Given the growing interest in fiction writing in Australia, seen in the rise in the number of festivals, writers' centres, how-to books, biographies and creative writing classes, it is surprising that very little research has been done within Australia on the nature of literary creativity itself. A review of international literature on creativity from areas such as the arts, history, psychology, sociology, cultural studies, business and education shows movement away from traditional and conventional ideas of creativity that focus primarily on the individual, towards more contextual approaches that reconceptualise creativity as the result of a dynamic system at work. Mihaly Csikszentmihalyi's tripartite model of creativity, which includes a field of experts, a domain of knowledge and an individual author, has been successfully applied to the arts and sciences in North America. It is argued that the systems model is also relevant to Australian fiction writing, a term which is used here to include novels in literature, popular fiction and genre fiction categories. This thesis is primarily based on in-depth interviews with 40 published Australian fiction writers. With over 400 publications between them, the individual writers interviewed represent a broad cross section of Australian fiction categories at both the national and international level. In addition to literary writers like Carmel Bird and Venero Armanno, this sample also incorporates writers in other genres such as Di Morrissey and Nick Earls (popular fiction), Paul Collins (science fiction and fantasy), Anna Jacobs (romance), Peter Doyle (crime) and Libby Gleeson and Gary Crew (children's and young adult fiction). Although the individual writers possess unique combinations of characteristics, biographies and processes, their collective responses demonstrate common participation in systemic processes of creativity. By analysing these responses in terms of Csikszentmihalyi's systems model, this thesis presents evidence that demonstrates a system of creativity at work in Australian fiction. The analysis of the collected data provides evidence, firstly, of how writers adopt and master the domain skills and knowledge needed to be able to write fiction through processes of socialisation and enculturation. Secondly, it is also the contention of this thesis that the individual's ability to contribute to the domain depends not only on traditional biological, personality and motivational influences but also socially and culturally mediated work practices and processes. Finally, it is asserted that the contribution of a field of experts is also crucial to creativity occurring in Australian fiction writing. This social organisation, comprised of all those who can affect the domain, is important not only for its influence on and acceptance of written works but also for the continuation of the system itself. The evidence shows that the field supports further writing as well as writing careers with many authors becoming members of the field themselves. In sum, the research demonstrates that, rather than being solely the property of individual authors, creativity in Australian fiction writing results from individuals making choices and acting within the boundaries of specific social and cultural contexts.

<p>Kreativitet har blivit allt viktigare inom dagens organisationer och forskningen har börjat intressera sig för hur kreativiteten påverkas av nominala eller riktiga grupper, samt hur dessa grupper är sammansatta. Syftet med undersökningen var att se hur kreativiteten i arbetsteam påverkas av mängden yrkesgrupper som ingår, samt att se hur externa faktorer som ledarskap och organisationskultur påverkar. I denna studie intervjuades 14 anställda inom olika branscher om deras syn på kreativitet och det visade sig finnas skillnader mellan grupperna. Arbete i grupp kan ge kreativiteten en annan kvalité och heterogenitet förknippades med mer dynamik och kreativa strategier. Samtliga respondenter i den heterogena gruppen var överens om att arbete i en blandad grupp var en styrka för kreativiteten.</p>

Feedback sign (positive, negative, or no feedback sign) and feedback style (autonomous, controlling, or no feedback style) were manipulated in a 3x3 repeated measures design. Two hundred thirty-three undergraduate students from introductory psychology classes completed measures of perceived competence, perceived choice, and interest over four time periods. Interest was regressed on perceived competence, perceived choice, and a moderation analysis revealed that perceived choice moderated the effect of perceived competence on interest. Creative answers to open-ended problems were assessed after time 2 (before feedback), and after time 3 (after feedback). Feedback style (autonomous, controlled, and neutral) and Feedback sign (positive, negative, and neutral) manipulations were analyzed using a 3x3 ANOVA, revealing no effect of feedback. Post-hoc analyses using perceived difficulty of the first creative problem as a covariate revealed an interaction of feedback style and difficulty, limiting between subjects analyses. Creativity was also regressed on interest. Pre-feedback interest predicted creativity according to expectations, but post-feedback interest did not predict creativity. Creativity did predict post-performance interest, possibly implying that interest is not a valid proxy for intrinsic motivation in within-subjects designs. Future studies should test the proposition that feedback affects intrinsic motivation, which in turn affects creative performance, and creative performance affects interest.

Kreativitet har blivit allt viktigare inom dagens organisationer och forskningen har börjat intressera sig för hur kreativiteten påverkas av nominala eller riktiga grupper, samt hur dessa grupper är sammansatta. Syftet med undersökningen var att se hur kreativiteten i arbetsteam påverkas av mängden yrkesgrupper som ingår, samt att se hur externa faktorer som ledarskap och organisationskultur påverkar. I denna studie intervjuades 14 anställda inom olika branscher om deras syn på kreativitet och det visade sig finnas skillnader mellan grupperna. Arbete i grupp kan ge kreativiteten en annan kvalité och heterogenitet förknippades med mer dynamik och kreativa strategier. Samtliga respondenter i den heterogena gruppen var överens om att arbete i en blandad grupp var en styrka för kreativiteten.

