In today¡¦s globalized economic environment, new production information and rapid technology change, has made the human capital become the main product factor instead of natural resources. Meanwhile, customer¡¦s increased access to information has empowered them to demand better quality and services. These changes have put huge pressures on real business world; companies try all the ways to improve the quality of the products and offering better services in order to create or maintain the competitive advantages. This change has placed a premium on innovation and creativity and makes it a hot topic and agenda. Creativity is the foundation of innovation, among the variables that influence creativity on subordinates in organizational settings, leader support behavior has been examined by many researchers as being one of the most important¡F however, most of the researchers only focus on the concept of ¡§support¡¨ but not specific leader ¡§behavior¡¨. One of the aims of the present study is to find out how perceptions of leader support arise. The significance of trust in organizations has been examined by many researchers. With trustworthy supervisors, subordinates can feel free to try something new and do not need to be afraid of the negative outcomes. The second aim of this study is to investigate the moderating effect of trust on subordinates¡¦ creativity under the leader support behavior. 320 samples are collected. Based on the findings of the present study, we argue that leadership of creative subordinates required leader support behavior and trust in management, thus, the creativity in organizations could be enhanced.

Based on the change-production-employee model proposed by Ekvall and Arvonen (1991), the present study developed a theoretical framework of creative leadership and constructed the Creative Leadership Scale for Elementary School Teachers. Eighteen elementary school teachers and education graduate students were recruited to receive semi-structured interviews. Content analysis indicated that the notion of creative leadership in elementary school teachers was congruent with the Ekvall and Arvonen¡¦s model. After content validity, the initial 37-item scale was administrated item analysis with a pretest sample consisting of 263 elementary school teachers. Item analysis reduced the initial scale to a 17-item formal scale. Exploratory factory analysis demonstrated a three-factor oblique model. In term of internal consistency aspect, Cronback¡¦s Alpha coefficient for the entire scale was .93. The coefficients of internal consistency for three subscales were .81 to .85. Later, the large sample which consisted of 1013 elementary school teachers was used to conduct confirmatory factor analysis and criterion-related validity. First-order orthogonal model, first-order oblique model, and second-oblique model were employed to conduct model comparisons in confirmatory factor analysis. The results indicated that the first-order oblique model was the most appropriate among the three models in terms of model fitness, in which the construct reliability coefficients were .82 to .85. The organizational innovative climate, creative teaching performance, and effectiveness of class management were used as criterion for validation. Findings in criterion-related validity revealed that the concurrent validity of the scale was satisfactory, showing creative leadership correlated positively with the criterions. Besides, sex differences and differences of advantageous hand were not observed. The scale was marginally associated with social desirability. Finally, future directions for scale validation and applications were discussed.

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Purpose: From an anthropological angle, the purpose of this paper is to shed light into how young innovative fashion companies can exercise creative leadership and reflect the creativity of their external image in their internal environment, towards their path to prosperity and success.Design/methodology/approach: The research analyses the case of MUUSE, a paradigmatic fashion company based in Copenhagen, Denmark in order to examine its creativity inside-out (external image and internal environment/operations). The entrepreneurs and employees were interviewed during two workdays, as well as observations were held over a period of eight months. For the analysis of the case and its operations, the 4P’s creativity framework (person, product, process and press/situation) was used.Findings: The research shows that creative leadership in fashion business today can be linked with innovation, meaningfulness and transparency in all levels of infrastructure. Further it declares the significance of creative leadership traits, which can include: having a creative and purposeful vision, developing an effective global mindset, evolving a creative work environment and increasing intrinsic motivators. / Program: Magisterutbildning i Fashion Management med inriktning modemarknadsföring

