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. 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. 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.

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Abstract 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. Keywords: self-image, creative art activity, creativity, expressio / Sammanfattning 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. Nyckelord: Självuppfattning, bildskapande, kreativitet, uttryck

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. 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. This examintation has given me an insight how teatchers can teatch in a storyline inspirated education. The storylinemethod is aiming to individual adjustment and these children maybe needs that moust of all. / 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. 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. 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.

In this thesis, the role and the significance of the Kantian theory of art and concept of genius in Kant&rsquo / s system is examined. In this examination, it is aimed to answer the question of the meaning of being human in Kant&rsquo / s system through art and artist. To this end, Kant&rsquo / s consideration of art from the spectator&rsquo / s standpoint and ignorance of artist&rsquo / s perspective are criticized. In conformity with this criticism, throughout the thesis, depending on Kant&rsquo / s conceptualization of the genius, the artist&rsquo / s perspective and artistic experience are tried to be exhibited. In order to understand and interpret the artist&rsquo / s perspective, the meaning of the concepts of nature and freedom that arise along with the concept of genius is clarified. By considering the effects of the freedom and the natural necessity on genius, it is asserted that since the necessity of the naturally endowed talent of genius and the freedom of the productive act of genius cause to the one and the same act, the creative activity of genius refers to the unity of all the dualities in the Kantian system and hence to the completeness of the system. As a result of this claim, art, which arises from the dual nature of human, becomes the way to unite this duality.

For many organizations, efficiency in product development is a question of accel¬erating project operations and being innovative in products and technical solutions, and this has interesting consequences for project work. This thesis aims to study technical development work in project groups in order to identify factors that support innovativeness. In this thesis, innovativeness is defined as the ability of project groups to arrive at new ideas and solutions for technical problems, and their implementation. It is hoped that the studies in this thesis will contribute new knowledge in the product development research area, using complementary theories. This thesis is based on four case studies of product development projects, representing different types of industry. The cases involve the development of new, complex industrial products and are reported in four appended papers. The research reported in this thesis has primarily, but not exclusively, adopted a qualitative approach. The studies have shown that innovativeness is favored by project work characterized by lower levels of control, the continuous acquisition of knowledge and a sense of responsibility and interest in tasks, as well as a continuous formulation and definition of tasks and problems. In addition, project work characterized by commitment and interaction have also been found to be important for innovativeness. Three factors supporting innovativeness are presented. Interactive product utilization in work is an alternative to detailed planning in solving coordination needs and maintaining a system view within a project. Interactive control mechanisms are important because product specifications often need to be defined as the project progresses. An interactive social environment supports technical problem solving by providing opportunities for spontaneous interaction between project members. / QC 20101001

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. 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.

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 vad de skulle göra men i viss mån hur. Eleverna uppgav att förutsättningen för lärandet i slöjden var läraren. Beskrivningar och förlagor kunde vara till hjälp men lärares handledning var viktigast.   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. / 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.   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.

Problem Att generera kreativa idéer i grupp kan anses vara en omöjlig uppgift när en arbetsgrupp är homogen där divergent tänkande saknas. Då veckomöten är identiska och innehåller upprepande processer i form av att samma dagordning repeteras, anser författarna att nya metoder är nödvändiga för att nya idéer ska träda fram. Syfte Författarna vill undersöka om en stegvis förändring i arbetsgruppens veckomötes rutiner kan öka antal idéer/ förslag som arbetsgruppen genererar fram. Tanken är att ge produktionsledaren ett verktyg som denne kan använda sig av när gruppen ska generera fram lösningar till arbetsrelaterade problem.  Metod Metoden i arbetet är en systematisk observation, det vill säga att flera observatörer studerar flera individers beteende med en specifik instruktion. Instruktionen anger vilka händelser som observeras. Instruktionen i detta arbete är studiens syfte som undersöker arbetsgruppens idégenerering. Den andra instruktionen ska informera deltagarna om den kreativa övningen. Teori Författarna tar upp viktiga förutsättningar som kan stimulera gruppkreativitet. Teorier som författarna tar med i arbetet beskriver bland annat ledarskapsstilar, motivation, kreativa övningar i grupp samt divergent tänkande. Empiri Genom att manipulera möten för en arbetsgrupp har författarna observerat om idégenereringen kan öka med hjälp av en förändring av lokalen samt kreativa övningar. De fyra observationstillfällen samt intervjuer har bidragit till en förståelse kring hur arbetsgruppen tar emot sådan förändring samt vilken effekt manipulationerna har på arbetsgruppens idégenerering.  Analys Svaret på arbetets frågeställningar har analyseras fram med hjälp av det teoretiska perspektivet samt empiriska studier som genomfördes på avdelningen som ingick i undersökningen. Frågor som besvaras handlar om hur man kan träna arbetsgruppen till att generera fler idéer, kommer antal idéer att öka med hjälp av våra manipulationer samt vilka förutsättningar bör skapas för att arbetsgruppen skall behålla kreativiteten. Resultat Författarna har utifrån empirin utvecklat en egen modell som skulle kunna användas av arbetsledaren som ett verktyg för arbetsgruppen att behålla idégenereringen vid framtida möten. Slutsats Författarna markerar i punktform förutsättningar som måste skapas för att denna arbetsgrupp ska använda kreativa övningar som ett verktyg vid idégenerering. Flera faktorer måste samspela för att kreativiteten ska behållas i framtiden. / Problems To generate creative ideas in groups can be considered an impossible task when a task force is homogeneous where divergent thinking is missing. When the weekly meetings are identical and contain repetitive processes in the form of the same agenda is repeated the authors consider that the new methods are necessary for new ideas to emerge. Purpose The authors would like to investigate if a step change in the working group meeting weekly routines can increase the working groups number of ideas / suggestions. The idea is to give the production manager a tool that he can use when the group generates solutions to work-related problems. Method The method of work is a systematic observation, namely that several observers studying several individual behavior with a specific instruction. The instruction specifies which events are observed. The instruction in this work is the study aim to investigate the working group idea generation. The second instruction is to inform participants about the creative exercise. Theory The authors raise important conditions that can stimulate group creativity. Highlighted theories include important inputs of leadership styles, motivation, creative exercises in groups and divergent thinking. Empirical studies By manipulating the meetings of a working group, the authors observed if idea generation increases through a change of venue, and creative exercises. The four observation sessions and interviews contribute to an understanding of how the working group receives such change, and the impact of the manipulations on ideas generated. Analysis The answer to questions has been analyzed with the help of theoretical perspectives and empirical studies conducted in the department surveyed. Questions answered about how to train working group to generate more ideas, the number of ideas to increase with the help of our manipulations and what conditions should be created for the group to maintain creativity. Results The authors have based on empirical data developed a model that could be used by the supervisor so that the group can keep the idea generation at future meetings. Conclusion The author’s highlight in bullet form what conditions must be created for this working group to use creative exercises as a tool for generating ideas. Several factors must interact for creativity to be retained in the future.

This project offers an analysis of how the transformative power of creative process in learning offers humankind relational connections with the natural environment. It supports the recommendation that educational institutions move towards a transformative creative learning process. The paper argues that by teaching children through assumptions of the world as in constant creative becoming humankind will move toward a more encompassing, coherent story of the universe which allows for the increasing self-actualization of individuals. After offering a theoretical discussion of the transformative power of creativity through the works of Brian Swimme, Edmund OSullivan and Alfred North Whitehead, the author provides descriptive, interpretive and critical narrative accounts of a teaching occasion created by her in which she illustrates her understanding of this transformative power.