The purpose of this study was twofold: (1) to investigate the relationship between creativity and self-concept in grade school children, and (2) to discover if creative children see themselves as having traits that past studies have indicated are characteristic of creative individuals.

The purpose of the present study was to investigate the relationship between differential quantitative and linguistic abilities and creative potential in a college population.

A Research Report submitted to the Faculty of Education, University of the Witwatersrand, Johannesburg, in partial fulfilment of the requirements for the degree of Master of Education. / As a front-end analysis, the present study seeks to investigate two ways in which Creativity-Action-Service [CAS), an activities-based experiential learning programme, can be implemented alongside the overly content-focused curriculum in South African schools in an era of transformation to democracy and as a means of contributing to nation building. Two research questions which relate to two possibilities for the implementation of CAS in Gauteng schools are investigated: (1) How can CAS be implemented in all public secondary schools in District C1, Gauteng? and (2) How can CAS be implemented in a single purpose-built private secondary school? The research design adopted is largely descriptive in nature and the methodology includes gleaning data from disparate sources including key informants and recent state policy documents. From the data it is argued that that CAS can be implemented in response to the first question by means of a combined top-down bottom-up curriculum implementation strategy, namely, Mutual Adaptation and Development, and, in the case of the second question, by means of the Problem Solving/ Critical Factor strategy which is driven by the identification of felt needs. / AC2017

The aim of this thesis is to challenge the common assumption that politics alone, as conventionally understood, are what governs societies. To put it differently, the goal is to argue that the cultural arena can also be political. The idea here is to look at how under certain political contexts, cinema becomes political, so obviously so that there is a “need” to censor it. Under such a constraining environment, cinema finds itself in need of finding its own language in order to counter this censorship. This marks the beginning of the creative process. Ultimately, this project makes the rather bold statement that cinema is not a simple entertainment, or else a propaganda tool, but can also be appropriated by the people, as a tool for resistance and opposition, through which dissident demands can be expressed in the face of hegemonic dominant powers using creativity and symbolism as the main processes.

Thesis (Ed.M.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / The general purpose of this review is to summarize the research and literature in the field of creativity from 1946 until the present time. The Terman studies of the 1920s helped education take a giant step forward by giving it a measuring device that would greatly assist in differentiating the individual abilities of children. The value of the intelligence test certainly cannot be questioned. Current thought and research, however, seem to indicate that intelligence testing and concomitant attitudes are not doing the complete job of revealing our talented individuals. [TRUNCATED] / 2031-01-01

An approach to the design of teaching agents in problem-seeking domains - that is based on a systematic relationship between theoretical framework, analysis of empirical data, computational model and computational implementation - has been developed. The theoretical framework, called the Knowledge Mentoring framework (KMf), was developed to investigate how studies of dialogue and interaction can be exploited in a practical way by designers of computer-based teaching agents. A particular focus was the following musical education problem: when interacting with a computer-based music system, many students do not spontaneously reflect on their activity, they often need to be encouraged to do this. The KMf provides a taxonomy and definitions of the pedagogical goals involved in a 'mentoring' style of teaching. Mentoring is an approach to teaching that aims to support learners' creative, metacognitive and critical thinking, these being essential to musical composition and other open-ended, problem-seeking domains. This theoretical framework was used to guide the analysis and modelling of data produced by an empirical study of human teacher-learner interactions. Information on the temporal ordering of teacher-learner interactions was revealed (modelled as. state transition networks and a mentoring script). Findings from the analysis also included a pause taxonomy (that provided evidence of a link between pause length and learner ability) and the occurrence of reciprocal modelling (where participants in learning interactions built up models of the other participants' expectations). The theoretical framework and the analysis findings were then used to develop a computational model for teaching agents in problem-seeking domains. Aspects of our theory, analysis findings and computational model were incorporated into a computational implementation: a pre-prototype teaching agent called MetaMuse. A Cooperative Evaluation of MetaMuse with teacher-composers showed that it had the potential to promote creative reflection in learners.

This study investigated the relationships among children?s creativity, computer games, natural play, TV, and their structured activities daily after school by the analysis of their time spent on computer games, and the other components with the Torrance Test of Creative Thinking (TTCT), using the statistical methods of MANOVA and SEM. Activity 5 of Verbal Form B and Activity 2 of Figural Forms B of the TTCT were used to measure students? verbal and figural creativity scores. Two hundreds and thirty eight 3rd and 6th grade students from one rural and one urban school in the Republic of Korea were studied. The study also examined whether any variables (i.e., gender, grade, location, achievement, genres of computer games and parental Social Economic Status) affected children?s creativity scores and computer game usage. Children using computer games heavily showed significantly higher scores on the scale of Figural Originality than those with moderate usage. Highly structured activity students had significantly higher scores on all Figural TTCT scales than did the moderately structured activity group. There was a significant location difference on Figural Originality and Figural Elaboration, parental SES, and time spent on TV. Time spent on free play did not show any differences on any TTCT scales. Time spent on TV was differently correlated with the Figural TTCT by parental SES. Third graders obtained significantly higher scores than 6th graders on all the Verbal TTCT and Figural Elaboration scales. In this study, the subjects showed a significant preference for Role Playing Game (RPG) and Casual games. Gender differences on preferences of game genres, time spent on computer games and starting period of computer use were found. The MANOVA among genres of computer games on the TTCT scores was significant. The path models showed that the parent factor had strong correlation with children?s figural creativity and the play factor was correlated more with verbal creativity.

