This work consists of three parts. The meaning of the special drawing to establish the future hairdressers creativity is being analyzed in this work. In the introduction of this work the urgency and newness of the theme is being discussed, the pedagogical and cultural meaning is grounded. The understanding of creativity and its psychological and pedagogical aspects are being analyzed, also the works of the authors who analyzed this question are being discussed. Also the creativity, hairdressers occupation its specificity is being discussed here. This question raises the necessity of the discussion of the methods which bring up the creativity. They are analyzed in the work by the aspect of pedagogy and psychology also by the aspect of creative result. Later the very special drawing and its historical development in different development stages of European art is being analyzed in the work, the compositional schemes of men and women historical coiffures and separate elements of the coiffures and their principals of co-ordination are discussed here. It let to analyze the peculiarities in the practice of teaching the special drawing, by marking out its features and differences from the simple drawing. These peculiarities are defined by the point of view of the reaching aims. Also the practical tasks, which are illustrated with the students works of art in the work, to the future hairdressers are presented. The tasks done by the students picturesquely illustrate the... [to full text]

This PhD study examines some of what happens in an individual’s mind regarding creativity during problem solving within an organisational context. It presents innovations related to creative motivation, cognitive style and framing effects that can be applied by managers to enhance individual employee creativity within the organisation and thereby assist organisations to become more innovative. The project delivers an understanding of how to leverage natural changes in creative motivation levels during problem solving. This pattern of response is called Creative Resolve Response (CRR). The project also presents evidence of how framing effects can be used to influence decisions involving creative options in order to enhance the potential for managers get employees to select creative options more often for implementation. The study’s objectives are to understand: • How creative motivation changes during problem solving • How cognitive style moderates these creative motivation changes • How framing effects apply to decisions involving creative options to solve problems • How cognitive style moderate these framing effects The thesis presents the findings from three controlled experiments based around self reports during contrived problem solving and decision making situations. The first experiment suggests that creative motivation varies in a predictable and systematic way during problem solving as a function of the problem solver’s perception of progress. The second experiment suggests that there are specific framing effects related to decisions involving creativity. It seems that simply describing an alternative as innovative may activate perceptual biases that overcome risk based framing effects. The third experiment suggests that cognitive style moderates decisions involving creativity in complex ways. It seems that in some contexts, decision makers will prefer a creative option, regardless of their cognitive style, if this option is both outside the bounds of what is officially allowed and yet ultimately safe. The thesis delivers innovation on three levels: theoretical, methodological and empirical. The highlights of these findings are outlined below: 1. Theoretical innovation with the conceptualisation of Creative Resolve Response based on an extension of Amabile’s research regarding creative motivation. 2. Theoretical innovation linking creative motivation and Kirton’s research on cognitive style. 3. Theoretical innovation linking both risk based and attribute framing effects to cognitive style. 4. Methodological innovation for defining and testing preferences for creative solution implementation in the form of operationalised creativity decision alternatives. 5. Methodological innovation to identify extreme decision options by applying Shafir’s findings regarding attribute framing effects in reverse to create a test. 6. Empirical innovation with statistically significant research findings which indicate creative motivation varies in a systematic way. 7. Empirical innovation with statistically significant research findings which identify innovation descriptor framing effects 8. Empirical innovation with statistically significant research findings which expand understanding of Kirton’s cognitive style descriptors including the importance of safe rule breaking. 9. Empirical innovation with statistically significant research findings which validate how framing effects do apply to decisions involving operationalised creativity. Drawing on previous research related to creative motivation, cognitive style, framing effects and supervisor interactions with employees, this study delivers insights which can assist managers to increase the production and implementation of creativity in organisations. Hopefully this will result in organisations which are more innovative. Such organisations have the potential to provide ongoing economic and social benefits.

