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Dissertations / Theses on the topic 'Creative Writer'
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Aherne, Mary. "The creative writer in the public sphere." Thesis, University of Hull, 2013. http://hydra.hull.ac.uk/resources/hull:10104.
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This thesis provides an analysis of the creative writer in contemporary Britain, using both literary and cultural theory to define and understand the roles available to the writer. It explores how these roles are interpreted by writers. The thesis offers new research and insights into the scope of current patronage practices, examines how the writer engages with these new roles, and assesses the potential impact on the writer, the reader and literature. Based on research conducted in the UK, this thesis focuses on four major contexts: the writer in residence, the prize culture, the literary festival, and the writer in the blogosphere. It considers how the writer’s role has been reconstructed in different social and cultural contexts. In addition, this study highlights writers’ perception of their public role and their position in society; the multiple and complex power relations inherent in these roles; the increasingly public presence of the writer; the reader-writer relationship, and the impact on the literature produced. Reflecting my own literary interests and practices, it focuses on the work and experiences of poets and novelists, rather than on those of dramatists and non-fiction writers. This study contributes to the as yet limited body of research into contemporary patronage practices. Furthermore, the thesis contributes to the historicising and theorisation of the creative writer which links the individual experience of writers with social and cultural structures and processes, making reference to the theories of Theodor Adorno, Roland Barthes, Pierre Bourdieu, Terry Eagleton and Jürgen Habermas. The research sheds light on the writer’s struggle to maintain a balance between gainful employment and creativity while negotiating the complex power relations that affect their literary output and their socio-cultural relations with patron and public.
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Kreyer, Rolf. "Inversion in modern written English syntactic complexity, information status and the creative writer." Tübingen Narr, 2006. http://deposit.ddb.de/cgi-bin/dokserv?id=2778049&prov=M&dok_var=1&dok_ext=htm.
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Lee, Gi Peel Social Sciences & International Studies Faculty of Arts & Social Sciences UNSW. "The ontology of the creative writer and reader: Sartre, Barthes, and Bachelard." Awarded By:University of New South Wales. Social Sciences & International Studies, 2009. http://handle.unsw.edu.au/1959.4/44474.
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The aim of this thesis is to discuss ontological experiences of the writer and reader of literature. It argues that literary creation entails an experience of a state of being where the distance of ??my?? being/speaking and (an)other??s disappears: hence the total union of a being with (an)other. It suggests that this state of being created in the course of literary creation is also significant for everyday life. It analyses the texts of three theorists who addressed this issue: Sartre, Barthes, and Bachelard. Whilst Sartre speaks nothing about a state of being of the creative writer in relation to inspirational otherness, he suggests the change of the writer into a free being, in relation to the reader. Sartre holds that the reader, while becoming a free being, and revealing another (the writer)??s freedom, transforms what s/he is not into his or her own in reading-creation. This implies that in reading-creation, the distance of a being and another disappears. Barthes asserts that in writing the death of the ??author-person?? as an original creator is needed; this means that, for him, writers write finding no distance between themselves and language, which is what speaks itself. Although readers create as ??subject??, Barthes holds, they may find no distance between their being and the text, losing their subjectivity. Bachelard suggests that the poetic dreamer (as both the writer and reader of poetry) experiences a state of being in which neither subjectivity nor object is sensed. In this state, he holds, the speaking of (an)other becomes the speaking of the poetic dreamer. This poetic dreaming state which involves the complete harmony between a dreaming being and other being(s) is termed by Bachelard childhood. He suggests that childhood is permanent and subsistent as an archetypal state of mind and bears witness to the childhood of humankind. As the Bachelardian sense of childhood denotes an ultimate harmonia involving the liberation from the ??prison of self??, it carries significant implications for everyday life.
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Olson, Ted. "Behind the Scenes with Appalachian Writer James Still." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/1186.
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Excerpt: In the final few years of his life—he died at 94 on April 28, 2001—James Still had many friends, most of them much younger than he was since he had outlived most of his contemporaries. I was one of Mr. Still’s younger, and certainly one of his newest, friends.
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Mallett, Oliver James Ian. "Re-Writing The City: The Value Of Psychoanalytic Perspectives To The Creative Writer." Thesis, University of Leeds, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.485973.
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This research uses creative practice to explore the value of a psychoanalytic approach to the city for the creative writer. The thesis is composed of a novel about the city of Leeds and a critical commentary, the combination of which examines the impact of specific psychoanalytic ideas OJ:l the creative writing process. I have used Pile's (1996) psychoanalytic reappraisal of city studies together with the semiotic theorie~ of Barthes (1997) to develop a new approach to the function of cities in literature. I have explored the ways in which the creative writer can research the city through methods that I have termed 'analytical' and 'dialectical' and the ways it can be written about in a 'top-down' or 'bottom-up' approach. I suggest a form of 'creative urban semiology' which encourages the creative writer to engage imaginatively with the city as a textual source and, ul~mately, as a character in its own right. Individuals act out their fears and desires across the city and it acts upon them, principally through inferring power relations and status but also by the association of more subtle significations. The research has found that an appreciation of psychoanalytic ideas about the city, viewed in semiotic terms and in relation to the individual, is of value to the creative writer. Psychoanalysis provides useful approaches to the representation of the city in literature and a more nuanced form of description capable of a broad range of expression.
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Bracey, Maggie. "Confidence, the Image of the Writer, and Digital Literacies: Exploring Writing Self-Efficacy in the College Classroom." TopSCHOLAR®, 2012. http://digitalcommons.wku.edu/theses/1154.
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Self-efficacy plays a major role in the way we perceive our abilities to complete challenging tasks and goals. With Albert Bandura’s theories of self-efficacy as its theoretical foundation, this thesis explores the ways Bandura’s theories apply to writing instruction and how specific cultural forces help shape the way students view their identities as writers. This study gives a focused and detailed explanation of the role writing self-efficacy occupies in education and composition theory, as well as the factors affecting a person’s perceived writing efficacy. Additionally, the relationship between self-efficacy and new literacy (Lankshear and Knobel), a term used for twenty-first century forms of digital composition that differ from traditional print literacy, is established and theoretical suggestions made regarding how teachers can incorporate new literacies into writing instruction to promote positive writing self-efficacy. The final chapter defines the image of the writer and the scene of writing (Brodkey), and the ways these beliefs and stereotypes affect the confidence and self-efficacy of student writers. With the image of the writer as inspiration, the study concludes by conducting a survey administered to 109 first-year composition students regarding their personal views on what attributes make a good writer and good writing. This study does not set out to establish concrete, overarching conclusions regarding self-efficacy, digital literacies, and the image of the writer; instead, it creates new points for further inquiry and encourages teachers to seek out different ways of fostering positive self-efficacy within writing instruction.
