The purpose of my study is to find out how a preschool teacher look upon children's culture and learning. have preschool teachers' understanding and work with children's culture been impacted by this initiative? To highlight this I have asked the following questions: How are preschool teachers' attitude towards Kultur i ögonhöjd? And where do learning fit in into preschools active undertaking with culture? I use qualitative interviews with a low degree of structure as a method to collect empirical data. The survey was conducted with a group of six preschool teachers where everyone works as culture delegates, a roll where they are ultimately responsible for preschools development in its undertaking of culture. I analyse the results with the help of Vygotsky and his theory of the proximal development zone. The proximal development zone is the potential for learning that go beyond what a child can reach on its own and to which a child can reach by help of others or artefacts. In this essay I divide children's culture into three categories. Culture for children is created by adults for children. Culture by children are when children themselves create without adult influence and culture with children when children and adults interact in the cultural process. Some of preschool teachers were positive about the venture presented by the city of Stockholm since it meant more opportunities for cultural experiences for children. They only showed prof of actively working with culture for children. A major part of the preschool teachers were disappointed in Stockholm's initiative as they considered that it only focused on culture for children. They felt that the culture by children and culture with children was pushed aside. When it comes to culture and learning processes, there are four main tracks. The adult conveys learning by making use of a cultural product, this is culture for children where the children reproduces what the adults presents them with. The next track is when adults tries to inspire by the means of culture for children, so that the children themselves become creators of culture by children. Now the idea is that what the adult presents will lead the children to become creative. The third track is when the adults captures what the children are exploring and gives the children challenges, artefacts and discusses with the children so that they canmove forward in their processes. This is a form of culture with children. The last way is to create environments that are built for the children to explore and be creative in. The adult will be documenting the children´s behaviour so that they later can reflect over how they can challenge the children to help them forward in their learning process. This is a form of culture with children.

Do tangible, testable links exist between the autistic spectrum and creativity? How would such links work from the perspective of an author with Asperger's Syndrome? To what degree would autism mould the author's work, and how would it affect writing technique and style compared to neurotypical (non autistic spectrum authors)? Do these links provide a tangible advantage? Can an Asperger's author successfully engage a non-Asperger's readership? Has Asperger's become fashionable in fiction and if so what are the benefits/consequences? Can an “extraterrestrial stranded without an orientation manual”1 communicate ideas in a meaningful way to non-autistics? Asperger's Syndrome is a form of high functioning autism where those affected express a range of social, behavioural and perceptual traits which have no actual bearing on their level of intelligence. As an author with Asperger's my intention is to examine the degree to which my autism affects my writing technique and style compared to neurotypical (non autistic) creatives. Asperger's sufferers lack empathy and social skills, therefore creating situations a reader can empathise with is challenging. To an Asperger's other people are 'aliens'. If the characters and scenarios in my work are coloured by my difference, then it may be the difference itself which provides the hook for the reader. To what extent do Asperger's authors need to 'pretend to be normal' in order to engage a neurotypical reader, or to make their work generally marketable? Is there an argument that they shouldn't even try? With increasing diagnosis and better understanding of the autistic spectrum, the Asperger's limited but intense range of interests and ability to focus without human distraction might link in to creative excellence that has an appeal far beyond the boundaries of the autistic spectrum. The purpose of this thesis is to investigate whether claims of autistic links to creativity are more than heresay. I examine alleged positive evidence for these links, and see how this evidence ties in with my experience both as an Asperger's and an author, with particular regard to my decisions in crafting my novel The Ghost Land.

Since being designated in 2001 as a natural World Heritage Site the Jurassic Coast managers have worked for it to be recognised as the Creative Coast. This thesis explores and challenges the entanglements of policy and practice in the process of the site becoming creative. Through archival research, interviewing and ethnographic methodologies this project has sought to develop a site-specific approach to creative arts policy. Research has integrated investigation of the embodied and quotidian geographies of decision-making with policy discourse analysis. Following formal and informal, public and private artistic practices, this research has traced how the Jurassic Coast is constructed by the creative activities of those who inhabit it. In this research, relationships between the arts, creativity and geological heritage become complicated due to a paradox inherent within the site’s policy. The geological heritage preserved through the Jurassic Coast’s designation is acknowledged to be under continual processes of change. In response, this research illustrates how creativity can be used as a tool to illuminate tensions between the need to preserve natural processes of erosion and retreat and the desire to provide access and promote engagement with the site. Furthermore, it is argued that using a site-specific and critical approach to everyday creativity allows geographers to understand how people engage with place in a multitude of ways. This is especially significant as the heritage value of this site lies in the ways in which different communities engage with it. It is through these day-to-day creative encounters that the Jurassic Coast is culturally constructed.

