To see the other types of publications on this topic, follow the link: Creative thinking.
Dissertations / Theses on the topic 'Creative thinking'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Creative thinking.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Sirbiladze, Karina. "Scamper Technique for Creative Thinking." Thesis, Фінансова рада України, 2017. https://er.knutd.edu.ua/handle/123456789/7479.
Full text
2
Richards, Tanya Alexandra. "Creative Thinking: Through Vibrant Materials." Thesis, The University of Sydney, 2021. https://hdl.handle.net/2123/25944.
Full textAbstract:
Creative Thinking: Through Vibrant Materials investigates how to bridge the gap between cognitive science, humanities and creative thinking through materials. Research explores creativity as new knowledge, guided by the power of haptic surfaces, searching for something new through repetition. The poised question is: What happens within a moment of losing a sense of self in art-making?
The hypothesis is that concepts of philosophy and the function of art can create specific aesthetic figures of colour, line, texture, and forms through materiality. The tacit skills play a crucial role for the artist to know when to resist and surrender to the materials. Bridging the gap between philosophy and practice allows aesthetic figures to emerge effortlessly, taking the path of least resistance. These figures are not of beauty per se; they translate thoughts without images, although not as conventional shapes known in advance, but instead as blocks of haptic sensation.
This enquiry formulated a research problem of 'thought without image' – thinking that goes beyond recognition and originates in practice. The study has been to understand and create connections between Gilles Deleuze and Felix Guattari's concepts thoughts without images, Maurice Merleau-Ponty's phenomenology, John Dewey's aesthetics, and the Taoist concept of Wu Wei and its connections to Mihaly Csikszentmihalyi's mindset of flow. The overall study focuses on how Csikszentmihalyi states of flow can condition creative thinking. The research illustrates that creative thinking is shaped by social, cultural, and philosophical influences. It also shows that the eyes are neither cameras nor windows and instead interpret meaning based on past experiences.
3
Stilwell, Martinique. "Thinking up a hurricane." Master's thesis, University of Cape Town, 2009. http://hdl.handle.net/11427/14605.
Full text
4
Pringle, Andrew J. "Creative thinking : a mode shifting hypothesis." Thesis, University of Surrey, 2015. http://epubs.surrey.ac.uk/807126/.
Full textAbstract:
Recent accounts of creative-cognition propose that creativity requires the use of different modes of thought. One mode supports the generation of ideas while a second mode of thought is conducive to evaluating ideas (Gabora & Ranjan, 2013; Howard-Jones, 2002; Kaufman, 2011). It has been suggested that creative individuals may be characterized by being good at shifting between different modes of thinking (Howard-Jones, 2002; Kaufman, 2011; Vartanian, 2009). Modern definitions of creativity emphasize that for a product to be deemed ‘creative’, it must exhibit both novelty and utility (Cropley & Kaufman’s, 2011; Plucker, Beghetto & Dow, 2004). Shifting could be an integral facet of creative-cognition that enables one to produce a creative product possessing these attributes (Gabora & Ranjan, 2013). Prior research has suggested a link between shifting and creativity. However, it has framed shifting in a rather narrow way and examined the link using paradigms that are far removed from the theorized role of shifting in the creative process (Gabora & Ranjan, 2013). The present thesis used an experimental paradigm, a novel self-report measure of shifting and a ‘think-aloud’ protocol to examine multiple facets of shifting and the relationship of these facets to measures of creativity. It revealed that the relationship between shifting and creativity is more complex than previous research suggests, differing across contexts and different creative domains. Different facets of shifting appear to be related to different types of creativity, with metacognitive awareness of shifting distinct from competence shifting and affective processes appearing to play an important role in shifting in the domain of garden design. Based on these findings, it is proposed that future research should take into account the multifaceted nature of shifting. Doing so could significantly aid progress in understanding the nature of the relationship between creativity and shifting between different modes of thought.
5
Taylor, Linda D. "Creative thinking and worldviews in Romania /." abstract and full text PDF (UNR users only), 2008. http://0-gateway.proquest.com.innopac.library.unr.edu/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3311919.
Full textAbstract:
Thesis (Ph. D.)--University of Nevada, Reno, 2008.<br>"May 2008." Includes bibliographical references (leaves 76-83). Library also has microfilm. Ann Arbor, Mich. : ProQuest Information and Learning Company, [2009]. 1 microfilm reel ; 35 mm. Online version available on the World Wide Web.
6
Kilgour, A. Mark. "The Creative Process: The Effects of Domain Specific Knowledge and Creative Thinking Techniques on Creativity." The University of Waikato, 2007. http://hdl.handle.net/10289/2566.
Full textAbstract:
As we move further into the 21st century there are few processes that are more important for us to understand than the creative process. The aim of this thesis is to assist in deepening that understanding. To achieve this a review of the literature is first undertaken. Combining the many different streams of research from the literature results in the development of a four-stage model of the creative thinking process. The four stages are problem definition, idea generation, internal evaluation, and idea expression. While a large range of factors influence the various stages in this model, two factors are identified for further analysis as their effect on creativity is unclear. These two factors are domain-specific knowledge and creative thinking techniques. The first of these factors relates to the first stage of the creative thinking process (problem definition), specifically the extent to which informational cues prime domain specific knowledge that then sets the starting point for the creative combination process. The second factor relates to stage two of the model (idea generation), and the proposition by some researchers and practitioners that creative output can be significantly improved through the use of techniques. While the semantics of these techniques differ, fundamentally all techniques encourage the use of divergent thinking by providing remote associative cues as the basis for idea generation. These creative thinking techniques appear to result in the opening of unusual memory categories to be used in the creative combination process. These two potential influences on the creative outcomes of individuals: 1) domain specific knowledge, and 2) creative thinking techniques, form the basis for an experimental design. Qualitative and quantitative research is undertaken at two of the world's leading advertising agencies, and with two student samples, to identify how creative thinking techniques and domain-specific knowledge, when primed, influence creative outcomes. In order to measure these effects a creative thinking measurement instrument is developed. Results found that both domain-specific knowledge and creative thinking techniques are key influences on creative outcomes. More importantly, results also found interaction effects that significantly extend our current understanding of the effects of both primed domain-specific knowledge and creativity techniques on different sample populations. Importantly, it is found that there is no 'one size fits all' for the use of creative thinking techniques, and to be effectively applied, creative thinking techniques must be developed based upon the respondent's current domain and technique expertise. Moreover, the influence of existing domain-specific knowledge on individual creativity is also dependent upon how that information is primed and the respondent's knowledge of cognitive thinking strategies.
