Relevant bibliographies by topics / Intercultural creativity

Academic literature on the topic 'Intercultural creativity'

Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Intercultural creativity"

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Braslauskas, Justinas. "DEVELOPING INTERCULTURAL COMPETENCES AND CREATIVITY: THE FOUNDATION FOR SUCCESSFUL INTERCULTURAL COMMUNICATION." Creativity Studies 14, no. 1 (May 21, 2021): 197–217. http://dx.doi.org/10.3846/cs.2021.14583.

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Although various aspects of intercultural communication have been examined in the works of various authors, there is still a lack of more in-depth research to analyse effective intercultural interaction in the context of combining intercultural competences and creativity competences. A number of works on intercultural communication identify only the barriers to effective communication and provide ways to overcome them; they insufficiently focus on the importance of competence development, in particular the role of creativity in ensuring effective intercultural communication. Meanwhile, the role of creativity as a process of generating new ideas and solving problems in intercultural communication is undeniable. There is no doubt that in order to ensure effective intercultural communication, it is necessary to combine intercultural competences with creativity competences. The object of this study is the development of intercultural competencies and creativity competencies in the context of intercultural interaction. The aim of this article is to examine the development of intercultural competencies and creativity as a basis for successful intercultural communication. Through the works of various scholars, the article describes the aspects of intercultural competences and creativity competence development in the context of intercultural interaction, and emphasises the importance of combining these competencies in order to achieve effective intercultural communication. The following methods are applied in the work: analysis and synthesis of scientific literature.
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Bultseva, M. A., and N. M. Lebedeva. "The Relationship of Intercultural Experience, Acculturation Expectations and Creativity among Russian Students." Cultural-Historical Psychology 15, no. 3 (2019): 51–59. http://dx.doi.org/10.17759/chp.2019150306.

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Intercultural contacts can be both destructive and beneficial to creativity, depending on the characteristics of acculturation. The aim of this study is to identify the relationship between intercultural experiences, acculturation expectations and creativity of Russian students in the context of internationalizing educational environment. Using quantitative methods on a sample of 272 Russian students (average age 21 years, 61% women) we tested hypotheses that the intercultural experiences are directly related to creativity, while acculturation expectations can both mediate this relationship and be an independent predictor of creativity. Our questionnaire included “Many instances” game from the RCAB of M. Runko, acculturation expectations scale (MIRIPS by J.W. Berry), intensity of friendly intercultural contacts scale (MIRIPS by J.W. Berry) and questions about length of staying abroad. The results showed that (1) the duration of stay abroad is positively related to creativity of Russian students; (2) positive relationship between the intensity of intercultural friendly interactions at the university and creativity is partly mediated by acculturation expectation of integration; and (3) expectations of integration and segregation are positively related to creativity, while the expectations of assimilation and exclusion are negatively related.
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Dziedziewicz, Dorota, Aleksandra Gajda, and Maciej Karwowski. "Developing children's intercultural competence and creativity." Thinking Skills and Creativity 13 (September 2014): 32–42. http://dx.doi.org/10.1016/j.tsc.2014.02.006.

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Sadoh, Godwin. "Intercultural Creativity in Joshua Uzoigwe's Music." Africa 74, no. 4 (November 2004): 633–61. http://dx.doi.org/10.3366/afr.2004.74.4.633.

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AbstractThis essay presents Joshua Uzoigwe as a Nigerian intercultural composer. A short biography of the composer shows the influence of two cultur—Nigerian (Igbo/Yoruba) and European—on his creative outputs. Uzoigwe's experience in the two cultures has enabled him to compose music which is indisputably a synthesis of Nigerian and European musical idioms. His works are classified into five categories, while the creative style exhibits purely original compositions and works in which Nigerian musical elements are directly utilised. A discussion of Uzoigwe's music includes elements of tonal organisation, elements of dance, elements of musical conception and instrumentation. The issue of bi-culturalism, national identity and the search for a Nigerian audience are some of the problems Uzoigwe attempts to solve in his compositions.
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Nikolaeva, Olga V. "Causes and effects of linguistic creativity in intercultural communication." Philological Sciences. Scientific Essays of Higher Education, no. 6 (November 2022): 143–50. http://dx.doi.org/10.20339/phs.6-22.143.

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The research is devoted to the problems of linguistic creativity in intercultural communication. The features of modern intercultural communication in new digital media are considered: social networks, electronic mass media, and the Internet-communication. The causes of intercultural communicative failures on the topic of international relations are revealed and the role of invective linguistic creativity in the emergence and development of intercultural conflict is established. It is determined that the perception of linguistic innovations in the context of intercultural communication is determined not only by linguistic, but also by cultural and pragmatic factors, and in the modern world it is increasingly burdened with negative evaluation which depends on political and ideological aspects. In the context of international political and economic confrontation, the relevance and aesthetics of linguistic or discursive innovation often becomes one-sided and is interpreted only from the point of view of the addresser. In the examples considered, linguistic creativity in the statements of heads of state in social networks violates the norms of speech behavior, the language standard, causes difficulty in perception, leads to misunderstanding and rejection by interlocutors representing different cultures and languages, and is often invective. In order to avoid communication failures, the relevance and aesthetics of non-standard language forms should be evaluated not only from the point of view of the addresser, but also the recipient of the message, otherwise, unintentionally or intentionally, there is a threat of intercultural communication failure.
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Ovens, Martin. "The Sceptic Pilgrim: Seeking Intercultural and Interdisciplinary Patterns In the Philosophy of Creativity." Culture and Dialogue 1, no. 1 (July 23, 2013): 45–90. http://dx.doi.org/10.1163/24683949-00101003.

