This paper proposes a concept of creativity that stems from a semiotic and linguistic theoretical perspective, in which the formal frame of reference for variation and linguistic change considers and evaluates both the process of general interaction and the contact of languages as a global phenomenon. This method proposes an analysis of creativity that ranges from reflections of ancient philosophy to a contemporary linguistic perspective, incorporates international ideologies, and identifies, within the dimensions of use and social sharing, the principle capable of guiding potentially unlimited forms of linguistic creativity that are self-expressive and communicative, far beyond the grammatical patterns of regularity and norm. Interpreting the paradigm of creativity according to this model means placing the semiotic property in a position of prima inter pares , entrusted not only with the “role” of forming signs (words, sentences, texts), but the function of arbitraire , as a phenomenon of language creation. The following reading references the semiotic contribution of Tullio De Mauro, an Italian linguist who has contributed to the systematization of creativity, overcoming and synthesizing both Saussurian structuralism and Chomskyan generativism.

中文翻译：

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语言创造力的要素

本文提出了一个源于符号学和语言学理论视角的创造力概念，其中变异和语言变化的正式参考框架将一般交互过程和语言接触作为一种全球现象来考虑和评估。这种方法提出了对创造力的分析，范围从古代哲学的反思到当代语言的视角，融合了国际意识形态，并在使用和社会共享的维度内确定了能够指导潜在的无限形式的语言创造力的原则。 -表达性和交际性，远远超出规则和规范的语法模式。根据这个模型来解释创造力范式意味着将符号学属性置于首要的位置，不仅被赋予了形成符号（单词、句子、文本）的“作用”，而且被赋予了任意的功能，作为一种现象。语言的创造。以下读物引用了意大利语言学家图利奥·德毛罗的符号学贡献，他对创造力的系统化做出了贡献，克服并综合了索绪尔的结构主义和乔姆斯基的生成主义。