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<p>Abstract</p><p>The purpose of this investigation is to find out how the pupils can discover and to feel joy in their creative art activity and also to believe in their own ability. The aim is to figure out if creative art activity is able to raise the pupil’s self-image. By literature, pedagogue interviews, and interviews with pupils at the age of ten years old and by action research is the way that I have searched for an answer for my question. The main result is that fantasy, creativity, courage and lust are important parts to develop in the job of raising the self-image. The literature and the result of the interviews are unit and points at the feeling to succeed are decisive. As a pedagogue you have to create an allowing environment, give the pupil praise that is concrete and to have an attitude that means to be confident in the subject to teach. Through joint discussion about the creative art activity is also contributing to raise the pupil’s self-image. My conclusion is that the pedagogue has a big responsibility in the job of raising the pupil’s self-image through creating the correct conditions.</p><p>Keywords: self-image, creative art activity, creativity, expressio</p> / <p>Sammanfattning</p><p>Syftet med denna undersökning är att utforska hur eleverna kan upptäcka och känna glädje i sitt bildskapande, och även tro på sin förmåga. Meningen är att ta reda på om bildskapande kan vara ett redskap för att stärka elevens självuppfattning. Genom utvald litteratur och intervju med pedagoger, intervju med elever i år 4 samt aktionsforskning i samband med elevintervjuerna har jag sökt svar på min frågeställning. Huvudresultatet i min undersökning är att fantasi, kreativitet, mod och lust är viktiga delar att locka fram, för att stärka elevers självuppfattning. Litteraturen och intervjuerna påtalar också enigt att känslan av att lyckas är avgörande. Som pedagog ska man skapa en tillåtande miljö, ge konkret uppmuntran och att ha en attityd som innebär bland annat att vara bekväm med det medium man undervisar i. Gemensam bearbetning av elevernas skapande stärker elevernas självuppfattning ytterligare. Slutsats är att pedagogen har ett stort ansvar i arbetet med att stärka elevernas självuppfattning, i att skapa rätt förutsättningar. Då kan redskapet absolut vara bildskapande.</p><p>Nyckelord: Självuppfattning, bildskapande, kreativitet, uttryck</p>

<p>This examination is about storyline and children who has problem to focus and concentrate in school. The premier aim of this survey is to look into the storylinemethod and investigate what it means methodical. I am also going to look more into how this children feels about this method and how they adjust to it.</p><p>In my empirical examintion through qualitative interviews with teatchers and also questionnaires with thirtynine children participated i got a great result. My conclusions is that this method can be demanding and also confusing for this children but the good part is that it is subjectintegrated and it is easy to motivate this children.</p><p>This examintation has given me an insight how teatchers can teatch in a storyline inspirated education.</p><p>The storylinemethod is aiming to individual adjustment and these children maybe needs that moust of all.</p> / <p>Detta arbete handlar om storyline och barn med koncentrationssvårigheter. Mitt främsta syfte med detta arbete är att undersöka metoden och vad den innebär metodiskt. Jag ska även undersöka hur barn med koncentrationssvårigheter upplever storylinemetoden och titta lite närmare på storylinemetodens anpassningsbarhet till dess barn.</p><p>I mina empiriska undersökningar genom intervjuer med lärare och enkätundersökningar med elever har jag fått en bra bild hur storylinemetoden kan fungera i praktiken och hur barn med koncentrationssvårigheter kan motiveras till lärandet. I undersökningen deltog sammanlagt trettionio barn. Det jag har kommit fram till i min undersökning är att storyline är en bra inlärningsmetod där ämnesintegrering ett viktigt inslag i undervisningen. Samtidigt som denna metod kan bli krävande och rörig, för de barn som har bl.a. koncentrationssvårigheter. Däremot att arbeta ämnesintegrerat verkar passa många barn även de som har någon form av koncentrationssvårigheter.</p><p>Min undersökning har gett mig en inblick i hur lärare kan bemöta barn i en storylineinspirerad undervisning och även hur de har gått tillväga för att tillgodose barns olika behov av inlärning. Då denna metod bl.a. syftar till individanpassning verkar det vara en metod som skulle kunna passa barn med bl.a. koncentrationssvårigheter, men då krävs det dock att alla pedagoger i arbetslaget är motiverade och arbetar mot samma mål.</p>

