Thesis (M.S.)--Wisconsin. / Includes bibliographical references (leaves 155-163).

Thesis (MA)--University of Stellenbosch, 2006. / Bibliography. Also available via the Internet.

Thesis (M.A.--Theology)--Catholic University of America, 1986. / Bibliography: leaves 225-230.

Thesis (doctoral)--La Salle University, 2001. / ProQuest dissertations and theses ; AAT 3064086. Includes bibliographical references (leaves 97-106).

No description available.

Thesis (Honors)--College of William and Mary, 2009. / Includes bibliographical references (leaves 42-48). Also available via the World Wide Web.

The subject of creativity is of interest not only to the research worker and educationist but also, with its related mental health aspect, to the clinical psychologist. As the writer's interest is in clinical psychology the opportunity, which occurred in 1968, to undertake research on creativity, was welcomed. This opportunity arose out of a larger piece of research into the relationships between personality variables and mathematical ability in school children. This involved the administration of personality tests and tests of arithmetic and mathematical ability to all the English speaking school children in Grahamstown from Standard 2 to Standard 10. The writer assisted in this testing program and did the greater part of the marking, scoring and entering on computer sheets. Thus personality test scores for over 2,000 children from the age of 8 or 9 to 17 or 18, both boys and girls were available. It was found possible to extend the computer program to calculate a score for creativity based on a combination of Cattell's personality factors and it was decided to compare these creativity scores with actual school performance, as measured by internal school examinations, which with the cooperation and agreement of the Cape Education Department and local schools, the writer was able to obtain. Intro., p.1.

The purpose of this study is to investigate creativity, innovation and certain determining factors, which have an influence on creativity and innovation in the micro business environment and specifically in an information technology firm. The information and communications technology (ICT) sector is very dynamic and very fast paced both in the world and in South Africa. Businesses in this sector have to adapt, almost constantly, to incessantly changing technology, customer demands and macro-environmental variables. A vast amount of research exists to suggest that businesses have to adapt to and embrace change in order to survive in this environment. Creativity and innovation are central to change in the organisation. For the purposes of this study creativity is defined as an intellectual process evident in four discernible components, namely the creative person, the creative product, the creative process and the creative environment. Evidence for creativity and innovation includes novelty and usefulness of ideas and new or improved solutions to existing problems within a given context. Novelty and usefulness are therefore characteristic and typical evidence for the presence of creativity. All four components are important for the development and facilitation of creativity and innovation. The four components have a determining influence on creativity resulting in a feedback system. The study specifically focuses on creative environment and in this case - the organisational climate. Organisational climate is the observed recurring behavioural patterns and attitudes in the organisation. This climate influences creativity and innovation by supporting or inhibiting it. An organisation’s climate can also influence other psychological processes such as job satisfaction, decision-making, communication, team effort and motivation of workers across the organisation. The goal of this study was to identify and measure organisational climate factors known to have a significant, determining influence on the work environment, conducive to creativity and innovation. The organisational climate of a firm in the South African ICT sector was measured and analysed. The “Situational Outlook Questionnaire” (SOQ) was used to measure the organisational climate observable in the organisation. The SOQ is employed to assist organisations in assessing the organisational climate for its conduciveness to creativity and innovation, as well as the climate’s ability to foster and promote productivity and change within the organisation. The SOQ was developed over a period of fifty years and is proven to be a reliable and valid measuring instrument. The SOQ assesses nine dimensions that have a direct impact on a creative organisational climate. The nine dimensions are: Challenge/involvement, trust, risk-taking, playfulness/humour, freedom, conflict, debate, idea support, and idea-time. The results indicated the organisation that has been assessed has a strong climate supportive of and conducive to creativity and innovation. The organisation’s SOQ results across all dimensions, except the freedom and debate dimensions, compared very well with other innovative organisations. This could indicate that there is too much debate around decisions, resulting in too much talking before important issues are decided upon. The freedom score was also somewhat low because employees are probably not allowed to make independent decisions related to their jobs. Employees are under obligation to report to superiors before deciding important issues. This organisation’s management strives towards promoting and fostering a climate that is supportive of and conducive to creativity and innovation. This is evident in the results provided by the SOQ as well as the innovative products and services delivered to customers. / Prof. W.M. Conradie

