Relevant bibliographies by topics / Creative nonfiction

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Creative nonfiction'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Creative nonfiction"

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Samli, Ayla. "Anthropology and Creative Nonfiction." Anthropology Now 11, no. 1-2 (May 4, 2019): 14–22. http://dx.doi.org/10.1080/19428200.2019.1647504.

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Richard Terrill. "Character in Creative Nonfiction." Fourth Genre: Explorations in Nonfiction 3, no. 1 (2001): 177–81. http://dx.doi.org/10.1353/fge.2001.0009.

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Hesse, Douglas. "The Place of Creative Nonfiction." College English 65, no. 3 (January 1, 2003): 237–41. http://dx.doi.org/10.58680/ce20031285.

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Discusses the topic of creative nonfiction and how it is addressed throughout this special issue. Suggests that how creative nonfiction is placed does have implications for literature and writing, both creative and non.
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Kotišová, Johana. "Creative Nonfiction in Social Science: Towards More Engaging and Engaged Research." Teorie vědy / Theory of Science 41, no. 2 (February 24, 2020): 283–305. http://dx.doi.org/10.46938/tv.2019.487.

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The paper aims at identifying, explaining and illustrating the affordances of “creative nonfiction” as a style of writing social science. The first part introduces creative nonfiction as a method of writing which brings together empirical material and fiction. In the second part, based on illustrations from my ethnographic research of European “crisis reporters,” written in the form of a novel about a fictional journalist, but also based on a review of existing social science research that employs a creative method of writing, I identify several main affordances of creative nonfiction in social-scientific research. In particular, I argue that creative nonfiction allows scientists to illustrate their findings, to express them in an allegorical way, to organize data into a narrative, to let their pieces of research act in the social world, and to permeate research accounts with self-reflexive moments. I also discuss some apparent negative affordances: challenges that creative nonfiction poses to readers and to the institutionalized academic discourse. Finally, I suggest that writing about sociological problems in the style of creative nonfiction can help to produce more engaging and engaged texts, and I discuss the ethical implications of the approach.
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Hesse, Douglas. "The Place of Creative Nonfiction." College English 65, no. 3 (January 2003): 237. http://dx.doi.org/10.2307/3594255.

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Levine-Rasky, Cynthia. "Creative nonfiction and narrative inquiry." Qualitative Research Journal 19, no. 3 (July 24, 2019): 355–67. http://dx.doi.org/10.1108/qrj-03-2019-0030.

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Purpose The purpose of this paper is to describe, situate and justify the use of creative nonfiction as an overlooked but legitimate source of text for use in social inquiry, specifically within the ambit of narrative inquiry. What potential lies in using creative writing, creative nonfiction specifically, as a source of text in social research? How may it be subjected to modes of analysis such that it deepens understandings of substantive issues? Links are explored between creative nonfiction and the social context of such accounts in an attempt to trace how writers embed general social processes in their narrative. Design/methodology/approach Three exemplars from literary magazines are described in which whiteness is the substantive theme. The first author is a woman who writes about her relationship with her landscaper, the second story is written by a man who is overwhelmed by guilt after uttering a racial slur, and the third text is by a man who describes his attempts to help a homeless couple. The authors’ interpersonal experiences with people unlike themselves tell something significant about the relationship between selfhood and power relations. Findings No singular pattern emerges when analyzing these three narratives through the critical lens of whiteness. This is because whiteness is not a subject position or static identity but a practice, something that it is done in relation to others. It is a collective capacity whose value is realized only in dynamic relationship with others. As a rich source of narratives, creative nonfiction may generate insights about whiteness and middle classness and how their intersections give rise to complex and contradictory sets of social relations. Originality/value There is very little precedence for using creative nonfiction as text for analysis in any discipline in the social sciences despite its accessibility, its richness and its absence of risk. Inviting the sociological imagination in its project to link the personal to the political, it opens possibilities for the analysis of both in relationship to each other. As a common form of narrating everyday understandings, creative nonfiction offers something unique and under-valued to the social researcher. For these reasons, the paper is highly original.
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Yarbakhsh, Elisabeth. "Fiction/Creative Nonfiction First Prize." Anthropology and Humanism 43, no. 1 (June 2018): 159–64. http://dx.doi.org/10.1111/anhu.12211.

