To see the other types of publications on this topic, follow the link: Other creative arts and writing.
Journal articles on the topic 'Other creative arts and writing'
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 'Other creative arts and writing.'
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
Williams, Ronald D., and Amber R. Williams. "Creative Writing In Alcohol, Tobacco, And Other Drug Education." Contemporary Issues in Education Research (CIER) 5, no. 4 (September 20, 2012): 327. http://dx.doi.org/10.19030/cier.v5i4.7276.
Full textAbstract:
Health educators in elementary and secondary schools should seek collaborations with teachers of other subjects to enhance health education curriculum. The strategy described in this article details a potential collaboration between health education and language arts units. The activity enhances both drug education knowledge gains and creative writing skills among junior high/middle school students.
2
Clifton, Glenn. "Critical-Creative Literacy and Creative Writing Pedagogy." University of Toronto Quarterly 91, no. 1 (February 1, 2022): 51–66. http://dx.doi.org/10.3138/utq.91.1.04.
Full textAbstract:
This article builds on psychological research that claims critical thinking is a key component of the creative process to argue that critical-creative literacy is a cognitive goal of creative writing education. The article also explores the types of assignments and prompts that might contribute to this goal and simultaneously build bridges between creative writing education and other humanities disciplines.
3
Stukenberg, Jill. "Deep habits: Workshop as critique in creative writing." Arts and Humanities in Higher Education 16, no. 3 (July 14, 2016): 277–92. http://dx.doi.org/10.1177/1474022216652770.
Full textAbstract:
The creative writing workshop, involving peer critique of manuscripts in progress, is deeply connected to many writerly habits of mind. As such, this article examines workshop as a signature pedagogy in creative writing. Through workshop, students develop awareness of their readers, understanding of how texts are created by readers and through process, and abilities to problem-solve in drafts and hone their personal tastes while encountering contemporary aesthetic values. At the same time, examination of the writerly habits of mind transmitted through workshop also reveals other key skills and ways of thinking that can be shortchanged when workshop is too much the sole methodology; one deleterious habit of mind, that of being overly self-critical, may even result.
4
Gillam, Tony. "Enhancing public mental health and wellbeing through creative arts participation." Journal of Public Mental Health 17, no. 4 (December 17, 2018): 148–56. http://dx.doi.org/10.1108/jpmh-09-2018-0065.
Full textAbstract:
PurposeThe purpose of this paper is to explore how participation in creative arts activity can enhance public mental health and wellbeing. It is informed by both the author’s clinical practice with service users and carers and by research.Design/methodology/approachThe approach taken is to draw selectively on research in the field of creativity, creative arts and wellbeing, focusing in particular on the use of music and creative writing, and to incorporate learning from clinical experience to explore what is understood about the health and wellbeing benefits of creative arts activity.FindingsThere is evidence that creative arts activity is beneficial to mental health and wellbeing. Arts activities that involve active participation appear to offer the greatest benefits. Creative arts participation can help people with diagnosed mental health difficulties to recover from mental illness. Moreover, creative arts activities can also promote wellbeing in the general population.Research limitations/implicationsThe paper does not provide a comprehensive review of the literature in this field.Practical implicationsThe paper suggests that if nurses and other mental health professionals are to play a full role in facilitating flourishing then they will need to learn more about using creative arts in practice and will need to become involved and encourage others to do so.Social implicationsThe paper suggests it is important that creative arts activities should be participatory, so they become a vehicle not only for self-expression but also for participation in groups and communities, increasing connectedness and social inclusion.Originality/valueThis paper fulfils a need for a wider understanding of the health and wellbeing benefits of creative arts activity.
5
Everington, Shanta. "Through the looking glass: Biographical writing as self-reflection." Journal of Writing in Creative Practice 12, no. 1-2 (April 1, 2019): 29–43. http://dx.doi.org/10.1386/jwcp.12.1-2.29_1.
Full textAbstract:
Combining creative writing excerpts from my Ph.D. work-in-progress, ‘The Other Mothers: Exploring adoption, surrogacy and egg donation through life writing’, with reflective commentary, this article will discuss the ways in which writing the lives of others can serve as a process of self-reflection. Inspired by my personal experience as a biological and adoptive mother, my Ph.D. project involves creative practice as research, alongside critical approaches, to culminate in the production of a multi-subject biographical narrative of women who have become mothers through adoption, surrogacy and egg donation, and their silent partners – birth mothers, surrogates and egg donors – whose stories remain largely untold.
