多年來，創造力始終是學者們想了解的題目，而創造力本身又可分為創造力的高低以及創意的風格。傳統上學者認為創造力有程度高低之分，而1976年Kirton則將創造力分為兩種創意風格，至此才吸引其他學者對於創意風格的注意。因此在這篇論文中，主要探討到底是創造力高低還是創意風格會影響到創意產品，樣本來自於南台灣的手工藝品產業，最終發現創意風格才是真正影響創意產品的因素。

Creativity has bee discussed for more than a decades, and there are creativity level and creativity style to explain and perceive creativity. Traditionally, researchers perceived creativity as creativity level, since Kirton (1976) brought out the concept of creativity style, researchers began to pay attention to creativity style. Therefore, in this study, I would like to understand creativity level or creativity style play an important role in affecting creative products. The respondents of this study were the workers in the craft hand made industry in south Taiwan. In the end, I found that creativity style, in deed, does affect creative products.

CHAPTER 1 INTRODUCTION................................................... 1
1.1 Research Background and Motivations ........................... 1
1.2 Research Objectives ........................................................... 4
CHAPTER 2 LITERATURE REVIEW .........................................5
2.1 Creativity ................................................................................. 5
2.2 Creativity Level ...................................................................... 8
2.3 Creativity Style ..................................................................... 10
2.4 The Relationship Between Creativity Level and Creativity Style ............................................................................ 14
2.5 Creative Products ............................................................... 16
CHAPTER 3 METHOD ............................................................. 21
3.1 Research Framework ........................................................21
3.2 Sample ................................................................................ .22
3.3 Measures ............................................................................. 24
3.3.1 Creativity Level ................................................................. 24
3.3.2 Creativity Style .................................................................. 24
3.3.3 Creative Products ........................................................... 28
3.3.4 Control Variables ........................................................... 30
3.4 Data Analysis ..................................................................... 31
CHAPTER 4 RESULTS .......................................................... 34
4.1 Descriptive Statistics ....................................................... 34
4.2 Correlation ......................................................................... 37
4.3 Regression ....................................................................... 42
4.4 ANOVA ................................................................................ 48
CHAPTER 5 CONCLUSION .................................................. 51
5.1 Discussion ......................................................................... 51
5.2 Limitations ......................................................................... 58
5.3 Future Research .............................................................. 60
REFERENCES ........................................................................ 61
APPENDIX…………………........……………………………..66

Amabile, T. M. 1983. The social psychology of creativity: A componential conceptualization. Journal of Personality and Social Psycology, 45(2): 357-376.
Amabile, T. M. 1987. The motivation to be creativity. In S. C. Isaksen (Eds.), Frontiers of creativity research: 223-254. New York, Bearly.
Amabile, T. M. 1988. A model of creativity and innovation in organization. In B.M. Staw, & L. L. Cummings (Eds.), Research in Organizational Behavior, 10: 123-167. Aldine Publishing Company.
Amabile, T. M. 1996. Creativity in context: Update to the social psychology of creativity. Oxford, UK: Westview.
Amabile, T. M. 1997. Motivating creativity in organizations: On doing what you love and loving what you do. California Management Review, 40(11): 39-58.
Bagozzi, R. P., & Foxall, G. R. 1995. Construct validity and generalizability of the Kirton Adaption-Innovation Inventory. European Journal of Personality, 9:185-206.
Banks, M., Calvey, D., Owen, J., & Russell, D. 2002. Where the art is: Defining and managing creativity in new media SMEs. Creativity and Innovation Management, 11: 255-264.
Barron, F. B., 1969. Creative person and creative process. New York, Holt, Rinehart & Winston.
Barron, F. B., & Harrington, D. M. 1981. Creativity, intelligence, and personality. Annual Review of Psychology, 32: 439-476.
Barron, F. 1988. Putting creativity to work. R. J. Sternberg (Eds.) The nature of creativity: 76-98. New York: Cambridge University Press.
Binet, A., & Simon, T. 1905. New methods for the diagnosis of the intellectual level of subnormals. L'Annte Psychologique, 11: 191-244.
Brown, R. T. 1989. Creativity: What are we to measure? In J. A. Glover, R. R. Ronning, & C. R. Reynolds (Eds.), Handbook of creativity: 3-32. New York: Plenum Press.
Chandy, R. K., & Tellis, G. J. 1998. Organizing for radical products innovation: The overlooked role of willingness to cannibalize. Journal of Marketing Research, 35: 474–487.