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Nome completo do autor: Felipe Carvalhal Barbosa Nome completo do orientador: Henrique César Muzzio de Paiva Barroso / Submitted by Irene Nascimento (irene.kessia@ufpe.br) on 2017-05-30T18:30:31Z No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) DISSERTAÇÃO (2016-02-29) - FELIPE CARVALHAL.pdf: 1185041 bytes, checksum: f5114543fcc22ab9ba866bad1dd0b0c4 (MD5) / Made available in DSpace on 2017-05-30T18:30:31Z (GMT). No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) DISSERTAÇÃO (2016-02-29) - FELIPE CARVALHAL.pdf: 1185041 bytes, checksum: f5114543fcc22ab9ba866bad1dd0b0c4 (MD5) Previous issue date: 2016-02-29 / Capes e CNPQ / Em um ambiente marcado por mudanças rápidas e pujantes gerir uma organização tornou-se um desafio, em especial no cenário da economia criativa, seja pela dinâmica do mercado ou pelas características dos trabalhadores, engajar-se nessa missão exige dedicação e preparo. É preciso conciliar os pressupostos de gestão, notadamente de ontologia objetiva, com uma característica puramente subjetiva, a criatividade, em busca de uma gestão criativa. Diante disso, esta pesquisa procurou saber como os líderes de organizações da economia criativa percebem a sua atuação em busca de uma gestão criativa. Para tal, foi realizada um trabalho caracterizado como exploratório e descritivo analítico de natureza qualitativa, por meio de estudo de casos coletivos com inspiração fenomenológica, adotando como ponto de vista ontológico a realidade como uma construção social. Foram realizadas semiestruturadas com um total de onze gestores de organizações da economia criativa em Recife-PE, Brasil. Foi possível denotar que os líderes das organizações pesquisadas percebem sua atuação voltadas para uma gestão criativa. Estas pessoas procuram pontuar suas práticas e ações tendo em vista à criatividade, a novidade e a inovação, tudo isso pautado em um ambiente que respira o respeito e a diversidade. Ficou evidente que os entrevistados e entrevistadas exercem uma liderança favorável ao afloramento da criatividade de suas equipes, mesmo que apresentem dificuldades em uma situação ou outra, explicada muitas vezes pela experiência de vida cada um. Elas e eles mostraram que a cultura organizacional de suas organizações, seu exercício de liderança e o modo como entendem seus colaboradores, podem sim, ser tratados e explorados para se chegar à uma gestão criativa. Em referência ao modelo é preciso repensá-lo no que tange a participação da classe de trabalhadores dita como não criativa, como ela interage nessa economia, quais são suas implicações e afins. É preciso elucidar a imbricação da cultura organizacional nos outros pilares propostos para uma gestão criativa, em especial em relação à classe criativa, pois mostrou-se que ambos compartilham valores e situações muito próximas. Faz-se necessário repensar o modelo considerando paradigmas modernos e não apenas com preceitos pós-modernos. Contudo, as práticas discursivas e os contextos apresentados nos alertam para um caráter pouco difundido da economia criativa, em especial ao incentivo e valorização do empreendedorismo urbano neoliberal. Dando a entender que qualquer pessoa pode fazer parte desta economia, mesmo não sabendo as consequências pela escolha ou não escolha desta. O discurso promissor e bastante difundido acerca da economia criativa e sua relevância para o desenvolvimento global escondem um ambiente marcado por relações de trabalho mais precárias, aonde um ambiente agradável esconde uma maior carga horária, e uma flexibilidade de horários e liberdade se refletem em prazos mais curtos e metas mais audaciosas. Outra discussão importante é que muitos atores da economia criativa não foram educados para vender sua criatividade, tendo que aprender na marra, e com muito suor, a transformar uma ideia em dinheiro, destacando o quão desafiador é trabalhar num ambiente extremamente inovador, onde os erros constantes podem desestimular e frustrar estes profissionais. Por fim, destaca-se que harmonizar dois aspectos diametralmente opostos, gestão e criatividade, requer que os atores organizacionais atuem de forma a abranger as características da cultura organizacional aberta e flexível, aliadas ao exercício de uma liderança que promova a criatividade de seus liderados, conseguida a partir do conhecimento das características e anseios dos integrantes de suas equipes. / In an environment marked by rapid and vigorous changes manage an organization has become a challenge, especially in the scenario of the creative economy, either by market dynamics or the characteristics of workers, engaging in this mission requires dedication and preparation. We must conciliate the premises of management, clearly an objective ontology, with a purely subjective characteristic, creativity, in the search of a creative management. Thus, this research looked into how the leaders of the creative economy organizations realize their activities in search of creative management. For such, it was conducted a work characterized as analytical exploratory and descriptive qualitative nature through study of collective cases with phenomenological inspiration, adopting as an ontological point of view reality as a social construction. Semi structured interviews were conducted with eleven managers of organizations of the creative economy in Recife, Brazil. It was possible to denote that the leaders of the organizations surveyed perceive its actions focused on creative management. These people seek to punctuate their practices and actions with creativity, novelty and innovation in mind, all guided in an environment that breathes respect and diversity. It was evident that the interviewed respondents and exert a favorable leadership to the outcrop of the creativity of their teams, even if they have difficulties in one situation or another, explained many times through each of their life experiences. They showed that the organizational culture of their organizations, their exercise of leadership and understanding of how their employees can indeed be treated and exploited in order to achieve a creative management. Concerning the model, we need to rethink it regarding the participation of the class of workers considered uncreative, how it interacts in this economy, and what are its implications. We must elucidate the intertwining of organizational culture in the other pillars proposed for creative management, especially in relation to the creative class, as it was shown that they share values and very close situations. There is a need to rethink the model considering modern paradigms and not just postmodern precepts. However, the discursive practices and contexts presented alert us to some widespread nature of the creative economy, in particular the encouragement and promotion of neoliberal urban entrepreneurialism. Implying that anyone can be part of this economy, even not knowing the consequences of choosing or not choosing this. The promising and widespread discourse on the creative economy and its relevance to the overall development hide an environment marked by more precarious employment relationships, where a pleasant atmosphere hides a greater workload, and schedule flexibility and freedom are reflected in shorter deadlines and more ambitious goals. Another important argument is that many stakeholders of the creative economy have not been educated to sell their creativity, having to learn the hard way, and at the cost of a lot of sweat, to turn an idea into money, highlighting how challenging it is to work in a highly innovative environment where constant errors can discourage and frustrate these professionals. Finally, we must highlight that to harmonize two diametrically opposed aspects, management and creativity, it is required that organizational stakeholders act to cover the characteristics of opened and flexible organizational culture, combined with the exercise of a leadership that promotes creativity of their team, achieved from the knowledge of the characteristics and aspirations of the members of their teams.

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