There are several sociocultural aspects of language that initiate the entire creativity of a language and integrated with the textual, contextual and critical dimension of the art. The textual aspect `of creativity is simply the text-intrinsic feature of the language like generic structures and linguistic patterning…
The contextual part of the language factors in the interpersonal contexts and the sociohistorical contexts. Critically the art of language refers to the ability of the linguistic creativity to wrap in all kinds of critical and evaluative positions that are visible in the use of language. Subject to the findings of the contemporary researchers in applied linguistics, creativity of the language is not limited to the linguistically skilled writers and speakers, media professionals and literary authors but also a pervasive feature of utilization of the language. Carter (102) focuses on the poetic forms in everyday discourse where rhyme, metaphor, word play and other figures of speech are used in the manipulation of the linguistic form.
Styles like repetition are incorporated in the language to reflect what the speakers echo and demonstrate the seriousness of the information even though at times it might not be in accordance to the linguistic form. Another aspect of the language that is used creatively is the innovative creation of dialogue in narrative where the story is converted into drama. At the same both the children’s and adults preoccupation with imaginary or fictional worlds is elaborated using the creativity of language. In essence everyday conversation offers the source for strategies that are later on taken up by others and they include literary genres. According to Carter (105), creativity is a matter of degree that exists together with a series of clines in most of the literary texts on a daily basis unlike the discrete sets of features that are related to the specific registers. In this particular case the term literariness encompasses the clinal nature of creativity. On the other hand the language play is referred to as opposed to the literariness and the two terms have got different intellectual starting points and purposes. For instance Carter dwells on broadening the frame of literariness to involve everyday linguistic practices whereas the other theory focuses on language play in the general terms of play and later on expands this to high culture practices like ceremony and literature. In the long run most of the linguists seem to agree on most of the issues emerging in the language and have a common stand. At the end, the policy and practice in several areas like education are affected due to the pervasiveness of language creativity. There is a conspicuous gap between the linguistic world of young children and the lack of playful use of language in educational materials like reading schemes. As a result most of the modern orthodoxies in communicative and task based approaches to the teaching of the language have not factored in the potential of language play. On the contrary the researchers suggest that the inclusion of a play element in the teaching of the language could be very vital as it would enhance the learning of the language. An example of this is where the importance of an effective dimension in learning, proficiency and value of play in linguistic form due to the acquisition of the second language (Carter, 110). In addition the pervasiveness of creativity across communicative practices leads to broader theoretical challenges to the ...
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According to the research findings, it can, therefore, be said that different forms of healing have been devised and exercised throughout history. Their acceptance of different cultures has been subject to how fulfilling each method is and to the satisfaction of the clients. Most forms of healing are extremely broad and encompass a lot.
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