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В статье рассматриваются особенности книжной и журнальной редакций биографического исследования А. Н. Варламова «Пришвин», ставшего первым подробным жизнеописанием известного русского писателя. В исследовании М. М. Пришвин показан как классик русской литературы, сыгравший огромную роль в сохранении ее традиций в сложнейший исторический период смены этических и эстетических принципов и канонов. Биография М. М. Пришвина стала первой в ряду писательских портретов, созданных писателем и филологом А. Н. Варламовым в серии ЖЗЛ. Интересно наблюдать, как в книге о Пришвине формируется и развивается творческий метод Алексея Варламова метод объективного повествования, изображения героя, когда позиция самого автора жизнеописания максимально спрятана, его оценки не эксплицитны, а портрет создается при помощи разнообразных документальных источников: дневников, мемуаров, документов и т. д. Объективность повествования о М. М. Пришвине достигается тем, что оно базируется на документальных свидетельствах: мемуарах современников и, прежде всего, на дневниковых записях, которые писатель вел всю свою жизнь, начиная с 1905 года, и которые Алексей Варламов назвал «великим Дневником». Герой повествования изображен на фоне эпохи глазами любивших и ненавидевших его людей, что позволяет читателю лучше понять его творчество и мотивы, заставлявшие совершать те или иные поступки. В пришвинской биографии Варламов определяет круг вопросов, которые последовательно будет ставить и в других книгах о писателях: писатель и власть, писатель и свобода творчества. Сопоставление двух редакций биографии Пришвина представляет интерес именно с точки зрения изучения творческого метода Алексея Варламова. По сравнению с более ранней, журнальной, редакцией исследования А. Н. Варламов внес в книжный вариант довольно значительные изменения, которые далеко не всегда можно объяснить лишь необходимым для журнального формата сокращением текста., The article focuses on the peculiarities of two versions ( magazine and book ones) of the biographic research «Prishvin» by Alexei Varlamov, which became the first detailed life description of the well-known Russian writer. In the research, M. M. Prishvin is shown as a classic of the Russian Literature who played an enormous role in preserving its traditions in the most difficult historical period when the ethic and aesthetic principles and canons had been changed. M. M. Prishvin’s biography was the first in the row of writers portraits created by Alexei Varlamov, the writer and philologist, in the ZHZL series. It is interesting to observe how the method of unprejudiced narration and main character description the creative method of Alexei Varlamov was shaping and developing in the Prishvin’s biography. This is the method when the biography author’s point of view is absolutely hidden and his attitude is not explicit, in this case, the main character’s portrait is created by various documentaries: diaries, memoir, documents, etc. The effect of unprejudiced narration is reached due to using the documentaries: memoirs of the writer’s contemporaries and first of all the diaries which the writer used to keep for his whole life starting from 1905 and which was called «the great diary» by Alexei Varlamov. The hero of the book is shown on the epoch background as he was seen by people who liked or disliked him and this helps the reader to understand better his creativity and the motives which made him make certain steps in his life. In Prishvin’s biography Varlamov defines a circle of questions which he’ll keep to in his other books about writers: writer and authorities; writer and the freedom of creative work. The comparison of two versions of the Prishvin’s biography (the magazine and the book ones) is interesting exactly from the point of view of investigation of the creative method of Alexei Varlamov. Compared to the earlier (magazine) version Alexei Varlamov changed the final (the book) version significantly. These changes can’t be explained by the magazine format demands only.

International audience; In several industries, competitive and societal factors have highlighted the need for incubating dedicated radical innovation (RI) capabilities. Traditional approaches to RI strategies have often emphasised either organisational or cognitive aspects, but tend to overlook how these dimensions interact within the organisation. This paper tackles the issue of these interplays by investigating the effects of a creativity-based collaborative method, the KCP Workshops, on the RI capability of a firm. We present an in-depth case study of a leading aeronautics firm that adopted the method to face its RI challenges. While being consistent with prior research and underscoring the impact of organisational settings on creative cognitive processes, our analysis empirically demonstrates a triple capability developed through the KCP Workshops: (1) collectively building a conceivable RI strategy, (2) deploying a monitoring process adapted to the exploration of cognitive breakthroughs, (3) collectively building “emerging creative organisations” at the ecosystem level to support the development of RI strategy. Beyond the performance of the RI capability for commercial applications, these findings underline how the collective design of an RI strategy also involves players in the exploration and establishment of organisational innovations.

application/pdf, This paper describes a method of extracting and quantifying factor model from consumers'opinions. In marketing, it is important to comprehend the behavior of consumers'purchase decision because good consumers yield most profit. Structural Equation Modeling (SEM) is an analysis method that clarifies purchase factor and quantifies the strength of factor. SEM can express the complex causal relationship between observational factor and latent factor, however this method has a problem that analyzer tends to construct a model based on subjective hypothesis. Therefore we utilize KJ method, one of the creativity methods, in order to construct a purchase factor model based on objective hypothesis and qualify consumers'purchase factor. In the result of an experiment, we can construct the model which has objective explanation power.

International audience; In several industries, competitive and societal factors have highlighted the need for incubating dedicated radical innovation (RI) capabilities. Traditional approaches to RI strategies have often emphasised either organisational or cognitive aspects, but tend to overlook how these dimensions interact within the organisation. This paper tackles the issue of these interplays by investigating the effects of a creativity-based collaborative method, the KCP Workshops, on the RI capability of a firm. We present an in-depth case study of a leading aeronautics firm that adopted the method to face its RI challenges. While being consistent with prior research and underscoring the impact of organisational settings on creative cognitive processes, our analysis empirically demonstrates a triple capability developed through the KCP Workshops: (1) collectively building a conceivable RI strategy, (2) deploying a monitoring process adapted to the exploration of cognitive breakthroughs, (3) collectively building “emerging creative organisations” at the ecosystem level to support the development of RI strategy. Beyond the performance of the RI capability for commercial applications, these findings underline how the collective design of an RI strategy also involves players in the exploration and establishment of organisational innovations.

Proceedings ICED 05, the 15th International Conference on Engineering Design, Melbourne