To see the other types of publications on this topic, follow the link: Creative Writer.
Journal articles on the topic 'Creative Writer'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Creative Writer.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Nuraeni, Iin, and Fahrus Zaman Fadhly. "CREATIVE PROCESS IN FICTION WRITING OF THREE INDONESIAN WRITERS." Indonesian EFL Journal 2, no. 2 (2017): 117. http://dx.doi.org/10.25134/ieflj.v2i2.644.
Full textAbstract:
This research investigates the creative process in fiction writing employed by three writers of different writing genres: short story, novel, and poem. This study applied a qualitative method that involved one male and two female writers in Kuningan and Majalengka. The data collected from document analysis, observation, and interview were analyzed through descriptive qualitative method. The results of the analysis revealed that there were five creative processes of writing fiction used by the writers in writing fiction, namely preparation, incubation, insight, evaluation, and elaboration. Besides, it also revealed that novel writer is more creative than short story and poem writers since he uses all steps of creative process. In addition, the researcher found that there were some ways of exploring imagination in writing fiction, including drawing and deepen characters in the film or theater, making mind mapping to write, developing a shorter text, and expecting that the writing will be read by younger generation.Keywords: creative process, writing fiction, fiction writers, imagination process
2
Eng Goh, Ban, and Doreen Goh. "Developing Creative Writing Talent Through a Mentorship Program." Gifted Education International 11, no. 3 (1996): 156–59. http://dx.doi.org/10.1177/026142949601100309.
Full textAbstract:
The article examines the role of mentors in providing individual tutoring and support in the field of creative writing. Mentors are not only involved in the intellectual development of potential writers but also in their emotional development. The writer outlines a mentorship programme in Singapore.
3
Nugraha, Eggie, and Asep Priatna. "PEMBELAJARAN MENULIS PUISI BERORIENTASI MAJAS DENGAN MENGGUNAKAN METODE CREATIVE LEARNING PADA SISWA KELAS X SMA AL-HIDAYAH CIPARAY KABUPATEN BANDUNG." Didaktik : Jurnal Ilmiah PGSD STKIP Subang 2, no. 2 (2017): 169–86. http://dx.doi.org/10.36989/didaktik.v2i2.44.
Full textAbstract:
Today the development of Indonesian literature is growing rapidly. One effort to encourage the advancement of Indonesian literature is to improve the teaching of literary appreciation at every level of school. In order for students interested in learning to write poetry so as to develop creations and imagination. Based on the above background, the author is interested in conducting research on "Writing Poetry Oriented Learning Method Using Majas with Creative Learning in Class X SMA Al-Hidayah Ciparay. This study aims to determine the success of the author in implementing learning to write poetry oriented figure of speech with a method of creative learning in class X SMA Al-Hidayah Ciparay, determine the ability of class X SMA Al-Hidayah Ciparay in writing poetry oriented figure of speech with a method of creative learning and knowing ketefektipan creative learning methods used in learning to write poetry oriented figure of speech in class X SMA Al-Hidayah Ciparay. Writer formulated hypotheses are: (1) The authors were able to carry out the figure of speech-oriented learning to write poetry using creative methods of learning in class X SMA Al-Hidayah Ciparay; (2) Grade X SMA Al-Hidayah Ciparay able to write poetry using a figure of speech-oriented creative methods of learning; (3) The method of creative learning is effectively used in learning to write poetry using a figure of speech-oriented creative methods of learning in class X SMA Al-Hidayah Ciparay. Research method that writer use is quasi-experiment method with research technique of literature study, trial, test and analysis.
4
Лосева, Наталия Вениаминовна. "Y.V. KRASAVIN AND LITERARY PROCESS. SECOND HALF OF THE XX CENTURY (on the relationships of Yuri Krasavin with Fedor Abramov)." Вестник Тверского государственного университета. Серия: Филология, no. 3(66) (November 6, 2020): 242–49. http://dx.doi.org/10.26456/vtfilol/2020.3.242.
Full textAbstract:
Значимость литературного наследия Юрия Красавина обусловлена как творческой индивидуальностью писателя, так и его литературными связями с крупнейшими художниками слова своего времени. Прослеживаются генетические и типологические связи с прозаиками второй половины ХХ века. Важное значение для становления и творческого развития Юрия Красавина сыграл известный русский прозаик Ф.А. Абрамов. The significance of the literary heritage of Yuri Krasavin is based on both the creative personality of the writer and his literary connections with the greatest writers of his time. Genetic and typological connections with prose writers of the second half of the twentieth century are traced. Of great importance for the formation and creative development of Yuri Krasavin was a famous Russian prose writer F.A. Abramov.
5
Bakashova, Jyldyz K. "Problems of the interaction of reality and fiction in Russian literature in the 20s of the XX century." Philological Sciences. Scientific Essays of Higher Education, no. 1 (January 2021): 119–24. http://dx.doi.org/10.20339/phs.1-21.119.
Full textAbstract:
The article is devoted to one of the important problems of literature at the end of the nineteenth and the first half of the twentieth century — documentary artistic creation. Writers, and later filmmakers, introduce real materials into their works that create a historical narration. Writers of different creative orientations are united in their attitude to the documentary trend. The article examines the actual problem of using prototypes by Russian writers when they create works of art. The views of Russian writers on the problem of interaction between reality and fiction in their work are considered on the example of the statements of L.N. Tolstoy, N.K. Hudzia, F.M. Dostoevsky, N.V. Gogol, V.G. Belinsky, A. Serafimovich, A. Todorsky, A. Blok. Russian writers believed that artistic truth is inseparable from the truth of life, real reality is the basis that feeds art. But no less significant is the creative understanding of the facts of life. The path from the prototype to the artistic image created by the writer in the work is closely connected with the figurative vision of the world, with generalization and individualization, with the aesthetic comprehension of real facts, there is a dialectical connection between art and life. Adequate reconstruction of events presupposes their aesthetic comprehension by the writer.
6
Satybekov, Mukhtar. "THE MULTIVARIANCE OF THE LYRIC POETRY OF A.TOKOMBAEV." Alatoo Academic Studies 19, no. 3 (2019): 185–91. http://dx.doi.org/10.17015/aas.2019.193.18.