6
Runco, Mark A. "Predicting Children's Creative Performance." Psychological Reports 59, no. 3 (December 1986): 1247–54. http://dx.doi.org/10.2466/pr0.1986.59.3.1247.
Full textAbstract:
The predictive validity of the fluency index of divergent-thinking tests was evaluated, with extracurricular creative performance in seven domains as the criteria. The unique aspects of this project were (a) that gifted and talented children were represented in the sample of 150 subjects, (b) that both performance quantity and quality scores were used as criteria, and (c) that fluency, fluency2, and an interaction of IQ X fluency were tested as predictors. Hierarchical regression analyses indicated that fluency has predictive validity; however, this is limited to certain areas of performance, e.g., writing and crafts. IQ was significantly related to other areas of performance, e.g., science and performing arts, but there was little indication of a quadratic relationship or an interaction of IQ X fluency.
7
Duggan, Jo-Anne, and Enza Gandolfo. "Other Spaces: migration, objects and archives." Modern Italy 16, no. 3 (August 2011): 315–28. http://dx.doi.org/10.1080/13532944.2010.507931.
Full textAbstract:
Other Spaces is a collaborative creative arts exhibition project that explores visual and material expressions of cultural identity with a particular focus on museum collections. This project aims to provide a rich examination – visual, emotional and intellectual – of the multiple cultural narratives that contribute to the social fabric of Australia through a unique marriage of contemporary photomedia and creative writing practice. This project explores the ways that migrants and refugees have found to express their cultural identity through the material objects they have brought with them to Australia. Many of these objects are not only of great personal value but often of cultural, historical and religious significance. Some are very ordinary everyday objects but they can be highly evocative and symbolic of the relationship between culture and identity, and between the places of origin and an individual's present home in Australia. This article, through a combination of photography, creative text and scholarly discussion, will focus specifically on Italo-Australian migrants and on some of the material objects that they have donated to museum collections, and use these objects to explore notions of cultural belonging and identity.
8
Badenhorst, Cecile, Cecilia Moloney, Janna Rosales, and Jennifer Dyer. "Graduate Research Writing: A Pedagogy of Possibility." LEARNing Landscapes 6, no. 1 (June 1, 2012): 63–80. http://dx.doi.org/10.36510/learnland.v6i1.576.
Full textAbstract:
Graduates often find conceptualizing and writing long research projects an arduous alienating process. This paper1 describes a research writing intervention conducted at Memorial University in Newfoundland with two groups of graduate students (Engineering and Arts). One small part of the workshop was devoted to creative "sentence activities." Our argument is that these creative activities contributed to re-connecting students to themselves as researchers/writers and to others in the group. The activities engaged students in language literally, metaphorically, and performatively.
9
Mason, Stephanie. "Keep Candy in the House." Art/Research International: A Transdisciplinary Journal 6, no. 2 (September 4, 2021): 442–67. http://dx.doi.org/10.18432/ari29578.
Full textAbstract:
My mother’s love of Tootsie Rolls was the only fact I could grasp after her sudden passing. I wanted to share this and other memories of her through a eulogy that was whimsical, far-ranging, and entertaining, but I struggled to write one. My struggles reminded me of other writing challenges, such as my recent dissertation proposal, although there I was partly guided by my arts-informed research methodology framework. Gradually, I found some of those methodological elements could illuminate parts of eulogy writing: formal concerns, audience, presence and engagement, subjectivity, and meaning-making all resonate with arts-informed research’s commitment to form, audience, creative enquiry, researcher presence, and holistic quality. These connections show arts-informed research affords lifelong learning opportunities apart from academic practice; in this case, arts-informed research is a resource tool for navigating lived experiences of grief and grief writing. Moreover, arts-informed research encourages affective narratives and socially-constructed meanings to produce new understandings, which I realize here by including eulogy excerpts to produce an artistic representation of “research” about my mother (including her undying love of chocolate).
10
Adji, Alberta Natasia. "The fragmentation of the writing self: Using dialogic reflection to explore the writing process of an autobiographical novel." Journal of Writing in Creative Practice 14, no. 2 (September 1, 2021): 143–59. http://dx.doi.org/10.1386/jwcp_00019_1.