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Hart, Curtis W. "Creative Nonfiction: Narrative and Revelation." Journal of Religion and Health 48, no. 2 (December 9, 2008): 217–23. http://dx.doi.org/10.1007/s10943-008-9229-3.

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Bloom, Lynn Z. "Living to Tell the Tale: The Complicated Ethics of Creative Nonfiction." College English 65, no. 3 (January 1, 2003): 276–89. http://dx.doi.org/10.58680/ce20031288.

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Offers a presentation of creative nonfiction addressing the author’s personal family experiences. Addresses ethical issues involved in creative nonfiction. Describes how she decided to narrate her history and contemplates in depth the artistic choices she made.
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Bishop, Wendy. "Suddenly Sexy: Creative Nonfiction Rear-ends Composition." College English 65, no. 3 (January 1, 2003): 257–75. http://dx.doi.org/10.58680/ce20031287.

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Suggests that there is a real chance right now for letting the possibilities of creative nonfiction infuse, improve, and invigorate the teaching of composition. Concludes that when allowed to explore literary nonfiction, writing students will develop a substantial set of strengths from which to undertake other disciplinary writing challenges as they explore past and present with an eye to the future.
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Dissertations / Theses on the topic "Creative nonfiction"

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Zhang, Jia Ph D. Massachusetts Institute of Technology. "Information visualization as creative nonfiction." Thesis, Massachusetts Institute of Technology, 2013. http://hdl.handle.net/1721.1/81082.

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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, 2013.
Cataloged from PDF version of thesis. "June 2013."
Includes bibliographical references (p. 86-88).
Information visualizations are an important means through which we communicate knowledge. By considering visualizations as data-driven narratives, this thesis uses narrative thinking as an orienting concept to support the production and evaluation of information visualizations. It proposes a set of guides that are central to future developments in the visualization of information through the analysis of historical examples and a design-based research process resulting in a system called the Royal Society Network. This thesis investigates the themes of various types of objectivity, the layering of quantitative and qualitative methods, the parallel relationship between investigation and visualization, and the graphical nature of statistical thinking. It then identifies transparency, hybridity, and investigation as the central concepts to visualization, where transparency is the communication of underlying structures to end users and is expressed through the building of interface elements as equal components to visualization, the recording and visual incorporation of usage patterns, and the representation of uncertainty; where hybridity is-in terms of both method and form-expressed through the use of quantitative and qualitative methods to drive visualizations forward and the use of multiple graphical forms to aid in understanding and providing contextual information; and where the investigative quality of visualizations is based on the coordination of grain size and axis of representation with the author's line of inquiry.
by Jia Zhang.
S.M.
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Goetchius, Kaitlin T. "Creative Nonfiction Thesis -"Becoming Normal"." ScholarWorks@UNO, 2017. https://scholarworks.uno.edu/td/2406.

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The following Creative Nonfiction Thesis delves into the suppressed past of a girl who experienced brief episodes of adolescent epilepsy. She was diagnosed with Rolandic seizures when she was eight years old and eventually “grew out” of them when she hit puberty. Since that time, the author had not spoken of these events with her family. The topic of her epilepsy remained, somewhat, the elephant in the room until the epilepsy discontinued. She interviewed her mother and her sister to see the perspectives of those people who were closest to her throughout this era. Through these interviews, the author learns of what her family truly experienced and their opinions of these events. These events largely affected the past and future relationship between her mother, her sister, and the relationship the author has with herself.
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Sharp, Leta McGaffey. "CREATIVE NONFICTION ILLUMINATED: CROSS-DISCIPLINARY SPOTLIGHTS." Diss., The University of Arizona, 2009. http://hdl.handle.net/10150/194720.

