This study aims to investigate the effect of a writing program in the mind mapping approach on the linguistic creativity and writing attitude of third-graders in primary school, that employs a nonequivalent pretest-posttest experimental design to examine how mind mapping method affects the linguistic creativity and writing attitude of students. Two groups of 30 3rd students are separately instructed in writing planning which lasting 12 weeks, 80 minutes per week. One group is instructed in mind mapping method for writing as experimental group. The other group is taught regular method without mind approach as a control group. The instruments includes: (1) Torrance Tests of Creative Thinking, TTCT; (2) Writing attitude scale; (3) Mind mapping worksheets; (4) The evaluation sheet of mind mapping; (5) Feedback questionnaire; (6) Teacher¡¦s manuscript. The data were analyzed by one-way ANCOVA and frequency ratio analysis. The main findings were as follow: 1. Students who write with mind mapping method perform significantly better on fluency, flexibility and originality of linguistic creativity. 2. Students who write with mind mapping method perform better on writing preparation and motivation, learning attitude and evaluation as well as self-reflection and thinking ability in writing. 3. The fundamental elements of mind mapping which are association, keywords, hierarchies and categories as well as use of color, are helpful learners to complete mind mapping drawing and writing. 4. Results of students work collaboratively more superior than results of students work individually in mind mapping assessment and quantity of key words, thus it can suggest that group working is more suitable for teaching in mind mapping drawing and linguistic fluency. 5. ¡§Keywords¡¨ helps learners increase their writing capacity; ¡§hierarchies and categories¡¨ help learners sense how to write paragraphs and arrange them properly. 6. It finds a high percentage of the experimental group students agree that applying mind mapping method in writing promotes their writing motivation, creative ability and is helpful in developing their writing performance. Keywords: mind mapping, writing program, linguistic creativity, writing attitude

In questo studio si analizza il linguaggio utilizzato nei blog che si occupano di storia dell'arte, genere diffuso online, tramite un corpus di 54 blogs pubblicati nel 2013. Nell'ambito della linguistica dei corpora, l'analisi permette di ridefinire le tradizionali categorie utilizzate per descrivere i blog, fornisce una descrizione tipologica dei post e dei commenti tramite l'utilizzo di un apposito software, oltre a descrivere il livello di specializzazione del linguaggio. Vengono infine riportati esempi di creatività linguistica in questo genere digitale. / This study analyses the language of “art blogs”, i.e. blogs dealing with art, through a specialised corpus of fifty-four blogs published during 2013. Both posts and comments are included in the present investigation into the linguistic character of art blogs. The methodological choices reflect the need for a multifaceted analysis which covers different aspects, from text typology to linguistic creativity and popularisation. A review of the relevant literature on blogs brings to light the need for a specific characterisation of art blogs, since they tend to have a blended style, which cannot be ascribed to the traditional categories of personal and thematic blogging. The distinctive features of posts and comments are then investigated through a multidimensional analysis which reveals that posts and comments are two different text types. Successively, the corpus is compared to a specialised corpus of art announcements, within the field of popularised and specialised discourse. Finally, several examples of linguistic creativity are explored and presented, thus showing that traditional descriptive paradigms are unsuited to analyse the outcomes of art bloggers.

abstract: For the past three decades, the design of an effective strategy for generating poetry that matches that of a human’s creative capabilities and complexities has been an elusive goal in artificial intelligence (AI) and natural language generation (NLG) research, and among linguistic creativity researchers in particular. This thesis presents a novel approach to fixed verse poetry generation using neural word embeddings. During the course of generation, a two layered poetry classifier is developed. The first layer uses a lexicon based method to classify poems into types based on form and structure, and the second layer uses a supervised classification method to classify poems into subtypes based on content with an accuracy of 92%. The system then uses a two-layer neural network to generate poetry based on word similarities and word movements in a 50-dimensional vector space. The verses generated by the system are evaluated using rhyme, rhythm, syllable counts and stress patterns. These computational features of language are considered for generating haikus, limericks and iambic pentameter verses. The generated poems are evaluated using a Turing test on both experts and non-experts. The user study finds that only 38% computer generated poems were correctly identified by nonexperts while 65% of the computer generated poems were correctly identified by experts. Although the system does not pass the Turing test, the results from the Turing test suggest an improvement of over 17% when compared to previous methods which use Turing tests to evaluate poetry generators. / Dissertation/Thesis / Masters Thesis Computer Science 2016