Full textAbstract:
In this article, the author-researcher presents three intertwined texts: excerpts from an autobiographical novel, extracts from a reflexive journal written during the writing of that novel, as well as a theorized account and analysis of the overarching creative process. These texts talk to each other as a form of intertextuality in the similar way that the three generations of a Chinese Indonesian family depicted in the novel interact with one another and present differing perspectives and fresh insights. The issues of the writer’s inner voices and multiplicity of the self feature prominently in this work, the result of a deep and critical engagement with the author-researcher’s creative writing and reflective thinking processes. Together, these three interrelated texts capture and explore multiple perspectives interacting during the writing process while at the same time present how the self and sites of meaning-making can be constructed through writing.
11
Somerville-Wong, Anastasia E. "Secular Liturgies." Secular Studies 1, no. 2 (October 10, 2019): 229–70. http://dx.doi.org/10.1163/25892525-00102005.
Full textAbstract:
Abstract This paper, by the founder of the UK based Secular Liturgies Network and Forum, explores the concept and purpose of secular liturgy, and the potential for liturgical events in modern secular societies. It examines the practice of writing secular liturgy, discusses potential contributions from atheists, agnostics, humanists and religious progressives, and considers the new pastoral roles that may evolve alongside a secular liturgies movement. The author argues that secular liturgies and liturgical events have the potential to enrich secular culture, nurture community, facilitate healthy social interaction, advance ethical thought, promote creative writing and other arts, and galvanise people in their efforts towards sustainability and the creation of cultures and environments of health.
12
Kirschenbaum, Matthew. "Lucid Mapping: Information Landscaping and Three-Dimensional Writing Spaces." Leonardo 32, no. 4 (August 1999): 261–68. http://dx.doi.org/10.1162/002409499553406.
Full textAbstract:
This paper documents an interactive graphics installation entitled Lucid Mapping and Codex Transformissions in the Z-Buffer. Lucid Mapping uses the Virtual Reality Modeling Language to explore textual and narrative possibilities within three-dimensional (3D) electronic environments. The author describes the creative rationale and technical design of the work and places it within the context of other applications of 3D text and typography in the digital arts and the scientific visualization communities. The author also considers the implications of 3D textual environments on visual language and communication, and discriminates among a range of different visual/ rhetorical strategies that such environments can sustain.
13
Johnson, Clare. "Editorial." Journal of Writing in Creative Practice 15, no. 2 (September 1, 2022): 105–11. http://dx.doi.org/10.1386/jwcp_00032_2.
Full textAbstract:
This Editorial charts the journey from an initial conversation amongst visual culture colleagues at the University of the West of England to this Special Issue on ‘Ways of Writing in Art and Design’. It describes our intention to imagine forms of writing in/through/ alongside/with creative practice, as opposed to writing ‘about’ it, in the context of visual culture pedagogy. This is the desire to treat the artwork or other type of creative practice as a fellow subject, not an object to be written about. The Editorial explains the process through which we came together as a research network, describes a series of workshops that enabled our thinking, and situates the project within the context of the COVID-19 pandemic. Finally, it introduces each of the contributions in this collaborative constellation of articles, polemic, reflection, visual essay and illustration.
14
Gilbert, Francis, and Miranda Matthews. "Affective digital presence: How to free online writing and drawing?" Journal of Writing in Creative Practice 14, no. 2 (September 1, 2021): 209–37. http://dx.doi.org/10.1386/jwcp_00023_1.
Full textAbstract:
Online learning can be an alienating experience; students can feel their emotions are disregarded, marginalized or even viewed as hindrances as they try to motivate themselves to learn, staring at the dancing pixels of their illuminated screens. They feel at a remove from other students, trapped in other rooms, far away from them. The closeness of bodies in a shared physical space is raised as an absence. And yet, we contend in this article that connecting with affect in online learning spaces could build connectivity that counteracts the alienation of social distancing. Raw creative affective discourses can be challenging, and uncomfortable for others to take in but they are necessary online. We show that using non-digital practices such as drawing and writing freely, without inhibitions, can immeasurably enhance the online experience, giving a space for affect to be expressed in a safe but emancipatory learning architecture.
15
Hanley, Natalia, and Elena Marchetti. "Dreaming Inside: An evaluation of a creative writing program for Aboriginal and Torres Strait Islander men in prison." Australian & New Zealand Journal of Criminology 53, no. 2 (February 26, 2020): 285–302. http://dx.doi.org/10.1177/0004865820905894.
