Thesis (M.A.)--University of Alberta, 2009. / A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Master of Arts English and Film Studies. Title from pdf file main screen (viewed on July 27, 2009).

Thesis (M.S.)--University of Wisconsin--Madison, 1967. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Part of Thesis (Ph. D.)--University of Chicago, 1936.

Thesis (M.A.)--University of Wisconsin--Madison, 1967. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

This dissertation proposes the Causal Map technique, a systematic method to support the production of creative solutions using verbal cause-and-effect prompts and an external visual representation of the derived causal chain. An empirical study is described that compares performance of the Causal Map technique in prompting the production of creative solutions to a real-world problem to two other problem-solving scaffolds: individual Brainstorming and the Five Whys technique. Participants using the Causal Map technique were found to produce, on average, more than twice the number of solutions compared to participants using the individual Brainstorming or Five Whys techniques. Participant solutions were rated on the evaluative dimensions of Creativity, Originality, Effectiveness, and Feasibility. On each of these dimensions, the mean rating for the three highest rated solutions produced by each participant was compared across conditions. On all dimensions, the mean ratings of the top three solutions produced using the Causal Map technique were nominally higher than the means for the other conditions. These differences were significant between the Causal Map and Five Whys on all dimensions, and significant between the Causal Map and Brainstorming in effectiveness.

The primary purpose of this study was to investigate the relationship between each of three variables of creativity — Verbal Fluency, Verbal Flexibility, Verbal Originality — and each of nine measures of sensory perception. The nine sensory measures included three visual, three auditory, and three tactual tasks.

The use of Creative Problem Solving (CPS) as an instructional strategy to increase the creativity levels of students across all levels of the curriculum is currently a popular topic of investigation. Curriculum content and the underlying objectives that are presented to students in public schools have been the subject of close scrutiny since school accountability became a hot topic during the 1980's. However, despite all the efforts to improve student productivity through a well defined curriculum, and possibly because of the increased emphasis on student accountability to reflect that student improvement, concern for the apparent declining creativity levels among students appears to be growing. The purpose of this dissertation was to compare conventional instructional methodologies with those of creative problem solving. It was hypothesized that students' low, high, and total cognition levels, overall creativity levels, and satisfaction with instructional methodologies, improve as a result of instruction through creative problem solving strategies. By improving the levels of creativity within students, they will be better equipped to deal with the complex types of problems the future will present. This study utilized an experimental, posttest only, control group design. Participants were ninth grade students (n=20) who were enrolled in an Introduction to World Agricultural and Science Technology I course. Posttests were administered to measure low, high, and total levels cognition at the conclusion of the course. For this measure of the dependent variable, a forty question (10 true/false, 25 multiple choice, and 5 short answer) test was administered. Pretests and posttests were administered to measure student creativity. A standardized Torrance Test of Creative Thinking (TTCT) was used as the measure of the dependent variable of creativity. Pretests, mid-tests, and posttests were used to measure student satisfaction. A satisfaction instrument developed by Brashears (2004) was used for the measurement of clarity, delivery, content, and total satisfaction as the dependent measure of satisfaction. These instruments were used to measure the five research hypotheses of the study. Results of the study did not support the hypotheses that significant differences exist between creative problem solving and traditional instructional strategies, as they pertain to student cognition, creativity, and satisfaction. However, although not significant, possibly due to the small sample size, upon closer examination of group means, one can detect definite patterns of greater mean score gains among the CPS group over the traditional group in cognition, creativity, and satisfaction. Based on these findings, this researcher suggests that replications of this study be performed with larger sample sizes in different curriculum areas to further perpetuate the integration of creative problem solving strategies as an effective instructional strategy for all age groups and in all areas of the curriculum.

Thesis (M.A.)--University of North Carolina at Wilmington, 2003. / Includes bibliographical references ([65]-66).

The diploma work is focused on analysis of illustrations in the Czech editions of fables of the French writer Jean de La Fontaine. The first part is based on theoretical approach, dealing with the definition of the fable as well as with the classicist writer{\crq}s life, his literary work, his contribution to the literature of the 17th century and events that influenced them fundamentally. The diploma work makes the reader acquainted with the acceptation of Fables by the public and what La Fontaine intended to tell them by his literary work. Because the Fables are the kind of genre where the illustration is one of the basic elements, the diploma work presents also a brief history of illustration in the literary work, especially in the Fables and concentrates on how the illustrations correspond to writer´s intention. This work deals also with the most successful French Fables illustrators. The practical part of this work consists in analysis of all the Czech editions, their division in illustrated and non illustrated editions and the detailed description of chosen illustrated titles and their common features and differences. The last part evaluates the originality of these editions and the results of the analysis.