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Thompson, Blaire Evan. "A Revolutionary Patience: The Life of a Writer." Malone University Undergraduate Honors Program / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ma1430998273.
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Spiro, Jane Roberta. "How I have arrived at a notion of knowledge transformation, through understanding the story of myself as creative writer, creative educator, creative manager, and educational researcher." Thesis, University of Bath, 2008. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.487494.
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My aim in this thesis is to tell the story/stories of how I arrived at a living theory of creativity which I shall call ‘knowledge transformation’. I explore this theory through ‘story’ as a methodology that connects both the creative writer and action researcher, and raises questions about self, reflective process and voice that are central to my enquiry. In telling these stories, I ask the question: what does it mean to be creative, as a writer, an educator and a manager? Is the nature of creativity transferable across each of these roles? How has this knowledge improved my practice as an educator? My examination leads to a theory of learning called ‘knowledge transformation’, which suggests that deep learning leads to change of both the learner and what is learnt. My premise is that ‘knowledge transformation’ involves the capacity to respond to challenge, self and other, and is central to the notion of creativity. I consider how far this capacity can be transferable, teachable and measurable in educational contexts, arriving at a notion of ‘scaffolded creativity’ which is demonstrated through practice in the higher academy. My journey towards and with this theory draws on my experience of four personae, the creative writer in and outside the academy, and the educator, team leader, and researcher within it; and explores the strategies and issues raised by bringing these roles and intelligences together. This theory of ‘knowledge transformation’ represents an aspirational contribution to our understanding of what it means to be ‘creative’. It explores how educational objectives can lead to deep learning and positive change. It also explores how values can be clarified in the course of their emergence and formed into living standards of judgment.
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Stark, Donna Wakeland. "Supporting the emergent writer in grade 1." CSUSB ScholarWorks, 1996. https://scholarworks.lib.csusb.edu/etd-project/992.
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Brook, Simon Richard. "Industrial playwriting : forms, strategies, and methods for creative production." Queensland University of Technology, 2009. http://eprints.qut.edu.au/30137/.
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This study, in its exploration of the attached play scripts and their method of development, evaluates the forms, strategies, and methods of an organised model of formalised playwriting. Through the examination, reflection and reaction to a perceived crisis in playwriting in the Australian theatre sector, the notion of Industrial Playwriting is arrived at: a practice whereby plays are designed and constructed, and where the process of writing becomes central to the efficient creation of new work and the improvement of the writer’s skill and knowledge base.
Using a practice-led methodology and action research the study examines a system of play construction appropriate to and addressing the challenges of the contemporary Australian theatre sector. Specifically, using the action research methodology known as design-based research a conceptual framework was constructed to form the basis of the notion of Industrial Playwriting. From this two plays were constructed using a case study method and the process recorded and used to create a practical, step-by-step system of Industrial Playwriting. In the creative practice of manufacturing a single authored play, and then a group-devised play, Industrial Playwriting was tested and found to also offer a valid alternative approach to playwriting in the training of new and even emerging playwrights. Finally, it offered insight into how Industrial Playwriting could be used to greatly facilitate theatre companies’ ongoing need to have access to new writers and new Australian works, and how it might form the basis of a cost effective writer development model. This study of the methods of formalised writing as a means to confront some of the challenges of the Australian theatre sector, the practice of playwriting and the history associated with it, makes an original and important contribution to contemporary playwriting practice.
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Lambie, Eileen. "A phenomenological explication of the artistic creative experience of a painter, a writer and a playwright." Thesis, Rhodes University, 1988. http://hdl.handle.net/10962/d1004605.
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The aim of the thesis was to explore two focus questions using the phenomenological approach. Firstly, what it meant to be an artist for three particular artists; a painter, a writer and a playwright. Secondly, what a general explicitation (after Van Kaam, 1958) of the three subjects' artistic creative experience and working processes revealed in essence. The taped data of the three artists were reduced and explored through a number of phenomenological strategies. This led to the formulation of four essential descriptions for each artist, which were based structurally on Van den Berg's experiential categories in A Different Existence. Thus, the essential descriptions reflect each artist's relationship with his/her world, body, fellow people and time. The final step was the achievement of a general extended description. The major conclusion arising from the phenomenological explication is that art affords a way through which artists are able to live an authentic existence. That is, the body and world of the artist are in harmony and the artist's art roots him in the past, is manifest in the present and indicates the future direction of his work. Another conclusion is that the artist is Janus-faced and this enables him/her to balance subjectivity and objectivity in the Lebenswelt and to communicate what he/she sees to others in a healthy way through art. The artist's relationship with world, body, fellow people and with time, is postulated as being qualitatively richer than that of the nonartist. The two focus questions were successfully answered through the research explication and were validated by two independent judges. The viability of the phenomenological approach in the field of artistic creativity was therefore demonstrated. Suggestions for future research were made, one of which was that more phenomenological research aimed at eliciting specific information on the creation of art works might render more information on the artistic creative process.
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Jasani, Javed. "The Fullerton Tapes." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/cmc_theses/572.
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Fingerson, Andrea J. "Proficiency." CSUSB ScholarWorks, 2014. https://scholarworks.lib.csusb.edu/etd/51.
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As a child of God I know that every single human being was created by a loving Heavenly Father and that each of us has a purpose to fulfill during our lifetime. Part of my individual purpose is to share myself and my testimony of the gospel with others through the medium of the written word. My life, like yours, is a unique composition that requires a consistent and mindful application of agency to direct and edit its progress. I have made use of my agency as I have maneuvered the many conflicts and plot twists that I have faced during my lifetime. Learning about and embracing the importance of creative writing in my life is the result of the choices I have made along the way. As you read this work, this statement of purpose, you will learn about the moments in my life that have led me to this page. They have included trials, celebrations, and resolutions that have redirected my journey until I reached this chapter of my life to became the person I am today: a daughter of God, a daughter of man, a sister, an aunt, a teacher, and, most recently, a writer.
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Eroche, Samantha. "Beacon." ScholarWorks@UNO, 2017. http://scholarworks.uno.edu/honors_theses/85.
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Beacon is a short, relatively low production value screenplay about two people coming to know each other better, about them coming to know themselves better and to grow as human beings. When Kate Clarence realizes she’s discovered the journal of her favorite pen-named author from childhood—“C. Rimes”—she embarks on a journey to return it to him, whoever he is. She’s delinquent on her rent, her bookshop’s failing, she’s far from her landlocked Midwest home and family, and she’s single; the obligation to return the journal is a welcomed adventure and reprieve. However, when she comes to the conclusion that C. Rimes meant for her to find the journal because he’s in love with her and wants to reveal who he is to the world, the situation gets complicated. A lighthouse on the coast of Maine will beckon her to a special meeting with the mysterious C. Rimes and serve as her guiding light while she gropes through the dark to find him—and who he is.
