Portraying higher education students' accounts of foreign language classroom enjoyment and its effects.

ABSTRACT This article examines how processes of making cultural heritage (heritagisation) help illuminate the multifaceted ways in which the state is produced, recognised, and contested. Rather than treating the state as a fixed institutional apparatus or heritage as a catalogue of pre-existing objects, we reconceptualise both as dynamic, interrelated processes. We argue that, in heritage regimes where activation is stabilised through authorised expertise and administrative documentation, heritagisation provides a privileged arena in which state effects, such as the production of subjects, the stabilisation of collective identities, the creation of technical languages, and the delineation of spatial and jurisdictional boundaries, become empirically observable. Drawing on documentary and media practices, narrative regimes, and spatial interventions, we show how heritage procedures can individualise publics, crystallise imagined communities, and generate forms of expert knowledge that render cultural diversity governable. Simultaneously, heritagisation reorganises territories and scales, often intersecting with wider dynamics of inequality, governance, and contestation. This does not imply that all activations consolidate state effects in the same way. We therefore conclude by proposing a set of operational indicators for empirical research and by inviting further comparative, situated studies on how heritage practices make power legible and negotiate relationships between memory, territory, and collective action.

This study examines the impact of contemporary literature on students' human consciousness, focusing specifically on its social and moral aspects. A quantitative research approach employing a descriptive causal research design was utilized, involving 227 eighth-grade students from a private school in Bocaue, Bulacan. The study aimed to explore the effects of contemporary literature on human consciousness through surveys and questionnaires. Based on the findings, contemporary literature was found to cover a wide range of social issues and creative styles, thereby broadening students’ knowledge. However, despite their high moral and social awareness, students struggled to conduct deeper analyses, particularly of symbolism and creative language. The students experienced a limited impact from contemporary literature, and statistical analysis indicated that its effect on their human consciousness was minimal (Adjusted r² = 0.025). The study also revealed that personal experiences, education, and family exerted a stronger influence on students’ human consciousness than contemporary literature. As a recommendation, integrating innovative and multimedia teaching methods is suggested to facilitate students’ comprehension and enhance their critical analysis of literary works. Employing interdisciplinary and thematic approaches may also help broaden students’ perspectives and awareness. Furthermore, careful selection of literary works is recommended to ensure age-appropriateness and alignment with students’ cognitive levels.

In this paper, we describe the design and the methodological framework of a Language Creativity Test (LCT), whose aim is to assess linguistic creativity across humans and Large Language Models (LLMs). Based on recent research on human and computational creativity, this LCT evaluates the capacity to generate novel, meaningful, and contextually appropriate language. For human participants, the test measures imaginative linguistic performance, including metaphor generation, neologism creation, and flexible word use, which are considered key indicators of divergent thinking and linguistic fluency. For LLMs, the same tasks serve to determine their creative language generation and test the extent to which they go beyond learned patterns to produce original expressions. Thus, the LCT described here enables direct comparison of creative language use between biological and artificial systems, offering insights into how creativity manifests across different types of intelligence.

China’s freehand brushwork oil painting is a unique artistic achievement formed by the collision and deep integration of Chinese and Western arts. With the help of oil painting materials, it integrates the spiritual core of China’s traditional image aesthetics, and pursues the aesthetic realm of “likeness is better than likeness” and “scene blending” in terms of modeling, color application, and artistic conception creation. As the key category of China’s traditional aesthetics, image aesthetics emphasizes the organic unity of “meaning” and “image”, advocates conveying infinite spiritual meaning through limited artistic images, and provides deep aesthetic guidance and a practical path for China’s freehand oil painting creation. Starting from three dimensions: the origin and transformation of aesthetic spirit, the integration and innovation of creative language, and the expansion and deepening of practical path, this paper deeply explores the concrete presentation and application methods of imagery aesthetics in freehand brushwork oil painting, aiming at revealing the cultural genes and artistic values contained in China’s freehand brushwork oil painting, and providing ideas for the inheritance and development of contemporary freehand brushwork oil painting.

