在臺灣國中英語課程的寫作部份，一向只有片段的填空、改寫句子或翻譯等，加強文法及句型結構的練習，而忽略能讓學生自我表達的創意寫作。對英語能力相當有限的國中生而言，若能提供有效、有趣的寫作指導，他們也能應用語言能力並發揮創意，寫出有趣的文章。 本研究在探討由看圖說故事進而寫故事，對國中生寫作能力的影響。本研究以台北市某國中兩班三年級，六十位學生為研究對象，先施以一次先前研究，作為主要研究的設計及實施之參考，再以三個故事為主題進行六篇記敘文的寫作。其中三篇只給作文題目及引導句，稱為題目引導式寫作；另三篇則提供題目加圖片，稱為圖片引導式寫作。整個研究內容另包括三次問卷及一系列的訪談。問卷一及問卷三在了解受測學生在研究前、研究後的寫作態度及動機的轉變；問卷二及訪談旨在了解學生對於圖片做為輔助教材的觀感。 本研究的主要發現如下：（1）圖片有助於學生寫故事的組織及架構，（2）圖片提供語料及文意，有助於學生發展故事內容及長度，（3）圖片刺激學生想像力，增加學生故事的創意，（4）學生在經過圖片式的寫作引導之後，對英文作文表現出比較積極的學習態度及動機。 / For junior high students in Taiwan, writing activities have been restricted to grammar-oriented exercises. Creative writing that engages students in using the target language communicatively has been neglected. Students at this level of proficiency, if provided with effective and stimulating writing instruction, are also able to compose fascinating stories. The purpose of this study is to explore the effectiveness of pictures on junior high students’ narrative writing. Subjects in this study are sixty ninth-graders from two classes in a junior high school in Taipei city. Instruments consist of a pilot study, three student surveys, six narrative writing assignments and a series of one-to-one interviews. Findings are summarized as follows: First, picture aids facilitate students’ organizational skills for story writing. Second, pictorial presentation provides students with linguistic resources that help to enrich their story content. Third, pictorial images stimulate students’ imagination and add creativity to their stories. Furthermore, writing improvements through pictorial instruction also lead to the students’ positive attitude toward writing and stronger motivation as well.

<p>The purpose of this study is to analyse the problem that the companies do not use the potential of their employees on innovations and intrapreneurial processes.</p><p>The source of innovation is usually the entrepreneur. These are individuals that come up with new ideas of what the market is likely to want or desire. These people have usually gathered this knowledge through interaction with consumers. Sometimes it is the imaginative impulsive desire on their part to offer something new or different, at other times it is an improvement on previous knowledge. However in a corporate or large organisation environment it is often the employees who come up with innovative ideas because of their close contacts with consumers of the product or service of the company. They are very close to the ground realities and can be a great source of finding out the consumer desires or preferences. Although they are employees, they have the entrepreneurial spirit to understand the need of urge to meet the expectations. This gives them the same satisfaction an entrepreneur would feel on the success and acceptance of his innovative idea.</p><p>Therefore being innovative is not the sole domain of the leaders, corporate or individual. The potential of the workers and employees remains unexploited in this direction.</p><p>This study will try to find out the importance of the mental force of the employee on the survival of the company in this competitive world, from the perspective of innovation and intrapreneurship.</p> / QC 20100708

<p>My analysis consists of an in-depth study of the experience of a group of development programme participants who were exposed to the use of art and artistic work in organisation and leadership development, resulting in positive effects. My starting point is creativity as a concept according to paediatrician and psychoanalyst DW Winnicott who stresses how important playing and creativity is for us, even as an adult, for us to utilise our full potential. He believes that we have a psychological space – a crossover area – where the outer, objective reality and the inner, subjective reality meet. Playing, creative development and experiences occur in this space. The purpose of my paper is to investigate art and artistic creation to determine if it can be used in the work environment as a means to provide individuals access to the crossover space, thereby developing creativity and the creative power.</p><p>Risks have also been addressed within my paper. Art and culture can be brought down to a level where its use is only justifiable in those instances where value and economic benefits can be shown. In my opinion, this risk must be taken seriously. This does not mean, however, that one should not work across borders. This is about letting art and culture provide value in the leadership and organisation development by concurrently complementing logical and rationale methods, plans, and decision-making with the goal of striving to maintain the integrity and autonomy of the artistic endeavours.</p>