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Charalambous, Zoe. "A Lacanian study of the effects of creative writing exercises : writing fantasies and the constitution of writer subjectivity." Thesis, University College London (University of London), 2014. http://discovery.ucl.ac.uk/10021663/.
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This thesis explores the effects of Creative Writing exercises on student writer subjectivities. It explores the hypothesis that an encounter with enigmatic Creative Writing exercises can facilitate a shift in students’ relation to their writing, or their writer subjectivity. The study used a methodology informed by Lacanian psychoanalytic ideas. Data was generated through an “experiment” course: an intervention of six sessions especially for this research with five volunteer participants, Creative Writing students from a UK higher institution. In addition, free--‐associative one--‐to--‐one interviews were carried out before and after the intervention. Lacanian theory informed the attempt to maintain ambiguity in both the exercises and in the researcher’s enigmatic stance throughout the intervention. The analysis proposes the concept of writing fantasy as a formalized structure that orients a writer’s spoken and written discourse about her writing. Using the (emergent) structure of fantasy in the participants’ texts and interviews, the analysis chapters explore the participants’ writing fantasies and how the research project shifted or added to their fantasy, thus affecting the structure of their writer subjectivity. The outcome of the analysis suggests that writing fantasies can be shifted, at least momentarily, through the exercises. The analysis, however, also indicates that fantasies do not shift easily; the interpretation of the setting and/or the exercises’ instructions as threatening to a participant’s writer subjectivity seemed to impede the shift. The design of the research with pre and post interviews and an intervention aimed at disrupting or shifting fantasmatic attachments constitutes an approach to exploring fantasy that has not previously been explored in the field of Psychosocial Studies. The thesis also constitutes an original contribution to the field of Creative Writing Studies in the way it conceptualizes learning in relation to the inherent assumptions in writer--‐students’ spoken and written discourse. More specifically, it provides an initial knowledge--‐base for the pedagogical and psychosocial function of Creative Writing exercises used in Creative Writing pedagogy.
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Charalambous, Zoe. "A lacanian study of the effects of creative writing exercise : writing fantasies and the constitution of writer subjectivity." Thesis, UCL Institute of Education (IOE), 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.643052.
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MacRobert, Marguerite. "How creative writers write : interviews with successful publishing writers." Thesis, Stellenbosch : University of Stellenbosch, 2010. http://hdl.handle.net/10019.1/5224.
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Thesis (MA (English))--University of Stellenbosch, 2010.<br>ENGLISH ABSTRACT: This thesis describes a qualitative investigation of the creative writing processes of
successful publishing authors in the South African context. Four successful South
African authors of fiction were interviewed with the intention of garnering current,
local insights into the creative writing process in order to nuance this field of
knowledge and to challenge reductive, undynamic ways of thinking about it. What
these creative writers say about their writing processes is discussed in the context of
previous empirical research on the writing process and the creative process in the
related fields of composition studies and psychology. The resulting theoretical
paradigm for the study was a flexible, recursive cognitive process model of the
writing process within the context of a particular domain and field, in opposition to a
stage model of writing or models of writing that are devoid of social and affective
context.
Interviews with Margie Orford, Imraan Coovadia, Lesley Beake and John van de Ruit
investigated how expert creative writers work in the South African context and
explored contributing factors to the writing process, from initial inspiration or
origination of ideas through to submission of completed manuscripts for publication.
The creative writers in question are experienced authors who have published more
than once as the intention was to discover what successful or established authors of
literary fiction do, with an eye to making a contribution to current international
attempts at theorising the field of creative writing. The results of this research
indicated clear support for most of the combined underlying theories and hypotheses
discussed in the literature study, with an indication of some areas that required further
refining and research, such as the impact of situational variables on the writing
process. Finally some suggestions are made as to how the theoretical models might be
improved through combination and comparison with one another and with more
extensive empirical research, and some of the implications of this research for
creative writing pedagogy and the development of novice writers are explored.<br>AFRIKAANSE OPSOMMING: Hierdie tesis beskryf ’n kwalitatiewe ondersoek van die kreatiewe skryfprosesse van
suksesvolle gepubliseerde outeurs in die Suid-Afrikaanse konteks. Onderhoude is met
vier suksesvolle fiksieskrywers gevoer met die doel om hedendaagse, plaaslike insig
in die kreatiewe skryfproses te verkry ten einde hierdie kennisgebied te nuanseer en
reduserende, ondinamiese denke daaroor aan te veg. Hierdie kreatiewe skrywers se
beskrywing van hul skryfproses word bespreek teen die agtergrond van vorige
empiriese navorsing oor die skryfproses en die kreatiewe proses in die verwante
gebiede van stylstudies en sielkunde. Die teoretiese paradigma vir die studie wat
hieruit gespruit het, was ’n buigsame, rekursiewe kognitiewe prosesmodel van die
skryfproses in die konteks van ’n spesifieke domein en gebied, in teenstelling met ’n
faseskryfmodel of skryfmodelle sonder enige maatskaplike en affektiewe konteks.
Deur middel van onderhoude met Margie Orford, Imraan Coovadia, Lesley Beake en
John van de Ruit is ondersoek hoe ervare kreatiewe skrywers in die Suid-Afrikaanse
konteks werk, en faktore wat tot die skryfproses bydra, is ondersoek. Sodanige proses
strek van aanvanklike inspirasie of die oorsprong van idees tot die inlewering van
voltooide manuskripte vir publikasie. Die betrokke kreatiewe skrywers is bedrewe
outeurs wat reeds meer as een keer gepubliseer het, aangesien die voorneme was om
uit te vind hoe suksesvolle of gevestigde outeurs te werk gaan met die oog daarop om
’n bydrae te maak tot huidige internasionale pogings om die gebied van kreatiewe
skryfwerk te teoretiseer. Die resultate van hierdie studie toon duidelike ondersteuning
vir die meeste van die gekombineerde onderliggende teorieë en hipoteses wat in die
literatuurstudie bespreek is, alhoewel daar ’n aanduiding is dat sommige gebiede
verdere verfyning en navorsing verg, byvoorbeeld die impak van situasionele
veranderlikes op die skryfproses. Laastens word enkele aanbevelings gemaak oor hoe
die teoretiese modelle verbeter kan word deur kombinasie en vergelyking met ander
modelle en deur meer omvattende empiriese navorsing, en die implikasies van hierdie
navorsing vir die pedagogie van kreatiewe skryfwerk en die ontwikkeling van
amateurskrywers word ook ondersoek.