7
Stephens, Cara. "Stories: Strange Men and Thinking Girls." Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc4833/.
Full textAbstract:
What is the boundary between fiction and nonfiction? What happens if the line between the two is crossed? Can we possibly recall events in our lives exactly as they happened? In creative nonfiction, such as memoir, the audience expects the writer to recall things exactly as they happened, with no embellishments, re-ordering, additions, or subtractions. It seems as if authors of creative nonfiction are bound to be questioned about events, nitpicked on details, challenged on memories, and accused of portraying real-life people the "wrong" way. Yet when the writer creates fiction, it seems to go the other way: readers like to think there are parallels between an author and her stories. Readers congratulate themselves for finding the similarities between the two, and instead of focusing on the crafted story at hand, try to search out which parts are "true" and which are embellished. Does any of this matter, though; don't all stories tell a kind of truth? We have an insatiable urge to classify, to "know" the truth, but truth isn't merely a recollection of cold facts; likewise, a story isn't any less true if it's fiction.
8
De, la Cruz-Bechtel Rose Marie. "Unlocking creativity in the classroom." To access this resource online via ProQuest Dissertations and Theses @ UTEP, 2008. http://0-proquest.umi.com.lib.utep.edu/login?COPT=REJTPTU0YmImSU5UPTAmVkVSPTI=&clientId=2515.
Full text
9
Beresnevičius, Gediminas. "EDUCATIONAL DIMENSIONS OF CREATIVITY AND CREATIVE THINKING." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2010. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2010~D_20100519_103153-72881.
Full textAbstract:
Educational dimensions of creativity and creative thinking are researched in the dissertation on theoretical and empirical levels. The research shows that creativity (process and its result) is affected by the following factors: motivation of the author, entirety of personal features and character traits, abilities, thinking, scope of thinking inertia, special and general knowledge, reconstructive and constructive imagination, intuition, author’s behaviour, emotions, physiological and psychological state, social and physical environment.
Dynamic and component models of creativity process, prepared by the author, are presented in the dissertation.
655 research participants participated in the empirical research: 601 5th-11th form school learners and 54 teachers. 2 subtests by E. E. Туник (2002) assessing creativity parameters and a questionnaire designed by the author were administered to the research participants. The change of creative thinking was determined in its ontogenesis (from 11 to 62 years of age). Peculiarities of learner creative thinking were revealed (originality, flexibility of thinking, abundance of ideas) in groups according to age, gender, birth order, learning progress and place of residence.
The research shows that originality of creative thinking reaches its peak at the age of 18, afterwards it decreases during adulthood. (p=0.000). The existence of positive direct statistically significant relationship between all parameters of creative thinking and... [to full text]<br>Disertacijoje teoriniu ir empiriniu lygmenimis yra tyrinėjamos kūrybiškumo bei kūrybinio mąstymo edukacinės dimensijos. Tyrimas parodė, kad kūrybos procesui ir jo rezultatui turi įtakos tokie veiksniai: kūrėjo motyvacija, asmenybės savybių ir charakterio bruožų visuma, gebėjimai, mąstymas, atmintis, mąstymo inercijos dydis, specialiosios ir bendrosios žinios, atkuriamoji ir kuriamoji vaizduotė, intuicija, kuriančiojo elgesys, emocijos, fiziologinė ir psichologinė būsena, socialinė ir fizinė aplinka.
Disertacijoje pateikiami autoriaus parengti dinaminis ir komponentinis kūrybos proceso modeliai.
Empiriniame tyrime dalyvavo 655 tiriamieji: 601 V–XI klasių mokiniai ir 54 mokytojai. Jiems buvo pateikta autoriaus sudaryta anketa bei du E. E. Туник (2002) kūrybiškumo parametrų įvertinimo subtestai. Nustatyta kūrybinio mąstymo kaita ontogenezėje (nuo 11 metų iki 62 metų amžiaus). Atskleisti mokinių kūrybinio mąstymo ypatumai (originalumas, mąstymo lankstumas, idėjų gausa) grupėse pagal amžių, lytį, kelintas vaikas šeimoje, pažangumą ir gyvenamąją vietą.
Tyrimas parodė, kad kūrybinio mąstymo originalumas pasiekia maksimumą 18 metų amžiuje, o po to suaugusiojo amžiuje krinta (p=0,000). Nustatyta, kad egzistuoja teigiamas tiesioginis statistiškai reikšmingas ryšys tarp visų kūrybinio mąstymo parametrų ir asmenybės domėjimasis mokslu (p<0,01) bei menu (p<0,05). Nustatyti statistiškai reikšmingi ryšiai tarp kūrybinio mąstymo parametrų ir savišvietos poreikių. Tyrimas parodė, kad kuo... [toliau žr. visą tekstą]
10
Navarro, Edwina Portocarrero. "Inside/out : mirrors for reflective, creative thinking." Thesis, Massachusetts Institute of Technology, 2011. http://hdl.handle.net/1721.1/69810.
Full textAbstract:
Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2011.<br>Cataloged from PDF version of thesis. Page 99 blank.<br>Includes bibliographical references (p. 93-98).<br>In this document I present three tools for reflective, creative thinking: Pillow-Talk, the NeverEnding Drawing Machine and Calliope. These tools make use of the "distorted mirror" metaphor for self-reflection. They are designed to debunk myths of creativity as an acquired faculty and instead promote creative apperception and flexible thinking. Pillow-Talk is designed to prime dream recall and facilitate capture through voice recording. Considering the dream an aesthetic experience we all undertake, where the dreamer is free to test knowledge liberated from physical and moral constraints, its aim is to promote flexibility in levels of thought. The NeverEnding Drawing Machine and Calliope endorse flexibility in vehicles of thought through co-creative and collaborative play. One can incorporate any object found in the environment as a tool or material, thus making contextualized and personalized creations. They promote cross-cultural and cross-generational co-creation as the echo from which to recenter perception.<br>by Edwina Portocarrero.<br>S.M.
11
BOWERS, ROBERT SIDNEY EARL. "MANAGING CREATIVITY FOR PRODUCTIVITY: RATIONALE, DESIGN AND PROGRAMS (INNOVATION, CREATIVE, INVENTION, INNOVATE, CREATION)." Diss., The University of Arizona, 1986. http://hdl.handle.net/10150/188177.
