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Creativity East and WestThis thesis is about the creativity in the East and the West, but I will mainly focus on the view of creativity in ancient Greek philosophy and Chinese philosophy. 
 
 In the first chapter, I will explore the concept of creativity, the history of creativity, and the research on creativity, including the creativity research in psychology and philosophy, which will set the stage for further disscusion. Then in the second chapter, I will start from Plato’s dialogue, Ion, and explore the traditional theory of creativity in ancient Greek philosophy, and claim that their creative ability is inspired by divine being. After this, I will show people’s view on creativity has undergone a process of demystification. During this process, people gradually began to resist the divine source and explore the world individually and independently. Meanwhile, the meaning of the concept of creativity has become broader, since it is not limited to poem any more, but it can be applied to other fields, such as art, science, and education. 
 
 In the third chapter, I will turn to the modern creativity theory, including the lateral thinking and emotional creativity, and explore how to be creative with lateral thinking techniques and how to improve creativity through emotion regulation. 
 
 After the examination in the West, I will turn to the theory of creativity in Chinese philosophy, by focusing on classical works in Daoism and Confucianism. In the fourth chapter, I will explore the view of creativity in philosophy of Daoism. I will claim that the creativity in Daoism is natural and cosmological, and there is no external creative source, so I will claim it is self- creativity, which is distinct from the ancient Western creativity pushed by external divine power. 
 
 In the fifth chapter, I will argue that the creativity in Confucianism is evolutionary, which is unlike the revolutionary creativity in the West, and I will propose the way to become creative in Confucianism based on its classics, Analects, and then will explore the creativity principle and how the agent cultivate their creative ability in Confucianism. 
 
 In the conclusion, I will summarize the difference between the creativity in East and West, from the perspective of the source of creativity, nature of creativity. I will claim that the source of creativity in ancient Greek philosophy is divine being, whereas there is no divine source for creativity in Chinese philosophy, therefore, the creativity in the West traditionally is inspired creativity, while the creativity in the East traditionally is natural and cosmological creativity. In addition, the concept of creativity in the West is revolutionary, whereas the concept of creativity in the East is evolutionary and the moral function of creativity is also addressed in Chinese philosophy.
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In the eye of the beholder? An investigation of student assessment in the creative arts in universitiesThis thesis addresses the question of how university academics in the creative arts might assess students’ creative works fairly and appropriately. Specifically, it considers how these academics conceptualise and approach the task of student assessment, what tensions and dilemmas are experienced in student assessment, and how student assessment practices in the creative arts might be made more transparent and robust. The complexities of student assessment in the creative arts, and the uncertainties and vulnerabilities that beleaguer academics when making judgements about the quality of their students’ creative works are widely recognised, but not well understood. This investigation employed Naturalistic Inquiry to illuminate the assessment experiences in creative arts of 30 academics from across three countries. It documents how these academics conceptualised creativity in their own disciplines, how they conveyed their understandings to students, how they provided feedback on students’ creative development, how they prepared students for assessment, and how they made judgements about students’ creative works. Four interlinked dilemmas of student assessment practice in the creative arts were thus identified. The first is the lack of a shared understanding of creativity and of its manifestations in particular disciplinary settings. The second is the difficulty of explaining creativity to students. The third is the challenge of providing transparency for students about how their creative works are to be judged. The fourth is the decision about what role subjectivity should play in judgements about creativity in student works. The findings from this investigation challenge accepted wisdom about student assessment that is based largely on positivist paradigms. Outcomes-based education, for example, does not readily allow for the unexpected or unanticipated – yet these are highly prized qualities for academics assessing students’ creative works. Based on the insights obtained, a seven-phased, cyclical model of student assessment in the creative arts is proposed. This model identifies the purposes of each phase of the student assessment cycle, addresses the dilemmas of student assessment that have been identified by academics in the creative arts, and provides indicators of sound practice. The model is designed to support assessors to navigate through a complex terrain, to reflect on current practice, and to harness their activities consistently towards the central purpose of fostering creativity while at the same time assessing student work with demonstrable fairness and appropriateness.
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Of Universities and SalonsThe emerging writers read from their work at the Salon event. These Salons provide a perfect opportunity for young and emerging writers to present their work but also to practice reading in front of an audience which is an important part of a writer’s life. All three of these writers have participated in a university creative writing programme. I asked them a few questions about the courses and our Salon events...