This study examined the relationship between job characteristics and creativity and also examined whether creative self efficacy moderates this relationship. Results demonstrated that job characteristics and its subscales (skill variety and autonomy) made significant contribution to creativity. Different from original hypotheses, other three job characteristics subscales (task identity, task significance, and feedback) were not found significantly related to participants¡¦ creativity and the hypothesized moderating effect of creative self efficacy on the relationship between job characteristics and creativity was not found. Implications about the findings and suggestions about further researches are discussed.

Creative development in students is an important aim for the art educator. The visual arts class can be a realm for exploring and nurturing creativity in students. While all students may not grow up to produce works of art outside the classroom, visual arts education can impact a student’s understanding of their own creativity. This paper explores the creativity beliefs of elementary students. The research seeks to understand the implicit theories or beliefs of creativity that shape creative self-efficacy and what factors may influence these beliefs in students.

Master of Science / Department of Hospitality Management and Dietetics / Jichul Jang / Working as a front line employee in the hospitality industry is not always easy. There can be long working hours, high work demand and many other disadvantages that can lead to increased stress on an employee of the industry. These disadvantages have led to one of the highest turnover rates compared to most other industries (NRA, 2017). Managers have been looking at possible ways to reduce turnover by giving employees more freedom. In most organizations, the manager implements changes in each employee’s job design and roles within the organization. Recent job design has focused on letting the employee develop some of the task they do. This certain type of job redesign is called job crafting. Job crafting is a theoretical concept where an employee is allowed to implement change or redesign certain aspects of their job (Wrzesniewski & Dutton, 2001). According to Wrzesniewski and Dutton (2001), the three main ways that one can craft their job are through changes in work tasks, relationships, and perception of one’s job. So the question is, “How does job crafting have a creative impact on front line hospitality employee behavior at work?” The purpose of this study is to examine whether job crafting is related to creative self- efficacy, which can in turn lead to employee organizational citizenship behaviors. That is, the more employees participate in crafting activities, the more they will believe that they can be creative and follow through with their creative idea, which will lead the employees to having more organization citizenship behavior. The sample for this study consists of 323 front line employees in the hotel industry. Participants’ job crafting, creative self-efficacy and organizational citizenship behaviors were measured. After running the variables through a regression analysis, the results showed a significant positive relation between job crafting and organizational citizenship behavior with creative self-efficacy as a mediator. From a theoretical perspective, this study contributes to an understanding of organizational citizenship behavior in the hotel context by shedding light on the role of job crafting. Practical implications from this study could encourage managers that are focused on improving organizational citizenship behavior in their hotels to look into promoting job crafting.

Conditions relating to evaluation apprehension, alcohol and affect were investigated in relation to creative performance. Study I compared group work with individual work, and control conditions were compared with de Bono creativity-enhancing techniques. Study II studied the effect of alcohol and emotional-enhancing film material on primary-secondary process relations and creative performance. Study III explored experiences of working on a creative task after receiving negative feedback. Study IV investigated the relationship between fear of evaluation and creative performance. Study I showed higher scores on different measures of creative performance for group work, while individual work showed higher total fluency scores. Further, de Bono technique conditions showed lower fluency and lower flexibility. Study II showed signs of decreased creative performance after the intake of alcohol, and signs of increased primary process thinking but no effect of on creative performance after emotional enhancement. Study III showed that stress, fear of producing ‘incorrect’ responses and low self-efficacy were inhibiting factors on creative performance. Study IV showed that fear of evaluation was related to a lower self-efficacy, higher degree of worry, and higher degree of self-censorship. Further, Study IV showed that fear of negative evaluation had a positive relation to number of ideas produced, but no relation to quality of ideas. Additionally, support for creativity showed positive relations to both number of ideas produced and quality of ideas. / Creativity is desired in many situations. Areas where creativity is needed include innovation, product development and artistic performance. Further, creative activities are connected with joy and pleasure for the individual. However, many of us are struggling when it comes to creative performance, and it is considered hard to be creative. The overall aim of this thesis was to investigate inhibition of creative performance. The results of the four papers comprised in the thesis suggest that group work have an effect on the creative process, explicit instructions may narrow down possible solutions for a problem, alcohol may inhibit creative performance and evaluation apprehension is related to self-censorship of ideas. Further, support for creativity showed positive relations with both quantity and quality of ideas. The main conclusion of the thesis is that individuals may withhold ideas in fear of others’ reactions. Therefore, creative performance is not only a question of ability, but also a question of willingness to communicate.