Full textAbstract:
This study presents an operational definition of creativity within the contexts of business, school and community. A design for the strategic management of creativity is developed. Suggestions are made for programs to increase effectiveness in the use of creative skills. Creativity has been viewed in the past as something that happens rather than deliberate activity directed to specific goals. Numerous studies have failed to find a significant relationship between measurements of creative skills and intelligence as delimited by IQ tests and other measures of performance. Creativity can be distinguished as a category, process and quality of intelligence, and both can be defined in qualitative and theoretical terms. Models are constructed in the study to classify creativity. The components of the creative act can be tracked. A model sets parameters and categories for investigations to permit variation of content in a relatively stable sequence of steps. The sequence can be extracted as a method to process ideas from any discourse.
12
Van, Sickle Timothy D. "Post-exercise effects on affect and creative thinking." Virtual Press, 1993. http://liblink.bsu.edu/uhtbin/catkey/864933.
Full textAbstract:
Twenty-seven swimmers, twenty-three aerobic runners, and twenty-two distance runners were tested on measures of affect and four creative thinking tests before and after an exercise session which approximated their normal work-out. Twenty-two sedentary control subjects watched a National Geographic videotape instead of exercising. Pre-test findings indicated that there were no statistically significant differences between groups. There was no evidence of post-exercise enhancement of demonstrated creative thinking following a 30 minute post-exercise pause, nor did exercisers perform better than controls on the creativity tests. The obtained results conflict with popular notions and previous research. However, exercisers did perceive themselves as significantly more exercise. The results suggest that exercisers believe their workouts enhance creative thinking when in fact they do not.<br>Department of Psychological Science
13
Koutsoupidou, Theano. "Improvisation and creative thinking in Primary music education." Thesis, University of Roehampton, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.535854.
Full text
14
Hetzel, Eugene David. "The mad rhetoric: Toward a rigor on radical creativity and its function in consciousness as a communicative principle." CSUSB ScholarWorks, 2007. https://scholarworks.lib.csusb.edu/etd-project/3293.
Full textAbstract:
This thesis explores three creative works, "The music of Erich Zann" by H.P. Lovecraft; the film "Eraserhead" by David Lynch; and the "Self-Portrait (blue)" by Vincent Van Gogh, as examples of different forms of mad rhetorics as a way in which to demonstrate the application of the theory of "mad rhetorics" and the role "radical creativity" plays in the construction of mad rhetorics by "mad rhetors" play in society.
15
Botch, Catherine F. "Creativity, the lateral path less taken lateral thinking in the art classroom /." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only.xxx, 1997. http://www.kutztown.edu/library/services/remote_access.asp.
Full textAbstract:
Thesis (M. Ed.)--Kutztown University of Pennsylvania, 1997.<br>Source: Masters Abstracts International, Volume: 45-06, page: 2745. Typescript. Abstract precedes thesis as preliminary leaves iv-v. Includes bibliographical references (leaves 98-103).
16
Kristiansen, Glenn. "Creative problem solving : the roles of moods and emotions." Thesis, University of Cambridge, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708122.
Full text
17
Pan, Yee Lin. "The development of creative thinking in adolescents in Hong Kong : a sociocultural interpretation /." [St. Lucia, Qld.], 2006. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19508.pdf.
Full text
18
Carlson, Mark J. "SOF planning for uncertainty : creative thinking in dynamic environments." Thesis, Monterey, California. Naval Postgraduate School, 1998. http://hdl.handle.net/10945/32614.
Full textAbstract:
The purpose of this thesis is to explore the question of why special operation missions succeed or fail. The author argues that success or failure is directly related to the problem of planning for uncertainty. Special operations are executed in an inherently dynamic environment. This environment creates uncertainty for both planners and operators. The most successful planners account for uncertainty in the planning process before the operators ever conduct an operation. This thesis builds a model for exploring this phenomenon. The purpose of the model is to provide the reader with a conceptual tool for understanding the problems and process of planning in uncertainty (the art and the science). Specifically it defines three essential tools for planning in uncertainty - adaptive learning, shaping and hedging.
19
De, Jager C., A. Muller, and G. Roodt. "Developing creative and innovative thinking and problem-solving skills." Journal for New Generation Sciences, Vol 12, Issue 1: Central University of Technology, Free State, Bloemfontein, 2014. http://hdl.handle.net/11462/649.
Full textAbstract:
Published Article<br>A specific financial services organisation in South Africa realised that they had to join the innovation revolution in order to remain commercially competitive due to unexpected competitors entering the traditional financial services domain. The evaluation question asks whether employees in a financial services organisation can develop creative and innovative thinking and problem-solving skills through an intervention such as a workshop, and can a benefit for the business unit and organisation be identified.
This qualitative study employed Utilisation Focused Evaluation (UFE) to address the evaluation question. Questionnaires, pen-and-paper tests and interviews were used to gather data. Descriptive statistics were applied to report the data. The most critical finding confirmed that individuals can acquire creative and innovative thinking and problem-solving skills. The acquisition of these skills though is not sufficient on its own to establish a culture supportive of creativity and innovation.
The study culminated in the creation of The Triple I Creativity and Innovation Model. The Triple I Creativity and Innovation Model illustrates how a workshop with distinctive training design features can impact the individual, the business unit and the organisation in order to initiate, ideaneer and ignite creativity and innovation.
20
Moir, Philip. "Training continuing educators for divergent thinking /." Thesis, Connect to this title online; UW restricted, 1986. http://hdl.handle.net/1773/7698.
Full text
21
Still, Frederick George. "Digital Collage-Access to inspiration: The use of multimedia as a catalyst for creative thought." CSUSB ScholarWorks, 2005. https://scholarworks.lib.csusb.edu/etd-project/2891.
Full textAbstract:
This paper takes the position that creativity can be enhanced by multimedia. Computer software was designed and a study was conducted to measure that proposition. The author used participant self-analysis as a means to gather data on creativity enhancement holding to the presupposition that people can tell when they are creative and when their creativity is inhibited. The results of the study supported the belief that multimedia and the software designed for that purpose was able to enhance creativity.
22
Chan, Miu-kuen. "An evaluative study on the learning of creative thinking in visual arts." Click to view the E-thesis via HKUTO, 2005. http://sunzi.lib.hku.hk/hkuto/record/B35312099.
Full text
23
Izenzon, Pearl Meresman. "A method for stimulating awareness in elementary school of the role of artistic intention in art /." Access Digital Full Text version, 1987. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10734661.
