamente, en los cursos primero y segundo en un contexto de enseñanza en el que una profesora aplica una metodología específica basada en el trabajo corporal y el juego. Respecto a las herramientas utilizadas, al tratarse de una investigación cualitativa se realizaron entrevistas, diario de campo, fotografías y grabaciones de vídeo, aunque posteriormente se utilizaron algunos elementos cuantitativos para la evaluación y la organización de datos. En el análisis de los resultados se verificó que estos procedimientos se pueden desarrollar con el programa ministerial, dando lugar a numerosos estímulos, produciendo una fuerte motivación para el aprendizaje, mejorando el clima del aula y las relaciones entre individuo y grupo. También se ha logrado un excelente nivel de inclusión y participación activa de todos los niños. Con la intención de indagar acerca del pensamiento de los docentes en relación con este tipo de metodología aplicada en la escuela primaria se realizaron entrevistas a algunos profesores de la misma ciudad, implicados en un proyecto de arte de difusión internacional, el Proyecto Mus-e. Durante el desarrollo del trabajo de campo surgieron dificultades en relación a la estructura de la escuela, la organización, los cambios decididos por la reciente reforma. El intento de utilizar también las herramientas cuantitativas para evaluar los resultados alcanzados por los niños no ha demostrado ser útil para documentar el proceso de aprendizaje y de evaluación, mientras que el análisis de datos cualitativos mostró claramente los avances y logros de los niños y la influencia del método elegido por la profesora en relación con el aprendizaje y las relaciones. Consideramos que esta metodología activa utilizada en la escuela primaria ofrece las mismas oportunidades a todos los niños, independientemente de sus condiciones socioculturales, o incluso de sus habilidades innatas. Creemos que todos los niños se sienten involucrados cuando reciben propuestas para el movimiento creativo, que el uso del mismo permite hacer frente a las dificultades de aprendizaje, falta de motivación y al aburrimiento que a menudo se verifican en la escuela. Pensamos que esta investigación puede ser desarrollada y ampliada mediante la extensión de nuestra hipótesis a otras materias escolares.

D. H. Lawrence believed the individual psyche to consist of two parts: the active unconsciousness and the mental consciousness. The active unconsciousness is a sort of life force within the individual, and one that allows the individual a true connection to the world. It is also closely related to the body, and sometimes called “blood-being” or “blood-consciousness.” The mental consciousness could be said to be the “intellect” in the individual psyche, dealing with abstractions and ideas. Lawrence insists that contemporary society’s prioritizing of the functions of the mental consciousness leads individuals to allow it too much influence over their life. This ultimately leads them to become dominating, willful and deadly. Lawrence’s 1920 novel Women in Love is an allegory of what Lawrence saw as the detrimental effect on individuals by the over-emphasis on rationality in contemporary society, and also of the struggle to find a way back to a more natural way of existing in the world. This essay argues that the processes of, and struggle between, the mental consciousness and active unconsciousness, are illustrated in images of water. Surface and merging imagery connotes denial of or loss of contact with the active unconsciousness, eventually leading the individual to seek death. Flood and submersion imagery connotes a possibility to find a way back to a life lived in and through the active unconsciousness. Fountain imagery and images of water connoting growth and openness connote the strong, creative life force inherent in the active unconsciousness. However, some water imagery in the novel also contradicts any notion of a stable balance—Lawrence universe is one where death and destruction is a necessary component of life and creativity.