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Creative nonfiction is abundant and popular. There are many names and definitions for this fluid, multimodal genre, which has played a role in its marginality in academia. This dissertation examines creative nonfiction in composition, creative writing, and journalism. I argue that distinct beliefs and values of each discipline have led to compartmentalized, disciplinary-specific definitions and uses of creative nonfiction. To understand why this is, and to develop and a cross-disciplinary understanding, I use Amy Devitt's rhetorical genre theory to illuminate cultural beliefs and values that influence the names, definitions, subgenres, and views of the genre in each field. A rhetorical understanding of genre reveals the purpose of creative nonfiction, the themes it conveys, and perhaps why it is so persuasive and powerful. In examining composition I analyze the historical development of creative nonfiction, its definitions, and current beliefs and values about teaching composition. I argue composition limits its view of creative nonfiction by too often equating it with the personal essay. A personal-expressive pedagogy would help teach creative nonfiction. In creative writing I analyze the definitions of creative nonfiction and the AWP's statements about creative writing education. I argue creative writing has inclusive definitions, if not rhetorical, but the culture of literature limits the genre for students. A strength of creative writing is the teaching of craft that I argue is beneficial for teaching creative nonfiction. In journalism I analyze the culture of objectivism from which literary journalism emerged. I argue literary journalists have developed definitions that identify the purpose of literary journalism and narrative form. I express concerns about the separation of journalism from composition and creative writing that has limited discussions about creative nonfiction and literary journalism. Finally, I argue each discipline should value one another's views and agree on dissensus instead of focusing on denying one another or trying to find a single name and definition. I suggest narrative nonfiction as a subset of creative nonfiction that would benefit students in composition. Creative nonfiction engages students in writing and examining the sociopolitical world from a personal perspective, which aids them in becoming writers for life.
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Lloyd, Jana. "Finding Where I Am: A Collection of Creative Nonfiction - Creative thesis." Diss., CLICK HERE for online access, 2005. http://contentdm.lib.byu.edu/ETD/image/etd771.pdf.

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Lynch, Patrice M. "One woman's journey : a collection of creative nonfiction." Honors in the Major Thesis, University of Central Florida, 1999. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/73.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.
Bachelors
Arts and Sciences
English; Creative Writing
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Fodrey, Crystal N. "Teaching Undergraduate Creative Nonfiction Writing: A Rhetorical Enterprise." Diss., The University of Arizona, 2014. http://hdl.handle.net/10150/319904.

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This project presents the results of a case study of creative nonfiction (CNF) pedagogical practices in undergraduate composition studies and creative writing courses at The University of Arizona, exploring how those who teach CNF at this top-ranked school for the study of the genre are shaping knowledge about it. This project analyzes within a rhetorical framework the various subject positions CNF teachers assume in relation to their writing and teaching as well as the teaching methodologies they utilize. I do this to articulate a theory of CNF pedagogy for the twenty-first century, one that represents the merging of individualist and public intellectual ideologies that I have observed in teacher interviews, course documents, and pedagogical publications about the genre. For students new to the genre, so much depends on how CNF is first introduced through class discussion, representative assigned prose models, and invention activities when it comes to creating knowledge about exactly what contemporary CNF is/can be and how writers might best generate prose that fits the genre's wide-ranging conventions in form, content, and rhetorical situation. Understanding how and why instructors promote certain ideologies in relation to CNF becomes increasingly important as this mode of personally situated, fact-based, narrative-privileging, literarily stylized discourse continues to gain popularity within and beyond the academy.
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Jensen, Amber L. "Breathing Through the Night." ScholarWorks@UNO, 2012. http://scholarworks.uno.edu/td/1446.