Full textAbstract:
The article describes the creative laboratory of the writer, which is one of the main problems of modern literary criticism, its theoretical and methodological aspects. First, a brief excursus on the scientific sources in which the problem of creative laboratory of the writer is investigated. And then this the problem, which is important from a scientific point of view, is revealed with the help of comparative analyses of several poems, which are the classic of Kyrgyz literature, the great poet Aaly Tokombaev's works. These analyses indicate specific features of creative writer's laboratory, a new level of the first option poems', which, by the year, reworked by the author again. Passed through the creative laboratory of the poet.
7
Taganov, Alexander N. "Howlett S. Dostoevsky, Demon of Malraux. Review." Dostoevsky and world culture. Philological journal, no. 4 (2020): 242–59. http://dx.doi.org/10.22455/2541-7894-2020-9-242-259.
Full textAbstract:
The book here reviewed is particularly important in the field of comparative studies dedicated to Dostoevsky and Malraux, since it is the first attempt to generalize and systematize the connections that unite the creative heritage of the two writers. The interest of Howlett’s book lies in the fact that the author considers Malraux from three different points of view: as a reader, literary theorist, and writer; thus, he creates an original biography of the French writer through the prism of the impact of Dostoevsky’s ideas on him and at the same time a study that allows us to understand Dostoevsky’s role in the development of French literature in the 19th and 20th centuries. Trying to define the role of Dostoevsky in Malraux’s creative development, Howlett speaks of a demonic influence of the Russian writer: Dostoevsky predetermined Malraux’s place as a novelist and literary critic and predicted his fate, being at the same time a “guardian demon” and a tempter, constantly encouraging him to ask the cursed questions of existence. Extracting from Malraux’s texts statements about the Russian author and combining them with his own reflections and observations, Howlett seems to continue and realize Malraux’s unfinished plan to write a book about Dostoevsky.
8
Venuta, Petryna. "Writing the Wrong in the ELA Classroom: The Role of Performance Through Creative Writing." LEARNing Landscapes 13, no. 1 (2020): 237–48. http://dx.doi.org/10.36510/learnland.v13i1.1017.
Full textAbstract:
Why aren’t English teachers creative writers? Why is there little to no emphasis on creative writing in ELA classes? What are the implications of popular media portrayals of the writer on students’ perception of writing? In my classroom practice, I encouraged a variety of writing styles that allowed students to grow as readers, but, more importantly, as writers. This paper attempts to understand how we can integrate creative writing with traditional academic writing, to imagine its possibilities, and to examine how we can do more of it.
9
Willings, David. "Creative Writing." Gifted Education International 5, no. 1 (1987): 24–28. http://dx.doi.org/10.1177/026142948700500105.
Full textAbstract:
The writer suggests that one can consider five modes of thinking; the non-creative or convergent modes which are defensive thinking and productive thinking and the creative or divergent modes which are adaptive thinking, elaborative thinking and developmental thinking. The author supports his argument with case studies of artistic, creative writing and gives details of a writing programme designed to identify these modes and consequently develop them.
10
Kaminskaya, Yuliya V., and Oxana A. Tolstonozhenko. "Strategies for building a professional reputation of Russian emigres and self-educated writers." Neophilology, no. 23 (2020): 512–20. http://dx.doi.org/10.20310/2587-6953-2020-6-23-512-520.
Full textAbstract:
We analyze the ways of constructing a writer's reputation in exceptional cultural conditions related to displacement of entire generations of authors to the literary process periphery and their lack of a “right to creative work”. We compare the experience of two conditionally distinguished large and heterogeneous groups – writers from the people who tried to declare themselves at the beginning of the 20th century as an independent current, and representatives of the Russian literary emigration. In addition to a number of common features (falling into the “blind zone” of generally recognized literature, internal isolation, leading to the fact that the majority of readers belong to the same environment as writer, the lack of economic benefits from publishing works), self-educated writers and emigres resorted to similar strategies for building a reputation. We find that representatives of both groups formulated a noble mission uniting them, aimed at serving na-tional literature, turned to the experience and poetics of predecessor writers to construct their own literary tradition, legitimizing their special creative path, and tried to structure their sub-field by creating associations and circles , as well as critical reflection of the current literary process.
11
Ehrle, Lisa. "Freeing the Creative Writer: An Introductory Lesson." English Journal 79, no. 3 (1990): 61. http://dx.doi.org/10.2307/819239.
Full text
12
Schulte, Ted. "Advertising Focus Emphasizes Writer as Creative Person." Journalism Educator 41, no. 4 (1986): 49–51. http://dx.doi.org/10.1177/107769588604100416.
Full text
13
Vladimirovna Smyslova, Ekaterina, and Liliya Fuatovna Khabibullina. "THE ENDERBY NOVELS BY ANTHONY BURGESS: THE ARTIST’S CONCEPT." Humanities & Social Sciences Reviews 7, no. 6 (2019): 81–84. http://dx.doi.org/10.18510/hssr.2019.7617.
Full textAbstract:
Purpose of the study: Anthony Burgess (1917 – 1993) is an English writer, author of the intellectual novels and serious musical works. Being a talented and inventive person, he was very interested in art and its creative processes. Anthony Burgess’s artistic creativity concept can be traced in many of his works about fictional and non-fictional writers
 Methodology: The article uses the analysis of the fictional world created in the novels as a means of its consideration. The image of the artist is considered from the perspective of the writer's worldview reflected in the composition and the message of his works.
 Results: The conducted analysis shows that in Anthony Burgess’s opinion the artist is a craftsman whose artistic activity is closely connected with his sexual attraction. In addition, the writer is characterized by isolation as the main condition of the creative process and the total devotion to Art.
 Applications of this study: This research can be used for the universities, teachers, and students.
 Novelty/Originality of this study: Thus, the novelty of the paper consists in its first trial to present the artist’s image thoroughly studied in the mentioned above novels. It is worthwhile mentioning that the research is conducted according to Anthony Burgess’s creative concept.