Since the ages known to humans, creativity and curiosity are found to be the basis of human evolution and it is greatly influenced by the nature in developing new ideas, innovations, thought processes and so on. Curiosity is an important characteristic of an individual which helps in learning and developing new ideas. Humans are born in ecological world and take inspiration from nature; thoughts are developed in relation to the ecological factors that are not visible but are constantly influencing their creativity. Nature plays an important role to evoke the two basic phases of creativity ‘preparation phase' and ‘Incubation phase’. Humans are born with many abilities and skills that are nurtured by the nature. Creativity has been one of the essential skills for humans in their development and hence is essentially one of the most significant skills in 21st century. As every human is born with creativity, it needs to be nurtured constantly; there is a need to give proper shape to the creativity and its thought process among students as well as the teachers in their expression, thinking, ideas, skills, etc. Creativity develops the problem-solving skills, free expression, communication, social interaction, etc., among the students. Hence it is essential to develop creativity among students through language creativity which includes four factors which are ‘fluency, flexibility, originality and elaboration. The present paper is to study the language creativity and curiosity among secondary school students.

Students with Learning disabilities are a unique minority in regular school setting in Nigeria, as such they often obstructed by partial or total delay in one aspect of learning development or the other. This paper discusses the impact of English language of teacher creativity on students with learning disabilities achievement in essay writing in Oyo State Nigeria. Multistage sampling technique was used to select seven government owned schools in seven towns within Ibadan, Nigeria. Eighteen (18) English Language subject teachers in Junior Secondary Schools II were enumerated while seven (7) intact classes of Juniors Secondary School II of students with learning disabilities totaling five hundred and eighty-five (585) were purposively selected for research purpose through nomination by the class teachers based on the academic records of each student in their classes across the seven schools. Two validated research instruments were used: Teacher Creativity Rating Scale (r=0.83); Essay Writing Achievement Test (r=0.72). Two research questions were raised and answered. The findings revealed that teacher creativity has a great influence on students’ achievement in essay writing. The researcher then recommended that teacher of English language courses should make use of creative skills effectively during teaching/learning process, most especially in essay writing.

The review is presented as a response to the book by professor G.S. Sablukov “Comparing the Muslim Teaching about the Names of God with the Christian Teaching about Them”, republished by Faris O. Nofal in 2024. The review outlines and analyzes the transcendental principles go­verning the idea of prof. Sablukov “comparison” Christian and Muslim onomatological paradigms. I show you how prof. Sablukov combines scientific, theological, and preaching initiatives in an ef­fort to resolve simultaneously a series of far-flung problems that have apparently not been resolved so far. These include: mutual misunderstanding of Christians and Muslims (especially on the part of the latter) on fundamental theological issues; the differentiation of Revelations; the creation of a special language of preaching understandable to Muslims. I propose a number of theological questions to the work of prof. Sablukov, namely, to his theological positioning, from which the features of his “learned sermon” follow. Tactical and strategic arguments addressed by Sablukov to the Muslim Ummah are also noted. I conclude that the book is extremely useful be­cause it works with theological and educational subjects that have retained their sharpness and relevance to the present day – these subjects need close and creative attention from the russian academy.