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Klaebe, Helen Grace. "Sharing stories : problems and potentials of oral history and digital storytelling and the writer/producer's role in constructing a public place." Queensland University of Technology, 2006. http://eprints.qut.edu.au/16364/.
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The Kelvin Grove Urban Village (KGUV) is a 16-hectare urban renewal redevelopment project of the Queensland Department of Housing and the
Queensland University of Technology (QUT). Over the last century, the land has housed military and educational institutions that have shaped Brisbane and Queensland. These groups each have their own history. Collectively their stories represented an opportunity to build a multi-art form public history project, consisting of a creative non-fiction historical manuscript and a collection of digital stories (employing oral history and digital storytelling techniques in particular) to construct a personal sense of place, identity and history. This exegesis examines the processes used and difficulties faced by the writer/producer of the public history; including consideration of the artistic selection involved, and consequent assembly of the material. The research findings clearly show that: giving contributors access to the technology required to produce their own digital stories in a public history does not automatically equate to total participatory inclusion; the writer/producer can work with the public as an active, collaborative team to produce shared historically significant works for the public they represent; and the role of the public historian is that of a valuable broker--in actively seeking to maximize inclusiveness of vulnerable members of the community and by producing a selection of multi-art form works with the public that includes new media.
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Tetschner, Ben. "The story of a writer : a study of the creation and maintenance of a writer's identity /." free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p1422970.
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Bohanan, Ronal L. ""This Fundamental Lack": Stories." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862808/.
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This short story collection includes five original works of fiction, three of which make up a trilogy titled "The World Drops Beneath You," which follows the life of James McClellan from 1969 in Texas until roughly 2009, when he is struggling to care for his wife, who suffers from Alzheimer's disease. One of the two remaining stories, "She Loved Him When He Looked Like Elvis," prominently features James McClellan's parents and is set approximately eight years before the start of the trilogy. Each of the stories is concerned with blue-collar families trying to make their way in postindustrial America and the forces that buffet them, including some brought on by the choices they make.
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Zhao, Yan. "L2 creative writers : identities and writing processes." Thesis, University of Warwick, 2011. http://wrap.warwick.ac.uk/45919/.
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L2 creative writing research is a relatively unchartered area. Pedagogical discussions on L2 creative writing activities often focus on manifestations of L2 learners' language learning, writing improvement, or expressions of emotion. There is a lack of research investigating the underlying identities of L2 creative writers as social agents. The present research targets the L2 creative writers who are interested and experienced in certain forms of creative writing. It investigates if and how L2 creative writers' emergent identities enacted in their online cognitive writing activities under particular tasks are mediated by the writers' 'autobiographical identities' (Clark and Ivanič, 1997) rooted in their life histories. Fifteen L2 creative writers from diverse sociocultural and academic backgrounds participated in the research. Firstly, the participants' 'autobiographical identities' were explored through eliciting their retrospective life-history accounts in in-depth interviews. Secondly, the research implemented two think-aloud story-writing sessions (Autobiographical writing & Prompted story-continuation writing) to capture the writers' emergent identities instantiated in their cognitive writing processes. Subsequently, the interconnectedness between these two types of identities was sought. Two parallel data analyses were conducted: 1) quantitative data coding targeting all fifteen L2 creative writers and 2) qualitative discussions concentrating on five selected focal participants. These two levels of analyses together show that the participants' cognitive writing processes as evinced through their engagement in these creative writing activities (i.e. their task-situated emergent identities) are mediated by the writers’ previous participation in multiple discourses and social worlds up to the moment of writing (i.e. their autobiographical identities formed throughout their life histories). The findings suggest certain directions for theory development in L2 creative writing research as well as in L2 writer identity research. Regarding L2 creative writing research, L2 teachers' practice could be enhanced by a deeper understanding of how creative writing is employed by L2 individuals not only for language or literacy acquisition purposes, but also as a self-empowering tool to achieve particular social positioning. Secondly, regarding L2 writer identity research, more research needs to be done regarding this micro and dynamic view of writer identity which resides in the movements of the writers' emerging thoughts situated in an immediate creative writing context and mediated by the writers' previous sociocultural experiences.
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Cassorla, Leah F. "Tutor attitudes toward tutoring creative writers in writing centers." [Tampa, Fla.] : University of South Florida, 2004. http://purl.fcla.edu/fcla/etd/SFE0000404.
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Duffey, Suellynn Kay. "Basic writers : case studies of revision and concept formation." The Ohio State University, 1987. http://rave.ohiolink.edu/etdc/view?acc_num=osu1287431711.
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Murray, Alison Elaine. "The emergence of women's creative identity through narrative construction." Thesis, Boston University, 2002. https://hdl.handle.net/2144/33529.
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Thesis (Ed.D.)--Boston University<br>PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.<br>This dissertation investigated whether women's traditional work, that is, the work of nurturing others, could rightly be classified as a form of creative expression. This was achieved through a theoretical analysis of the concept of creativity and a qualitative study of Virginia Woolf's creative identity as articulated in her female character, Clarissa Dalloway, in her novel, Mrs. Dalloway (1925/1993) and coeval diary entries (1978, 1980). Five historical epochs were identified in the history of the concept of creativity, which were thematically determined, including, 1) ancient philosophies, 2) philosophies of the 4th to 15th centuries, 3) philosophies of the 16th to 18th centuries, 4) philosophies of the 19th century, and, finally, 5) philosophies of the 20th century. Whereas men's evolving conceptualizations of creativity were largely categorical, and appeared to value rationalism, individualism, control, mastery, and even superiority, women's generated systems of thought were more characteristically integrative, systemic, practical, and intent on the interpersonal. The study of Virginia Woolf's narrative revealed the same. In the process of writing her novel, Mrs. Dalloway (1925/1993), Woolf and her character, Clarissa Dalloway, were simultaneously recreated. Both of these women's creative identities, in fact, were inherently relational, as opposed to individualistic and isolated-a creative identity that is consistent with traditional models of men's development. Findings revealed from both the theoretical study of the concept of creativity and Virginia Woolfs creativity identity were used to construct a more universal theory of creativity that acknowledged the developmental strengths of both men and women. Additionally, findings were discussed relative to optimism, the narrative construction of a woman's creative identity, and education.<br>2031-01-01
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Lee, Jenny V. "Representations of writers as public intellectuals : Jean-Paul Sartre, Nadine Gordimer, Gao Xingjian and Pablo Neruda." Master's thesis, University of Cape Town, 2003. http://hdl.handle.net/11427/11245.
