Dissertationen: „Creative ability“

1

Smith, Jack. „Unleashing your creative potential“. Theological Research Exchange Network (TREN), 1988. http://www.tren.com.

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2

Hetzel, Eugene David. „The mad rhetoric: Toward a rigor on radical creativity and its function in consciousness as a communicative principle“. CSUSB ScholarWorks, 2007. https://scholarworks.lib.csusb.edu/etd-project/3293.

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This thesis explores three creative works, "The music of Erich Zann" by H.P. Lovecraft; the film "Eraserhead" by David Lynch; and the "Self-Portrait (blue)" by Vincent Van Gogh, as examples of different forms of mad rhetorics as a way in which to demonstrate the application of the theory of "mad rhetorics" and the role "radical creativity" plays in the construction of mad rhetorics by "mad rhetors" play in society.

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3

Mobley, Michele Ingram. „Exploration of processes essential to the production of major creative accomplishments“. Thesis, Georgia Institute of Technology, 1991. http://hdl.handle.net/1853/29213.

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4

BOWERS, ROBERT SIDNEY EARL. „MANAGING CREATIVITY FOR PRODUCTIVITY: RATIONALE, DESIGN AND PROGRAMS (INNOVATION, CREATIVE, INVENTION, INNOVATE, CREATION)“. Diss., The University of Arizona, 1986. http://hdl.handle.net/10150/188177.

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This study presents an operational definition of creativity within the contexts of business, school and community. A design for the strategic management of creativity is developed. Suggestions are made for programs to increase effectiveness in the use of creative skills. Creativity has been viewed in the past as something that happens rather than deliberate activity directed to specific goals. Numerous studies have failed to find a significant relationship between measurements of creative skills and intelligence as delimited by IQ tests and other measures of performance. Creativity can be distinguished as a category, process and quality of intelligence, and both can be defined in qualitative and theoretical terms. Models are constructed in the study to classify creativity. The components of the creative act can be tracked. A model sets parameters and categories for investigations to permit variation of content in a relatively stable sequence of steps. The sequence can be extracted as a method to process ideas from any discourse.

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5

Fisher, Matt. „Mind as creative organization : the nature and development of human cognition as a creative process /“. Title page, abstract and table of contents only, 2004. http://web4.library.adelaide.edu.au/theses/09ARM/09armf5331.pdf.

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6

Reilly, Rosemary. „Social creativity, values and shared expertise : the synergistic confluence of social creativity, values and the development of shared expertise“. Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85200.

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The following is a report of a qualitative inquiry regarding a team of novices and their journey in developing shared expertise and social creativity in the domain of group facilitation and process consultation. Using the format of public reflection, the participants engaged in an intensive collaborative process of meaning making, along with the university instructor as expert, while being teaching assistants in a course about group dynamics. Using the framework of evolving systems, the methodology employed an instrumental case study approach, with the case defined as the group. Data sets included videotaped debriefing and planning sessions, individual and group interviews, and written reflection diaries, covering the entire lifespan of the team. These sets were transcribed and subjected to an examination of the unfolding cognitive and metacognitive, creative, value, and social processes embedded within the team interactions. The process patterns do demonstrate that under the conditions created within this context, novices can pool together expert thinking skills that can collectively compare favorably to those of an expert. Social creativity also emerged as a property of the system, and these processes seemed to piggyback onto the socially shared expert thinking skills. Values acted as tacit rules governing and shaping the social interactions. Ones that showed a strong association to the development of shared expertise were: supportiveness, care, listening/questioning for clarity, helpfulness, openness to disagreement/feedback, and plurality. Values that showed a strong association to the development of social creativity were: supportiveness, listening/questioning for clarity, helpfulness, and openness to disagreement/feedback. Humor was an ever present element to the system and acted as a lubricant producing social ease. The patterns that emanated from this inquiry were placed into two larger theoretical frameworks, socially shared cogni

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7

Walker, Marie. „Creativity and depression : personality correlates of depression in autobiographies of creative versus non-creative achievers“. Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=67522.