abstract: Creativity is increasingly cited as an educational goal in many international contexts and as a facet of academic and economic success. However, many myths surround creativity that impede its facilitation in the classroom: it is an individual talent, not teachable, and not relevant to adult life outside of artistic domains. Further, perceptions of creativity are largely informed by treatment in North American contexts. In second language instruction, linguistic creativity in particular faces greater hurdles for recognition and value, as language learners’ creative language use is often treated as error. In this paper, I argue that creative pedagogies and second language instruction can inform each other; creative pedagogy can lead to greater recognition of the creative power of language learners, and second language research can provide a cultural lens through which to gain understanding of how creativity is enacted in language. To argue that creativity facilitates language learning and is a necessary component of proficiency, I employ B. Kachru’s (1985) notion of bilingual creativity to demonstrate the ubiquity of linguistic creativity in the lives of bilingual language users. With support from Carter (2016) and G. Cook’s (2000) works on everyday creative language and language play, respectively, I demonstrate the value of linguistic creativity for language learning and language socialization. I end by suggesting five guidelines for second language instructors interested in implementing a creative pedagogy framework: (1) promote reflection and noticing in learning and creativity, (2) offer authentic models of linguistic creativity, (3) provide emotion language and multiple methods for emotional expression in interaction, (4) allow for a fusion of L1 and L2 linguistic and cultural knowledge, and (5) respond actively to opportunities for collaborative creativity. / Dissertation/Thesis / Masters Thesis Linguistics and Applied Linguistics 2020

In this thesis, the phenomenon of intercategorial polysemy is approached from two related but previously unconnected perspectives, namely that of linguistic creativity and mental representation. It is argued that the creativity that is part and parcel of the linguistic abilities of each and every human being, has been neglected in the study of linguistics, and should, in fact, form the basis of studies such as these in cognitive lexical creativity. It is argued that structural productivity (the generative view of linguistic creativity) and conceptual creativity lie on a continuum, the middle ground of which is covered by phenomena which are both productive and creative and which have both a formal and a semantic aspect to them. One such a phenomenon is intercategorial polysemy. Explaining the way in which speakers of a language such as English can systematically and productively produce and interpret words that belong to more than one syntactic category (for example, hammerN - hammerV, tableN - tableV, skyN - skyV), which may range from the conventionalised to the completely innovative, has long been a problem for linguists. Traditional morphological accounts involving theoretical notions such as zero derivation have always been found to be inadequate, mostly because zero derivation does not account for the variation in meaning and the background knowledge that is needed to produce and interpret novel instances. The main problem addressed in this thesis then is the question as to the nature of the lexical knowledge of speakers and its mental representation, so that it can form the basis for the cognitive processes that will enable language users to be linguistically creative. Various theoretical models that have been proposed to account for intercategorial polysemy, namely the representationalderivational model, the network-activation model, as well as the theory of conceptual integration (also called blending), are presented and evaluated in the light of a representative sample of completely novel instances of intercategorial polysemy. / Linguistics / D. Litt. et Phi. (Linguistics)

In this thesis, the phenomenon of intercategorial polysemy is approached from two related but previously unconnected perspectives, namely that of linguistic creativity and mental representation. It is argued that the creativity that is part and parcel of the linguistic abilities of each and every human being, has been neglected in the study of linguistics, and should, in fact, form the basis of studies such as these in cognitive lexical creativity. It is argued that structural productivity (the generative view of linguistic creativity) and conceptual creativity lie on a continuum, the middle ground of which is covered by phenomena which are both productive and creative and which have both a formal and a semantic aspect to them. One such a phenomenon is intercategorial polysemy. Explaining the way in which speakers of a language such as English can systematically and productively produce and interpret words that belong to more than one syntactic category (for example, hammerN - hammerV, tableN - tableV, skyN - skyV), which may range from the conventionalised to the completely innovative, has long been a problem for linguists. Traditional morphological accounts involving theoretical notions such as zero derivation have always been found to be inadequate, mostly because zero derivation does not account for the variation in meaning and the background knowledge that is needed to produce and interpret novel instances. The main problem addressed in this thesis then is the question as to the nature of the lexical knowledge of speakers and its mental representation, so that it can form the basis for the cognitive processes that will enable language users to be linguistically creative. Various theoretical models that have been proposed to account for intercategorial polysemy, namely the representationalderivational model, the network-activation model, as well as the theory of conceptual integration (also called blending), are presented and evaluated in the light of a representative sample of completely novel instances of intercategorial polysemy. / Linguistics and Modern Languages / D. Litt. et Phi. (Linguistics)