Full textAbstract:
Arts-based prison programs are often viewed as hobbies or as activities that have little impact on prisoner rehabilitation according to conventional understandings of the term. This is despite growing evidence that arts-based programs can assist with learning retention and can improve self-confidence and ways of coping with emotions. Generally, arts practices have been found to assist Aboriginal and Torres Strait Islander people who have grown up or live in urban areas with asserting and strengthening their cultural identity, but we know little about the effects of arts-based prison programs on Aboriginal and Torres Strait Islander prisoner wellbeing. This article focuses on a creative writing program for Aboriginal and Torres Strait Islander prisoners at Junee Correctional Centre, New South Wales. The program, Dreaming Inside, has produced seven volumes of poetry and stories. This article combines and reports findings from two evaluations of the program, one using program feedback forms and the other using semi-structured interviews with prisoners who participated in the program. The themes that emerged from both evaluations affirm the program’s efficacy in improving prisoner self-esteem, confidence and wellbeing, and in reigniting and strengthening cultural engagement.
16
Geshta, Hisham. "Those Who Shaped the Future." Nka Journal of Contemporary African Art 2021, no. 49 (November 1, 2021): 120–31. http://dx.doi.org/10.1215/10757163-9435723.
Full textAbstract:
Author Hisham Geshta, literary and art critic and editor of Al Kitaba Al Ukhra (Other Writing), Cairo, Egypt, reminisces about his meeting and long-term relationship with writer and activist Anwar Kamel and their united efforts to publish established and emerging surrealist writers and poets in Al Tatawwur (Evolution) magazine in 1940 and after. Later, when Kamel is in his late seventies, in 1991, the author establishes and publishes Al Kitaba Al-Ukhra to continue the commitment. The author provides numerous excerpts from these and earlier publications that include the writings of Georges Henein, Ramses Younan, Kamel Telmisany, and era poets, illuminating the ideology and creative output of Egyptian surrealist artists and thought leaders across more than five decades.
17
Harris, Danielle Arlanda, and Mary Lynn Fitton. "The Art of Yoga Project: A Gender-Responsive Yoga and Creative Arts Curriculum for Girls in the California Juvenile Justice System." International Journal of Yoga Therapy 20, no. 1 (January 1, 2010): 110–18. http://dx.doi.org/10.17761/ijyt.20.1.w33375003846vt18.
Full textAbstract:
As girls enter the juvenile justice system, they stand on the precipice of a lifelong cycle of crime and incarceration, yet still have the opportunity to turn toward healing and rehabilitation. With this in mind, The Art of Yoga Project (AYP) has designed a gender-specific intervention that combines Yoga, visual arts, and creative writing to help girls learn how to create a positive future for themselves. This article introduces AYP and shares the goals, objectives, and experiences of the program. A thorough description of AYP's comprehensive Yoga and Creative Arts Curriculum is provided, including a sample class plan and overview of the entire course. Eight principles of best practices are presented and discussed. We hope that this blueprint will inspire and empower other Yoga therapists to develop similar programs that serve this important and underserved population.
18
Sligo, Frank. "Reading against and writing back." English Teaching: Practice & Critique 14, no. 3 (December 7, 2015): 350–65. http://dx.doi.org/10.1108/etpc-06-2015-0049.
Full textAbstract:
Purpose – The purpose of this paper is to explore how student learning materials, such as textbooks, are becoming more oriented toward multi-modal approaches using visuality and orality. While such approaches may help students to understand and then to reproduce taught materials, the objective of this paper is to question whether they are serving to promote students’ critical literacy. Design/methodology/approach – The paper assesses the character of current textbooks and other means of student support, such as online learning management systems, and assesses how well they seem able to promote the critical literacy that requires ability in “reading against” and “writing back”. The paper goes on to identify ways in which some parts of the university see orality as preliminary and subordinate to literacy-focused communication, but elsewhere, the pinnacle of students’ work is artistic or creative attainments with lesser need to write complexly literate textual works. Findings – As a means of trying to resolve inherent tensions between differing pedagogical assumptions and methods in the university, the paper proposes ways in which Ong’s (1982, p. 36) nine communication characteristics of “orally based thought and expression” may be able to offer insights into challenges of improving students’ critical literacy. Research limitations/implications – The inherent academic tensions within the university still remain insufficiently theorized. For example, the humanities and social sciences (still) place much store on developing students’ abilities in critical writing, while disciplines such as design or creative arts are much more focused on students’ creative outputs. The paper contributes to a better understanding of such scholars talking past one another. Practical implications – Scholars in different academic camps often note the discrepancies in how their relative pedagogical tasks are to be understood, but typically, it is not clear to them how they might better relate to other parts of the university. The paper aims to elucidate the nature of academic differences that often appear to exist to provide insights into possibly new ways of seeing everyday teaching and learning. Social implications – Ong’s insights into literacy and orality when viewed through a prism of tertiary teaching and learning provide a practical means whereby students and other university stakeholders can develop a better appreciation of the character of the modern university. Originality/value – The novel use of Walter Ong’s model of literacy and orality provides fresh ways of seeing challenges and disputes within the academic community and suggests new ways of seeing students’ work and their teachers’ expectations of them.