Full text
24
Van, der Post Leda. "A computing studio method for teaching design thinking." Thesis, Nelson Mandela Metropolitan University, 2010. http://hdl.handle.net/10948/1128.
Full textAbstract:
Current trends in technology have led to a need for creativity and innovation in the design of contemporary digital products and systems. This has resulted in design thinking and creative design process having a higher profile in digital design practice. In turn, this has impacted computing education, by creating a need for computing students to develop creativity and design thinking skills. Creative design is taught using design studio teaching methods, which require a culture, environment and activities that are different to the teaching methods used in traditional computing education. Some computing academics have implemented courses using aspects of studio teaching methods, but no clear guidelines for a computing academic without creative design experience to fully apply studio teaching methods in courses could be found. The reason for the change in the role of design in the digital domain and how it affected the needs of computing students was investigated and a comparison of typical design studio and computing teaching methods was conducted using a learning systems model adapted for this specific purpose. This led to an identification of areas that required further investigation, or gaps in the knowledge of how to adapt design studio methods for use within a traditional computing education environment. These gaps were used as the basis for identifying a set of research questions for an empirical study. An exploratory case study was conducted at the Nelson Mandela Metropolitan University to answer the research questions. Three computing academics implemented studio teaching methods within three separate modules, following provisional guidelines devised from the preliminary research. Feedback was collected from the lecturers and the students registered for the modules regarding their experiences. It was found that it would be possible for computing academics to implement aspects of a design studio approach within the existing computing environment. An explicit teaching method, termed the computing studio teaching method, was developed from the results of the case study. This teaching method aims to provide computing academics with little or no creative design experience with explicit methods for implementing modified design studio teaching methods in order to promote creativity and design thinking within traditional computing modules. This teaching method will be tested, validated and refined in future research.
25
Katz, Linda. "The effects of a dreamwork technique on creative potential." Master's thesis, University of Cape Town, 1988. http://hdl.handle.net/11427/14398.
Full textAbstract:
Bibliography: leaves 182-200.<br>The aim of this study is to determine whether an awareness of unconscious processes, as elicited by a dreamwork technique, will increase creative potential. In the present investigation, 54 undergraduate students were randomly divided into three groups. Each group was tested for creativity on two measures: (1) The Torrance Tests of Creative Thinking, and (2) The Rorschach Test (movement response). For three weeks all subjects completed a dreamwork assignment, which was systematically varied across the three levels of the independant variable. The experimental group recorded their dreams daily, and answered questions on a dreamwork questionnaire designed to stimulate associations and amplifications to dream imagery (Group A). One control group recorded their dreams and performed a logical task on their content (Group B), while the other control group collected dreams from other people, and performed the same logical task on their content (Group C). It was hypothesized that those subjects who had an opportunity to work with and amplify the unconscious imagery occurring in their dreams would be more likely to increase in their creative potential, than those subjects who did not have this opportunity. Each subject met weekly with the experimenter for supervisory and motivational purposes. At the end of the study all subjects were retested with a parallel version of the Torrance and the Rorschach. Scoring on the Torrance yielded ten different measures, and six measures on the Rorschach. Using a two-way analysis of variance of repeated measures, no significant changes occurred on the Rorschach scores, but on the Torrance Tests, highly significant changes took place in Figural measures of Fluency, Originality, Elaboration and Figural Totals, as well as highly significant increases on all four verbal measures of Fluency, Flexibility, Originality and Verbal Totals. Since no interaction occurred, t-tests were performed, to discover that the increases in creativity on the Torrance occurred not only to experimental subjects in Group A, but also to subjects in Group C. These findings are discussed in relation to previous theoretical and empirical work on the creative process, and it is suggested that the increase in creativity, as measured by a divergent thinking test battery (Torrance Tests of Creative Thinking), was produced, not by the actual content of the tasks involved, but by the establishment of a problem-solving mind set.
26
Kröger, Sören [Verfasser]. "Neural correlates of creative thinking : conceptual expansion processing / Sören Kröger." Gießen : Universitätsbibliothek, 2015. http://d-nb.info/1080475958/34.
Full text
27
Massu, Justine. "Thinking outside the boss : understanding managers' engagement in creative actions." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCB208/document.
Full textAbstract:
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<br>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
28
Lilly, Frank R. "Teaching outside of the box : studying a creative teacher." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38221.
Full textAbstract:
The following is a qualitative portrait of a creative teacher and her teaching process. It has been written as chronological narrative using an evolving systems approach as a methodology for an instrumental case-study design. The creative teacher is a 47-year-old female with over 20 years experience with elementary, secondary, college, and university students. Five interviews were conducted with the teacher before, during, and following the course. Data sets include classroom observations revealed in field notes, documents such as course materials and audiotaped interviews. Two interviews were conducted with six students at the beginning and end of the course. One interview was conducted with the teacher's husband at the end of the course. The research context was an undergraduate university classroom of 146 preservice teachers studying how to plan curriculum and instruction for diverse learners. All interviews were audiotaped and transcribed verbatim. The overarching themes represented constructs involving intense and thorough course preparation, teacher-student connections, and reflective teaching. Overlapping subthemes guiding the process of creative teaching emerged including constraints placed on preparation and reflective teaching, an awareness of self and students within the process of preparation and connection, feedback from colleagues and students guiding the connection and reflective teaching, and the values and goals formed from personal history and philosophy of life shaping all three major themes. The teacher's personality acted as a conduit for expressing her creativity in the classroom. Her creative process was directed by her personality to choose the materials and methods of developing curriculum and instruction, and to guide her in her reflective teaching. This revelatory case example of creative teaching possesses characteristics resembling studies of creative giants, however presents a model of the process of creative teaching that can be ins
29
Cseh, Genevieve. "Flow in visual creativity." Thesis, University of Aberdeen, 2014. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=225306.