The thesis argues that there is a statistically significant positive relationship between a leadership style and creativity. There is a higher statistically significant positive relation between Transformational Leadership style and creativity than between creativity and the other leadership styles. Creativity (fluency and originality of thought), can be accounted for by the Multifactor Leadership Questionnaire. To demonstrate this, the research in this study firstly uses the Multifactor Leadership Questionnaire to identify leadership style, and secondly three measuring instruments that measure creativity. The argument is substantiated by the results of a statistical analysis of leadership style and creativity. A discussion of the areas that were researched, leadership style and associational/ideational fluency of thought and originality, as elements of creativity, provide the context in which the research should be viewed. A detailed discussion of the method, which was employed and the measuring instruments used to establish whether there is a statistical correlation between leadership style and creativity, precedes the experimental results. A critical discussion of the results obtained from the statistical analysis and the literature on leadership style and creativity provides a foundation for recommendations for organisations on how to use the results of this study. The dissertation recommends that, in order to improve on research of leadership and creativity, the Multifactor Leadership Questionnaire (MLQ) could be considered as a starting point. It would also be worthwhile pursuing means of improving the Multifactor Leadership Questionnaire as creativity could be accounted for by the MLQ. This measuring instrument could be recommended as a test during the selection process. It is recommended that the manager of the person also completes the instrument and rates the person from his/her perspective when similar research is done in future. Although scoring seems to be a difficulty characteristic of any measurement that involves divergent thinking, it would be of value to pursue means of further improving the Remote Associates Test (RAT) for future research purposes in the South African context. Objectivity in the scoring of divergent thinking tests seem to be difficult to achieve. In order to score fluency and originality of thought objectively, use can be made of experts, who have the knowledge and skills required, to provide such evaluations. The findings in this research are valuable because of a lack of previous research on the relationship between creativity and leadership style. / Dr. J. Zaaiman

Innovation allows for competitive advantage. Competitive advantage and innovation lead to economic growth. For innovation to occur, creativity is necessary. All individuals are creative, but continuous practice is necessary to be creative. The process from creativity to innovation and competitive advantage and economic growth involves three stages. The first stage involves educating primary and secondary school children to be creative across different domains. Current school systems focus on mathematical and linguistic skills. Examples of domains are linguistic, performance, mechanicalscientific and artistic. These creative domains can be taught through encouraging children to use their imagination and different methods. In primary and secondary education little-c creativity and mini-c creativity are developed. Little-c creativity involves developing problem solving skills. Mini-c creativity involves the ability to recognise personal creative events, not necessarily recognised by others. Tertiary education involves students gaining knowledge in a specific domain. While studying to gain knowledge and conduct research on a specific domain, practicing creativity is still important. Upon completion of tertiary education the second stage in creating economic growth through creativity and innovation commences. This second stage involves organisations hiring creative employees that have knowledge within a domain similar to the organisation‟s industry. Creative employees develop creative ideas. The creative ideas allow for innovative products to be developed. Innovative products satisfy customer needs and lead to competitive advantage. Managers should encourage employees to be innovative. Employees that are motivated and encouraged to take risks develop a talent within the domain that they are employed in. The ability to be creative and innovative leads to pro-creativity and big-c creativity. Pro-c creativity refers to a talent being developed over approximately ten years. Big-c creativity involves creating products that benefits society positively. Upon creating products that benefit society, competitive advantage is created that allows for the third stage of creating economic growth to commence. This third stage involves economic growth that stems from innovation and creative individuals. Countries currently focus on stage two where they aim to encourage innovation amongst organisations. There is a realisation that to be innovative,creativity is necessarily and that creativity must be taught by means of education. This research study will use a questionnaire by Kaufman (2009, 2012, 2013) to determine how creative students perceive they are and whether they are capable of recognising different levels of creativity. A similar study was conducted in Germany and Mexico. Professor Alexander Brem was asked for the questionnaire. The questionnaire was translated from German to English. The objective is to determine whether students perceive themselves to be creative, thus being innovative within their organisations and indirectly allowing for competitive advantage and economic growth. Kaufmans‟ questionnaire was distributed to Nelson Mandela Metropolitan University Masters in Business Administration students. Ethics clearance was granted and answering the questionnaire was optional.To draw conclusions an Exploratory Factor Analysis was done on creative domains and the levels of creativity students are able to recognise. The first Exploratory Factor Analysis revealed performance creativity as the first factor, mechanicalscientific creativity as the second factor, scholarly creativity as the third factor and artistic creativity as the fourth factor. The second Exploratory Factor Analysis grouped pro-c creativity, big-c creativity and little-c creativity as the first factor, not being able to recognise creativity as the second factor and mini-c creativity as the third factor. The individual results from each factor were discussed. Each factor was further analysed by comparing gender, age, year‟s work experience and type of students to the type and level of creativity. The results show three trends. Firstly, results indicated that respondents perceived themselves to be predominantly scholarly and mathematical-scientific creative. This result is synonymous with secondary research that states that educational institutions focus on enhancing linguistic and mathematical skills amongst students and that developing skills in other domains are seen as less important. Secondly, the ability of students to recognise different levels of creativity decreases from big-creativity to pro-c creativity; pro-c creativity to little-c creativity and little-c creativity to mini-c creativity. Students are therefore better able to recognise large inventions than smaller inventions. Thirdly, results indicated that creativity levels do not differ when gender, age, year‟s work experience and type of students are compared. In this research study the above statements will be discussed in detail.