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In Breathing through the Night, the author examines the moments of understanding and misunderstanding, the moments of fear, coping, and relief that occur during her husband’s deployment to Iraq and upon his return. The experiences of this military family serve as a magnifying lens through which the author explores means of coping and the role of communication in making meaning from memory, in shaping personal narratives within layers of story and history.
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Gillespie, Tyler. "Smart Mouth [stories]." ScholarWorks@UNO, 2016. http://scholarworks.uno.edu/td/2154.

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Rose, Kelly. "Before, During, After." ScholarWorks@UNO, 2013. http://scholarworks.uno.edu/td/1702.

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Following in the footsteps of writers Mary Karr, Joan Didion, Russell Baker, and many others, Kelly Rose writes about her childhood, marriage, and subsequent divorce from a New Orleans journalist. Her writing is broken down into various sections, which address her writing influences, her troubled relationship with her mother and her complicated divorce. Finally, the author discusses how these experiences have shaped her writing today.
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Lopez, Melissa. "Genre Criticism: Is Testimonio A/Part of Creative Nonfiction?" Honors in the Major Thesis, University of Central Florida, 2005. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/771.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf
Bachelors
English
Arts and Sciences
Creative Writing
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Books on the topic "Creative nonfiction"

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Cheney, Theodore A. Rees. Writing creative nonfiction. Berkeley, Calif: Ten Speed Press, 1991.

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Lee, Gutkind, ed. The best creative nonfiction. New York: W. W. Norton, 2007.

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editor, Lewis Clare, and west Penny editor, eds. What is creative nonfiction? Chicago, Illinois: Heinemann Raintree, 2015.

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Minh, Nguyen B., and Shreve Porter, eds. Contemporary creative nonfiction: I & eye. New York: Pearson/Longman, 2005.

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Thiel, Diane. Winding roads: Exercises in writing creative nonfiction. New York: Pearson Longman, 2008.

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Cavallerio, Francesca. Creative Nonfiction in Sport and Exercise Research. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003038900.

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Barbara, Lounsberry, ed. Writing creative nonfiction: The literature of reality. New York: HarperCollins College Publishers, 1996.

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Lee, Gutkind, ed. Lessons in persuasion: Creative nonfiction/Pittsburgh Connections. Pittsburgh: University of Pittsburgh Press, 2000.

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Berman, Elizabeth Popp. The rightful place of science: Creative nonfiction. Tempe, Ariz: Consortium for Science, Policy & Outcomes, 2015.

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Bill, Roorbach, ed. Contemporary creative nonfiction: The art of truth. New York: Oxford University Press, 2001.

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Book chapters on the topic "Creative nonfiction"

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Dunkelberg, Kendall. "Creative Nonfiction." In A Writer's Craft, 101–14. London: Macmillan Education UK, 2017. http://dx.doi.org/10.1057/978-1-137-61096-6_10.

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Eaton, Laurie Stolmack. "Nonfiction Communications." In Creative Curriculum Extenders, 61–69. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003233909-7.

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Williams, Bronwyn T. "Writing Creative Nonfiction." In A Companion to Creative Writing, 24–39. Chichester, UK: John Wiley & Sons, Ltd, 2013. http://dx.doi.org/10.1002/9781118325759.ch2.

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Gullion, Jessica Smartt. "Creative Nonfiction in Ethnography." In Writing Ethnography, 11–13. Rotterdam: SensePublishers, 2016. http://dx.doi.org/10.1007/978-94-6300-381-0_3.

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Miller, Patti. "Workshop Eighteen: Creative nonfiction." In Writing True Stories, 271–86. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003416531-22.

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Kotišová, Johana. "Creative Nonfiction and the Research Method." In Crisis Reporters, Emotions, and Technology, 189–219. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-21428-9_6.

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Miller, Patti. "Workshop eighteen Creative nonfiction – Travel memoir." In Writing True Stories, 285–300. 2nd ed. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003479826-22.