In an era of information explosion, cut-throat global competition and fast-paced innovation, small software companies have no alternative but to be more creative. This thesis aims to investigate the impact of using gamification as a creativity fostering mechanism on the proliferation of creative ideas in Banan Information Technologies, a small software development company in Sudan. Through quantitative and qualitative analysis, the thesis studies gamification’s influence on the number and quality of ideas proposed within the gamification experience. To better quantify quality, certain software quality assessment metrics, inspired by the industry’s best practices, were utilized and adhered to by a cohort of software experts. The case study presented in this thesis aimed to understand not only the direct impact of the utilization of gamification as a creativity catalyst, but also – through deep, hours-long interviews – strived to grasp the wider cultural and psychological ramifications of employing such mechanism. Gamification was found to have a strong impact on the number of ideas proposed over the tenure of the study, with the total number of ideas jumping almost fourfold in comparison to the number of ideas reported in an equally-long period prior to the introduction of gamification. The quality of proposed ideas deteriorated, however, averaging only half of the records reported over the said prior period. Through qualitative analysis, the researcher tried to investigate the reasons behind these figures. Interviews revealed myriad factors that may have affected the quantity and quality of ideas, ranging from peer pressure and internal campaigning within the company to fearing that one’s high-quality idea will be lost in the midst of mediocre ideas

Creativity is increasingly becoming both an important issue in our rapidly changing society, and a popular subject of research. Research findings are beginning to conceptualize creativity as a much more complex process and studies are now focusing on the effects of social interaction and collaborative efforts on creativity as well as the potential impact of technology on collaboration and the creative process itself. This study looks at the influence of both collaboration and technology on the creative process to develop a clearer picture of the way in which they intersect. Due to the complexity of this study, two theoretical frameworks (Communities of Practice and Genex Framework) have been employed to inform the development of the study and to assist in contextualizing the results. To this end, this mixed-methods study collected data both from fashion design students enrolled in the third year of a Bachelor of Fashion Design program, and from their faculty. Data gathering methods included personal semi-structured interviews with both students (n = 13) and faculty (n = 9) and an online questionnaire with a larger group of students (n = 65). The research questions that framed this study focus on developing an initial understanding of the creative process as experienced by these students and then exploring in depth the ways that collaboration and working in community affect the creative process, as well as the impact of technology in supporting both creativity and collaboration. Results suggest that technology was indeed a valuable support in the creative process through its ability to facilitate particular kinds of collaborative practices, including brainstorming, developing and sharing ideas, and giving and receiving feedback. Such practices directly affected the creative process by enhancing the development of more professional sketches as well as facilitating the collaborative efforts of the members of the design community. Finally, the implications of these results for curriculum design and the appropriate choice of pedagogical approaches are discussed. The results presented will help to support curriculum designers and instructors who seek to encourage creative endeavour to focus on effective technological tools as well as strategies that promote collaboration and a sense of community in order to achieve these ends.

Creativity is increasingly becoming both an important issue in our rapidly changing society, and a popular subject of research. Research findings are beginning to conceptualize creativity as a much more complex process and studies are now focusing on the effects of social interaction and collaborative efforts on creativity as well as the potential impact of technology on collaboration and the creative process itself. This study looks at the influence of both collaboration and technology on the creative process to develop a clearer picture of the way in which they intersect. Due to the complexity of this study, two theoretical frameworks (Communities of Practice and Genex Framework) have been employed to inform the development of the study and to assist in contextualizing the results. To this end, this mixed-methods study collected data both from fashion design students enrolled in the third year of a Bachelor of Fashion Design program, and from their faculty. Data gathering methods included personal semi-structured interviews with both students (n = 13) and faculty (n = 9) and an online questionnaire with a larger group of students (n = 65). The research questions that framed this study focus on developing an initial understanding of the creative process as experienced by these students and then exploring in depth the ways that collaboration and working in community affect the creative process, as well as the impact of technology in supporting both creativity and collaboration. Results suggest that technology was indeed a valuable support in the creative process through its ability to facilitate particular kinds of collaborative practices, including brainstorming, developing and sharing ideas, and giving and receiving feedback. Such practices directly affected the creative process by enhancing the development of more professional sketches as well as facilitating the collaborative efforts of the members of the design community. Finally, the implications of these results for curriculum design and the appropriate choice of pedagogical approaches are discussed. The results presented will help to support curriculum designers and instructors who seek to encourage creative endeavour to focus on effective technological tools as well as strategies that promote collaboration and a sense of community in order to achieve these ends.