Csikszentmihalyi, M. 2003. The domain of creativity. In Runco, M. A. and Albert, R. S. (Eds.) Creativity Research Handbook, 3. Cresskill NJ: Hampton Press
Dellas, M., & Gaier, E.L. 1970. Identification of creativity: the individual. Psychological Bulletin, 73: 55-73.
Drucker, P. E. 1969. Management’s new role. Harvard Business Review, 47: 49-54.
Drucke P. F., & Handy, C. B. 2007. The essential Druckerselections from the management works of Peter F. Drucker. Jordan Hill(UK): Butterworth-Heinemann.
De Bono, E. 2007. How to have creative ideas. Vermilion: Griffin Press.
Feldhusen, J. F. & Goh, B. E. 1995. Assessing and accessing creativity: An integrative review of theory, research, and development. Creativity Research Journal, 8(3): 231-247.
Foxall, G.. R., & Hackett, P. M. 1992. The factor structure and construct validity of the Kirton Adaption-Innovation inventory. Personality and Individual Differences, 13: 967-975.
Golann, S.E. 1963. Psychological study of creativity. Psychological Bulletin, 60: 548-565.
Golder, P. N., & Tellis, G. J. 1997. Will it ever fly? Modeling the takeoff of new consumer durables. Marketing Science, 16(3): 256-270.
Goldsmith, R. E. 1985. A factorial composition of the KAI inventory. Educational and Psychological Measurement, 45: 245-250.
Goldsmith, R. E. 1987. Creativity level and creativity style. The British Psychological Society, 26: 317-323.
Guastello, S. J., Shissler, J., Driscoll, J., & Hyde, T. 1998. Are some cognitive styles more creatively productsive than others? Journal of Creative Behavior, 32: 77-91.
Guilford, J.P. 1959. Traits of creativity. Creativity and its cultivation. New York: Harper & Row
Guilford, J. P. (1977). Way beyond the IQ. Buffalo, NY: Beady Limited.
Guilford, J.P. 1980. Cognitive styles: what are they? Educational and psychological Measurement, 40:715-735.
Hammond, S. M. 1986. Some pitfalls in the use of factor scores: The case of the Kirton Adaption-Innovation inventory. Personality and Individual Differences, 3: 41-47.
Harmon, L. R. 1958. The development of a criterion of scientific competence. In C. Taylor (Eds.), The 1957 University of Utah Conference on the Identification of Creative Scientific Talent: 82-97. Salt Lake City: Utah University Press.
Helson, R. & Crutchfield, R. S. 1970. Mathematicians: The creative researcher and the average Ph. D. Journal of Consulting and Clinical Psychology, 34: 250-257.
Hocevar, D. 1981. Measurement of creativity: Review and critique. Journal of Personality Assessment, 45(5): 450-464.
Horng, R. Y. 1986. Factor analytic study of Chinese college student’s creative self-perception. Paper presented at the 1986 Mid-America Chinese Joint Annual Convention. Illinois: Schaumburg.
Im, S., & Workman, Jr. J. P. 2004. Market orientation, creativity, and new products performance in high-technology firms. Journal of Marketing, 68: 114-132.
Isaksen, S. G. & David K. B. 1993. Toward an improved understanding of creativity within people: The level –style distinction. In S. G. Isaksen, M. C. Murdock, R. L. Firestien, & D. J. Treffinger (Eds.), Understanding and recognizing creativity: The emergence of a discipline: 299-330. Norwood, NJ: Ablex.
Isaksen, S. G. & Puccio, G. J. 1988. Adaption-innovation and the Torrance Tests of Creative Thinking: The level –style issue revisited. Psychological Reports, 63: 659-670.
Jackson, P, R., Wall, T. D., Martin, R., & Davids, K. 1993. New measures of job control, cognitive demand, and productsion responsibility. Journal of Applied Psychology, 78(5): 753-762.
Khatena J. & Torrance E. P. 1976. Manual for Khatena-Torrance Creative Perception Inventory. Chicago:Stoelting.
Kirton, M. J. 1976. Adaptors and innovators: A description and measure. Journal of Applied Psychology, 61: 622-629.
Kirton, M. J. 1978. Have adaptors and innovators equal levels of creativity? Psychological Reports,12: 695-698.
Kirton, M. J. 1989. A theory of cognitive. In M. J. Kirton (Eds.) Adaptors and innovators: Styles of creativity and problem solving:1-33, 56-78. London: Routledge.
Lubart, T. I. 1994. Creativity. In R. J. Sternberg (Eds.), Thinking and problem solving: 289-323. New York, Academic Press.
Lubart, T., Mouchiroud, C., Tordjman, S. & Zenasni, F.2003. Psychology of creativity. Paris : Armand Colin.