The subject of the research is the main theoretical linguistic propositions of J.-J. Rousseau, as presented in "On the Origin of Languages." In this work, the fundamental questions for Rousseau are the stages of social development of early human society and the formation of collective psychology, which is characterized by two typological states: emotions and needs. The object of this study is the step-by-step reconstruction by Rousseau of the formation of typologically different languages (Southern and Northern languages), the necessity of which he sees in the desire to communicate feelings, emotions, or needs. With the development of society, languages are absorbed and lose their original metaphorical and poetic qualities. The author of the article examines in detail the inheritance of the main ideas of the psychology of speech expressed in Rousseau's work by subsequent French language theorists. This is most distinctly manifested in the works of linguists of the Geneva School, particularly Charles Bally, which presents a particular scientific interest. This study employs a comprehensive method, including two main lines: descriptive and comparative approaches. The main conclusions of this research are as follows: 1. As is known, the scholars of the Geneva School postulated an absolute psychological approach to language. The famous formula of F. de Saussure, "In language, everything is psychological," undoubtedly inspired his students, particularly Charles Bally, to investigate the emotive means of language. However, Saussure and his students openly criticized manifestations of speculation and intuitive reconstructions in questions of the origin and formation of languages. Nevertheless, the foundations of psychological thought outlined by Rousseau have, as this study shows, had a clear impact on the formation of psycholinguistic and linguistic-pragmatic ideas of the scholars of the Geneva School. 2. Rousseau, just like the scholars of the early 20th century, speaks about the basic needs of early society, which, alongside emotions, represent a powerful impetus for the creation of language. The scientific novelty of this study lies in the direct comparison of the highlighted propositions from the teachings of J.-J. Rousseau and Charles Bally, leading to the conclusions above about the inheritance and development of fundamental questions of language.

Cultivating creativity in language and writing for grade 6 students in minority areas of northwest China.

Circuit models have been used for many years to represent systems composed of concentrated elements that represent isolated and idealised physical phenomena. Disciplines such as electrical, mechanical and hydraulic engineering have used them to model and study related physical systems. The potential of circuit modelling has even led to its use in fields beyond engineering, such as chemistry and biology. Furthermore, this modelling allows for the inclusion of systems that are not purely energy-based, enabling the unification of complex systems spanning multiple domains into a single physical model. Despite the widespread use of these models, there is no agreement on the variables, parameters, and symbols used to describe these circuits, with different notations being used by different authors. This paper therefore proposes a convention for elements and properties for the description of multi-domain circuits that will enable the creation of a common language for representing physical systems in the fields of science and engineering. This is in order to take advantage of the graphical representation and analysis function of the schematic circuit and lay the foundations for its use in engineering education. The proposed convention will be complemented with examples of systems involving two or more energy domains, demonstrating the scope of its applications.

This article intends to show a vector of differentiation between nationalism and autoethnography within the discipline of musical composition. It seeks to penetrate the most intimate motives that modulate the creation of a private language in which seeking nourishment in traditional, popular, urban and rural musical elements, as well as musical elements originating in both the written and oral traditions, does not imply some sort of chauvinistic exaltation or glimpses of a possible sense of nationalistic pride, but simply a state of contemplation of outer resonances in the inner world, and vice versa, in a symbiosis sewn of sounds, which are sometimes concrete and referential, and other times abstract. It makes use of autoethnography, of calls to peers who have undertaken similar investigations, and interviews with various composers. One of the most important conclusions therein is the unmasking of the idea of identity, based on the need to be a part of a group (a nation), in which art as its own listener can be sufficient community and consolation when facing the loneliness and sense of banishment that are inherent to existence. The article also suggests the idea that to return home, a pursuit often held in life and art, precedes our place/country of birth and supposed belonging.

Background. The problem of the formation and transformation of the image of the enemy occupies a central place in the processes of collective identity, especially in wartime, when language becomes an instrument of social self-organization. In Ukrainian culture, the concept of the "enemy" has been historically linked to moral and cosmological dimensions – not only ethnic but primarily ethical and ritual ones. From the traditional moskal to contemporary lexemes denoting the Russian aggressor (rusnia, orcs, rashists, pig-dogs), one can trace an evolution from the ethnographic to the sacred-magical type of naming. The aim of this study is to reveal the dynamics of these nominations and their cultural functions – from communicative and mobilizing to ritual and cathartic – within the context of the current war and the postcolonial transformation of Ukrainian consciousness. Methods. The research applies an interdisciplinary approach combining methods of folkloristic analysis, cultural-anthropological interpretation, semiotics, and discourse analysis. The source base includes folk texts (proverbs, tales, narratives), contemporary media discourses, and samples of wartime verbal creativity from 2022–2025. Results. Comparative analysis of traditional and modern forms reveals the continuity of folkloric mechanisms in wartime language creation, particularly the rituality of naming, the magical function of the word, and the principle of verbal exorcism and purification through laughter, profanity, or irony. It is shown that new ethnophaulisms perform a dual function: on the one hand, they channel aggression into verbal form; on the other, they have a therapeutic and consolidating effect. The repetitive use of new enemy names in social media and everyday speech creates a collective ritual that neutralizes fear and turns chaos into meaningful order. Unlike the historical image of the moskal – combining features of the demon and the tempter – the modern enemy is a purely demonic figure, beyond the human, which in the folkloric logic must be expelled. Conclusions. Verbal creativity thus becomes a form of social protection that restores control over reality through language. The transformation of the enemy image in Ukrainian linguistic tradition after 2022 is not merely a linguistic phenomenon but a manifestation of the society's cultural-anthropological adaptation to an existential crisis. Modern ethnophaulisms combine the functions of naming, purification, and identification, forming a new type of ritual language of resistance. Through the word, Ukrainians not only name the enemy but also reaffirm their own subjectivity, restoring the sacred status of language as a source of strength and self-organization.

