창의성 역설: 창의성이 중요하다고 믿을수록 타인의 창의적 특성을 더 바람직하게 평가하는가?

서희영,장재윤 한국산업및조직심리학회 2023 한국심리학회지 산업 및 조직 Vol.36 No.4

본 연구는 사회 전반에 걸쳐 창의성이 강조되나 창의적인 사람은 환영받지 못하는 현상을 조명하고 이에 영향을 미치는 개인차 변인을 탐색하고자 하였다. 미국 교사들의 창의적 성 격특성에 대한 역설적 지각을 재확인한 선행 연구(Kettler et al., 2018)를 따라 연구 1에서는 한국 초․중․고등 교사 172명을 대상으로 개인차 변인을 조사하고, 학생들의 성격특성(창의 적 및 반창의적 특성)을 평가하게 하였다. 그 결과 한국 교사들 역시 창의적 성격특성을 덜 바람직하게 평가하는 것으로 나타나 선행 연구의 결과를 재확인하였다. 이를 확장하여 연구 2에서는 한국 기업의 정규직 331명을 대상으로 창의성 역설 현상과 이에 대한 창의적 마인 드셋의 영향을 살펴보고자 하였다. 분석 결과, 창의성에 대한 역설이 직장 맥락에서 더욱 두 드러지게 나타났다. 선행 연구 및 연구 1에서와 같이 타인의 창의적 성격특성 평가에 유일 하게 영향을 미치는 개인차 변인은 자기 창의성 지각으로 나타났으며, 이를 창의적 성장 마 인드셋이 조절하는 것으로 나타났다. 마지막으로 본 연구가 갖는 시사점과 연구의 제한점 및 향후 연구 방향에 대해 논의하였다. This study aims to shed light on Creativity Paradox which is a phenomenon that creative people are not appreciated where creativity is emphasized, and to explore individual differences that affect the phenomenon. As per the previous research (Kettler et al., 2018) that even teachers who say they value creativity as educational goals actually find creative characteristics undesirable through the replication from school (Study 1) and expansion to organization (Study 2). In Study 1, 172 schoolteachers in Korea completed 2 waves of survey for the importance of educational goals including creativity and personal creativity with the desirability on characteristics for both creative indicative and contraindicative. In study 2, 331 fulltime employees completed 2 waves of survey including creative mindsets. Result indicated that both teachers and employees in this study rated characteristics associated with creativity as less desirable than those characteristics that are considered contraindicative, which confirms the Creativity Paradox. No effects were found based on the individual differences, but the level of personal creativity related to how desirable they rate others’ characteristics associated with creativity. As a result of hierarchical regression analysis, the moderating effect of creative growth mindset was partially presented in the relationship between the personal creativity and the members’ perception of creative characteristics, while no effect of fixed-creative mindset was presented. This study was intended to highlight the need of examining the implicit theory of, attitude toward, and changes of norms and climate related to creativity in the organizational context The implications, limits and future research suggestions were discussed.