14
Keršytė, Nastazija. "Museum Commemoration Paradigms of Soviet and Soviet Times’ Writers." Bibliotheca Lituana 2 (October 25, 2012): 237–54. http://dx.doi.org/10.15388/bibllita.2012.2.15588.
Full textAbstract:
Paper evaluates museum commemoration narratives and paradigms of memory of Soviet Lithuanian writers and writers who lived in Soviet times. Evaluated historical role discourses of these writers suppose museum visualization character and leads to the establishment of or failure to set up writers’ memorial and literature museum. Activation museum visualization, communication is motivated objective writers activity and they creative assessment, prominence of international relations and contexts, and real or seeming relevance of writers at present. The Memorial Museum of writer Antanas Venclova in Vilnius transforming to the Venclovų House-Museum illustrates concepts of discourses about the writer as a Soviet and Soviet times and valuation an artist as beyond Soviet times, Soviet times, and post-soviet times.
15
Williams, Tony. "The Writer Walking the Dog: Creative Writing Practice and Everyday Life." American, British and Canadian Studies Journal 20, no. 1 (2013): 224–38. http://dx.doi.org/10.2478/abcsj-2013-0016.
Full textAbstract:
Abstract Creative writing happens in and alongside the writer’s everyday life, but little attention has been paid to the relationship between the two and the contribution made by everyday activities in enabling and shaping creative practice. The work of the anthropologist Tim Ingold supports the argument that creative writing research must consider the bodily lived experience of the writer in order fully to understand and develop creative practice. Dog-walking is one activity which shapes my own creative practice, both by its influence on my social and cultural identity and by providing a time and space for specific acts instrumental to the writing process to occur. The complex socio-cultural context of rural dog-walking may be examined both through critical reflection and creative work. The use of dog-walking for reflection and unconscious creative thought is considered in relation to Romantic models of writing and walking through landscape. While dog-walking is a specific activity with its own peculiarities, the study provides a case study for creative writers to use in developing their own practice in relation to other everyday activities from running and swimming to shopping, gardening and washing up.
16
Osipova, Tatyana. "Mikhail Sholokhov in the Creative Consciousness of Modern Russian Writers." Proceedings of Southern Federal University. Philology 2020, no. 1 (2020): 21–26. http://dx.doi.org/10.18522/1995-0640-2020-1-21-26.
Full textAbstract:
The views of modern Russian writers D. Bykov, A. Melikhov, Z. Prilepin on the personality and work of M. Sholokhov are presented. The features of their reading of the writer’s works are considered, the diversity and inconsistency of assessments and opinions are emphasized. Particular attention is paid to the attitude of modern writers to the problem of authorship of the novel «And Quiet the Don Flows». The analysis showed that all of the above authors emphasize the connection of the novel-epic M. Sholokhov with previous and subsequent works of the writer. But, if A. Melikhov and Z. Prilepin completely deny the fact of plagiarism, D. Bykov admits the fact of partial borrowing.
17
Enersen, Donna. "Developing Talent in Saturday and Summer Programs." Gifted Education International 11, no. 3 (1996): 159–63. http://dx.doi.org/10.1177/026142949601100310.
Full textAbstract:
The article examines the role of mentors in providing individual tutoring and support in the field of creative writing. Mentors are not only involved in the intellectual development of potential writers but also in their emotional development. The writer outlines a mentorship programme in Singapore.
18
Пуніна, Ольга. "CREATIVE PERSONALITY OF THE WRITER: PROJECTION ON PSYCHOGRAPHY." Problems of Contemporary Literary Studies, no. 28 (May 2, 2019): 45–62. http://dx.doi.org/10.18524/2312-6809.2019.28.165833.
Full text
19
Kucherskaya, Mayya. "Journalist, Reader and Writer: Investigating Leskov’s Creative Method." Scando-Slavica 62, no. 1 (2016): 58–78. http://dx.doi.org/10.1080/00806765.2016.1179452.
Full text
20
Conor, Bridget. "Everybody's a Writer Theorizing screenwriting as creative labour." Journal of Screenwriting 1, no. 1 (2010): 27–43. http://dx.doi.org/10.1386/josc.1.1.27/1.
Full text
21
Lipszyc, Carol. "Working With a Student Model in a Creative Non-Fiction Workshop: Charging Joint Creativity." LEARNing Landscapes 6, no. 1 (2012): 261–72. http://dx.doi.org/10.36510/learnland.v6i1.586.
Full textAbstract:
In this arts-based inquiry, I examine how a student model creative non-fiction essay develops students in a third-year creative writing workshop as critical readers, editors, and writers. Over the course of two semesters, student writers reciprocally acquire strategic knowledge and enhance their creativity. Plural voices emerge in the dialogue between the model student/writer, her peers, and my curriculum as evidenced in the narrative excerpts composed and revised by the student; in her peers’ critical feedback; and in students’ reflections. Exploring this collaboration, I envision affording more opportunity for student model writers to share their evolving knowledge in both traditional and online classrooms.
22
Wallace, Belle. "Creativity: Some Definitions: the Creative Personality; The Creative Process; the Creative Classroom." Gifted Education International 4, no. 2 (1986): 68–73. http://dx.doi.org/10.1177/026142948600400202.
Full textAbstract:
This paper attempts to explore, briefly, the divergence of thinking about the nature of creativity and the reative process. It is suggested that creativity involves thinking, intuition, feeling and sensing and that in order to achieve fulfilment, the highly creative personality needs a framework of elf-understanding, positive encouragement and acceptance in order to balance the rational and irrational components of the creative personality. Creativity is regarded as the reconciliation of conflict between detachment and commitment, passion and decorum, immediacy and referral, masculinity and femininity. The assessment and promotion of creative functioning are vital considerations for the teacher. The writer suggests ways in which the teacher can promote a classroom environment in which all children can flourish creatively and in which the highly creative child can more easily reconcile his/her differences within the peer group.
23
Nosenko, Tamara. "Corneliu Irod – Ukrainian Writer from Romania (Creative Work Overview)." Слово і Час, no. 10 (October 16, 2019): 90–100. http://dx.doi.org/10.33608/0236-1477.2019.10.90-100.