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This thesis takes as its subject the various public roles and representations of writers, using Said's 1993 Reith lectures on the subject of the intellectual as a starting point. The main questions raised are how writers, in various political and historical contexts, have functioned as public intellectuals, and how they have negotiated the tensions between their various private and public commitments and responsibilities, whether artistic, social, or political. To gain insight into these issues, this thesis turns to the essays, memoirs and lectures of Jean-Paul Sartre, Nadine Gordimer, Pablo Neruda and Gao Xingjian.
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Olthouse, Jill M. "Talented Young Writers' Relationships with Writing." University of Toledo / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=toledo1289939724.
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Wilkinson, Margaret. "Exhumation : how creative writers use and develop material from an archive." Thesis, University of Newcastle upon Tyne, 2016. http://hdl.handle.net/10443/3531.
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This thesis is composed of five original creative pieces of previously published, commissioned, performed or broadcast drama for stage and radio and a critical component investigating the creative writer in the archive. All of the previously published creative pieces have been developed with archival research but I have never before used an archive as a starting point for the creation of a drama. The critical component looks specifically at my experiences researching and developing a radio drama from the archive of the Stannington Children’s Sanatorium, Morpeth, the first children’s tuberculosis hospital in the UK, 1907-1953, as my starting point. In this critical section of the thesis I investigate and interrogate archival theory in relation to creative writing and explore the writer’s occasionally uncomfortable, ultimately valuable, involvement with documents (actual and electronic), archivists, and libraries. This critical inquiry goes on to investigate the writer as collector; the specific items the writer may collect from the archive and how working in the archive presents the writer with a conflict, tension, and paradox which can be valuable in the development of creative work. As an addendum I include two plans, or working synopses, for future dramas based on excavations in the Stannington archive.
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Robinson, Owen. "Creating Yoknapatawpha : readers and writers in Faulkner's fiction." Thesis, University of Essex, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.390960.
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Walker, Ginger. "'The Writing Writes Itself': Deleuzian Desire and the Creative Writing MFA Degree." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4721.
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This post-qualitative inquiry project investigated subjectivity (sense of self) among graduates of creative writing Master of Fine Arts (MFA) programs. The project asked how subjectivity is involved in the creative writing process and how that process fuels further writing after a creative piece (such as the MFA thesis) is completed. A post-qualitative, thinking-with-theory approach was used to explore the role of subjectivity among four anonymous graduates of creative writing MFA programs who provided writing samples describing their creative writing processes. Following the thinking-with-theory approach, the data were analyzed using Deleuze and Guattari’s theory of productive desire. Study findings are presented in two formats. First, a traditional, qualitative presentation of findings describes how unconscious desires develop a beneficial weakening of subjectivity that may encourage creative writers to continue writing after completion of the MFA degree. Next, further findings are presented via a nonlinear, rhizomatic data assemblage. The project concludes with recommendations for the use of Deleuzian productive desire as a pedagogical framework in graduate-level creative writing courses, as well as a call for the consideration of post-qualitative research methods in the field of education.
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Klaebe, Helen Grace. "Creative work: Onward bound: The first fifty years of Outward Bound Australia and Exegesis written component: Creatively writing historical non fiction." Queensland University of Technology, 2004. http://eprints.qut.edu.au/16296/.
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Onward Bound: -- the first 50 years of Outward Bound Australia traces the founding and development of this unique, Australian, non-profit, non-government organisation from its earnest beginnings to its formidable position today where it attracts some 5,000 participants a year to its courses.
The project included interviewing hundreds of people and scouring archives and public records to piece together a picture of how and why Outward Bound Australia (OBA) developed -- recording its challenges and achievements along the way.
A mediated oral history approach was used among past and present OBA founders, staff and participants, to gather stories about their history. This use of oral history (in a historical book) was a way of cementing the known recorded facts and adding colour to the formal historical outline, while also giving credence to the text through the use of 'real' people's stories.
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Spears, Sara Marie. "The criterion-related validity of curriculum-based measurement in written expression across education levels." Online version, 2002. http://www.uwstout.edu/lib/thesis/2002/2002spearss.pdf.
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Fennick, Ruth McLennan Fortune Ron. "The creative processes of prose-fiction writers what they suggest for teaching composition /." Normal, Ill. Illinois State University, 1991. http://wwwlib.umi.com/cr/ilstu/fullcit?p9203044.
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Thesis (D.A.)--Illinois State University,<br>Title from title page screen, viewed December 19, 2005. Dissertation Committee: Ronald Fortune (chair), Janice Neuleib, Ray Lewis White, Elizabeth McMahan, Russell Rutter. Includes bibliographical references (leaves 441-479) and abstract. Also available in print.
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Dulaney, Laura Jaques. "Fault Lines." Thesis, Virginia Tech, 2008. http://hdl.handle.net/10919/42110.
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Fault Lines is a collection of nine stories that explore the themes of otherness, isolation, and transitions. In most of these stories I explore the concept of isolation in its many forms— emotional, physical, social, and spiritual. Many of my characters are people who have been "othered" for one reason or another, and many of them are people on the cusp, not only of society but also their own lives. I also explore characters who are on the verge of transition, either staring one down with fear and denial, moving hesitantly and trepidatiously toward one, or, in rare instances, jumping gleefully toward that next big moment in their lives. Many of my characters yearn for something to transcend their ordinary, material lives, whether through a spiritual encounter or simply an ordinary yet unusual one. Some of these characters are stuck in the mire of their current lives, and we see an uncomfortable mix of lethargy and longing. Primarily, I explore exactly what catalysts people require in order to move from a state which, though unsatisfying, might be comfortable, to one that is unknown and risky but potentially fulfilling. The title of the collection refers to those moments or events in one's life that indicate or cause shifts or transitions, whether mental, physical, or emotional.<br>Master of Fine Arts
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Payne, Rachel Page. "Baumrind's Authoritative Parenting Style: A Model for Creating Autonomous Writers." BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3518.
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Though Quintilian introduced the term in loco parentis in his Institutio Oratoria by suggesting that teachers think of themselves as parents of a student's mind, composition scholars have let parenting as a metaphor for teaching fall by the wayside in recent discussions of classroom authority. Podis and Podis have recently revived the term, though, and investigated the ways writing teachers enact Lakoff's "Strict Father" and "Nurturing Mother" authority models. Unfortunately, their treatment of these two opposite authority styles reduces classroom authority styles to a mutually exclusive binary of two less than satisfactory options. I propose clinical and developmental psychologist Diana Baumrind's taxonomy of parenting styles as the ideal way to reform our thinking as a field about the authority model we should adopt in our writing classrooms. While Baumrind includes the inferior models Podis and Podis work from in her authoritarian and permissive parenting styles, she found that the authoritative style, which is both strict and nurturing, promises the best results for parenting children: autonomy and academic achievement. By applying her descriptions of authoritative parents and the outcomes for their children to the practices of composition instructors and their students, I reveal how useful Baumrind's taxonomy of parenting styles could be for a field that often uses nuanced terms for authority without either clearly defining them or backing claims with replicable, aggregable, data-driven (RAD) research. If our field chooses to adopt Baumrind's terminology and definitions, then, we will be able to communicate about classroom authority in terms anchored in a coherent paradigm and garner more respect for our field as we probe the outcomes of Baumrind's authoritative parenting style as a college composition teaching style through our own empirical research.