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This study focused on depression-proneness in the creative achiever compared to the eminent but non-creative achiever. Forty-eight subjects' (25 male, 23 female) autobiographies were assessed on personality using the California Q-Set (Block, 1961). Creative achievers were divided into visual and literary creators while the control group was made up of political, military and social leaders. The Q-Set items were divided into the five factors of personality (neuroticism, extraversion, openness, agreeableness and conscientiousness) according to McCrae, Costa and Busch (1986). Using factor analysis, neuroticism was further divided into 6 facets, two of which corresponded to Costa and McCrae's depression and impulsivity items. Results showed that creative achievers scored significantly higher than controls on neuroticism and openness, while controls scored significantly higher on conscientiousness. Creative achievers rated significantly higher than controls on depression-proneness and impulsivity, with literary artists scoring particularly high on depression-proneness. Creativity as a method for controlling depression is discussed.

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8

Colby, Kristen Marieta. „Creative Workers and County Earnings in the United States“. Fogler Library, University of Maine, 2008. http://www.library.umaine.edu/theses/pdf/ColbyKM2008.pdf.

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9

Ashry, Rustom Ahmed Rennels Max R. „A comparison of creativity scores between beginning and advanced painting and graphic design students“. Normal, Ill. Illinois State University, 1987. http://wwwlib.umi.com/cr/ilstu/fullcit?p8713210.

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Thesis (Ed. D.)--Illinois State University, 1987.
Title from title page screen, viewed July 25, 2005. Dissertation Committee: Max R. Rennels (chair), Marilyn P. Newby, E. Robert Stefl, Jack A. Hobbs, Robert C. Goodall, Eugene R. Irving. Includes bibliographical references (leaves 56-57) and abstract. Also available in print.

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10

Simon, Judit. „Kreativitetens kännetecken : en fenomenologisk studie /“. Stockholm : Pedagogiska institutionen, Stockholms universitet, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-27392.

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11

Prachumporn, Suwantra McCarthy John R. Mogilka Judith Ann. „Effects of the creativity training program on preschoolers“. Normal, Ill. Illinois State University, 1994. http://wwwlib.umi.com/cr/ilstu/fullcit?p9521343.

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Thesis (Ph. D.)--Illinois State University, 1994.
Title from title page screen, viewed April 14, 2006. Dissertation Committee: John R. McCarthy, Judith A. Mogilka (co-chairs), David L. Tucker, James C. Palmer. Includes bibliographical references (leaves 118-121) and abstract. Also available in print.

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12

Nelson, Christopher Barnaby. „The Creative process : a phenomenological and psychometric investigation of artistic creativity /“. Connect to thesis, 2005. http://eprints.unimelb.edu.au/archive/00001401.

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13

Kokotovich, Vasilije. „Creative mental synthesis in designers and non-designers : experimental examinations“. Phd thesis, Department of Architectural and Design Science, 2002. http://hdl.handle.net/2123/8079.

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14

Kristiansen, Glenn. „Creative problem solving : the roles of moods and emotions“. Thesis, University of Cambridge, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708122.

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15

Botch, Catherine F. „Creativity, the lateral path less taken lateral thinking in the art classroom /“. Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only.xxx, 1997. http://www.kutztown.edu/library/services/remote_access.asp.

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Thesis (M. Ed.)--Kutztown University of Pennsylvania, 1997.
Source: Masters Abstracts International, Volume: 45-06, page: 2745. Typescript. Abstract precedes thesis as preliminary leaves iv-v. Includes bibliographical references (leaves 98-103).

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16

Puskas, Marcia L. „Creative play and child development“. CSUSB ScholarWorks, 1985. https://scholarworks.lib.csusb.edu/etd-project/185.

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17

Still, Frederick George. „Digital Collage-Access to inspiration: The use of multimedia as a catalyst for creative thought“. CSUSB ScholarWorks, 2005. https://scholarworks.lib.csusb.edu/etd-project/2891.

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This paper takes the position that creativity can be enhanced by multimedia. Computer software was designed and a study was conducted to measure that proposition. The author used participant self-analysis as a means to gather data on creativity enhancement holding to the presupposition that people can tell when they are creative and when their creativity is inhibited. The results of the study supported the belief that multimedia and the software designed for that purpose was able to enhance creativity.

