• 沒有找到結果。

第五章 結論與建議

第二節 研究侷限與建議

無論是第一階段或第二階段,基於受測者作答時間的考量,都僅能以兩篇刺 激物進行調查及實驗。第一階段單是 HEXACO 量表的部份已有 100 題,若刺激 物過多,受測者需要花費更多耐心跟時間在閱讀及作答上。另一方面,由於是藉 由網路發放問卷,考量到漫畫版權、篇幅適中以及取得性之問題,最終選擇了官 方公開於網路上的大賽得獎漫畫。第二階段則是比對各格之間關係的過程十分耗 費時間及精神,為了讓受測者能在一定時間內完成,亦只能挑選兩篇短篇漫畫作 為實驗刺激物。

然而最理想的狀況是刺激物能夠從不同漫畫類型中各挑出一篇至兩篇,並且 必須再仔細排除其他文化脈絡或者時空差異等變因,如此一來同時能夠討論漫畫 的類型是否也是一個變異因素,也有較多的例子可以驗證人格特質與漫畫創意評 價之間的關係。

二、 研究工具的發展

鍊結表記 Linkography 圖用於創意評價上,已由周賢彬的研究證實其可行性,

然而在實際運用上仍然有其複雜性及方法上的討論空間。本研究中是由受測者自 行決定重要的格子當作 moves,再進一步思考格與格之間的關聯性,而由於每個 人對於「重要」的定義不盡相同,所以決定的格子亦有差異,此分岐是否影響了 實驗結果值得討論,更可以發展 Linkography 圖應用在作品創意評價上的規範,

甚至於開發系統化的工具或者數位化的軟體,不僅在短篇漫畫或份量不長的動態 影像上,若令長篇作品的創意評價也可使用 Linkography 圖這項客觀的工具加以 檢測,將會是一項重要的創意評價指標。

73

三、 主題延伸

本研究主要為周賢彬(2010、2012)的創意評價相關論文之延伸,加入人格 特質這個主軸作為變因討論其間的關係及差異,在研究的刺激物方面選擇了有時 間序列性的連環漫畫。然而創意評價這件事在提倡文創產業及創意風氣的現今是 十分重要的議題,創造力相關的作品亦不絕於動態影像或者漫畫,往後可以針對 別項創意媒體或事物進行研究。甚至可以搭配其他的衡量指標,例如 CAT 共識 性評量技術,更直接地探討人格特質與創意評價之間的關係。

而可能會造成創意評價上差異的變因不僅有人格特質,上述提到作品的類型、

評價者平時的閱讀習慣或是喜好亦有可能影響其評斷的結果,後續研究或相關實 務上的評比活動可以將這些變因列入考量,讓創意評價能夠更為客觀、排除爭議 性。

74

參考文獻

英文文獻

Allport, G.W. (1937). Personality - A psychological interpretation. New York: Henry Holt and Company.

Amabile, T.M. (1983). The social psychology of creativity. New York:

Springer-Verlag.

Amabile, T.M. (1996). Creativity in context: Update to the social psychology of creativity. Oxford: Westview Press.

Amabile, T.M. (1997). Motivating creativity in organizations. California Management Review, Fall, p.43.

Amabile, T.M. (1998). A model of creativity and innovation in organizations. In B. M.

Staw & L. L. Cummings (Eds.), Research in Organizational Behavior, 10, 123-167. Greenwich, CT: JAI Press.

Amabile, T.M. (1998). How to Kill Creativity. Harvard Business Review, September-October, 77-87.

Batey, M. & Furnham, A. (2006). Creativity, intelligence and personality: A critical review of the scattered literature. Genetic, Social and General Psychology Monographs, 123(4), 355-429.

Batey, M., Rawles, R. & Furnham, A. (2009). Divergent thinking and interview ratings. Journal of Psychoeducational Assessment, 27(1), 57-67.

Bater, M., Furnham, A. & Safiullina, X. (2010). Intelligence, general knowledge and personality as predictors of creativity. Learning and individual differences.

Journal of Psychology and Education, 20, 532-535.

Buchanan, L.B. (1998). The impact of big five personality characteristics on group

75

cohesion and creative task performance. Unpublished PhD. Dissertation, Virginia Polytechnic Institute and State University.

Byrd, R.E. (1986). Creativity and Risk-taking. Pfeiffer International Publishers, San Diego, CA.

Cattell, R. B. (1956). Personality and motivation theory based on structural measurement. In J. L.

Chou, S.B., Chou, H.W., I, B. (2012). Evaluating the creativity of comic strips: a Linkography data clustering approach. unpublished test, National Taiwan Normal University.

Chou, S.B., Chou, H.W., Chen, Y.L. (2013). Entropy of Linkography: Evaluating the creativity of short animation. Creativity Research Journal, 25, Issue1, 33-37.

