Creativity has bee discussed for more than a decades, and there are creativity level and creativity style to explain and perceive creativity. Traditionally, researchers perceived creativity as creativity level, since Kirton (1976) brought out the concept of creativity style, researchers began to pay attention to creativity style. Therefore, in this study, I would like to understand creativity level or creativity style play an important role in affecting creative products. The respondents of this study were the workers in the craft hand made industry in south Taiwan. In the end, I found that creativity style, in deed, does affect creative products.

Narrative Possibility: an introduction to, and a move towards, Integral Creativity is an exploration of creativity and a creative exploration, and it is a search for meaning and making which carries as backpressure an individual, societal, cultural, and global need for change. Change, as I have interpreted it, is a change of consciousness. While the exploration is multidimensional and multidirectional it has as its foundation a process of communication that is essential in and to all aspects of our present and past, showing and telling. Implicitly and explicitly we define ourselves and all that we encounter by stories. I am using the term ‘story’ to mean showing and telling in all its forms but my approach, although it is predominantly aligned to Western interpretation, is a perspectival inquiry into and through word and image. It comprises and integrates stories by a layered methodology that includes diverse perspectives from theorists and artists. Among these: David Bohm, Andrew Wyeth, and Leonard Shlain are important, but, in the aspects of their work which focus on Integral Consciousness, Jean Gebser, Ken Wilber, and Terry Sands are most prominent. My exploration also incorporates stories of my lived experience as student, mother, visual artist, teacher and researcher, as well as fictional stories and poems. In both methodological structure and the writing and content of this work (in documenting its progress and in recording the unfolding visual work of several of my students,) I bring to this thesis my philosophical approach: Narrative Possibility -stories that do not have preconceived outcomes. Narrative Possibilities originate and manifest in and through (and require, therefore, a methodology that encompasses) Creative Events, States, Processes, and Products. It is a disciplined method that unfolds a story to a point in which all aspects appear to cohere, and yet this aspect of the story is untold: there are no definitive words or marks which obviously or even abstractly point to completion. Creativity, according to David Bohm, is a natural potential largely blocked by the way civilization has developed. I accept this premise and suggest that Narrative Possibility is a creative approach to integration and that it is a personal, social, and spiritual move towards our possible evolution. / Doctor of Philosophy (PhD)

Creative behaviors are part of an average consumer's everyday life. For example, amateur people buy various art and craft supplies from stores like Michael's, purchase studio time to make pottery, and collect camera accessories to help demonstrate their originality in photography. Usually the final creative product can be preserved for a long period of time. These creative activities are avidly pursued primarily because they provide consumers with enjoyment and a sense of fulfillment. I am coining the term "creation-oriented consumption" to refer to this phenomenon, which is one specific type of creative consumption.Terror management theory is used to examine why people engage in creation-oriented consumption. I hypothesize that mortality salience boosts the intention to engage in creation-oriented consumption; and under mortality salience, weakened afterlife belief increases the intention for this type of consumption.Three experimental studies are conducted, each adopting a somewhat different perspective. Study 1 gauges intention to engage in creation-oriented consumption against inaction. It finds that mortality salience increases interest in creation-oriented consumption; and that under mortality salience, weakened afterlife belief increases interest in creation-oriented consumption. Study 2 examines durable creation-oriented consumption's appeal relative to other activities, namely, non-creative activities and creative consumption that does not leave durable traces. The proposed effect of mortality salience is observed only when individuals possess a low level of chronic afterlife belief. Unexpectedly, interest in creative consumption is reduced under mortality salience. Consistent with study 1, study 2 finds that under mortality salience, weakened afterlife belief raises interest in creation-oriented consumption. Study 3 replicates the finding of study 2 that mortality salience dampens general interest in creativity. Taken together, these studies suggest that although creation-oriented consumption ameliorates existential anxiety, it is not the most effective one in the short term.Apart from the major hypotheses, this dissertation also investigates some boundary conditions. Two of the three studies find that the question of whether creative consumption leaves a durable trace is of significance.

Yes / In recent years there has been a growing interest in person-centred, ‘living well’ approaches to dementia, often taking the form of important efforts to engage people with dementia in a range of creative, arts-based interventions such as dance, drama, music, art and poetry. Such practices have been advanced as socially inclusive activities that help to affirm personhood and redress the biomedical focus on loss and deficit. However, in emphasizing more traditional forms of creativity associated with the arts, more mundane forms of creativity that emerge in everyday life have been overlooked, specifically as regards how such creativity is used by people living dementia and by their carers and family members as a way of negotiating changes in their everyday lives. In this paper, we propose a critical approach to understanding such forms of creativity in this context, comprised of six dimensions: everyday creativity; power relations; ways to operationalise creativity; sensory and affective experience; difference; and reciprocity. We point towards the potential of these dimensions to contribute to a reframing of debates around creativity and dementia.