아동의 창의력 신장을 위한 로봇 교육연극 프로그램 개발 및 적용

박흥제,문성환 한국실과교육학회 2010 한국실과교육학회지 Vol.23 No.2

이 연구는 로봇을 활용한 교육연극활동 수업이 초등학생의 창의성에 미치는 효과를 알아보는데 있다. ‘기능위주’의 로봇교육에서 벗어나 창의적이고 자기주도적으로 누구나 참여할 수 있는 로봇연극활동을 통해 학생들의 창의성을 신장시키는 프로그램을 구안하였다. 본 연구에서 구안한 로봇 교육연극활동 프로그램은 80분 단위 총 8차시로 구성되어 있고 각 단원별 학습활동은 로봇의 이해, 기초원리습득, 로봇게임, 연극로봇제작, 발표 및 평가의 5단계로 이루어져 있다. 로봇 연극교육 프로그램이 아동의 창의성에 미치는 영향을 알아보기 위하여 경기도 J초등학교 6학년 1개 반을 실험집단으로 선정하였고, 같은 학교의 6학년 1개 반을 비교집단으로 선정하여 실험연구를 실시하였다. 창의성 검사도구는 3개 영역(창의적 성격, 창의적 사고, 창의적 동기)으로 구성되어 있는 한국가이던스의 창의성 검사지를 사용하였고, 통계프로그램으로는 i-STATistics를 사용하여 결과를 분석하였다. 사전검사 결과 창의성 총점이 비교집단은 47.29, 실험집단은 42.06으로 비교집단이 실험집단보다 높게 나타났다(t=-2.3103, P<0.05). 로봇 교육연극프로그램을 적용한 후 두 집단의 창의성 신장 결과는 다음과 같다. 첫째, 사후검사 결과 실험집단과 비교집단 간에 통계적으로 유의미한 차이가 없는 것으로 나타났다(t=-0.6782). 둘째, 실험집단의 창의성 총점이 사전 42.06점에서 사후 47.53점으로 상승한 것으로 나타났다.(t=2.3370 p<0.05). 셋째, 비교집단의 사전 및 사후 창의성 총점은 통계적으로 유의미한 차이가 없는 것으로 나타났다. 이상의 결과들을 종합해 볼 때, 로봇 교육연극활동은 아동의 창의성 증진에 효과적임을 알 수 있다. 로봇 교육연극활동은 학생들이 재미있게 활동하면서도 창의성을 신장시킬 수 있는 교육방법으로서 교육적 의의를 찾을 수 있을 것이다. The purpose of this study is to discern the effects of using robot drama educational activity on the creativity of elementary school students. This program is open to anyone doing a creative and self-directed study of robots.. It consists of five different stages : Understanding of robots, Learning the basic principles of robots, Robot games, Theatrical robot production, Presentation and Evaluation. It is divided into eight, 80-minute units, each with five stages. To examine the effects of an activity of robot drama on children's creativity, one of the Gyeonggi J-Elementary school 6th grade classes was chosen as the experimental group while another one of the other classes was the comparison group. A selected group of experiments was carried out. Both pre- and post-test tools consisted of three areas : Creative personality, Creative thinking, and Creative motivation. Twelve sub-factors of the South Korean Creative Guidance. Questionnaire were used along with i-STATistics to analyze the results. The pre-test scores of the comparison and experimental groups regarding creative personality area were 42.06 and 47.29, respectively. The score of the comparison group was higher than the experimental grup (t=-2.3103, p<0.05). The result of the study of robot drama on children's creativity is as follows. First, the result of the post-test is that there was not a stastically significant difference between the comparison and experimental groups. For the total of three different areas of creativity, the score on the pre-test was t=-2.3103 but it was t=-0.6782 in the post-test. There was a significant difference between the comparison and experimental groups in the total of three different areas of creativity in the pre-test. However, there was not a significant difference between them in the post-test. Therefore, the result of this experiment shows the creativity of the experimental groups was developed. Second, There was a significant difference between the comparison and experimental group : the result of pre-test and post-test verified were 42.06 and 47.53, respectively, and the total of three different areas of creativity was increased(t=2.3370, p<0.05). Also, There was a significant difference between them with regards to creative personality(t=-2.4309, P<0.01), creative thinking(t=-2.5985, p<0.01). The result of the tests shows the robot drama program is effective to develop student's creativity. Last, the creativity of the comparison group was not improved : there was not a statically significant difference verified by pre-test and post test. Thus, the robot drama program conducted in this study verifies an deficiency of developing student's creativity. It has an educational significance as students not only participated a fun activity, but also developed their creativity. I hope there will be more activities which can develop the creativity, essential in society, through carious educational methods like the program conducted by the study.