MacKinnon, D.W. 1962. The nature and nurture of creative talent. American Psychologist,17:484-495.
Martinsen, O., & Kaufmann, G. 1999. Cognitive style and creativity. In M. Runco & S. Pritsker (Eds.), Encyclopedia of creativity, 1: 273-282. New York: Academic Press.
Min, S., Kalwani, M. U., & Robinson, W. T. 2006. Market pioneer and early follower survival risks: A contingency analysis of really new versus incrementally new products-markets. Journal of Marketing, 70: 15–33.
Nystrom, H. 1979. Creativity and innovation. Chichester, England :John Wiley and Sons.
Parnes, S. J. and Noller, R. B. (1972). Applied creativity: The creative studies project-Part 11. Journal of Creative Behavior, 6, 164-186.
Puccio, G. J. 1999 Two dimensions of creativity: Level and style. The International Center for Studies in Creativity.
Puccio, G. J., Treffinger, D. J., & Talbot, R. J. 1995. Exploratory examination of the relationship between creativity style and creative performance. Creativity Research Journal, 8: 157-172.
Rhodes, M. 1961. An analysis of creativity . Phi Delta Kappa, 42:305-310.
Richard, P. B. 1995. Construct validity and generalizability of the Kirton Adaption-Innovation Inventory. European Journal of Personality, 9: 185-206.
Roe, A. 1952. The making of a scientist. New York, Dodd, Mead.
Runco, M. A. 2007. Creativity. Theories and Themes: Research, Development and Practice. Amsterdam: Elsevier.
Selby, E. C., Treffinger, D. J., Isaksen, S.G. (2002). VIEW: An assessment of problem solving style. Sarasota,FL:Center for Creative Learning.
Selby, E. C., Treffinger, D. J., Isaksen, S.G., & Lauer, K.J. (2004). The conceptual foundation of VIEW: A tool for assessing problem solving style. Jouranl of Creative Behavior, 38: 221-243.
Shallcross, D.J. 1973. Creativity: Everybody. Personnel and Guidance Journal, 51:623-626.
Shalley, C. E., Gilson, L. L., & Blum, T.C. 2000. Matching creativity requirements and the work environment: Effects on satisfaction and intentions to leave. Academy of Management Journal, 43:215-223.
Shalley, C. E., Gilson, L. L., & Blum, T.C. 2000. Interactive effects of growth need strength, work context, and job complexity on elf-reported creative performance. Academy of Management Journal, 52:489-505.
Sorescu, A. B., Chandy, R. K., & Prabhu, J. C., 2003. Sources and financial consequences of radical innovation: Insights from pharmaceuticals. Journal of Marketing, 66: 82-102.
Spearman, C. 1931. Creative mind. Oxford, UK: Appleton-Century.
Stien, M. I. 1967. Creativity and culture. In R. L. Moony & T. A. Razik (Eds), Explorations in creativity. New York, Harper.
Sternberg, R. J., & Grigorenko, E. L. 1997. Are cognitive styles still in style. Amerian Psychologist, 52: 700-712.
Sternberg, R.J. 2001. What is the common thread of creativity. American Psychologist, 56:360-362.
Sternberg, R. J., & Lubart, T. I. 1995. Defying the crowd: Cultivating creativity in a culture of conformity, New York, Free Press.
Sternberg, R. J.,& Lubart, T. I. 1996. Investing in creativity. Am. Psychol. 51:677.88
Torrance, E. P. 1974. Torrance tests of creative thinking: Norms and technical manual. Bensenville, IL: Scholastic Testing Service.
Torrance, E. P. 1976. Creativity Testing in Education. Creative Child and Adult Quarterly, 1: 136-148.
Torrance, E. P., & Presbury, J. 1984. Criteria of success of 242 recent experimental studies of creativity. Creative Child Quarterly, 30:15-19.
Treffinger, D. J., Selby, E. C., & Isaksen, S. G. 2008. Understanding individual problem-solving style: A key to learning and applying creative problem solving. Learning and Individual Differences, 18: 390-401.
Wallas, G. 1926. The art of thought. New York, Harcourt, Brace.
Wall, T. D., Corbett, J. M., Clegg, C. W., Jackson, P. R., & Martin, R., 1990. Advanced manufacturing technology and work design: Toward a theoretical framework, Journal of Organization Behavior, 11(3): 201-219.
Woodman, R. W., Sawyer, J. E., & Griffin, R. W. 1993. Toward a theory of organizational creativity. Academy of Management Review, 18: 293-321.