Csikszentmihalyi, M. (1996). Creativity : Flow and the Psychology of Discovery and Invention. New York: Harper Perennial.

Feist, G. J. (1998). A meta-analysis of personality in scientific and artistic creativity.

Personality and Social Psychology Review, 2(4), 290−309.

Furnham, A. & Bachtiar, V. (2008). Personality and intelligence as predictors of creativity. Personality and Individual Differences, 45(7), 613−617.

Gaughan, E.T., Miller, J.D., Lynam, D.R. (2012). Examining the utility of general models of personality in the study of psychopathy: A comparison of the HEXACO-PI-R and NEO PI-R. Journal of Personality Disorders, 26, 513-523.

Gardner, H. (1993). Frames of Mind: The Theory of Multiple Intelligences. New York:

Basic Books.

George, J.M., and Zhou, J. (2001). When Openness to Experience and Conscientiousness Are Related to Creative Behavior: An Interactional Approach.Journal of Applied Psychology, 86, 513-524.

76

Geher,G., Miller, G.(2007). Mating Intelligence: Sex, Relationships, and the Mind's Reproductive System. New York: Lawrence erlbaum associates.

Getzels, J.W. (1975). Problem-finding and the inventiveness of solutions. Journal of Creative Behavior, 12-18.

Getzels, J.W. & Jackson, P. J. (1962). Creativity and Intelligence: Explorations with Gifted Students. New York: John Wiley and Sons, Inc.

Guilford, J.P. (1959). Personality. New York: McGraw-Hill.

Guilford, J.P. (1965). Fundamental statistics in psychology and education. New York:

McGraw-Hill.

Guilford, J.P. (1967). The Nature of Human Intelligence.

Gough, H. G. (1979). A creative personality scale for the Adjective Check List.

Journal of Personality and Social Psychology, 37(8), 1398-1405.

Goldberg, L. R. (1981) Language and individual differences: The search for universals in personality lexicons. Review of Personality and Social Psychology, 2. In L. Wheeler (Ed.)

Goldberg, L. R. (1992). The development of markers for the Big-five factor structure.

Psychological Assessment, 4 (1), 26–42.

Goldschmidt, G. (1990). Linkography: assessing design productivity, Cyberbetics and System'90, R. Trappl. World Scientific, Singapore: 291-298.

Goldschmidt, G. (1995). The designer as a team of one. Design Studies, 16(2), 189-210.

Grigorenko, E. L., & Sternberg, R. J. (1993). Thinking styles questionnaires for teachers and students. , unpublished test, Yale University.

Grigorenko, E.L., & Sternberg, R.J. (1995). Thinking styles. In D. H. Saklofske & M.

Zeidner (Eds.) International handbook of personality and intelligence,

77

205-229.New York: Plenum Press.

Costa, P. T., & McCrae, R.R. (1992). Neo PI-R professional manual. Odessa, FL:

Psychological.

Hair, J. F., Anderson, R. E., Tatham, R. L., and Black, W. C. (1998). Multivariance data analysis (5th Ed.).Upper Saddle River, NJ: Prentice Hall.

Hilgard, E. R., & Atkinson, R. C. (1969). Introduction to psychology. New York:

Harcourt Brace Jovanovich.

Hu, W., & Adey, P. (2002). A Scientific Creativity Test for Secondary School Students.

International Journal of Science Education, 24(4), 389-404.

Kan, J.W., & Gero, J.S. (2005). Entropy measurement of linkography in protocol studies of designing. In J.S. Gero & N. Bonnardel, (Eds.), Studying Designers’, 5, 229-245. Australia: 2005 Key Center of Design Computing and Cognition, University of Sydney.

Kan, J.W., Bilda, Z. & Gero, J.S. (2007). Comparing entropy measures of idea links in design protocols: Linkography entropy measurement and analysis of differently conditioned design sessions, AIEDAM 21, 4, 367-377.

King, L.A., Walker, L.M., Broyles, S.J. (1996). Creativity and the five-factor model.

Journal of Research in Personality , 30, 189-203.

Kaufman, J.C., Gentile, C.A. & Baer, J. (2005). Do gifted student writers and creative writing experts rate creativity the same way? Gifted Child Quarterly, 49, 260-265.

Kaufman, J.C., Baer, J., Cole, J.C. & Sexton, J.D. (2008). A comparison of expert and nonexpert raters using the Consensual Assessment Technique. Creativity Research Journal, 20, 171-178.

Lee, K. & Ashton, M.C. (2004). Psychometric properties of the HEXACO personality

78

inventory. Multivariate Behavioral Research, 39, 329-358.

Lee, K., & Ashton, M. C. (2008). The HEXACO personality factors in the indigenous personality lexicons of English and 11 other languages. Journal of Personality, 76, 1001-1053.