碩士
國立臺灣藝術大學
舞蹈學系
100
This research discusses the situation of using creative thinking teaching in the performance of the students in performance art dancing courses. We mainly adopt action research approach and the points of Creativity Assessment Packet (CAP) as the auxiliary to proceed with the research. The research tools include Test of Divergent Thinking, Test of Divergent Feeling, the teaching observation records, and the teaching notes. The quantification data analyzed the points before the test and after the test with t-test; the qualitative data were being analyzed and generalized to explore the creative performances of the students after taking “creative thinking performance art dancing courses.” The study subjects were the freshmen of the academic year 2011 of OO Junior High School in Kaohsiung. The 29-students accepted a weekly 45-minute teaching lesson lasted 10 weeks. The research findings are as follows: 1. Using dancing lessons is feasible in helping the students to have creative performance. 2. Using “creative thinking teaching” in the performance art dancing courses, the students show fluent, open, flexible, unique creativity, explicit, title, adventurous, curiosity, imagination, and challenging creativities. The students’ creativity points in CAP show prominent differences, indicating that “creative thinking teaching” in the performance art dancing courses can increase students’ creativity. 3. Teachers can effectively use the creative thinking teaching strategy with divergent guiding teaching, which helps stimulate students’ creativity. 4. Students hold positive and affirmative opinion in “creative thinking teaching” in the performance art dancing courses. 5. Action research allows teachers’ creativity to be illustrated in teaching. The teachers can realize the advantages and disadvantages in teaching, urging them to be self-approved and grow professionally. The researcher further discusses the research results and proposes concrete suggestions as the references for future performance art dancing teaching material application and research. Keywords: dance, performance art, creative thinking teaching, creativity

碩士
國立彰化師範大學
教育研究所
96
Creativity demonstrates the advantage in the future competition, and the creativity is teachable. The purpose of this research is to investigate the writing teaching from the view of creativity. By the use of teaching strategies, the creativity teaching will inspire student's interest to study composition and train their creativity. The student’s writing ability is also improved. The researcher use the curriculum and planning activities to achieve the teaching purpose based on teaching theory of creativity. Furthermore, applying the creative thinking and various teaching methods, the student’s thinking and creativity are also promoted. The research method experimented here is Qualitative Research through the ways of observation, documentary collection, interview, quantitative analysis, questionnaires, etc. The collection of data is various in order to have a thorough and detailed analysis and description. The experimented students were 2th graders from a junior high school, located in Taichung City. This research was carried out in a semester, and there were 8 units of creative thinking composition involved in this class. In this study, we use the creative thinking techniques of brain storming, listing, fishbone diagram, mind mapping, mandala and lotus blossom, the performance of student’s feedback and response is quite positive. This research shows more than 80% of the students think the composition teaching of creativity can improve writing ability and creativity. Students' writing attitude has positive transitions and they affirm the value of composition course. They also think the writing ability has promoted. By the use of the creative thinking technique, the composition interest and ability can be improved effectively. In general, the students most like the fishbone diagram and mind mapping, because they consider the techniques as helpful to obtain the harvest among the skills. Furthermore, the reasons for students liking the composition teaching of creativity include interesting, inspiring the creativity, thinking skill is helpful to composition and easy to express, deeply understand for the theme. According to the result in this research, we certify that students’ willingness to write has been largely promoted, and their ability in writing has been gradually built up, too. Consequently, the design in the curriculum of creative thinking teaching is not only applicable in the teaching scenario of this research, but also beneficial and referential to elementary school teachers who want to give it a try.

A Research Report submitted to the Faculty of Education, University of the Witwatersrand, Johannesburg, in partial fulfilment of the requirements for the degree of Master of Education.
As a front-end analysis, the present study seeks to investigate two ways in which Creativity-Action-Service [CAS), an activities-based experiential learning programme, can be implemented alongside the overly content-focused curriculum in South African schools in an era of transformation to democracy and as a means of contributing to nation building. Two research questions which relate to two possibilities for the implementation of CAS in Gauteng schools are investigated: (1) How can CAS be implemented in all public secondary schools in District C1, Gauteng? and (2) How can CAS be implemented in a single purpose-built private secondary school? The research design adopted is largely descriptive in nature and the methodology includes gleaning data from disparate sources including key informants and recent state policy documents. From the data it is argued that that CAS can be implemented in response to the first question by means of a combined top-down bottom-up curriculum implementation strategy, namely, Mutual Adaptation and Development, and, in the case of the second question, by means of the Problem Solving/ Critical Factor strategy which is driven by the identification of felt needs.
AC2017

