The world breaks in two: thinking through HIV in creative writing practice towards an aesthetics of post-crisis

New Writing ◽  
2020 ◽  
pp. 1-9
Author(s):  
Ronnie Scott
Keyword(s):  
Creative Writing ◽  
The World ◽  
Writing Practice

What If It Wasn’t Kato Who Raped Diana? Representing the Yearning for Justice in As I Stood Dead Before the World: Creative Writing from Luzira Prison (2018)

Imbizo ◽  
2020 ◽  
Vol 11 (2) ◽  
Author(s):  
Danson Sylvester Kahyana
Keyword(s):  
Creative Writing ◽  
Short Story ◽  
Human Beings ◽  
Innocent People ◽  
Creative Writers ◽  
The World

The article examines how selected works in Uganda’s first anthology of prison-authored work, As I Stood Dead before the World: Creative Writing from Luzira Prison (2018), handle one of the issues of paramount importance to inmates and their families: the possibility that convictions in courts of law are not foolproof since judicial officers are human beings and therefore susceptible to error. Drawing from four examples: two poems (Jackson O’s “Letter to Aber” and Sebuuma Gadafi’s “Twenty-Years”), one short story (Rachael Pearl Orishaba’s “A Secret”), and one short play (Jennifer Janette’s “What If It Wasn’t Kato?”), I show how different inmates imagine situations where judicial officers (prosecutors and magistrates/judges) make errors of judgement that see innocent people convicted of crimes they did not commit. The article closely reads the four selected pieces with the objective of investigating how creative writers can help judicial officers realise how important it is to turn every proverbial stone before a conviction is made.

Why literature students should practise life writing

2016 ◽  
Vol 17 (2) ◽  
pp. 204-221 ◽  
Author(s):  
Kylie Cardell ◽  
Kate Douglas
Keyword(s):  
Creative Writing ◽  
Lived Experience ◽  
Ethical Issues ◽  
Life Writing ◽  
Literary Texts ◽  
Literary Studies ◽  
Creative Space ◽  
Writing Practice

This article considers our experiences teaching a hybrid literature/creative writing subject called “Life Writing.” We consider the value of literature students engaging in creative writing practice—in this instance, the nonfiction subgenre of life writing—as part of their critical literary studies. We argue that in practicing life writing, our literature students are exposed to and gain wider perspective on the practical, critical, creative, and ethical issues that arise from working with literary texts. Such an approach is not with risk. As we discuss in this article, life writing texts can often narrate difficult or traumatic material. However, we want to show how life writing, with its particular focus on actual lives and lived experience, creates a particularly conducive ethical, intellectual, and creative space for learning about and practicing writing.

“Crossing It”

2018 ◽  
Vol 7 (4) ◽  
pp. 7-17 ◽  
Author(s):  
Francesca Rendle-Short
Keyword(s):  
Creative Writing ◽  
Poetic Prose ◽  
Writing Practice

Creative writing practice can be a performative act, a process through which a range of subjectivities can be construed and disseminated. This essay responds to Rebecca Solnit's provocation on stories and Sara Ahmed et al.'s assertions on home/belonging. What sort of “inventive, chance-taking” text might appear, that acts up, or “performs”? I investigate questions of definition, prepositional thinking, affect, and the grammar of dying and death as essay, poetic prose, and the “unconvention” of toggle and weave in a kind of “collective transit.”

Ch'ü Ch'iu-pai's Autobiographical Writings: The Making and Destruction of a “Tender-hearted” Communist

1966 ◽  
Vol 25 ◽  
pp. 176-212 ◽  
Author(s):  
T. A. HSIA
Keyword(s):  
Creative Writing ◽  
Chinese Language ◽  
Historical Research ◽  
The West ◽  
Two Cultures ◽  
Language Studies ◽  
The Social ◽  
The World ◽  
Human Psyche ◽  
Partisan Review

On February 23, 1965, colleagues and students in Berkeley mourned the death of Tsi-an (T.A.) Hsia in his forty-eighth year. A profound sense of loss has since been shared and expressed in many other parts of the world by those who knew him and his work. Critic and literary editor for over a cataclysmic decade in China, as distinguished in creative writing as in historical research, he was first published in the West in the Partisan Review in 1955. “The Jesuit's Tale” (PR, XXII, 4)is an agonising story of a religious devotee who finally succumbs not only to the mental torture perfected by his Peking inquisitors, but ultimately to the torments of a modern dedicated individual caught in the clash of two cultures. Tsi-an's talent was to probe deeply into the human psyche, individual and collective, and to reveal dimensions of symbolism in the social, political and cultural confrontations in today's contradictory world. His fine sensibility for words and his ability to analyse propaganda jargon, folk-lore and traditional myths in cogent critiques of the Chinese socialist dream as wèll as reality, were evidenced in his Metaphor, Myth, Ritual and the People's Commune, and other brilliant monographs which he produced with us in Berkeley in our Project called Current Chinese Language: Studies in Communist Terminology.

