Relevant bibliographies by topics / Creative Writing MFA

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

Academic literature on the topic 'Creative Writing MFA'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Creative Writing MFA"

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Glover, John. "Information Literacy and Instruction: Embedding Information Literacy in an MFA Novel Workshop." Reference & User Services Quarterly 55, no. 4 (2016): 273. http://dx.doi.org/10.5860/rusq.55n4.273.

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The rise of graduate creative writing programs in the United States during the twentieth century has been well documented. Less well documented is their connection with academic libraries, particularly in terms of their students’ acquisition of research skills. When I was asked by a faculty member to provide in-depth support for the MFA novel writing workshop at Virginia Commonwealth University (VCU), there were a few articles treating this topic, a few references in creative writing pedagogy books, and a couple suggestive course titles listed in MFA program curricula. In 2012–13, I served as the embedded librarian in this year-long workshop. In that role, I worked with the faculty member to develop assignments that helped students to incorporate research into their fiction-writing practice, met with students for two lengthy research workshops, and subsequently met with students individually as their research deepened.
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TEICHGRAEBER, RICHARD F. "BEYOND “ACADEMICIZATION”: THE POSTWAR AMERICAN UNIVERSITY AND INTELLECTUAL HISTORY." Modern Intellectual History 8, no. 1 (2011): 127–46. http://dx.doi.org/10.1017/s1479244311000072.

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The still astonishing expansion of the American university since World War II has transformed the nation's intellectual and cultural life in myriad ways. Most intellectual historians familiar with this period would agree, I suppose, that among the conspicuous changes is the sheer increase in the size and diversity of intellectual and cultural activity taking place on campuses across the country. After all, we know that colleges and universities that employ us also provide full- and part-time academic appointments to novelists, poets, playwrights, filmmakers, choreographers, composers, classical and jazz musicians, painters, photographers, and sculptors, even though most of them probably began their careers with little or no desire to join us in the halls of academe. This now widespread employment practice has decentralized the nation's literary and artistic talent. It also has made for a manifold increase in degree-granting programs in writing and the creative arts. One example will suffice here. When World War II ended, there were a small handful of university-based creative-writing programs. Over the course of the next thirty years, the number increased to fifty-two. By 1985, there were some 150 graduate degree programs offering an MA, MFA, or PhD. As of 2004, there were more than 350 creative-writing programs in the United States, all staffed by practicing writers and poets, many of whom now also hold advanced degrees in creative writing. (If one includes current undergraduate degree programs, the number grows to 720.)
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Darda, Joseph. "The Thin White Line: Veterans and the White Racial Politics of Creative Writing." American Literature 91, no. 4 (2019): 783–810. http://dx.doi.org/10.1215/00029831-7917308.

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Abstract This essay considers how the creative writing workshop transformed the white Vietnam vet into a minority writer. The MFA system, which organized the group-based politics of post–civil rights American literature, originated as a space geared toward white combat veterans. Some of the first graduate programs in creative writing were founded in the years after World War II, and their classes were dominated by white vets attending college on the GI Bill. The vets received the now-clichéd advice to write what they know, to turn their war experiences into war stories. The next wave of program building followed the passage of the Higher Education Act of 1965 and the Vietnam Veterans’ Readjustment Benefits Act of 1966, which brought Vietnam vets into a changing workshop, where students still learned to write what they know but also, as pre–civil rights racial liberalism turned to post–civil rights liberal multiculturalism, write who they are. The trauma of combat allowed white men to situate themselves within late twentieth-century literary culture by writing not as white men but as “veteran-Americans.” Veteran-American literature set white men within the pluralist institution but without forfeiting the cultural center, or the front seat in the classroom.
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Lewis, India. "8Visual Culture." Year's Work in Critical and Cultural Theory 27, no. 1 (2019): 141–59. http://dx.doi.org/10.1093/ywcct/mbz008.

