Liljedal Communication AB is a marketing company with twelve employees in Örebro. In the marketing business is it extra important to work creatively to reach the target market with a message.Creativity is defined as the creation of new ideas where the idea is adequate, useful and feasible. Organisational creativity is created by individuals in the right environment for using their creativity. In this paper we present theories about creative individuals and the situation that affects their creativity. Furthermore theories are presented about different strategies that aim to increase creativity.

Parenting and parental leave in a career context is a highly topical subject in which discussions about gender equality and corporate discrimination against parents occur daily. Media has recently raised the theory of parenting and parental leave as having positive impacts on personal development, such as creativity enhancement, which may promote the individual's work performance. Despite the subject's significant value for society and organizations, no scientific research is to be found. This paper examines how an individual's Creativity at work is affected when becoming a parent and if parental leave has any contributory effect. Furthermore, the paper identifies and scrutinizes four creativity theories that may help explain these changes in creativity.

The purpose of this study was to examine creativity in psychosocial work. The aim issues where to find out how creativity develops in social work, why the relation is important for the innovativeness and how the creativeness can change a person. Through a qualitative method with interviews of four persons in psychosocial work and with one man who's a professor in philosophy, four relevant themes were identified. The themes are about the relation, the meeting, the dialog and the changing. All four themes are related to creativity and I used existential, philosophic and also psychoanalytic theories when I analyzed the material.

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.

Companies and organizations need to take care of their employees? creative ability. This report gives some examples of work situations that support or prevent creativity. The purpose with this report is to investigate the link between people at work and creativity.It was necessary to delimitate the area and decide which sources to be investigated and presented in the report. The main topic is on sources of creativity, but as more organizations seem to introduce efficiency thinking according to Börnfelt (2009), the interaction between efficiency and creativity is also presented.In this report theory is compared to industrial designers? opinions on creativity.

This dissertation examines how creativity can be of benefit for the school. It discusses if there is a need or demand for it and how the present situation is in Swedish schools. Defining creativity accurately is difficult but it is relevant to look at the environments that use creativity. There is a vast amount of literature that uses creativity and it varies to some extent. Creativity originates from meetings and combinations, both within and outside of the individual.

There is consensus in research, policy, business and many other areas around the benefits of creativity. Previous research shows that creativity is only spurred under certain conditions. Usually creativity is not associated with concepts such as control, deadline or cost effectiveness. Companies, by contrast, have the need for control and management of their operations, which implies that the two processes can be difficult to reconcile. A company that wants a high creativity while maintaining control and management is forced into a series of organizational compromises.

The media landscape has exploded during the last decade, which has lead to a massive advertising clutter. Consumers defend themselves against this intrusive marketing by creating an advertising filter that sorts and blocks. These changing conditions have lead to new and tougher demands on creators and advertisers to create more efficient marketing communication that stands out in the clutter and penetrates the consumers? advertising filter. Many creators and researchers claim that creativity is the most efficient method to stand out in the clutter and generate sought communication effects.

Previous research within the field of advertising creativity has been based on the point of view of professional advertisers, deciding the norms of creativity without wondering how consumers define creativity. Thus, the main purpose of our thesis has been to investigate which dimensions advertising creativity consists of and the driving forces behind them. All based on a consumers? point of view. The secondary purpose has been to show how creativity affects efficiency through purchase intentions and Word- of-Mouth.

With theories of creativity and aesthetic learning processes as a basis, this study explores the usage of the concept of creativity in the curriculum for the Swedish compulsory school (Lgr11) and in the various syllabi?s commentaries and the assessment guidelines for the subject of Sloyd produced by the Swedish National Agency for Education. The purpose of the study is, to examine to which extent an education and assessment that is directed towards the development of creativity among pupils in the subject of Sloyd, is underpinned and supported for in these texts, and furthermore how these wordings relate to the various other subjects? wordings about creativity. Creativity is a concept around which there is no proper consensus.

With theories of creativity and aesthetic learning processes as a basis, this study explores the usage of the concept of creativity in the curriculum for the Swedish compulsory school (Lgr11) and in the various syllabi?s commentaries and the assessment guidelines for the subject of Sloyd produced by the Swedish National Agency for Education. The purpose of the study is, to examine to which extent an education and assessment that is directed towards the development of creativity among pupils in the subject of Sloyd, is underpinned and supported for in these texts, and furthermore how these wordings relate to the various other subjects? wordings about creativity. Creativity is a concept around which there is no proper consensus.

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.

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.

This degree project deals with the concept of creativity and the creative output based on howSwedish upper-secondary design teachers within the Technical Engineering Programexperience this from a student's perspective. The project discusses how the concept creativityis interpreted and how the creative output is regarded by educationalists and professionaldesigners and how this then can be related to literature on the subject and in the steeringdocuments. The purpose of this degree project is to visualize the interviewees' viewpoint oncreativity and the significance of experience, skills, and environment for the creative outputand within the field of design. This in order to, in the pedagogic and didactic situation, enablethe improvement of teaching so that creativity and its output come to show. Moreover, theproject aims to create a ground for discussion of the view of the importance of these skills inthe pedagogic/didactic situation.In order to reach this aim, I have read literature on creativity from several perspectives andcarried out eight qualitative structured interviews: both with three educationalists withoutexperience within the design profession, and with two educationalists who are or have beenactive within the design profession, as well as with three professional designers.

The purpose of this thesis is to illustrate the conception of creativity. Observation and interview illustrate teachers´ views of the concept, as well as the use there of. Classes in ensemble and aestethics have been observed. The reason for choosing these two classes is to give the investigator the oppurtunity to observe several students at the same time and it also makes possible for the investigator to observe several instrumentalists´ use of their instruments. Interviews have been conducted with teachers in the observed classes.