Submitted by Tatiana Lima (tatianasl@ufba.br) on 2015-05-04T20:05:18Z No. of bitstreams: 1 Ganem, Márcia Luiza Freitas.pdf: 17668068 bytes, checksum: 2900fed97525e8d71ba8674c72dc2ab1 (MD5) / Approved for entry into archive by Patricia Barroso (pbarroso@ufba.br) on 2015-05-05T14:18:27Z (GMT) No. of bitstreams: 1 Ganem, Márcia Luiza Freitas.pdf: 17668068 bytes, checksum: 2900fed97525e8d71ba8674c72dc2ab1 (MD5) / Made available in DSpace on 2015-05-05T14:18:27Z (GMT). No. of bitstreams: 1 Ganem, Márcia Luiza Freitas.pdf: 17668068 bytes, checksum: 2900fed97525e8d71ba8674c72dc2ab1 (MD5) / Em um mundo cada vez mais globalizado, torna-se primordial reconhecer e preservar os valores identitários de cada cultura, enquanto elementos fundamentais para a diferenciação e competitividade no design e para a renovação e dinamização das tradições artesanais, contribuindo para a sua sustentabilidade e permanência. Por isso, a pesquisa Design Dialógico: Uma Estratégia para a Gestão Criativa de Tradições tem por objetivo examinar o campo sinérgico decorrente do relacionamento entre designers e grupos de artesãos tradicionais, contando para isso, com as referências teóricas no campo da criatividade, da inovação, da cultura e do design, examinando práticas para a formulação de estratégias voltadas para a gestão criativa, com base em entrevistas, observação participante e não participante e análise de documentos. A partir da análise de todo material, foi construída uma tecnologia de gestão social que considera as necessidades no relacionamento entre designers e grupos tradicionais, envolvendo reconhecimento de identidades, inovação, fruição, economia plural, monitoramento e celebração de resultados.Essa tecnologia é apresentada em uma proposta de livro que busca contribuir para a re-valorização dos territórios humanos, o respeito às identidades no trabalho entre designers e comunidades tradicionais, bem como o reconhecimento da inovação para a permanência das tradições. Within a globalised world, it becomes essential to recognise and preserve the identity values in each culture, and their contribution to the differentiation and competitiveness is priceless for the design in the global market.Thus, this research seeks to examine the synergetic field emerging from the relationship between designers and groups of traditional artisans. The theoretical basis is the field of creativity, innovation, culture and design. We have examined practices for the formulation of strategies oriented to creative management, using interviews, participant and non-participant observation, and documents.We have built a social management technology considering designers and traditional group necessities, involving the recognition of identities, innovation, fruition, plural economy, monitoring and celebration of results.Present in a book proposal, such technology seeks to contribute to the promotion of human territories, the respect of identities at work among designers and traditional communities, as well as the recognition of innovation for the continuity of tradition.

Cette recherche a pour objectif de mieux comprendre le phénomène de créativité en situation entrepreneuriale. Elle propose une nouvelle théorie pour expliciter le phénomène de créativité entrepreneuriale. Une recherche exploratoire a été menée auprès d'entrepreneurs de PME non microentreprises situées en France métropolitaine et ultramarine. Ce travail s'inscrit dans une démarche interprétativiste de type théorie enracinée (Glaser et Strauss, 1967). Sur la base d'entretiens et d'observations non participantes, nous avons analysé des situations entrepreneuriales auxquelles se trouvaient confrontés des entrepreneurs de PME. L'approche issue de la sociologie de la traduction (Callon et Latour, 1981) nous a permis de mener une interprétation raisonnée de ces situations entrepreneuriales. Les résultats permettent d'identifier les constituants de la créativité entrepreneuriale et de comprendre comment celle-ci s'opère au sein des PME non microentreprises. Cette recherche nous a permis de définir la créativité entrepreneuriale comme un phénomène de construction de connaissances, distinct de l'innovation, dont l'objet est situé dans un espace de créativité spécifique, plus ou moins ouvert, au sein duquel des acteurs humains, non humains et hybrides sont en relation. Notre théorie permet d'identifier la nature et la fonction de l'objet de créativité, ainsi que les modalités qui caractérisent les acteurs en relation et l'espace de créativité. Le niveau d'ouverture de ce dernier prédétermine la réflexion et l'action de l'entrepreneur et cela constitue une des applications managériales proposées dans cette recherche. / This research aims to better understand the phenomen of creativity in an entrepreneurial situation. It proposes a new theory to explain the phenomenon of entrepreneurial creativity. Exploratory research has been conducted with entrepreneurial from non-microenterprise SMEs located in metropolitan and overseas France. This work is part of an interpretative approach of the Grounded Theory (Glaser and Strauss, 1967). Based on interviews and non-participant observations, we analyzed entrepreneurial situations faced by SME entrepreneurs. The approach stemming from the Sociology of Translation (Callon and Latour, 1981) allows us to conduct reasoned interpretation of these entrepreneurial situations. The result make possible to identify the constituents of entrepreneurial creativity as a knoledge-building phenomenon distinct from innovation. The objet of which is located in a, more or less open, specific creativity space in which human actors, non-human actors and hybrids are related. Our theory makes it possible to identify the nature and the function of the object of creativity, as well as the modalities which characterize the actors in relations and the creativity space. The level of openness of the latter predetermines the reflection and action of the entrepreneur and this it one of the managerial applications proposed in this research.

