• Korean Journal of Child Studies
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• v.30 no.6
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• pp.443-458
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• 2009

This study examined differences between teachers' and children's implicit knowledge, perception and characteristics of leaders, and creative leadership styles of perceived leaders. The 207 elementary 6th grade student and 13 elementary teacher participants completed open questionnaires. Results showed that (1) 30% of implicit knowledge of children's leadership between teachers and children were different; teachers included more charismatic features; children focused on responsibilities of leaders. (2) The list of perceived leaders' traits were similar to the implicit traits in both groups. (3) Scores of perceived leaders by teachers and children were higher in creativity and leadership than those of ordinary children. Over 75 percent of perceived leaders were also classified as creative leaders.

• Korean Journal of Culture and Social Issue
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• v.14 no.1_spc
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• pp.367-390
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• 2008

The primary purpose of this study is to investigate the college students' implicit theory of Korean creativity. This study deals with the degree to which the students exploit the creativity, and the obstacles for them to exploit the creativity. Another purpose of this study is to explore their implicit knowledge of Korean creative environments. The results are as follows. The implicit knowledge of Korean creativity could be characterized by the following key words: 'flexibility', 'application', 'transformation', 'originality', 'perseverance', 'not being stereotyped', 'esthetic flavor' and 'understanding-new-by-exploring-old'. Students thought themselves to be more or less creative. Students in art and physical education, and male students estimated themselves more creative than other discipline and female. They thought that socio-institutional factors such as educational system focused on the college entrance test are the most serious obstacles against creativity. About half of the students thought the creative persons would have been raised in poor family whereas other students thought differently. The home environment of the creative person was thought to be characterized by the words such as democratic, free and encouraging. Creative persons were thought to be maladaptive school life, but good at peer relations. This study will be used as a pioneer research which suggest a model of Korean creativity.

• Korean Journal of Human Ecology
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• v.20 no.1
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• pp.39-55
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• 2011

The purpose of this study was to investigate the implicit knowledge of creativity and education practice of creativity perceived by undergraduate students. Participants were 425 undergraduate students from around the greater metropolitan area of Seoul. The results of this study were as follows: (1) Most undergraduate students considered creativity as creative thinking or creative product rather than creative personality and creative environment. Undergraduate students placed originality as the most important subfactor of creativity. Scientists were ranked as the most creative people, followed by executives, and then artists. Interestingly contemporary Korean undergraduate students recognized and evaluated creativity as positive. (2) Most undergraduate students recognized the needs and importance of creativity-fostered education. These aspects of education have meaningful differences according to gender, as female students viewed creativity-fostered education more important. (3) Undergraduate students considered creative persons to be imaginative, independent, and confident. The most important part of developing undergraduate students' creativity was to make more creative environments. It has been suggested that the benefit of creative environments should be taken into consideration when developing creativity-enhancing programs and education for undergraduate students more generally.

• Korean Journal of Culture and Social Issue
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• v.18 no.4
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• pp.463-479
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• 2012

The implicit association test (IAT) measures implicit attitudes of participants and is regarded as an effective method for expecting future behaviors. Based on the IAT, this study aimed to answer the question, whether implicit attitudes of an individual about creativity have any kinds of impact on global perception, which might be important for a creative process. In the experiment, participants were presented words, which were associated with one of four categories, while one attitude category (creativity /practicality) and one evaluative category (good/bad) were always paired together either on the left side or on the right side of the computer screen. After completing the IAT test, participants were led to fill out a questionnaire to assess explicit attitudes toward creativity and practicality. Then they conducted the navon task, in which they had to find one of two letters, 'F' or 'H', which were presented either as a local form or as a global form. Finally, the participants had to write down as many untypical functions of an object as possible. The results showed that not the scores of explicit attitude scores but the IAT scores correlated with the reaction time of global perception. The global perception was faster in the participants with the low IAT scores than the local perception. Compared to this, the global perception benefits disappeared in the participants with the high IAT scores. Additionally, more creative ideas about the functions of the object were listed in the group with the lower IAT scores. Implications of the role of implicit attitudes about creative processes are discussed.

• Proceedings of the Korean Society for the Gifted Conference
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• 1994.08b
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• pp.197-206
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• 1994

• Journal of Gifted/Talented Education
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• v.17 no.2
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• pp.365-391
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• 2007

As a previous study to investigate recognition gap of creativity between Korea and America, this study has examined Korean university students' implicit creativity toward Korea and America. The research method using in this study was as follows: The subject were university students in Korea, and they were asked to answer multiply for open-ended questions. For the analysis of the answers, a frequency analysis was used. The results were as follows: 1) It showed that Korean university students considered creativity trait as cognitive trait, personality, cultural trait, research and development areas and arts areas. This result means that Korean university students tend to recognize creativity similarly to the ways of established theories of creativity. 2) For the case of Korea, environmental trait like sociocultural background had great importance for all cases of creativity trait and non-creativity trait. 3) American creativity was recognized focused on individual tendency, on the while, community spirit was considered as creativity trait in Korean creativity. 4) It is considered that American culture had better condition for displaying creativity than Korean culture. 5) Traditional culture of Korea was recognized as creativity trait in terms of originality and superiority, and the possibility of modernistic use of Korean culture. 6) Creative people were ranked by artists, executives, rulers and scientists who were well-known to Korean university students. 7) In the comparison of creativity trait between the two countries revealed the traits of creative people, American creativity was reflected more than Korean creativity, This result seems that those people were favored by Korean university students who were familiar with American culture. In conclusion, this study has found another possibility of creativity of the East among cross-cultural creativity studies. Moreover, this study has suggested that traditional culture and tradition renewal, and values of the East are superior cultural resources which are not exist in the West, and those are expected to play a role in developing creativity.