Full textAbstract:
The essay surveys the works written by C. Irod, one of the leading contemporary Ukrainian writers of Romania. The main attention is paid to his trilogy of novels “The Feast” and stories that vary in thematic features and stylistics, some of them belonging to a particular type of short prose works – allegoric pieces called “blunder stories”. Considering main themes and ideas of C. Irod’s works and focusing on peculiarities of their literary interpretation, the researcher intends to represent the originality of the writer’s prose heritage, to determine his role in developing the genre of the modern novel and renovating flash fiction in Ukrainian literature of Romania. To achieve this aim, the researcher adds a comparative aspect and refers to the major development patterns of the world novel of the 1960s–1980s, in particular, focusing on such a remarkable feature as ‘new epics’. The themes and issues of the works by C. Irod have been compared to those in the works by Romanian writers, in particular D. R. Popescu. It is noted that C. Irode’s stories have the inherent connection with the flash fiction of the Ukrainian masters – H. Tiutiunnyk and Ye. Hutsalo. The essay follows correspondences in themes and literary technique that relate the Romanian writer to the mentioned Ukrainian authors. The essay also informs about C. Irod’s achievements in the Цeld of literary translation. In particular, he worked over translation of T. Shevchenko’s “Diary”, as well as the book “Taras Shevchenko’s life” by P. Zaitsev. The researcher also gives some details concerning C. Irod’s translations of the tales “When the animals could talk” and “Mykyta the Fox” by I. Franko, the stories written by H. Tiutiunnyk and some pieces in poetry and prose by junior Ukrainian authors.
24
Otten, Nick, and Marjorie Stelmach. "Creative Reading/Creative Writing: A Writer Is Someone Who Can Do It Twice." English Journal 77, no. 3 (1988): 80. http://dx.doi.org/10.2307/818422.
Full text
25
Bogdanova, Olga A. "The Emergence of ‘Estate Culture’ in 18th Century Russia in the Works of F.M. Dostoyevsky and Other Writers." Dostoevsky Journal 18, no. 1 (2017): 19–36. http://dx.doi.org/10.1163/23752122-01801002.
Full textAbstract:
Traditionally considered a specifically urban writer, F.M. Dostoevsky has actually devoted many pages of his works (Poor Folk, The Village of Stepanchikovo, Demons, The Raw Youth [Adolescent], Diary of a Writer) to the representation of a noble estate and to the understanding of its role in Russian history and culture. In his creative writing, the autobiographical experience of the writer, who spent his childhood at the Darovoye family estate near the town of Zaraisk in the province of Ryazan, has also been reflected. This paper explores the role of “estate culture” in the writings of Dostoevsky and other writers (A.S. Pushkin, L. Tolstoy, I. Bunin, A. Chekhov and I. Kireyevsky) and their representation of the nobility (dvorianstvo).
26
Gibson, Jennifer. "Couples Who Collaborate: Picture Book Authors Miranda and Baptiste Paul." Children and Libraries 15, no. 4 (2017): 19. http://dx.doi.org/10.5860/cal.15.4.19.
Full textAbstract:
As in many fields, the myth of the lone creative genius simply does not hold true for those creating children’s books.While in traditional publishing, the writer and the illustrator of picture books are normally not in contact, both must work collaboratively with their editors and art directors on book projects and often rely on feedback from critique groups of their peers to enrich their creative work.Yet what happens when your partner in life is also a writer or illustrator? Children and Libraries introduces a new series, Couples Who Collaborate, looking at the dynamic duos in children’s publishing. We begin our series with Wisconsin-based husband-and-wife team Baptiste and Miranda Paul.
27
Ben- Ahmeida, Manal Mohammed, and farhan Ali. "UNDERGRADUATE LANGUAGE PROBLEMS IN SHORT STORY THROUGH CREATIVE INTERPRETATION." (Faculty of Arts Journal) مجلة كلية الآداب - جامعة مصراتة, no. 03 (June 1, 2015): 8–37. http://dx.doi.org/10.36602/faj.2015.n03.14.
Full textAbstract:
This paper is conducted to shed the light on English language problems Libyan undergraduate students face in short story through creative interpretation in reading and writing. Creative writing is a wide range of literature and it deals not only with language but also with the wide imagination of writers. However, it is well known that if language problems increase, then even the imagination cannot help because writing techniques and creativity go on the same path. It has always been a great help for the writers to organize and deliver their writing in a suitable form. Most Libyan students cannot, they have many problems in composing, therefore; when they are asked to conduct a creative writing task, they find it enormously difficult and challenging. Those who have the ability to produce are the talented and skillful ones. In this paper, the aim is to encourage and motivate Libyan students to be effected to creative reading and writing as well as grow their skills and talents. Furthermore, this paper will deal with language problems in reading and writing that are mostly common in all levels of learners, and it will focus mostly on the scope of short story. In addition, the purpose of this paper is to provide ideas, suggestions, and solutions according to the problems that are encountered throughout this study. Reading this paper, will help Libyan EFL teachers realize that creative writing is a talent or a skill that has to be practiced; therefore, we will provide ideas to help teachers avoid favoring students who have the talents and skills in reading and writing over others by treating them equally, helping them grow their ability in being creative. There are some important elements that will be discussed throughout this study and the most elements of all is for Libyan EFL teachers and students to understand that there is a significant relationship between what the learner writes and what he/she reads which is called creative reading. In this paper we will present how the reading skill is also neglected by Libyan students. Students do not read for interest unless they are forced to do so for different reasons. Reading skill is not practiced by Libyan students even in their first language. Unfortunately, Libya is a culture that does not encourage, support, facilitate and provide for reading. Therefore, in this paper, the aim is also to help Libyan students learn that reading someone's piece of work is an essential step for developing the skill of creative writing and that provides the history or background about the expected text, even an imagination for an inspired story. Furthermore, providing this paper is to help Libyan students believe that the more the learner reads, the more he/she writes and creates. We would like students to believe that inspiration and imagination are the path for a readable and meaningful story which leads the writer to creativity. And, we believe that if EFL teachers find a way to provide creativity, students will gain the knowledge needed to write and read creatively.
