Thesis (M.S.)--West Virginia University, 1999. / Title from document title page. Document formatted into pages; contains viii, 72 p. Includes abstract. Includes bibliographical references (p. 46-52).

Thesis (M.S.)--Wisconsin. / Digitized and made available by the University of Wisconsin Digital Collections Center as part of Minds@UW. Description based on print version record. WU Includes bibliographical references (leaves 76-77).

Thesis (Ph.D.)--City University of Hong Kong, 2009. / "Submitted to Department of Management in partial fulfillment of the requirements for the degree of Doctor of Philosophy." Includes bibliographical references (leaves 158-173)

Thesis (M.S.)--University of Wisconsin--Madison. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 30-33).

Thesis (Ph. D.)--Ohio State University, 2005. / Title from first page of PDF file. Document formatted into pages; contains xi, 166 p.; also includes graphics. Includes bibliographical references (p. 154-160). Available online via OhioLINK's ETD Center

Thesis (Ph. D.)--University of Texas at Austin, 2007. / Vita. Includes bibliographical references.

Thesis (Ph. D.)--Ball State University, 2009. / Title from PDF t.p. (viewed on Nov. 11, 2009). Includes bibliographical references (p. 134-157).

This thesis reflects upon the nature of creativity and participation in the UK public cultural institution. It asks: to what extent is creative agency enabled or disabled within this context? In order to answer this question a qualitative study of Southbank Centre, one of the UK's leading public cultural institutions, has been constructed. The thesis considers the institution in its totality, analysing and interpreting both internal, subjective dimensions and external, public-focused dimensions. An interdisciplinary approach characterises a theoretical and methodological framework that draws upon concepts and methods from sociology, visual culture, museum studies and institutional ethnography. The case study is contextualised through analysis of three key historical examples that provide the preconditions for current perspectives on the relationship between art and work in the public cultural institution: the 1951 Festival of Britain, Artist Placement Group (APG) and the Arts and Crafts Movement. The Southbank case study involves employee interviews, fieldwork observations and the interpretation of cultural objects. These provide the empirical evidence that enables reflection on how creative work and the public are constituted, and how the institution might be seen to exist as a site of struggle. These methods facilitate an assessment of the critical potential of creative work within and around the public cultural institution's self-defined boundaries and the specific historical, discursive and symbolic conditions through which it is enabled or disabled. Although the influence of neoliberal cultural policy cannot be underestimated in this context, the thesis concludes with an alternative suggestion for what the public cultural institution could be. It claims that the discursive tension between artistic and managerial agendas can act as a productive terrain for creative work in its broadest sense.

No description available.

Enthusiasm for developing creativity in the individual has been remarkably widespread - at least in America - over the past twenty-five years or so. The armed services, the arts and sciences, educational institutions, businesses and industries are recognising to a greater and greater extent, the urgent necessity of developing this relatively neglected aspect of people is personalities. Their reasons differ, of course, and usually the welfare of the individual himself is not the main concern. This is perhaps fortunate, as advances made on philanthropic grounds alone have never progressed very rapidly. In business and industry, new ideas are urgently needed for survival - this was especially evident after World War II which was, in the end, really a battle of ideas. The importance of this implication has not decreased with distance in time from that conflagration, indeed, individuals in the armed services are probably the people most deeply involved in and the most concerned with the problem of developing creative thought. "We are in a mortal struggle for the survival of our way of life", writes Guilford. "The need (for developing creativity) is a national crisis" says Anderson*. Intro., p. 1.