Abstract:

As the title of the research indicates, I explore the relations of novelty to the concepts of language competence and especially to the concept of creativity as I conceive it, namely the premise that the creative process is a set of circumstances where the creative potential might be released by means of assisting tools which allow one to harness one's creative potential and develop specific patterns of thinking. This postulate has been gathered from an extensive selection of literature ranging from theoretical work on the nature of creativity and more practical reviews of the techniques practiced to enhance creative process.
In what follows, the attention is drawn to the existing knowledge of creativity techniques and the creative writing faculty. The creative writing is used as one of specific tools that help to develop creative attitudes and harness the process. While writing is dealing with language systems and signification processes, special attention is drawn to the techniques that harness creative writing. Thus, creative writing courses as a form of teaching literacy contribute to the development of creative abilities, and the techniques deserve further exploration. Although creative writing is often only seen as an apprenticeship for writers, the techniques used during the workshops are likely to be seen to be designed to facilitate self-expression, originality, personal growth and spontaneity.
There is no unique advice to enhance creativity as every particular situation has to be considered in a particular way under certain circumstances, however in general specific techniques and tools might be applied. Therefore various techniques, which is seen as an enhancing creativity tool, parallel with acknowledged tools for fostering creativity, might be another model for enhancing the creative process.
Congruous to the institutional approaches of fostering creativity, the concept of lifelong learning complements the idea of extending the compulsory schooling programmes and the paradigm of various learning experiences such as 'flexastudy', lateral thinking, CoRT and DATT, and others; albeit aiming at the same target to promote creative outcomes and “learning without boundaries”. Appearing in the 1970s (however it has only become a generally accepted paradigm in the 1990s), lifelong learning is segregated into three dimensions: formal, non-formal and informal. The move to study non-formal learning as a type of pedagogy where creativity benefits the most is found in many works on youth motivation, or lack of it, where the most important shift of the sociology of education is seen towards a concept of adult learning, which is seen as flexible, experimental, constantly changing and becoming rapidly available; and therefore considered an essential tool to technological and socioeconomic change, innovation and excellence.
Methodologically our interdisciplinary approach to creativity drives the investigation to tackle issues of functional linguistics, cognitive studies, neurolinguistics, phenomenology.

Keywords:

Semiotics, creativity, creative techniques, methodology, language competence, literacy.