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No. of bitstreams: 1 moraes_lap_me_mar.pdf: 7495311 bytes, checksum: 5204b47408b33935ede8150ba5ca645b (MD5) Previous issue date: 2018-02-28 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / A proposta desta pesquisa é apresentar aos estudantes com comportamento de superdotação, participantes, dois jogos como instrumento para identificar a presença dos três anéis de Renzulli (1986; 2014), com ênfase no anel da criatividade, observando podem impactar no desenvolvimento de suas habilidades sociais, escolares e em seu processo de ensino. para o presente estudo, utilizamos o jogo eletrônico Minecraft e o RPG GURPS – Módulo Básico.o estudo contou com a participação de estudantes que frequentam regularmente o programa de atenção ao aluno precoce com comportamento de superdotação (PAPCS), no qual foi coletada parte dos dados da pesquisa na forma de oficinas realizadas durante 2017. Essas atividades tiveram como objetivo investigar também, o grau de comprometimento com a tarefa, e a eficiência do uso das potencialidades dos jogos pensados. esta pesquisa apresenta discussões sobre as relações entre a superdotação, criatividade e jogos, visando a contribuição desses elementos tal discussão. Denotamos, através de uma revisão bibliográfica, a carência de produções científicas sobre o tema. Como resultados, compreendemos que o Minecraft, enquanto instrumento de apoio para o enriquecimento pode ser considerado como uma ferramenta promissora, mas que ainda carece de mais investigação científica, enquanto o RPG foi notado como uma importante ferramenta estimuladora de ações criativas e de comprometimento com a tarefa. Apesar de as pesquisas sobre estudantes superdotados estarem crescendo no Brasil, acreditamos que ainda há muito a ser feito, especialmente em relação a trabalhos que sejam elaborados a partir do interesse destes, visando seu enriquecimento, e nesse sentido, no que diz respeito à utilização de jogos, as produções científicas na área ainda são escassas. / The proposal of this research is to present to students with gifted behavior, participants of the survey, two games as an instrument to identify the presence of the three rings of Renzulli (1986, 2014), with emphasis on the ring of creativity, observing how they can impact the development of their social skills, school and in their teaching process. For the present study, we use the electronic game, Minecraft and the RPG GURPS – Basic Set. The study counted on the participation of students who regularly attend the Program of Attention to the Precocious student With Gifted Behavior (PAPCS), in which part of the research data was collected in the form of workshops held during 2017. These activities had the objective to investigate also , the degree of commitment to the task, and the efficiency of the use of the potentialities of the games considered. We present discussions about the relationships between giftedness, creativity and games, aiming at the contribution of these elements to this discussion. We denote, through a bibliographical review, the lack of scientific productions on the subject. As a result, we understand that minecraft, as a support tool for enrichment, can be considered as a promising tool, but still requires more scientific research, while RPG has been perceived as an important stimulating tool for creative actions and commitment to assignment. Although research on gifted students is growing in Brazil, we believe that there is still a lot to be done, especially in relation to works that are elaborated based on their interest, aiming at their enrichment, and in this sense, regarding the use of games, the scientific productions in the area are still scarce. / CAPES: 1588899

This thesis examines shifting relations of labour, creativity, and political economy in the context of commercial animation production in contemporary Tokyo. Based on 12 months of fieldwork in the Japanese animation industry (2009-2010), the ethnography of the thesis is centred on young animation makers whose lives are fraught with persistent job insecurity and socio-economic precariousness. Contrary to celebratory narratives of the global success of anime, found in both Japanese media discourses and the literature of Japanese studies, these professional young workers live on the socio-economic fringe of mainstream Japanese society. Despite such instability, labour discourses in the animation industry are notable for their highly aspirational quality, which appears to be based on global liberal discourses of self-realisation through the pursuit of dreams in the labour market. Commercial animation production in the Japanese industry entails a complex division of labour in which animation makers are, at the root, divided between managers and creators. This management-creative relation structures the primary context of commercial production. Thematically, the thesis engages mainly with three research literatures in anthropology: the anthropology of creativity, the anthropology of work, and Japanese ethnography. The analytical locus is built on the perspective of young entry-level managers, with whom I worked during fieldwork and who were on the lowest strata of the workplace hierarchy. Through the detailed ethnography of animation production - one of Japan's premier creative industries - the thesis examines creative processes of animation making within the terms of work and labour. In so doing, it engages critically with the social and economic structures of commercial animation production, and explores the lived dimension of labour on the production floor. Methodologically, this means combining the perspectives of political economy and phenomenology by situating the micro-processes of animation making firmly in the industry's social and economic relations of production. I pay particular attention to the ways in which shifting social and cultural discourses of labour in Japan intersect with global liberal ideologies, such as creativity and self-realisation, in the context of commercial animation production. The major focus of the thesis is therefore to explicate what it is that makes these young animation makers, despite adverse conditions of labour, retain their aspirations to pursue the profession of animation making.