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This essay considers a potential linkage between skepsis and the engendering of creativity. It explores and contests the possibility of a dialogical evolution of an intercultural scepticism, in particular a mode of skepsis conceived as a viable, productive way of life. It reflects on the conditions that encourage the development of a sceptical sensibility with reference to Sextus Empiricus, and then depicts an intercultural unfolding of the “sceptic ego” via reference to encounters with traditions such as Daoism and Romanticism. The result is a scepticism culminating in a disposition toward creativity and empathetic, interdisciplinary enquiry. Intercultural skepsis emerges as the possibility of manifesting as a “philosophy of creativity” that must demonstrate its usefulness, and justify itself, by producing concrete, communicable, worthwhile results.
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De Prada, Elena, Mercedes Mareque, and Margarita Pino-Juste. "Creativity and Intercultural Experiences: The Impact of University International Exchanges." Creativity. Theories – Research - Applications 7, no. 2 (December 1, 2020): 321–45. http://dx.doi.org/10.2478/ctra-2020-0017.

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Abstract Based on recent findings that highlight the strong links between creativity and interculturality, we will attempt to establish a relationship between intercultural experiences and creativity within the context of international university exchanges in order to propose specific courses of action for improving these skills. The methodology used is based on a quasi-experimental design for a sample of 303 university students from a Spanish university. Data were obtained from a survey that measured creativity with two different instruments (RIBS-s and Divergent Thinking), English proficiency, and intercultural experiences abroad. Results show a strong relationship between creativity and intercultural experiences, suggesting that those students who lived abroad and in a higher number of foreign countries are more creative. Additionally, the most significant differences appear when we establish a comparison between those students who have not lived abroad and those who have done so in more countries, which contributes to highlighting the close relationship between interculturality and creativity. Of special significance is the strong link found between English proficiency and having experiences abroad, suggesting that when the level of a shared international language, English in this case, is higher, there will be more options to increase students’ creativity. Likewise, students who have a higher level of English are more creative. Designing programs for higher education students that combine and integrate foreign language skills, creativity, and interculturality appear to be essential. Thanks to foreign language skills, students will be in a better position to acquire intercultural sensitivity and improve their creativity, making their international experience a valued source of fulfilment both for their personal life and their career.
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Braslauskas, Justinas. "EFFECTIVE CREATIVE INTERCULTURAL COMMUNICATION IN THE CONTEXT OF BUSINESS INTERACTION: THEORETICAL AND PRACTICAL ASPECTS." Creativity Studies 13, no. 1 (April 3, 2020): 199–215. http://dx.doi.org/10.3846/cs.2020.12094.

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Although various aspects of intercultural communication have been addressed in the works of various authors, there is still a lack of works that describe intercultural communication from the new viewpoint – in terms of effective intercultural business interaction, theoretical analysis of models of the classification of cultures, and combination of theoretical and practical insights in overcoming the obstacles of intercultural interaction. There is also a lack of works that highlight creativity as an integral part of cross-cultural business communication. In the belief of the author of the article, without a close synthesis of these aspects, it is impossible to understand in detail the meaning of effective intercultural business interaction. Purpose of the article – to analyse theoretical and practical aspects of effective cross-cultural business communication based on creativity. In the article, through the use of the models of the classification of cultures of various researchers from around the world (Richard R. Gesteland, Edward T. Hall, Richard D. Lewis, Geert Hofstede, Gert Jan Hofstede, Michael Minkov, Shalom H. Schwartz), the aspects of multiculturalism in the context of intercultural business interaction are highlighted. The work analyses creativity as an integral part of effective cross-cultural business communication. The publication also describes the barriers in the intercultural interaction and ways to overcome it. Research methods used in the work: systematic, comparative, logical analysis and synthesis of scientific literature.
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Gmainer-Pranzl, Franz. "How to do Intercultural Theology." Interreligious Studies and Intercultural Theology 1, no. 1 (March 27, 2017): 99–103. http://dx.doi.org/10.1558/isit.32691.

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Like any fairly new academic subject, intercultural theology is imbued with creativity and innovation, but it is not always clear how this subject can be structured and what criteria can be employed to distinguish between respective topics and areas of work
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Wright, Donna. "An Intercultural Aesthetic Dialogue: Creativity and Innovation Across Cultures." International Journal of the Arts in Society: Annual Review 4, no. 1 (2009): 33–46. http://dx.doi.org/10.18848/1833-1866/cgp/v04i01/35537.

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Dissertations / Theses on the topic "Intercultural creativity"

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Vanhille, Mohini. "Cultures de collaboration dans une activité de conception créative : une approche contrastée, développementale et dialogique des interactions dans des équipes d'élèves-ingénieurs français et japonais." Thesis, Paris, ENST, 2017. http://www.theses.fr/2017ENST0010/document.