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18

Eastman, Jennifer A. „The effects of expected evaluation and reward on motivation and creativity in Turkish children“. Waltham, Mass. : Brandeis University, 2009. http://dcoll.brandeis.edu/handle/10192/23322.

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19

Kwiatkowski, Jonna. „Individual Differences in the Neurophysiology of Creativity“. Fogler Library, University of Maine, 2002. http://www.library.umaine.edu/theses/pdf/KwiatkowskiJ2002.pdf.

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20

Wood, Beulah. „A path to creativity in preaching“. Online full text .pdf document, available to Fuller patrons only, 2002. http://www.tren.com.

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21

Worth, Piers J. „Localised creativity : a life span perspective“. Thesis, n.p, 2000. http://library7.open.ac.uk/abstracts/page.php?thesisid=82.

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22

Malakate, Anna. „Assessing creative potential : recruitment and selection in creative SMEs in the UK“. Thesis, University of Aberdeen, 2011. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=174685.

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This thesis tackles the assessment of job candidates‟ creative potential through the processes of recruitment and selection in UK creative SMEs. Literature on individual creativity (Rogers, 1954; Oldham and Cummings, 1996; Sternberg and Lubart, 1996; Sternberg, O‟Hara and Lubart, 1997; West, 1997; Simonton, 2000), has placed importance on the individual characteristics and personality traits that distinguish a creative individual from a non-creative. Lack of knowledge regarding creativity assessment through recruitment and selection in creative SMEs has triggered the author to investigate this area. The author has designed a theoretical framework which comprises three elements, namely personality traits, individual knowledge, skills and abilities (KSAs) and team KSAs, which, according to the literature review, need to be taken into account when assessing individuals‟ creative potential in creative SMEs. This framework was tested with the use of a mixed methodological approach. Firstly, the qualitative approach involved the performance of 17 interviews with the owners/managers and directors of creative SMEs in Scotland. The quantitative approach involved the design and distribution of a questionnaire to a larger sample of creative companies across the UK, which resulted in 140 answered questionnaires. From the analysis of these data, interesting findings arose which indicated that creative SMEs use a mix of criteria when assessing job candidates‟ creativity. Personality traits, individual and team KSAs were highlighted, as well as the importance of motivation, which influenced selection decisions. Variations on the importance of such criteria were evident when the researcher investigated the different creative sectors and the different positions the respondents held. The most commonly used recruitment and selection practices in creative SMEs were provided. Additionally, differences in the recruitment methods used between creative SMEs who have and have not won creative awards were highlighted.

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23

Fullerton, Tyler Barlow. „Creative forum at Montana State University“. Thesis, Montana State University, 2009. http://etd.lib.montana.edu/etd/2009/fullerton/FullertonT0509.pdf.

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The creative process is a key element to generating great architecture, art and science. In order to best utilize this process one must understand different types of creativity, environments that inspire creativity, different processes and techniques and how the conscious and subconscious handle creative thought and creative production. To architecturally explore creative process and production I will design a structure on campus with the purpose of assisting creativity and creative production in the ways that I have come to understand them. Understanding the creative process as it applies to and/or derives from psychology, philosophy, art and/or design is essential to guide and increase creativity. Communicating what is found is equally as important as finding it. A structure with the primary purpose of communicating and allowing creative thought, an architectural muse to inspire creative production, is intended.

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24

Geyser, Richard Conrad. „The relationship between personality type and creative preference“. Thesis, Stellenbosch : Stellenbosch University, 2000. http://hdl.handle.net/10019.1/52009.