The goal of this master's theses is to make a theoretical analysis related to creation of concept maps and its use in elementary school, as well as creativity and other aspects of the creative process. Another part is the didactic analysis which includes a comprehensive analysis of the chosen physical thematic unit. This is followed by the verification of the created concept maps in the real teaching that was realized within the pedagogical probe.

A criatividade é um estudo que vem despertando a curiosidade de pesquisadores nos dias de hoje. Tendo seu início nos anos 50, desde então as investigações não pararam mais. O grande desafio deste trabalho resume-se na possibilidade de investigarmos as condições facilitadoras da criatividade, além dos meios para medi-la buscando resultados preditivos. A moderna teoria da criatividade, assim como este trabalho, aceita que este fenômeno é melhor compreendido dentro de um enfoque multidimensional incluindo vários fatores contribuintes para a sua manifestação (LUBART, 2007). Este estudo tem como objetivo realizar uma investigação comparativa para avaliar a performance da criatividade em crianças que participaram do projeto “Música para Bebês/ UFRGS” (dos 3 aos 24 meses) em 2002 e crianças sem educação musical formal aos 7 anos de idade. Participaram desta amostra dois grupos distintos em crianças de 7 anos. Participaram desta pesquisa 16 crianças em seu total, sendo um grupo com educação musical/UFRGS- música para bebês (dos 3 meses aos 24 meses: n=8; 4M/4F) e um grupo sem educação musical formal (N=8; 4M/4F) nas mesmas condições de idades e escolarização. Foi criado um instrumento de medida a partir do teste de Teste das Fábulas e também inspirado na idéia dos testes divergentes de Guilford (1950). O levantamento dos resultados seguiram critérios muito próximos dos testes de Torrance (2004), versão brasileira adaptado por Wechsler – Pensando Criativamente com Figuras e Pensando Criativamente com Palavras. A razão para a construção de um instrumento novo se deu pelo fato de não existir, até o presente momento, um teste de criatividade que contemplassem as idades das crianças pesquisadas neste estudo. Para análises estatísticas foram utilizadas: Teste t de Student, Correlação de Pearson e ANOVA. Software utilizado: SPSS 13, e Excel 2007. Os resultados demonstraram que as crianças com educação musical/UFRGS, apresentaram médias superiores em todos os itens de criatividade. Obtiveram, igualmente mais respostas com uso de metáforas, nos “títulos expressivos”. No escopo geral dos resultados, as crianças com educação musical/UFRGS tiveram performances superiores tanto em quantidade quanto em qualidade de resposta. / The creativity research has been calling the attention of many researchers until these days. It started in the 50s, since then, the investigations haven’t stopped. The greatest challenge is summarized in the possibilities of investigating the facilitator conditions of creativity besides the means to measure it aiming predictive results. The modern theory of creativity accepts the fact that this phenomenon is better understood in the multidimensional approach including many factors contributing for its manifestation (Lubart, 2007). This research aimed a comparative investigation in two distinct groups in 7 year old children. 16 children made part of this research divided in two groups: One with musical education/UFGRS- music for children (from 3 to 24 months of birth: n=8; 4M/4F) and the other groups without formal musical education (N=8; 4M/4F) in the same age conditions and scholarship. The measurement instrument was elaborated from the Testes of Fábulas and also based on the ideas of the Guilford’s divergent tests. The results followed criteria similar to Torrance’s tests, Brazilian version adapted by Wechsler – Thinking Creatively With Pictures and Thinking Creatively With Words. The reason for the construction of a new instrument occurred by the fact of not existing one, until the present moment, a creativity test to contemplate the ages of the analyzed children in this study. The tests t de Student and, Person’s correlation and ANOVA were needed for the statistics analyzes. Software used: SPSS 13, and EXCEL 2007. The results showed that the children with musical education/ UFRGS had better average in all items of creativity. They also had more response with metaphor usage, in theirs expressive titles. In short, children with musical education/UFRGS had better performance in either quantity or quality in their feedback.