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McGrath, Fiona. "The new women writers : creating feminist literary voices and identities." Thesis, Ulster University, 2016. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.706465.
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This thesis examines the work of a group of prolific New Woman writers of the fin-de-siecle. Mona Caird, George Egerton, Charlotte Perkins Gilman, Sarah Grand, Menie Muriel Dowie and Netta Syrett made a dramatic impact on their Anglo-American reading publics, both for their daring fiction and for their non-fiction prose, which rased issues of eugenics, education, employment, gender roles, marriage and female sexuality. Yet these prominent women were all but forgotten by the early decades of the twentieth century. Such rapid demise of New Woman fiction is often taken as evidence of its aesthetic limitations: for some critics this writing, while important for breaking a literary silence, is ultimately didactic andmonological, with only one story to tell - female oppression. A closer reading of these texts, however, reveals a number of complex narrative strategies at work, some of which participate in the non-verbal or pre-verbal aspects of communication. Specifically, the semiotic theory of Julia Kristeva can help to deepen the critical conversation about these writers and illuminate the tensions involved in identity formation. In the Introduction I pay attention to the notion of Language as a gendered construct, highlighting the difficulty facing women writers in the construction o f a female literary identity and voice. Chapters One to Four examine the musicality of language; the hysterical mother’s voice; fashion as language; gardens and wild spaces as discourse. Chapter Five analyses how collective female experiences and speech manifest in New Woman narratives as a dialogic semi-autobiographical voice.
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Lewis, Abby N. "A Poetic Ethnodrama: Discussing the Impact of the Pressure to Publish on Creative Writers' Production." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/etd/3690.
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This study examines the presence of the pressure to publish while in college as an undergraduate or graduate student, and the impact that pressure has on students’ ability to produce creative work. After interviewing participants, the researcher created an ethnodrama to best represent participants’ emotions and unique experiences with publishing while in school. An examination of the literature reveals that master’s-level students are often overlooked in scholarly research on the subject of publishing. This study uses a qualitative research method to identify key emotional experiences from students at the master’s and undergraduate level in the hopes of providing a platform for these marginalized voices.
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Parv, Valerie. "Healing writes : restoring the authorial self through creative practice : and Birthright, a speculative fiction novel." Queensland University of Technology, 2007. http://eprints.qut.edu.au/16646/.
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Writing the speculative fiction novel, Birthright, and this accompanying exegesis, led me to challenge the validity of the disclaimer usually found in the front matter of most novels that the story is purely imaginary, bears no relationship to reality, with the characters not being inspired by anyone known or unknown to the author. For the first time in my career, I began to consider how writers including myself might frequently revisit themes and ideas which resonate with our lived experiences. I call this restorying, an unconscious process whereby aspects of one's life history are rewritten through one's creative work to achieve a more satisfactory result. Through personal contact, studying authors' accounts of their creative practices, and surveying current literature on narrative therapy, a case is made that, far from being generated purely from imagination, writers' creative choices are driven by an unconscious need to restory ourselves.
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Kotsovolos, Nastasia. "Creating the female/female creators: Pope, women writers and "The Dunciad"." Thesis, University of Ottawa (Canada), 1996. http://hdl.handle.net/10393/10001.
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This thesis examines the transformation of gender identity in the early eighteenth century; it demonstrates the ways in which the entry of women into print culture destabilized traditional gender norms; and it demonstrates the effect of such changes upon the life and poetry of Alexander Pope. The first chapter, which is mainly historical, contextualizes women's participation in print culture. It describes how their presence in print signified gender as an artificial or socially constructed category (as opposed to traditional notions of it as absolute and essential). The second chapter surveys various poetry and correspondence of Alexander Pope in order to demonstrate the difficulties and anxieties experienced by Pope as he attempts to deal with fluctuating gender codes of the day. He requires a stable notion of the private feminine Other in order to establish his masculine and public self, yet it is shown that Pope is inexorably linked with the feminine Other from which he endeavours to distance himself; thereby, he unwittingly contributes to the slippage of these terms. The third chapter ties together all the issues discussed in the previous two chapters through a close reading of The Dunciad. Pope's anxiety about gender identity is revealed: he represents his culture, especially literary culture, as having fallen into "feminization" because it has ostensibly rejected masculine values in preference to feminine ones. The reign of Queen Dulness engenders the conditions whereby the body has enslaved the mind, madness has overpowered reason and empty rhetoric has replaced meaningful language. Although Pope attempts to distance himself from all that he represents as corrupt and effeminate in The Dunciad, he is, nevertheless, implicated in the perversion of the very patriarchal systems which he is attempting to uphold. (Abstract shortened by UMI.)
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Poindexter, Wanda 1946. "Creative imitation: An option for teaching writing." Thesis, The University of Arizona, 1988. http://hdl.handle.net/10150/291444.
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Creative Imitation is an alternative strategy to help students improve their expository writing in college composition. It combines writing by imitation with process modeling to increase student fluency with both the products and processes of writing. For centuries, a technique of "imitatio" was used to teach oral and written language traditions. Isocrates, Quintilian, and Cicero shaped the tradition of imitating writing models. Their principles were revived in the 60s by two neo-classical educators, Corbett and D'Angelo. Objections to the principles of imitation to teach writing are analyzed: models intimidate students, imitation focuses on the products instead of the processes of writing, and imitation reduces individual creativity. Some teachers have reported success with student-centered writing-by-imitation exercises in college composition classrooms. They assert that imitation exercises increase student awareness of correct usage, grammar conventions, rhetorical strategies, and paradoxically enable students to develop an "authentic" voice in their own writing.
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Hodges, Lauren. "Write the community the effects of service-learning participation on seven university creative writing students." Doctoral diss., University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4924.