<p>Taking into account the rapidly changing of the environment nowadays and the necessity of being different between organizations, this paper tries to show how to achieve a sustainable competitive advantage in companies, through talented people using talent management strategies.</p><p>Here is included all theoretical framework where we will explain our understanding of talent management, talented people and the creativity as a talent. This framework gives us the tools needed to be able to analyse a real talent management strategy.</p><p>During the analysis we will discover that a talent management strategy has to be fitted with the corporate strategy and with the corporate culture and also, that there are infinite ways to develop the talent management activities, it depends on the organization which develops it. For instance we are going to study two companies, Zerogrey and Google, which are very different between them but both of them have a talent management strategy.</p>

Problem Ideation in group is used by many, often as a tool for creating new and innovative ways to solve problems and creating change. Groups may have difficulties to move from the phase of inspiration to the phase of ideation, if information and ideas aren’t defined in the team. The authors claim that this process can be helped by providing practical tools that are adapted and tested for the purpose. The reason is to foster concretization of volatile thoughts in form of inspiration and information. Purpose The study aims to investigate how Storyboard as a tool can be used to concretize thoughts and inspiration in a group before ideation. Method In order to collect empirical data the authors along with four other facilitators, conducted 24 DO TANK:s for the innovation contest Smart Lunch. The empirical data where then analyzed using theories related to the topic. To obtain further empirical information the authors conducted a open dialogue with the other facilitators. Conclusions The study shows that it’s possible to use Storyboard as a tool for specifying and collect a group’s thoughts before ideation. Furthermore the authors consider that the use of Storyboard enables a more efficient ideation as the groups becomes more focused when they’ve defined their thoughts. / Problemformulering Idégenerering i grupp används idag av många, ofta som ett verktyg för att kunna skapa nya och innovativa sätt för att lösa problem och skapa förändring. Det finns svårigheter för grupper att gå från det som författarna kallar inspirationsfasen vidare till idégenereringsfasen, då information och tankar fortfarande inte är fastställda. Författarna menar att denna process går att underlätta genom att tillföra konkreta verktyg anpassade och testade för idéutvecklingsprocessernas olika faser. Anledningen är att främja konkretisering av flyktiga och svårtolkade tankar i form av inspiration och information. Syfte Studiens syfte är att undersöka hur verktyget Storyboard, tidigare använt inom filmindustrin kan användas som konkretiseringsverktyg inför en idégenerering i en gruppkonstellation? Metod För att samla in empirisk data har författarna, tillsammans med fyra andra facilitatorer, genomfört 24 st. DO TANK:s för innovationstävlingen Smart Lunch. Detta empiriska material har sedan analyserats med hjälp av teorier kopplade till ämnet. För att få ytterligare empirisk information har författarna utfört en öppen dialogintervju med facilitatorerna. Slutsatser Studien visar att det med fördel går att använda verktyget Storyboard för att konkretisera och samla en grupps tankar inför en idégenrering. Vidare anser författarna att detta möjliggör en effektivisering av idégenrereringsprocessen då denna blir mer fokuserad när gruppen är enig.