‌대학 창의 교양교육 체계의 실제와 대안 탐색

권정언,권상집 한국교양교육학회 2014 교양교육연구 Vol.8 No.4

Creativity in the workplace and universities has become an increasingly significant factor of national creative economy policies and needs of firms on high talented people. Therefore, the aim of this study is to comprehensively explores the creative education curriculum of universities in Korea and examines the links between a Chungnam-based university's creativity curriculum reorganization direction and practical implications on overall creativity curriculum design. For the practical contribution, separated but interrelated studies are conducted with more specific approaches of creative learning. At first, our study focused on creative curriculum information through Korea national institute for general education. The objective of this research is to search a current status of creativity contents and teaching-learning methods of universities in Korea. Also, our studies were undertaken to investigate the needs of students in a J university. Results of the preliminary study revealed that diversification of creativity curriculums, reorganization of creative contents including practical implications, active participations of the learner based on discussion, and professors' encouragement of autonomous atmosphere and brainstorming. This research also found that creativity education has lacked any enhancing creativity factors. A case sample J university in Korea has attempted to rectify these weaknesses in many ways. This case study found that (1) the fit between cultivating creativity and the role of each department was associated with reorganizing creativity education process. For example, liberal art programs train basic creativity concept and understanding. Also, each department is responsible for in-depth education on creativity. (2) When the environment become more dynamic, more multiple integrative roles based on convergence between contents and learning methods are needed for the successful improvement of creativity education. (3) Finally, a J university may find it useful to encourage discussion, brainstorming, and presentation so that active behaviors are exhibited by many students. Therefore, our study provides evidence for reorganization of creativity curriculum as potential crucial elements for learners and professors. Our study illustrates the future creativity curriculum direction based on previous literature of individual and group creativity and case study result, and further sheds light on the important relationships of critical roles of universities on reorganization of creativity curriculum in the expansion process of creativity learning. 본 연구는 창조경제의 정책기조와 더불어 기업들의 창의적 인재 수요에 대한 실효성 있는 대응으로 대학 창의 교육의 필요성을 바탕에 두고 시작하였다. 본 연구의 목적은 각 대학의 창의 교육을 살펴보는 한편, 충남지역 소재 J대학의 교육과정 개편 방향을 통해 창의 교양교육 체계의 설계 및 운영 시 고려해야 할 시사점을 제공하는데 있다. 이를 위해 본 연구는 개인 및 집단 창의성과 관련된 이론적, 실증적 선행 연구결과에서 창의성 증진 요인을 고찰하였다. 그리고 한국기초교양교육원에서 제공하는 자료를 토대로 창의 교육과정의 내용과 교수-학습법을 조사, 분석하여 현황을 살펴보았으며, 실제 창의 관련 교양과목을 수강한 학생들을 대상으로 교육과정에 대한 요구도 청취하였다. 개괄적인 현황 탐색 및 학생들의 요구 분석 결과, 창의력 교육과정의 다양화, 실제성 높은 교육내용의 개편, 토론과 논의 등 학습자 참여의 활성화, 교수의 자율적인 분위기 독려 및 브레인스토밍 강화가 필요한 것으로 드러났다. 본 연구의 사례 대상인 J대학교는 창의 과목을 교양과목에 국한하지 않고 전공 영역별로 확대·심화시키는 이원화 방향을 마련하였다. 기초적인 창의성의 함양은 교양과목으로, 학과에서는 창의성을 심화하는 전공과목을 통해 유기적인 교육과정으로의 개편을 모색하고 있다. 특히, 창의와 관련된 이론적 내용을 전달하는 것이 아니라, 교과목 내용 간의 융합, 방법 간의 융합을 바탕으로 협업 과정으로 창의력을 폭넓게 학습할 수 있도록 제안하였다. 더욱이 기존 선행연구와 학생들의 요구분석 결과, 수업 과정에 많이 참여할 수 있도록 브레인스토밍과 토론의 활성화를 기본 학습방법으로 채택하였다. 이러한 결과는 향후 국내 대학이 교육과정을 개편하고 어떻게 창의성을 확산시켜야 할지에 대해 중요한 실무적 시사점을 제공했다는 데 연구의 공헌도가 있다.

