This book provides an extensive and original analysis of the way that written and spoken communication facilitates creative practice in the university art and design studio. Challenging the established view of creativity as a personal attribute which can be objectively measured, the author demonstrates instead that creativity and creative practice are constructed through a complex array of intersecting discourses, each shaped by wider socio-historical contexts, beliefs and values. The author draws upon a range of methods and resources to capture this dynamic complexity from corpus linguistics to ethnography and multimodal analysis. This innovative volume will appeal to students and scholars of discourse analysis, creativity, and applied linguistics. It will also appeal to art and design educators.
The practices of visual artists can never be decontextualised from language. Firstly, artists are constantly in dialogue with their peers, dealers, critics, and audiences about their creative activities and these interactions impact on the work they produce. Secondly, artists' conceptualisations of what artistic practice encompasses are always shaped by wider social discourses. These discourses, however, and their manifestation in the language of everyday life are subject to continual change, and potentially reshape the way that artists conceptualise their practices. Using a 235,000-word diachronic corpus developed from artists' interviews and statements, this Element investigates shifts in artists' use of language to conceptualise their art practice from 1950 to 2019. It then compares these shifts to see if they align with changes in the wider English lexicon and whether there might be a relationship between everyday language change and the aesthetic and conceptual developments that take place in the art world.
This is the teacher's book in an intermediate course consisting of ten two-part units, each rich in language. Part A of each unit is based on a conversation in natural spoken English, whilst the input for Part B is a written text. The emphasis in the course is on a balanced syllabus: spoken English and written English, vocabulary and grammar, controlled practice and free conversation, and dialogues and texts. There is a review unit every two units and a grammar commentary at the end of the book.
The practices of visual artists can never be decontextualised from language. Firstly, artists are constantly in dialogue with their peers, dealers, critics, and audiences about their creative activities and these interactions impact on the work they produce. Secondly, artists' conceptualisations of what artistic practice encompasses are always shaped by wider social discourses. These discourses, however, and their manifestation in the language of everyday life are subject to continual change, and potentially reshape the way that artists conceptualise their practices. Using a 235,000-word diachronic corpus developed from artists' interviews and statements, this Element investigates shifts in artists' use of language to conceptualise their art practice from 1950 to 2019. It then compares these shifts to see if they align with changes in the wider English lexicon and whether there might be a relationship between everyday language change and the aesthetic and conceptual developments that take place in the art world.
This book provides an extensive and original analysis of the way that written and spoken communication facilitates creative practice in the university art and design studio. Challenging the established view of creativity as a personal attribute which can be objectively measured, the author demonstrates instead that creativity and creative practice are constructed through a complex array of intersecting discourses, each shaped by wider socio-historical contexts, beliefs and values. The author draws upon a range of methods and resources to capture this dynamic complexity from corpus linguistics to ethnography and multimodal analysis. This innovative volume will appeal to students and scholars of discourse analysis, creativity, and applied linguistics. It will also appeal to art and design educators.
Mr Holmes, they were the footprints of a gigantic hound!' The mysterious death of Sir Charles Baskerville brings Sherlock Holmes and Dr Watson to Dartmoor in the most famous of all of Arthur Conan Doyle's books. Is Sir Charles the latest victim of the ancestral Curse of the Baskervilles, which summons a demonic hound to stalk the moor and exact vengeance for a past misdeed, or is there a more modern, more prosaic explanation for the sudden death? In The Hound of the Baskervilles, the modern, rational world, and the ancient, supernatural world collide in the novel which brought Sherlock Holmes back from the dead. This new edition of Conan Doyle's classic mystery is part of a series of new editions of the Sherlock Holmes stories published in Oxford World's Classics. Darryl Jones's Introduction explores the competing worlds of the supernatural and the scientific in the novel and in Arthur Conan Doyle's life, the novel's colonial background and origins, and the role of landscape, folklore, and folk horror in the novel.
Some passages are painfully descriptive, others are packed with humor. A zeal for storytelling - a zest for writing." Michael Evans, Publishers Weekly In simple words, this book is about a dream; not being afraid to chase after it, and a challenge or two along the way. This book is about time, hardly an ally to an aging author. This book is also about perseverance, dedication, and long hours of loneliness; not exactly a writer's best friend. For this book is about believing that the author just might be one of those bold enough to catch their dream.
A graduate level text based partly on lectures in geometry, mechanics, and symmetry given at Imperial College London, this book links traditional classical mechanics texts and advanced modern mathematical treatments of the subject.
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