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Thesis (MA) -- Stellenbosch University, 2000.
ENGLISH ABSTRACT: As the human race enters the new millennium it is challenged by factors such as continuos changed, demand for improved quality and increased competition of global proportions. This requires of organisations to be more responsive to change as well as that individuals will need to position themselves to meet the challenges of the knowledge era. These challenges demand creativity in order to meet the demands for value adding contributions to the organisation. The above mentioned situation gives rise to a number of questions: Firstly, how can the creative processes of an individual be assessed? Secondly, what role does personality play as an indicator of creativity? Lastly, can the knowledge concerning the relationship between creativity and personality be applied to enhance the expression of creativity in the working environment? This research is aimed at investigating the relationship between personality dimensions and creative thinking preferences. 305 managers from the 1st, 2nd and 3rd reporting levels of an organisation in the aviation maintenance and manufacturing industry took part in the study. Two instruments were used namely the Myers-Briggs Type Indicator Step II, to assess the personality dimensions and the Neethling Brain Instrument (NBI) to assess the subjects creative thinking preference. A Pearson Product Moment analysis was conducted to determine the correlation between the subscales of the MBTI Step II personality dimensions and the NBI. Next a Principal Component analysis was conducted to determine if any of the NBI thinking style preferences measure the same factor as the subscales of the MBTI Step II, as well as to reduce the number of variables used to determine if a significant relationship exists between the principle dimensions of the MBTI and thinking styles of the NBI. Finally, a regression analysis was performed to determine if the principle dimensions of the MBTI Step II are significantly related to the thinking style dimensions of the NBI. The results of the Pearson Product Moment correlation indicated that significant correlations exist between the sub-scales of the MBTI Step II and the NBI thinking preferences. However, the significance of these correlations range from weak to strong, posing a challenge with regard to determining which of these correlations have any practical value. The results of the Principle Component analysis indicated the existence of four distinct factors, which are common to both the MBTI Step II, and the NBI. However, it was of interest to note that two of the dimensions of the NBI each loaded on two of the factors leading to the conclusion that these two dimensions each measure two unique factors. The results of the Regression analysis provided evidence that the NBI measures two dimensions of the MBTI Step II. Firstly, a preference for thinking is measured by the L1, Upper Left quadrant scale of the NBI and a preference for feeling is measured by the R2, Right Lower quadrant scale of the NBI. Secondly, that a combination of the Judging/Perceiving and Sensing/Intuition preferences are related as follows. The R1, Right Upper quadrant preference scale measures a combination of Perceiving and Intuition. The L2, Left Lower quadrant scale appears to measure a combination of Judging and Sensing. An obvious question that arises is, which personality type is more creative? The process perspective on creativity would appear to indicate that certain personality types have a preference for contributing more effectively to specific parts of the creative process. Thus it can be concluded that no single personality type is more creative than the other is, but that creativity requires the use of all the functions of Personality Type. The key to creativity is the integration of all the Type functions both preferred and not preferred in a synergistic manner. This requires recognition that creativity will require the expenditure of significant amounts of psychic energy to apply non-preferred functions in the process of being creative.