유아교사의 창의성과 창의성 교육활동 경험

김혜전,전우용,이예린 한국인격교육학회 2019 인격교육 Vol.13 No.2

The aim of this research is to explore the creativity that teachers have experienced during their growth process and experiences of classroom activities promoting creativity through in-depth interviews. It gave teachers the opportunity to look at their own creativity from a new perspective and provide educational implications for teachers planning and implementing creativity for educational activities in the future. Research participants were seven teachers from various types of early childhood education institutions. The research data were collected using methods such as interview, audio recording, and writes-ups in the field. The analysis was conducted by categorizing the transcripts made from the collected data. Study results were as follows: First, teachers found their creativity potentials and experienced ordinary creativity not only in their daily lives but also in the art and formal curriculum. Teachers experience creativity in the process of discovering new methods that did not exist before and produced results. They experienced creativity within the process of forming relationships and communicating with others. Teachers also experienced creativity not only in the artistic area where they could express their thoughts and feelings freely, but also by carrying out a task, and by exploring with curiosity when opportunities or environments present itself to express creativity in the formal curriculum. It led teachers to recognize that creativity is available to anyone, and can be developed through training, education and efforts. Second, teachers provided classroom activities to promote creativity that reflected the teacher’s own strength and interest, while showing low self-confidence in their creativity. They encouraged children to participate in creativity educational activities. Teachers wanted to support the individual child to express their own unique creativity, while providing them with the opportunities to think and express themselves freely. It is expected that the result of this study will help to understand and raise the awareness of creativity, so that effective creativity educational activities can be planned and implemented toward the desirable direction. 본 연구는 유아교사의 창의성과 창의성 교육활동 경험을 심층면담을 통해 살펴봄으로써 새로운 시각에서 창의성을 인식할 수 있는 기회를 제공하고, 향후 유아 창의성 교육활동을 계획ㆍ실행하는 교사들에게 교육적 시사점을 제공하는 것을 목적으로 한다. 연구참여자는 다양한 유형의 유아교육기관에 근무하고 있는 교사 7명으로, 2013년 10월 초부터 11월 말까지 면담을 통해 자료를 수집하고, 수집된 자료의 전사본을 만들어 범주화해나가며 분석했다. 연구결과는 다음과 같다. 첫째, 교사들은 일상생활에서뿐만 아니라 예술영역과 정규교육과정 안에서 그들에게 잠재된 창의성을 발견하고 평범한 창의성을 경험했다. 교사들은 기존에 존재하지 않았던 새로운 방법을 발견해 결과물을 산출하고, 타인과 관계를 형성하고 소통하는 과정 안에서 창의성을 경험했다. 또한, 자신의 생각과 느낌을 자유롭게 표현할 수 있는 예술영역뿐만 아니라 정규교육과정 안에서 창의성을 발현할 수 있는 기회나 환경이 제공되었을 때 호기심을 갖고 탐구하며 주어진 과제를 수행함으로써 창의성을 경험했다. 이를 통해 교사들은 창의성은 누구나 가질 수 있으며, 훈련과 교육, 노력을 통해 계발될 수 있음을 인식했다. 둘째, 교사들은 자신의 창의성에 대해 낮은 자신감을 보이면서도 교사 자신의 강점과 흥미를 반영한 창의성 교육활동을 제공하면서 유아들이 창의성 교육활동에 참여할 수 있도록 지원했다. 그들은 개별 유아가 자신의 특수한 창의성을 발현해내도록 지원하는 동시에 유아들이 자유롭게 생각하고 다양하게 표현할 수 있는 기회를 제공하고자 했다. 본 연구의 결과가 유아교사의 유아 창의성 및 창의성 교육활동에 대한 이해를 돕고, 교사의 창의성에 대한 관심이 높아져 창의성 교육활동이 바람직한 방향으로 계획ㆍ실행되기를 기대한다.

창의성 계발 기법과 창의적 문제 해결법과의 관계 - 미술과를 중심으로 -

이화식,황은선 한국조형교육학회 2009 造形敎育 Vol.0 No.33

This research focuses on the relationship between the Creative Problem Solving Methods and Development Techniques of Creativity among the four ideal forms of studying in art education. The necessities of this research can be indicated largely into two parts. As the first confronted problem, after the announcing of the 2007 Reformed National Art Curriculum in 2007, the revised art textbooks and curriculums of 2007 will be used and applied starting in 2009. The second cause is due to the great importance is being placed on the contextual knowledge and creative thoughts at this time when the 21st century has begun. As contextual knowledge and thoughts of creativity were put to serious consideration, many methods were researched to improve these ways of thinking within education. Hence, the purpose of this research was placed on examining the relationship between the Creative Problem Solving Methods and Development Techniques of Creativity amongst the various instruction methods, which are mentioned in the 2007 Reformed National Art Curriculum and also to present a more delicate model that possible for usage in the field. As a result, the solutions to the problems of creativity were as follows. First, creativity is the thinking process of the solution and consequential thinking that derives new ideas. Secondly, the basic elements of creativity are divergent thinking, convergent thinking, practical thinking and creative attitudes. Thirdly, the activities of art hold an intimate relation with the development of creativity. Lastly, among teaching activity models of art education for the development of creativity, the aesthetic experience and expression as well as appreciation all have relations but have greater relations with expression and the Creative Problem Solving Methods, the instruction․learning model, related to expression holds the most relation.

Psychometric and Self-Rated Creativity of Polish Managers: Are Implicit Theories of Creativity Relevant to Self-Assessment?

Joanna Szen-Ziemiańska 대한사고개발학회 2013 The International Journal of Creativity & Problem Vol.23 No.1

This study explored the relationship between self-rated creativity of managers and psychometric creativity including different aspects of creative thinking and creative attitude. The main aim was to examine the accuracy of self-assessment of creativity and to discover the role played by implicit theories of creativity among Polish managers. Managers (N = 75) completed two creative thinking tests (TCT-DP and TTM); a creative attitude inventory (KANH); open-ended question about the implicit theories of creativity; and a self-rating creativity scale. It was demonstrated that: (a) psychometric creativity reliably predicted self-rated creativity; (b) implicit theories of creativity were mostly coherent with explicit theories, however; (c) coherency of implicit theories did not moderate the relationship between psychometric and self-rated creativity. The results are discussed in the context of the possible regulatory function of implicit theories of creativity.