Submitted by admin tede (tede@pucgoias.edu.br) on 2018-12-07T17:58:42Z No. of bitstreams: 1 JOYCE VÂNIA RODRIGUES LOPES.pdf: 868625 bytes, checksum: 8658110fec755591ceb547f04870f62e (MD5) / Made available in DSpace on 2018-12-07T17:58:42Z (GMT). No. of bitstreams: 1 JOYCE VÂNIA RODRIGUES LOPES.pdf: 868625 bytes, checksum: 8658110fec755591ceb547f04870f62e (MD5) Previous issue date: 2018-03-22 / Creativity is an important personal resource that, together with organizational resources, can put companies in competitive advantages and stimulate growth and development, both individual and organizational. Creative performance in addition to positively correlating to the regulatory focus on promotion may be influenced by the individual's belief in his or her ability to produce creative results, conceptualized as creative self-efficacy. This dissertation aims to investigate the relationship between creativity, regulatory focus and creative selfefficacy in the Brazilian organizational context. Three studies were carried out - two theorists and one empirical one, the first one being a theoretical article that discusses the creativity and its theoretical aspects relevant to this study. The second is an article that seeks to analyze the state of the art of knowledge about creative self-efficacy. The third, in turn, is an empirical article, being a cross-sectional, quantitative, descriptive and correlational study that aims to analyze the existing relationships among the studied variables, namely creative self-efficacy, creativity and regulatory focus, as well as the power of mediation of creative self-efficacy in the relation between regulatory focus and creativity, thus testing the conceptual theoretical model. The data were collected as self-report, through the Creative Self-Efficacy Scale, Creativity Scale and Regulatory Focus Scale (only items related to the regulatory focus in promotion). The study was carried out with 125 workers with mean age of 35 years, 97 females and 28 males. For the data treatment, the statistical analysis programs SPSS 22.0, AMOS 22.0 and Process were used. The results allowed to conclude that the regulatory focus in promotion is positively correlated to creativity and creative self-efficacy, and that this is positively correlated to creativity. The test of the mediation model indicated that creative selfefficacy served as a mediator in the relationship between the regulatory focus on promotion and creativity, allowing a clearer verification of how creative self-efficacy, as a mediator variable, influences the relationship between regulatory focus in promotion and creativity. / A criatividade é um importante recurso pessoal que, aliado a recursos organizacionais, pode colocar as empresas em vantagens competitivas e estimular crescimento e desenvolvimento, tanto individual quanto organizacional. O desempenho criativo além de se correlacionar positivamente ao foco regulatório em promoção, pode ser influenciado pela crença do indivíduo em sua capacidade de produzir resultados criativos, conceituada como autoeficácia criativa. Esta dissertação tem como objetivo principal investigar as relações mantidas entre criatividade, foco regulatório e autoeficácia criativa, no contexto organizacional brasileiro. Foram realizados três estudos – dois teóricos e um empírico, sendo o primeiro um artigo teórico que discorre sobre a criatividade e seus aspectos teóricos relevantes a este estudo. Já o segundo se trata de um artigo que busca analisar o estado da arte do conhecimento sobre a autoeficácia criativa. O terceiro, por sua vez, é um artigo empírico, sendo um estudo de corte transversal, quantitativo, descritivo e correlacional, que visa analisar as relações existentes entre as variáveis estudadas, a saber autoeficácia criativa, criatividade e foco regulatório, bem como o poder de mediação da autoeficácia criativa na relação entre foco regulatório e criatividade, testando assim o modelo teórico conceitual. Os dados foram coletados na forma de autorrelato, por meio da Escala de Autoeficácia Criativa, Escala de Criatividade e Escala do Foco Regulatório (apenas itens relacionados ao foco regulatório em promoção). O estudo foi desenvolvido com 125 trabalhadores com idade média de 35 anos, sendo 97 do sexo feminino e 28 do sexo masculino. Para o tratamento de dados, foram utilizados os programas de análise estatística SPSS 22.0, AMOS 22.0 e Process. Os resultados permitiram concluir que o foco regulatório em promoção está positivamente correlacionado à criatividade e à autoeficácia criativa, e que esta está correlacionada positivamente à criatividade. O teste do modelo de mediação indicou que a autoeficácia criativa atuou como mediadora na relação entre foco regulatório em promoção e criatividade, permitindo verificar com mais clareza de que forma a autoeficácia criativa, na condição de variável mediadora, influencia a relação entre foco regulatório em promoção e criatividade.

