Creative Construction

This myth-busting book shows large companies can construct a strategy, system, and culture of innovation that creates sustained growth. Every company wants to grow, and the most proven way is through innovation. The conventional wisdom is that only disruptive, nimble startups can innovate; once a business gets bigger and more complex corporate arteriosclerosis sets in. Gary Pisano's remarkable research conducted over three decades, and his extraordinary on-the ground experience with big companies and fast-growing ones that have moved beyond the start-up stage, provides new thinking about how the scale of bigger companies can be leveraged for advantage in innovation. He begins with the simply reality that bigger companies are, well, different. Demanding that they "be like Uber" is no more realistic than commanding your dog to speak French. Bigger companies are complex. They need to sustain revenue streams from existing businesses, and deal with Wall Street's demands. These organizations require a different set of management practices and approaches--a discipline focused on the strategies, systems and culture for taking their companies to the next level. Big can be beautiful, but it requires creative construction by leaders to avoid the creative destruction that is all-too-often the fate of too many.

An up to date comprehensive introduction to second language acqusition research. Contains a general framework for the study of second language acquisition, provides a general description of learner language, accounts for the role of the linguistic environment, examines the learner's internal mechanisms, explores individual differences in language learning and reviews the expanding research on classroom second language acquisition.

Ultimately, what really does it mean to be creative? How can we see ourselves as participating in the creativity of God for mission? All people are creative. Sadly, however, for many, creativity is stifled and remains stunted due to several reasons--social, economic, political, cultural, and even spiritual. This study explores how ICMs--indigenous cosmopolitan musicians--negotiate their creativity amid the liminal spaces they occupy as they share in the creativity of God for mission through their music. But what exactly does it mean to share in the creativity of God for mission? Contrary to popular notion, ICMs evidence that creativity is not merely innovation; it is not a psychological metric for measuring human potential; it is certainly not the "icing on the cake" reserved for a few so-called creatives or artists. Rather, "theological creativity" is participation in the creatio Dei; it is theologically prior to mission. As a missiological framework, creatio Dei is understood here in terms of creative being, creative construction (design), and creative performance. Hopefully, this book can help clarify and expand our understanding of what it means to be truly creative and, thereby, with the help of the Creator, put into practice principles of theological creativity as we share in the creativity of God in the world, with others.

The relevance of language acquisition to the day-to-day concerns of teaching and learning languages.

Current, comprehensive, and authoritative, this text gives language teachers and researchers, both a set of conceptual tools with which to think and talk about creativity in language teaching and a wealth of practical advice about principles and practices that can be applied to making their lessons more creative. Providing an overview of the nature of creativity and its role in second language education, it brings together twenty prominent language teachers and researchers with expertise in different aspects of creativity and teaching contexts to present a range of theories on both creative processes and how these processes lead to creative practices in language teaching. Unique in the field, the book takes a broader and more critical look at the notion of creativity in language learning, exploring its linguistic, cognitive, sociocultural and pedagogic dimensions. Structured in four sections— theoretical perspectives, creativity in the classroom, creativity in the curriculum, and creativity in teacher development—each chapter is supplemented by Questions for Discussion and Suggestions for Further Research. Its accessible style makes the book relevant as both a course text and a resource for practicing teachers.

In this book David Audretsch examines the impact of public policy in the entrepreneurial society and in ensuring that entrepreneurship continues to serve as a driving force for economic performance. Do university policies or knowledge conditions

"A Dictionary of Research Methodology and Statistics in Applied Linguistics" is a comprehensive and authoritative reference guide that offers a detailed overview of important terms and concepts in the fields of research and statistics within the domain of applied linguistics. This volume focuses specifically on research in applied linguistics, aiming to clarify the meaning and application of various concepts, approaches, methods, designs, techniques, tools, types, and processes of research in a clear and efficient manner. It also includes entries that address statistical aspects, providing assistance to researchers in formulating, analyzing, and executing their research designs effectively, ensuring a logical progression from start to finish. With approximately 2000 entries covering essential research concepts and issues, this book incorporates cross-references where necessary to enhance understanding and facilitate navigation. It caters to a wide audience, including undergraduate and graduate students, teachers, lecturers, practitioners, researchers, consultants, and individuals seeking information in the field of applied linguistics and related disciplines.

The motivation underlying our development of a "handbook" of creativity was different from what usually is described by editors of other such volumes. Our sense that a handbook was needed sprang not from a deluge of highly erudite studies calling out for organization, nor did it stem from a belief that the field had become so fully articulated that such a book was necessary to provide summation and reference. Instead, this handbook was conceptualized as an attempt to provide structure and organization for a field of study that, from our perspective, had come to be a large-scale example of a "degenerating" research program (see Brown, Chapter 1). The handbook grew out of a series of discussions that spanned several years. At the heart of most of our interactions was a profound unhappiness with the state of research on creativity. Our consensus was that the number of "good" works published on creativity each year was small and growing smaller. Further, we could not point to a journal, text, or professional organization that was providing leadership for the field in shaping a scientifically sound framework for the development of research programs in creativity. At the same time, we were casting about for a means of honoring a dear friend, E. Paul Torrance. Our decision was that we might best be able to honor Paul and influence research on creativity by developing a handbook designed to challenge traditional perspectives while offering research agendas based on contemporary psychological views.