碩士
國立臺灣海洋大學
教育研究所
95
Abstract The purpose of this research is to improve student’s creativity through story teaching, and the main research objects are middle grade students in elementary school; Researcher analyze the process and result of story teaching, classify the behavior of student’s creativity, and conclude the method to improve student’s creativity from story teaching. The research objects are 32 forth grade students in one elementary school in Keelung, when they are in the first semester of academic year 2006. The methodology of this research is action research; Researcher design teaching activities of story teaching, which are reviewed by expert teachers, and collect document, record and observe activity, take note, and interview student, to collect and analyze data, encode information, translate into verbatim transcript, and write teaching diary, to reflect and interpret teaching activities, confirm with the purpose and methodology of this research. The obtained information is analyzed and classified upon the research topic, and the research conclusion is as following: A. Influence of story teaching on student’s creativity 1. Growth process of student’s creativity in story teaching: (1) Creativity is from imitation. (2) Creativity is process of gradual development. (3) Expression of student’s creativity is diversified. 2. Behavior of student’s creativity in story teaching: (1) Student’s thinking of fluency: Thinking of fluency is related to student’s cultural background, students who have better performance in thinking of fluency, have larger amount of reading than the other students in the class. (2) Student’s thinking of flexibility: Students seems difficult to have concrete performance in thinking of flexibility, and teachers should train students more in curriculum, to think many answers to solve questions in the same situation. (3) Student’s thinking of originality: There is no absolute relation between performance of originality and academic achievement, every student has ability of thinking of originality, and they reveal their ability in different field due to their different interest. (4) Student’s thinking of elaboration: Thinking of elaboration is expressed in student’s answer and creation, and student’s extended thinking is easier to be encouraged to further produce thinking of originality in a free atmosphere, which is constructed by story teaching. (5) Student’s thinking of risk taking: Behavior of risk taking is related to student’s confidence, and students who have confidence usually bring up their ideas bravely, to face possible criticism and advice. (6) Student’s thinking of complexity: Student’s characteristic of complexity is less obvious in story teaching, and students obtain teacher’s positive encouragement and enlightenment, before their characteristic of complexity start to appear. (7) Student’s thinking of curiosity: Enlightenment of student’s curiosity, besides to encourage students to bring up ideas and questions, it is an important foundation of student’s curiosity that whether students can observe everything in living world with their heart. (8) Student’s thinking of imagination: Student’s characteristic of imagination is more obvious for middle grade students, and we find from observation, that expression of student’s imagination is fused with their thought. B. Influence of curriculum design on student’s creativity 1. Curriculum design centered on children is suitable for teaching activities of story teaching to improve student’s creativity. 2. Key of curriculum design to improve creativity is to encourage imaginary space in teaching activities of story teaching. 3. Diversified extended activities are suitable for teaching activities of story teaching to improve student’s creativity. 4. Interactive story teaching curriculum design is beneficial to improve student’s creativity. C. Principle on class management to improve student’s creativity through story teaching 1. Cultivate student’s confidence as class management strategy is beneficial to improve student’s creativity. 2. Enrich student’s life experience is beneficial to develop student’s creativity. 3. Construct free class atmosphere is beneficial to improve student’s creativity. 4. Team work learning mode is beneficial to encourage student’s creativity. Keywords: story teaching, creativity,action research