Down to the bone

2013 ◽  
Vol 30 (2) ◽  
pp. 177-188
Author(s):  
Gillian Eriksson
Keyword(s):  
Creative Writing ◽  
South African ◽  
Independent Study ◽  
Ethnic Communities ◽  
Leadership Positions ◽  
Australopithecus Africanus ◽  
Early Hominids ◽  
The Family ◽  
The World ◽  
Cultural Legacies

Eminent individuals have made significant contributions to their fields that have impacted on fundamental knowledge and practices around the world, a description that aptly describes the world-known South African paleoanthropologist and scientist, Professor Phillip Tobias. This article presents evidence from his early childhood and schooling that demonstrated his creative writing, extensive independent study, advanced achievement, autonomous research and leadership positions that characterized his range of gifted abilities. It also describes characteristics typical of the family backgrounds of research on eminent individuals and core aspects of his personality, including his humor and humility. As a core scientist who sought to uncover fossil evidence for human evolution, he was instrumental in early studies of Khoisan and Tonga ethnic communities, investigations and documentation of Australopithecus africanus and early hominids. His academic and cultural legacies are depicted in his wide interests: his love of creative writing, teaching, and research and the search for truth and social justice.

scholarly journals Queerness, form and time: A dialogue through case studies from creative writing practice

TEXT ◽  
2021 ◽  
Author(s):  
Ronnie Scott ◽  
Sholto Buck ◽  
J Butler ◽  
Jhoanna Lynn Cruz ◽  
George Haddad ◽  
...  
Keyword(s):  
Creative Writing ◽  
Case Studies ◽  
Writing Practice

scholarly journals Skryfkuns as graadvak

Literator ◽  
1993 ◽  
Vol 14 (1) ◽  
pp. 107-116 ◽  
Author(s):  
H. Du Plessis
Keyword(s):  
Creative Writing ◽  
South African ◽  
Literary Theory ◽  
Subject Matter ◽  
Main Issue ◽  
Writing Theory ◽  
The Usa ◽  
The Subject ◽  
Near Future ◽  
Writing Practice

Creative writing has been taught as a subject at the tertiatiory level in the USA for many years. In this article the issue of creative writing as subject for a South African degree is discussed. The matter at issue is not whether creative writing has the potential to be a university subject, but rather what such a subject should include. Thus the content of creative writing as university subject and how it should be taught are addressed. The conclusion that is reached is that the main issue at stake is the balance to be struck among literary theory, writing theory and writing practice. Starting in the near future the Potchefstroom University for CHE will be offering a course in creative writing as a degree credit. The subject-matter, possible organization and integration, as well as its specific niche are considered.

scholarly journals La visión responsable de Javier Marías: una narrativa entre el pensamiento literario de Julián Marías y la literatura como reconocimiento de Marcel Proust

2020 ◽  
pp. 215-244
Author(s):  
Santiago Bertrán
Keyword(s):  
Creative Writing ◽  
20Th Century ◽  
Marcel Proust ◽  
The Other ◽  
Jose Ortega Y Gasset ◽  
Visual Poetics ◽  
Ethical Implications ◽  
The World ◽  
The One ◽  
Siglo Xx

Este artículo explora los aspectos filosóficos y éticos de la literatura de Javier Marías a la luz de la filosofía de Julián Marías y la literatura de Marcel Proust. Las ficciones de Javier Marías nos presentan una serie de personajes que se demuestran como agudos observadores que interpretan el mundo para entenderlo mejor y para orientarse en él. Este artículo defiende el argumento que esta tarea hermenéutica se extiende también a la propia poética de Javier Marías, la cual refleja dos conceptos esenciales no del todo bien estudiados hasta la fecha: por una parte, lo que Marías, tomando prestado un término de su padre, Julián Marías, denomina "pensamiento literario", un concepto que entiende la escritura como una de las herramientas más poderosas que tiene el autor de explorar y entender la realidad; por otra parte, el concepto de "reconocimiento", una noción muy próxima a la poética de Marcel Proust que describe la experiencia cognitiva por la cual el lector 'se ve' o 'se reconoce' a sí mismo en la narración. Al investigar estas poéticas visuales y sus implicaciones éticas se descubre el contexto metafísico y ontológico al cual se aproxima la obra mariesca, que no es otro que el paradigma filosófico de la "realidad radical" establecido por Ortega y Gasset a comienzos del siglo XX.   This article examines the ethical and philosophical aspects of Javier Marías’s literature in light of the philosophy of Julián Marías and the poetics of Marcel Proust. Javier Marías’s fictions famously present us with a series of characters that prove to be acute observers, interpreting the world both to understand it better and to orientate themselves within it. I argue that this hermeneutical approach extends to Marías’s poetics, which reflect two main concepts not yet well studied: on the one hand, what Marías, borrowing a term from his father, the philosopher Julián Marías, calls ‘pensamiento literario’, which describes creative writing as one of the most powerful tools the author has to explore and understand reality; and on the other, his idea of ‘reconocimiento’, a concept which echoes Marcel Proust’s poetics and which defines the sympathetic process by which the reader ‘sees’ or ‘recognises’ him or herself in the narrative. In investigating these ‘visual’ poetics and their ethical implications, we will discover the metaphysical and ontological context intrinsic to Marías’s narrative, which is based on the philosophical paradigm of the ‘realidad radical’ established by José Ortega y Gasset at the beginning of the 20th Century.

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