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Cette recherche a pour objectif de mieux comprendre le phénomène de créativité en situation entrepreneuriale. Elle propose une nouvelle théorie pour expliciter le phénomène de créativité entrepreneuriale. Une recherche exploratoire a été menée auprès d'entrepreneurs de PME non microentreprises situées en France métropolitaine et ultramarine. Ce travail s'inscrit dans une démarche interprétativiste de type théorie enracinée (Glaser et Strauss, 1967). Sur la base d'entretiens et d'observations non participantes, nous avons analysé des situations entrepreneuriales auxquelles se trouvaient confrontés des entrepreneurs de PME. L'approche issue de la sociologie de la traduction (Callon et Latour, 1981) nous a permis de mener une interprétation raisonnée de ces situations entrepreneuriales. Les résultats permettent d'identifier les constituants de la créativité entrepreneuriale et de comprendre comment celle-ci s'opère au sein des PME non microentreprises. Cette recherche nous a permis de définir la créativité entrepreneuriale comme un phénomène de construction de connaissances, distinct de l'innovation, dont l'objet est situé dans un espace de créativité spécifique, plus ou moins ouvert, au sein duquel des acteurs humains, non humains et hybrides sont en relation. Notre théorie permet d'identifier la nature et la fonction de l'objet de créativité, ainsi que les modalités qui caractérisent les acteurs en relation et l'espace de créativité. Le niveau d'ouverture de ce dernier prédétermine la réflexion et l'action de l'entrepreneur et cela constitue une des applications managériales proposées dans cette recherche. / This research aims to better understand the phenomen of creativity in an entrepreneurial situation. It proposes a new theory to explain the phenomenon of entrepreneurial creativity. Exploratory research has been conducted with entrepreneurial from non-microenterprise SMEs located in metropolitan and overseas France. This work is part of an interpretative approach of the Grounded Theory (Glaser and Strauss, 1967). Based on interviews and non-participant observations, we analyzed entrepreneurial situations faced by SME entrepreneurs. The approach stemming from the Sociology of Translation (Callon and Latour, 1981) allows us to conduct reasoned interpretation of these entrepreneurial situations. The result make possible to identify the constituents of entrepreneurial creativity as a knoledge-building phenomenon distinct from innovation. The objet of which is located in a, more or less open, specific creativity space in which human actors, non-human actors and hybrids are related. Our theory makes it possible to identify the nature and the function of the object of creativity, as well as the modalities which characterize the actors in relations and the creativity space. The level of openness of the latter predetermines the reflection and action of the entrepreneur and this it one of the managerial applications proposed in this research.

