Unpacking Creativity for Language Teaching

Cover
Half Title
Endorsements
Title Page
Copyright Page
Dedication
Contents
List of Figures
List of Tables
List of Tasks
1. Introduction: Unpacking creativity and aims of the book
Introduction
Turning back to the word ‘creativity’
Aims of the book: Revitalising the creativity terminological landscape
The outline of the book
2. The language of creativity: Exploring the terminological landscape of creativity
Introduction
Creativity as a multi-faceted term: Defining the undefinable creativity
A metaphorical approach to defining creativity
A tacit, intuitive approach to defining creativity
An explicit, confluence-style, reductionist approach to defining creativity
The componential model of creativity
The systems model of creativity
The 4Ps model of creativity
A corpus-based approach to defining creativity
Other approaches to defining creativity
Creativity as a binary concept
Creativity as a continuum
Creativity as a dualistic concept
Creativity as a dynamic and emergent concept
Conclusion
3. Creativity as an inclusive term: Locating its common core
Introduction
Creativity as an ability to produce new valuable ideas
Creativity as an ability: Unpacking ‘ability’ (noun)
Creativity as an intention and direction: Unpacking ‘to’ (preposition)
Creativity as an action and a trajectory: Unpacking ‘produce’ (verb)
Creativity as a quality: Unpacking ‘new’ and ‘valuable’ (adjectives)
Creativity as an idea: Unpacking ‘idea’ (noun)
Conclusion
4. Heuristics and creativity
Introduction
Heuristics in a broad sense: General features and functions
Heuristics in a specific sense and creativity heuristics
Heuristics and language teaching
Conclusion
5. Constraints and creativity
Introduction
What is a constraint? Constraints as limitations and rules
If constraints = limitations, what does creativity mean?
If constraints = rules, what does creativity mean?
What does a constraint do? Constraints as prohibitors and enablers of creativity
What can we do to constraints? Constraint handling practices and strategies
Constraint elimination: blackboxing, removing and revising constraints
Constraint introduction: self-imposition, translating and chance
Balancing constraints
Dimensions of constraints
Constraints in language learning tasks
Conclusion
6. Algorithms and creativity
Introduction
Algorithms, algorithmic creation, algorithmic thinking and creativity
Adding unpredictability to algorithms
An algorithmic view of language teaching: Teaching as a hard-work type of creativity
Conclusion
7. The discourse of creativity in language teaching publications (2012–2018)
Introduction
Who have been writing about creativity in language teaching?
What and how has been written about creativity in language teaching?
Teaching language creatively vs. teaching language for creativity
Creativity as an endangered species vs. a ubiquitous feature
Fragmented and discontinuous views of creativity
Selective views of creativity and citation
Combining creativity with something else
Focusing on product rather than process creativity
Dissatisfaction and frustration as a driving force
The paradoxical nature of creativity: More is less?
Conclusion
8. Segmentation of creativity from a linguistic perspective (from language of creativity to creativity of language)
Introduction
Segmentation of linguistic creativity through question words
The behaviouristic dimension of linguistic creativity (what, how)
Linguistic creativity as rule-governed behaviour: Grammatical creativity
Linguistic creativity as rule-changing behaviour: Lexical and semantic creativity
The contextual dimension of linguistic creativity (where, when)
Linguistic creativity from the socio-cultural, contextual perspective (where)
Linguistic creativity from the temporal, contextual perspective (when)
The motivational dimension of linguistic creativity (why)
The demographic and personal dimension of linguistic creativity (who, whom)
Segmentation of linguistic creativity through prepositions
Creativity ‘through’ language
Creativity ‘of’ language
Creativity ‘with’ language
Creativity ‘and’ language
Segmentation of linguistic creativity through lexical associations: Linguistic creativity as language play and improvisation
Conclusion
9. View of language and creative language pedagogy
Introduction
Literary creativity: Foregrounding language
Implications of literary creativity for creative language teaching
Promoting literary creativity through a product-oriented approach
Promoting literary creativity through a process-oriented approach
Involving students in the process of transforming texts
Involving students in the process of experiencing texts as creative
Everyday creativity: Overt and covert presentational uses of language
Implications of everyday creativity for creative language teaching
Conclusion
10. View of language learning and creative language pedagogy
Introduction
The usage-based model of language learning and creative language teaching
Domain-generality of cognitive processes in language learning and creativity as the ability to exercise a multitude of cognitive processes
Change and complexity in language and creativity as the ability to produce new, valuable ideas
Language learning as learning constructions and creativity as the ability to produce acceptable and novel combinations within constructional constraints
Language learning as language use and creativity as the ability to foreground language
Repeated language use, type and token repetitions and creativity
Salience of language use, language learning and creativity
Implications of the usage-based view of language learning for creative language teaching
Conclusion
11. View of language teaching and creative language pedagogy
Introduction
Teaching language creatively: Materials development
Teaching language creatively: Reflective language teaching
Teaching language creatively: Teacher development programmes
Teaching language creatively: Use of humour
Conclusion
12. Conclusion: Unpacking creativity for language teaching and learning
Introduction
Unpacking facets of creativity and implications for language teaching
Conclusion
Epilogue: My creativity journey: My journey to the West – to creativity
Introduction
The beginning of a new chapter
An unofficial love affair turning into a serious relationship: My love and hate relationship with creative writing
Moving on from creative writing to creativity
My first research on creativity being plagiarised
My first postgraduate course on creativity: A complete sense of ownership and pride
Writing a single-authored monograph: Never to be completed?
Why do I tell this story?
Conclusion: My journey to the West – to creativity
References
Appendices
Index