28
McCrory, Moy. "Among Barbarians. Ovid, The Classics and The Creative Writer." New Writing 7, no. 3 (2010): 192–200. http://dx.doi.org/10.1080/14790726.2010.507274.
Full text
29
Aryani, Aryani. "Peningkatan Kemampuan Menulis Karangan Dekripsi Dengan Menggunakan Media Gambar." Jurnal Konseling dan Pendidikan 4, no. 3 (2016): 29. http://dx.doi.org/10.29210/19100.
Full textAbstract:
Writing is a processof delivering ideas and messages, feelings and information to the readers through creative process and this activity needs knowledge and skill, so the readers can easily and clearly undertand the ideas or messages of the writer. One of writng texts is descriptive text which describes about something. There are some factors which make the writer can not deliver and write his or her ideas about describing something. This condition is caused by the media which is used by the teacher in the classroom is not interesting and cannot motivate the students to write descriptive text. This research is about increasing students’ability in writing descriptive text by using pictures By using pictures, the students can be motivated to write and to deliver their ideas to descrite something well.
30
Kovačević Petrović, Bojana. "El impacto del boom latinoamericano en los escritores serbios." Acta Hispanica 21 (January 1, 2016): 143–56. http://dx.doi.org/10.14232/actahisp.2016.21.143-156.
Full textAbstract:
In this work we want to show the strong links between Spanish-American and Serbian writers, through the books translated from Spanish and works written in Serbian. Assuming that each writer is above all a good reader, and considering the importance of translation for literature in general, we have investigated the influence of Borges, Cortázar, Fuentes, García Márquez and Vargas Llosa on Serbian writers since the 1950s until today. Through authentic testimonies - interviews made for this research - and the reviews and analysis of books and particular texts influenced by the authors of the boom, we will present a creative variety and authentic literary creation of a small country with many translations and dedicated writers, and show that the great impact of Spanish-American literature in Serbia began half a century ago and never ceased.
31
Al-Awawdeh, Dr Nabil. "Translation Between Creativity and Reproducing An Equivalent Original Text." Psychology and Education Journal 58, no. 1 (2021): 2559–64. http://dx.doi.org/10.17762/pae.v58i1.1131.
Full textAbstract:
It isn't easy to find a comprehensive definition of translation; it is described as science, art and creativity at the same time. In this sense, literary translation, especially poetry, may be considered an art and creative work as opposed to scientific or political translation, where the words can be controlled according to the translator's linguistic skills and grammatical rules. The current research discusses how translation is an art and creative work. It is what many critics and scholars have reached for the "literary genre". It is also noted how the literal translation does not give the translated text its right, artistic colour, elevation, and influence in its original language unless it’s based on translators' creativity. In this paper, our methodology is to look at literary translation as one of the most challenging types of translations, as it depends significantly on taste and the entry of the writer's imagination in the translation, whether he was a writer such as a poet, storyteller or novelist, and this in itself requires a creative spirit to be the image of translation and literary material creative artistic non-literal. Here the two-translator a writer or intellectual and professional translator differ. The latter depends on what he studied and read and what he researched in language study stages. Still, if he is also a writer or intellectual, many images and meanings will change. Yet, without prejudice to the essence of the translated text, and here even between a translator writer and another, the degree of creativity in translation varies and maybe at the same degree of different literary imagination. Finally, it is stressed that the essential in the art of translation is choosing the appropriate term so that it is easy, smooth, and light on the recipient here is a skill. The translator chooses the proper word for each material to be translated.
32
Holdsworth, Marie. "A transgressive story of the flood." English Text Construction 2, no. 2 (2009): 173–84. http://dx.doi.org/10.1075/etc.2.2.02hol.
Full textAbstract:
Jeanette Winterson’s overlooked revision of the biblical text of the Flood, Boating for Beginners (1985), epitomises postmodern narratives that question patriarchal and capitalist society by means of irony, parody and pastiche. Focusing on the theme of creation and re-creation, this article explores how — through several textual processes — discredit is brought on the biblical text and on the God figure, so as to reaffirm the power of creative writers. Yahweh, a subversive character, is allegedly the Creator, but quickly turns out to be Noah’s Frankenstein-like creation. Noah’s function as God’s maker and writer of Genesis furthermore mirrors the author’s own writing process. By using Feuerbach’s projection theory, I examine how, while the godhead is de-constructed, the status of the author is subversively reasserted.
33
Mineralova, Irina G., and Petimat Sh Tsurueva. "Experiment in the prose of Boris Rakhmanin: forms of depiction, synthesis of genres." Vestnik of Kostroma State University 27, no. 2 (2021): 143–49. http://dx.doi.org/10.34216/1998-0817-2021-27-2-143-149.
Full textAbstract:
The article examines the creative experience of Boris Rakhmanin as a prose writer who developed new forms of synthesis in Russian prose of the 1960s - 1980s. The distinctive techniques that he experimented with contributed to the lyricisation of prose. The originality in the author's definition of the genre indicated the author's special line of thought, Boris Rakhmanin's techniques originate in prose experiments at the turn of the 19th and 20th centuries (Andrei Bely, Evgeny Zamyatin, etc.) and dialogue with contemporaries (Eduardas Mieželaitis, Justinas Marcinkevičius). Analysis of the resource of synthesis methods used by Boris Rakhmanin in his prose allows us to point out their functionality in creating an image of the life and an image of the thought process of the writer's contemporaries. This analysis also gives an idea of the individual style of the writer.
34
Nicolau, Felix. "Longitudinal and Cross-Sectional Cultural Developments." Swedish Journal of Romanian Studies 1, no. 1 (2018): 184–86. http://dx.doi.org/10.35824/sjrs.v1i1.17355.
Full textAbstract:
Romulus Bucur is a renowned writer and literary critic. He is also faculty member at Transylvania University of Braşov, institution well-known for its courses of creative writing and translation studies. “Glosses” is a nimbly written theoretical book wherein many topics are analyzed. One of the most important is the work of Alexandru Muşina, editor, writer, professor, and mentor of the Group of Braşov (a fertile contingent of writers still holding sway in Romanian literature).