Full textAbstract:
Although flow theory (Csikszentmihalyi, 1975; being 'in the zone') arose from early observations of artists, experimental research of creative flow is lacking, particularly in the visual arts. Assumptions are made about the universality of flow in all domains; however creativity is a uniquely complex domain which may have different antecedents, experiences, and consequences related to flow. This thesis focuses on potential mechanisms and effects of feedback/goal ambiguity and the sense of control that are thought essential to flow but which have unclear relationships to creativity. Using an experimental simulation of the visual creative process, the creative mental synthesis task (Finke & Slayton, 1988), four experiments were conducted. The role of perceptual feedback (sketching) to potentially disambiguate limited mental imagery feedback, or to offload cognitive load, was explored. Also inspected were the impacts of expectation-outcome incongruence, perceived task difficulty, and access to conscious choice vs. constraint. Results show sketching significantly increased flow by decreasing perceived task difficulty, though this effect was independent of cognitive load. Factors potentially influencing perceived difficulty were explored in relation to feedback ambiguity variables such as expectation-outcome discrepancies and mental imagery vividness. Choice did not significantly affect flow, but did decrease expectation-outcome discrepancy, suggesting total autonomy and control are not essential for flow development, but choice may affect how creative ideas are selected. These experimental results were compared with fine artist and commercial designer interviews, suggesting flow in visual creativity may require adaptability, tolerance of uncertainty, and interaction with perceptual feedback to resolve ambiguity. Flow was, as theorised, strongly related to affect improvement and self-rated creativity; however no direct links to higher externally-rated or objective creativity measures were found. Although flow does not directly enhance creativity, it and factors related to it (e.g., sketching, affect) may have an indirect motivating influence which could enhance mastery over time.
30
Gascón, Luis Daniel. "Artists and crooks: A correlational examination of creativity and criminal thinking." CSUSB ScholarWorks, 2007. https://scholarworks.lib.csusb.edu/etd-project/3298.
Full textAbstract:
This study explores some of the possible correlations between creativity and criminal thinking evident in the literature in an attempt to link the two forms of cognition. An understanding of the concept of Malevolent Creativity can serve the purpose of elucidating another component of the criminal personality.
31
Katz-Buonincontro, Jennifer Leah. "Developing a model for promoting creativity in leaders based on a comparative case study of three arts-based executive institutes /." view abstract or download file of text, 2005. http://wwwlib.umi.com/cr/uoregon/fullcit?p3201687.
Full textAbstract:
Thesis (Ph. D.)--University of Oregon, 2005.<br>Typescript. Includes vita and abstract. Includes bibliographical references (leaves 256-269). Also available for download via the World Wide Web; free to University of Oregon users.
32
Lau, Kung-wong Robert. "A study of can computers assist creative thinking? an investigation into eLearning in art & design /." Click to view the E-thesis via HKUTO, 2003. http://sunzi.lib.hku.hk/hkuto/record/B40040148.
Full text
33
Al, Qahtani Abdulaziz Ali Yahya. "Can creative circles improve reading comprehension and creative thinking of Saudi third-grade middle school EFL learners?" Thesis, University of Newcastle upon Tyne, 2016. http://hdl.handle.net/10443/3778.
Full textAbstract:
Reading is an abundant source of creativity and one of the main ways for foreign language learners (EFL) to acquire information. Likewise, creativity is an essential life skill which is highly related to EFL development. Yet, studies have shown that EFL learners lack basic reading skills and many face comprehension difficulties. Nor is creativity fully established and appreciated in the context of EFL. This study explored perceptions of supervisors’, teachers' and learners' on reading, collaboration and creativity. It investigated the effects of incorporating Creative Circles (C.C.) approach on Saudi EFL learners' reading comprehension and creative thinking. A mixed method approach was adopted in this quasi-experimental study. Eight EFL supervisors, 45 EFL teachers and 90 EFL learners from three natural classes in one middle-school participated in the study. Prior to the intervention, surveys and interviews were conducted to find out the extent to which reading skills and creativity are promoted in reading classes and to explore participants’ perceptions on collaborative reading and creativity. The three classes were taught by the same teacher with one being an experiment class (C.C. class) and the other two as comparison classes. During the three-month long intervention, learners in the experiment class were introduced to the Creative Circles approach, while the other two classes approached reading lessons as they normally did without any changes or modifications. All the participants were tested for their reading comprehension and creativity prior to and after the completion of the intervention. In addition to quantitative data, learners in the experiment class and the teacher were asked to keep journals to describe their learning/teaching experience about the C.C. approach. The quantitative data was then analysed using t-test, ANOVA and correlation analysis, whereas the qualitative data was analysed thematically. The findings reveal an insufficient understanding and lack in promoting of reading skills, collaboration and creative thinking among Saudi EFL supervisors, teachers and students. Comparisons of pre-and post-tests results show that incorporating C.C. approach in teaching reading could improve students’ reading comprehension and creative thinking domains (with the exception of originality). the C.C. approach also appears to have a positive impact on students’ attitudes towards reading and collaboration. The correlation analysis did not show a significant relationship between reading and creativity. Drawing from the findings of this study, suggestions and pedagogical implications for reading instruction and fostering creativity in the Saudi EFL classroom and the wider EFL context are discussed.
34
Turakhia, Dishita Girish. "Thirteen ways of looking : a theoretical inquiry in computational creative thinking." Thesis, Massachusetts Institute of Technology, 2017. http://hdl.handle.net/1721.1/113918.
Full textAbstract:
Thesis: S.M., Massachusetts Institute of Technology, Department of Architecture, 2017.<br>Thesis: S.M., Massachusetts Institute of Technology, Department of Electrical Engineering and Computer Science, 2017.<br>This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.<br>Cataloged from student-submitted PDF version of thesis.<br>Includes bibliographical references (pages 97-99).<br>The vision of this research is to propose a novel computational framework to study Creative Thinking. If we are to embed machines with creative thinking abilities, then we first need to study the evanescent nature of human creative thinking. Creative thinking is neither entirely random nor strictly logical, making it difficult to t its computation into structured logical models of thinking. Given this conundrum, how can we computationally study the process of thinking creatively? In this research, I first present the current scientific definitions of creative thinking. Through literary survey of cognitive, computational and design thinking frameworks, I identify the missing links between human creativity and AI models of creative thinking. I assert that creative thinking is result of two features of human intelligence, cognitive diversity and social interaction. Cognitive diversity or the ability to parse knowledge in dierent ways is a crucial aspect of creative thinking. Furthermore, social interaction between cognitively diverse individuals results in restructuring of thoughts leading to creativity and epiphanies (the aha moments). I posit that Shape Grammar, with its ability to fluidly restructure computation, can be used to study and demonstrate cognitive diversity and interaction. If we conceive thoughts as shapes and ideas as configurations of those shapes, then cognitive diversity can be described as rule-based computation on shapes to generate those configurations; and interaction as the exchange of rules between cognitive diverse entities (humans or machines). The contributions of this research are threefold. First, I present a literature review of current frameworks, and identify the two gaps between machine and human creativity. Secondly, I demonstrate how shape grammar can ll those gaps of cognitive diversity and interaction. Thirdly, I propose thought-shape framework that adapts principles of shape grammar for computational creative thinking.<br>by Dishita Girish Turakhia.<br>S.M.
