abstract: Researchers lament that feedback interventions often fail. Traditional theories assume a cognitive relationship between the receipt of feedback and its impact on employee performance. I offer a theoretical model derived from Affective Events and Broaden and Build Theories to shed new light on the feedback-performance relationship. I bridge the two primary streams of feedback literature-the passive receipt and active seeking-to examine how employees' affective responses to feedback drive how they use feedback to improve performance. I develop and test a model whereby supervisor developmental feedback and coworker feedback seeking relate to the positivity ratio (the ratio of positive as compared to negative affect), enabling them to be more creative and thus improving their performance. I test my model using Experience Sampling Methodology with a sample of MBA students over a two week working period. / Dissertation/Thesis / Ph.D. Business Administration 2014

Identity development is not a subject formally covered in coursework or professional development, but it is still important. Identity is used to determine behavior and actions as well as to set goals. Our identities shape who we are and what we do. If I identify as creative then I am more likely to practice creative behavior as well as set goals that include creativity. With the day to day problems we face as a society grow in number as well as in level of difficulty, creative solutions are needed. However, often we hear "you're not creative" or say "I'm not creative." These words are said because our creative identity is not active nor is it developmentally supported. Understanding the development of creative identity and the behaviors that demonstrate creativity level can help develop creative problem-solving skills and practices. I found that generally, agricultural teachers find they are creative whether their creative score indicates a strong creative ability or not. I found that for teachers to feel their administrators and peers view them as creative they must hear words of affirmation; however, a teacher uses clues from student actions of engagement or questions to feel that their students view them as creative. I found that teachers credit mentors, peer teachers, books, and professional development with how they define and act creatively within their classrooms. I found that the predominant creative behaviors were storytelling, movement, colorfulness, and fantasy. These findings indicate the need to develop a teacher's creative identity by purposefully designed professional development. We should also begin to recognize creativity and verbally acknowledge creativity when observed. Teacher preparation programs should include creative mentors and books that further develop instructional creative behaviors that were observed. The behaviors that appeared the least should also continue to be developed. / Doctor of Philosophy / Identity development is not a subject formally covered in coursework or professional development, but it is still important. Identity is used to determine behavior and actions as well as to set goals. Our identities shape who we are and what we do. If I identify as creative then I am more likely to practice creative behavior as well as set goals that include creativity. With the day to day problems we face as a society grow in number as well as in level of difficulty, creative solutions are needed. However, often we hear "you're not creative" or say "I'm not creative." These words are said because our creative identity is not active nor is it developmentally supported. Understanding the development of creative identity and the behaviors that demonstrate creativity level can help develop creative problem-solving skills and practices. I found that generally, agricultural teachers find they are creative whether their creative score indicates a strong creative ability or not. I found that for teachers to feel their administrators and peers view them as creative they must hear words of affirmation; however, a teacher uses clues from student actions of engagement or questions to feel that their students view them as creative. I found that teachers credit mentors, peer teachers, books, and professional development with how they define and act creatively within their classrooms. I found that the predominant creative behaviors were storytelling, movement, colorfulness, and fantasy. These findings indicate the need to develop a teacher's creative identity by purposefully designed professional development. We should also begin to recognize creativity and verbally acknowledge creativity when observed. Teacher preparation programs should include creative mentors and books that further develop instructional creative behaviors that were observed. The behaviors that appeared the least should also continue to be developed.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-01-26T11:20:14Z No. of bitstreams: 1 Emerson Ferreira da Costa Leite.pdf: 2125964 bytes, checksum: 5d6be606a452e64851b0e2fe4e41d97c (MD5) / Made available in DSpace on 2017-01-26T11:20:14Z (GMT). No. of bitstreams: 1 Emerson Ferreira da Costa Leite.pdf: 2125964 bytes, checksum: 5d6be606a452e64851b0e2fe4e41d97c (MD5) Previous issue date: 2016-12-15 / Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Skinner's (1953; 1969; 1974, 1974) analysis of problem-solving behavior emphasizes the participation of precurrent responses manipulating the environment. Cases in which the solution response and its consequences are not previously known seem to be involved in relationships traditionally called "creativity." Despite these contributions, experiments interested in creative behavior gave little emphasis to precurrent responses. The present study evaluated the effects of reinforcement with contingent points to varying in precurrent responses (VAR PRE) on the solution of problems involving the composition of figures. For this, 12 students were exposed in different orders to a contingency of continuous reinforcement of any formed compositions (Ñ VAR) and to the VAR PRE contingency, both preceded and followed by test sessions (T1, T2, T3) in which there was only reinforcement for problem solving. Especially for the participants exposed to the order of conditions Ñ VAR-VAR PRE, the results showed greater effectiveness on problem solving in VAR PRE condition than the condition Ñ VAR. In the reverse order of conditions the results are less conclusive, sometimes showing greater efficacy in VAR PRE, sometimes in Ñ VAR, which suggests an order effect that favors the second condition presented. The results could not be attributed to differences in the behavioral variability produced by the conditions, and the different measures of variability induce to different conclusions. The effects of the amount of exposure to the experimental task, the experimental history, and the requirement of new behavior by the contingency of problem solving were discussed / A análise de Skinner (1953; 1969; 1974) sobre o comportamento de resolver problemas enfatiza a participação de respostas precorrentes manipulando o ambiente. Casos nos quais a resposta solução e suas consequências não são previamente conhecidas parecem estar envolvidos nas relações tradicionalmente chamadas de “criatividade”. Apesar dessas contribuições, experimentos interessados no comportamento criativo deram pouca ênfase a respostas precorrentes. O presente estudo avaliou os efeitos de reforçamento com pontos contingentes ao variar em respostas precorrentes (VAR PRE) sobre a solução de problemas envolvendo a composição de figuras. Para tal, 12 estudantes foram expostos em diferentes ordens a uma contingência de reforçamento contínuo de quaisquer composições formadas (Ñ VAR) e à contingência VAR PRE, ambas precedidas e seguidas por sessões de teste (T1, T2, T3) nas quais houve reforçamento apenas por solução de problemas. Principalmente para os participantes expostos à ordem de condições Ñ VAR-VAR PRE, os resultados mostraram maior eficácia na solução de problemas na condição VAR PRE do que na condição Ñ VAR. Na ordem inversa de condições os resultados são menos conclusivos, ora mostrando maior eficácia em VAR PRE, ora em Ñ VAR, o que sugere um efeito de ordem que favorece a segunda condição apresentada. Os resultados não puderam ser atribuídos a diferenças na variabilidade comportamental produzida pelas condições, e as diferentes medidas de variabilidade induzem a diferentes conclusões. Discutiram-se os efeitos da quantidade de exposição à tarefa experimental, da história experimental, e da exigência de comportamento novo pela contingência de solução de problemas