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Bourelle, Andrew. "6. Writing to Discover: Creative Nonfiction and Writing Across the Curriculum." In Creative Composition, edited by Danita Berg and Lori A. May, 35–46. Bristol, Blue Ridge Summit: Multilingual Matters, 2015. http://dx.doi.org/10.21832/9781783093649-009.

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Sinner, Anita. "Creative Nonfiction as a Method Of Inquiry." In Unfolding the Unexpectedness of Uncertainty, 1–11. Rotterdam: SensePublishers, 2013. http://dx.doi.org/10.1007/978-94-6209-356-0_1.

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Peabody, Rebecca. "Anika PhD, American Studies Writer, Creative Nonfiction." In The Unruly PhD, 61–73. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137319463_4.

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Conference papers on the topic "Creative nonfiction"

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Courtemanche, Danielle. "Composing Creative Nonfiction to Illuminate Three Teachers' Perceptions of Principal Walk-Throughs." In 2023 AERA Annual Meeting. Washington DC: AERA, 2023. http://dx.doi.org/10.3102/2007440.

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Olarescu, Dumitru. "The historical-biographical film: destinies and personalities." In Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.10.

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The history of national cinema shows that the evolution of non-fiction biographical film began with subjects dedicated to prominent personalities. These were included in the film magazine “Soviet Moldova” and in the almanac “Life in pictures”. In 1961, the first historical-biographical film “The Legendary Brigade Commander”- a eulogy to Grigore Kotovski (director A. Litvin) appeared at the “Moldova-film” studio, followed by other films dedicated to the heroes of the times: Pavel Tkacenko, Elena Sârbu, Tamara Cruciok, which were dominated by a pronounced propagandistic character. A new level of national historical-biographical film can be noticed in the late 1960s and early 1970s, when the filmmakers: Emil Loteanu (“Academician Tarasevici”), Andrei Buruiană (“Ştefan Neaga”), Vlad Druc (“Ion Creangă”) made their debut. Yet, the idea of biography especially predominates in the creation of Anatol Codru, who played a significant role in the affirmation stage of this kind of nonfiction film, bringing through his films, “Alexandru Plămădeală”, “Alexei Şciusev”, “Dimitrie Cantemir”,”Vasile Alecsandri” a new breath in the context of the films made before him. He imposed himself through a poetic-philosophical vision on the destinies and the creation of the personalities, who contributed to the spiritual prosperity of the nation.
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Marchenko, D. "FEATURES OF THE NARRATIVE STRUCTURE OF NOVEL “PROTAGONIST” BY A. VOLODINA." In VIII International Conference “Russian Literature of the 20th-21st Centuries as a Whole Process (Issues of Theoretical and Methodological Research)”. LCC MAKS Press, 2023. http://dx.doi.org/10.29003/m3717.rus_lit_20-21/166-168.

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The article examines the features of the narrative organization of the novel “Protagonist” by Asya Volodina (2023), dedicated to conceptualization of the traumatic experience of modern person - the existential search for his own identity - and attempts to overcome it. The traumatic events narrativization method is analyzed: there is not a linearly told story, but separate fragments in the form of an imitation of narrative nonfiction, a super-genre of evidence, each of which represents the narrative of one of the subjects trying to verbalize the traumatic experience of the past and overcome the crisis separation of a personality from character. Thus, overcoming occurs precisely through a word. The work devotes special attention to the study of the unique genre nature of the novel, which represents a hybrid novelistic form that combines elements of lyrical (in particular, a ramified system of pass-through characters and motifs of mask, game) and dramatic genres (on a compositional level, the novel consists of a prologue , chaptersagons , commos , epilogue). Conclusion is made that such an organization of narrative of novel structure, on the formal level, reflects a crisis state of consciousness and indicates the difficulty of creating a holistic artistic statement in the conditions of modern reality.
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