碩士
國立臺北教育大學
數位科技設計學系(含玩具與遊戲設計碩士班)
106
This study adopted action research to explore the effect of tabletop game on children’s drawing creativity. The research subjects were 24 children in public preschool in New Taipei City. According to the children’s interest and development, this study introduced five kinds of Board Game in the thematic instruction of “little adventurer”.As for qualitative data, it referred to the “children’s graphic creativity test” in the Preschool Creativity Test published by the Department of Education, Taipei City Government as a measurement tool to analyze children’s fluency, flexibility, and Originality in pre-test and post-test. As for qualitative research, it used board games during the instructional process. Using photos, learning sheets, work, teaching weekly journals, and record of learning process, the study analyzed children’s change of drawing creativity by reorganizing the data. The research findings are as follows. 1.Children’s fluency, flexibility, and originality of drawing performance are significant, with fluency and originality significant. Qualitative analysis shows that growth in children’s flexibility is lower, which is consistent with the qualitative result. 2.The curriculum is applied in a familiar environment to the children, along with life experience, field visit, and practice of record so as to strengthen drawing creativity. Tabletop game is connected with reality. Design and aesthetic creativity reinforce children’s fluency and originality of drawing performance. Board Game is introduced in field instruction. During the games, teachers observe children’s strategies to further recognize their personality and development. 3.During the process of action research, we are able to realize the innovative results in an appropriate instructional strategy and enhanced theory and for the practice of children’s drawing creativity. The selection of tabletop game should be based on research topics and should allow children to freely create drawings.

A generally accepted definition of an entrepreneur is an individual with the ability to realize a specific vision from virtually anything, a definite human creative action. A differentiating factor defining the true entrepreneur is represented by the entrepreneurial skills: creativity and innovation. The fundamental skill to "create", therefore generate an idea and transforming it into a viable growth-oriented business, forms an unconditional and integrated necessity in entrepreneurship training programs. Many researchers in this field emphasize the need for and the lack of training models regarding this intervention. Courses offered by training institutions focus on training the traditional manager and not the entrepreneur. A lack of skills training for growth-oriented business is also evident. A critical deficiency in models directly addressing the Creativity, Innovation and Opportunity finding issues, as part of entrepreneurship training, creates a situation of minuscule differentiation between a business idea and an opportunity, in a training context. It is furthermore apparent that a lack of tools, textbooks and approaches to cultivate creativity exist in the field. The latter generates stifling pedagogical paradigms in teaching business and entrepreneurship. This study demonstrates a new action learning approach and model, developed to increase creative and innovative behavior and actions of the entrepreneurship learner. Three purposive samples were used, on the basis of an experimental design. Ratio data was obtained by means of a reliable measuring instrument (Chronbach’s alpha on an acceptable level). ANOVA as well as a Discriminant analysis indicated statistical significant differences between the different groups. This study illustrates that the proposed training methodology that was used enhance the level of creativity and innovation of the entrepreneurship learner on this program. Recommendations regarding future research in this exiting field of study are addressed.
Thesis (DCom (Business Management))--University of Pretoria, 2005.
Business Management
unrestricted

碩士
國立高雄師範大學
科學教育研究所
92
The purpose of this research is to investigate how to make use of strategies which are proposed by Sternberg & Williams (1996) for develop student creativity in the course of creative teaching for scientific creativity. And to analyze the performances and developments of scientific creativity, creative personalities, learning motivation of student in the course. And, is the learning environment helpful to develop student scientific creativity？ This is an action research of the teacher and the eighth-grade students participant in creative teaching projects of “scientific inquiry in bubble sugar” and “creative products of technology of temperature and heat”. Qualitative data were collected by teacher’s daily record , students’ daily records , video/audio taping of teaching activities, interview with students, interview with teachers students’ scientific reports, and feedback questionnaires. The quantitative data were The Inventory of Personal Traits to the Development of Technological Creativity, The Questionnaire on Learning Science motivation, and two subscales from The Inventory of School Factors to The Development of Technological Creativity. The data were analyzed mainly in qualitative data and subordinatively in quantitative data. The results of this study were as following: 1.The teacher constructed the teaching procedure of fostering student''s scientific creativity effectively from the introspection of the theory and practice. 2.In the course of creative teaching for scientific creativity, students have promoted “plural”, “novel”, “utility” to perform in scientific creativity. 3.The teacher using strategies for developing creativity can cause student''s creative personalities like curiosity, playfulness, glad to share, good at pinpoint the problems, strengthen self-confidence, would like to overcome the difficulty, liking scientific creativity course. Also some students have a setback sense, reduce confidence and germinating to give up because of being unable to finish the products of scientific creativity. 4.The teacher using the strategies for developing creativity can excite students'' external motivation, and promote students'' Intrinsic Motivation further. 5.The teacher using strategies for developing creativity can build a learning environment that encourages cooperation of student''s creativity, scientific inquiry ,and set up the mechanism of daily dialogue of science with students that bring about an advance in student''s science creativity effectively. And it can further develop student abilities of “Recognizing Environmental Fit” and “Seeking Stimulating Environments”.