 The second part of the volume is dedicated to the Romanian translations from the classical and contemporary Chinese culture. Mention must be made about the semiotic approach to all literary works glossed about.
35
Wardi, Instructor Dr Inam Munther, and Instructor Dr Majid Abdullah Mahdi Al_Qaisi. "The borrowing from legacy in the novel of the novelist (Hadiya Hussein) (Riyam &enough)." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 219, no. 1 (2018): 53–74. http://dx.doi.org/10.36473/ujhss.v219i1.509.
Full textAbstract:
Writing any text is not possible without making use of previous &contemporal texts because any creative writer has previous knowledge &many experiences. Literary theft represents presence of mutual experiences between past &present between experiences of writer &experiences of other writers. The novelist (Hadiya Hussein) in her novel (Riyam &enough) made use of heritage of songs of children in her novel &gave it deep dimension for social relations in events of novel. The novelist (Hidaya Hussein) could use her artistic tools in her novel to make conflict of characters clear explain the cultural&psychological levels of novel characters.
36
Pratiwi, N. Y. "THE ANALYSIS OF PROBLEMS ENCOUNTERED BY BEGINNER WRITER IN WRITING A SHORT STORY: A Case Study in Creative Writing Class." Indonesian Journal Of Educational Research and Review 2, no. 3 (2019): 402. http://dx.doi.org/10.23887/ijerr.v2i3.22691.
Full textAbstract:
Creative process is the journey that a writer takes in order to create a piece of creative writing. During this process a writer, especially a beginner writer, encountered numerous obstacles which influence the writing performance. This study was aimed to analyze the problems faced by the students of Creative Writing course in Ganesha University of Education and describe how the students deal with the problems. The problems analyzed consist of three major aspects of writing fiction, namely literature elements, technical problems, and students’ self-perception. The study found out that the majority of the students experienced similar problems from certain elements, meanwhile there were also problems found that appeared to be different from one another. This leads to further findings that the students conducted various attempts to deal with the problems..
37
Seferova, Fera. "The role of folklore within the worldview and creative individuality of the Crimean Tatar children's writers." Филология: научные исследования, no. 8 (August 2021): 35–47. http://dx.doi.org/10.7256/2454-0749.2021.8.36119.
Full textAbstract:
The study of interrelation between folklore and literature is one of the most relevant trends in literary studies. Folk poetic symbols as the genetic memory of the nation infiltrate consciousness not only as artistic material, but also as a emotions that awaken the writer’s imagination, giving rise to various associations. The subject of this research is the creative activity of folklore is in the works of the Crimean Tatar children's writers. Examination of the folklore-mythological context, determination of the peculiarities of transformation of folklore motifs in a literary reveals the creative laboratory, allowing determining the specificities of personal reflection of the writer, as well as tracing the psychological patterns of the creative process, and the evolution of artistic thinking overall. The scientific novelty is defined by the absence within Russian literary studies of monographic and significant critical works on determination of the folklore-mythological context, transformation, functionality, and interpretation of folklore elements in works of the writers. The conclusion is made that folklore as part of the culture of a particular nation, is an organic element of the artistic world of the Crimean Tatar writers, such as E. Amit and T. Khalilov. The novel by E. Amit presents the new comprehension of myths, paroemias, and legends. An example of interaction of the mythological views and modern perspective in the novel “Last Chance” is the folk legend on the “happy and unhappy stars”. It also encompasses such ancient forms of folklore as cursing and benevolence, as well as the elements that take roots in the ancient taboos, the period of totemism. In the psychological prose by T. Khalilov, an important role is played by the symbolism of birds and plants. The ancient legend of the winged horse Duldul organically intertwines with the author's creative idea without losing its specificity.
38
Korniienko, Oksana. "MODELING OF POSSIBLE WORLDS IN SIGIZMUND KRZHIZHANOVSKY’S PROSE." Polish Studies of Kyiv, no. 35 (2019): 186–92. http://dx.doi.org/10.17721/psk.2019.35.186-192.
Full textAbstract:
Modern researchers consider the oeuvre of Sigizmund Dominikovich Krzhizhanovsky, the Russian-speaking writer of Polish origin, to be a “literary phenomenon” and a “literary discovery” of the twentieth century. Publications, translations into many world languages and active scholar familiarization with the writer’s heritage begins in the end of XX – at the beginning of XXI centuries. The article examines the Sigizmund Krzhizhanovsky’s prose that presents the original artistic heterogeneous universe, where a “multidimensional world” becomes the structure creating model. In the Krzhizhanovsky’s prose a word-creative experiment plays an important role in the creation of many interconnected worlds. The number of writer’s occasional forms even does not undergo an approximate estimation. The second important factor of creating a model of “multidimensional world” is defamiliarization (by Victor Shklovsky) as a phenomenological and gnoseological principle and method. The writer’s artistic consciousness is based on the phenomenon of understanding, connected with the change of vision and understanding, which pulls objects or things out of usual contexts of recognition and re-describing them as a “new discovered” phenomena. Due to this the usual appears unusual, strange. Krzhizhanovsky creates conditional, metaphysical, phantasmagorical and paradoxical worlds. In these strange worlds boundaries of Real and Irreal are blurred, the fiction itself acquires a real image, and reality emerges fantastic. The “logic” of alogism and paradoxes often functions in these worlds. In the artistic language the writer uses the strategy of “morbid” nomination that creatively enriches speech resources and refreshes the literary thesaurus. In the Krzhizhanovsky’s artistic world dominant narrative and pictorial strategies are also based on the next methods: the reviving of things, phenomena and abstract notions, thoughts and words, etc.; materialisation and narrative implementation of metaphors; the use of grotesque. An important role is played by the saturated intertextuality and game modus at different levels: from language and speech to codification of culture. In such a way the author’s model of Philosophy of creativity and philosophy of culture as an endless polyphonic polylog, continuous creative process and boundless creative imagination is realized.
39
Maksimenko, Ekaterina D. "The non-fictional text Michael X and the Black Power Killings in Trinidad by V. S. Naipaul and the analysis of its influence on the creative work of the author." Izvestiya of Saratov University. New Series. Series: Philology. Journalism 21, no. 2 (2021): 219–25. http://dx.doi.org/10.18500/1817-7115-2021-21-2-219-225.
