Fostering students’ creativity in school subjects has recently become a central focus of educational researchers, educators, and educational policymakers around the world. In Kuwait, educational researchers and teacher educators have supported the need to foster students’ creativity via a national curriculum. Yet, the Ministry of Education has conducted few studies to explore practitioners’ perspectives on how to foster creativity through the current curriculum. The overall aims of this study were to explore science teachers’ pedagogical beliefs and practices in fostering creativity in science classrooms as well as to investigate the influences of sociocultural factors on teachers’ beliefs and practices in fostering creativity. The study also examined the consistency and inconsistency levels between teachers’ beliefs and practices. The study has a qualitative nature that stands on an interpretive worldview. The methodology uses eight case studies, each of which consisted of a male science teacher and one of his classes. Multiple methods were used, including semi-structured interviews (pre- and post-observational interviews), student focus groups, unstructured observations, participants’ drawings, and field notes. The analysis was based on thematic analysis model proposed by Braun and Clarke (2006). Thematic findings and case studies findings were drawn from the analysis of the data collected. In general, the thematic findings indicated that science teachers are able to define the meaning of creativity and its main aspects. Professed pedagogical beliefs enforce four teaching approaches to foster creativity in the science classroom: the teaching of thinking skills, inquiry-based learning, cooperative learning, and practical investigation (experimentation). The teachers believe that these approaches could promote students’ creativity in science classroom when specific sociocultural factors facilitate the effectiveness of such approaches in terms of fostering creativity. Three interdependent categories represent these facilitating factors: (1) educational setting-related factors, (2) teacher-related factors, and (3) student-related factors. Differences and similarities appeared when these professed beliefs were compared to the applied classroom practices. The thematic analysis revealed several themes underlying the main categories. Extensive teacher-centred practices and modest student-centred practices were evident; more specifically, the observations revealed primarily teacher-centred approach inside the science classes. Meanwhile, student-centred approaches were modestly applied in comparison to teacher-centred activities. The teachers justified their practices in accordance with the sociocultural factors that mediate their beliefs and practices as well as the role of their goal orientation. The science teachers perceived the mediating factors as constraints that prevent them from applying their beliefs about fostering creativity in classroom practices. Multiple constraining factors emerged, and they were categorised into personal, external, and interpersonal constraints. Concerning the case study findings, consistencies and inconsistencies were identified using a cut-off point as an analytic technique to classify teachers’ beliefs and practices into traditional (non-creativity fostering), mixed, or progressive (creativity fostering). The case study findings identified four consistency and inconsistency levels characterizing teachers’ beliefs and practices: traditional (consistent level), mainly traditional (inconsistent level), mixed (consistent level), and mainly progressive (inconsistent level). Each level was represented by an exemplary case study. The exemplary case studies revealed that sociocultural contexts influence teacher’s belief-practice relationship with respect to fostering students’ creativity in science classroom. Further, the thematic and case study findings were discussed in relation to the existing body of knowledge, followed by an illustration of significant conclusions, including some implications, contributions, limitations, and future suggestions.

The thesis deals with the topic of creativity, which is considered to be an integral part of human life and is often perceived as one of the major prerequisites of successful individuals on both professional and personal levels. The first few chapters are dedicated to human creativity from a theoretical point of view. They summarize all up-to-date knowledge concerning this topic and focus on research in this area. This later became the basis of my own research project I am presenting in this work. The following chapters are directly dedicated to the executed research project, which is analyzed in terms of its structure. The area of research and its goals are specified and introduced here. I then characterize the involved respondents, the proposed methodology and explain which feature or area of creativity they deal with. I then further explain the evaluation method of the collected data. As part of the output evaluation I pointed out interesting facts obtained through the research and formulated a hypothesis, which observes a certain tendency to creativity in relation to the chosen field of study.

В работе предложена экспериментальная методика развития креативности студентов средствами фитнес-йоги. Проанализированы современные подходы к теории креативности, методы диагностики креативности и методы развития в высшей школе. Сформулированы основные принципы создания комплекса фитнес-йоги для развития креативности и приведены результаты апробации методики. Показана высокая эффективность данной разработки для развития невербальной креативности студентов, что подтверждается результатами статистической обработки. / Experimental technique of fitness yoga for creativity development of students is proposed. Modern approaches to the theory of creativity, creativity diagnostic methods, methods of development of creative abilities in high school are analyzed. The basic principles of set of yoga exercises for the development of creativity are formulated. As a result of testing technique the high efficiency of the development of non-verbal creativity is shown.

