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Page |
ACKNOWLEDGEMENTS………………………………………………….............. |
ii |
TABLE OF CONTENTS…………………………………………………………….. |
iii |
LIST OF TABLES……………………………………………………………………. |
v |
LIST OF FIGURES…………………………………………………………............. |
vi |
ABSTRACTS………………………………………………………………………….. |
vii
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Chapter 1
INTRODUCTION |
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1.1 |
Introduction…………………………………………………………………... |
1 |
1.2 |
Statement of the problem…………………………………………............. |
6 |
1.3 |
Related Issues in the Field of Creativity and Personality………............ |
7 |
1.4 |
Objectives of the study……………………………………………………… |
10 |
1.5 |
Significance of the study …………………………………………………… |
10 |
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Chapter 2
REVIEW OF LITERATURE |
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2.1 |
Introduction…………………………………………………………………... |
12 |
2.2 |
Study of Creativity in Singapore…………………………………………… |
12 |
2.3 |
Ambiguities in Studies of Creative Personality ………………………….. |
14 |
2.4 |
Kirton’s Adaption-Innovation (KAI) Theory ………………………………. |
21 |
2.5 |
Facets scales of the KAI ………………………………………………….. |
24 |
2.6 |
The KAI and Behaviour……………………………………………………... |
27 |
2.7 |
The KAI and Personality……………………………………………………. |
29 |
2.8 |
Creative Styles and Personality Traits of Singapore Teachers………… |
33 |
2.9 |
Traits Theory
and Big Five of Personality Model ………………………... |
34 |
2.10 |
Big Five Personality Model…………………………………………………. |
36 |
2.11 |
Criticism ……………………………………………………………………… |
44 |
2.12 |
Relationship between Creativity and Personality………………………… |
46 |
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Chapter 3
RESEARCH METHODOLOGY |
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3.1 |
Introduction…………………………………………………………………... |
49 |
3.2 |
Definition of Terms and Variables…………………………………………. |
49 |
3.3 |
Research Questions………………………………………………………… |
54 |
3.4 |
Purpose of Study……………………………………………………………. |
54 |
3.5 |
Hypotheses…………………………………………………………………... |
57 |
3.6 |
Subjects – First Group of Malay Language Teachers…………………… |
63 |
3.7 |
Subjects – Second Group of Malay Language Teachers……………….. |
66 |
3.8 |
Instrumentation ……………………………………………………………… |
69 |
3.9 |
Goldberg’s International Personality Item Pool (IPIP) ………………….. |
69 |
3.10 |
The Development of a Common Item Format by Goldberg (1999) …… |
71 |
3.11 |
Comparison with the Five major inventories by Goldberg …………….. |
73 |
3.12 |
New IPIP scales compare to their original counterparts
by Goldberg … |
73 |
3.13 |
An Adapted Personality Instrument used in the study ………………….. |
76 |
3.14 |
Kirton Adaption-Innovation Inventory (KAI) ……………………………… |
77 |
3.15 |
Qualitative Data - Open Ended Questions on Creativity………………... |
80 |
3.16 |
Procedure ……………………………………………………………………. |
81 |
3.17 |
Pilot Study …………………………………………………………………… |
82 |
3.18 |
Statistical Method of Analysis ……………………………………............. |
83 |
3.19 |
Second Stage Study - Similar Study on Second Group of Malay Language Teachers…………………………………………………………. |
84
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Chapter 4 RESULTS |
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4.1 |
Introduction ………………………………………………………………….. |
85 |
4.2 |
First Stage Study - Descriptive Statistics ………………………………… |
86 |
4.3 |
First Stage Study - Personality Differences between
Adaptors and Innovators …………………………………………………………………… |
88 |
4.4 |
First Stage Study - Relationship between Creative
Style Preferences and Personality ……………………………………………………………… |
89 |
4.5 |
First Stage Study - Summary of Hypothesis …………………………….. |
92 |
4.6 |
Second Stage Study - Findings of Similar Study
on Second Group of Malay Language Teachers ……………………………………………....... |
93 |
4.7 |
Second Stage Study - Personality Differences
between Adaptors and Innovators – Second Group of Malay Language Teachers ……………. |
95 |
4.8 |
Second Stage Study - Relationship between Creative
Style Preferences and Personality Traits – Second Group of Malay Language Teachers…………………....................................................... |
96 |
4.9 |
Qualitative Analysis
- Results of the Open Ended Questions …………. |
97 |
4.9.1 |
Problems Faced by Respondents in Being Creative……………………. |
98 |
4.9.2 |
The Issues of Training………………………………………………………. |
102 |
4.9.3 |
Factors That Hinder Respondents’ Creativity……………………………. |
105 |
4.9.4 |
Definition of Creativity……………………………………………………….
|
109 |
Chapter 5
DISCUSSION AND CONCLUSION |
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5.1 |
Introduction ………………………………………………………………….. |
113 |
5.2 |
Discussion of Findings ……………………………………………………... |
113 |
5.3 |
Teacher’s Recruitment and Training ……………………………………… |
116 |
5.4 |
Factors Hindering Teachers’
Creativity …………………………………... |
119 |
5.5 |
Desired Quality to be nurtured in pupils ………………………………….. |
121 |
5.6 |
Better Understanding and Appreciation of one another ………………... |
121 |
5.7 |
Teachers’ Definition
of Creativity …………………………………………. |
123 |
5.8 |
Implication of Study ………………………………………………………… |
124 |
5.9 |
Limitation of Study …………………………………………………............. |
128 |
5.10 |
Suggestion for Future Research ………………………………………….. |
132 |
5.11 |
Conclusion …………………………………………………………………... |
133 |
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REFERENCES ……………………………………………………………………… |
136 |
LIST OF APPENDIXES |
|
A |
Sample Questionnaire ……………………………………………………. |
150 |
B (i) |
ML teachers’ Feedback (Malay version) – First Stage………………… |
156 |
B (ii) |
ML teachers’ Feedback (Malay version) – Second Stage………………………………………………………………………... |
160 |
C (i) |
First Stage Study - Groups Statistics and T-Tests - First Group of ML Teacher……………………………………………………………………... |
167 |
C (ii) |
Second Stage Study - Groups Statistics and T-Tests - Second Group of ML Teacher ……………………………………………………………... |
171 |
D (i) |
Reliability Results- First Group of ML Teachers………………………... |
175 |
D (ii) |
Reliability Results- Second Group of ML Teachers……………………. |
177 |
E |
Samples of Administered Questionnaires ……………………………… |
179 |
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