19
Mees, Cleo. "Letters to Sheila: Improvisational scores in creative practice research." Choreographic Practices 11, no. 1 (July 1, 2020): 9–27. http://dx.doi.org/10.1386/chor_00009_1.
Full textAbstract:
This article argues that improvisational scores can function as valuable scaffolds to support creative practice research. Drawing on existing literatures about creative practice research, and the practices and scores of artists, including Simone Forti, Rosalind Crisp, James Hazel and Nancy Stark Smith, the article proposes seven different ways in which improvisational scores might help to focus, sustain and evolve research methods. Importantly, the author not only discusses the ways improvisational scores support research; she also uses a score to write the article itself, thus enacting the method she describes. The score she uses is based around a task – to write a series of letters to non-fiction author Sheila Heti. The resulting letters focus especially on the ways scores are used in improvised dance, and on the ways they might be applied in other fields such as writing and filmmaking. In doing so, the letters show how creative methodologies can be moved across disciplines and artistic forms to invigorate practice. They also give expression to and seek to better understand the embodied and affective dimensions of scholarship.
20
Bizhga, Denis. "The Influence of Folklore on the Cultivated Albanian Music of the XX Century." European Journal of Multidisciplinary Studies 5, no. 3 (December 12, 2020): 47. http://dx.doi.org/10.26417/237vbd89w.
Full textAbstract:
Folklore is one of the components and transmitters of a nation's national identity and its spiritual heritage. The great folkloric wealth of Albanian people shows its antiquity and creative genius. As the first creation of folklore, it is the basis for the creation and continuous functioning of other cultivated arts, such as: music, literature, choreography or other visual arts. Albanian folklore also represents a vital, early, stable and rich tradition. It is not a memory of the past, but it is alive and full of life and day by day it comes and is practiced articulated emotionally, developing, enriching and growing together with the Albanian people themselves, despite the many changes that are noticed in the realities of Albanian folklore in general. Through folklore, our people over the centuries manifested outstanding talent, spiritual expressive potential, great promotional skills. Albanian folk music tradition is generally an oral tradition based on the memory of the people; she did not feel the need for writing because she was born, spread and selected to live word of mouth and generation after generation, adapting to the needs and requirements of life.
21
Robbins, Trina, and Jennifer K. Stuller. "Focus on Trina Robbins." Feminist Media Histories 4, no. 3 (2018): 119–34. http://dx.doi.org/10.1525/fmh.2018.4.3.119.
Full textAbstract:
This interview with Trina Robbins took place during a panel at the 2016 Comics Arts Conference conducted by Jennifer K. Stuller. Robbins, known both for her work as a groundbreaking cartoonist and for her histories of female comics creators, discusses her early days in New York during the 1960s, owning a clothing boutique and writing comics for the East Village Other; the creation of It Ain't Me, Babe, the first all-female comic compilation, and Wimmen's Comix, the long-running feminist underground comix series; and her work both as a “herstorian,” uncovering the overlooked role of women in comics production, and as a mentor to female creators. Fashion provides a through-line in Robbins's histories, underpinning her creative work and her feminist critiques.
22
McEvoy, William. "Finding the Balance: Writing and Performing Ethics in Théâtre du Soleil’s Le Dernier Caravansérail (2003)." New Theatre Quarterly 22, no. 3 (July 11, 2006): 211–26. http://dx.doi.org/10.1017/s0266464x0600042x.