35
Videmanis, Johanna Hannelore. "Imagination, reason and learning: Toward a pragmatic account of creative thinking." Thesis, Videmanis, Johanna Hannelore (2001) Imagination, reason and learning: Toward a pragmatic account of creative thinking. PhD thesis, Murdoch University, 2001. https://researchrepository.murdoch.edu.au/id/eprint/50432/.
Full textAbstract:
The principle theme of this thesis concerns the nature of the human cognitive process. Currently, the use of the computer metaphor to describe brain processes is ubiquitous. However, this is not an apt model to use when specifying what is going on in the brain. This is because, firstly, the complex and dynamic nature of neurological processes cannot be captured using the computer model of mind, and secondly, it cannot adequately account for cognitive capacities such as understanding, critical thinking, and creativity.
I have suggested that the application of the computer model in mainstream educative praxis may contribute to the teaching/learning dilemma in our classrooms. One major outcome of this dilemma is graduates who are unable to effectively and equitably participate in our everchanging and complex socioeconomic environment. Consequently, I have attempted to provide an alternative conceptual model of what may be happening when we cognize and learn.
To establish an empirical basis for my model, I have applied the insights from quantum theory to explain the unpredictable and intricate nature of neural responses to stimuli. This culminates in a model which characterizes the mind as being inherently creative. By synthesizing the main tenets of Peirce's theory of abduction with Lockwood's conception of the world-brain-mind interface, my model was able to give an explanation of how we may actualize our representations of the world in a particular cognitive event. This model, in a natural way, not only incorporates brain capacities like understanding, critical thinking and creativity, but also explains our logico-calculative learning. This model changes the way we should view cognitive processes and learning.
It implies that teaching strategies need to be implemented which enhance our students' inherent creativity. Indeed, data from researchers into creativity demonstrate the pragmatic successes that can be achieved when creative learning strategies are employed. If all educators encouraged and stimulated critical thinking and their students' natural curiosity, we may see a more tolerant and flexible world community.
36
Marsella, Nicholas Richard. "Critical and Creative Thinking in General Education: A Descriptive Case Study." W&M ScholarWorks, 2018. https://scholarworks.wm.edu/etd/1550153949.
Full textAbstract:
Abstract as part of a strategic planning effort begun in 2008, the College of William & Mary began the process of reviewing and changing its general education program. Approved by the faculty in 2013, the university is implementing an innovative curriculum called the "College Curriculum," designed in part to help students acquire knowledge and develop the skills and habits of critical and creative thinking. The purpose of this study was to investigate the institution's and faculty's understanding of how the new curriculum addressed student development of critical and creative thinking. This descriptive case study provided a review of the literature on general education, critical and creative thinking; a review of key documentation; and structured interviews with faculty and other members of the community with an understanding of the problem. Lattuca and Stark's (2009) academic plan model provided a theoretical frame to analyze the data, determining that the impetus for initiation of the curriculum review was primarily driven by internal forces within the college. Using established governance procedures, the faculty played the leading role in its development and approval to include establishing the goal of developing critical and creative thinking as key principle in the curriculum. However, based on the research, there is a lack of coherence among the faculty as to what, when, and how these critical skills are developed. The findings indicated a need to develop and share a plan among the faculty and students of what constitutes these competencies and how they are developed through the college curriculum.
37
Kuo, Chih-Wei, and 郭智爲. "Creative Entrepreneurs\'\' Emotions, Creative Thinking, and Performance." Thesis, 2019. http://ndltd.ncl.edu.tw/cgi-bin/gs32/gsweb.cgi/login?o=dnclcdr&s=id=%22107NCHU5230033%22.&searchmode=basic.
Full textAbstract:
碩士<br>國立中興大學<br>科技管理研究所<br>107<br>Research has suggested that creative entrepreneurs’ emotions influence their performance at work. In the present study, we apply this framework to clarify the interplay of variables that explain work performance and creative performance. We analysed the mediating roles of divergent thinking and convergent thinking between emotions and performance. Result from a sample of 318 creative entrepreneurs revealed that emotions were positively associated with creative thinking, and creative thinking were positively related with their performance. The effects of emotions on performance were fully mediated by creative thinking. The relations explored new elements for models that explain which variables influence creative entrepreneurs’ performance. It is important for creative entrepreneurs to realize that their emotions display may have effects on how well their creative thinking perform. Creative entrepreneur can inspired their creative thinking through teamwork with their partners and inspire their creative thinking through beneficial task conflict. Creative entrepreneurs may therefore enhance performance with their creative thinking.
38
Lee, Young Ju. "Effects of divergent thinking training/instructions on Torrance Tests of Creative Thinking and Creative Performance." 2004. http://etd.utk.edu/2004/LeeYoungJu.pdf.
Full textAbstract:
Thesis (Ed. D.)--University of Tennessee, Knoxville, 2004.<br>Title from title page screen (viewed Sep. 23, 2004). Thesis advisor: R. Steve McCallum. Document formatted into pages (ix, 60 p. : ill.). Vita. Includes bibliographical references (p. 36-42).
39
Su, Chu-yun, and 蘇筑筠. "The effect of a creative-thinking instructional project on creative thinking and creative climate for vocational high school students." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/03864904810813446109.
Full textAbstract:
碩士<br>國立臺灣科技大學<br>技術及職業教育研究所<br>96<br>Abstract
The purpose of this study is to develop a creative-thinking instructional project for vocational high school students. It takes the teaching model of ATDE ( Asking、Thinking、Doing、Evaluation) as the central concept for this study.
The study adopted the method of nonequivalent pretest-posttest Quasi-Experimental Design which included 41 high school students of the experimental group attending a nine-week ATDE creative-thinking instructional project and 44 in the control group attending the traditional instructional project. The instruments are “New Creativity Test” and “Torrance Tests of Creative Thinking (TTCT), Figural Form A”. The data were analyzed by ANCOVA. According to the contents of focus interview with the students, the observation of students’ learning behavior, attitude, motivation, interesting records, and the results of the teachers’ interview response, the research analyze the affection of creative-thinking instructional project on the creative climate.
The results derived from this study included:
1. The experimental group students who receive the creative training project made significantly greater gains in fluency, flexibility, originality, elaboration of creative thinking abilities than the control group students.
