Without a poem, a short story, a novel, an article, or any other literary product, there is no author -or reader, as Lindauer (2009) stated. Throughout history, writers were the beacons of literacy. Because contemporary societal dissemination of basic literacy is commonly bound to the role of a teacher, a teacher's role may overlap with that of a writer-and may extend beyond literacy into linguistic creative behaviors. This study aims to explore linguistic creative behavior in future teachers and its relationships with the objectively measured word knowledge and creativity selfassessments. This is of importance to psychology of creativity because there has been insufficient research directly examining the role of domain-relevant processes such as word knowledge, in the production of linguistic creative work.Consuming nonveridical literary representations is a major activity in developed nations. Nettle (2009) The aim of this study was to explore the predictive validity of word knowledge as one of the hypothesized domain-relevant components for linguistic creativity. The study included 99 students of university teacher studies in their fourth and fifth (final) year of study, aged 22 to 24, from one city in the Republic of Croatia. The instruments used in this study included a word knowledge test (VerT) and a questionnaire on general creativity self-assessments, as well as specific, behaviorally operationalized linguistic creativity focusing on productivity (Linguistic Creativity Scale, LCS-15; α = .84), and other reading and writing related measures. The results showed that the broad factors of self-assessed Artistic and Everyday Creativity combined with the corresponding tested verbal domain specific knowledge of the infrequent words descriptive of social statuses and processes, significantly predicted the behaviorally operationalized linguistic creativity score . This suggests that not only what one generally believed of oneself and one's creativity, but also what one objectively and specifically knew, significantly predicted the linguistic creative productivity. This study adds to the currently lacking knowledge on the role of domain-relevant processes, such as domain-specific verbal knowledge, in linguistic creative work.

Over the decades there have been discussions regarding the ownership and definition of texts written for children. The paper discusses the term "childlike language" as the one distinguished from other types of language through its connection to the image of a child and children's culture, but generated by adults. Accordingly, childlike language is marked by a distinct deviation/aberration from the norm and is produced by adult authors who often engage in literary experimentation and exhibit a propensity for identifying with their child audience. In their strong association with the "semiotic", as defined by Julia Kristeva, denoting the prosody and sound of language, such literary works for children exhibit deviant nature linguistically/lexically, phonetically, semantically, orthographically, and grammatically through their use of neologisms, word play, sound patterns, hyperbole, nonsense, and other stylistic and structural elements. Therefore, authors for children express their childlike nature by means of language which defies common rules, challenges status quo, and which results in playfulness, humor, subversiveness and grotesque. For this purpose, the research focuses on the examples of popular works by children's authors belonging to the English-speaking literary tradition, such as Roald Dahl, Dr. Seuss, A. A. Milne, J. R. R. Tolkien, J. K. Rowling, Edward Lear, Lewis Carroll, J. M. Barrie and others, in order to detect and illustrate the categories of childlike language. However, though the analysis will stick to its designated focus, the childlike expression is universal regardless of age and location. It is a source of freedom and divergent thinking, it makes us want to read, and it lets us grow up to be very powerful people.Key words: children's culture and literature; humor; nonsense; the semiotic; word play.---Sažetak O definiciji i autorstvu tekstova pisanih za djecu raspravlja se već desetljećima. U izlaganju će se govoriti o pojmu "djecolikoga jezika" kao jezika koji se razlikuje od ostalih vrsta izričaja svojom povezanoću s pojmom djeteta i dječjom kulturom, no čiji su izvor odrasli. U skladu s tim djecoliki se jezik odlikuje izrazitim odstupanjem/zastranjivanjem od norme, a stvaraju ga odrasli autori koji pokazuju naklonost prema književnom eksperimentiranju te se često poistovjećuju sa svojom dječjom publikom. Povezanoću sa "semiotičkim" oblikom jezika kako ga definira Julia Kristeva, a koji se odnosi na prozodiju, zvuk i melodiju jezika, takva djela dječje književnosti ukazuju na devijantnost lingvističkih/leksičkih, fonetičkih, semantičkih, pravopisnih, gramatičkih i ostalih stilskih i strukturnih elemenata, specifičnu uporabu neologizama, igru riječi, glasovne figure, hiperbole, nonsense. Na taj način autori tekstova za djecu stvaraju posebnu vrstu izričaja jezikom koji se opire standardnim pravilima i ne trpi status quo, a čiji su rezultat zaigranost, humor, subverzivnost i groteska. Sa svrhom određivanja i opisivanja kategorija djecolikoga jezika ovo se istraživanje bavi primjerima popularne dječje književnosti autora engleskoga govornog područja kao to su Roald Dahl, Dr. Seuss, A. A. Milne, J. R. R. Tolkien, J. K. Rowling, Edward Lear, Lewis Carroll, J. M. Barrie i drugi. Iako analiza primarno obraća pozornost na primjere specifičnoga govornog područja, djecoliki je jezik univerzalan bez obzira na dob ili područje. On je izvor slobode i divergentnoga miljenja, potiče nas da čitamo i omogućava nam da izrastemo u vrlo moćne ljude.Ključne riječi: dječja kultura; humor; igra riječima; neologizam; nonsens; semiotičko.

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In the digital age it has become almost impossible to view children’s texts outside the context of the new media. This study will focus on three works of children’s fiction, The Tale of Peter Rabbit by Beatrix Potter, Where the Wild Things Are by Maurice Sendak, and Fantastic Beasts and Where to Find Them by Newt Scamander/J.K. Rowling; and their respective adaptations, Peter Rabbit, Where the Wild Things Are, and Fantastic Beasts and Where to Find Them. The article draws on contemporary theories of adaptation and the media, particularly the theory of ‘convergence’ and its impact on meaning-making in the production and reception of literary texts. It will take into account the cross-media and transmedia approach to analysing children’s texts, as well as the crossover effect of adapting children’s books into films. Particular attention is paid to the adaptation of still into moving imagery and its shifts in focalisation, providing evidence that the new media have made children’s books accessible to a variety of audiences. Such examples display the contemporary complexity of children’s storytelling and culture within and beyond the canon. Owing to the developments in digital media and technologies, which enable the realistic depiction of complex visual and fantastic elements that are characteristic of children’s texts, in the new millennium children’s literature has indeed become ‘everyone’s business’.