창의성 교육의 원리탐색: 몰입의 원리

최석민 ( Seok Min Choi ) 한국교육철학회 2004 교육철학 Vol.26 No.-

A common approach of creativity seems to have been that, after being fully conceptualized, creativity can be cultivated. But creativity can be achieved by meeting the conditions of the idealistic problem-solving or by living the processes of the immersion. Dewey seems to indicate exactly this point when he says that the first stage of experience called thinking is experience. Experience as interest seems to be the context for the activation of creativity. But it may not be that experience is for creativity; rather, creativity for experience. So, Creativity seems not something to be handed down but practiced. It may not be forced but lured. That is because, in Dewey`s view, the qualities of immersion and creativity could be identical, in that both have the same attributes of the good life. So to speak, immersion is the additional name of a state "fully involved in the very process of purpose orientated activity", it could make possible the creative re-construction of one`s present belief system. Hallman`s research on Dewey`s concept of the creativity and Csikszentmihalya`s in-depth analysis of the ninety-one exceptional individuals support it. As Dewey said, unending growing-striving-growing-striving continuation makes us more ideal creative citizen.

연극교육의 창의성 - 개인주의적 창의성과 사회문화적 창의성의 통합적 배치

김주연 ( Kim Joo-yon ) 한국드라마학회 2017 드라마연구 Vol.0 No.52

현재 연극 교육의 창의성은 개인주의를 강조하는 작은 창의성에 기대어, 개인의 자발적 참여를 이끌어 내었으나, 연극 내용과 형식을 적극적으로 활용하지 못하고, 사회, 정치, 문화적 이슈들을 적절하게 다루지 못하며, 발달의 측면을 해명하지 못하는 결과를 낳았다. 이의 보완을 위해 `사회문화적 창의성` 도입의 필요성을 제기한다. `사회문화적 창의성`은 연극 예술 형식이 사회문화적으로 발전시켜온 내용과 형식을 학습자들에게 제시할 수 있는 통로를 제공하고, 여러 사회문화적 이슈들을 다룰 수 있게 하며, 발달에 대한 문제를 해명할 수 있게 한다. `개인주의적 창의성`과 `사회문화적 창의성`은 이론적으로 개인을 조명한다는 측면에서 공통점을 지니나 그 외 여러 면에서 차이가 있다. 그리하여 창의성 수업에서 이 들을 어떻게 배치할 것인가 하는 문제가 발생하는데, 부정적 측면을 부각시켜 어느 한편을 배제하기보다, 실제 수업의 요구에 맞게 통합적으로 배치시킬 필요가 있다. 내용면에서 사회문화적 창의성이 추구하는 연극의 내용과 형식을 중심으로 삼되, 방법적으로 개인주의적 창의성이 추구하는 개별적 탐구와 사회문화적 창의성이 추구하는 학습공동체 구성원 사이의 적극적 상호작용을 함께 배치할 것을 제안한다. `개인주의적 창의성`과 `사회문화적 창의성`의 통합적 배치를 위해서는 무엇보다도 연극교사의 역할이 중요하다. 연극 교사는 학습자들에 대한 이해와 함께. 연극형식과 내용에 대한 유기적 관계를 이해하는 안목을 지녀야 한다. 개인주의적 창의성에 기반을 둔 현재의 연극교육의 창의성은 학습자들의 자발적 참여를 이끌어 낸다는 측면에서 환영받을 만 하나, 연극과목으로서의 정체성확보와 사회, 문화적 환경과의 연결을 위해 변화가 필요하다. 본 논문은 개인주의적 창의성에 사회문화적 창의성을 통합적으로 배치할 것을 제안하면서, 이를 실현하기 위한 적절한 교사 교육의 필요성을 제기한다. The creativity of current theatre education is grounded on individualist approach so that promotes participants` spontaneous involvement. However, it results in neither employing theatre form and content nor dealing with social, political, cultural issues and articulating development. To complement this, socio-cultural creativity is needed. socio-cultural creativity provides a way for learners to interact with socio-culturally constructed art forms and contents. Socio-cultural creativity requires interacting with socio-cultural signs and tools so that drama/theatre education can be articulated in terms of development. Although individualist creativity and socio-cultural creativity have different aspects, they can be integrated for practical purposes on the basis of individuals` autonomous and spontaneous meaning-making. While including individual`s autonomous experiment of individualist creativity, the frame for experiment is employed from theatre form and content which is the key element of socio-cultural creativity. For this integration, theatre teacher needs to understand learners in terms of their social, political and cultural environments and the organic relationships of theatre form and content. To embody creativity which facilitate learner`s involvement and the creativity of theatre, the current individualist creativity requires to be complemented with socio-cultural creativity.