Today, the problem of piracy is a major concern for governments, academia and software industry as it has become a prevailing phenomenon. While much effort has been devoted to identify the factors that cause software piracy, most studies focus primarily on if social sanctioning mechanisms can be effective in deterring piracy. In this thesis, the research focus differs in that it emphasizes the role of self-sanction to safeguard copyright. Based on Bandura¡¦s Social Cognitive Theory, the determinants of effective self-sanction against piracy are presupposed to be enactive mastering and vicarious observation. We therefore hypothesize that well being resulted from previous software creativity experience as well as moral obligation should positively correlate with creative self-efficacy and ethical self-efficacy concerning software piracy. The results show that creative experience indeed significantly predicts both creative and ethical self-efficacy, and four constructs (i.e., creative experience, creative self-efficacy, moral obligation, and subjectively perceived critical mass) have significantly positive influence on ethical self-efficacy. Moreover, the results show that, within creative experience, the ¡§relationship development¡¨ dimension has significantly positive influence on ethical self-efficacy concerning software piracy, while the ¡§self-acceptance¡¨ dimension exerts significantly negative influence.

A quick search in Google Scholar for documents containing both keywords “Japan” and “collectivism” revealed 28,100 results. This fact alone is enough to support the notion that collectivism is a commonly reoccurring descriptive in discussions about Japanese society. This is also enough to give serious consideration to the impact of collectivism when thinking about the development of educational programs that foster the development of creativity. More specifically it raises the question: if some people within Japan believe in the collectivist nature of themselves and their society how does that belief influence creative self-identity and creative self–efficacy? Since creativity and innovation require the ability to think divergently, understanding the impact of the alleged pressure towards conformity on creativity should be a top priority. Furthermore, understanding this relationship becomes important when considering methodologies and potential barriers to learning in the creativity classroom or workshop. With this in mind, a questionnaire was given to 50 Japanese participants of various ages and backgrounds. Using open-ended questions and a Likert scale, the questionnaire examines the collectivist self-identity, the collectivist social-identity, creative self-identity, and creative self-efficacy. Through narrative qualitative analysis of the open-ended questions and quantitative analysis of the scaled questions the relationships between the four categories were examined to see if any influenced the others. From this study we can see that the quantitative data and the qualitative data both showed the similar findings. Within the group the majority did not identify as having a collectivist self-identity, the results on collectivist socialidentity were split down the middle, and a majority of the participants did identify with having a creative self-identity. It is also clear from both the qualitative and quantitative data that creative self-identity and creative self-efficacy are linked. It appears that if the person does not believe that he or she is a creative person then that same individual is very likely to believe they do not have the capacity to do creative things.