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Abstract This chapter addresses books published in the field of visual culture in 2018 and is divided into three sections: 1. Art and the Internet; 2. Art and Society, and 3. Artists and Their Environment. The books under review cover a broad range of subjects within their specialities, but reflect general trends in contemporary writing and study in the field of visual culture. The first section explores how art critics and those in the field are continuing to deal with visual culture’s relationship with the Internet and digital media (Daniel Birnbaum, Michelle Kuo, eds. More Than Real: Art in the Digital Age; Eva Respini, ed., Art in the Age of the Internet: 1989 to Today). The second section looks at books about art in the social sphere (Kim Snepvangers and Donna Mathewson Mitchell, eds., Beyond Community Engagement: Transforming Dialogues in Art, Education, and the Cultural Sphere; Ole Marius Hylland and Erling Bjurström, eds., Aesthetics and Politics: A Nordic Perspective on How Cultural Policy Negotiates the Agency of Music and Arts; Gary Alan Fine, Talking Art: The Culture of Practice and the Practice of Culture in MFA Education). The third and final section looks at how artists negotiate their environment, responding to and altering their surroundings (Sarah Lowndes, Contemporary Artists Working Outside the City: Creative Retreat; Gabriel N. Gee and Alison Vogelaar, eds., Changing Representations of Nature and the City: The 1960s–1970s and Their Legacies).
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Hutchison, Anthony. "Cultivating the Classical Style: The Stanford-Denver Creative Writing Axis." MFS Modern Fiction Studies 66, no. 3 (2020): 474–98. http://dx.doi.org/10.1353/mfs.2020.0022.

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Eric Bennett. "Ernest Hemingway and the Discipline of Creative Writing, Or, Shark Liver Oil." MFS Modern Fiction Studies 56, no. 3 (2010): 544–67. http://dx.doi.org/10.1353/mfs.2010.0003.

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Bennett, Eric. "The Program Era: Postwar Fiction and the Rise of Creative Writing (review)." MFS Modern Fiction Studies 58, no. 2 (2012): 378–80. http://dx.doi.org/10.1353/mfs.2012.0035.

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Kolysheva, Elena Yu. "The space of “the eternal house” in the creative history of M.A. Bulgakov’s novel “Master and Margarita”." Philological Sciences. Scientific Essays of Higher Education, no. 1 (January 2021): 107–18. http://dx.doi.org/10.20339/phs.1-21.107.

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One of the important questions in bulgakovian studies is connected with the space of “the eternal house”, peace, which the master had deserved. The author of this paper try to understand the writer’s intention based on a textual analysis of the novel. In our work, we rely on the system of editions of the novel that we have established and its main text, reflecting the last creative will of the author to the fullest extent [1]. The line “The Master – Margarita” is outlined in drafts of the 1931 novel and is developed in its second edition (1932–1936). The third (1936) and fourth (1937) editions are incomplete — they don’t have the episodes considered in this paper. Therefore, our study uses the texts of drafts of 1931, the second, fifth (last handwritten, 1937–1938) and the sixth (final, 1938–1940) editions of the novel. The draft texts are conveyed by dynamic transcription, which will make visible the process of writer’s work on the creation and allow us to see the formation of the author’s intention. Graphic conventions are used for this: a piece of text crossed out by the writer — [text]; an insert during the writing process — text; an insert crossed out — [text]; a later insert — {text}; a later insert crossed out — {text}; a conjecture — <text>; reliability of the transmitted author’s text — <sic>; the end of a page and the transition to the next one are indicated by two straight vertical lines ||.
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Badran, Margot. "The Institutionalization of Middle East Women’s Studies in the United States." Middle East Studies Association Bulletin 22, no. 1 (1988): 9–18. http://dx.doi.org/10.1017/s0026318400019465.

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The wave of the study of women which led directly into the formation of the new discipline called women’s studies started in the 1960s in the Middle East and the United States concurrently. A generation earlier, foreshadowing the creation of the new field, Zahiyya Dughan, a Lebanese delegate to the Arab Women’s Conference in Cairo in 1944, called upon Arab universities to accord the intellectual and literary heritage of Arab women a place in the curriculum by creating chairs for the study of women’s writings. By now, at the end of the 1980s, women’s studies as a distinct field has found legitimacy in the academy. In the United States there are women’s studies programs in all major colleges and universities—more than sixty graduate programs offer M.A.’s and Ph.D.’s—and fifty major research centers, most of which are attached to universities. The National Women’s Studies Association (NWSA) and the Middle East Studies Association equally claim some three thousand members. However, the study of women remains marginal within Middle East studies, while women’s studies still remain largely centered on the West.
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Baldry, Anthony, and Paul J. Thibault. "Applications of multimodal concordances." HERMES - Journal of Language and Communication in Business 21, no. 41 (2017): 11. http://dx.doi.org/10.7146/hjlcb.v21i41.96812.