Full textAbstract:
Théâtre du Soleil’s latest production, Le Dernier Caravansérail (The Last Caravanserai), staged the stories and experiences of immigrants, refugees, and asylum-seekers from around the world. In this article, William McEvoy argues that the company was motivated both by a political agenda to make migrants more visible and a concern to investigate the ethical implications of its own creative processes. This led to a potential conflict between representing migrants directly on stage and a performance that reflected the company’s worries about turning migrants’ traumatic narratives into theatre and spectacle. Focusing on the concept of balance in the production, the article shows how Théâtre du Soleil presented the ethical negotiations between creative self and represented other through exploring the links between text and performance, writing and the body, and manipulation and resistance. William McEvoy is a lecturer in the English Department at the University of Sussex, specializing in contemporary theatre and performance. He has published work on Peter Brook and Ariane Mnouchkine, and his current research deals with the shifting role of the text in experimental and physical theatre.
23
Quinn, James. "Reflecting on reflection: Exploring the role of writing as part of practice-led research." Journal of Writing in Creative Practice 13, no. 2 (February 1, 2020): 243–58. http://dx.doi.org/10.1386/jwcp_00007_1.
Full textAbstract:
The phrase ‘writing up’ is often framed as the point where a research project is nearing its end, with only a summarizing thesis between a student and their completion. This text seeks to interrogate this dichotomy between research practice and writing. Instead, the text engenders reflective writing as a constant undercurrent of dialogue that continually shapes research through reflective thought. The text implements concepts from two key texts to meet these ends: Kamler and Thompson’s Helping Doctoral Students Write: Pedagogies for Supervision and Bolt and Barrett’s Practice as Research: Approaches to Creative Arts Enquiry. The first of the texts problematizes the notion of a formal ‘writing up’ stage often cited by students and supervisors in research study, arguing instead for a shift towards a more dynamic role for writing in research, or indeed writing as research. The second of the contributing texts presents Barbara Bolt’s notion of the ‘exegesis’ as ancillary to this thought – outlining written practice in arts research as an intrinsic, generative process, married to any practical outcome. Using the rhetoric outlined in these two references, this article then summarizes with an application of the notion of the ‘exegesis’ to an assortment of personal written texts, such as reflective journal entries and assessed written works across three years of postgraduate study. Herein lies the key claim of this article – that exegesis permeates every meaningful or developmental step of practice-led research, forming a crucial reciprocal relationship between visual and written work not unlike other hybridized methodologies outlined by authors such as Mieke Bal in her text, Travelling Concepts in the Humanities: A Rough Guide.
24
Fisk, Catherine, and Michael Szalay. "Story Work: Non-Proprietary Autonomy and Contemporary Television Writing." Television & New Media 18, no. 7 (June 10, 2016): 605–20. http://dx.doi.org/10.1177/1527476416652693.
Full textAbstract:
Based on interviews with three dozen working writers in American television, this paper argues that TV writers assert their status as labor to guarantee their shared craft identity with novelists, dramatists, and authors of other conventional literary material. The tension between writers’ desire for literary prestige on one hand, and their recognition that they create at the behest of company executives, on the other, emerges, alternately, in the imagined difference between writers and producers and, most basically, between autonomous creators and corporate hacks. Our novel observation is that writers’ identification with labor, including their commitment to their union, the Writers Guild of America, plays a central role in resolving these tensions. Union membership solves a problem at the heart of contemporary TV writing insofar as it transforms a necessity into a virtue; opposing management as labor, the writer registers her opposition to creative input that might otherwise compromise her sense of artistic integrity. That opposition allows writers to imagine themselves at odds with the studios and networks that employ them, and at the same time to commit to artistic over and against corporate values.
25
Bell, Rebecca. "Untrammelled ways: Reflecting on the written text, nourishment and care in online teaching." Journal of Writing in Creative Practice 15, no. 2 (September 1, 2022): 126–38. http://dx.doi.org/10.1386/jwcp_00034_1.
Full textAbstract:
As the COVID-19 pandemic gathered momentum in 2020, it became clear that online teaching spaces risked a distancing from the embodied knowledge so necessary to creative education. Teaching written texts to creative practitioners is a process that calls for alternative spatial and visual literacies, for ontological methods, for honouring experience and reflection – especially in a neo-liberal climate of higher education. In my teaching practice, as well as writing and painting practices, I like so many others have sought spaces for nourishment during this era. Through my teaching and a collaborative research group, one space in which I located this was via hope. This is a time to ask if we can use this moment in history to encourage thinking in an untrammelled manner and to move more freely in the unfamiliar, to transform the classroom; to seek materiality as a method of interpretation, even online; to encourage fearlessness, plurality and relationality; to use craft methods; and to enter a space of care and emotional openness. This contribution will consider creative allyship between staff and students, with the written text as a place of beginning. This is a deliberately open-ended, exploratory, personal and reflective piece of writing, gathered during teaching and research from 2020 to 2022. ‘Ways of Writing’ are explored both through the method of this article as well as its content.