2. Based on the interview data, it is concluded that creative climate is likely influenced by the factors “The perceptions toward creative-thinking instruction”, “Team’s work operation and affection”, “The perceptions toward the project work”, “The factor of generating creativity” and “The environmental factor”.
According to the mentioned results, the researcher makes suggestions to the teaching of creative-thinking instructional project and research in the future.
Keywords: creative-thinking instruction, creative thinking, creative climate
40
Liu, Fa-Chiang, and 劉法強. "Mathematics Creative Thinking Activities in Internet." Thesis, 1999. http://ndltd.ncl.edu.tw/handle/82096427432035457705.
Full textAbstract:
碩士<br>國立交通大學<br>應用數學系<br>87<br>Creativity is the instinct to develop the economic and science technology of country. There are six elements in human characteristics that are knowledge, intelligence, personality, intellection, motivation, and environment. Everyone knows creativity plays an important role of our life, but we always neglect it. Therefore, we hope we can build a computer environment, which can help teachers to understand the students'' potential of creative thinking and to let students exploit their imaginations.
41
Lin, Si-Hui, and 林思慧. "ATDSE Educational Model in Creative Thinking." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/64333631603016816908.
Full textAbstract:
碩士<br>國立東華大學<br>藝術創意產業學系<br>104<br>ATDSE educational model is based on ATDE model but adding one more step “sharing,”for art and creative thinking courses. This new educational model was applied to a 4th grade art classe in an eastern Taiwan elementary school. According to the ATDSE teaching experiments that I conducted in the past six months, this study is concluded as below:
1.After analyzing the records of students’ art creation and learning process, I the results found that students’ interests and participation significantly increased after using the ATDSE educational model in classes.
2.Following the five major steps in ATDSE, which are asking, thinking, doing, sharing and evaluating, students are able to solve more problems actively
3.By using ATDSE in classes, we can help students with difficulty in creative thinking to think out of box, reorganize existing information and build their thinking process or even develop personal characteristics.
4.ATDSE educational model is students-oriented. Students can apply their personal experiences into these courses, which help them to involve in classes more and faster. Both teachers and students’ knowledge and skills can eventually grow under this teaching process.
42
Chen-Inru and 陳鶯如. "A study on improvements of students’ creative thinking and learning achievement with web-based creative thinking instruction." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/75608115214734435132.
Full textAbstract:
碩士<br>國立高雄師範大學<br>化學系<br>94<br>The purpose of this research was to study the effectiveness of a web-based creative problem solving instruction on promoting students’ creativities. This research adopted quasi-experiment method. Sixty-four fifth grade students from a elementary school in Kaohsiung city participated in this research and they were evenly divided into a experimental group and a control group.
A web page about “Air and Burning” was developed and used as instructional material for the experimental group. Two tests, Creative Problem Solving test and Learning Achievement test”, were administered to both groups for assessing the differences of creativities and learning achievements between these two groups. The main finds of this research are:
1. The experimental group made greater improvements significantly in fluency, elaboration, flexibility, and originality than the control group.
2. The difference in learning achievements between both group did not reach significant level.
3. Most of students in the experimental group had better attitude and greater interest to the class. And they also involved into class more actively.
43
Kilgour, A. Mark. "The creative process : the effects of domain specific knowledge and creative thinking techniques on creativity /." 2006. http://adt.waikato.ac.nz/public/adt-uow20070608.151053/index.html.
Full text
44
程娟娟. "Application of Illustrative Thinking in Creative Design." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/20898973896188041993.
Full textAbstract:
碩士<br>國立臺灣師範大學<br>美術系在職進修碩士學位班<br>91<br>Abstract
British Educators, David Hingis and Carina Toya, once said ‘school could be torturing or inspiring’. (1)
While rewinding the ancient Chinese wisdom, the creativity surpassing the modern technology in the era when ‘creativity’ was still a strange term was suddenly discovered in the 21st century today. In contrast to imitated or integrated visual collage by young computer-worshipping generation and their stagnation in creativity, an inspiration method was expected to stimulate the so-called creativity in those self-contained and spoon-fed generations.
As most of us grew up with ‘standard answers’ and were limited in uniform thinking, and the characteristics of science and engineering may be beneficial while emphasizing on accuracy, we would only result in rigid learning by ways without diversification and creativity.
The supposed blossom creativity at young age was therefore taught into lacking of creativity over boundaries and standards answers learned in elementary, middle, and high school, as well as college. Although books concerning creativity inspiration could be found, a long time desolation of right brain resulted in ineffectiveness through those text descriptions or simple illustrations. The solidified creative cells could no longer be awakened by the so-called Creativity Specialist. The deep-rooted and stagnated systematic education system virtually urged a more illustrative method to revive the creative cells.
In this respect, this research, “Application of Illustrative Thinking in Creative Design”, intends to analyze and evaluate the ‘illustration’ teaching method of divergent thinking, and refines it through supporting with a new method to increase the illustration samples for inspiration applications and breakthrough the bottleneck in text description learning method.
This paper is comprised of five chapters. Chapter 1 deals with research background, motive, objectives, scope, and methodology. Chapter 2 reviews concerning literatures upon divergent thinking illustration samples in Oriental and Western culture, and examines the root problem on both subject and matter. Chapter 3 tries to propose two self-developed methods, Fountain Object Method and Branch Revival Methods to discuss the application samples of two incorporated methods to penetrate the blind spot of those traditional methods. Chapter 4 presents a creativity theme and uses divergent thinking source, Datura structure, to create a journey map of revival from rotation to revolution, in order to present the essence of Fountain Object Method and Branch Revival Method. Chapter 5 concludes the use of this suggested method to stimulate creativity and expresses a goal to expedite the growth of creativity in Taiwan as a crucial policy in the cultural creativity industry.
1：Colin Rose, Malcolm J.Nicholl, Learning Map, P496 (Taipei：Classic Information, 1999)
45
Lai, Wei-Chih, and 賴韋至. "EEG Correlates of Humor and Creative Thinking." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/79x3w6.
Full text
46
Wei, Shao-An, and 魏劭安. "The influence of happiness, creative thinking and work pressure on creative performance." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/57ay72.
Full textAbstract:
碩士<br>國立中興大學<br>科技管理研究所<br>106<br>Purpose - It’s widely accepted that a sense of job enjoyment will make employees feel happy and inspire creative behavior. Generating job enjoyment in the workplace is one method to increase workers’ creativity thought, however studying the relation between work pressure and creative performance is scarce. Moreover, in Chinese culture, most companies put emphasize on working performance, but few focuses on employees’ work pressure. Would work pressure influence working performance or creative behavior? Therefore, this research aims to explore whether more work pressure and more divergent thinking can let employees’ performance becomes higher.