Doctor of Philosophy / Department of Educational Leadership / Sarah Jane Fishback / This study investigated the relationship between the tolerance of ambiguity (AT) levels of the officers attending the U.S. Army’s School of Advanced Military Studies (SAMS) and the creativity of the military plans they developed. Located aboard Fort Leavenworth, KS, SAMS is an Army school providing education to specially selected officers in preparation for duties in positions as battalion commanders and lead planners for Army divisions and corps. The officers at SAMS are grouped into seminars for their classes, and they remain with their seminars throughout the yearlong educational program. The twin purposes of this study were to (a) test for the relationship between AT and creativity suggested by various theories of creativity and (b) contribute to the Army’s efforts to increase the creativity of its officers by empirically identifying the expected positive correlation between the officers AT levels and the creativity of their plans. A sample of 66 officers participated in the study. They each independently developed a military plan in response to a common notional scenario. Subsequently they each independently completed the short version of Norton’s (1975) MAT-50 to measure their levels of AT. Their plans were assessed for creativity using Amabile’s Consensual Assessment Technique (CAT). The high inter-rater reliability among the judges (r = .82) demonstrated the effectiveness of the CAT as a method for assessing the creativity of military plans. Counter to the expectation, analysis of the data revealed a small negative correlation throughout the sample between AT scores and the creativity of the plans, producing a disconfirmation dilemma for the researcher. Analysis revealed that the sample’s collective levels of AT differed among the various subscales of the MAT-50. Additionally, post hoc analysis revealed statistically significant variance of the creativity of the officers’ plans between the different seminars to which they were assigned. In the seminar with the highest creativity scores, there was a small positive correlation between AT and creativity, while in the seminar with the lowest creativity scores, there was a medium sized negative correlation between the two variables. Implications of these findings and recommendations for future research are discussed.

Background Long life does not inevitably mean more healthy years; older women have an increased risk of disabilities, diseases and adverse life events. Nevertheless, many older women experience health. This may be explained by possessing resources that promote health, despite adversities. Inner strength is seen as a resource as such. In this thesis inner strength is interpreted according to a theoretical model where inner strength comprises four interrelated and interacting dimensions: connectedness, creativity, flexibility and firmness, and being rated by the Inner Strength Scale (ISS). Aim and methods The overall purpose of this thesis was to explore inner strength as a health resource among older women. In study I six focus group interviews were performed with older women (66-84 years; n = 29) and the interviews were analysed by a concept driven approach and by means of qualitative content analysis. Studies II–IV had a quantitative, cross-sectional design. A questionnaire was sent to all older women (65 years and older) living in Åland, an autonomous island community in the Baltic Sea, and 1555 (57%) women responded. The data was analysed using descriptive and inferential statistics. Results In study I, exploring how inner strength and its dimensions can be identified in narratives of older women, connectedness was interpreted as a striving to be in communion, creativity as the ability to make the best of the situation, firmness as having a spirit of determination – “it is all up to you”, and flexibility as a balancing act. The results of study II showed that strong inner strength was associated with better mental health, but not physical health. In exploring factors associated with health-related quality of life, fewer symptoms of depressive disorders was the strongest explanatory variable, and together with not feeling lonely associated with better both physical health and mental health. Better physical health was also explained by not having a diagnosed disease, being of lower age and the opportunity to engage in meaningful leisure activities. Better mental health was additionally explained by having enough money for personal needs. In study III the result showed that non-depressed women were likely to have a strong inner strength, as well as never or seldom feeling lonely, taking fewer prescribed drugs, feeling needed and having the opportunity to engage in meaningful leisure activities. In study IV poorer mental health was associated with weaker inner strength in total, and in all four dimensions of inner strength. Symptoms of depressive disorders and feeling lonely were related to lower scores in three of the dimensions (except firmness and creativity, respectively) and poorer physical health was associated with lower scores in two of the dimensions (firmness and flexibility). Some other health threats were significantly associated with only one of the dimensions (connectedness or creativity), and others were not significantly associated at all. Conclusion The results add nuance to the notion of inner strength and deepen empirical knowledge about the phenomenon. It is elucidated that the ISS can be used not only to rate inner strength but also to offer guidance as to the areas (i.e. dimensions) in which interventions may be profitable. It is further shown that inner strengths can be identified in narratives of older women. Mental ill health has shown to have overall the strongest association with weakened inner strength among community-dwelling older women. The causality can, though, not be studied due to the cross-sectional design; therefore, longitudinal studies are recommended. Notwithstanding that limitation, the findings can be used as a knowledge base in further research within this field.

Crafting and stimulating service innovation is considered a main research priority and remains a challenge for service providers. One suggested component of stimulating service innovation is customer creativity. Customers who adapt, modify and transform services or products to better suit themselves are increasingly being recognized as a source of competitive value and innovation. It has been proposed that understanding and supporting the customer’s value creating practices is the key to creating and sustaining value over time in health care. Health services directly address a customer’s well-being and have a significant impact on his or her quality of life. In these types of services, the service outcome is highly dependent on the activities of the individual customer. Health care services often require customers to participate extensively, over long periods of time, with limited support and control. Health services also stretch far beyond the particular service setting into the customer’s daily life. While research, policy, and legislation have all emphasized the active role of health care customers, such customers have traditionally had few opportunities to design their health care services. Nevertheless, health care customers solve health-related problems and engage in self-care and medical decision-making on a day-to-day basis, although this creativity is often unknown to the service provider. To understand how health care customers can enable service innovation, this thesis seeks to conceptualize and investigate the concept of customer creativity in health care. The thesis focuses on customer creativity, not only as an outcome, but also as a dynamic and contextualized process that can be enhanced. The thesis combines insights from health care research with service and innovation research to provide build a framework for health care customer creativity. Building on five papers, the research develops an understanding for health care customer creativity. The individual papers are based on systematic literature reviews as well as empirical data in the form of customers’ ideas for service innovation collected through diaries. The results of the thesis suggest that despite the negative nature of the service, health care customers are creative. Given the opportunity, health care customers can provide creative ideas and solutions on a multitude of aspects, both within and outside the health care setting. This provides the potential to view the health care experience through the customers’ eyes and take part in their creativity in spheres where the service providers have not traditionally had any access. This thesis contributes to the literature by providing a framework for health care customer creativity that recognizes the concept as a complex interplay of factors operating at the individual, contextual, and situational levels. The proposed framework specifies the health care specific factors upon which customer creativity depends, with the intention of positing potential research directions and developing an enriched theory of health care customer creativity.

