Michael Handford is Professor of English Language and Applied Linguistics at Cardiff University, Wales.Almut Koester is Professor of English Business Communication at the Vienna University of Economics and Business, Austria.

• List of illustrationsAcknowledgementsAcronyms and abbreviationsNotes on data and transcriptionIntroduction Orientation and ContributionChapter OverviewChapter 1: Language, Discourse and Creativity 1.1 Introduction1.2 Defining Creativity1.3 Context and Creativity1.4 Defining Creativity from an Organisational Perspective1.5 Language, Discourse and Creativity1.5.1 Linguistic creativity 1.5.2 Discursive creativity 1.5.3 Linguistic creativity as ‘Straw Man’?1.6 Constraints and Practices1.7 ConclusionChapter 2: Model and Methodology 2.1 Model of Creative Workplace Discourse 2.1.1 The dimensions of the model 2.1.2 Application of the model 2.2 Methodology 2.2.1 The data 2.2.2 Methods: Corpus-assisted discourse analysis 2.2.3 Analysing linguistic creativity: Using frequency-based corpus tools 2.2.4 Analysing discursive creativity: selected methods 2.3 ConclusionChapter 3: Language, Creativity and Problem-Solving3.1 Introduction3.2 Metaphors and Idioms (MIDs) 3.2.1 Metaphors and idioms in problem-solving 3.2.2 Applying the creative workplace discourse model 3.3 Hypothesising 3.3.1 Hypothetical reported speech3.3.2 Hypothetical talk 3.3.3 Applying the creative workplace discourse model3.4 Discussion 3.5 ConclusionChapter 4: Creativity and Professional Practice I: Alignment and constraints in a care home 4.1 Introduction 4.2 Exploring Care Home Discourse and Creativity 4.3 Care Home Discourse 4.3.1 Frequency word list findings 4.3.2 Keyword list findings 4.4 What about Creativity?4.4.1 Metaphors, euphemisms and colloquial expressions 4.4.2 Terms of endearment 4.4.3 Evaluative expressions 4.4.4 Infrequent words4.5 Discussion and conclusionChapter 5: Creativity and Professional Practice II: Innovation and constraints in a start-up 5.1 Introduction 5.2 Interview with CEO: Talking about Innovation and Creativity5.2.1 Thematic analysis of the interview 5.2.2 Linguistic creativity in the interview 5.3 Meetings: Doing Innovation and Creativity 5.3.1 Weekly meeting of heads of division 5.3.2 Quick performance review meeting 5.4 Discussion and Conclusion 5.5 Comparison of the Care Home and the Start-upChapter 6: Problematic Creativity 6.1 Introduction 6.2 Problematic Creativity and Context 6.3 Conflict and Problematic Creativity 6.3.1 Task conflict, an example: Internet server provider meeting 6.4 Humour and Problematic Creativity 6.5 Stereotypes and Problematic Creativity 6.6 Problematic Creativity: Conflict, Humour and Stereotypes in Action 6.7 ConclusionChapter 7: Conclusions and Reflections 7.1 What were the Overarching Themes, and what were the Findings? Theme 1: Appropriate methods for analysing creativity Theme 2: Problem-solving as a key site for creativity at work Theme 3: Role of constraints for creativity Theme 4: Role of the Community of Practice Theme 5: Creativity as positive or negative 7.2. What has our Creative Workplace Discourse Model Told us about Creativity? Question 1: Does a high level of linguistic creativity co-occur with a high degree of alignment? Question 2: If such correlation occurs, does this suggest some underlying causal factor? Question 3: Do high linguistic creativity and high alignment enable discursive creativity? Question 4: Does a change in alignment from low to high lead to greater discursive creativity? 7.3 How can Organisations Boost Creativity and Manage it Effectively? 7.3.1 Language matters 7.3.2 Processes of group creativity 7.3.3 The Role of leadership 7.3.4 Diversity and creativityAppendixReferencesIndex

Michael Handford is Professor of English Language and Applied Linguistics at Cardiff University, Wales.Almut Koester is Professor of English Business Communication at the Vienna University of Economics and Business, Austria.