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Au travers du concept de « cultures de collaboration », la thèse propose une perspective située, c’est-a-dire ancrée dans une situation donnée, s’inscrivant dans le prolongement des travaux (CSCW, CSCL) menés sur la collaboration et des efforts engagés à définir sa qualité. Selon l’objectif visant a interroger les pratiques collaboratives et les valeurs de la collaboration sous-jacentes, deux études de cas ont été conduites. Suivant une approche interculturelle, la première contraste les représentations sociales de la collaboration, “idéales” et situées, d’élèves-ingenieurs de Télécom ParisTech en France et de TokyoTech au japon. Suivant une approche développementale et dialogique, la seconde questionne le développement et la qualité des cultures des collaboration au travers des interactions de deux groupes d’élèves-ingénieurs de Télécom ParisTech engagés dans le dispositif PACT visant à favoriser l’apprentissage de la collaboration dans des activités de conception créative. Dans le cadre des analyses présidant a ces deux études, une méthode d’évaluation de la qualité de la collaboration (“Q.C2”) multi-dimensionnelle a été élaborée en appui sur sa précédente version (“Q.C”). Les contributions empiriques de ces travaux permettent d’identifier l’influence du contexte culturel, de la temporalité ainsi que de la qualité des processus affectifs de l’activité sur le développement, la nature et la finalité de la collaboration, autrement dit, ce qui définit une culture de collaboration
On the basis of the concept of “cultures of collaboration”, this thesis offers a situated perspective, i.e anchored in a given situation, within the framework of CSCW and CSCL research, on the study of collaboration and the evaluation of it quality. In order to question collaborative practices and their associated values, two case studies have been carried. Following an intercultural approach, the first study compares social representations of collaboration, “ideal” and situated, of engineering-students of Telecom ParisTech in France and TokyoTech in Japan. According to a developmental and dialogic approach, the second study analyses the development and the quality of cultures of collaboration in interactions of two groups of Telecom ParisTech engineering-students taking part in the PACT course, whose aim is to encourage collaborative learning in creative engineering design activities. A multi-dimensional assessment method of the quality of collaboration (“Q.C2”), based on a previous version (“Q.C”), has been developed within the framework of the analysis of these two studies. Empirical contributions of this work allow the identification of the influence of cultural context, of temporality and of the quality of affective dimensions of activity on the development, the nature and the objectives of collaboration, understood in terms of the concept of cultures of collaboration
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Djoumessi, Manguele Elvine Rhode. "Creativite langagiere et contact de langues: Le cas du langage sms et chat chez les jeunes camerounais." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2014. http://amslaurea.unibo.it/7526/.

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Résumé L’apparition de l’internet au Cameroun offre une réelle occasion d’échange, surtout pour les jeunes. Les innovations de la toile sont à considérer à plusieurs niveaux, les linguistes sous tous les cieux ont actuellement à débattre du langage SMS et CHAT, qui est, d’après (Dejond ,2002) « un mélange d’anglicisme, d’abréviation, de sigles et de rebus d’écriture phonétique. On écrit comme on parle. » Cette forme d’écriture facile à transcrire est éloignée des normes orthographiques et grammaticales du français standard. En effet, le langage SMS et CHAT des jeunes camerounais n’obéit qu’à la norme dictée par l’imagination de ses adeptes. Il se caractérise par des phénomènes comme la troncation, l’élision vocalique et consonantique ou l’agglutination à l’intérieur des mots. L’un des phénomènes les plus marquants est l’introduction des chiffres allant de 1 à 9 dans la graphie de certains mots. Ces écritures simplifiées nécessitent souvent l’intuition ou la compétence linguistique des lecteurs pour décrypter le message, le but étant l’interprétation du contenu. De plus, le type de message est strictement communicatif ou expressif et non normatif. Ainsi, l’essentiel est de faire passer un message. Les règles, les principes ou les contraintes qui gouvernent la transcription orthographique d’un mot français sont relégués au second plan. L’écriture texto employé par les jeunes camerounais cherche parcimonieusement à en dire le plus avec un minimum de caractère. Pour cela, on chatte entre amis, parents ou avec des connaissances éparpillée de part le monde qui naissent de ces rencontres virtuelles.
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Croci, Lia Stefania. "Neologismando, neoformando." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2016. http://amslaurea.unibo.it/10756/.

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"L'uomo è una creatura essenzialmente linguistica": noi dipendiamo dalla lingua. Questo rapporto di reciproca dipendenza è innegabile: cosa ne sarebbe di noi umani senza la lingua, e come farebbe a sussistere la lingua senza il fattore umano? La creatività, incarnata in ambito linguistico proprio dai parlanti, svolge un ruolo chiave e assicura, oltreché un (auspicabile) tratto sempiterno, un'evoluzione alla lingua. Le neoformazioni e i neologismi fungono da emblema dell'esigenza comunicativa dell'uomo, ma le neoformazioni sono sintomo della sana patologia del far capire e dell'essere capiti. L'idea per questa tesi è nata dalla dizionarizzazione dell'aggettivo "petaloso". Oltre ad una parte teorica sull'arricchimento lessicale, questo scritto contiene la relazione di un esperimento (un'intervista con una serie di domande aperte) condotto per studiare l'atteggiamento di parlanti italiani nei confronti delle neoformazioni. Sono stati presi in analisi i seguenti fattori: reazione, interpretazione e accettazione.
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D'Amico, Claudio. "Dragon Quest: quando la creatività incontra la traduzione." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2019. http://amslaurea.unibo.it/18898/.

