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Creativity in Language and Literature
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Table of Contents

Prologue.- General Introduction.- PART I: CREATIVITIES: TEXTS IN CONTEXT, GENRES IN PRACTICE.- Editors' Introduction to Part I.- Give Me (Deep Intake of Breath) Inspiration; P.Agbabi.- 'Can't We Ever, My Love, Speak in the Same Language?': Everyday Language and Creative Tension in the Poetry of Louis MacNeice; R.D.Brown.- Bilingual Verbal Art of Fama: Linguistic Hybridity and Creativity of a Hong Kong Hip Hop Group; A.Lin.- Metaphor in Prosaic and Poetic Creativity; L.Cameron.- Metaphor, Creativity and the Experience of Pain Across Genres; E.Semino.- Word Play across Languages and Cultures: Interview between G.D.Jayalakshmi, S.Upendran & R.Amritavalli.- PART II: CREATIVITY ACROSS MODES, MEDIA AND TECHNOLOGIES.- Editors' Introduction to Part II.- Chains of Transformation: The Making of Heavy Water, a Film for Chernobyl; M.Petrucci.- Intimate Strangers: Dialogue and Creativity in Penfriend Correspondence; J.Maybin.- Creativity, Materiality and Representation in New Communication Technologies; A.Goddard.- Improvisations and Transformations Across Modes: The Case of a Classroom Multimodal Box Project; K.Pahl.- Hybridity in the Mind and on the Page: Genre, Words, Music and Narrative; M.Wandor.- Mature Poet Steals: Sonnet as Problem Page New; P.Agbabi.- Stories in Performance; B.Haggarty.- PART III: CREATIVE INTERPRETATIONS: AUDIENCE RESPONSES, READING AND RE-WRITING.- Editors' Introduction to Part III.- The First Three Minutes: Seducing the Audience in 'Arranged Marriage'; G.D.Jayalakshmi.- Authenticity and Creativity in Reading Lamentation; P.Stockwell.- How Reading Groups Talk about Books: A Study of Literary Reception; J.Swann.- Reader Response and the Formulation of Literary Judgement; J.Spiro.- Practical Measures: Poet as Editor; F.Sampson.- Re-Writing the Critical-Creative Continuum: '10x...'; R.Pope.- Reading a Hindi Poem: Lost in Translation?; R.B.Nair.- An A-Z of Textual Re-Creation; R.Pope.- PART IV: OPEN QUESTIONS, ONGOING DEBATES.- Editors' Introduction to Part IV.- The Production of 'Creativity'; D.Allington.- In Defence of Genius; G.Cook.- Creative Writing: Habitat Homo Sapiens; G.Harper.- Three Reflections on Creativity and Writing; J.Cook.- Creativity Looks at Language; R.Finnegan.- Epilogue Creativity: Postscripts and Prospects; R.Carter.

Promotional Information

'Creativity in Language 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 range of levels of difficulty, and the concentration on creativity in both everyday contexts and literary ones and in a wide range of genres, give potential teachers the opportunity to make assignments based on the needs and levels of preparation of their own students.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

About the Author

JOAN SWANN Senior Lecturer and Director of the Centre for Language and Communication at The Open University. She has edited numerous books, including A Dictionary of Sociolinguistics with EUP in 2004 and The Art of English; everyday creativity with Palgrave Macmillan in 2006.

ROB POPE Professor of English and UK National Teaching Fellow at Oxford Brookes University. He is the author of Creativity: Theory, History, Practice and The English Studies Book: Language, Literature and Culture.

RONALD CARTER Professor of Modern English Language in the School of English studies at the University of Nottingham. He is Director of the Humanities Research Centre and the author of many acclaimed works in the field, including Language and Creativity: The Art of Common Talk, Introducing the Grammar of Talk and The Cambridge Grammar of English: A Comprehensive Guide to Spoken and Written Grammar.

Reviews

'Creativity in Language 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 range of levels of difficulty, and the concentration on creativity in both everyday contexts and literary ones and in a wide range of genres, give potential teachers the opportunity to make assignments based on the needs and levels of preparation of their own students.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

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