The purpose of this study was to investigate the correlation between creativity and the six ego states of Transactional Analysis. The research sample consisted of 42 adolescents (age 17-18) from a grade 11 high school psychology class. Creativity was measured by the fluency sub-score of the Torrance Tests of Creative Thinking (Torrance, 1966). Ego states were measured by the Personal Response Questionnaire (Kealy, 1975). Six Pearson product-moment correlation coefficients were calculated between the creativity scores and each of the ego state scores. On the basis of the creativity scores, two sub-groups were established. One group was comprised of the 10 highest scoring subjects and one group was comprised of the 10 lowest scoring subjects. A t-test was used to calculate the difference between the means of each of the 6 ego state scores of the two sub-groups. The results of the statistical testing of the correlation coefficients and of the t-value indicated that there were no statistically significant (.05) relationships between creativity and any of the 6 ego states. Descirptive data was presented to illustrate any differences within or among groups. Reasons for the lack of statistically significant results were discussed and recommendations for future research were suggested. / Education, Faculty of / Educational and Counselling Psychology, and Special Education (ECPS), Department of / Graduate

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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.

Thesis (MEd)--Stellenbosch University, 2000. / ENGLISH ABSTRACT: In this masters thesis the nature and theory of entrepreneurship, leadership and creativity are discussed. The primary objectives were to identify the entrepreneur. The secondary objectives were to evaluate that when he corporates his leadership skills and creativity if he can be a winner. Entrepreneurs create and manage change. Action-orientation is the essence of entrepreneurship. In order to achieve the above-mentioned objectives an in-depth literature study was carried out. It was followed by informal interviews with different entrepreneurs, managers and leaders of big and small businesses. Young entrepreneurs were also interviewed. During this study it was found that leadership and creativity are necessary for entrepreneurship, in order to prosper in an increasingly competitive world. Development of entrepreneurship, leadership and creativity becomes an important strategic objective of schools and other organisations. There is a need for training young people and adults efficiently. This situation poses definite challenges. On the part of educators it requires innovative and unique approaches to develop these abilities. Entrepreneurs are leaders. Being a leader is a prerequisite to entrepreneurship. An entrepreneur must be a leader to attract, retain and get the most out of financiers, suppliers, customers, consultants, professionals and contractors. He must be a leader to get the best out of himself. Some entrepreneurs lead in such a way that their leadership is easy to observe and to understand, while others' ways are less visible or comprehensible; but they are all leaders. One thinks that leaders are born with leadership talent. Some small elements of leadership may come with birth (Shefsky, 1994: 168), but those elements tend to determine the quality of the leadership, not the existence of leadership talent. People can be educated how to be leaders. This can also be taught at school. Entrepreneurial leadership develops by keeping perspective so that dreams can become reality, knowing why one must lead, identifying targets and staying focussed. Like other forms of leadership, entrepreneurial leadership entails a blend of what is ethically correct and what is financially successful. The entrepreneurial leader must be prepared for the stimulation and the responsibility of the position. Creativity in entrepreneurship is challenging and stimulating. Intuition is the enabling factor in creativity. Once the entrepreneurial leader creates, he tears apart his good ideas. He will analyse how long his idea will take to develop, what the risk is and what the market is. He will estimate both sides of success, spectacular and worst case scenarios. His mind will be open for creativity to truth. He will be inquisitive, he will question everything and try to figure out how in the world everything can be done better. / AFRIKAANSE OPSOMMING: In hierdie verhandeling word die aard en teorie van entrepreneurskap, leierskap en kreatiwiteit bespreek. Die primêre doelwitte was om te bepaal of die entrepreneur suksesvol kan wees as hy leierskap