Paauglystėje asmens brandos raida tarytum pagauna pagreitį, pagauna ir ilgam užtvirtina pagrindinius brandos aspektus, kurie savo pastovumo prasme daugeliui žmonių jau lieka nepakitę visą jų tolesnį gyvenimą. Įvairi vizualinė raiška padeda asmeniui mokytis dailės kalbos. Anot J. Kievišo (2007, 6 p.) „veikdamas asmens dvasinių vertybių sistemą, intelektines, emocines, fizines galias menas skatina individualios kultūros bei sociokultūrinės integracijos raidą ir taip įsilieja į bendrą asmenybės brandos procesą.“ Vizualinės raiškos įvairovė – kelias, kuriuo menas pasiekia ugdytinio suvokimą, veikia jį ir ugdo pilnavertę asmenybę. 5–8 klasių mokinių amžiaus tarpsnis ypatingas. Vaikai tampa paaugliais, kinta jų mąstymas, suvokimas, norai, požiūris. Dažnai vaikai praranda motyvaciją mokytis, „nebemoka“ piešti, protestuoja prieš juos supančią aplinką. Šiame amžiaus tarpsnyje pastebimas kūrybiškumo lūžis. Tam, kad ugdytinių kūrybiškumas toliau laipsniškai augtų, jau reikalingi papildomi svertai. Manoma, kad vizualinės raiškos įvairovė gali būti raktas, sprendžiant kūrybiškumo ugdymo problemas. Nagrinėjamas darbo objektas – vizualinės raiškos įvairovės svarba dailės pamokose, jos vaidmuo 5–8 klasių mokinių meniniam ugdymui. Darbo tikslas – atskleisti vizualinės raiškos įvairovės svarbą 5–8 klasių mokinių meniniam ugdymui. Iškelta hipotezė – dailės technikų ir vizualinės raiškos būdų įvairovė teigiamai veikia, skatina kūrybiškumą, atskleidžia individualius gebėjimus, daro pastebimą... [toliau žr. visą tekstą] / In adolescence, the development of personal maturity gains acceleration and consolidates the basic maturity aspects, which in the sense of their stability do not change for many people throughout their lives. Different visual expression helps a person to learn the language of art. According to J. Kievišas (2007, p. 6) “by acting on a person’s system of spiritual values, intellectual, emotional and physical capacities, the art stimulates the development of individual culture and socio-cultural integration and in such way adds to the general personal maturity process.” The variety of visual expression is a way through which the art can reach a person’s perception, act upon it and educate a versatile personality. The age of 5th –8th graders is a very special stage of personal development. Children become adolescents with changes in their thinking, reasoning, wishes and attitudes. Often children lose motivation to learn, “do not know how” to draw, express protest against surrounding environment. This stage of development is a turning point in a person’s creativity. In order to develop children’s further creativity, additional stimuli are necessary. The variety of visual expression is supposed to be a key in solving various creativity education problems. The subject of this work is the importance of the variety of visual expression during art lessons, and the role of such variety for the creative education of 5th –8th graders. The purpose of this work is to reveal the importance... [to full text]