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Research in higher education service-learning suggests that there is a positive relationship between service-learning and student learning outcomes as well as a positive relationship between students' interactions with the "real world" through service-learning and the effects of these experiences on deepening students' knowledge in their disciplines. Recent studies have established this positive relationship between service-learning and university composition and literature students. However, aside from the existing literature on service-learning and composition and writing, there has been virtually no examination of the relationship between service-learning and creative writing. The purpose of this study was to investigate how seven creative writing students experienced the process of creative writing differently after engaging in service-learning in a creative writing course at a large, urban university in the southeastern United States and to determine if students experienced a transformative learning experience as indicated by Mezirow's (2000) transformational learning theory. This research study employed an instrumental narrative case study design to determine how seven university creative writing students experienced the process of creative writing differently after taking a creative writing course with an optional service-learning component. The results of the study indicated that service-learning invoked a transformative learning experience in these seven higher education creative writing students, each in different ways--some in their writing processes and writing content, some in how they reflected upon themselves and their writing in relation to the "outside world," and some in their sense of civic duty.<br>ID: 030422973; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (Ed.D.)--University of Central Florida, 2011.; Includes bibliographical references (p. 119-127).<br>Ed.D.<br>Doctorate<br>Education
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Greenstone, Harriet. "Mother writes : writing as therapy for mothers of children with special needs." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=100613.
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This study integrates the research on the social construction of motherhood as it applies to mothers of children with special needs. More specifically, it, looks at how writings by these mothers can (a) help them cope with the emotional ramifications of having such a child, (b) contribute to the knowledge base of professionals who deal with and nurture not only children with special needs but also their mothers, and (c) constitute an effective qualitative research tool.<br>The study focuses on the relationship between writing processes and products and the development of mothers' emotional states and emotional development, their self-image, self-confidence, role identity, and comfort. It investigates feelings of inadequacy, guilt, anger, and frustration, especially those engendered by good mother/bad mother social judgments, to which mothers of children with special needs are particularly vulnerable.<br>I came to this area of research organically---as a clinician, as a teacher, and as a mother of a child with special needs myself. Van Manan (1990) suggests there is no better way to understand a phenomenon than to live it. I realized I was uniquely positioned to understand, examine, and synthesize the therapeutic effects of mothers' writing, reading, and storytelling, and understand the social environment that fuels it. As a clinician and educator, I also recognized its value as a rich, yet relatively unexplored, source of knowledge.<br>In preparation for designing the study, I looked beyond peer-reviewed literature to popular literature, including diaries and autobiographies of mothers, to familiarize myself with their writings and the impact of such writings on the mothers' emotional adjustments, including their need for expression, support, and advocacy---for themselves and others.<br>The study describes the experiences of a writing group (eight participants) comprised of mothers of children with special needs. The group met weekly for ten weeks to examine and share their feelings and life stories through a series of written assignments. Common themes and individual responses to this experience were captured anecdotally throughout the sessions, as well as in pre- and post-group interviews.<br>Following a description of how the study evolved, coinciding with my personal shift from quantitative to qualitative researcher, I begin with a comprehensive review of mothering as a research area in literature, and a review of literature on the therapeutic effects of reading, writing and storytelling. I then discuss the methodology of this study with an emphasis on the literature on focus groups, memory work, narratives and writing, as well as qualitative research tools and techniques. The results of the study are presented descriptively using primarily a narrative approach, including a more detailed analysis of the experiences of four mothers who participated in the study.<br>All the mothers reported beneficial effects from their participation. They felt empowered by the experience and inspired to continue to use writing, not only for its individual therapeutic effect but also as a means to advocate and inform others. The connection between writing and advocacy was a recurrent theme that emerged from the study---a strong common desire to help others, and the recognition that writing was an effective means to accomplish the mothers' goal to have professionals understand them better, individually and as a whole, and to be more empathetic.<br>Other findings include the incongruence of thought between mothers and professionals, and the need to deepen our understanding of parent-professional interaction; and how much more impact the mothering debate has on mothers of children with special needs, particularly the stay-at-home versus working mothers' argument.<br>This study provides insight into the extensive thoughts and emotions experienced by these mothers, and furthers our understanding of themes like stages of mourning for the not-so-perfect child, and the inter-related processes of storytelling, reading, and writing. It also has implications in the field of memory work, looking at how these mothers recalled early events in the lives of their children and how they remembered their experience in the study, months after its conclusion. Finally, it discusses the implications of using therapeutic writing as a qualitative research tool.<br>The study concludes with suggestions for using writing to facilitate communication and understanding between parents and educators as well as between parents and other professionals, for their mutual benefit.
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Giffen, Robyn. "We begin to write : creating and using the first Nabit orthography." Thesis, University of British Columbia, 2015. http://hdl.handle.net/2429/53676.
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This thesis examines the role of language ideologies and agency in the development of an orthography for the Nabit language. Based on fieldwork in the Nabdam District of Ghana, it specifically explores the role of community involvement in orthography development. Approximately 40,000 people speak the Nabit language in the Nabdam District in the Upper East Region of Ghana. Through the work of Project GROW, a non-profit organization led by Vida Yakong, a community-based research project began in order to develop an orthography for Nabit in 2011. After a multi-year collaborative research project, including the development of a Nabit Language Committee, community members finalized the Nabit alphabet in 2014 at an Alphabet Design Workshop.
Developing an orthography is a complex process as there are multiple linguistic and non-linguistic factors which must be considered in the process including which languages and orthographies speakers are already familiar with, how similar or different speakers want the orthography to be from existing orthographies, and how the orthography is seen as representing the identity of the language community. This thesis considers the factors that influenced the development of the Nabit orthography by analyzing the language ideologies of Nabit speakers, which emerged in interviews and at an Alphabet Design Workshop. In particular, this research focuses on the ideologies of language and cultural endangerment, language “purity”, and how Nabit “should” be written. By examining these language ideologies and the role they had in the creation of the Nabit orthography, this thesis demonstrates that both researchers and community members need to consider non-linguistic factors as equally important and sometimes even more important, than linguistic factors in orthography development.<br>Graduate Studies, College of (Okanagan)<br>Graduate
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Hale, Julie Elizabeth. "Creating the Appalachian Woman: An Anthology of Appalachian Women Writers, 1865-1884." Digital Commons @ East Tennessee State University, 2005. https://dc.etsu.edu/etd/990.
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This anthology of nineteenth-century women’s regional fiction, written in the mode of canon revision, explores how persistent stereotypes of Appalachian women originated. These stereotypes are not merely identified but are also considered in the context of women’s studies. Works by the following six authors are included: Elizabeth Appleton, Rebecca Harding Davis, Frances Hodgson Burnett, Constance Fenimore Woolson, Sherwood Bonner, and Mary Noailles Murfree. Topics addressed include nineteenth-century women as authors, the influence of northern literary magazines on regional writing, the image of the Appalachian woman in fiction, and the critical evaluation of primary texts. Original work required for the completion of a master’s thesis comes by way of a thirty-page analytical introduction, six biographical headnote entries, and an extended bibliography of primary works by Appalachian women writers.
