“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.”

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.

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.

Pointing the Way to Discovery: Using a Creative Writing Practice in Qualitative Research

2006 ◽  
Vol 37 (2) ◽  
pp. 217-239 ◽  
Author(s):  
Jennifer Schulz
Keyword(s):  
Qualitative Research ◽  
Creative Writing ◽  
Research Methodology ◽  
Collaborative Research ◽  
Research Question ◽  
Research Projects ◽  
Phenomenological Inquiry ◽  
Specific Research ◽  
Writing Practices ◽  
Writing Practice

AbstractThere are compelling possibilities for the ways in which creative writing practices can inform qualitative and collaborative research projects, particularly those projects devoted to phenomenological inquiry. This article lays out a specific research methodology based on a creative writing practice that is prompted by words and phrases evocative of a research question. This practice, called “pointing,” is explained through Gadamer's notion of understanding, play, and conversation as well as Heidegger's hermeneutical process. The use of such a practice in a specific collaborative research project on therapists' experience of hopelessness is described and implications for additional projects are proposed.

Development: Opening Space for New Zealand Women's Participation in Scriptwriting for Feature Films?

2021 ◽  
Author(s):  
◽  
Marian Evans
Keyword(s):  
New Zealand ◽  
Creative Writing ◽  
Open Space ◽  
Multiple Views ◽  
Feature Films ◽  
Women's Participation ◽  
State Investment ◽  
Writing Practice ◽  
Analytical Practice

<p>This thesis explores whether an analytical practice, combining creative writing with activism and based in academia, can help open space for more women scriptwriters within New Zealand feature filmmaking. It links autoethnography with activist and experience-based methodologies within a creative writing framework that includes a memoir, an essay, a report, diaries and emails, an essay screenplay and weblogging, to present multiple views of an investigation into state investment in women‘s feature filmmaking and the researcher‘s own experience as an activist researcher and apprentice scriptwriter. It concludes that, within an analytical creative writing practice, autoethnography‘s accommodation of a single researcher participant‘s shifting roles may help to open space for women scriptwriters to contribute to New Zealand feature films.</p>

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