Esta pesquisa tem como objetivo, estabelecer um conjunto de diretrizes que facilitem a geração e a exploração de ideias, e a partir do conceito de esboço, traçar relações com o brinquedo, inserindo-as nas etapas de concepção do Design de Jogos. Para a elaboração dessas orientações, foram abordados cinco tópicos: o processo de desenvolvimento de jogos, a experiência do usuário nos jogos digitais, o processo criativo nos jogos, a resolução de problemas no Design, o brinquedo como atividade exploratória e precursora de jogos, bem como os tipos e formas encontrados nas atividades lúdicas. A pesquisa, então, relaciona as propriedades dos esboços e as propriedades dos brinquedos, para então estabelecer diretrizes para as fases conceituais do Design de Jogos bem como descreve uma série de orientações de projeto de jogos, baseadas nessas diretrizes. O relatório apresenta a aplicação das orientações na conceitualização de um jogo digital. O trabalho foi executado a partir de uma pesquisa bibliográfica, utilizando-se de documentação indireta, através de fontes secundárias e a aplicação das diretrizes desenvolvidas, na elaboração do conceito de um jogo. E como resultado dessa pesquisa, verificou-se que é possível agregar atividades geradoras de alternativas nas etapas preliminares do processo de desenvolvimento de jogos. / This research aims to establish a set of guidelines that facilitate the generation and exploration of ideas, and from the concept of the activity of sketch, establish parallels with the play, inserting them in the Design stages of game development. To elaborate the guidelines, were addressed five topics: the process of game development, user experience in digital games, the creative process in games, solving Design problems, the toy as exploratory activity and precursor to games as well as the types and forms found in recreational activities. The study then lists the properties of the sketches and the properties of the toys, and then show methodological guidelines for the conceptual stages of Game Design and describes a series of procedures for game Design, based on the guidelines. The report then presents the application of the guidelines in the conceptualization of a digital game. The methodology used in this study was the literature search, using indirect documentation, through secondary sources and application of guidelines developed in the elaboration of the concept of a game. And as a result of this research, it was found that it is possible to add alternative generating activities in the preliminary stages of the game development process.

The study of foresight methodology has traditionally focused on the anticipation and development of future scenarios. It is somewhat surprising that, despite the impact that the advice generated with foresight may have had on Research and Innovation(R&I) policy action, the analysis of the process whereby foresight actually creates policy recommendations has so far been ignored in the literature. This thesis explores this process, trying to identify those elements that have a greater influence in the final advice characteristics. The research draws on the study of two European cases, which are analysed with very different methods. The first case is addressed with critical discourse analysis, which constitutes a methodological innovation in the area of foresight evaluation. The second case is explored through action research, which facilitated an in-depth examination of the foresight process and an exhaustive tracking of the activities that gave rise to the final recommendations. In both cases special attention is paid to the role and utility of future anticipation. The combination of these methods helped in understanding: the effect that repositioning advisors’ mindsets in highly transformed futures has in the volume and originality of the insights generated, the importance of achieving a balanced representation of the R&I actors in the discussion groups, and the relevance that argumentation has in the formation of final advice. Understanding these factors would contribute to improve the quality and consistency of foresight advice discourses, thus augmenting their possibilities for acceptance and implementation by policy makers.

AN ABSTRACT OF THE DISSERTATION SHENG-TAO FAN, for the Doctor of Philosophy degree in SPEECH COMMUNICATION, presented on APRIL 11, 2013, at Southern Illinois University Carbondale. TITLE: PERFORMATIVE CORPORATE TRAINING IN TAIWAN MAJOR PROFESSOR: Dr. Elyse L. Pineau This dissertation attempts to translate performance concepts and techniques into corporate training models for concretely increasing Taiwanese business competencies. I argue that this performance praxis is especially relevant to Taiwanese business contexts because of our Taoist traditions, which performative corporate training can awaken and activate. The purpose of applying performance praxis in corporate training is not to enhance physical techniques, acting skills, or technical competence, but rather to explore organizational dynamics through embodiment and to enrich management-related knowledge involving leadership, creativity, and team building. In Chapter One, Introduction to Taoism and Taiwanese Corporate Culture, I show that Taiwanese corporate culture is bonded and interdependent with Taoism. In Chapter Two, Performance Pedagogy for Business Contexts, I categorize different forms of performative pedagogies in teaching, learning, and corporate training as well as examining Taiwanese practices of performance pedagogy. Based on my systematic literature review of Western academia and analysis of Taiwanese practices, I create a calligraphic model for developing and analyzing performative corporate training programs within organizational and cultural contexts. This model elaborates three characteristics of the Taiwanese corporate culture (harmony, innovation, and teamwork), three features of Taoism (ecology, creativity, and community-building), and three principles of performance (balance, imagination, and collaboration) for Taiwanese corporate training. In Chapter Three, I present a case study of the STOMP Performative Corporate Training program, led by Smart Orange Training and Consulting. Through thick descriptions from an insider's perspective, I demonstrate that this innovative and successful case advances the trend of management development from experiential learning to performative training. In Chapter Four, I propose a management education course for a university Executive Master of Business Administration program, entitled "Performing Mentor." In addition, I design a corporate training program, entitled "Performing Taiwanese Cultural Festivals" that uses performative pedagogy to awaken innovation, promote harmony, and facilitate teamwork among business participants. In Chapter Five, I synthesize the study and note its limitations and directions for future research. In essence, this dissertation is theorization about performative pedagogy in corporate training with unique Taiwanese practices. It creates interdisciplinary integration, industry/academia collaboration, and cross-cultural understanding.