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Multimodal corpus linguistics has so far been a theoretical rather than an applicative discipline. This paper sketches out proposals that attempt to bridge between these two perspectives. It does so with particular reference to the development of the conceptual and software tools required to create and concordance multimodal corpora from the applicative standpoint and as such is designed to underpin the study of texts at universities in foreign-language teaching and testing cycles. One branch of this work relates to multimedia language tests which, as illustrated in Section 2, use concordancing techniques to analyze multimodal texts in relation to students’ understanding of oral and written forms of discourse in English. Another branch is the exploration of multimodal tests concerned with the explicit assessment of students’ knowledge of the principles and/or models of textual organization of multimodal texts. The two types of test are not mutually exclusive. A third branch of research thus relates to the development of hybrid tests which, for example, combine a capacity to analyze multimodal texts with an assessment of students’ language skills, such as fluency in speaking and writing in English or which ascertain the multimodal literacy competencies of students and the differing orientations to meaning-making styles that individuals manifest. The paper considers these different applicative perspectives by describing the different categories of concordance achievable with the MCA online concordancer (Section 2) and by defining their relevance to multimodal discourse analysis (Section 3). It also illustrates the use of meaning-oriented multimodal concordances in the creation and implementation of multimodal tests (Sections 4). It concludes by suggesting that the re-interpretation of the nature and functions of concordances is long overdue and that the exploration of new types of concordance is salutary for linguistics and semiotics in general.
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Dissertations / Theses on the topic "Creative Writing MFA"

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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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Chitwood, Chazz R. "North Atlantic Black." FIU Digital Commons, 2018. https://digitalcommons.fiu.edu/etd/3678.

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North Atlantic Black is a collection of contemplative, lyrical poems that explore issues of coming out, suicide, yearning, and male relationships. Woven together, North Atlantic Black moves through different questions of masculinity encountered by the poet through the process of coming out. Early poems explore themes of masks, of theater, and of dressing and costume as means of escaping the traditional bounds of masculinity North Atlantic Black further braids in concepts of home, how they relate to identity through heritage and expectation, and how they inform the poet’s thoughts on what it means for men to have relationships—how ideas of masculinity have imposed on the poet’s life, and weigh on the relationships he wishes to pursue. Throughout, the moody colors of the Maritimes and the North East, of sealing ports and cold, forested mountains, loom over these confessions and contemplations.
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Martinuik, Lorraine A. "The Language of Trees." ScholarWorks@UNO, 2013. http://scholarworks.uno.edu/td/1651.

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The Language of Trees is a poetry collection based on a series of walks, and rooted in the experience of place on a small island off the west coast of Canada. Prose poems and a serial poem that gives the collection its title, reflect the poet's leanings towards experiment. The preface discusses poetics and the poet's technical approach to form.
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Smith, Robbie. "Talented and Gifted." VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/180.

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Bull, Edward. "POTENTIAL ENERGY." Master's thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2192.

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BULL, EDWARD. Potential Energy. (Under the direction of Pat Rushin.) Potential Energy is a collection of sixteen short stories. They range from the fictional to the autofictional to the entirely non-fictional. In all of them, characters both real and imagined struggle to live and define themselves in a world that is outside their control. They cope with the inevitability of loss, dangers both internal and external, and the passing of their own greatness. Some of these characters become lost while others learn to embrace life on its own terms to accept  without hope or expectation. More often, they are not lost or enlightened, but simply survive to continue on, still uncertain. Though all the stories in Potential Energy are stand-alone, they are thematically connected. The themes of family and identity are most prominent in  Potential Energy and  Eulogy to Maria Mamani, Fire-Eater. Loss is confronted and the question of what comes next is asked in  Oysters and  Slide. The conflict between fate and the need for control rises to the surface in  Threshold,  The Elizabeth Years, and the non-fiction story of Charles Whitman s deadly rampage in 1966,  Seed. Themes of ambiguity, moral erosion, and literary exploitation appear in the non-fiction  Bright and Loud and Then Gone, about a landlord burned alive in Chicago in 2008, and  What It Might Have Been Like If We Had Been There, an apologetic for the writer s right to write inspired by the 2007 Al Mutanabbi Street car-bombing in Baghdad, Iraq. Most importantly all the content of Potential Energy tells stories of people trying to hold on to what is good when, tragically, everything must eventually come to an end.<br>M.F.A.<br>Department of English<br>Arts and Humanities<br>Creative Writing MFA
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Sines, Benjamin P. "Letters of a Ruined House." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/2007.

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Lefante, Casey. "Evolution of a Smart Girl." ScholarWorks@UNO, 2008. http://scholarworks.uno.edu/td/682.

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Evolution of a Smart Girl is a collection of short stories that chronicles the evolution of the modern American female. The stories are arranged in three parts: "Dirty Barbie & Breakable Boys" focuses on adolescent relationships between boys and girls; "Some Things Can't Be Unbroken" centers on Maggie and Charlie Copper's marriage after Maggie is diagnosed with ovarian cancer at the age of twenty-five; and "Of Apples and Broken Scabs" presents four stories about four very different women who experience heartbreak in love, friendship, and lust. This work explores the ways in which a girl's interactions with others shape her into the young woman she becomes. Through same-sex friendships, romantic relationships, and sibling rivalries, the women in these stories experience intellectual and sexual awakenings.
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Gaines, Adrienne. "Mercury." Master's thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5741.