Full textAbstract:
The article defines the importance of the non-fictional text of V. S. Naipaul Michael X and the Black Power Killings in Trinidad in the creative work of the writer. The article provides the features of a journalistic investigation, the history of its creation and the analysis of its place in the bibliography of V. S. Naipaul. The text is also considered as the key to the evolution of the hero and theme in the author’s creative heritage.
40
Troschinskaya-Stepushina, Tatyana Evgenjevna. "“I don’t want to be the slave...” To the 80 anniversary since the birth of Venedikt Erofeyev." RUDN Journal of Studies in Literature and Journalism 24, no. 1 (2019): 43–53. http://dx.doi.org/10.22363/2312-9220-2019-24-1-43-53.
Full textAbstract:
On October 24, 2018 80 years since the birth of Venedikt Erofeyev - one of the most unusual Russian writers, thinkers and rebels of the XX century were executed. This article is devoted to identification and the description of the nature of creative intension of the writer. Besides, the stateof-the-art review of the main stages biographic and a career of V. Erofeyev is provided. It is proved that the main sense-forming milestones of the creative nature of the author are the following: sources (or injuries) which defined a drama vector of all course of life; gift as potentiality of the birth of creative energy; “madness” as original, original manifestation of identity and, at last, belief - a powerful moral and spiritual ancestor.
41
Selyutina, Elena A. "‘NARRATIVE ABOUT THE AUTHOR’ AND THE PROBLEM OF WRITERS’ SELF-IDENTIFICATION IN MODERN LITERARY PROCESS." Вестник Пермского университета. Российская и зарубежная филология 13, no. 1 (2021): 109–18. http://dx.doi.org/10.17072/2073-6681-2021-1-109-118.
Full textAbstract:
The research is devoted to the analysis of the ‘narrative about the author’ in interviews with contemporary writers. Modern literary process is characterized by reconfiguration and reevaluation of the writerreader- text system. The author’s persona, their direct speech intended for different types of readership are coming to the fore. In interviews, a special ‘narrative about the author’ (self-identification as a writer) is formed. The author of the article comes to a conclusion that writers are faced with the necessity of public self-reflection, self-commenting, i. e. creation of a metatext – a second-order text about one's own creative work; they become self-interpreters, gaining the ability to influence the reader's perception vectors, while shifting from the sphere of the sacred to the sphere of consumption. Text as a communication act ceases to be alienated from the author (the author-text-reader relationship becomes horizontal), the reader perceives the work through the model of personality that the writer has presented to the public. It is necessary to study the author's narrative of self-representation as a system of voluntary or repressive conventions adopted by the author (narrative framework), restrictions imposed by the author on themselves, and ways of their representation, taking into account the problem of verification of this self-representation. The way the ‘narrative about the author’ is arranged is determined by many factors; the description of those can serve as an illustration of the dynamics of modern writers’ views on the essence of literary creativity and the mission of the writer in the time of literary centrality coming to collapse. The study of the ‘narrative about the author’ is relevant in the context of understanding the complexity of determining the main artistic trends of the present time. The research is based on the material of interviews with the writer E. Vodolazkin devoted to his novel Lavr.
42
Sherly. H, Ms Monica, and Dr Aseda Fatima.R. "Patriarchal Oppression in Pearl S Buck’s Novel The Good Earth." SMART MOVES JOURNAL IJELLH 8, no. 2 (2020): 5. http://dx.doi.org/10.24113/ijellh.v8i2.10406.
Full textAbstract:
The story of American literature begins in the early 1600’s, long before there were any “Americans”. American literature blossomed with the skillful and brilliant writer during 1900s. Pearl S Buck was born to the family of Presbyterian missionary in 1892 in West Virginia. Being a successful writer in nineteenth century, she published various novels and she was the first female laureate in America and fourth woman writer to receive Nobel Prize in Literature. Oppression is an element that is common in patriarchal society where the women are always subjugated by the men in the family. This paper is to depict the men’s oppression in the novel through the character Wang Lang and how the female character O-Lan is surviving from all the struggles that she faces from her own family members.
 Literature always anticipates life. It does not copy it, but moulds it to its purpose. Literature is the reflection of mind. It is the great creative and universal means of communicating to the humankind. This creativity shows the difference between the writers and the people who simply write their views, ideas and thoughts.
 American literature began with the discovery of America. American literature begins with the orally transmitted myths, legends, tales and lyrics of Indian cultures. Native American oral literature is quite diverse. The story of American literature begins in the early 1600’s, long before there were any “Americans”. The earliest writers were Englishmen describing the English exploration and colonization of the New World.
43
Yermaganbetova, Z. "DIARY RECORDS OF MYRZABEK DUISENOV." BULLETIN Series of Philological Sciences 72, no. 2 (2020): 391–95. http://dx.doi.org/10.51889/2020-2.1728-7804.62.
Full textAbstract:
The article was based on the work of Myrzabek Duissenov, an outstanding representative of the Kazakh literary science, a writer and critic who wrote differently in Kazakh prose. Writing in literary genres such as short stories, novels, novels, the writer has become a lifelong diary writer. The author focuses on the peculiarities of the author's works and analyzes the artistic and thematic features of his diary-essays. The essence of friendly, spiritual and creative relations between celebrities Azilkhan Nurshaikov, Rakhmankul Berdibayev, Tursynbek Kakishev will be revealed. The article deals with the events and experiences of the writer's life, the lives of celebrities, science, literature and culture. It is concluded that the author's writings on historical and cognitive data are valuable for the reader.
44
Doncu, Roxana Elena. "Postcolonial Myth in Salman Rushdie’s The Ground Beneath Her Feet." American, British and Canadian Studies Journal 21, no. 1 (2014): 79–95. http://dx.doi.org/10.2478/abcsj-2013-0021.