Tyrimo objektas – kūrybiškumo ugdymas per kūno kultūros pamokas. Hipotezės: 1. Moksleivių ir mokytojų poţiūris į kūrybiškumo ugdymą kūno kultūros pamokose skiriasi. 2. Mergaičių ir berniukų poţiūriai į kūrybiškumo ugdymą kūno kultūros pamokose skiriasi. Tyrimo tikslas – išsiaiškinti kūno kultūros mokytojų ir moksleivių poţiūrį į kūrybiškumo ugdymą per kūno kultūros pamokas. Tyrimo uţdaviniai: 1. Išanalizuoti mokslinę literatūrą ir aptarti kūrybiškumo sampratą, veiksnius lemiančius ir slopinančius kūrybiškumą bei kūrybiškumo ugdymą kūno kultūros pamokose. 2. Nustatyti moksleivių poţiūrį į kūrybiškumo ugdymą per kūno kultūros pamokas. 3. Palyginti mergaičių ir berniukų poţiūrį į kūrybiškumo ugdymą. 4. Palyginti IX – X klasių ir XI – XII klasių moksleivių poţiūrį į kūrybiškumo ugdymą per kūno kultūros pamokas. 5. Nustatyti kūno kultūros mokytojų poţiūrį į kūrybiškumo ugdymą per kūno kultūros pamokas. 6. Palyginti kūno kultūros mokytojų ir moksleivių poţiūrį į kūrybiškumo ugdymą per kūno kultūros pamokas. Išvados: 1. Vieningos nuomonės mokslinėje literatūroje apie kūrybiškumo sampratą nėra, bet mano nuomone, tai asmens gebėjimas išspręsti uţduotis ir problemas originaliai, lanksčiai ir efektyviai. Kūrybiškumą lemia paveldėjimas, aplinkos įtaka ir abu veiksniai kartu. Kūrybiškumą labiausiai slopina kritika, vertinimas ir nepalanki asmenybės augimui politinė sistema. Tik kūrybiškas mokytojas gali ugdyti kūrybiškas asmenybes. Todėl šiuolaikiškos kūno kultūros pamokos... [toliau žr. visą tekstą] / Research object – creativity education in physical education lessons. Hypotheses: 1. Students and teachers opinion about to creativity education about physical education lessons is different. 2. Girls and boys attitudes towards the education of creativity in physical education lessons are different. Research target – find out teachers and students attitudes towards the education of creativity in physical education lessons. Research objectives: 1. Analyze scientific literature and discuss the concept of creativity, factors influencing and inhibit creativity and creativity in education physical education classes. 2. To determine student„s approach to creativity education during physical education lessons. 3. Compare girls and boys attitude about creativity education. 7 4. Compare the IX – X and XI – XII classes‟ students approach to creativity education during physical education lessons. 5. Set the physical education teacher's approach to creativity education during physical education lessons. 6. Comparison of physical culture teachers' and students' attitudes towards the education of creativity in physical education lessons. Conclusions: 1. Consensus in the scientific literature on the concept of creativity is not, but in my opinion, this is a person's ability to solve tasks and issues an original, flexible and efficient. Creativity leads to inheritance, environmental influences, and both factors together. Creativity inhibits criticism, evaluation and personal growth... [to full text]

abstract: Creativity is increasingly cited as an educational goal in many international contexts and as a facet of academic and economic success. However, many myths surround creativity that impede its facilitation in the classroom: it is an individual talent, not teachable, and not relevant to adult life outside of artistic domains. Further, perceptions of creativity are largely informed by treatment in North American contexts. In second language instruction, linguistic creativity in particular faces greater hurdles for recognition and value, as language learners’ creative language use is often treated as error. In this paper, I argue that creative pedagogies and second language instruction can inform each other; creative pedagogy can lead to greater recognition of the creative power of language learners, and second language research can provide a cultural lens through which to gain understanding of how creativity is enacted in language. To argue that creativity facilitates language learning and is a necessary component of proficiency, I employ B. Kachru’s (1985) notion of bilingual creativity to demonstrate the ubiquity of linguistic creativity in the lives of bilingual language users. With support from Carter (2016) and G. Cook’s (2000) works on everyday creative language and language play, respectively, I demonstrate the value of linguistic creativity for language learning and language socialization. I end by suggesting five guidelines for second language instructors interested in implementing a creative pedagogy framework: (1) promote reflection and noticing in learning and creativity, (2) offer authentic models of linguistic creativity, (3) provide emotion language and multiple methods for emotional expression in interaction, (4) allow for a fusion of L1 and L2 linguistic and cultural knowledge, and (5) respond actively to opportunities for collaborative creativity. / Dissertation/Thesis / Masters Thesis Linguistics and Applied Linguistics 2020