Тема этой диссертации — это рассмотрение соотношении Биографии и Литературы в творчестве Эдуарда Лимонова через категорию «Творческого поведения». Говоря о творческом поведение данного писателя, автор говорит о «единой концепции» личности Лимонова и выделяет у него наличие двух ролевых моделей : интеллектуала vs маскулинного бунтаря. В основе этих состояний лежат различные манеры поведения и мироощущения, явленые как в жизни, так и в литературе. В основе поведения интеллектуала лежат робость, физическое и половое бессилие, мажорный тон, созерцательный настрой. С точки зрения эстетики – гипомания и гипербола как основной художественный прием. Для состояния бунтаря с точки зрения поведения характерно восприятие физической близости как способа утверждения собственной силы, противопоставление себя обществу девиантным поведением. С точки зрения эстетики – порноэстетика как способ противопоставления себя обществу, культ оружия, «театрализация» в политике (политика как способ творчества), культ молодости и презрение к старости. / The theme of this dissertation is the consideration of the relationship between Biography and Literature in the work of Eduard Limonov through the category of "Creative Behavior". Speaking about the creative behavior of this writer, the author speaks of a "single concept" of Limonov's personality and highlights the presence of two role models in him: an intellectual vs a masculine rebel. These states are based on various manners of behavior and attitudes, which are revealed both in life and in literature. The behavior of an intellectual is based on timidity, physical and sexual impotence, a major tone, and a contemplative mood. From the point of view of aesthetics - hypomania and hyperbole as the main artistic device. From the point of view of behavior, the state of a rebel is characterized by the perception of physical proximity as a way of asserting one's own strength, opposing oneself to society with deviant behavior. From the point of view of aesthetics - porno-aesthetics as a way of opposing oneself to society, the cult of weapons, "theatricalization" in politics (politics as a way of creativity), the cult of youth and contempt for old age.

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