• List of illustrationsAcknowledgementsAcronyms and abbreviationsNotes on data and transcriptionIntroduction Orientation and ContributionChapter OverviewChapter 1: Language, Discourse and Creativity 1.1 Introduction1.2 Defining Creativity1.3 Context and Creativity1.4 Defining Creativity from an Organisational Perspective1.5 Language, Discourse and Creativity1.5.1 Linguistic creativity 1.5.2 Discursive creativity 1.5.3 Linguistic creativity as ‘Straw Man’?1.6 Constraints and Practices1.7 ConclusionChapter 2: Model and Methodology 2.1 Model of Creative Workplace Discourse 2.1.1 The dimensions of the model 2.1.2 Application of the model 2.2 Methodology 2.2.1 The data 2.2.2 Methods: Corpus-assisted discourse analysis 2.2.3 Analysing linguistic creativity: Using frequency-based corpus tools 2.2.4 Analysing discursive creativity: selected methods 2.3 ConclusionChapter 3: Language, Creativity and Problem-Solving3.1 Introduction3.2 Metaphors and Idioms (MIDs) 3.2.1 Metaphors and idioms in problem-solving 3.2.2 Applying the creative workplace discourse model 3.3 Hypothesising 3.3.1 Hypothetical reported speech3.3.2 Hypothetical talk 3.3.3 Applying the creative workplace discourse model3.4 Discussion 3.5 ConclusionChapter 4: Creativity and Professional Practice I: Alignment and constraints in a care home 4.1 Introduction 4.2 Exploring Care Home Discourse and Creativity 4.3 Care Home Discourse 4.3.1 Frequency word list findings 4.3.2 Keyword list findings 4.4 What about Creativity?4.4.1 Metaphors, euphemisms and colloquial expressions 4.4.2 Terms of endearment 4.4.3 Evaluative expressions 4.4.4 Infrequent words4.5 Discussion and conclusionChapter 5: Creativity and Professional Practice II: Innovation and constraints in a start-up 5.1 Introduction 5.2 Interview with CEO: Talking about Innovation and Creativity5.2.1 Thematic analysis of the interview 5.2.2 Linguistic creativity in the interview 5.3 Meetings: Doing Innovation and Creativity 5.3.1 Weekly meeting of heads of division 5.3.2 Quick performance review meeting 5.4 Discussion and Conclusion 5.5 Comparison of the Care Home and the Start-upChapter 6: Problematic Creativity 6.1 Introduction 6.2 Problematic Creativity and Context 6.3 Conflict and Problematic Creativity 6.3.1 Task conflict, an example: Internet server provider meeting 6.4 Humour and Problematic Creativity 6.5 Stereotypes and Problematic Creativity 6.6 Problematic Creativity: Conflict, Humour and Stereotypes in Action 6.7 ConclusionChapter 7: Conclusions and Reflections 7.1 What were the Overarching Themes, and what were the Findings? Theme 1: Appropriate methods for analysing creativity Theme 2: Problem-solving as a key site for creativity at work Theme 3: Role of constraints for creativity Theme 4: Role of the Community of Practice Theme 5: Creativity as positive or negative 7.2. What has our Creative Workplace Discourse Model Told us about Creativity? Question 1: Does a high level of linguistic creativity co-occur with a high degree of alignment? Question 2: If such correlation occurs, does this suggest some underlying causal factor? Question 3: Do high linguistic creativity and high alignment enable discursive creativity? Question 4: Does a change in alignment from low to high lead to greater discursive creativity? 7.3 How can Organisations Boost Creativity and Manage it Effectively? 7.3.1 Language matters 7.3.2 Processes of group creativity 7.3.3 The Role of leadership 7.3.4 Diversity and creativityAppendixReferencesIndex