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La traduzione è una disciplina che accompagna la storia dell'uomo da secoli. In virtù della sua longevità, oggigiorno si presenta suddivisa in numerosissime branchie, una delle quali è la localizzazione videoludica. Nonostante siano stati condotti diversi studi accademici, risulta ancora piuttosto inesplorata, eppure il medium relativo offre innumerevoli casi interessanti da studiare. Uno di essi è la serie che ha dato il titolo all'elaborato: Dragon Quest. Appartenente al genere J-RPG e nata in Giappone nel lontano 1986, è arrivata in Italia quasi vent'anni dopo il suo debutto, ma si è contraddistinta subito per la sua peculiare localizzazione. Dragon Quest è infatti un caso di traduzione creativa talmente singolare che per molti viverne i dialoghi può diventare un'esperienza parallela a quella offerta dai videogiochi stessi. Visto l'enorme successo che ha riscosso, e riscuote a tutt'oggi, in terra madre, come si presenta la sua versione originale? È pregna della medesima ricchezza linguistica della localizzazione nostrana, oppure quest'ultima ha voluto riproporre la varietà del giapponese avvalendosi degli strumenti a disposizione dell'italiano? Il caso analizzato nell'elaborato, forse meglio di altri, potrebbe essere in grado di far luce sulla differenza tra "traduzione" e "localizzazione", e contemporaneamente mettere in risalto la "transcreation", un concetto di traduzione creativa che appare molto più adatto a categorizzare il lavoro svolto nell'adattamento dei titoli.
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Caminati, Angela. "La metafora: forma creativa di razionalità." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2016. http://amslaurea.unibo.it/11358/.

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Abstract La metafora è stata tradizionalmente considerata come uno strumento linguistico dal valore esclusivamente estetico, ma agli inizi degli anni Ottanta questa teoria è stata messa in discussione: la metafora è per noi uno strumento conoscitivo fondamentale: ci consente di organizzare le nostre conoscenze e di crearne di nuove, aiutandoci a categorizzare elementi e concetti astratti o troppo complessi come elementi di cui possiamo fare esperienza quotidianamente e che sono sufficientemente strutturati nel nostro sistema concettuale. Le metafore di questo tipo vengono definite metafore concettuali. La messa in discussione della teoria tradizionale della metafora comporta inevitabilmente anche la messa in discussione del concetto di similarità, visto non più come una causa della metafora, ma come la sua conseguenza, e del meccanismo che ne sta alla base. La teoria cognitiva della metafora, in ricerche successive, è stata confermata attraverso le teoria neurale della metafora: l'insorgere di una metafora comporta la creazione di un legame tra aree diverse del cervello che rappresenta fisiologicamente la metafora.
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Santoro, Bianca. "Il dibattito sulla traduzione poetica. Analisi delle traduzioni reciproche di Eugenio Montale e Jorge Guillén." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2017. http://amslaurea.unibo.it/13786/.

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La tesi ha come obiettivo principale riflettere sulla traduzione poetica, sulle sue possibilità e sul ruolo del traduttore di poesia. La riflessione verrà condotta per la coppia di lingue italiano-spagnolo attraverso l’esempio di Eugenio Montale e Jorge Guillén, due poeti ma anche traduttori, che si sono tradotti reciprocamente. Nel primo capitolo viene data una definizione di testo poetico, per la quale è fondamentale il concetto di indissolubilità tra contenuto e forma. Questo crea un punto di partenza per riprendere il dibattito sulla traducibilità o intraducibilità del testo poetico. Verranno prese in esame le teorie di filosofi, scrittori, poeti e traduttori, in un excursus che va da quelle più conosciute fino ad arrivare a quelle contemporanee. Segue poi una riflessione sul ruolo del traduttore in quanto recreador del testo originale e sul significato di fedeltà o creatività in traduzione, facendo riferimenti anche all’evoluzione storica della concezione di traduttore letterario. Il secondo capitolo tratta delle relazioni tra Montale e Guillén, dalla genesi delle reciproche traduzioni e dei rapporti dei due poeti rispettivamente con la Spagna e con l’Italia. Per quanto riguarda le traduzioni di Montale si è scelto di analizzare “Albero autunnale” (Árbol del otoño), mettendo in risalto le strategie traduttive, per Guillén le due traduzioni da lui eseguite di “Meriggiare pallido e assorto”, esempio perfetto per concludere la riflessione sui concetti di fedeltà e creatività in traduzione.
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Van, Horn Stanley. "Linguistic creativity and professional discourse strategies : an intercultural perspective /." 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3250338.

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Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2006.
Source: Dissertation Abstracts International, Volume: 68-02, Section: A, page: 0554. Adviser: Braj B. Kachru. Includes bibliographical references (leaves 160-173) Available on microfilm from Pro Quest Information and Learning.
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Coquereau-Saouma, Elise Isadora Marie Colette. "Intercultural dialogues and the creativity of knowledge - A study on Daya Krishna." Doctoral thesis, 2019. http://www.nusl.cz/ntk/nusl-396226.