The Uses of Objects Task is a widely used assessment of creative performance, but it relies on subjective scoring methods for evaluation. A new version of the task was devised using Latent Semantic Analysis (LSA), a computational tool used to measure semantic distance. 135 participants provided as many creative uses for as they could for 20 separate objects. Responses were analyzed for strategy use, category switching, variety, and originality of responses, as well as subjective measure of creativity by independent raters. The LSA originality measure was more reliable than the subjective measure, and values averaged over participants correlated with both subjective evaluations and self-assessment of creativity. The score appeared to successfully isolate the creativity of the people themselves, rather than the potential creativity afforded by a given object.

The purpose of this exploratory study was to investigate whether personal creative activity predicted perceived stress in men living with a chronic physical illness. Personal creative activity was measured with the Creative Achievement Questionnaire (Carson, Peterson, & Higgins, 2005), select questions from the Flow Questionnaire (Collins, 2006), the Everyday Creativity Questionnaire (Ivcevic & Mayer, 2009) and the Creative Behaviour Inventory (Hocevar, 1979). Perceived stress was measured with the Perceived Stress Scale (Cohen, Kamarck, & Mermelstein, 1983). Sequential Multiple Regression was used to assess the relationship between personal creative activity and perceived stress levels of males with chronic illness. It was hypothesized that there would be a negative relationship between men‟s personal creative activity involvement and their perceived level of stress; that is, higher personal creative activity scores would be associated with lower perceived stress levels. This relationship was expected to be demonstrated by all men regardless of their diagnosis.<p> Participants included 139 males with chronic illness (mean age: 50 years). Findings indicated that personal creative activity was not related to perceived stress. However the participants reported being involved in many different personal creative activities not included in the four creative measures, which may help explain the low scores on the creativity measures that may have skewed the data and resulted in low correlations. Age and number of symptoms were related to perceived stress. As the participants aged, their perceived stress decreased; and the more symptoms they reported, the higher their perceived stress. The strengths and limitations of the current study are outlined, along with implications for future research and practice. Future research is needed to further examine the relationship between creativity and perceived stress in men with chronic illness as well as to develop creativity measures that include more male-oriented activities.

The Uses of Objects Task is a widely used assessment of creative performance, but it relies on subjective scoring methods for evaluation. A new version of the task was devised using Latent Semantic Analysis (LSA), a computational tool used to measure semantic distance. 135 participants provided as many creative uses for as they could for 20 separate objects. Responses were analyzed for strategy use, category switching, variety, and originality of responses, as well as subjective measure of creativity by independent raters. The LSA originality measure was more reliable than the subjective measure, and values averaged over participants correlated with both subjective evaluations and self-assessment of creativity. The score appeared to successfully isolate the creativity of the people themselves, rather than the potential creativity afforded by a given object.

Attempting to retrieve a target from memory via a retrieval cue can cause competition from the cue's associates, which might block the target. A 1994 study by Anderson, Bjork, and Bjork demonstrated retrieval-induced forgetting for competing associates and suggested that inhibitory control resolving competition causes the forgetting. A 2011 study by Storm, Angello, and Bjork found forgetting for incorrect associates following creative problem solving. This thesis investigated whether such forgetting is also the result of inhibitory control. Competition was manipulated by instructing participants to remember or forget incorrect associates before working on a Remote Associates Test problem. If problem-solving-induced forgetting is caused by inhibition, then to-be-remembered associates should suffer more forgetting than to-be-forgotten associates. Overall, forgetting occurred for incorrect associates participants were instructed to remember and forget. However, the first quartile of trials showed forgetting only for to-be-remembered associates following longer problem solving durations, suggesting a possible role of inhibitory control as an active means to overcome fixation in creative problem solving.

My study investigates whether the effects of non-cash incentives on employee performance depend on when the incentive is paid and what type of task is being performed. Although firms frequently use non-cash incentives, such as merchandise, travel awards and gift cards, the effects of non-cash incentives, relative to cash incentives, are not well understood by researchers. Drawing on economic and psychology theories, I predict that the effects of incentive type (cash or non-cash) on performance depend on incentive payoff timing (near or distant future) and task type (analytic or creative). Specifically, for an analytic task, I predict and find that a cash incentive paid in the near future is most effective. For a creative task, I predict and find that a cash incentive paid in the near future and a non-cash incentive paid in the distant future are most effective. The results of my study should benefit theory and practice by identifying the most effective combination of incentive type and payoff timing for a given task type.

Creativity and innovation have become two very important concepts in today’s society where the demand for these abilities are sought after. At the same time, the school system of today follows a more traditional outlook on what learning and knowledge means.The extend students ability to understand and elevate their motivation is possible through creative methods of working. In order to create a school system which can withstand the demands of the future by including creative methods in its model, a study was carried out to examine how teachers’ thoughts on creativity could mean for its development.This study took place in an elementary school in Sweden where Entreprenöriellt Lärande (EL) has been in use for the last two years. Three teachers were interview regarding subjects such as a) creativity and what it means, b) teaching and motivation and c) students abilities. The study showed that the concept of creativity had undergone some changes even though it was thought of as small ones. This in turn affected the work that was being done and the concept of teaching. At the same time, there are constraints in which the teachers are working, for instance limited recourses and having to reach certain goals. The innovative proposal this study contributes is based on those factors the teachers listed as most constraining.