26
O’Toole, John. "The basic principles of a socially just arts curriculum, and the place of drama." Australian Educational Researcher 48, no. 5 (October 8, 2021): 819–36. http://dx.doi.org/10.1007/s13384-021-00480-6.
Full textAbstract:
AbstractThis paper provides a descriptive historical analysis of the planning and writing of the Australian Curriculum: The Arts which occurred from 2009 to 2013. This process involved extensive consultation across a range of stakeholders, including curriculum research, background reading and analysis that preceded the Australian Curriculum, Assessment and Reporting Authority’s writing process. The curriculum itself was underpinned by a range of democratic principles, including the importance of developing a socially just curriculum. This necessitated extensive discussion which interrogated the terms excellence and equity to ensure a high-quality arts education was accessible for all students, regardless of their background. The implementation of these principles is then explored through the perspective of the Drama writing team, including the importance of the subject Drama in developing a sense of inquiry and empathy in students by exploring their own and others’ stories and points of view. The final curriculum document for the Arts, and specifically for Drama exemplifies the importance of these social justice principles in responding to the Melbourne Declaration on Educational Goals for Young Australians (2008) which advocates for equity and excellence in Australian schooling and for all young Australians to become successful learners, confident and creative individuals and active and informed citizens.
27
Osler, Trish, Isabelle Guillard, Arianna Garcia-Fialdini, and Sandrine Côté. "An a/r/tographic métissage: Storying the self as pedagogic practice." Journal of Writing in Creative Practice 12, no. 1-2 (April 1, 2019): 109–29. http://dx.doi.org/10.1386/jwcp.12.1-2.109_1.
Full textAbstract:
This article traces the experience of four arts educators as they consider ‘self as subject-matter’ through living inquiry. Anchored in arts-based approaches, storying the self four ways offers both an individual perspective and an a/r/tographic métissage of becoming through the weaving of narratives that derive from sociocultural and historical contexts. The practice of narrative as research considers the following questions: how does the presentation/communication component of life writing colour a narrative? What common and potentially universal experiences occur within life writing research? Through the collaborative exchange of four narratives, a fifth emerges: in response to the creative journey of others, and in documenting our entanglements with them, we open spaces. Illustrating how the introspective and extrospective interact with the visual or performative as a vehicle for revealing the self, this article posits that the self-in-relation to theory and practice becomes a way of knowing that broadens educational discourse among artists/researchers/teachers.
28
Carver, M. Heather. "Two Truths and a Lie: Performing Professorhood/Motherhood." Journal of American Folklore 118, no. 467 (January 1, 2005): 78–89. http://dx.doi.org/10.2307/4137810.
Full textAbstract:
Abstract The following is autoethnographic performative writing that invites the reader into one woman’s experiences of simultaneously becoming a new mother and professor. The writing weaves the autobiographic tale of her new job as an assistant professor with a dramatic performance text based on a graduate student’s ethnographic interview about the birth of her first daughter. Experimental in nature, this script seeks to problematize the relationship of academic selves and others through creative writing.
29
Gibbs, Leah, Kim Williams, Sarah Hamylton, and Lucas Ihlein. "‘Rock the Boat’: song-writing as geographical practice." cultural geographies 27, no. 2 (November 19, 2019): 311–15. http://dx.doi.org/10.1177/1474474019886836.
Full textAbstract:
Climate change science is unequivocal on the link between fossil fuels and climate change. Yet, some governments – including those in Australia – fail to meet agreed targets and continue to invest in the coal industry. Scientists and other scholars have expressed concern that the science is not prompting shifts in policy adequate to address current and future effects of climate change. Many have called for other tools – specifically, the arts and social sciences – to investigate and communicate about the environmental and social changes underway. In this context, this article explores the potential of interdisciplinary collaborative song-writing as research practice. Beginning on a boat on Australia’s Great Barrier Reef, the research team adopted singing and song-writing as a method for coming together to reflect upon our research aims and motivations, to explore and express the delight and grief we were experiencing in this climate-changing land and seascape and potentially to reach new audiences and create different affects. Our multidisciplinary expertise offered impetus to pursue a hybrid form: an original song written, professionally recorded and vinyl pressed; scholarly notes to expand on our song lyrics; visual presentation of our music as annotated score; and written reflections on the process and its contribution to knowledge. Here, we present and explore the possibilities of song-writing as creative geographical practice.
