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Current, comprehensive, and authoritative, this text gives language teachers and researchers, both a set of conceptual tools with which to think and talk about creativity in language teaching and a wealth of practical advice about principles and practices that can be applied to making their lessons more creative. Providing an overview of the nature of creativity and its role in second language education, it brings together twenty prominent language teachers and researchers with expertise in different aspects of creativity and teaching contexts to present a range of theories on both creative processes and how these processes lead to creative practices in language teaching. Unique in the field, the book takes a broader and more critical look at the notion of creativity in language learning, exploring its linguistic, cognitive, sociocultural and pedagogic dimensions. Structured in four sections— theoretical perspectives, creativity in the classroom, creativity in the curriculum, and creativity in teacher development—each chapter is supplemented by Questions for Discussion and Suggestions for Further Research. Its accessible style makes the book relevant as both a course text and a resource for practicing teachers.
"Creativity in Language and Literature is a provocative and valuable book. Its breadth of topics, variety of approaches, and self-consciously creative and dialogic nature are especially appropriate and creative ways of approaching the subject of creativity. The scope, variety and original content of this book make it a unique contribution to the field" - Professor David L. Hoover, New York University, USA This unique resource brings together contributions from creative practitioners and academic researchers working across different disciplines. Researchers, literary authors, editors, performers and film makers reflect on their work and collectively explore the art of creativity in language and literature. Creativity in Language and Literature covers a range of texts, genres and practices, such as poetry, hip hop, film, story telling, web chat and pen-friend correspondence. Each part of the book begins with an introduction and the final part includes critical responses to the idea of linguistic creativity, encouraging ongoing dialogue and debate. This richly diverse collection is an ideal text for students and practitioners working at all levels. With contributions by Patience Agbabi, Daniel Allington, R. Amritavalli, Richard D. Brown, Lynne Cameron, Ronald Carter, Guy Cook, Jon Cook, Ruth Finnegan, Angela Goddard, Ben Haggarty, Graeme Harper, G. D. Jayalakshmi, Angel Lin, Janet Maybin, Rukmini Bhaya Nair, Kate Pahl, Mario Petrucci, Rob Pope, Elena Semino, Fiona Sampson, Jane Spiro, Peter Stockwell, Joan Swann, S. Upendran and Michelene Wandor.
Language and Creativity has become established as a pivotal text for courses in English Language, Linguistics and Literacy. Creativity in language has conventionally been regarded as the preserve of institutionalised discourses such as literature and advertising, and individual gifted minds. In this ground-breaking book, bestselling author Ronald Carter explores the idea that creativity, far from being simply a property of exceptional people, is an exceptional property of all people. Drawing on a range of real examples of everyday conversations and speech, from flatmates in a student house and families on holiday to psychotherapy sessions and chat-lines, the book argues that creativity is an all-pervasive feature of everyday language. Using close analysis of naturally occurring language, taken from a unique 5 million word corpus, Language and Creativity reveals that speakers commonly make meanings in a variety of creative ways, in a wide range of social contexts and for a diverse set of reasons. This Routledge Linguistics Classic is here reissued with a new preface from the author, covering a range of key topics from e-language and internet discourse to English language teaching and world Englishes. Language and Creativity continues to build on the previous theories of creativity, offering a radical contribution to linguistic, literary and cultural theory. A must for anyone interested in the creativity of our everyday speech.
This book offers a unique perspective on creativity in an educational environment where there is a relative dearth of literature on this subject. The authors link practice and principle to provide a practical and valuable guide for more creative language learning and teaching, using not only theoretical ideas but useful practical advice and recommendations on how better to introduce creativity into teaching and daily life. This innovative volume is sure to become a crucial reference point for teachers and practitioners of language teaching, and anyone interested in the ways in which creativity can be channelled into the teaching and learning process.
Introducing Sign Language Literature: Folklore and Creativity is the first textbook dedicated to analyzing and appreciating sign language storytelling, poetry and humour. The authors assume no prior knowledge of sign language or literary studies, introducing readers to a world of visual language creativity in deaf communities. Introducing Sign Language Literature: Folklore and Creativity - Explains in straightforward terms the unique features of this embodied language art form - Draws on an online anthology of over 150 sign language stories, poems and jokes - Suggests ways of analysing and appreciating the rich artistic heritage of deaf communities Watch a short video about the book.