AFRIKAANSE OPSOMMING: Organisasies wat die nuwe millenuim betree het, staar toenemende uitdagings in die gesig. Faktore soos konstante verandering, toenemende eise vir die verbetering van kwaliteit en die verhoging in kompetisie wereldwyd, stel aan organisasies hoer eise om vinniger te reageer op verandering. Dit verg ook van individue om hulself te posisioneer ten einde die uitdagings van die kennis-era aan te durf. Die uitdagings vereis kreatiwiteit om aan die eise van waarde-toevoeging in die organisasie by te dra. Die voorafgenoemde situasie laat 'n paar vrae ontstaan. Eerstens, hoe ‘n individu se kreatiewe prosesse geevalueer kan word, tweedens watter rol persoonlikheid speel as ‘n aanduider van kreatiwiteit en laastens of kennnis van die verband tussen kreatiwiteit en persoonlikheid prakties toegepas kan word om die uitdrukking van kreatiwiteit in die werksomgewing te verhoog. Hierdie navorsing is daarop gemik om die verband tussen persoonlikheidsdimensies en kreatiewe denk voorkeure te ondersoek. 305 bestuurders in die eerste, tweede en derde rapporteringsvlak van 'n lugvaart vervaardiging en onderhoud organisasie het aan die navorsing deelgeneem. Twee meetinstrumente is gebruik in die navorsing naamlik die Myers-Briggs Type Indicator Step II, om die persoonlikheidsdimensies te meet en die Neethling Brein Instrument (NBI) om die individue se kreatiewe denkvoorkeure te meet. Die Pearson Produk Moment ontleding is gebruik om die korrelasie tussen die persoonlikheidsdimensie sub-skale van die MBTI Step II en die NBI te bepaal. Daarna is 'n Hoofkomponent ontleding uitgevoer om te bepaai of enige van die NBI denk voorkeurstyle dieselfde faktor as die MBTI Step II subskale meet, asook om die aantal veranderlikes te verminder om sodoende te bepaai of daar ‘n betekenisvolle verband bestaan tussen die hoofdimensies van die MBTI Step II en die denkstyle van die NBI. Laastens is ‘n Regressie ontleding gebruik om te bepaai of die hoofdimensies van die MBTI Step II ‘n betekenisvolle verband toon met die denkstyl dimensies van die NBI. Die resultate van die Pearson Produk Moment ontleding het daarop gedui dat daar ‘n betekenisvolle korrelasie bestaan tussen die sub-skale van die MBTI Step II en die NBI denk voorkeure. Die betekenisvolheid van die korrelasies wissel egter van swak tot sterk korrelasies, wat ‘n uitdaging skep in terme van die bepaling van die korrelasies wat enige praktiese waarde inhou. Die resultate van die Hoofkomponent ontleding het die bestaan van vier kenmerkende faktore aangedui wat biede algemeen is in die MBTI Step II, en die NBI. Dit was egter interressant om te merk dat twee van die NBI se dimensies op twee verskillende faktore gelaai het. Die gevolgtrekking wat gemaak word is dat die twee dimensies elk twee afsonderlike faktore meet. Die resultate van die Regressie Ontleding het aangedui dat die NBI twee dimensies van die MBTI Step II meet. Eerstens, word ‘n voorkeur vir “Thinking” gemeet deur die L1, Linker Bokantste kwadrant op die NBI en 'n voorkeur vir “Feeling” word gemeet deur die R2, Regter Onderkantste kwadrant van die NBI. Tweedens, dat 'n kombinasie van “Judging/Perceiving” en "Sensing/Intuition” voorkeure die volgende verband toon. Die R1 Regter Bokantste kwardrant meet 'n voorkeur vir ‘n kombinasie van “Intuition” en “Perceiving”. Die L2 Linker Onderkantste kwadrant meet ‘n voorkeur vir 'n kombinasie van “Sensing" en “Judging”. ‘n Ooglopende vraag wat gevra word is die van watter persoonlikheidstipe meer kreatief is? Uit die prossess perspektief wat geneem is in die studie, wil dit voorkom dat sekere persoonlikheidstipes ‘n voorkeur het om meer effektief te kan bydra tot specifieke gedeeltes van die kreatiewe prosess. Die afleiding kan dus gevorm word dat geen enkele persoonlikeidstipe meer kreatief is as die ander nie, maar eerder dat die gebruik van al die funksies van persoonlikheidstipe nodig is om kreatiewiteit te ontsluit. Die sleutel tot kreatiewiteit is dus die sinergistiese integrasie van al die Tipe funksies, beide die waarvoor ‘n voorkeur bestaan en die waarvoor daar nie ‘n voorkeur is nie. Dit verg ook die besef dat kreatiwieteit die spandering van groot hoeveelhede psigiese energie benodig, om funksies waarvoor daar nie 'n voorkeur is nie, toe te pas om die kreatiewe process te volbring.