The origin of this thesis can be traced back to a deceptively simple question that struck me when reading Hegel for the first time: What, if anything, can be made of human freedom when we live in a world that has a profound impact on who we are and what we do? Unhappy with the way existentialist reactions to Hegel characterized freedom as our ability to step out of our world and determine our identity through our own decisions and will, but nevertheless inspired by Heidegger’s depiction of human agents as always already in the world, this thesis answers the aforementioned question by turning the existentialist conception of freedom on its head: that is, instead of characterizing freedom as detached decisionism, I argue that freedom is a function of our ability to recognize and respond to the disparate demands our world places upon us. Specifically, and unlike Heidegger’s existentialist interpreters, I read Heidegger’s account of authenticity as a case of engaged-agency in which we clarify the possibilities others make available and then act accordingly. There is, however, a certain limitation to this interpretation of human agency: namely, that treating freedom as an active response to the wants and needs of others binds the agent to possibilities present in her current situation and therefore fails to capture the kind of freedom we associate with cultural transformation or artistic creativity. Hence, this thesis addresses a second set of questions: What conditions make historical change possible? And how is it that artists are able to alter the world? In response to the first query, I turn to Heidegger’s claim that we are in truth and in untruth as well as his discussion of Gelassenheit to argue that the play between the possibilities present in a particular culture and those that are excluded by it along with a release from our present activities create the conditions for cultural transformation. In reply to the second question, I examine Heidegger’s account of the happening of truth and show how thinkers and artists are able to reveal the possibilities concealed in their culture through the creative use of language. Finally, I contend that the freedom associated with cultural transformation and artistic creativity is also a form of responsibility insofar as the success of a given transformation depends on others recognizing that transformation as valuable and thus worthy of their support.

This study aimed to explore Taiwanese piano teachers’ beliefs about good teaching, and their practice, particularly teachers who teach beginners or young children; and to gain understanding of how Taiwanese piano teachers perceive creativity in their teaching. The perceptions of piano teaching of seven Taiwanese teachers were explored through using a qualitative methodology, which included an open questionnaire, two interviews separated by observation of classroom practice, and a reflective diary prepared by the participants which was facilitated by video-stimulated recall. The principal areas and findings of my research were that Taiwanese piano teachers’ beliefs about what constituted good lessons are diverse. These were explored from three perspectives, namely, the characteristics of effective teachers, the components of effective lessons, and effective teaching strategies. The participant teachers’ attitudes towards creativity in teaching were also different, and can be categorised as ranging from fixed and rigid, to flexible and open. They identified several teaching strategies as creative teaching, such as using metaphor, storytelling, and Internet resources. Additionally, their various purposes in using creative teaching were observed to be to develop learners’ musical abilities; for enjoyment; and to impart a specific teaching point. Although the teachers’ own experiences were found to have a positive effect on their teaching beliefs, the influence of these benefits was not always evident in their actual practice. Pupils’ low motivation to learn and insufficient practice were considered as the common challenges and, when reflecting on their own teaching in the second interview and in the diaries, most of the participants focused mainly on analysis of pupils’ playing errors, and tended to believe that repeated practice by the learners was the best approach to improving performance. In contrast, two teachers believed their expertise in both music and teaching could help their learners to deal with learning difficulties. Based on these research results, I conclude that creativity in piano lessons can be understood from two perspectives. The first relates to how teachers perceive their own teaching and whether they are content with what they do or seek to develop their teaching competence; the other is associated with teachers’ own philosophy of the function of education, which affects how teachers develop their teaching.

The purpose of this thesis is to explore how the standardization of a New Product Development (NPD) process affects creativity and efficiency. The research was conducted on a case company through several interviews with employees connected to the process with various experience within the company. Standardization and creativity have in the past been considered to be mutually exclusive. However, recent research shows a connection between them and suggests that they could complement each other. This thesis is built upon a framework of six factors affecting creativity in NPD and has further explored how these are connected to efficiency as well. The research concludes that creativity and efficiency in NPD can work in harmony, complementing and supporting each other by focusing on the content rather than the process.

No description available.