<p>Syftet med undersökningen har varit att undersöka hur eleverna uppfattar textilslöjden. Jag ville ta reda på hur de uppfattar textilslöjden som ämne och även vad de anser att ämnet går ut på. Tycker eleverna de någon nytta av textilslöjden, eller är det ett ämne som tjänat ut sin roll? Eleverna går i årskurs 9 i en skola i Mellansverige. Intervjuerna har utförts som gruppintervjuer, fyra grupper med 3-4 elever i varje grupp. De uppmanades att reflektera över alla år de haft textilslöjd, alltså från årskurs 3-9. Frågorna rörde sig inom två områden. Det ena området rörde slöjden som ämne och det andra berörde undervisningen. Resultatet visade att eleverna ser ämnet till stor del som en förberedelse för vuxenlivet. De tyckte att de på fritiden har stor nytta av de kunskaper de fått i slöjden. De menade att det inte bara är de olika teknikerna de lärt sig, utan också att de kunskaper de fått, gör att de vågar prova andra projekt än det de arbetat med i slöjden.I frågorna som rörde undervisningen fanns det stor spridning på svaren. Men de flesta elever tyckte att arbetsområdena var ganska styrda. De kunde inte välja <em>vad</em> de skulle göra men i viss mån <em>hur</em>. Eleverna uppgav att förutsättningen för lärandet i slöjden var läraren. Beskrivningar och förlagor kunde vara till hjälp men lärares handledning var viktigast.</p><p> </p><p>Min slutats är att eleverna tycker att slöjden är ett viktigt ämne eftersom de lär för livet utanför skolan, både för nu och för framtiden. Vad gäller undervisningen, och idé och kreativitet uppfattar jag att eleverna önskar mera utrymme för att få möjlighet till eget utforskande och experimenterande. Vilket också kursplanen i slöjd anger att ämnet ska innehålla.</p> / <p>The purpose with this examination has been to investigate the subject Textile handicraft from a student's perspective. My wish was to investigate how the students thought about textile handicraft as a subject and also how they think about the subject in a wider sense. Do they think that they shall benefit from textile handicraft or has the subject past its sell-by date? The students I chose to interview were located in class 9, in a town, in the middle of Sweden. I chose to do group interviews, four groups with 3-4 individuals in each group. I asked them to think about textile handicraft during all the years they have had it as a subject, which includes year 3 to 9. The questions were in two parts. The first part was about the subject and the second was about the teaching. The result of the investigation showed that the students think of the subject as a preparation for growing up. When they later were talking about their free time, they could see that they got a lot of experience from the subject. What they meant was that they have gained a lot of experience not only with technical things but also how to work in projects. When I asked questions about the teaching, there were a lot of different answers. But most of the students could see that the teachers always had a plan for the subject. The students told me that they couldn't choose what to do, but they had the opportunity to choose how to do it. They also said that the teacher had the biggest part to play in their education and influenced how they handled the subject.</p><p> </p><p>My conclusion is that the subject textile handicraft is an important subject because they learn to prepare for life outside of school both today and for the future. Regarding the education, ideas and creativity, I can see that the students would like to have more room amongst the opportunities for their own experimental spirit which the syllabus for textile handicraft describes.</p>

Thesis (M.Ed.)--North-West University, Vaal Triangle Campus, 2005.

Thesis (Ph.D. (Business Management))--North-West University, Vaal Triangle Campus, 2005.