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De, la Cruz-Bechtel Rose Marie. „Unlocking creativity in the classroom“. To access this resource online via ProQuest Dissertations and Theses @ UTEP, 2008. http://0-proquest.umi.com.lib.utep.edu/login?COPT=REJTPTU0YmImSU5UPTAmVkVSPTI=&clientId=2515.

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Doares, Lesli Michelle Wilcox. „Sex differences in creative achievement : a cognitive processing approach“. Thesis, Georgia Institute of Technology, 1991. http://hdl.handle.net/1853/29824.

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27

Lewandoski, Clare D. „A demonstration of the animus in creative women /“. The Ohio State University, 1987. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487585645575299.

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Kampe, Carolyn J. Newby Marilyn Provart. „Effects of differential instruction upon the creative response of deaf students“. Normal, Ill. Illinois State University, 1990. http://wwwlib.umi.com/cr/ilstu/fullcit?p9101116.

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Thesis (Ed. D.)--Illinois State University, 1990.
Title from title page screen, viewed November 7, 2005. Dissertation Committee: Marilyn Newby (chair), Heather Hanlon, Max R. Rennels, Lanny E. Morreau. Includes bibliographical references (leaves 66-69) and abstract. Also available in print.

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Suydam, Richard L. „Implementation of an organizational innovation assessment survey“. Menomonie, WI : University of Wisconsin--Stout, 2004. http://www.uwstout.edu/lib/thesis/2004/2004suydamr.pdf.

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Cheung, Wai-ming. „Describing and enhancing creativity in Chinese writing“. Click to view the E-thesis via HKUTO, 2005. http://sunzi.lib.hku.hk/hkuto/record/B36219964.

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Cheung, Pak-keung. „Can creativity be learned a knowledge management approach to creativity support /“. Click to view the E-thesis via HKUTO, 2006. http://sunzi.lib.hku.hk/hkuto/record/B3686139X.

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Vartanian, Oshin. „Cognitive Disinhibition and Creativity“. Fogler Library, University of Maine, 2002. http://www.library.umaine.edu/theses/pdf/VartanianO2002.pdf.

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Naud, Talana. „The relationship between personality and creativity A psychometric study /“. Pretoria : [s.n.], 2006. http://upetd.up.ac.za/thesis/available/etd-05222007-124454.

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Eder, Paul Joseph. „Integrating the componential and interactionist models of employee creativity“. Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 145 p, 2007. http://proquest.umi.com/pqdweb?did=1397915881&sid=4&Fmt=2&clientId=8331&RQT=309&VName=PQD.

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Liu, Ying. „The effects of implicit theories on motivation and performance in creative tasks“. Click to view E-thesis via HKUTO, 2006. http://sunzi.lib.hku.hk/hkuto/record/B37091220.

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Wong, Chun-nae Janny. „Do expertise and training help creativity?“ Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/hkuto/record/B37861025.

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Ryan, Kathleen. „Sketching and creativity of interior design students“. Online access for everyone, 2008. http://www.dissertations.wsu.edu/Thesis/Spring2008/K_Ryan_042508.pdf.

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Wan, Wing-nga Wendy, und 尹咏雅. „Effects of novel conceptual combination on creativity“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31223576.

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Cheung, Pak-keung, und 張柏強. „Can creativity be learned: a knowledge management approach to creativity support“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B3686139X.

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Wong, Chun-nae Janny, und 王珍妮. „Do expertise and training help creativity?“ Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B37861025.

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41

Tse, Hin-yan Caleb, und 謝獻恩. „Innovative capacity development : performance link for firms in an emerging market : a two-part study“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/196094.