Disertacijoje teoriniu ir empiriniu lygmenimis yra tyrinėjamos kūrybiškumo bei kūrybinio mąstymo edukacinės dimensijos. Tyrimas parodė, kad kūrybos procesui ir jo rezultatui turi įtakos tokie veiksniai: kūrėjo motyvacija, asmenybės savybių ir charakterio bruožų visuma, gebėjimai, mąstymas, atmintis, mąstymo inercijos dydis, specialiosios ir bendrosios žinios, atkuriamoji ir kuriamoji vaizduotė, intuicija, kuriančiojo elgesys, emocijos, fiziologinė ir psichologinė būsena, socialinė ir fizinė aplinka. Disertacijoje pateikiami autoriaus parengti dinaminis ir komponentinis kūrybos proceso modeliai. Empiriniame tyrime dalyvavo 655 tiriamieji: 601 V–XI klasių mokiniai ir 54 mokytojai. Jiems buvo pateikta autoriaus sudaryta anketa bei du E. E. Туник (2002) kūrybiškumo parametrų įvertinimo subtestai. Nustatyta kūrybinio mąstymo kaita ontogenezėje (nuo 11 metų iki 62 metų amžiaus). Atskleisti mokinių kūrybinio mąstymo ypatumai (originalumas, mąstymo lankstumas, idėjų gausa) grupėse pagal amžių, lytį, kelintas vaikas šeimoje, pažangumą ir gyvenamąją vietą. Tyrimas parodė, kad kūrybinio mąstymo originalumas pasiekia maksimumą 18 metų amžiuje, o po to suaugusiojo amžiuje krinta (p=0,000). Nustatyta, kad egzistuoja teigiamas tiesioginis statistiškai reikšmingas ryšys tarp visų kūrybinio mąstymo parametrų ir asmenybės domėjimasis mokslu (p<0,01) bei menu (p<0,05). Nustatyti statistiškai reikšmingi ryšiai tarp kūrybinio mąstymo parametrų ir savišvietos poreikių. Tyrimas parodė, kad kuo... [toliau žr. visą tekstą] / Educational dimensions of creativity and creative thinking are researched in the dissertation on theoretical and empirical levels. The research shows that creativity (process and its result) is affected by the following factors: motivation of the author, entirety of personal features and character traits, abilities, thinking, scope of thinking inertia, special and general knowledge, reconstructive and constructive imagination, intuition, author’s behaviour, emotions, physiological and psychological state, social and physical environment. Dynamic and component models of creativity process, prepared by the author, are presented in the dissertation. 655 research participants participated in the empirical research: 601 5th-11th form school learners and 54 teachers. 2 subtests by E. E. Туник (2002) assessing creativity parameters and a questionnaire designed by the author were administered to the research participants. The change of creative thinking was determined in its ontogenesis (from 11 to 62 years of age). Peculiarities of learner creative thinking were revealed (originality, flexibility of thinking, abundance of ideas) in groups according to age, gender, birth order, learning progress and place of residence. The research shows that originality of creative thinking reaches its peak at the age of 18, afterwards it decreases during adulthood. (p=0.000). The existence of positive direct statistically significant relationship between all parameters of creative thinking and... [to full text]

Arbetet behandlar orsaker till ett kreativt motstånd och flöde. Mitt syfte är att ta reda på vad som driver människor att skapa inom området för låtskrivare/artister. Hur hanterar man idétorka och ”skrivkramp” och finns det någon metod för att upprätthålla ett kreativt flöde? Jag har intervjuat sex personer som alla är verksamma som låtskrivare och artister samt använt mig av litteraturstudium. I mitt arbete har jag kommit fram till att skrivkramp kan uppstå av många olika anledningar. Något som de har gemensamt är att alla verkar vara i behov av självvald ensamhet för att komma in i ett kreativt flöde. / The study deals with the causes of creative resistance and flow. My purpose is to examine underlying causes of creating in the field of songwriter / artists. How does one deal with resistance, and is there a method to maintain a creative flow? I have interviewed six people who are active as songwriters and artists, as well as consulting relevant texts. During the study, I have concluded that everyone in one way or another has experienced "writer's cramp", but for different reasons. What appears to be common, is that everyone exhibits a need of self-chosen solitude to attain a creative flow.