Full textAbstract:
Abstract Postcolonial writers like Salman Rushdie often write back to the “empire” by appropriating myth and allegory. In The Ground beneath Her Feet, Rushdie rewrites the mythological story of Orpheus and Eurydice, using katabasis (the trope of the descent into Hell) to comment both on the situation of the postcolonial writer from a personal perspective and to attempt a redefinition of postcolonial migrant identity-formation. Hell has a symbolic function, pointing both to the external context of globalization and migration (which results in the characters’ disorientation) and to an interior space which can be interpreted either as a source of unrepressed energies and creativity (in a Romantic vein) or as the space of the abject (in the manner of Julia Kristeva). The article sets out to investigate the complex ways in which the Orphic myth and katabasis are employed to shed light on the psychology of the creative artist and on the reconfiguration of identity that becomes the task of the postcolonial migrant subject. The journey into the underworld functions simultaneously as an allegory of artistic creation and identity reconstruction.
45
Korshunova, Evgenia Alexandrovna. "I.A. Bunin and S.N. Durylin: problems of creative dialogue." RUDN Journal of Studies in Literature and Journalism 24, no. 1 (2019): 27–34. http://dx.doi.org/10.22363/2312-9220-2019-24-1-27-34.
Full textAbstract:
The article is devoted to the consideration of the creative connections of I.A. Bunin and S.N. Durylin (1887-1954). In modern literary criticism, the question of studying the creative connections of S.N. Durylin and I.A. Bunin is urgent, which was not touched upon by the researchers. Although Durylin does not belong to the writers of emigration, in Russia he almost immediately finds himself in internal emigration: art works and scientific works were not published. This brought him closer to Bunin’s position. First of all, Durylin is interested in Bunin’s story “The Village”, in which the “Russian question” is touched. But, if in the story “Village” the writer does not fully accept the Bunin idea of Russia as a country of the wild and primeval, then in the “Life of Arseniev” the model of Russian life recreated by the author finds a response in Durylin’s creative consciousness. In the memoir book “In his corner” the author recreates the immanent image of Bunin’s native land. Brings together the writers of the perception of the revolution of 1917 as a “breakdown”, a catastrophe, a lyric narrative, a structureforming function of memory. However, if Bunin’s pre-revolutionary pictures of Russian life are the center of the narrative, then Durylin serves as a background (and a window into an ideal past), the focus of writers’ attention is the post-revolutionary process of the death of the healthy beginnings of Russian life, embodied in the form of snow.
46
Lomonosov, Aleksey V. "“Submitting My Favourite Issues to Your Good Judgment”. The Correspondence of V.L. Kign-Dedlov and V.V. Rosanov." Almanac “Essays on Conservatism” 60 (December 12, 2019): 229–34. http://dx.doi.org/10.24030/24092517-2019-0-4-229-234.
Full textAbstract:
The article reveals the relationship of the writer V. L. Kign-Dedlov and philosopher V.V. Rozanov in the period of their close creative cooperation in the years of 1896 – 1908. The author of the article provides the first analysis of the texts of their mutual correspondence and that allows to reveal Rozanov’s active role in promoting Kign’s literary publications. In particular, V.V. Rozanov was the one to show the writer the specifics of cooperation with the editorial; offices of the «Trade and Industrial Newspaper» and “The New Time” journal. The author of the article highlights the literary features of V.L. Kign’s prose that were highly valued by V. V. Rozanov. In the article the author also confirms the change of Kign’s political sympathies in the twentieth century from liberal to conservative. The author examines the principal differences of the writers in regard to the evaluation of the national and religious elements in creative work, and also provides proof of the similarity of their views on the problems of education in Russia.
47
Doloughan, Fiona. "Transforming texts: Learning to become a (creative) writer through reading." New Writing 9, no. 2 (2012): 182–203. http://dx.doi.org/10.1080/14790726.2012.658066.
Full text
48
Lichtenberg, Joseph D. "The adolescence of the creative writer: Lessons from Eugene O'Neill." Psychoanalytic Inquiry 9, no. 3 (1989): 450–65. http://dx.doi.org/10.1080/07351698909533777.
Full text
49
Velikovsky, J. T. "Introducing the Robo–Raconteur Artificial Writer Or." International Journal of Art, Culture and Design Technologies 6, no. 2 (2017): 28–54. http://dx.doi.org/10.4018/ijacdt.2017070103.
Full textAbstract:
This article invites readers to participate in a survey on computational creativity. It asks: (a) Can computers be creative? and (b) Can algorithmic computational creativity teach us about human creativity? The standard definition of creativity is adopted. The article is in two parts. Part One introduces a new interactive artificial–writer computer program, an Excel workbook containing six functional sub–modules, namely: 1) A Top 20 RoI Movie Pitch Combiner; 2) A Bottom 20 RoI Movie Pitch Element Combiner; 3) A Random Movie Pitcher; 4) A Movie Pitch Selector which judges, scores, and ranks generated pitches in evolutionary survival tournaments; 5) An Ironic Character Generator; and finally, 6) A Random Transmedia Story Universe Pitch Generator. Readers are invited to play–test The Robo–Raconteur and complete a short (5–minute) online survey: Was the artificial writer creative? Part Two explains the Evolutionary Systems Theory of Creativity that underpins the software.
50
Lyakhovskaya, Nina D. "On the path to self-discovery. New meanings in the novels of the Congolese writer Alain Mabanckou "Blue White Red" and "Memoirs of a Porcupine"." Vestnik of Kostroma State University, no. 3 (2019): 127–32. http://dx.doi.org/10.34216/1998-0817-2019-25-3-127-132.
Full textAbstract:
The article analyses the literary work of the Congolese writer Alain Mabanckou as the first one in African Francophone literature to implant autofictional writing into traditional everyday writing context. In this article, the analysis of Alain Mabanckou’s novels is made for the first time in African literary studies, both Russian and foreign. The author emphasises the novelty of the writer's style, which is expressed in the strengthening of subjectivity, in the accentuated introduction of the autobiographical element into the fictional text. The article points out one of the strongest points of Alain Mabanckou creative writing – the subtle psychologism, which distinguishes him from other Congolese writers, his amazing ability for a metaphysical perception of life. In the opinion of the author of the article, Alain Mabanckou intellectually elevates above the typical for Francophone African writers description with its clichéd images, typical situations and features of local flavour.