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As the role of emerging markets become increasingly important in today‘s global economy, recent research has proliferated in topics such as new marketing perspectives (Sheth, 2011), successful firm entry (Johnson and Tellis, 2008), and innovation in emerging markets (Immelt, Govindarajan, and Trimble, 2009). Innovation in particular has become an important topic. Following this line of research this two-part thesis covers two different perspectives of firm innovation in an emerging market: (1) How domestic Chinese firms globalize and learn through innovation and (2) How foreign firms effectively innovate within China. Through this two-part thesis, I hope to contribute to the growing body of literature on firms’ strategies, particularly in developing innovative capacity for performance, in emerging markets. In the first part, I investigate how domestic Chinese firms learn through innovation and other mechanisms, as they internationalize through exporting activities. As China continues to display its influence on developed markets and the global economy, it is increasingly important to examine issues surrounding the globalization of Chinese firms. Research has documented a “learning-by-exporting” (LBE) effect in which firms (especially from emerging markets) learn through exporting, leading to productivity improvements. Yet prior studies have not discovered the exact learning mechanisms involved. Thus, this study “opens the black box” in examining how and under what conditions firms learn and achieve these productivity gains. I posit that firms leverage their learning through innovativeness, production capability improvements and managerial improvements. I test my hypotheses with panelized data on over 240,000 privately-owned Chinese firms between 2001 and 2007. All three mechanisms show a parallel and significant mediation between firm exporting and firm productivity. Furthermore, I find that the salience of these mechanisms is contingent upon industry characteristics: firms in industries with intensive R&D and moderate exporting demonstrate the most learning through all three conduits. In the second part, I take a reverse perspective and investigate how foreign firms set up their operations in China with the purpose of innovating, and highlight the effective strategies involved in this process. Foreign firms are increasingly moving their research operations to emerging markets, which represents a new technology strategy involving significant investments in R&D resources and local technological talent. Using absorptive capacity as a theoretical framework, I examine the effectiveness of this strategy and its boundary conditions. Specifically, how can establishing a local knowledge base (reflecting path dependency), obtaining local government support (to mitigate appropriability risks), and employing a strongly controlled organizational mode (wholly owned subsidiaries) facilitate foreign firms’ technology strategy in an emerging market? To test these postulates, I consider the innovative and local market performance of 524 foreign firms (216 wholly owned foreign subsidiaries and 308 international joint ventures) in China in 2008. The significant empirical support for my hypotheses contributes to the growing literature on foreign firms’ R&D strategy, emerging market innovations, and organizational entry modes.
published_or_final_version
Business
Doctoral
Doctor of Philosophy

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Estes, Linda 1957. „SOCIAL LEARNING THEORY AND CREATIVITY: THE EFFECTS OF MODELING ON DIVERGENT THOUGHT PRODUCTION“. Thesis, The University of Arizona, 1987. http://hdl.handle.net/10150/291697.

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The effects over time of written divergent and convergent models on subjects' creative responses to Guilford's Alternate Uses and Consequences were examined, using forty-eight undergraduate students at the University of Arizona. Subjects were divided equally into divergent model, convergent model, and control groups, and were tested and retested one week later. A multivariate analysis of variance (MANOVA) subjects' scores for flexibility, fluency, and originality, was found to be significant. Univariate F tests, discriminant function analysis, and Tukey's tests were performed to clarify the nature of significant effects. Results were found for scores on flexibility and originality, but only for the convergent group. Convergent modeling significantly increased the number of convergent responses given by subjects, and the convergent group gave significantly more original responses than the other two groups. The effects of modeling on the convergent group persisted over time, and a significant practice effect was noted.

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Reifel, Anita Lynn. „Birth order, academic specialization, and creativity /“. View online, 1999. http://repository.eiu.edu/theses/docs/32211130927461.pdf.

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Edgell, Robert Anthony. „Creativity and management in the media industry empirical analysis of North American independent magazines /“. Gutenberg AG : Univ. of St. Gallen, 2007. http://search.ebscohost.com/login.aspx?direct=true&db=buh&AN=35635162&site=ehost-live.

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Wan, Wing-nga Wendy. „Effects of novel conceptual combination on creativity /“. Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21924004.

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Morrison, John David. „Group composition and creative performance /“. Access abstract and link to full text, 1993. http://0-wwwlib.umi.com.library.utulsa.edu/dissertations/fullcit/9315956.

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Gingras, Ginette. „The development of a motor creativity test using fluency and flexibility measures /“. Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=66004.

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Hudson, Ken, University of Western Sydney, of Arts Education and Social Sciences College und School of Social Ecology and Lifelong Learning. „Designing a continuously creative organisation“. THESIS_CAESS_SELL_Hudson_K.xml, 2001. http://handle.uws.edu.au:8081/1959.7/601.

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This research confirms that organisational creativity is of growing interest to leaders due to an an anticipated move into the information age, and the growth of the new economy. For some leaders it also represents a new post-cost-cutting strategy to ensure organisational growth and sustainability. The research used a grounded theory approach and consisted of in-depth interviews with leaders from both the profit and non-profit sectors and included 3 case studies -- the Four Corners unit at the ABC, the advertising industry and 3M. The research also includes two comparison studies, between a range of profit and non-profit organisations, most of which are renowned for creativity. The core question attempted to be answered was how can organisations become more creative.
Doctor of Philosophy (PhD)

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Miller, Angela L. „Cognitive processes associated with creativity scale development and validation /“. Muncie, Ind. : Ball State University, 2009. http://cardinalscholar.bsu.edu/763.