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Mercury is a collection of short stories based in the fictional town of Mercury, Georgia. Set over the course of several decades, the stories trace the events that changed individuals, families, and a whole community for decades. Loosely based on the author's real-life family history, the stories, both humorous and heartbreaking, show characters caught between the past and the present and searching for a way forward. A girl who makes friends with a ghost, a woman who can't help but run from crying babies, a man forced to face the town's darkest side—these and other characters respond in surprising ways to circumstances that are both ordinary and extraordinary. Most of the stories in the collection are linked, showing the interconnectedness of the lives in this small town. The pieces work together to present a larger narrative of how the characters and the town struggle to change, survive, hope, and face the future.<br>M.F.A.<br>Masters<br>English<br>Arts and Humanities<br>Creative Writing
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Odasso, Adrienne Jo. "Holding pattern." Thesis, 2016. https://hdl.handle.net/2144/19456.

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Please note: creative writing theses are permanently embargoed in OpenBU. No public access is forecasted for these. To request private access, please click on the locked Download file link and fill out the appropriate web form.<br>MFA Thesis: Holding Pattern, by A.J. Odasso. 35 pages of new poetry submitted in partial fulfillment of the Master of Fine Arts in Creative Writing (Poetry), academic year 2015-2016.<br>2031-01-01T00:00:00Z
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Saye, Eric. "The Yard's Edge: Poems." 2016. http://scholarworks.gsu.edu/english_theses/203.

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This manuscript is comprised of a selection of poems written during my time as a student in the creative writing MFA program at Georgia State University. These are lyric/narrative poems arranged loosely according to subject matter – family, spiritual yearning/mystery.
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Books on the topic "Creative Writing MFA"

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Seth, Abramson, ed. The creative writing MFA handbook: A guide for prospective graduate students. 2nd ed. Continuum, 2008.

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The creative writing MFA handbook: A guide for prospective graduate students. Continuum, 2005.

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Kealey, Tom. The creative writing MFA handbook: A guide for prospective graduate students. Continuum, 2006.

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The low-residency MFA handbook: A guide for prospective creative writing students by. Continuum, 2010.

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Wolf, Joan M. The beanstalk and beyond: Developing critical thinking through fairy tales. Teacher Ideas Press, 1997.

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Mitchard, Jacquelyn, writer of foreword, ed. DIY MFA. Writer's Digest Books, 2016.

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Rember, John. MFA in a Box: A Why to Write Book. Dream of Things, 2011.

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The Creative Writing MFA Handbook: A Guide for Prospective Graduate Students. Bloomsbury Academic, 2006.

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Workshop, New York Writers, ed. The portable MFA in creative writing: Improve your craft with the core essentials taught to MFA students. Writer's Digest Books, 2006.

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Mfa Vs Nyc The Two Cultures Of American Fiction. Farrar, Straus and Giroux, 2014.

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Book chapters on the topic "Creative Writing MFA"

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Franco Harnache, Andrés. "“Mostrar, no decir”: The Influence of and Resistance Against Workshop Poetics on the Hispanic Literary Field." In New Directions in Book History. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-53614-5_14.

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AbstractUntil recently, due to the Romantic imaginary of the artist-as-genius, the Hispanic literary tradition has been wary of a literary advice industry or academic programs of creative writing. This wariness hindered the professionalization of Hispanic authors, but at the same time it kept Hispanic literature out of anglicized uniformity which permitted, by the mid-twentieth century, a reinterpretation of western literature by writers such as Gabriel García Márquez, Jorge Luis Borges, and Mario Vargas Llosa. Nonetheless since the early 2000s a series of MFA programs in creative writing, first in the United States, but more recently in Latin America and Spain, have been changing Hispanic literature. These programs, with syllabi imported from the Anglophone canons, have influenced a new generation of writers who mirror the English savoir-faire and reject their own literary traditions, which were more experimental, less rooted in realism, and even somewhat baroque. There is, however, also resistance in the field, where workshop-inspired developments coincide with a return to a more Hispanic tradition of innovation.
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Hemley, Robin. "A Critique of Postgraduate Workshops and a Case for Low-Residency MFAs." In Teaching Creative Writing. Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137284464_14.