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This work discusses the contribution of the philosopher Daya Krishna (1924-2007) to the realm of intercultural dialogues. A leading figure of academic Indian philosophy, Daya Krishna left an immense and eclectic, yet mainly unexplored, corpus. Firstly, I offer one approach to his diverse philosophy by focusing on his philosophical project as a whole. His project attempts to unveil the presuppositions of thinking, which can only be effectuated in dialoguing across philosophical traditions founded on different presuppositions. Applying his project to the realm of intercultural dialogues, I begin by questioning the limits encountered by recent intercultural theories aiming at deconstructing Eurocentrism and establishing a global philosophical dialogue while responding to their postmodern European heritages. As a counterpoint, I introduce the challenges of Anglophone Indian philosophers in India, facing an uprooting from their own traditions. They feel this uprooting as cultural subjection, deprived of their own philosophical past. Within this context, Daya Krishna connected isolated communities of thinkers by organizing multilingual dialogues (called 'saṃvāda') between traditional paṇḍits, ulama and Anglophone philosophers. I reconstruct some of these experiments, thereby emphasizing methodological...
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Dias, Teresa Norton. "'Criatividade participativa' intercultural : o processo de criação no Tanztheater de Pina Bausch." Doctoral thesis, 2019. http://hdl.handle.net/10400.2/8908.

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Da prática de ‘criatividade participativa’ intercultural (re)nasceu, no âmbito da produção do Wuppertaler Ballett, uma diferente e transdisciplinar abordagem de expressão artística: o Teatro-dança, Tanztheater pela mão da coreógrafa alemã Pina Bausch. Com este estudo pretendemos responder a questões ligadas à contribuição, durante o processo de criação, dos bailarinos-atores e das bailarinas-atrizes que, a partir da partilha das suas histórias de vida e através de um processo colaborativo de criação, ajudaram a construir o legado artístico desta coreógrafa pós-modernista. Deste legado, que resultou do seu trabalho enquanto diretora artística do Tanztheater Wuppertal, focar-nos-emos na produção realizada a partir de ‘residências artísticas’, em particular na peça criada a partir da ‘residência artística’, em Lisboa, intitulada Masurca Fogo, cujo processo de trabalho e relação do elenco com a coreógrafa se encontra refletido no documentário do realizador português, Fernando Lopes, com o título Pina Bausch. Lissabon Wuppertal Lisboa (1998). Com a nossa reflexão sobre a relação dos bailarinos-atores e das bailarinas-atrizes com a coreógrafa e a partir do registo em vídeo sobre o seu processo de ‘criação participativa’ pretendemos trazer à discussão a realidade de um coletivo artístico multicultural e as relações interculturais que se estabeleceram no seio do grupo e a partir dele, sem esquecer as obras realizadas e a transculturalidade que refletem.
From the practice of intercultural 'participatory creativity' (re)emerged, and within the scope of the Wuppertaler Ballett production, a different and transdisciplinary approach to artistic expression: the Dance Theatre, Tanztheater by German choreographer Pina Bausch. With this study, we intend to answer questions regarding the contribution, during the creation process, of dancer-actors and dancer-actresses who, through the sharing of their life stories and a collaborative creation process, helped construct the artistic legacy of this postmodern choreographer. From the legacy that resulted from her work as artistic director of the Tanztheater Wuppertal, we will focus on the production of 'artistic residences'. We will particularly focus on the play created at an ‘artistic residence’, in Lisbon, entitled Masurca Fogo, whose work process and relationship between cast and choreographer is reflected in the documentary of the Portuguese director, Fernando Lopes, under the title Pina Bausch. Lissabon Wuppertal Lisboa (1998). Through our interpretation of the relationship between dancers and choreographer and our observation of the video recording of their ‘participatory creation’ process, we intend to bring up for discussion the reality of a multicultural artistic collective and the intercultural relations that were established within and from the group, without forgetting the accomplished works and the transculturality they reflect.
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Dobrescu, Nicoletta Laura. "A utilidade da aprendizagem criativa na aula de língua estrangeira." Master's thesis, 2016. http://hdl.handle.net/10362/17271.

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Este relatório surge no âmbito da minha Prática do Ensino Supervisionada e representa uma reflexão sobre a minha iniciação como professora de Inglês e de Francês no 3º ciclo do Ensino Básico e no Ensino Secundário. A reflexão teve como objeto o conceito de ‘aprendizagem criativa’ na teoria do ensino da língua estrangeira e a sua aplicação na prática letiva, nas duas escolas onde desenvolvi o meu estágio, a Escola Secundária de Sebastião da Gama e a Escola Básica do 2º e 3º Ciclos de Aranguez, ambas em Setúbal. Para além de uma tentativa de sistematização das abordagens teóricos, de modo a tornar a noção de ‘criatividade’ mais aplicável na prática da docência da língua estrangeira, a nossa reflexão procura evidenciar como e em que situações a aprendizagem se revela criativa e demonstra a sua utilidade para a aula de língua estrangeira.
This report is within my Supervised Teacher Training and represents my reflection on my initiation as a practitioner in English and French teaching at the 3rd level of Middle School and in Secondary Education. The object of my reflection is the notion of ‘creative learning’ in the modern foreign language teaching, including its implementation in the teaching of English and French in the two schools where I completed my training: Escola Secundária de Sebastião da Gama and Escola Básica do 2º e 3º Ciclos de Aranguez, both in Setúbal. Together with the attempt to systematise the theoretical approaches, in order to insert better the notion of ‘creativity’ into the modern foreign language teaching, my reflection aims to bring evidence of the way and situations when learning a foreign language becomes creative and creativity proves its benefits for the foreign language class.
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Books on the topic "Intercultural creativity"

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Wiruchnipawan, Fon, and Roy Y. J. Chua. Intercultural Relationships and Creativity. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190455675.003.0009.