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Von, Solms Woudi. „Business school creativity amongst MBA students at Nelson Mandela Metropolitan University“. Thesis, Nelson Mandela Metropolitan University, 2014. http://hdl.handle.net/10948/4255.

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Innovation allows for competitive advantage. Competitive advantage and innovation lead to economic growth. For innovation to occur, creativity is necessary. All individuals are creative, but continuous practice is necessary to be creative. The process from creativity to innovation and competitive advantage and economic growth involves three stages. The first stage involves educating primary and secondary school children to be creative across different domains. Current school systems focus on mathematical and linguistic skills. Examples of domains are linguistic, performance, mechanicalscientific and artistic. These creative domains can be taught through encouraging children to use their imagination and different methods. In primary and secondary education little-c creativity and mini-c creativity are developed. Little-c creativity involves developing problem solving skills. Mini-c creativity involves the ability to recognise personal creative events, not necessarily recognised by others. Tertiary education involves students gaining knowledge in a specific domain. While studying to gain knowledge and conduct research on a specific domain, practicing creativity is still important. Upon completion of tertiary education the second stage in creating economic growth through creativity and innovation commences. This second stage involves organisations hiring creative employees that have knowledge within a domain similar to the organisation‟s industry. Creative employees develop creative ideas. The creative ideas allow for innovative products to be developed. Innovative products satisfy customer needs and lead to competitive advantage. Managers should encourage employees to be innovative. Employees that are motivated and encouraged to take risks develop a talent within the domain that they are employed in. The ability to be creative and innovative leads to pro-creativity and big-c creativity. Pro-c creativity refers to a talent being developed over approximately ten years. Big-c creativity involves creating products that benefits society positively. Upon creating products that benefit society, competitive advantage is created that allows for the third stage of creating economic growth to commence. This third stage involves economic growth that stems from innovation and creative individuals. Countries currently focus on stage two where they aim to encourage innovation amongst organisations. There is a realisation that to be innovative,creativity is necessarily and that creativity must be taught by means of education. This research study will use a questionnaire by Kaufman (2009, 2012, 2013) to determine how creative students perceive they are and whether they are capable of recognising different levels of creativity. A similar study was conducted in Germany and Mexico. Professor Alexander Brem was asked for the questionnaire. The questionnaire was translated from German to English. The objective is to determine whether students perceive themselves to be creative, thus being innovative within their organisations and indirectly allowing for competitive advantage and economic growth. Kaufmans‟ questionnaire was distributed to Nelson Mandela Metropolitan University Masters in Business Administration students. Ethics clearance was granted and answering the questionnaire was optional.To draw conclusions an Exploratory Factor Analysis was done on creative domains and the levels of creativity students are able to recognise. The first Exploratory Factor Analysis revealed performance creativity as the first factor, mechanicalscientific creativity as the second factor, scholarly creativity as the third factor and artistic creativity as the fourth factor. The second Exploratory Factor Analysis grouped pro-c creativity, big-c creativity and little-c creativity as the first factor, not being able to recognise creativity as the second factor and mini-c creativity as the third factor. The individual results from each factor were discussed. Each factor was further analysed by comparing gender, age, year‟s work experience and type of students to the type and level of creativity. The results show three trends. Firstly, results indicated that respondents perceived themselves to be predominantly scholarly and mathematical-scientific creative. This result is synonymous with secondary research that states that educational institutions focus on enhancing linguistic and mathematical skills amongst students and that developing skills in other domains are seen as less important. Secondly, the ability of students to recognise different levels of creativity decreases from big-creativity to pro-c creativity; pro-c creativity to little-c creativity and little-c creativity to mini-c creativity. Students are therefore better able to recognise large inventions than smaller inventions. Thirdly, results indicated that creativity levels do not differ when gender, age, year‟s work experience and type of students are compared. In this research study the above statements will be discussed in detail.

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