This study examined the relationship between several individual differences (openness to experience, conscientiousness, extraversion, creative self-efficacy, intrinsic motivation, and polychronicity) and creativity. It also examined how the organizational climate (support for creativity) moderated the relationship between the individual differences and creativity. All the individual differences except for polychronicity were positively correlated with creativity as well as support for creativity. Structural Equation Modeling (SEM) found that the individual differences explained 58% of the variance in creativity and that support for creativity moderated the relationship between conscientiousness and creativity and between extraversion and creativity. Because of noticed similarity between creativity and creative self-efficacy items, a factor analysis was done which confirmed some overlap. Implications of the findings of this paper are discussed.

Imagination and creative self-efficacy are important components of the creative process and outcomes but are rarely investigated together. To explore the relationship between personality factors, imaginative thinking, and creative self-efficacy, survey responses were gathered from university students in a southwestern region in the United States (n = 1,731). Personality was measured using the International Personality Item Pool (IPIP), imagination was measured using the Imaginative Capability Scale (ICS), and creative self-efficacy was measured using items based on reliability in previous studies. Participants were asked to complete the three surveys along with demographic information through an online format. Confirmatory factor analysis (CFA) was conducted first to confirm measurements used. After fit indices confirmed measurement models used, subsequent analyses were conducted using structural equation modeling (SEM). The model of best fit supported creative self-efficacy as a strong predictor of all three factors of imagination. Additionally, the model indicated a strong relationship between conscientiousness and conceiving imagination as well as other notable relationships with personality factors.