Language, Literature and the Learner is an edited volume evolving from three international seminars devoted to the teaching of literature in a second or foreign language. The seminars explicitly addressed the interface between language and literature teaching to investigate the ways in which literature can be used as a resource for language growth at secondary, intermediate and upper-intermediate level. This book presents the reader with a practical classroom-based guide to how the teaching of language and literature, until recently seen as two distinct subjects within the English curriculum, can be used as mutually supportive resources within the classroom. Through essays and case studies it reports on the most recent developments in classroom practice and methodology and suggests ways in which the curriculum could be reshaped to take advantage of this integrated approach. The text will be essential reading for students undertaking PGCE, TESOL/MA, UCLES, CTEFLA, RSA and Teachers' Diploma courses worldwide. Students of applied linguistics, those on stylistics courses and undergraduates studying English language will welcome it as accessible supplementary reading.
Can techniques traditionally thought to be outside the scope of literature, including word processing, databasing, identity ciphering, and intensive programming, inspire the reinvention of writing? The Internet and the digital environment present writers with new challenges and opportunities to reconceive creativity, authorship, and their relationship to language. Confronted with an unprecedented amount of texts and language, writers have the opportunity to move beyond the creation of new texts and manage, parse, appropriate, and reconstruct those that already exist. In addition to explaining his concept of uncreative writing, which is also the name of his popular course at the University of Pennsylvania, Goldsmith reads the work of writers who have taken up this challenge. Examining a wide range of texts and techniques, including the use of Google searches to create poetry, the appropriation of courtroom testimony, and the possibility of robo-poetics, Goldsmith joins this recent work to practices that date back to the early twentieth century. Writers and artists such as Walter Benjamin, Gertrude Stein, James Joyce, and Andy Warhol embodied an ethos in which the construction or conception of a text was just as important as the resultant text itself. By extending this tradition into the digital realm, uncreative writing offers new ways of thinking about identity and the making of meaning.
In their introduction to this collection of essays, the editors argue that constraints can be seen as a source of literary creativity, and given that translation is even more constrained than 'original' literary production, it thus has the potential to be even more creative too. The ten essays that follow outline ways in which translators and translations are constrained by poetic form, personal histories, state control, public morality, and the non-availability of comparable target language subcodes, and how translator creativity may-or may not-overcome these constraints. Topics covered are: Baudelaire's translation practices; bowdlerism in translations of Voltaire, Boccaccio and Shakespeare, among others; Leyris's translations of Gerard Manley Hopkins; ideology in English-Arabic translation; the translation of censored Greek poet Rhea Galanaki; theatre translation; Nabokov and translation; gay translation; Moratín's translation of Hamlet; and state control of translation production in Nazi Germany. The essays are mostly highly readable, and often entertaining.
The coining of novel lexical items and the creative manipulation of existing words and expressions is heavily dependent on contextual factors, including the semantic, stylistic, textual and social environments in which they occur. The twelve specialists contributing to this collection aim to illuminate creativity in word formation with respect to functional discourse roles, but also examine ‘critical creativity’ determined by language policy, as well as diachronic phonetic variation in creatively-coined words. The data, based either on large corpora or smaller hand-collected samples, is drawn from advertising, the daily press, electronic communication, literature, spoken interaction, cartoons, lexical ontologies and style guides. The coining of novel lexical items and the creative manipulation of existing words and expressions is heavily dependent on contextual factors, including the semantic, stylistic, textual and social environments in which they occur. The twelve specialists contributing to this collection aim to illuminate creativity in word formation with respect to functional discourse roles, but also examine ‘critical creativity’ determined by language policy, as well as diachronic phonetic variation in creatively-coined words. The data, based either on large corpora or smaller hand-collected samples, is drawn from advertising, the daily press, electronic communication, literature, spoken interaction, cartoons, lexical ontologies and style guides. Each study analyses novel formations in relation to their contexts of use and inevitably leads to the crucial question of creativity vs. productivity. By focussing on creative lexical formations at the level of parole, these studies provide insights into morphological theory at the level of langue, and ultimately seek to explain lexical creativity as a function of language use.
This book explores the implications of technology-mediated project-based language learning for CALL teacher development, focusing on the role of video-based instruction in elucidating challenges and opportunities to promote learner creativity in the language classroom. The volume builds on existing literature on project-based language learning by extending the focus on the affordances of machinima, digital video created by teachers and learners to capture experience in 3D immersive games or virtual worlds. Drawing on data from a large-scale research project featuring case studies that examine different facets of CALL teacher education, the book calls attention to language learning and teaching strategies that encourage both learners and teachers to develop innovative approaches in the language classroom and how such approaches promote the integration of lifelong learning skills alongside traditional linguistic competencies. Offering a dynamic contribution to the growing literature on the interface of language learning and teaching and technology, this book will appeal to students and researchers in applied linguistics and language and education, as well as those interested in the latest developments in CALL.