The present study used the method of meta-analysis to synthesize the empirical research on the effects of intervention techniques for fostering creativity. Overall, the average effect sizes of all types of creativity training were sizable, and their effectiveness could be generalized across age levels and beyond school settings. Generally, among these training programs, CPS (Creative Problem Solving) spent the least training time and gained the highest training effects on creativity scores. In addition, ??Other Attitudes programs,?? which presumed to motivate or facilitate the creativity motivation, also presented sizable effect size as other types of creativity training programs. As for the issue of creativity ability vs. skills, this analysis did not support the notion that figural components of the TTCT (Torrance Tests of Creative Thinking) might be measuring the relatively stable aspects of creativity proposed by Rose and Lin (1984). Because the figural form of the TTCT did not obtain the lowest effect size, the results indicated that the view of multi-manifestation of creativity is a more plausible explanation. And since neither the Stroop Color and Word Test or the Raven Progressive Matrices was found in the studies, this issue was difficult to investigate further. From the path-model analysis, it can be implied that a research design with a control group and student sample would more likely lead to publication, which would influence the effect size index. Unfortunately, from the information provided in the articles included in this study, there were not any quantitative data about motivation or related measurement of the participants, which is a major problem and impedes this study for creating a better path-model. This study has many implications which merit investigation. One approach follows the concepts of aptitude-treatment interactions, which is focused on each individual??s unique strengths and talent, and the goals of a creativity training program should help them to recognize, to develop their own creative potential, and finally to learn to express it in their own way. Another involves developing the assessment techniques and criteria for individuals as well as collecting related information regarding attitudes and motivation during the training process.

Every time emergency responders respond to an incident, they enter an ambiguous situation that is an ill-defined problem space. As the responders engage with the incident, they discover, piece by piece, the unique interlocking problems and act quickly to put form and structure onto the potential solution. In order to quickly, effectively, and safely resolve an incident, emergency responders must have depth and breadth of knowledge across responder disciplines and domains. This knowledge is acquired through both formal training courses and informal training in the station house. The ability to quickly assess a situation, accurately identify the elements as they emerge and their significance, then decide on a course of action combining a variety of domains and skill sets speaks to the creative nature of emergency responders. This study uses naturalistic inquiry to explore what it is like to be an emergency responder, describe how creativity manifests itself in a field environment, and discuss what emergency responders want in their training. This study found that being an emergency responder is emotional, exciting, stressful, challenging, full of the unexpected, and rewarding. During an incident, emergency responders are dealing with the complex interactions of various emotions while resolving difficult and often sad situations. Being an emergency responder is synonymous with being a good problem solver; they are also highly emotionally resilient. The process of creativity within an emergency response environment is seen through preparation that is, training. The consistent review and development of skills makes the skills automatic. Responders also cross-train and, often, an individual responder will have expertise in multiple areas. The improvisational skills of emergency responders to events which are often emergent and creative in their own right, demonstrate a depth of creative force through the handling of complex, high-risk situations with persistence, endurance, and determination. Finally, this study found that emergency responders are passionate about their training. They know that what they learn and practice during training evolutions forms the foundation of their professionalism, provides opportunities to learn new skills or hone already established skills, reinforces safety considerations, and will save their lives and the lives of other people.

This study investigated the relationships among children?s creativity, computer games, natural play, TV, and their structured activities daily after school by the analysis of their time spent on computer games, and the other components with the Torrance Test of Creative Thinking (TTCT), using the statistical methods of MANOVA and SEM. Activity 5 of Verbal Form B and Activity 2 of Figural Forms B of the TTCT were used to measure students? verbal and figural creativity scores. Two hundreds and thirty eight 3rd and 6th grade students from one rural and one urban school in the Republic of Korea were studied. The study also examined whether any variables (i.e., gender, grade, location, achievement, genres of computer games and parental Social Economic Status) affected children?s creativity scores and computer game usage. Children using computer games heavily showed significantly higher scores on the scale of Figural Originality than those with moderate usage. Highly structured activity students had significantly higher scores on all Figural TTCT scales than did the moderately structured activity group. There was a significant location difference on Figural Originality and Figural Elaboration, parental SES, and time spent on TV. Time spent on free play did not show any differences on any TTCT scales. Time spent on TV was differently correlated with the Figural TTCT by parental SES. Third graders obtained significantly higher scores than 6th graders on all the Verbal TTCT and Figural Elaboration scales. In this study, the subjects showed a significant preference for Role Playing Game (RPG) and Casual games. Gender differences on preferences of game genres, time spent on computer games and starting period of computer use were found. The MANOVA among genres of computer games on the TTCT scores was significant. The path models showed that the parent factor had strong correlation with children?s figural creativity and the play factor was correlated more with verbal creativity.