This book offers a pragmatic account of the interpretation of everyday metaphorical and idiomatic expressions. Using the framework of Relevance Theory, it reanalyses the results of recent experimental research on figurative utterances and provides a novel account of the interplay of creativity and convention in figurative interpretation, showing how features 'emerge' during metaphor comprehension and how literal meaning contributes to idiom comprehension. The central claim is that the mind is rather selective when processing information, and that in the pragmatic interpretation of both literal and figurative utterances, this selectivity often results in the creation of new ('ad hoc') concepts or the standardization of pragmatic routines. With this approach, the comprehension of metaphors and idioms requires no special pragmatic principles or procedures not required for the interpretation of ordinary literal utterances, but follows from an automatic tendency towards selective processing which is itself a by-product of Sperber and Wilson's Cognitive Principle of Relevance.

In his latest book, Gunther Kress explores how children learn to spell in the context of current concerns about early literacy, examining the effects of technological and cultural changes in society.

It is surprising how much of everyday conversation consists of repetitive expressions such as 'thank you', 'sorry', would you mind?' and their many variants. However commonplace they may be, they do have important functions in communication. This thorough study draws upon original data from the London-Lund Corpus of Spoken English to provide a discoursal and pragmatic account of the more common expressions found in conversational routines, such as apologising, thanking, requesting and offering. The routines studied in this book range from conventionalized or idiomatized phrases to those which can be generated by grammar. Examples have been taken from face-to-face conversations, radio discussions and telephone conversations, and transcription has been based upon the prosodic system of Crystal (1989). An extensive introduction provides the theory and methodology for the book and discusses the criteria for fixedness, grammatical analysis, and pragmatic functions of conversational routines which are later applied to the phrases. Following chapters deal specifically with phrases for thanking, apologising, indirect requests, and discourse-organising markers for conversational routines, on the basis of empirical investigation of the data from the London-Lund Corpus of Spoken English.

This work covers Su Shi's intellectual life and how this affected his life as an official and as a private person. It discusses his view of the Way (dao) of the ancient sages of China and its transmission, the Confucian classics, and his views on Buddhism and Daoism.

This book investigates formal characteristics and discourse functions of linguistic creativity at the level of idioms in spoken ELF as represented in the Vienna-Oxford International Corpus of English (VOICE). Building on the findings of previous ELF research, the book proposes that creativity might serve as a fundamental concept in accounting for the variation that seems to be central to describing and understanding English as a lingua franca.

If youve ever embarked on a creative endeavour, then theres a good chance youll have been bedevilled by self-doubt, fear of failure or a lack of inspiration at some point along the way. This book will help you to banish those mind-forged monsters one by one, no matter how grotesque or scary they may be. Drawing on inspirational anecdotes from art, philosophy, neuroscience, nature, music and contemporary culture, creativity expert Richard Holman provides you with your very own mental armoury to see you through every stage of the creative process. By learning through the experiences of such creative luminaries as Leonardo da Vinci, Marina Abramovic, J.K. Rowling, Dr Seuss and Herbie Hancock, youll find out how best to overcome the perils of procrastination, the sting of criticism, the seductive tug of convention or the gnawing feeling that youre not up to it. Its time to say farewell to your demons and make your next creative project the very best it can be.

The co-founder and longtime president of Pixar updates and expands his 2014 New York Times bestseller on creative leadership, reflecting on the management principles that built Pixar’s singularly successful culture, and on all he learned during the past nine years that allowed Pixar to retain its creative culture while continuing to evolve. “Might be the most thoughtful management book ever.”—Fast Company For nearly thirty years, Pixar has dominated the world of animation, producing such beloved films as the Toy Story trilogy, Finding Nemo, The Incredibles, Up, and WALL-E, which have gone on to set box-office records and garner eighteen Academy Awards. The joyous storytelling, the inventive plots, the emotional authenticity: In some ways, Pixar movies are an object lesson in what creativity really is. Here, Catmull reveals the ideals and techniques that have made Pixar so widely admired—and so profitable. As a young man, Ed Catmull had a dream: to make the first computer-animated movie. He nurtured that dream as a Ph.D. student, and then forged a partnership with George Lucas that led, indirectly, to his founding Pixar with Steve Jobs and John Lasseter in 1986. Nine years later, Toy Story was released, changing animation forever. The essential ingredient in that movie’s success—and in the twenty-five movies that followed—was the unique environment that Catmull and his colleagues built at Pixar, based on philosophies that protect the creative process and defy convention, such as: • Give a good idea to a mediocre team and they will screw it up. But give a mediocre idea to a great team and they will either fix it or come up with something better. • It’s not the manager’s job to prevent risks. It’s the manager’s job to make it safe for others to take them. • The cost of preventing errors is often far greater than the cost of fixing them. • A company’s communication structure should not mirror its organizational structure. Everybody should be able to talk to anybody. Creativity, Inc. has been significantly expanded to illuminate the continuing development of the unique culture at Pixar. It features a new introduction, two entirely new chapters, four new chapter postscripts, and changes and updates throughout. Pursuing excellence isn’t a one-off assignment but an ongoing, day-in, day-out, full-time job. And Creativity, Inc. explores how it is done.