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Bianchi, Cristina. "(De)constructing identities: Self-creation in women writers of the Harlem Renaissance." Thesis, University of Ottawa (Canada), 2002. http://hdl.handle.net/10393/6400.
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This study examines the works of three Harlem Renaissance authors: Jessie Redmon Fauset, Nella Larsen, and Zora Neale Hurston. In this study, I explore the multiplicity of identity in four of Fauset's short stories, "Emmy" (1912--3), "Mary Elizabeth" (1919), "The Sleeper Wakes" (1920), and "Double Trouble" (1923); in Nella Larsen's novels, Quicksand (1928) and Passing (1929); and in Zora Neale Hurston's autobiographical text, Dust Tracks on a Road (1942). The variety of discursive genres here reflects the diverse construction of black female identity these works represent. More particularly, such variety parallels the multiplicity of identity itself and of the experiences of these women. The women represented in these works are all different in their ages, colours, classes, and backgrounds. This study focuses mainly on the multiplicity of positions from which any given woman may speak and construct her self. A picture of identity that is flexible, malleable, and ultimately unknowable in its entirety thus emerges. (Abstract shortened by UMI.)
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Roach, Joy Leia. "Factors affecting written business communication creation and productivity perceptions /." Available to subscribers only, 2006. http://proquest.umi.com/pqdweb?did=1147196271&sid=24&Fmt=2&clientId=1509&RQT=309&VName=PQD.
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Wolf, Jonathan T. "Liberating Blackness| African-American Prison Writers and the Creation of the Black Revolutionary." Thesis, Fordham University, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10281261.
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<p> <i>Liberating Blackness: African-American Prison Writers and the Creation of the Black Revolutionary</i> takes an in-depth look at a selection of works written by African-American writers who, in autobiographies and novels written during the Civil Rights and Black Power movements, utilized their own experiences with the carceral system to articulate revolutionary Black identities capable of resisting racial oppression. To articulate these revolutionary Black identities these authors would develop counter-narratives to three key historical discourses—scientific discourses of Black bodies, pedagogical discourses of Black minds, and political discourses of Black communities—that had, respectively, defined Black bodies and Black intellects as inferior to White bodies and White intellects, and subordinated the political interests of Black communities to White communities. These discourses would be used by state and federal agencies to justify racially disparate practices and processes of incarceration. In my first two chapters, I closely read <i> The Autobiography of Malcolm X, Soledad Brother, Assata: An Autobiography, </i> and <i>Angela Davis: An Autobiography</i> to look at how, respectively, Malcolm X, George Jackson, Assata Shakur, and Angela Davis utilize their own experiences in prison to craft counter-narratives about Black bodies and Black minds. I argue that while these counter-narratives aided readers in developing Black identities resistant to racist stereotypes, the dialectical frameworks that X and Jackson used in shaping their revolutionary subjectivities, informed by heteronormative, misogynist, and patriarchal beliefs, had the effect of (re)producing many of the practices of exclusion that justified the carceral system. In reaction, Black women prison writers, like Davis and Shakur, would utilize a dialogical model to develop a revolutionary Black female intersubjectivity based on practices of inclusivity, diversity and community. In my last chapter, I explore the novels <i>Iron City</i> by Lloyd L. Brown, and <i>House of Slammers</i> by Nathan Heard, novels written at the beginning and end of the era I review, to display how the counter-narratives put forth by all of these authors shaped the political landscape during the Civil Rights and Black Power eras. I argue that the changes in tone between these two works, from optimism to pessimism, reflect on how X and Jackson’s dialectical models encouraged the political balkanization of Civil Rights and Black Power organizations, which inhibited them from mounting as effective a resistance against the carceral state as they could have had they taken heed of Davis and Shakur’s intersubjective model.</p>
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Darbellay, Jenifer Lynne. "When I'm in it... the written component : a sculptural exploration of the creative process." Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/1590.
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Abstract
This project was in the Dorothy Somerset Studios on the University of British Columbia Campus during the week of April 14th till the 20th, 2008. I was advised by Professor Alison Green and Professor Richard Prince. The project’s title was When I’m in it… . It consisted of three groupings of sculptures set within the black box theatre space (see Illus. 1A, B and C). The Pattern Bubbles sculpture consisted of hollow tissue balls suspended from the ceiling, each containing a small and suspended object. These bubbles were suspended in a line, at different heights, and they were lit from within (see Illus. 2A and B). The entire theatre space was also lit using the lights on the grid in the theatre. A Silhouetted Cast consisted of Styrofoam cutouts shaped like dress forms covered with muslin and padding (see Illus. 3A, B and C). These cutouts were about 4ft X 2ft X 3inches. On one side I had a mixed media collage of imagery pinned to the muslin covering and on the other side were phrases stenciled right onto the muslin. These forms stood on the floor atop actual iron dress form stands. There were eight of these silhouettes, each one representing a character from a theatre production for which I had designed the costumes and the information on each one came from that experience. Costume Aprons, the final sculpture in the space, was also suspended from the ceiling. It had eight aprons made from cottons, silks and burlap hanging from a laundry carousel. The aprons were hung from the lines with silver bulldog stationary clips. I had hand-embroidered words on the aprons using embroidery threads of many different colors. In the pocket of each of the aprons was the title page from a script on blue paper (see Illus. 4A, B, C, and D). The black curtains were drawn around the square perimeter of the theatre stage, and you could still see the audience seating and the theatre booth. There was a soundtrack playing constantly within the space.
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Blake, Turnbull. "Translanguaging in Japan: Perspectives and potentials in EFL academic and creative writing." Kyoto University, 2019. http://hdl.handle.net/2433/242723.
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Kyoto University (京都大学)<br>0048<br>新制・課程博士<br>博士(人間・環境学)<br>甲第21846号<br>人博第875号<br>新制||人||210(附属図書館)<br>2018||人博||875(吉田南総合図書館)<br>京都大学大学院人間・環境学研究科共生人間学専攻<br>(主査)准教授 中森 誉之, 教授 水野 眞理, 准教授 PETERSON Mark<br>学位規則第4条第1項該当
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Kremer, Jessica M. "Creating and Negotiating Narratives: Understanding the Positionality of Hayashi Fumiko." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/819.
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Through examining the positionality of Hayashi Fumiko as well as the changing socio-political, economic and historical contexts in which she lived in, I look to better understand how Hayashi navigated through the patriarchal systems of society as a woman writer. This thesis includes a survey of the Meiji, Taisho and Showa periods as well as a comparative analysis of Hayashi's prewar, interwar and post-war works.
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Axelson, Margareta. "Sandburg och Hellsing : barnboksförfattare och modernister i sin egen tid - en jämförelse." Thesis, Umeå universitet, Institutionen för kultur- och medievetenskaper, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-122266.
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