差错能成为创新之源吗——基于差错管理文化对员工创造力影响的跨层次分析     

杜鹏程  贾玉立  倪清 《科技管理研究》2015,(9)

在面临社会经济转型的关键时期,如何有效激发员工的创造力已成为我国现阶段企业中人力资源管理者的重要课题。以问卷调查的方式获取了安徽省境内43家企业531名员工的有效数据,构建了组织层面的差错管理文化对个体层面员工创造力和创造力自我效能感影响的跨层次中介效应模型,并运用多层线性模型技术对其进行了深入的分析。研究结果表明:组织差错管理文化对员工创造力产生正向的跨层次影响,且创造力自我效能感在组织差错管理文化和员工创造力之间起到部分中介作用。  相似文献   

多元智能理论在英语专业教学中的应用     

杨静 《安顺师范高等专科学校学报》2015,(3)

多元智能理论阐述了每个人的智能是多元的,智力不仅指一种能力或仅以某一种突出能力为中心的能力,而是多种智力的相互组合、综合利用。在英语专业本科教学中,多元智能的重要性更应该得到全方位的体现,只有全面开发学生的各种智能,才能让他们在专业知识的学习上更加科学、合理、有效。  相似文献   

北京鸟巢文化旅游创意开发策略研究     

杨培玉 《北京城市学院学报》2015,(2)

鸟巢是著名的奥运遗产,已经成为北京的地标性建筑,具有巨大的创意开发空间。文章阐述了鸟巢的主要文化旅游资源及其特点,在此基础上对鸟巢的文化旅游创意开发现状进行了全面分析,并指出存在的问题,及开发原则和策略。  相似文献   

试析“模式”在应用写作教学中的运用     

柯聪 《长江工程职业技术学院学报》2011,28(1):77-78

讨论了应用写作教学中出现的＂模板化＂、＂文学化＂两种极端倾向,阐述了将＂模式＂引入应用写作教学中的积极意义,以及运用模式教学时对＂度＂的把握。为学生快速掌握应用文的写作提供方法,为应用写作教学实践提供参考。  相似文献   

设计素描中的构想与表现     

李海岩 《天津职业院校联合学报》2011,13(7):111-113

思维是人脑的反映控制机能,是人脑的产物,我们在学习、工作中不同的思维方式产生着不同的思维结果。在传统素描的教学方式下,学生们很难适应描绘想象的物象及其它的设计课题。如何有效的激发学生的创造性思维并使之达到体现构想、表达创意,并最终实现通过素描、认识自然、发现设计的目的,已经成为现代设计素描教学中的重要课题。  相似文献   

日语专业人才培养模式改革实践探析     

金盛爱 《鞍山师范学院学报》2015,(1):55-57

本文探讨了我校日语专业人才培养模式改革的指导思想及具体措施,从优化课程体系和完善教学内容、注重实践能力培养、加强师资队伍建设、加强教风建设严把教学管理等方面进行了阐释。  相似文献   

论创造性翻译思想的认知培养     

董丽丽 《佳木斯教育学院学报》2015,(3):261

认知语言学认为翻译是基于源语篇的体验和认知之上的一种认知活动,因此存在主观性和创造性。翻译创造程度受译者对翻译理念、翻译策略等因素的认知影响。文章通过分析各因素与翻译之间的联系,帮助学生认识创造性翻译的意义,尽力规避不必要的创造,使译文更加忠实于原文,实现翻译中的对等。  相似文献   

Development and validation of the short use of creative cognition scale in studying     

Jekaterina Rogaten 《教育心理学》2015,35(3):294-314

This paper reports the development and validation of a short Use of Creative Cognition Scale in Studying (UCCS) that was inspired by the Cognitive Processes Associated with Creativity (CPAC) scale. In Study 1, items from two of the six subscales of the CPAC were excluded due to conceptual and psychometric issues to create a 21-item CPAC scale, which was administered to 517 university students. Exploratory factor analysis revealed that the 21-item CPAC scale is unidimensional. Five items were selected to create the new unidimensional UCCS. In Study 2, 696 students completed the UCCS and a set of scales measuring related constructs. Confirmatory factor analysis corroborated the unidimensional structure of the scale. The scale correlated positively with measures of flow, trait intrinsic motivation, adaptive metacognitive traits and positive affect, it correlated negatively with negative affect, and it did not correlate with core maladaptive metacognitive traits. The findings indicate that the scale is a valid and reliable tool for research and monitoring.  相似文献   

The impact of various creative initiatives on wellbeing: a study of children in English primary schools     

Maurice Galton  Charlotte Page 《Cambridge Journal of Education》2015,45(3):349-369

The following paper builds uon a survey of primary students’ wellbeing in an attempt to assess the impact of various creative initiatives on this aspect of their lives. Three case studies were conducted in schools with some of the highest aggregate wellbeing scores, all three schools having also been engaged in various extended Creative Partnership programmes. Teachers, Creative Practitioners and students were interviewed and observed during both normal lessons and Creative Partnership activities. It is posited that the implementation of creative activities under the framework adopted by Creative Partnership enhances both hedonic and eudaimonic aspects of wellbeing and accords with theories of motivation which stress the value of promoting student competencies and autonomy and creating classroom climates which promote connectedness.  相似文献   

The careers of fine artists and the embedded creative     

Charlotte Carey 《Journal of Education & Work》2015,28(4):407-421

While there is a growing body of scholarship on the creative industries and on the career trajectories of graduates from creative industries programmes, there has to date only been a limited amount of research that examines in detail, the careers of fine arts graduates. Fine art is arguably the least ‘vocational’ of creative disciplines, in that there are relatively few employers that seek to employ fine artists as fine artists. If fine arts graduates are not employed in their chosen field – that is, in the ‘Creative Trident’ terminology, in a core creative occupation – how do their careers parallel or differ from those of other creative graduates? Do they find employment as ‘embedded creatives’, using or applying their experience and practice in sectors beyond the core creative industries, or as ‘support workers’, enabling and facilitating the creative work of others? Do they experience portfolio careers? And how do their artistic training and attitudes to creativity affect their working relationships and experiences? This article draws on rich qualitative data about the experiences of a small group of graduates (including the author) who all graduated from the same course at the same institution in the UK in 1994, to provide some insights into the career paths and trajectories of a sample of fine arts graduates.  相似文献