• Journal of Gifted/Talented Education
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• v.23 no.4
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• pp.615-632
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• 2013

The purpose of this study was to explore the implicit knowledge of creative person in Korea, China and Japan. To this end, participants of all ages in three countries (Korean 328, Chinese 388, Japanese 394) were required to fill out the survey about creative persons. The major results of this study were as follows: First, Korean and Japanese recognized most the characteristics of creative person as "original" at all ages, Chinese recognized as "intellectual" in most ages. Second, occupations of creative persons were classified into nine categories. Third, in Korea scientist and artist, in China politician, in Japan artist were the occupations of the highest frequency at all ages. These results of this study can be used as a basis for the research of implicit knowledge on creativity in East Asian countries. This study suggests that the implicit knowledge about creative person differs in three countries and cultural characteristics of each country should be considered in the study of creativity.

• School Mathematics
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• v.15 no.3
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• pp.551-568
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• 2013

The purpose of this study is to verify the research trends on 101 articles about mathematical creativity published in domestic journals. The analysis criteria are as follows: (1)What kind of terms the articles use to refer to the creativity in mathematics education, (2)Whether the researchers conceptualize such the terms or not, (3)Whether the definitions are domain-specific or not, (4)What perspectives, categories and levels of the articles have on creativity. The results of this study show the following. First, numerous articles used 'mathematical creativity' in order to point to the creativity in mathematics education. Second, among the 101 selected articles, 60 (59.4%) provided an explicit definition of the mathematical creativity and 19(18.8%) provided an implicit definition. Among the 79 articles, only 43(54.4%) provided domain-specific definitions. Second, the percentage of articles preferring one perspective over the other 3 perspectives were similar. Third, the rate of articles which focused on press(environment) of all categories (person, process, product, press) was low. Fourth, regarding the levels of creativity, most articles were done on little-c creativity level, on the other hand, the articles having an interest in mini-creativity were very rare. Based on these results, necessities of explicit and domestic-specific definition, whole approach of mathematical creativity, and articles focusing on the mini-creativity level should be reported.

• Korean Institute of Interior Design Journal
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• v.23 no.4
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• pp.149-156
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• 2014

In the Russian 'spirituality' which played an important role in realization of 'abstraction' in modern arts, the three elements of Universalism - Oriental thoughts, Universal ideas, and Froebelian influence - can be found with no difficulty. More notable is the fact that, along with theosophy, the emergence of modern existential thoughts such as Bergson, Schopenhauer, Nietzsche is a new search and a new recognition of nature and human as views of panentheism and humanism, essentially of Humane and Divine. Therefore, it goes without saying that the thoughts constituting the Suprematism or Constructivism in Russia are, in a word, implicit in the existential humanistic ideas of Panpneumatism or Panentheism that is explained as the nature of Russian religious ideas. Furthermore, which is not only Suprematist's metaphysical principle but also the expression of universal thoughts; interestingly, which is closely akin to several Oriental mystic ideas including Taoist thoughts, as well as the contents of Universalism including mystic Christianity, by extension, which ideas and principles have a remarkable resemblance with thoughts and principles of Froebel.

• The Research Journal of the Costume Culture
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• v.31 no.6
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• pp.806-823
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• 2023

The aim of this study was to analyze the design characteristics of Chinese fashion designer Feng Chen Wang and interpret their implicit meaning from a neo-deconstruction perspective. A review of domestic and foreign literature, outlined the develop- ment of deconstruction and neo-deconstruction, with neo-deconstruction's aesthetic features termed 'traditional fusion', 'positive playfulness', 'open communication', and 'multiple inclusiveness'. These features informed an analysis of Feng Chen Wang's fashion design. Four key findings emerged. First, 'traditional fusion' combines traditional Chinese colors, items, handicrafts, and patterns with modern design to break down boundaries between past and modern, tradition and fashion. Second, 'positive playfulness' promotes creativity and fun, using bright colors, exaggerated accessories, and playing withthe composition of traditional clothes to create a positive atmosphere. Third, 'open communication' emphasizes design that combines practicality and creati- vity in response to consumer needs, incorporating the thoughts arising from individual experiences and interest in social phenomena. Fourth, 'multiple inclusiveness' breaks down boundaries of sexuality, hierarchy, and body shape, embracing various ideas of beauty and respecting uniqueness through design that are seen as available to all. Using a neo-deconstruction perspective, Feng Chen Wang provides novel product planning ideas for Chinese fashion brands and reflects the values and meaning of modern design pursued by contemporary Chinese designers.