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Abstract
The Creative Achievement Questionnaire (CAQ) is a new self-report measure of creative achievement that assesses achievement across 10 domains of creativity. It was designed to be objective, empirically valid, and easy to administer and score. Study 1 established test–retest reliability (r = .81, p < .0001) and internal consistency reliability (α = .96) in a sample of 117 undergraduate students. Study 2 established predictive validity of the CAQ against artist ratings of a creative product, a collage (r = .59, p < .0001, n = 39). Study 3 (n = 86) established convergent validity with other measures of creative potential, including divergent thinking tests (r = .47, p < .0001), the Creative Personality Scale (Gough, 1979; r = .33, p = .004), Intellect (Goldberg, 1992; r = .51, p < .0001), and Openness to Experience (Costa & McCrae, 1992; r = .33, p = .002). Study 4 established discriminant validity between the CAQ and both IQ and self-serving bias. Study 5 examined the factor structure of the CAQ. A three-factor solution identified Expressive, Scientific, and Performance factors of creative achievement. A two-factor solution identified an Arts factor and a Science factor.
Journal of Entrepreneurship Education
CREATIVE ACHIEVEMENT & INTELLIGENCE AMONG STUDENT ENTREPRENEURS2015 •
This study fills a gap in the entrepreneurship literature by investigating creative achievement and intelligence within students who have been entrepreneurs. The study looks at differences in the levels of creative achievement and intelligence between students who have been entrepreneurs versus those who have not been entrepreneurs. The study used the Creative Achievement Quotient (CAQ) (Carson, Peterson, & Higgins, 2005) and college entrance exam scores and grades as measures of intelligence. There were several significant findings. First, students who had been entrepreneurs had significantly lower college entrance exam scores. Secondly, students that had been entrepreneurs had significantly higher CAQs. Finally, students that had been entrepreneurs performed significantly higher on four measures of the CAQ: Architectural Design, Inventions, Scientific Inquiry, and Theater and Film. The findings and their implications are discussed.
Journal of Entrepreneurship Education
Creative achievement and intelligence in student entrepreneurs2015 •
This study fills a gap in the entrepreneurship literature by investigating creative achievement and intelligence within students who have been entrepreneurs. The study looks at differences in the levels of creative achievement and intelligence between students who have been entrepreneurs versus those who have not been entrepreneurs. The study used the Creative Achievement Quotient (CAQ) (Carson, Peterson, & Higgins, 2005) and college entrance exam scores and grades as measures of intelligence. There were several significant findings. First, students who had been entrepreneurs had significantly lower college entrance exam scores. Secondly, students that had been entrepreneurs had significantly higher CAQs. Finally, students that had been entrepreneurs performed significantly higher on four measures of the CAQ: Architectural Design, Inventions, Scientific Inquiry, and Theater and Film. The findings and their implications are discussed.
Іноземні мови. – № 1. – С.30-37.
Подосиннікова, Г. І., та Безвін, Ю.Г. Використання методу проектів для формування професійно-педагогічної компетенції у студентів вищих мовних навчальних закладівВикористання методу проектів для формування професійно-педагогічної компетенції студентів V курсу вищих мовних закладів освіти на матеріалі теми "Learning and Teaching Styles: Multiple Intelligences» Програма з англійської мови (АМ) пропонує вимоги щодо розвитку професійно-педагогічної компетенції (ППК) студентів усіх курсів вищих мовних закладів освіти. Так, у період двох перших років навчання ППК має розвиватися за рахунок вправ, які студенти виконують на заняттях та аналізують із позиції і того, хто навчається, і як майбутні вчителі, спираючись на свій власній досвід. На III курсі професійно-зорієнтоване навчання у формі виконання вправ і самоаналізу знаходить наукове підґрунтя при вивченні теоретичного курсу "Методика викладання іноземних мов у середніх навчальних закладах". На IV курсі до вищезазначених шляхів розвитку ППК додається педагогічна практика у школі, яка передбачає самоаналіз, відвідування уроків, спостереження, викладання тощо. П'ятий рік навчання-це етап вдосконалення ППК, яке здійснюється за такими ж напрямами 1. У цій статті розвиток ППК студентів-філологів V курсу пропонується здійснювати з використанням діяльнісно-зорієнтованого підходу, який ставить у центр навчання самого студента-його мотиви, мету, психологічний склад, бажання самореалізуватися у професійно-педагогічній діяльності. У межах такого підходу студент виступає суб'єктом навчального процесу, рівноправним партнером викладачів. При цьому його пізнавальна та комунікативна активність спрямована на вирішення конкретних професійно-педагогічних задач. Саме необхідність зробити студента не об'єктом, а активним суб'єктом професійно-зорієнтованого навчання, організувати його самостійну пізнавальну, дослідницьку й організаційну діяльність підказує обрати для реалізації зазначеного підходу у площині розвитку ППК таку технологію, як метод проектів. У цій статті під методом проектів розуміється технологія реалізації діяльнісно-зорієнтованого підходу, в основі якої лежить система 1 Програма з англійської мови для університетів / інститутів (п'ятирічний курс навчання): Проект / Колектив авт.: С.Ю.Ніколаєва, М.І.Соловей, Ю.В.Головач та ін.-Вінниця: Нова книга, 2001.-С. 9-10.
The words “bhakti” and “Śaiva-siddhānta” are often pronounced in the same breath, as though they belonged naturally together, and several publications can be found that assert bhakti to be central to the Śaiva-siddhānta. (For a recent example, see: GANESAN, T. & SATHYANARAYANAN, R., 2013, “Bhakti as a fundamental element in Saivism”, Bulletin d’Études Indiennes 28-29 (2010-2011) pp. 51–62.) Certain forms of devotion certainly have a rôle in the Śaivism of the Mantramārga, the dominant current of which was, for several centuries, the Śaivasiddhānta; but in the works of the theologians who shaped the classical Siddhānta this rôle was relatively minor: bhakti had almost no soteriological value. Expressions of religious fervour — pilgrimage, religious suicide, the composition or recitation of hymns of praise, religious mythology — could have no large importance in a system defined by the claim that liberation (mokṣa) was only possible by means of a certain ritual of Śaiva initiation (dīkṣā). This goes some way to explaining why there are so very few Saiddhāntika hymns (stotra), and why such few hymns as there are should be emotionally so very dry (Vyomavyāpistava, Pañcāvaraṇastava, Śivapūjāstava). The hymns of the Tēvāram are not dry, of course, but they were not in any sense considered to be works of the Śaivasiddhānta in the period in which they were composed, or indeed for several centuries afterwards. This paper will explore the shifting importance of bhakti in some works of Śaiva literature that were composed or that circulated in medieval South India.
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