Darbas yra sukurtas Vilniaus dailės akademijos, UNESCO vadybos ir kultūros politikos katedros, dizaino vadybos magistrantės Ievos Ridzvanavičiūtės. Pirmojoje darbo dalyje nagrinėjama dizaino nauda edukacijoje. Ši dalis skirta teorinių šaltinių analizei, dizaino galimybių edukacijoje pavaizdavimui, apibrėžti šiuolaikinės mokyklos problemas ir dizaino galimybes joje. Antroji darbo dalis skirta apžvelgti užsienio ir Lietuvos dizaino ir kūrybingumo pasireiškimą edukacijoje. Trečiojoje dalyje, yra kuriamas paslaugos konceptas vadovaujantis dizainerio mąstymo ir paslaugų dizaino metodais. Ketvirtoje dalyje, atlikta galimybių analizė remiantis Dizaino receptų paslaugos įvedimo į rinką pavyzdžiu, įvardintos projekto vizija ir misija, atliktos PEST ir SWOT analizės, numatyti strateginiai tikslai, paruoštas projekto pilotinio modelio projektas Kultūros tarybai. / Vilniaus Academy of Fine arts, Faculty of Postgraduate Studies, UNESCO chair for Cultural Management and Cultural Policy, Design Management Master degree thesis by Ieva Ridzvanavičiūtė Design education benefits are analysed in the first part of this work. First part is dedicated to theoretical model analysis, in order to emphasise esential aspects of design which could be used in education. Second part is to observe Lithuania’s and foreign cultural-educational projects and cases. Third part is a concept of a service based on design thinking and service design methodologys. Fourth part shows a posibilities study based on Design recipes service concept. Several researches were carried out, such as PEST and SWOT analyses, an interview with arts and crafts teachers, the strategy model of incorporating Design recipes service into Lithuania’s market was offered.

Mus supanti aplinka, joje esantys daiktai, baldai ir kiti objektai, daro didžiulę įtaką kiekvieno žmogaus gyvenimo procesams. O kiekvienas žmogaus atliekamas procesas turi atitinkamas priežastis. Lygiai taip pat yra ir su aplinka, kuri supa kiekvieną iš mūsų. Daiktas nėra tik paprastas objektas/aplinkos sudedamoji dalis. Kiekvieno iš jų atsiradimo priežastis pasąmoningai paaiškinamos noru, o pastarąjį formuoja atitinkamas poreikis. Poreikis – pats savaime yra vidinio psichologinio ar socialinio trūkumo jausmas. Tuomet, kai žmogus įsisavina/supranta ko jam trūksta, jis ima ieškoti atitinkamo būdo kaip šį „alkį” nuslopinti ar patenkinti. 1943 m. amerikiečių psichologas Abraham Harold Maslow plačiajai visuomenei pristatė struktūrizuotą žmogaus poreikių piramidę, kurios viršūnėje atsidūrė individo poreikis saviraiškai/savęs aktualizavimui. Nepaisant to, kad tik pasirodžiusi A. H. Maslow teorija susilaukė begalės griežtos kritikos už nelankstumą bei schematiškumą, šis žmonių neabejingumas jai, tik dar labiau pagrindė jos sudedamųjų dalių svarbą kiekvieno individo gyvenime. Žmogaus poreikių tema, o ypač kūrybiškumo/individualumo aktualumas šiame postmoderniajame amžiuje įgauna didžiulį pagreitį. Sniego gniūžtė pradėjo ridėti nuo kalno viršūnės ir išvystė didžiulį greitį. Tačiau ar gali būti taip, kad šiandien individas vis dar suvokiamas tik kaip sociali būtybė, kurios pasirinkimus koordinuoja galingi socialinio gyvenimo mechanizmai? O galbūt, jau visas pramonės šakas apėmusioje... [toliau žr. visą tekstą] / The surrounding environment, it contains, furniture and other objects that make a huge impact on every person's life processes. And every human process to have the appropriate reason. Just as it is with the environment that surrounds each of us. A thing is not just a simple object / environmental component. Each of these causes subconsciously explained voluntarily, and the last form the corresponding demand. Need - itself an internal psychological or social lack of feeling. Then, when the man caught up / understand what he is missing, he begins to look for an appropriate way to the "hunger" to suppress or meet. In 1943. American psychologist Abraham Maslow Harold general public, the structured pyramid of human needs, which ended up on top of the individual need for self-expression / self-actualization. Despite the fact that only featured AH Maslow's theory has received dozens of heavily criticized for inflexibility and sketchiness, the human-indifference to her, even more substantiated the importance of the components of each individual's life. The human needs of the subject, and especially creativity / individuality relevance in the postmodern era is gaining tremendous momentum. Snowball started dd on a hilltop and has developed a tremendous speed.