Based on the application of the screening Hermann questionnaire as creative, we propose three strategies to link the entrepreneurial competencies of our subjects. Several studies demonstrate that Schwartz’s theory of human values 1 is valid in cultures previously beyond its range. We measured the 10 value constructs in the theory with the Portrait Values Questionnaire (PVQ), a new and less abstract method than others. This study explores the influence of values on professional choices, focusing on associations between social and professional backgrounds. The findings support the construct validity of the test. The results suggest that there is a relationship between values and occupational choices, and that there are evident differences between genders and age groups. These results confirm the international literature about different gender and value systems impacting on such behaviour.
The theme of Entrepreneurial Education has acquired more and more importance in recent years because in the present economic situation there is a growth of the need for people (above all, among young people) to reinvent themselves and to create their own personal businesses. This happens in every field of the labour market, even in the fashion world. The present research has the goal of introducing a real course of entrepreneurial education inside fashion agencies, to offer young models the basic knowledge to become entrepreneurs and make the most of their skills and attitudes, helping them to make their way in a world which, contrary to what it seems, is not only made of beauty. So, being creative means using independent thinking in order to produce new forms. “Creativity is the process that leads to a new product that is accepted as useful and / or satisfactory for a significant number of people at some point in time.”
Creativity means having the capacity to look in different way and with an original perspective; for example, new ways to sell a product, a different mode of packing, an unexplored issue, and so on. Creativity, however, has nothing to do with intuition because that is an “unconscious thought” and unsupported thinking in formal or factual analysis. Creativity is a tool with which we find different ways to:
- Do more with less.
- Reduce costs.
- Streamline processes and systems.
- Increase profitability.
- Find new uses for products.
- Find new market segments.
- Differentiate the curriculum.
- Develop new products.
A product or response will be judged creative to the extent that:
- They are new and appropriate, useful, or add value to a task.
- The task is heuristic rather than algorithmic.
A creative person has both a tremendous verbal fluency and a high capacity to express their thoughts. A person is creative in the effort to bring originality to bear on problems in devising new solutions, and is flexible and adaptive in their thinking. This kind of person is aware that their mind has maintained an inexhaustible source of ideas, thoughts, and wisdom in order to deal with new ideas and categories whenever they arise.
Creativity has three components 2: Fluidity (the ability to express oneself), Originality (to present new solutions), and Flexibility (to change thinking and adapt to new situations).
Wertheimer (1945) 3 argues that creative thinking rebuilds an element of structurally deficient Gestalts. In humanistic theory, creativity, in agreement with Carl Rogers’ definition, 4 has three features:
- Openness to experience, which implies the absence of rigidity, a tolerance for ambiguity, and greater permeability for ideas, opinions, perceptions, and assumptions.
- The ability to live in the present moment, with maximum adaptability allowing the continuous organization of self and personality.
- Confidence in the body as a means to achieve more satisfactory results in every existential moment.
Rogers, therefore, emphasizes the relationship of the subject and their own individuality with the environment, believing in the oneness and uniqueness of this encounter. Thus, momentum is not enough for self-realization in “present conditions in society, which should enable the individual freedom of choice and action, are also part of creativity.”
By example, for Freud creativity is related to the imagination, which is present in the games and the playground of distance. On these occasions, upbringing in the world produces an imaginary river, which interacts with the reorganization of the components of this world in new ways. Creative people in adulthood behave similarly, fantasizing about an imaginary world, which distances itself from reality. The motivating forces of fantasy apply to every fantasy, to the correction of an unsatisfactory reality and desire not fulfilled. This feature of sublimation would be linked, therefore, to the need for sexual gratification or other repressed impulses, carrying the typical person to channel their fantasies into other realities. Freud attributes creativity to conflicts in the unconscious (the id). Later or earlier, produces a solution to the conflict, which can be “ego syntonic” and result in creative behaviour, or in the absence of the ego, which leads to a neurosis. In any case, Freud reveals that creation is always driven by the unconscious.
Thus to create is a habit, and the more we create the more developed is our capacity for creativity. It is necessary to reserve a time, every day, to carry out creative activity. We can write, paint, draw, think creatively; we suggest starting with half an hour a day. Over time, you can dedicate longer periods to creative work, trying to keep a specific time in order to facilitate other activities (work, studies, etc.), and to consider this time “sacred”. Curiously, after do this, compare the products of our creativity. We believe that “Creativity is the appearance of something unique and original”, which constitutes the process of being sensitive to problems, deficiencies, and gaps in knowledge; the lack of harmony; and which allows us to identify problems, find solutions, etc. This article analyses the experiences of students developing their creative potential throughout the course of their school career, dividing them into groups based on their vocation, gender, and the course they have chosen. It explains the formulation of working hypotheses, how those hypotheses were tested and retested, and communicates the results, evidencing any scientific practice in detection of creative potential through experience in research of students during the course of their school career, according to the vocation, gender, and the course they have chosen.
- 1230 reads