碩士
銘傳大學
資訊管理學系碩士班
98
The purpose of this study is to investigate IS personnel’s creativity, based on The Componential Theory of Creativity and Theory of Reasoned Action (TRA). By literature review, we find the creativity researches in IS were less than other fields. There were few studies focus on personality, how information system help people to generate creativity and how personal creativity to assist the information system development. It had less study to explore IS personnel behavior. Hence, this research is depended on the subjects, the students who major in Information Management and have project experience, to explore their components of creativity and the factors which may influence to creativity behavior. 245 students were surveyed online. The research findings indicated that (1) Challenge, Outward, Use of Creativity techniques and Network Management positively influence individual creativity and are the components of individual creativity. (2) Individual creativity is positively associated with attitude toward use creativity on tasks, intention toward use creativity on tasks and creativity behavior. (3) Attitude toward use creativity on tasks is positively associated with intention toward use creativity on tasks, and intention toward use creativity on tasks is positively associated with creativity behavior. Finally, recommendations are given on how to make the students who major in Information Management more creativity for school and business.

碩士
國立臺北教育大學
音樂學系碩士班
102
Abstract This study aimed An Action Research – Promoting Children's Creativity By Mei-Yu Orff Kids Music. According to the researcher’s experience in the education field, in order to win at the starting point, kindergarten teaching mode gradually cossespond to the educational philosophy of entering the higher schools. Teaching philosophy with such a policy prompt children to learn the knowledge in advance and therefore rarely study how to show creativity. Creativity is the process of self-form show after observation, learning, imitation and internalization. The lack of such experience, creativity will gradually disappear in life. Therefore, the researchers aim to enhance children's creativity by using aesthetic rhythm Orff music teaching materials and basing on children's favorite musical movement of teaching strategies, the curriculum content is close to children's life experiences.Take one private Hsinchu kindergarten classes for teaching experiment, teacher observe behavior record form, reflective journals and creativity checklist performance as the basis of experimental results. According to above data, the study belongs to qualitative research, we hope that this research project would provide teachers who engaged in music teaching an effective teaching model and an extension for future research and discussion. Key words : musical movement, creativity, action research

碩士
國立臺北教育大學
教育經營與管理學系
105
The main purpose of this research is to examine the effect of creativity using flipped learning for second grade elementary school students. During the ten-week research period, 80 minutes per week, the research subjects were 18 the second grade students. In the study, researchers adopted “Torrance tests of creative thinking streamlined scoring guide tool” to collect all data through teaching notes, teaching observation records, Mind Mapping,making small book, interview with collaborative teacher and students. Finding of this current study were follows: 1.The creative of fluency, originality, elaboration, the creative of title and the creativity index in the second graders had a significant positive effect in creativity, beside resistance to premature closure. 2.The creative of fluency, originality, and the creativity index in the second graders had induced a delayed retention effect in creativity, beside elaboration and the creative of title. 3."MAPS teaching method" used in the second grade teaching, the four core elements of the MAPS, Mind Mapping、Asking Question、Presentation and Scaffolding Instruction can enhance students' creativity. 4.Through the flipped learning , researcher learns to increase interactions with the students to instructional quality. Four conclusion are made according to the research findings, and providing suggestions to teaching applications and for future researcher.