Unpacking Creativity for Language Teaching

Description

Before unlocking creativity, we must first unpack what it means. In this book, creativity is unravelled from various perspectives and the relevance for language teaching and learning is explored. Tin offers a coherent discussion of creativity, adopting an inclusive and integrated but, at the same time, focused approach to creativity. Divided into 12 chapters, the book covers: • A critical review of the way the term ‘creativity’ is used, defined and written about in various disciplines • Various models and theories of creativity, the product- and process-oriented views of creativity and their relevance for language teaching • Three pillars on which creative language pedagogy should be based • Over 60 practical tasks, applying theoretical arguments and principles of creativity to language teaching and learning. Based on the author’s own practice and research on creativity over the last two decades, the book provides exciting new ideas for scholars and practitioners interested in creativity and creative language pedagogy. The book serves as an important contribution for students, teachers and scholars in the field of applied linguistics, language teaching and education. 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