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“Creativity is presented in assigning to do a task; creativity must meet be of a quality of a kind and be unique in its ‘novelty’.” Creativity has many features and techniques. Such features could be deducted in a text, such as writing in metaphor techniques, wordplay or word punning, writing a comedy, satirical or sarcasm text, stressing a rhythm, repeating certain words and even some letters. Furthermore, grammar and syntax are considered creative characteristics. These features define whether a text is novel or not. “Novelty is shown in its best when a deviation or up normal feature is put to stand out in a text.” For example, ‘he na,me are Tom’; is an example of deviation in grammar and also in punctuation (orthography). In addition, to define creativity in any kind of text (written or in a discourse form or any kind of multimodal form) there are three lenses to be considered a text as a novel. These lenses are the textual lens, contextual lens, and critical lens. The following essay discusses briefly aspects of these three lenses in the concept of what creativity is and how a novel appears.
On one hand, creativity in a text is classified through its language, form, and shape. Deviation of the norm is what an analyst is looking for. First, a text analysis would classify the type of text; whether it is a written, verbal, visual, or audible text. For instance, in “Life is great great great one” a text would be analyzed through the textual lens by specifying its feature, like, repeated words “unexpected parallelism/repetition.” Moreover, creativity in all its form and shapes are made to draw attention to shed or spots the light and focuses on a text to ‘Foreground’ its novelty. Further, the usage of pronouns is to tell who is the character and its gender; ’male or female’, for example. On the surface of a text, the font and its size, color, and direction of text “top up to bottom or the other way around”, like Chinese writings, for instance, would indicate its source and aim. Also when these characteristics show up by a non-local writer, like, not a Chinese author using a Chinese way of writing; would be considered de-familiarization in orthography.
On the other hand, the second lens is the contextual lens. It looks at the surroundings of a text. Its lens literary focuses on a text, but it looks at it from different angles and furthers its contexts to a wide and wider range. In addition, similar to story analysis; the contextual lens would analyze a text in all its far meaning. In addition, an analyst would seek the location of the text; its setting ‘time and place’ of a text would answer the reader or the analyst few questions of ‘Why it was written here and why it was written at this era or this particular timing.’ For instance, the English author William Shakespeare wrote many plays that chose a setting in Italy in a very critical political era in England and Europe. Furthermore, the message or the purpose of a text could be seen in what a writer wants to send or what she or he needs the reader to receive. For instance, a feminist poet writes ‘author’ instead of the word ‘author’ stressing out the letter ‘e’ in replacement of the letter ‘o’. This not only shows the orthography uniqueness and de-familiarization but also shows the ‘auther’ intended aim of her intentional message of the female point of view to stand out. There are many other aspects to look for in the contextual lens, such as the words chosen, dialect and register, tone, and mode of the writer. All of these features; including the kind of genres it is written of and for would resolve any puzzle around any type of text; especially in its ‘sociocultural’ context.
Specialized professional analysts would value a text and put it in a certain view according to the critical lens. This level of analysis would not be considered if the analyst takes many aspects in mind; cultural variation is one of most to beholden. For example, a critic should be familiar with cultural differences. Like tripe tradition from Saudi Arabia may be highly criticized by a British critic if he or she is not aware of the Saudi culture. In reference to this example, putting a shoe or feet in front of someone’s face is highly criticized in Saudi Arabia and its region and it is considered an insult in the local culture. However, this habitual behavior is normal and is not even considered in England or Europe. Critics therefore must be aware of cultural dimensions, formal and informal; whether it is viewed in a workplace or within an intimate relationship. Therefore, the critical lens carries its dimensions to further ‘sociocultural awareness’ and look at much cultural behavior, even funny and humorous ones.
In conclusion, aspects of the three lenses look at what novelty and its deviation feature that foreground it. Creativity shows up in many forms through textual, contextual, and critical views. The textual lens focuses more on language. The contextual lens travels all around to see further a writer’s background, aims, and contexts. Pro-analysts are more understand, evaluate and put a context into better estimation only when they are aware of differences in cultures and sources.
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