No description available.

No description available.

No description available.

No description available.

No description available.

The aim of this study is to investigate English language teachers’ understanding of creativity in the context of primary education in Kuwait. The meaning of creativity, and the factors that support or suppress it, are investigated from the point of view of female English language teachers in the primary stage in Kuwait. Most research in the fields of both TESOL and creativity in education has been undertaken in the West, some in the East, but very little in the Middle East (Craft, 2001a) in a context similar to that of Kuwait. In the context of Kuwait, creativity is called for in policy, but there is a lack of research and clarification as to what creativity means to English language teachers in their own context. The main approach to data collection and analysis was grounded theory. In the first stage of data collection, fifteen in-depth interviews and ten non-participant observations were carried out, to provide both breadth of research and depth of understanding. In the second stage, to enlarge the data, a survey (of seventy-five participants) was designed based on the findings of the first stage of data collection and analysis, as well as on the findings of previous literature. The participants were female TESOL teachers and senior teachers in primary schools in Kuwait. Findings from interviews, observations and questionnaires were consistent in many ways regarding the meaning of creativity in TESOL in the context of the study. All three methods of data collection revealed that creativity was perceived as a multi-faceted concept. The creative English language teacher was viewed as confident and self-directed. Using new and successful teaching material and methods, establishing good relationships with learners and being able to meet their needs in English language were associated with creative English language teaching. However, some findings emerged from certain data collection methods but not others. For example, the salience of clarity and freedom (autonomy) emerged from the interviews but not from the observations or questionnaire. All three methods showed similar supporting and suppressing factors for creativity. Supporting factors were both internal and external, notably the availability of teaching material (resources) and self-motivation. Suppressing factors were the lack of teaching aids and a negative school environment. The current study contributes to knowledge by expanding the understanding of two areas of research which are TESOL and creativity within the context of Kuwait, focusing on the voice of the primary stage teacher. The current study agrees with previous studies that creativity is associated with newness and value (Cheng and Yeh, 2006; Forrester & Hui, 2007) and the current study explained that newness and value are relative. The current research suggests that TESOL teachers can be creative in one or many aspects (Rietzschel et al., 2009). The current study agrees with previous studies that creativity is context related because there are creativity elements which are unique to the cultural context (Craft, 2001a; Grigorenko & Tan, 2008), but at the same time the current study proposes that creativity can be universal in some ways because of some common findings of studies from different contexts. Other contributions to knowledge points are clarity and freedom and their relation to creativity in TESOL. Clarity is not mentioned much in the literature, but can be linked to knowledge (Sternberg & Lubart, 1991). Freedom can also be related to autonomy and creativity (Sternberg, 2006b). The current research views that the process, product, person and place of creativity in TESOL are interrelated (Wallace, 1926; Fryer, 1996; Runco, 1997; Craft, 2001; Rhodes, 1961). Unlike previous studies, the current research into creativity in TESOL was not associated with artistic language, literature (Mok et al., 2006), or errors and violating language rules (Tin et al., 2010; Brown, 2001). The current findings are also different from the literature in that creativity was not linked to imagination (Beetlestone, 1998; Craft, 2000; Craft, Jeffrey & Leibling, 2001; Fryers, 1996; Egan et al., 1988; Craft, 2002, 2003a) or aesthetics (Craft, 2001a). On the other hand, creativity in TESOL is linked to personal traits including confidence, which agrees with the literature (NACCCE, 1999; Craft, Jeffrey, & Leibling 2001; Burnard et al., 2006; Craft, 2002; Craft, 2001b; Claxton et al., 2006; Fryer, 1996). The current study suggests more detailed the written preparation notes of the participants the less confident participants seemed to be. This can be related to the negative effect of evaluation on creativity (Sternberg, 2006b). The literature associated intrinsic motivational factors with creativity (Jones & Wyse, 2004, Sternberg, 2006b), but the current study shows that extrinsic as well as intrinsic motivational factors support creativity in TESOL. The current study suggests belonging to field and workplace is a supporting factor for creativity. This can be related to collaboration which is suggested in previous studies (Craft et al., 2008; John-Steiner, 2000; Miell & Littleton). The literature suggests that creativity flourishes in collaboration; however some of the current research participants prefer to work individually, while others prefer to work collaboratively to be more creative. Teaching material is an important tangible side to the creativity of TESOL (Cheng & Yeh, 2006), and relationships are also linked to improving TESOL creativity according the current research. Implications for teachers’ reflection, teachers’ education and training courses as well as better communication with the teacher for teaching material design and a better school working environments are some of the recommendations of the current research. Future research can benefit from the findings and the recommendations of the current research.