Lee, K., & Ashton, M. C. (2009). The HEXACO-60: A short measure of the major dimensions of personality. Journal of Personality Assessment, 91, 340-345.

Lynch, B. (1926). A history of Caricature. London: Faber & Gwyer.

McCrae, R. R., & Costa, P. T., Jr. (1989). Reinterpreting the Myers-Briggs Type Indicator from the perspective of the five-factor model of personality. Journal of Personality, 57, 17-40.

Mellou, E. (1996). The two conditions view of creativity. Journal of Creative Behavior, 30(2), 126-149.

Mooney, R.L. (1963). A conceptual model for integrating four approaches to the identification of creative talent. In C. W. Taylor & F. Barron (Eds.), Scientific creativity: Its recognition and development, 331-340, New Yor: Wiley.

Norman, W. T. (1963). Toward an adequate taxonomy of personality attributes:

Replicated factor structure in peer nomination personality ratings. Journal of Abnormal and Social Psychology, 66 (6), 574–583.

Osborn, A.F. (1957). Applied Imagination: Principles and procedures of creative thinking. (Revised edition). New York: Charles Scribner’s Sons.

Rodes, M. (1961). An analysis of creativity. Phi Delta Kappa, 42, 305-310.

Saucier, G. (1994). Mini-markers: A brief version of Goldberg’s unipolar Big-Five markers. Journal of Personality Assessment, 63, 506–516.

Silvia, P.J., Kaufman, J.C., Reiter-Palmon, R. & Wigert, B. (2011). Cantankerous creativity: Honesty–Humility, Agreeableness, and the HEXACO structure of

79

creative achievement. Personality and Individual Differences, 10(5), 687-689.

Sternberg, R. (1988). The triarchic mind: A new theory of human intelligence. New York: Viking.

Sternberg, R. J. & Lubart, T. I. (1996). Investing in creativity. American Psychologist, 51(7), 77-688.

Tokar, D.M., Fischer, A.R., Snell, A.F., & Harik-Williams, N. (1999). Efficient assessment of the five-factor model of personality: Structural validity analyses of the NEO Five-Factor Inventory (Form S). Measurement and Evaluation in Counseling and Development, 32, 14-30.

Torrance, E.P. (1966). The Torrance Tests of Creative Thinking – Norms-Technical Manual Research Edition – Verbal Tests, Forms A and B – Figural Tests, Forms A and B. Princeton NJ: Personnel Press.

Torrance, E.P. (1981). Predicting the creativity of elementary school children (1958-80) - and the teacher who "made a difference." Gifted Child Quarterly, 25, 55-62.

van der Lugt, R. & van der Graaf, A. (2002). Context Indicators for Determining Links Between Design Ideas. Design research and technology, 261-266.

Watson, D. (1989). Strangers' ratings of the five robust personality factors: Evidence of a surprising convergence with self-report. Journal of Personality and Social Psychology, 57, 120-128.

Wallas, G. (1926). The art of thought. New York: Harcourt Brace.

Wallach, M., & Kogan, N. (1965). Modes of thinking in young children. New York, NY: Holt, Rinehart & Winston.

Ward, A.W. (1875). A history of English dramatic literature to the death of Queen Anne. London: Macmillan.

80

Woodman, R., Sawyer, J. & Griffin, R. (1993). Toward a theory of organizational creativity. Academy of management Review, 18, 293-321.

Wolfradt, U. & Pretz, J.E. (2001). Individual differences in creativity: Personality, story writing, and hobbies. European Journal of Personality, 15(4), 297-310.