Continuous creation, formation, maintenance and sustenance of proverbial social language in today's multifaceted, heterogeneous and monolingual traditional Annang societies are very necessary. This study examines the multimodalities in Annang's proverbial social language or proverbs. The linguistic and non-linguistic elements such as the facial expressions of the speakers and the listeners, the venues, time of delivery, colours of items and other semiotic modes; their influences and relevance are investigated in this study. The study also examines the multifunctional roles of Annang's proverbs. The study adopts a qualitative-descriptive research design and employs George Lakoff and Mark Johnson's (1980) Cognitive Theory of Metaphor. Data were purposively collected from the interactions of the author with the Annang people in Akwa-Ibom State and in Lagos State through participatory observation and recorded conversations. One of the major findings is that nouns are the linguistic features that significantly constitute the language choices of Annang proverbs. The study also reveals that multimodal elements including contextual settings, speaker authority, and facial expressions significantly influence the interpretation and effectiveness of these proverbs. The study therefore recommends that Annang proverbial social language should be applied intentionally and appropriately by all Annang people to act as a catalyst in moving people to positive directions in order to minimise avoidable conflicts, destructions and death.

This study aimed to investigate how individual factors influence the development of critical thinking in early childhood, focusing on creativity, language expression, and problem-solving abilities. The participants were 255 four and five-year-old children enrolled in kindergartens. Data were collected and analyzed using SPSS and AMOS. Mediating and serial multiple mediating effects were evaluated using bootstrapping and phantom variables. The findings indicated that both language expression and problem-solving individually mediated the relationship between creativity and critical thinking. Additionally, a significant serial mediation effect was observed: creativity influenced language expression, which in turn influenced problem-solving, ultimately leading to critical thinking. These results suggest that fostering creativity may enhance the development of critical thinking by enabling sequential improvements in language and problem-solving abilities. The study underscores the importance of designing early childhood education programs that integrate creative activities, language development, and problem-solving tasks to promote effective critical thinking

The integration of Augmented Reality (AR) and Virtual Reality (VR) has redefined the creative language of design and cinema by transforming how stories are visualized, experienced, and interpreted. This study examines how these immersive technologies extend beyond conventional screen-based narratives to establish new modes of spatial storytelling and participatory engagement. AR and VR enable designers and filmmakers to merge physical and digital realities, fostering interactive environments where audiences become active participants rather than passive viewers. The paper analyzes global and Indian examples to explore how immersive media influences production design, narrative construction, and sensory experience. It also investigates how AR and VR are reshaping creative education, visual aesthetics, and audience perception through real-time interaction, multisensory feedback, and user-centered storytelling. By situating these developments within post-digital design theory, the research highlights the emergence of a new design language that blurs boundaries between art, technology, and human experience. This evolving paradigm underscores the need to view AR and VR not merely as tools but as transformative mediums shaping the future discourse of visual communication and cinematic design.