<p>This essay discusses organizational culture and focus on corporate creativity and innovation. The aim is to see which organizational factors that foster creativity and innovation in organizations. The essay will provide answer on how organizational culture can encourage creativity and innovation and how organizations can promote the rise of a creative work environment. The research design of this essay is a qualitative case study with interviews at Gotland Energi AB (GEAB). The interviews provided insight in factors that can foster creativity and innovation in organizations. The five factors recognised are; the organizations desire of creativity represented in the firm, encouragement, independence and freedom, quick testing of new ideas and economic assets. These factors are seen as part of the organizational culture as they contribute shared values and guidelines to the members of the organization. Creativity and innovation are seen as essential in the success of organizations therefore the result of this essay can help firms identify factors that foster creativity.</p>

Today advertisers face the challenge of securing advertising effectiveness by producing advertisement that gets the consumers’ attention and shape their attitudes and behavior. One suggested way to reach these objectives is creativity. Both advertising industry professionals, awards, effectiveness reports and research support this notion that what makes advertising effective is creative excellence. However, research has shown that advertising professionals seems to have little formalized understanding about how advertising creativity work and how it is defined and measured. Current research need to better understand the response to creative advertisements by documenting how advertising professionals and consumer assess and value creativity. By applying new perspectives and new theories this thesis investigate the effects advertising creativity has on consumers. The thesis reviews the academic research on advertising creativity and contributes with five articles to increase the understanding of advertising creativity and how perceptions of creativity influence advertising effectiveness. In so doing, it plays a part in advertisers understanding and use of advertising creativity. / <p>Diss. Stockholm : Handelshögskolan i Stockholm, 2012. Sammanfattning jämte 5 uppsatser.</p>

Background: The importance of creativity and innovation is frequently stressed in modern literature on management. The significance of innovation gives entrepreneurs the reason to prior to the commencement of a relationship with a venture capitalist, obtain necessary insights regarding the influences such a relationship may have, in terms of innovation. Purpose: The purpose of this thesis is to scrutinise the influence of venture capital firms on their portfolio companies regarding their ability to be innovative. Delimitations: The intent is to study the impact of a venture capitalist from the viewpoint of its portfolio companies. In other words, what the portfolio companies have perceived as changes is our main area of concern, rather than what the venture capitalist has perceived as change. Realisation: LinkTech, a venture capitalist located and active in the town of Linköping, has together with three of its portfolio companies constituted as an example for the empirical research. An interview with the CEO at LinkTech was carried out as well as interviews with managers at the three portfolio companies. Additionally, a survey aimed towards the employees atthe portfolio companies was conducted. Results: It has been found that a venture capitalist does influence its portfolio companies in terms of innovation. This is mainly done through changes in the existing strategy, but also through the building of networks, changes in the organisational structure of the firms, and through the establishment of reward systems. Empowerment, corporate culture, decision- making, and teamwork have also been examined but been shown to be less influenced.

Since the late 1960’s, the hydromechanical term turbulence has been a part of the business administration vocabulary, but until the late 1980’s and early 1990’s, a relatively small amount of research was dedicated to this field. These studies and more contemporary ones conclude that where the business environment is paradoxical and of fast- changing and chaotic nature, successful corporate strategies are shaped by strategic flexibility founded in high innovation rates, networks and alliances, and organisational elasticity and adaptiveness. From this perspective, the purpose of this study was to track and examine the strategy formation processes of a company operating in a turbulent context, and to contribute to an understanding of how these turbulent conditions can be managed. The study was conducted with a hermeneutic, systems- oriented, longitudinal case-study method and with a contextcontent- process perspective in which the process was the key factor. To a large extent, our conclusions coincide with those of other researchers. Forming multidimensional networks and alliances coloured by voluntary initiatives and full attention seem to be an extremely important contribution to survival in turbulent contexts. Nevertheless, it is equally important to break up and build new alliances as the initial objectives of the arrangement have expired or been reached. Furthermore, in contrast to other researchers’ observations, we conclude that high innovation rates do not necessarily lead to a greater potential to be successful in a turbulent context. The issue is instead to present a product offering flexible in itself developed and marketed by a flexible organisation. Innovation rates are decided by self-initiated and unofficial activity on part of the r&amp;d teams and other coworkers, and management’s task is to facilitate for this corporate creativity to develop.