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In the global economy, individuals have to engage in cross-cultural interactions when tasked to develop creative new products or services. Research on the effects of cultural diversity on creativity, however, has been equivocal. One stream of research champions that cultural diversity in relationships broadens ideas and resources for creative thinking, whereas skeptics counter that intercultural tensions and conflicts hurt rather than help. This chapter discusses both sides of the argument. We examine the effects of intercultural relationships on creativity from three perspectives: (a) how a culturally diverse social environment (including social networks) influences individuals’ creativity; (b) how individuals can successfully engage in intercultural dyadic creative collaboration; and (c) how intercultural relationships influence creativity of multicultural teams. In addition, we investigate the underlying mechanisms and boundary conditions of how intercultural relationships impact creative performance. We conclude by integrating ideas from existing research and proposing new research directions.
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Global Perspectives on Orchestras: Essays on Collective Creativity and Social Agency. Oxford University Press, Incorporated, 2018.

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Corbett, John, and Prue Holmes. Critical Intercultural Pedagogy for Difficult Times: Conflict, Crisis, and Creativity. Taylor & Francis Group, 2022.

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Corbett, John, and Prue Holmes. Critical Intercultural Pedagogy for Difficult Times: Conflict, Crisis, and Creativity. Taylor & Francis Group, 2022.

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Corbett, John, and Prue Holmes. Critical Intercultural Pedagogy for Difficult Times: Conflict, Crisis, and Creativity. Taylor & Francis Group, 2022.

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Christiansen, Bryan, and Ekaterina Turkina. Applied Psycholinguistics and Multilingual Cognition in Human Creativity. IGI Global, 2018.

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Christiansen, Bryan, and Ekaterina Turkina. Applied Psycholinguistics and Multilingual Cognition in Human Creativity. IGI Global, 2018.

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Burnard, Pamela, Valerie Ross, Laura Hassler, and Lis Murphy. Translating Intercultural Creativities in Community Music. Edited by Brydie-Leigh Bartleet and Lee Higgins. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190219505.013.6.

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The term ‘intercultural’ (as in ‘intercultural creativity’) acknowledges the complexity of locations, identities, and modes of expression in a global world, and the desire to raise awareness, foster intercultural dialogue, and facilitate understanding across and between cultures. In a globalized world faced with unprecedented challenges, intercultural communication and dialogue is considered key to facilitating possibilities that, previously, might not have been available to us. In this chapter, we identify how intercultural creativity can be recognized and evaluated in the practice of community musicians. The notion of ‘translation’ is related to the interrogation, not only of what intercultural creativity is, but also how it is experienced. This chapter features the work of Netherlands-based Musicians without Borders and UK-based Music Action International, and the voice of a Malaysia-based composer working in an intercultural environment. We examine collaboration between diverse communities and musicians. The chapter concludes with implications for educating and developing the community musician.
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McIntosh, Jonathan. The women’s international gamelan group at the Pondok Pekak. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199352227.003.0008.

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Balinese gamelan music stresses notions of unity, community and totality that are realized through the interaction of players and instruments. Traditionally considered a male activity, Balinese women now perform gamelan music in sacred and secular contexts. Moreover, the rise of mass tourism and an increase in the number of expatriates living in Bali now means that gamelan music has become an important site for ‘intercultural’ collective music-making. Nonetheless, little research exists concerning this emerging and significant facet of Balinese musical performance, with no studies examining intercultural musical activities of women’s gamelan ensembles. This chapter explores the collective creativity and social agency of an international women’s gamelan ensemble in Bali. Examining how this musical ensemble emerged, the micro processes of orchestral rehearsals and performances, and the relationship between traditional music and dance, this chapter extends research that has focused hitherto on the gamelan ensemble in Bali as a (primarily male) orchestral practice.
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Ramnarine, Tina K., ed. Global Perspectives on Orchestras. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199352227.001.0001.

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This book adopts global perspectives on orchestras. It draws on ethnographic, historical and comparative approaches to analyze a variety of orchestral traditions (such as symphony, steel, Indonesian gamelan, Indian film and Vietnamese court). It discusses how orchestras are embedded in socio-historical and economic contexts, and highlights intercultural, compositional and rehearsal processes. The chapters describe orchestral creativity and performance politics. Key considerations are how orchestral musicians work together and organizational infrastructures shaping the orchestra as an institution. Orchestral musicians' testimonies are included to give practitioners' views. The study of orchestras contributes to developing global music histories and comparative theorization within ethnographic disciplines. This book offers timely insights into the connections between orchestras, colonial histories, postcolonial practices, and comparative theorizations to generate appreciation of orchestral performance as a creative, political and social practice.
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Book chapters on the topic "Intercultural creativity"

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Humberstone, James, and Caitlin Sandiford. "Activist Pluralism as Intercultural Creativity in Conservatory Education." In The Routledge Companion to Creativities in Music Education, 299–314. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003248194-30.

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Jankowska, Dorota M., Aleksandra Gajda, and Maciej Karwowski. "How to Develop Children’s Creativity and Intercultural SensitivityIntercultural Sensitivity : Around Creativity Compass Program." In Creativity in the Twenty First Century, 133–46. Singapore: Springer Singapore, 2015. http://dx.doi.org/10.1007/978-981-287-636-2_9.