Orientador: Graziela Estela Fonseca Rodrigues / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-10T16:26:40Z (GMT). No. of bitstreams: 1 Melchert_AnaCarolinaLopes_M.pdf: 12507812 bytes, checksum: 0c88654f7f09f37cc079b91df7a6a145 (MD5) Previous issue date: 2007 / Resumo: Este trabalho teve por objetivo realizar uma criação artística, tendo como foco o eixo Estruturação da Personagem do Método Bailarino-Pesquisador-Intérprete (BPI). Pretendeu-se, também, a realização de uma reflexão teórica do desenvolvimento deste processo criativo. O BPI é um Método de perspectiva sistêmica, que integra aspectos sociais, culturais, emocionais e físicos, cujo foco é a identidade do corpo. Este Método possui três eixos inter-relacionados e indissociáveis: O Inventário no Corpo, O Co-habitar com a Fonte e a Estruturação da Personagem. A personagem no BPI é trabalhada como uma possibilidade de desenvolvimento da Imagem Corporal e como um processo de nucleação, possibilitando o fechamento de uma gestalt. O Co-habitar com a Fonte foi realizado na região do Vale do Paraíba (SP), onde se efetivou pesquisas de campo sobre a manifestação popular brasileira do jongo. A partir do co-habitar, realizou-se um aprofundamento do Inventário no Corpo, o que possibilitou a abertura do processo criativo. A presente pesquisa descreve as várias etapas de como se estruturou a personagem, que são apresentadas e descritas através de agrupamentos por conteúdos e dinâmicas específicas de trabalho. As incorporações de objetos são descritas como necessidades de se conquistar a expressão do corpo. As individualizações das ações de campo e o aprofundamento do Inventário no Corpo conduziram à etapa da Incorporação da Personagem. A pesquisa de campo complementar, as referências literárias, a experimentação de objetos e as elaborações cênicas possibilitaram o desenvolvimento da Estruturação da Personagem. O nome da personagem é apresentado como uma perspectiva de possibilitar ao intérprete o desenvolvimento de seu processo. A Estruturação da Personagem foi realizada a partir da efetivação do Método do BPI, onde o corpo em desenvolvimento aprofundou o contato com suas origens, co-habitou com outros corpos e integrou os conteúdos vivenciados dando passagem a uma personagem, possibilitando a este realizar uma dança original, integrada e orgânica / Abstract: The purpose of this work was to produce an artistic creation focusing on the ¿Character Construction¿ by using the Dancer-Researcher-Performer (DRP) Method, (Bailarino-Pesquisador-Intérprete: BPI). In addition, I intend to produce a textual reflection showing a theoretical development of this creative process. The DRP is a method of systematic perspective that integrates social, cultural, emotional and physical aspects and whose focus is corporal identity. This Method possesses three centers, all interrelated and inseparable: The ¿Body¿s Inventory¿, the ¿Co-habituate with the Source¿ and the ¿Construction of the Character¿. The Character in DRP functions as a possibility of Corporal Image development and as a centering process, permitting a closure of a gestalt. The ¿Co-habituate with a Source¿ took place in the region of Vale do Paraíba (SP), where I underwent the field research that deals with the popular manifestation ¿the jongo¿. Using the Cohabituate as the starting point, the Inventory of the Body phase was subsequently achieved on a profound level, thus opening the terrain in support of a creative process. The current research describes the various stages of how one construct¿s the character, which subsequently are presented and described through content groupings and specific work dynamics. Incorporating objects are referred to as necessary to capture body expression. All specific actions derived from the field research as well as the in depths work in the Body Inventory stage were aptly followed through in the Character Incorporation stage. Complementary field research, literal references to specific experiments with objects as well as theatrical experimentation permitted the Construction of the Character. The name of the character is presented as a perspective in order for the performer to develop her process. Implementing the DRP method, where the emergent body deepened its contact with its origins, co-habiting with other bodies and incorporating its empirical contexts experienced during the character formation, gave aperture for the Construction of Character. This, in the end, permitted an original dance both integrated and organic / Mestrado / Mestre em Artes