en kreatiwiteit koppel aan entrepreneurskap. Die entrepreneur skep verandering en hy bestuur verandering. Die wese van die entrepreneur is daarin om daadwerkilk op te tree. Om bogenoemde doelwitte te verwesenlik, is en diepgaande Iieteratuurstudie gedoen, asook onderhoude gevoer met verskeie entrepreneurs, bestuurders en leiers van groot en klein sakeondernemings. Daar is ook onderhoude met skoolgaande en jong entrepreneurs gevoer. Tydens die studie is bevind dat leierskap en kreatiwiteit noodsaaklik is vir entrepreneurskap ten einde voorspoedig te wees en vooruit te gaan in en Wêreld wat toenemend mededingend raak. Ontwikkeling van entrepreneurskap, leierskap en kreatiwiteit raak al hoe meer die strategiese doelwitte van skole en ander organisasies. Daar is en behoefte daaraan om jong mense en volwassenes effektief op te lei. Hierdie situasie skep werklik uitdagings. Aan die kant van die opvoeders vereis dit unieke verandering deur nuwighede in te voer en unieke benaderings te ontwikkel, ten einde hierdie vermoëns te ontwikkel. Entrepreneurs is leiers. Om en leier te wees, is en vereiste vir entrepreneurskap. en Entrepreneur moet en leier wees ten om die finansiers, verskaffers, kliënte, konsultante, beroepslui en kontrakteurs aan te trek, hulle te behou en die meeste uit hulle te haal. Hy moet 'n leier wees om die beste uit homself te kry. Sommige entrepreneurs lei op so 'n manier dat hulle leierskap maklik waarneembaar en verstaanbaar is. Ander se leierskap is weer minder sigbaar of verstaanbaar, maar hulle is almal leiers. Daar word algemeen aanvaar dat leiers gebore word met leierskaptalent. Sommige beginsels van leierskap is reeds by geboorte aanwesig (Shefsky, 1994: 168), maar hierdie beginsels is geneig om die bestaan van leierskap te bepaal, maar nie die bestaan van leierskap talent nie. Mense kan opgelei word on leiers te wees. Leierskap kan ook in die skool aangeleer word. Ondernemende leiers ontwikkel deur perspektief te behou sodat hulle drome werklikheid word, deur te wete te kom hoekom hulle moet lei, deur doelwitte te stel en gefokus te bly. Soos enige vorm van entrepreneurskap tree hulle eties korrek op om finansieel suksesvol te wees. Kreatiwiteit en entrepreneurskap skep 'n uitdaging en is stimulerend. Intuïsie is die bydraende faktor tot kreatiwiteit. Sodra die voornemende leier skep, haal hy sy idee uitmekaar uit. Hy analiseer hoe lank dit sal duur voor sy idee ontwikkel, wat die risiko is en waaroor die mark geleenthede gaan. Hy maak 'n waardebepaling van moontlike suksesse of mislukkings. Hy is ingestelop kreatiwiteit, is ondersoekend en weetgierig. Hy doen alles in sy vemoë om 'n belangrike rol te speel om die wêreld 'n beter plek te maak. Klem is gelê op die eienskappe, vaardighede, rolle en funksies van die voornemende leier en watter rol leierskap en kreatiwiteit in entrepreneurskap speel.

published_or_final_version / abstract / Educational Psychology / Master / Master of Social Sciences

Ball State University landscape architecture students (n = 42) described their preferred types of environments for doing creative work as well as reported the environmental factors that hindered their creative work. Being alone and having quiet, ambient noise were the most common preferences for beneficial environmental characteristics. Bad lighting, uncomfortable temperatures, and loud, incongruous noises were most frequently reported as detrimental environmental characteristics. The presence of natural elements and/or access to views of natural elements were also common responses. The findings of the study largely support the current research on creativity and preferred working environments; however, there were some notable differences in the hierarchy of preferences within this subpopulation that should be further examined. Some discernable environmental preference profiles and patterns appeared in the survey responses. The results of this study are a starting point for further research on creative environment preferences of specific user subpopulations. / Department of Landscape Architecture

It is evident that educators and industrial psychologists alike recognize the effect that situational climate may have upon creative production. The present study will, hopefully, contribute some useful information leading to a better definition of the relationship between anxiety and creative production, which will lead in time to suggestions regarding the essential conditions of an optimum creative climate. The exploration of some of the aspects involved in situational climates is the point of departure for the present study.

MEd, Faculty of Education, University of the Witwatersrand, 1990