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Kuzmichenko, Anna, Arina Mikhailova, Irina Korenetskaya, and Svetlana Matsevich. "An Interdisciplinary Approach to Training Teaching Skills for Intercultural Communicative Competence." In Technology, Innovation and Creativity in Digital Society, 589–605. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-89708-6_49.

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Eremin, Yuri V., Olga G. Oberemko, and Elena A. Maliutina. "Methods of Achieving Successful Professional Communication from the Perspective of Intercultural Communication." In Technology, Innovation and Creativity in Digital Society, 811–27. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-89708-6_66.

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Bárbara, Noémia. "1. The Business of Creative Tourism and Creativity in the Tourism Business." In Identity and Intercultural Exchange in Travel and Tourism, edited by Anthony David Barker, 1–19. Bristol, Blue Ridge Summit: Multilingual Matters, 2014. http://dx.doi.org/10.21832/9781845414641-003.

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Pikhart, Marcel. "Cognitive and Computational Aspects of Intercultural Communication in Human-Computer Interaction." In Cross-Cultural Design. Applications in Health, Learning, Communication, and Creativity, 367–75. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-49913-6_31.

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Barysheva, Tamara A., Valentina V. Gogoleva, Tatyana F. Zyabkina, and Elena V. Maksimova. "Development of Student’s Creativity by Means of Reflective Technologies in Educational Information Environment." In Integrating Engineering Education and Humanities for Global Intercultural Perspectives, 891–903. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-47415-7_96.

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Mackinlay, Elizabeth. "Teaching Music Interculturally." In Teaching Music Creatively, 170–82. Second edition. | Abingdon, Oxon ; New York, NY : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315643298-13.

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Kenny, Dorothy. "Lexical Hide-and-Seek: Looking for Creativity in a Parallel Corpus." In Intercultural Faultlines, 93–104. Routledge, 2017. http://dx.doi.org/10.4324/9781315759951-7.

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"Culturia: Intercultural Learning by Designing Games." In Creativity and the Child, 167–77. BRILL, 2009. http://dx.doi.org/10.1163/9781848880061_017.

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Conference papers on the topic "Intercultural creativity"

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Nizhnikov, Sergei. "Art and Creativity The Concept of Spiritual Creativity." In 4th International Conference on Education, Language, Art and Intercultural Communication (ICELAIC 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icelaic-17.2017.118.

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Kovtun, Liliya, Elena Agibalova, Anna Kozis, and Ekatherina Chilikina. "DEVELOPING CREATIVITY THROUGH DRAMA IN INTERCULTURAL EDUCATIONAL CONTEXT." In 10th International Conference on Education and New Learning Technologies. IATED, 2018. http://dx.doi.org/10.21125/edulearn.2018.2094.

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Rodríguez Carrión, Awilda. "The Hidden Ground: Native American Intercultural Relations." In Schools of Thought Conference. University of Oklahoma, 2020. http://dx.doi.org/10.15763/11244/335070.

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Over the last two decades, a trend has been developing in the design community to promote social equity and emphasize the ethical responsibility of design. Community participation, programming, and post-occupancy evaluations have cemented a more democratic design process in which users, clients, and community members are given a voice to affect the final architecture product through a process called participatory design. This modus operandi becomes more vital when dealing with subcultures that historically have felt marginalized from the dominant culture. In the United States, there is great diversity among Native Americans, but our mainstream culture tends to see them as a homogeneous group, focusing on their commonalities rather than discovering and understanding individual tribal values. With the blind acceptance of generalizations about any subculture, we may miss the critical details that shape the opportunity to showcase their uniqueness and celebrate their differences. Within the studio context, what learning modalities are best to implement a participatory and constructivist learning experience? Traditionally, studio teaching with project-based design focuses on students learning formal considerations of design such as theory, environmental/structural performance, and implementation of regulatory measures. The participatory design methodology (PDM) differs in its approach by focusing on a process that emerges from all players. It does not dictate design but creates an environment that allows it to emerge through the process and interactions. The PDM process prioritizes collective synergy and creativity using participation techniques to allow for alternative solutions. In response to an inquiry by the Pawnee Native American Tribe, which invited us to investigate a proper approach to conduct design propositions within their land, this paper will report the lessons learned from the process and will exhibit alternate ways of implementing design ideas, using methodologies that expand the boundaries of academia while reaching out to native communities.
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Rinaldi, Alessandra, and Kiana Kianfar. "Design-enabled innovation in smart city context. Fostering social inclusion through intercultural interaction." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001878.