81

日文文獻

新村出(1955)。廣辭苑第五版。東京:岩波書店。

日本漫畫學會(2001)。日本漫畫學會設立主旨。

植田尚子等人(2010)。マンガ産業の新たな可能性。ISFJ 政策フォーラム 2010 発表論文。

日下翠(2001)。日本漫畫研究序說。韓日言語文化研究,2(1),83-98。

孟雪、甘棠、段克勤、祝葵(2010)。漫画――日本社会の鏡。語文學刊(外語 教育與教學),8,173-174。

中文書籍

閻振興、高明(1984)。中文百科大辭典。新北市:旺文社。

方成(2002)。漫畫的幽默。北京:人民文學出版社。

王受之(2009)。動漫畫設計(上冊)。台北:藝術家。

毛連塭、郭有遹、陳龍安、林幸台(2000)。創造力研究。台北市:心理出版社。

周賢彬(2010)。動態圖像評價研究。台北:師大書苑。

吳靜吉、高泉豐、王敬仁、丁興祥等人(1981)。拓弄思語文創造思考測驗乙式 指導及研究手冊。台北:遠流。

吳靜吉、高泉豐、王敬仁、丁興祥等人(1981)。拓弄思圖形創造思考測驗甲式 指導及研究手冊。台北:遠流。

洪德麟(1994)。台灣漫畫四十年初探。台北:時報文化出版。

洪德麟(2000)。傑出漫畫家-亞洲篇。台北:雄獅美術。

夏目房之介(1997)。日本漫畫為什麼有趣。(潘郁紅譯)北京:新星出版社。

陳龍安(1989)。做個聰明人─創造與批判思考的自我訓練。台北:心理。

蕭湘文(2002)。漫畫研究─傳播觀點的檢視。台北:五南書局。

82

83

李彥樺(2005)。漫画の中国語訳研究。私立東吳大學日本語文學系研究所碩士 論文。

莊椀馨(2010)。高高屏幼兒園園長創造性人格特質與學校創新經營關係之研究。

國立屏東教育大學幼兒教育研究所碩士論文。

謝易成(2007)。探討傳統與數位媒材對於設計概念的影響-以合作式設計為例。

私立長庚大學工業設計研究所碩士論文。

網路資料

The HEXACO personality inventory-revised. (Web: http://hexaco.org/)

王昱中(2010)。漫畫哪是年輕人的專利?2008-2010 年版 E-ICP 東方消費者行 銷資料庫。(網址:http://www.isurvey.com.tw/)

簡茂發、黃瑞榮、李坤崇(2000)。倫斯創造思考測驗。教育大辭書,國家教育 研究院雙語詞彙、學術名詞暨辭書資訊網。

(網址:http://terms.naer.edu.tw/detail/1310964/?index=7)

84

Kinono「Joe's Teeth」http://morningmanga.com/micc/joesteeth_c.html

1. 我覺得 Joe’s Teeth 這篇漫畫題材新穎。……… □ □ □ □ □ 2. 我覺得 Joe’s Teeth 這篇劇情有獨創性。……… □ □ □ □ □ 3. 我覺得 Joe’s Teeth 這篇漫畫的角色設計有創意。…… □ □ □ □ □ 4. 我覺得 Joe’s Teeth 這篇構成 / 分鏡方式有創意。 … □ □ □ □ □ 余孟霖「FAIRY TALE」http://morningmanga.com/micc/fairytale_c.html 5. 我覺得 FAIRY TALE 這篇漫畫題材新穎。………□ □ □ □ □ 6. 我覺得 FAIRY TALE 這篇劇情有獨創性。………□ □ □ □ □ 7. 我覺得 FAIRY TALE 這篇漫畫的角色設計有創意。 □ □ □ □ □ 8. 我覺得 FAIRY TALE 這篇構成 / 分鏡方式有創意。 □ □ □ □ □

85

86

87

88

93. 當有人侮辱我時,我發覺很難去控制自己的脾氣。…… □ □ □ □ □ 94. 大多數人都比平常的我要樂觀和有活力。……… □ □ □ □ □ 95. 即使在大多數人變得很感傷的情境中,我仍可不動情感。□ □ □ □ □ 96. 我想讓別人知道我是個地位高的重要人物。………… □ □ □ □ □ 97. 我會同情那些比我不幸的人。……… □ □ □ □ □ 98. 我試著慷慨地幫助一些有需要的人。……… □ □ □ □ □ 99. 我不會因傷害了不喜歡的人而難過。……… □ □ □ □ □ 100. 別人覺得我是個硬心腸的人。……… □ □ □ □ □

第三部份 基本資料

【說明】

本問卷為研究測驗之第一階段,第二階段將篩選小部份受測者進行創意相關測 驗,故需要您留下聯絡方式。

此資料僅供本次研究使用,第二階段測驗結束將銷毀,並絕不外洩,請您安心 配合作答。

1. 性別: □女性 □男性

2. 年齡: □14 歲以下 □15~19 歲 □20~24 歲 □25~29 歲 □30~34 歲 □35 歲 以上

3. 是否為美術或設計相關科系之學業或其專業背景出身:□是 □否

4. 聯絡方式:若您現居台北市或新北市,並願意抽空至師大參加第二階段測驗

(將給予車馬費,時間等詳細會另行告知),請留下連絡方式,無強制性,請 自由填答。

________________________

本問卷到此結束,感謝您的配合!

89

附件二 第二階段 Linkography 圖

EH1 情緒性高分者《花朵與騎士》Linkography 圖(entropy 值=2.23258809)

EH1 情緒性高分者《羅馬浴場》Linkography 圖(entropy 值=2.168426775)

90

EH2 情緒性高分者《花朵與騎士》Linkography 圖(entropy 值=1.362174408)

EH2 情緒性高分者《花朵與騎士》Linkography 圖(entropy 值=1.362174408)

相關文件