For businesses that rely on creativity for their success, its effective and thought-out management is necessary for the entity to thrive. The field of creativity management has emerged as a result, highlighting the employment of a ‘creative climate,’ motivational tools, and an appropriate organizational structure as essentials for the asset’s optimization (Dubina, 2013, Sternberg and Lubart, 2004, Tonnquist, 2018, Csikszentmihalyi and Wolfe, 2014, Karambayya and Reid, 2009). However, the current literature fails to address how outside factors may influence the effectiveness of creativity management’s employment, such as the financial and organizational obligations of an operation (Knight and Harvey, 2015). Creative organizations, in particular, are affected by this issue, as the success of their end-product lies directly in their ability to harness creativity effectively (Jones et al., 2016). The aim of the study is therefore to understand how executives within creative organizations attempt to maximize creativity, while continuing to heed exterior business initiatives. The following investigation has attempted to tackle the subject by exploring it through the lens of the film production process. We pose the question: What are the conflicts that arise between an economic outlook and a creative outlook on a film, and how has this power struggle been managed? Semi-structured interviews were conducted with industry professionals, with producer and director pairs representing the two perspectives, respectively. We find that the two primary points of contention are the intrusive measures enforced by producers for ‘profitability’ and ‘scheduling & budget control,’ which often lie in direct contrast to a project’s creative vision (Bérubé & Demers, 2019, Knight and Harvey, 2015, Senge, 1990). We then identify three winning strategies employed by the consulted professionals to handle these conflicts: clear communication on financial and organizational boundaries from the planning phase, an established relationship of trust between the artistic and managerial leader, and a capacity for empathy with the competing perspective. These principles should support and contribute to the existing knowledge on creativity management, in identifying where it may be challenged, and suggesting methods for conflict minimization. It has laid the ground for future studies within this domain of creativity management, by opening up room for research in other creative industries that may share these same challenges, to confirm the findings.

Le but de cette recherche est de décrire et comprendre le fonctionnement du management de la créativité dans des entreprises d’assemblage automobiles en Thaïlande. La question principale qui est posée est «comment peut-on gérer la créativité dans l’entreprise ? ». La stratégie d'étude de cas, a été privilégiée à d’autres modes de recherche qualitative. Les données provenant de sources multiples ont été rassemblées: les documents, les protocoles des entretiens avec des participants de niveau hiérarchique différent dans l’entreprise. Quatre études de cas sont présentées. La créativité dans les entreprises d'assemblage en Thaïlande est basée essentiellement sur le concept de ‘Kaizen’. L'étude démontre que les valeurs culturelles et sociales thaïes ont une influence déterminante sur la créativité du salarié. L'activité de créativité au niveau de l'individu et au niveau du groupe ainsi que les facteurs qui ont une influence sur la gestion de la créativité ont été présentés dans cette étude. / The purpose of this study is to understand and describe the creativity management in the car assembly companies in Thailand. The main research question is how can manage the creativity. The case study strategies, which is one of the strategies in the qualitative research methodology is used. Data were collected from multiple sources: documentary evidence, guided interviews with the participants from different positions. Four case studies are presented in this study. The creativity’s definition in Thai car assembly companies was defined based on the concept of Kaizen. The study demonstrates Thai cultural and social values have some effects on the employee’s creativity. The creativity activity in individual and group level, and the factors that influence on creativity management were presented in this study.