Educational institutions are today facing increasing pressures due to economic, political and social upheaval. This is only exacerbated by the nature of education as an intangible good which relies upon the intellectual assets of the organisation, its staff. Top management support has been acknowledged as having a positive general influence on knowledge management and creativity. However, there is a lack of models linking top management support, knowledge sharing, and innovation within higher education institutions, in general within developing countries, and particularly in Iraq. This research sought to investigate the impact of top management support on innovation through the mediating role of knowledge sharing in Iraqi private HEIs. A quantitative approach was taken and 262 valid responses were collected to test the causal relationships between top management support, knowledge sharing, and innovation. Employing structural equation modelling with AMOS v.25, the research demonstrated that knowledge sharing plays a pivotal role in the relationship between top management support and innovation. The research has produced some guidelines for researchers as well as leaders, and provided evidence to support the use of knowledge sharing to increase innovation within the higher education environment in developing countries, particularly Iraq.
Metaphorical creativity does not constitute a static property of discourse. It is an interactive dynamic process created online. There has been a lack of research concerning online produced metaphorical creativity. This paper intends to account for metaphorical creativity in online talk-in-interaction as a dynamic process that emerges as discourse unfolds. It brings together insights from the emergentist approach to the study of metaphor in verbal interactions and insights from conceptual blending approach as a model for analysing online metaphorical constructions to propose a model for studying metaphorical creativity in interactive talk. The model is based on three focal points. First, metaphorical creativity is a dynamic emergent and open-to-change process that evolves in real time as interlocutors constantly blend and re-blend previous metaphorical contributions. Second, it is not a product of isolated individual minds but a joint achievement that is co-constructed and co-elaborated by interlocutors. The third and most important point is that the emergent process of metaphorical creativity is tightly shaped by contextual variables surrounding talk-in-interaction. It is grounded in the framework of interpretation of interlocutors. It is constrained by preceding contributions in a way that creates textual cohesion of the verbal exchange and it is also a goal-oriented process predefined by the communicative intention of each participant in a way that reveals the ideological coherence/incoherence of the entire conversation.
Machines can be either tool, media, or social agents. Advances in technology have been delivering machines capable of autonomous expression, both through communication and art. This paper deals with models (theoretical approach) and experiments (applied approach) related to artificial agents. On one hand it traces how social sciences' scholars have worked with topics such as text automatization, man-machine writing cooperation, and communication. On the other hand it covers how computer sciences' scholars have built communicative and artistic machines, including the programming of creativity. The aim is to present a brief survey on artificially intelligent communicators and artificially creative writers, and provide the basis to understand the meta-authorship and also to new and further man-machine co-authorship.
This paper points out at the importance of creativity development in children of preschool age and analyses certain conditions and pedagogical principles which should be respected during the development of creativity in kindergartens. Research survey focuses on the development of creativity reflection at children in kindergartens at preschool age and based on a test of creativity it compares creativity of children in experimental and control groups. The goal is to find out if there are any differences among children in experimental and control classrooms in kindergartens; wherein experimental groups, there is preschool education with the use of drama education while in control groups there is not. On the basis of certain aspects, the gained data is compared through descriptive methods and correlations. Research results refer to reserves in creativity development in modern pre-primary education in the context of implemented and expected changes in didactic approach in the education of kindergartens.
Current industry is facing the rapid development of new technology in the world and fierce changes of economic environment in the society so that the industry development trend gradually does not focus on labor, but leads the industry and the academic circle with innovation and creativity. The development trend in machinery industry presents the same situation. Based on the aim of Creativity White Paper, Ministry of Education in Taiwan promotes and develops various creativity contests to cope with the industry trend. Domestic students and enterprises have good performance on domestic and international creativity contests in recent years. There must be important creative elements in such creative works to win the award among so many works. Literature review and in-depth interview with five creativity contest awarded instructors are first proceeded to conclude 15 machinery creative elements, which are further compared with the creative elements of machinery awarded creative works in past five years to understand the relationship between awarded works and creative elements. The statistical analysis results show that IDEA (Industrial Design Excellence Award) contains the most creative elements among four major international creativity contests. That is, most creativity review focuses on creative elements that are comparatively stricter. Concerning the groups participating in creativity contests, enterprises consider more creative elements of the creative works than other two elements for contests. From such contest works, creative elements of “replacement or improvement”, “convenience”, and “modeling” present higher significance. It is expected that the above findings could provide domestic colleges and universities with reference for participating in creativity related contests in the future.
While Ba‘albakī ceased writing or publishing since 1964, it is considerable and significant to investigate Ba‘albakī’s influence on others. This paper examines her influence on three Lebanese women writers: Emily Nasrallah, Muná Jabbūr, and Hanan al-Shaykh. However, the aim is not simply to examine the influence of the writer on these three authors, but rather to note similarities and differences in the challenges they faced and the agendas they followed in their fiction writing. For each of these writers, this article will describe elements of their literature, and then sketch out the influence which Ba‘albakī has had on them. This paper relies on material from Sidawi because it includes interviews with the female writers discussed that are relevant to the current discussion. Sidawi asked them about Ba‘albakī and her influence on them, the challenges they faced, and how they coped with them. This paper points out their comments using their own words. To be clear, examining these writers' notes and works is beyond the scope of this paper. To sum up, there are significant parallels between the life and work of Ba‘albakī, and other Lebanese women writers such as Nasrallah, Jabbūr and al-Shaykh. Like Ba‘albakī, Nasrallah and al-Shaykh also suffered in their struggle against their families. Nasrallah and al-Shaykh, like Ba‘albakī, suffered because their society did not trust in their abilities and creativity. Ba‘albakī opted for isolation because of her conflict with patriarchal society including the Lebanese women’s groups, while Nasrallah’s isolation was because she preferred individualism and autonomy, and Jabbūr, as could be speculated, was not able to cope with the suffering caused by her role as a woman writer within Lebanese society. Whereas Ba‘albakī isolated herself from the Lebanese women’s groups, focusing instead on her feminist writing and joining the Shi'r group, Al-Shaykh and the Lebanese women’s groups are able to cooperate in harmony. Furthermore, while Nasrallah and Al-Shaykh continued to publish fiction, Ba‘albakī stopped publishing fiction in 1964. All of the above confirms not only that it is worthy to investigate deeply and academically both the biography and the works of Ba‘albakī, but also that she deserves to include her throughout the top great Arab female writers, at the time, like Al-Shaykh and Nawal El Saadawi.