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Generating design-enabled innovation implies the identification of social, technological, and cultural changes taking place nowadays and of the opportunities offered by the digital transformation, which enters these processes, playing an important role in all areas of contemporary life, from urban, domestic, health and services in general.In our era, the ambient intelligence pervades objects such as cities; electronic perception systems collect information and data from us, trying to understand our needs and give us answers. Cities are real living laboratories for experimenting new technologies on an urban scale.Big Data management represents one of the critical points of the ongoing revolution. The data can give information about people, understand behaviors, change city policies and so on. Big Data represent a qualitative leap in digital culture; nothing exists in Big Data before questions, explained De Kerckhove [1].“It is also and above all a cognitive revolution, where the answer no longer comes from the question. The large amount of data that comes from the pervasive use of technology already contains all the answers, but it has no value if it is not interrogated with the right questions. As McLuhan says, when all the answers are at hand, it's only the question that matters" [1].The perspective is then reversed: the first step in making society smarter is not to collect as much data as possible or develop an infallible algorithm, but it is necessary to identify the relevant expectations and needs in and for that society and ask the right questions, and to investigate what it represents, in the collective imagination, the quality of life and what technology can generate as a response.The project presented starts from the observation that we are faced with a strong migratory and global tourism flows that are affecting European cities, placing us in front of a growing multiculturalism in urban areas, with consequent issues related to the inclusion of cultural diversity and dialogue. The landscape of cities in many European countries has changed significantly, and the use of public space and services is no longer suited to the needs of multicultural citizens. This phenomenon has developed rapidly, without an adaptation of social policies, services, and spaces to emerging needs, creating evident problems of inclusion and dialogue between different cultures.Digital technologies and ubiquitous computing systems offer many opportunities for designing products and services aimed at increase interaction, collect, and share information, knowledge, emotions, experiences, through platforms that support the increase of social awareness.The research investigates how to use digital technologies and which design strategies and creative, communicative and process paths can be used to promote inclusion through interaction and communication between the different cultures that coexist in the same smart city context.Promoting interaction in public spaces, between citizens with different cultural backgrounds, becomes a crucial element to support social cohesion and to facilitate coexistence between different cultures. Opportunities to mix people in daily life reinforce shared values and goals.One of the best approaches that can be adopted for the design of new urban spaces and services is co-design, which indicates collective creativity as it is applied throughout a design process and involves all stakeholders, encouraging and supporting them to take an active role in this process.Following the indications of Findeli [2], this design research was carried out with the tools of design, and above all with its most original and specific characteristic, the project, developing in this specific case a pilot product-service.The project, funded within the H2020 framework program, made it possible to experiment with design tools to foster the engagement of different cultures present in the urban environment and encourage them to interact with each other, also including other types of stakeholders, from public administration to small/medium enterprises and to third sector associations.All the areas of cultural heritage, tangible, and intangible, where every culture has many stories to tell, have emerged as the most suitable areas for experimenting with new ways of interacting and communicating through which diversity can be encountered and compared. Five design for storytelling strategies guided the project: i) building relevance; ii) design for experience; iii) interactivity; iv) immersion; v) inclusion.[1] De Kerckhove Derrick, Psicologie connettive, Milano, Egea, 2014.[2] Findeli Alain, “Design research-Introduction”, Design Issues n. 15(2), 1999.
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Mortensen Steagall, Marcos. "Reo Rua (Two Voices): a cross-cultural Māori-non-Māori creative collaboration." In LINK 2022. Tuwhera Open Access, 2022. http://dx.doi.org/10.24135/link2022.v3i1.184.

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In the last decades, there has been an emergence of an academic discourse called Indigenous knowledge internationally, creating a myriad of possibilities for research led by creative practice. In Aotearoa, New Zealand, Māori creative practice has enriched and shifted the conceptual boundaries around how research is conducted in the Western academy because they provide access to other ways of knowing and alternative approaches to leading and presenting knowledge. The contributions of Māori researchers to the Design field are evidenced through research projects that navigate across philosophical, inter-generational, geographical and community boundaries. Their creative practices are used to map the historical trajectories of their whakapapa and the stories of survival in the modern world. They overturn research norms and frame knowledge to express the values of Tikanga and Matauranga Maori. Despite the exponential growth in the global interest in Indigenous knowledge, there is still little literature about creative collaborations between Māori–non-Māori practitioners. These collaborative research approaches require the observation of Māori principles for a respectful process which upholds the mana (status, dignity) of participants and the research. This presentation focuses on four collaborative partnerships between Māori–non-Māori practitioners that challenge conceptions of ethnicity and reflect the complexity of a global multi-ethnic society. The first project is: The Māui Narratives: From Bowdlerisation, Dislocation and Infantilisation to Veracity, Relevance and Connection, from the Tuhoe film director Dr Robert Pouwhare. In this PhD project, I established a collaboration to photograph Dr Pouwhare’s homeland in Te Urewera, one of the most exclusive and historical places in Aotearoa. The second project is: Applying a kaupapa Māori paradigm to researching takatāpui identities, a practice-led PhD research developed by Maori artist and performer Tangaroa Paora. In this creative partnership, I create photographic portraits of the participants, reflecting on how to respond to the project’s research question: How might an artistic reconsideration of gender role differentiation shape new forms of Māori performative expression. The third project is: KO WAI AU? Who am I?, a practice-led PhD project that asks how a Māori documentary maker from this iwi (tribe) might reach into the grief and injustice of a tragic historical event in culturally sensitive ways to tell the story of generational impact from Toiroa Williams. In this creative partnership, I worked with photography to record fragments of the colonial accounts of the 1866 execution of Toiroa’s ancestor Mokomoko. The fourth project is: Urupā Tautaiao (natural burials): Revitalising ancient customs and practices for the modern world by Professor Hinematau McNeil, Marsden-funded research. The project conceives a pragmatic opportunity for Māori to re-evaluate, reconnect, and adapt ancient customs and practices for the modern world. In this creative collaboration, I photographed an existing grave in the urupā (burial ground) at xxx, a sacred place for Māori. This presentation is grounded in phenomenological research methodologies and methods of embodiment and immersion. It contributes to the understanding of cross-cultural and intercultural creativity. It discusses how shared conceptualisation of ideas, immersion in different creative processes, personal reflection and development over time can foster collaboration.
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