Submitted by admin tede (tede@pucgoias.edu.br) on 2018-12-05T19:03:24Z No. of bitstreams: 1 VALCEMIA GONÇALVES DE SOUSA NOVAES.pdf: 2047673 bytes, checksum: 36e661bc2881aedd186098597ca81f32 (MD5) / Made available in DSpace on 2018-12-05T19:03:24Z (GMT). No. of bitstreams: 1 VALCEMIA GONÇALVES DE SOUSA NOVAES.pdf: 2047673 bytes, checksum: 36e661bc2881aedd186098597ca81f32 (MD5) Previous issue date: 2018-04-06 / The constant changes of the contemporary society demand creative people for the resolution of adverse situations. Theys demands creativity, understood here as a human characteristic that can be developed base on the influencesenvironmental context and personal resources. This study propose to use Amabile, Sternberg, and Csikszentmihalyi´s theses to verify if the environmental conditions experienced by the State University of Goiás’s to the students in the course of their academic experience and personal resources allow them to feel confident in their ability to be creative at the end of their courses. Five studies were developed to meet this objective. The first presents a conceptual and historical survey of creativity. For the remaining studies, data were collected through a survey in 2017. A sample of 664 students, with na average age of 25 years (SD = 7.2), ansswered a questionaire ans cheked scales. In the second study, considering the inexpressiveness of studies on Creative Self-Efficacy in Brazil, the objective was to adapt and gather initial evidence of the validity of the Creative Self-Efficacy Scale, initially proposed by Yu (2013). The results of the adapted Scale confirmatory factor analysis demonstrated initial evidence of validity with a unifatorial structure (X2 / gl = 1.88; CFI = .99; GFI = .97; RMSEA = .05), diverging from the original two factor scale. In the third study, proposed a new type of instrumenti to be valited in Brazil. The third research had the objective of structuring and gathering initial evidence of the validity of the Creative Performance Scale. The results of the confirmatory factorial analysis of the Scale demonstrated initial evidence of validity in a unifatorial structure (X2 / gl = 3.37; CFI = .97; GFI = .88; RMSEA = .08). The fourth study we sought to ascertain the relationship between teaching practice / incentive to new ideas, as an institutional resource, and the creative selfefficacy of the student as a personal resource, as well as to verify the mediating role of student engagement. The hypothesized relationships between the proposed variables were corroborated with significant levels, and also confirmed confirmed the role of mediation of student engagement among the proposed variables. The test of the proposed model explained 41% of the explained variance (R2 = 0.41, F (5, 658) = 94.84, p ≤ .000). The fifth study e tested the effects of teaching / encouraging new ideas about the student's creative performance and creative self-efficacy. The mediating role of the creative self-efficacy of the student in this relation was also analyzed, as well as the moderational power of the intrinsic motivation in the relation between teaching practice and the creative self-efficacy of the student. The hypothesized relationships between the proposed variables were corroborated with significant levels, as well as the mediational power of creative self-efficacy (F (5, 658) = 78.14, p <0.001) and the moderating power of the student's intrinsic motivation (F (4, 659) = 100.85, p ≤ .000), among the variables proposed for the study. Theses studies allowed the confirmaiona of the role of enveromental influencaes ans personal resources in the developmnet of creative performance. Limitations of the study, implications of results and suggestions of future agenda of research on creative performance in Brazilian samples are presented. / As constantes mudanças da sociedade contemporânea demandam indivíduos criativos para a resolução de situações adversas. Demanda, também, criatividade, aqui compreendida como uma característica humana que pode ser desenvolvida a partir de influências do contexto ambiental e dos recursos pessoais. Assim, com base nas concepções teóricas sistêmicas de criatividade, propostas por Amabile, Sternberg, Csikszentmihalyi, esta tese objetiva verificar se as condições ambientais vivenciadas e ou oferecidas pela Universidade Estadual de Goiás (UEG) aos estudantes, no decorrer de sua experiência acadêmica, e os seus recursos pessoais permitem aos estudantes sentirem-se confiantes na sua capacidade de serem criativos. Para atender este objetivo, desenvolveu-se cinco estudos. O primeiro apresenta um levantamento conceitual e histórico da criatividade. Os demais apresentam dados que foram coletados junto a estudantes da UEG em 2017, totalizando uma amostra de 664 estudantes respondentes dos instrumentos de pesquisa, com média de idade de 25 anos (DP=7,2). No segundo estudo, considerando-se a inexpressividade de estudos sobre autoeficácia criativa no Brasil, objetivou-se adaptar e reunir evidências iniciais de validade da Escala de Autoeficácia Criativa, proposta inicialmente por Yu (2013). Os resultados da análise fatorial confirmatória da escala adaptada demonstraram evidências iniciais de regularidade com estrutura unifatorial (X2/gl = 1.88; CFI = .99; GFI = .97; RMSEA = .05), divergindo da escala original bifatorial. O terceiro estudo, tendo em vista a inexistência de instrumentos validados no Brasil, como proposto, teve como objetivo estruturar e reunir evidências iniciais de validade da Escala de Autopercepção de Desempenho Criativo. Os resultados da análise fatorial confirmatória da escala demonstraram evidências iniciais de validade em uma estrutura unifatorial (X2/gl = 3.37; CFI = .97; GFI = .88; RMSEA = .08). No quarto estudo, buscou-se averiguar as relações da prática docente/incentivo às novas ideias, como recurso institucional, e a autoeficácia criativa do estudante, enquanto recurso pessoal, bem como verificar o papel mediador do engajamento do estudante. As relações hipotetizadas entre as variáveis propostas foram corroboradas com níveis significativos, confirmando-se o papel de mediação do engajamento do estudante entre as variáveis propostas. O teste do modelo sugerido explicou 41% da variância explicada (R2= 0,41; F(5,658)= 94,84, p ≤ .000). No quinto e último estudo, testou-se os efeitos da prática docente/incentivo a novas ideias sobre o desempenho criativo e a autoeficácia criativa do estudante. Analisou-se, ainda, o papel mediador da autoeficácia criativa do estudante nesta relação, bem como o poder moderacional da motivação intrínseca na relação entre prática docente e autoeficácia criativa do estudante. As relações hipotetizadas entre as variáveis propostas foram corroboradas com níveis significativos, bem como confirmou-se o poder mediacional da autoeficácia criativa (F (5, 658) = 78.14, p <0,001) e o poder moderacional da motivação intrínseca do estudante (F(4, 659)= 100,85, p ≤ .000), entre as variáveis indicadas para o estudo. Limitações, implicações dos resultados e sugestões de agenda futura de pesquisas sobre desempenho criativo e demais variáveis em amostras brasileiras foram apresentadas.