Innovation and Creativity in Business Practices

Bharti Venkatesh,Shazia Qureshi 한국유통과학회 2012 유통과학연구 Vol.10 No.4

“Great things in business are never done by one person; they're done by a team of people.” By Steve Jobs, 2003. As define by Linda Naiam - Creativity is the act of turning new and imaginative ideas into reality. Creativity involves two processes: thinking, then producing. Innovation is the production or implementation of an idea. If you have ideas, but don't act on them, you are imaginative but not creative. So in order to maintain the pace with the changing business scenario and coping with the competition Innovation and Creativity is considered a mandatory tool for a business to exist and grow in market. Whether a company is Employee centric or Business centric Innovation and creativity has to have its space in order to keep a business ahead of others in the Market. Also it’s not just the competition which has led to the Innovation and Creativity in Business practices it’s also the demanding chunk of consumers and customers who are aware and prefer maximum choices before making a final deal. Another reason as to why there is a change in business practices is the globalization of businesses where you need to rope in the Innovative ideas to launch and sustain in new market. There had been tremendous shift in business practices but to give a room to innovative ideas and implement that creativity need ample to space and vision along with an attitude where in you can resist for getting an immediate results from innovative business practices. Corporate Creativity is characterized by the ability to perceive the world in new ways, to find hidden patterns, to make connections between seemingly unrelated phenomena, and to generate solutions. Generating fresh solutions to problems, and the ability to create new products, processes or services for a changing market, are part of the intellectual capital that give a company its competitive edge. Creativity is a crucial part of the innovation equation. The innovation and creativity is not limited to any area of business, it can start from your waiting lounge to your board room meeting depending upon how the things are perceived and implemented for the betterment of people and business. The purpose of this research is to understand the latest creative business approaches and practices that organizations are following to be different from their competitors. Also this shift from generic business practices to the Innovative and Creative approach seems to take the business into new world. This approaches means starting from the bottom of the Pyramid and finally touching the pinnacles in Innovation and creativity. The paper will discuss on the various areas of business where in innovative approaches can be roped in and sets new bench mark altogether in the business arena.

조직의 창의성에 대한 연구

조승현 ( Cho Soong-hyun ) 한국자치행정학회 2020 한국자치행정학보 Vol.34 No.1

본 연구는 그 중요성에도 불구하고 지금까지 이론적·실천적으로 논의가 부족했던 조직의 창의성에 대해 고찰해 보고자 한다. 먼저 창의성의 개념을 명확히 규정하기 위한 노력으로 선행연구들을 비판적으로 검토한 후 새로운 개념정의를 시도한다. 다음으로 조직 창의성에 대한 이론적 고찰을 통해 창의성에 대한 영향요인을 도출한다. 그리고 조직 창의성을 저해하는 요인을 고찰하여 개념의 경계를 확정하고, 조직 창의성을 전제조건(촉진요인)의 고찰을 통해 개념의 차원을 구체화한다. 연구결과 조직의 창의성은 조직 구성원인 개인의 창의성에 영향을 받지만 단순한 개인의 창의성의 합 이상의 출현적 속성을 가지고 있음을 확인할 수 있었다. 또 조직의 창의성에 영향을 주는 요인들의 정도에 따라 조직 창의성의 제고 전략을 달리 할 수 있다는 주장을 도출할 수 있었다. This study is intended to examine the organizational creativity that has not been sufficiently discussed theoretically or practically thus far despite its importance. First, previous studies will be critically reviewed in an effort to clearly define the concept of creativity, and an attempt to newly define the concept will be made. Thereafter, influencing factors for the creativity will be derived through theoretical considerations of organizational creativity. Then, factors that hinder organizational creativity will be considered to determine the boundary of the concept, and the dimension of the concept will be concretized through consideration of the preconditions (promoting factors) of organizational creativity. As a result of the study, it could be identified that although organizational creativity is affected by the creativity of individual members of the organization, but has more emergent attributes than the simple sum of the creativity of individuals. In addition, an argument that the different strategies to enhance organizational creativity can be used depending on the degree of factors that affect organizational creativity could be derived.