A teacher’s attitude to creativity plays an essential role in the thinking development of his/her students. The purpose of this study is to understand if a science teacher's personal creativity can modify his/her ability to produce various kinds of questions. This research used an education activity based on cosmic sketches and pictures by K.E. Tsiolkovsky, the founder of astronautics, to explore if any relationship between individual creativity and the asking questions skill exists. As a screening instrument, which allows an assessment of the respondent's creative potential, a common test of creative thinking was used. The results of the creativity test and the diversity of the questions are mentioned.
Teaching art by digital means is a big challenge for the majority of teachers of art and design in primary schools, yet it allows relationships between art, technology and creativity to be clearly identified. The aim of this article is to present a modern way of teaching art, using digital tools in the art classroom to improve creative ability in pupils aged between nine and eleven years. It also presents a conceptual model for creativity based on digital art. The model could be useful for pupils interested in learning to draw by using an e-drawing package, and for teachers who are interested in teaching modern digital art in order to improve children’s creativity. By illustrating the strategy of teaching art through technology, this model may also help education providers to make suitable choices about which technological approaches are most effective in enhancing students’ creative ability, and which digital art tools can benefit children by developing their technical skills. It is also expected that use of this model will help to develop skills of social interaction, which may in turn improve intellectual ability.
From an organizational perspective, leaders are a variation of the same talent pool in that they all score a larger than average value on the bell curve that maps leadership behaviors and characteristics, namely competence, vision, communication, confidence, cultural sensibility, stewardship, empowerment, authenticity, reinforcement, and creativity. The question that remains unanswered and essentially unresolved is how to explain the irony that leaders are so much alike yet their organizations diverge so noticeably in their ability to innovate. Leadership intersects with innovation at the point where human interactions get exceedingly complex and where certain paradoxical forces cohabit: conflict with conciliation, sovereignty with interdependence, and imagination with realism. Rather than accepting that leadership is without context, we argue that leaders are specialists of their domain and that those effective at leading for innovation are distinct within the broader pool of leaders. Keeping in view the extensive literature on leadership and innovation, we carried out a quantitative study with data collected over a five-year period involving 240 participants from across five dissimilar companies based in the United States. We found that while innovation and leadership are, in general, strongly interrelated (r = .89, p = 0.0), there are five qualities that set leaders apart on innovation. These qualities include a large radius of trust, a restless curiosity with a low need for acceptance, an honest sense of self and other, a sense for knowledge and creativity as the yin and yang of innovation, and an ability to use multiple senses in the engagement with followers. When these particular behaviors and characteristics are present in leaders, organizations out-innovate their rivals by a margin of 29.3 per cent to gain an unassailable edge in a business environment that is regularly disruptive. A strategic outcome of this study is a psychometric scale named iLeadership, proposed with the underlying evidence, limitations, and potential for leadership and innovation in organizations.c
This study investigated some results of the use of digital art tools by junior school children in order to discover if these tools could promote artistic ability and creativity. The study considers the ease of use and usefulness of the tools as well as how to assess artwork produced by digital means. As the use of these tools is a relatively new development in Art education, this study may help educators in their choice of which tools to use and when to use them. The study also aims to present a model for the assessment of students’ artistic development and creativity by studying their artistic activity. This model can help in determining differences in students’ creative ability and could be useful both for teachers, as a means of assessing digital artwork, and for students, by providing the motivation to use the tools to their fullest extent. Sixteen students aged nine to ten years old were observed and recorded while they used the digital drawing tools. The study found that, according to the students’ own statements, it was not the ease of use but the successful effects the tools provided which motivated the children to use them.
the aim of this study was to analyze ethnopsychological content of “Aitys" as a process of creative competition in Kazakh traditional folklore by means of Transaction analysis (three types of Ego states are Parent, Adult and Child). “Aitys" is as sources of Kazakh national self-consciousness and form of oral Kazakh national creativity. Comparative psychological analysis of classical and modern “aityses" is carried out. Empirical proved that the victory in “Aitys" is provided with a position of egostate “Adult".
Being creative in an educational environment, such as in the university, has many times been downplayed by bureaucracy, human inadequacy and physical hindrance. These factors control, stifle and subsequently condemn this natural phenomenon which is normally exuded by the tertiary community. If taken in a positive light, creativity has always led to many new discoveries and inventions. These creations are then gradually developed for the university reputation and achievements, in all fields of studies from the sciences to the humanities. This paper attempts to explore, through more than twenty years of observation, issues that stifle the university citizenry – academicians and students- – creativity. It also scrutinizes how enhancement of such creativity can be further supported by bureaucracy simplicity, encouraging and developing human potential and constructing uncompromising physical infrastructure and administrative support. These ideals – all of which can help to promote creativity, increases the productivity of the university community in aspects of teaching, research, publication, innovation and commercialization; be it at national as well as at international arena for the good of human and societal growth and development. This discursive presentation hopes to address another issue on promoting university community creativity through several deliverables which require cooperation from every quarter of the institution so that being creative continues to be promoted for sustainable human capital growth and development of the country, if not, the global community.