Methodology – In the light of the catalog published by Common Wealth Magazine, this research combine the top 1000 manufacturing corporations, top 500 service and top 100 financial companies'' middle managers in Taiwan that are our research’s main specimen. We particularly concentrated on middle managers and they are the managing directors that in responsible of project management, finance department, human resources department (HR), marketing department, manufacturing department and R&D department. The questionnaire was sent out with sealed letter implying the aim of the investigation and we collected 512 respondents finally.
Findings - According to the job satisfaction literature that employees will feel happy when they are satisfied with their work. This paper develops and tests a theoretical model by exploring job enjoyment, happiness, and creative thinking together to enhance employees’ creative performance. The model was tested using a sample of 512 Taiwanese middle managers since middle managers play an important role on creativity and innovation management. Results show that the managers who have more job enjoyment will feel happier; happiness shows to have a positive effect on divergent thinking; divergent thinking shows to have a positive effect on creative performance. Moreover, happiness finds to have negative effect on work pressure. Finally, the study find that work pressure has a significant positive effect on creative behavior.
47
Lin, Wen-Chuan, and 林文川. "A study of creativity and creative thinking instruction." Thesis, 2002. http://ndltd.ncl.edu.tw/handle/44911863788338449535.
Full textAbstract:
碩士<br>國立中山大學<br>教育研究所<br>90<br>The purpose of the study was to explore the concepts of creativity, and instruction in creative thinking in the era defined by an emerging knowledge economy that emphasizes the importance of innovative human capital in school settings.
This study contained two parts. The first three chapters tackled the concepts of creativity and thinking. Chapter one explained the justification for the research and the methodology used. Chapter two explored various concepts of creativity, including 4ps, problem solving, and system approaches, and it also outlined the development of historical research and approaches, dating from the year that interest in creativity research was revived by Guilford (1950). Chapter three dealt with the concept of creative thinking and its instruction. This chapter also introduced the idea of creative thinking in the context of recent research on connections between the brain’s hemispheres to explain the controversy between creative and critical thinking.
The following part, which consisted of another three chapters dealt with the instruction of creative thinking. Chapter four introduced certain instructional models including CPS, Six Thinking Hats, and CoRT. Chapter five elaborated on related principles and strategies regarding brainstorming, lateral thinking, and playfulness. And finally, chapter six laid out a summary and suggestions.
This study focused on balancing knowing “what” and “how” with attempts to explore concepts of creativity and instructional models as well as strategies of creative thinking. The goal is to equip teachers with theoretical knowledge and practical know-how to set the stage for giving full play to creative thinking in future curriculum and instruction design. It is also hoped that continued study into other aspects of creativity can validate, broaden, refine and enrich the theory of creativity, and its practice, as revealed in the present study.
48
Yeh, Jung-Yuan, and 葉容瑗. "The Development of Infusing Creative Thinking Teaching Scale." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/28719191476768933898.
Full textAbstract:
碩士<br>國立中正大學<br>成人及繼續教育所<br>96<br>In order to encourage creativity of undergraduate, professor should infuse creative thinking instruction into the original curriculum. The purpose of the research is developed a scale for infusing creative thinking teaching. The scale, developed by 5 factors (support and encourage, group interaction and cooperation, problem solving, frustration and assessment) including 20 items in this study, is a measure of college teachers and who’s 5 students. A total of 203 college teachers in the university delivered the course about education were used for filling out the questionaires. Result indicated the reliability are supported, but the construct validities are not supported via MTMM. The usefulness and limitation is discussed.
49
Lu, Lin-yi, and 呂玲誼. "The relationship between life experiences and creative thinking." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/80875225909903465653.
Full textAbstract:
碩士<br>國立中山大學<br>教育研究所<br>94<br>The main purpose of this study was to explore the relationship between life experiences, creative personality and creative thinking of college students in Taiwan. Investigation method was employed in the study. The employed instruments included College Student Life Experiences Questionnaire, Creativity Test (Verbal-bamboo chopsticks, figure-人), and Creative Personality Scale developed by H. G. Gough (1978). The participants were college students in Taiwan. 2443 college students were sampled to finish College Student Life Experiences Questionnaire, and 456 students of them also had to finish Creativity Test and Creative Personality Scale at the same time. The data were analyzed by descriptive statistics, independent sample t-test, one-way MANOVA , and canonical correlation.
The main findings of this study were as following：
1. Life experiences of college students in Taiwan could been classified eight kind of styles which including 「exploring experiences」, 「adventure experiences」 , 「team works」,「culture experiences」,「fashion life」 ,「making money」, 「information getting」and「risk seeking 」. The study present team works was the most students ever tried.
2. There were significant differences of life experiences and creative thinking in different gender, grade, college (Art College, Science College, Social Science College) and school type (University, The Normal University, Technical and Vocational College) students in Taiwan.
3. There were significant canonical correlation among the college students’ background, creative personality and life experiences. The study finding revealed the junior and senior of The Normal University have more different kind experiences, than any others, especially in「adventure experiences」, 「team works」, 「culture experiences」 and 「risk seeking 」. They also had more creative personalities and didn’t think they were interest narrow and commonplace.
4. There were significant canonical correlation among eight life experiences styles and creative thinking. The result present「exploring experiences」, 「team works」, 「culture experiences」, 「fashion life」and 「information getting」had positive effects on the verbal and figure creative thinking, especially on verbal creative thinking.
5. There were significant canonical correlation among the college students’ background, creative personality and creative thinking. The finding revealed the junior or senior, art college and the normal university female students present better in creative thinking than any others. They also had more positive creative personalities for example, confident, resourceful and original.
50
Lin, Wei-Xiang, and 林暐翔. "Previsualization of the animation《AQUA》and creative thinking." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/6w3g75.
Full textAbstract:
碩士<br>國立臺南藝術大學<br>動畫藝術與影像美學研究所<br>106<br>As a media art, animation can not only convey the idea in the form of independent production, but also brainstorm the complex and diverse expressions by the cooperation of many people. Starting from my own learning and writing experiences, this thesis discusses the formation of creative concept and the development of art styles. Try to use the story outline and short animation "AQUA" as a starting point for previsualization and filmmaking construction. At the end of this thesis, discusses about reflection of the creative process of "AQUA", the process of animation production’s issue and my future prospect.