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"Tony Earley." In Writing Appalachia, edited by Katherine Ledford and Theresa Lloyd. University Press of Kentucky, 2020. http://dx.doi.org/10.5810/kentucky/9780813178790.003.0091.

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Tony Earley was born in San Antonio, Texas, and grew up in North Carolina near the Blue Ridge Mountains. He graduated from Warren Wilson College in 1983 and earned an MFA in creative writing from the University of Alabama. Since 1997 he has taught writing at Vanderbilt University....
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"Maurice Manning." In Writing Appalachia, edited by Katherine Ledford and Theresa Lloyd. University Press of Kentucky, 2020. http://dx.doi.org/10.5810/kentucky/9780813178790.003.0078.

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A native of Danville, Kentucky, poet Maurice Manning connected early and deeply with the stories of rural life in eastern Kentucky that his grandfather shared with him. With degrees from Earlham College (BA), the University of Kentucky (MA), and the University of Alabama (MFA), Manning has taught in the creative writing programs at Indiana University, Warren Wilson College, and Transylvania University....
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"Rose McLarney." In Writing Appalachia, edited by Katherine Ledford and Theresa Lloyd. University Press of Kentucky, 2020. http://dx.doi.org/10.5810/kentucky/9780813178790.003.0082.

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Rose McLarney was reared near Asheville, North Carolina. From an early age, she had a keen love for the mountains, which she credits in part for her decision to attend Warren Wilson College for both her BA and MFA degrees, where she has also taught. McLarney is a professor of creative writing at Auburn University. She has published two collections of poems, ...
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"Mark Powell." In Writing Appalachia, edited by Katherine Ledford and Theresa Lloyd. University Press of Kentucky, 2020. http://dx.doi.org/10.5810/kentucky/9780813178790.003.0094.

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Mark Powell was born and reared in Walhalla, South Carolina, in the foothills of the Blue Ridge Mountains. He earned a BA in English from the Citadel, an MFA from the University of South Carolina, and studied theology at the Yale Divinity School. After teaching at Florida’s Stetson University and other colleges, Powell came to the mountains to teach creative writing at Appalachian State University....
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Suarez, Harrod J. "Excessive Writing and Filipina Time." In The Work of Mothering. University of Illinois Press, 2017. http://dx.doi.org/10.5622/illinois/9780252041440.003.0003.

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Chapter One examines Nick Joaquin’s novella, The Woman Who Had Two Navels (which was published before the longer novel version with the same title) and two short stories from Mia Alvar’s In the Country in order to consider the critical role that writing plays in navigating the diasporic maternal. Joaquin’s novella mourns the failure of the Philippine revolution, which becomes metaphorized through a discussion about language. Alvar’s stories address both the prospects and limits of writing: “In the Country” depicts the lives of journalists working against the Marcos regime and the deleterious effects of subversive, embodied writing on the family. In “A Contract Overseas,” Alvar challenges us to think about what it means to imagine and creatively write about life abroad.
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Conference papers on the topic "Creative Writing MFA"

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Wright, Angela. "Collaborative learning: Businesses and HE co-create." In Learning Connections 2019: Spaces, People, Practice. University College Cork||National Forum for the Enhancement of Teaching and Learning in Higher Education, 2019. http://dx.doi.org/10.33178/lc.2019.02.

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This novel research pivoted around a collaborative cyclical learning experience between businesses in a City Centre scape and a local Higher Education Institution. This concept provided for a dual aspect to learning; third level MBA students in parallel with business operatives in a City. The students were tasked with addressing a business problem in cooperation with City Hall and to write a ‘service charter for this city’, while being assessed for progression for their MBA. This Collaborative experiential learning (Kolb, &amp; Kolb, 2017) centred on a group of 22 MBA students while they interacted with 20 businesses in a European City to research, develop and write a service charter. Details of the development of the charter per se are not dealt with in this paper, just the experience of its development by the students and business alike. Finding novel ways to assess third level students is always a challenge for Higher Education Institutions. Imagine the opportunity of being placed at the fulcrum of learning and business development through a dual aspect collaborative learning challenge and experiential learning. An experimental approach was afforded to MBA level 9 students when they were tasked with writing a ‘Service Charter ‘for their City – while in parallel, being assessed through ‘problem solving’ for 5 ECTS credits with the third level partner. The dual aspect of learning and co-creation between businesses and college began when the students sought to solve a problem for City businesses and find a solution to their problem and reflect on it, and the second, when a recommendation came from the research that the businesses needed to undertake further training in order to implement the plan of the final City Service Charter.
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You might also be interested in the extended bibliographies on the topic 'Creative Writing MFA' for particular source types:
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