Archpriest Alexander Schmemann, in a number of his articles, speaks of the crisis of modern theology. The most serious consequence of this crisis is the loss of theology's influence on various aspects of church life and even on theological education. For Father Alexander, this signifies a disconnection of contemporary church life from Church Tradition. The original theology, the theology of the patristic period, according to Father Alexander Schmemann, was something like a leaven in culture. It not only influenced the Church but also transformed all life and the entire culture around it. In this regard, he speaks of the need to return to the primary source of theology—the experience of the Church, the experience of the world in the new light of the Kingdom of Heaven. The author of this article introduces another, more general term for this experience: "the experience of religious conversion." This allows us to draw parallels between Father Alexander's proposals, his own life, and the situation in 19th-century Russian theology. Father Alexander simply narrows the scope of the appropriate experience of religious conversion and reserves for such an experience the only undisputed place—the Divine Liturgy. Moreover, he declares that such an experience, if approached correctly, must be constantly repeated. The search for a theological language suitable for describing this experience must be equally constant. In this sense, Father Alexander is dissatisfied with the categories of patristic thought, as irrelevant to modern man; with the language of modernity, as the language of untransformed, fallen thought; and with the language of science, as a language that ignores the experience of religious conversion. His sympathies lean toward the language of art, the language of creativity. Following Father Sergius Bulgakov, he believes that a word is a symbol that not only signifies but also expresses and reveals the essence of what it signifies. A word can be such only if it is transformed. Transformation, in turn, is possible through reference to the experience of the Kingdom of Heaven, the experience of religious conversion; such a word is a testimony to this experience. And theology is called to save words and, through them, to save all culture. Such a theology, according to Father Alexander Schmemann, will truly follow the Holy Fathers and continue their mission.

Project-Based Learning (PJBL) has been widely adopted to address various instructional challenges in English as a Foreign Language (EFL) classroom. However, its specific impact on students’ creative writing performance in Indonesian secondary education remains underexplored. This study aims to examine the effectiveness of PJBL in enhancing secondary students’ creative writing skills, particularly in higher-order language production. Employing a quasi-experimental design, the study involved 72 eleventh-grade students who were assigned to experimental and control groups. The experimental group received project-based writing instruction, while the control group was taught using conventional, teacher-centered methods. Data were collected through a creative writing test and analyzed using an independent samples t-test. The results revealed a statistically significant difference between the two groups, indicating that students exposed to PJBL demonstrated higher levels of creativity, idea development, and linguistic expression than those in the control group. These findings extend constructivist and sociocultural perspectives by illustrating how project-based tasks facilitate creative language use through collaboration, autonomy, and authentic learning experiences. Pedagogically, this study highlights PJBL as an effective instructional approach for fostering creative writing in EFL contexts and provides practical implications for teachers and curriculum developers seeking to promote creativity-oriented language instruction.

This study aims to analyze the influence of innovation and creativity in digital Arabic language learning, identify research gaps related to digital integration and self-directed learning pedagogy, and formulate a theoretical model for Digital Project Arabic Language Learning (DPAL), which combines technological innovation, teacher creativity, and the principle of learner autonomy. This research method uses library research. The results of this study propose an Arabic language curriculum design using the DPAL model, which can serve as a blueprint for religious education departments to develop digital, creative, and project-based Arabic language curricula. Theoretically, this study provides a conceptual framework for DPAL in Arabic language teaching. The gap identified by the researcher is the integration of the Independent Curriculum paradigm into the digital-based Arabic language learning design for its systematic implementation.

The article is devoted to the phenomenon of phraseological creativity in Korean language from a synchronic perspective, that is, examining the language in its current state without considering historical developments. The creativity of Korean idioms and paremiology is considered as a facet of the modern linguistic culture of Koreans, reflecting the transformation of original phraseological units in new communicative realities. This transformation is effected through specific linguistic mechanisms (embedding, elimination, allusion, substitution), which entail situationally conditioned modifications of idioms and paremiological expressions aimed at endowing them with new connotations, stylistic marking, and enhanced expressivity. Manifestations of such phraseological creativity are discernible in a variety of language play forms, prominently activated within the discourses of mass media and internet communication (blogs, forums, chats).