30
Magagula, Simphiwe, Ndwamato Mugovhani, and Sakhiseni Yende. "Challenges Encountered in the Enhancement and Optimal Teaching and Learning of the Creative Arts Subject in South Africa." African Journal of Inter/Multidisciplinary Studies 4, no. 1 (2022): 373–83. http://dx.doi.org/10.51415/ajims.v4i1.1042.
Full textAbstract:
In recent years, there have been debates regarding the scope of Creative Arts subject in the existing curriculum known as the Curriculum and Assessment Policy Statement offered in the South African public schools. Crucial points in question include that the curriculum does not fully equip learners with the requisite skills for their respective areas of interest. This article interrogates these, and many other challenges encountered in teaching and learning this subject. The study adopted a qualitative research method to collect data, using methods such as semi-structured interviews with the principals, teachers, as well as selected learners from the selected public schools. A substantial review of previous and recent scholarly writings was used to substantiate the findings. The over-arching finding is that this Creative Arts subject requires some intervention strategies and revision by the government and all relevant stakeholders. This study concludes by affirming that the Creative Arts subject plays a vital role in schools, but some issues have contributed to the ineffectiveness of the subject. There is a clear indication that one of the main contributions to the ineffectiveness of the Creative Arts subject in schools is to find specialist educators in each art form.
31
Schwarz, Clair. "Iris in, Iris out: Reflections on the production, exhibition and viewing of a bisected-eyeball hand-puppet." Journal of Writing in Creative Practice 15, no. 2 (September 1, 2022): 276–94. http://dx.doi.org/10.1386/jwcp_00042_1.
Full textAbstract:
This article reflects upon my short visual recording Eyedrops: A Monoculogue (2021). It describes the thinking process of creative avoidance (both making something new, but recycling ideas and materials which already exist, both in the mind and close to hand); pleasure in making (the haptic joy of production); considerations of performance; being audience to one’s own work when exhibited alongside other work responding to the same initial call; re-presenting the work in a workshop context. While it draws upon interdisciplinary theoretical writing to provide phenomenological and ekphrastic considerations of the work, moving between the three-point dynamic which links and divides viewing positions: the image (screen), subject (eye) and the object (puppet), it employs an immediacy of writing, which resists the usual considerations of academic scholarship in a move to free up thinking and to expose the emotional and experiential, questioning what it is to ‘see’.
32
Bowers, Katherine. "Unpacking Viazemskii's Khalat: The Technologies of Dilettantism in Early Nineteenth-Century Russian Literary Culture." Slavic Review 74, no. 3 (2015): 529–52. http://dx.doi.org/10.5612/slavicreview.74.3.529.
Full textAbstract:
This article explores the image of the khalat, or dressing gown, in and around Petr Viazemskii's 1817 poem “Proshchanie s khalatom” (Farewell to My Dressing Gown). As the poem circulated during the period between its creation and printing, its central image—the khalat—became enshrined as a symbol for early nineteenth-century literary culture around and within the Arzamas circle, emphasizing a creative inner life and an informal approach to writing. The poem mediates between friendship, honor, authenticity, and authorship and the formalities, duties, and expectations of society life. The khalat image appears in later poems, correspondence, and occasional writings by Anton Del'vig, Aleksandr Pushkin, and Vasilii Zhukovskii, among others. Tracing the image through its intertextual influences, extratextual impact, and memetic evolution, I examine the way it contributed to the development of an intellectual network through information transfer during the early nineteenth century and beyond.
33
CHRISTIDOU, SOFIA, and STAVROS E. KAMAROUDIS. "Seeking new paths by attempting avant-garde teaching methods through translation and creative writing for classes of English for Academic Purposes (EAP) . The cases of the Schools of Engineering, Departments of Mechanical Engineering, Informatics and Tele." International Journal of Language, Translation and Intercultural Communication 4, no. 1 (June 24, 2016): 110. http://dx.doi.org/10.12681/ijltic.10341.
Full textAbstract:
<p><em>The aim of our paper is to discuss how the courses of English Language of the Department of Applied and Visual Arts of the School of Fine Arts and of the Departments of Mechanical Engineering, Informatics and Telecommunications Engineering of the School of Engineering of the University of Western Macedonia were taught during the academic year 2014-5 and how students reacted towards the teaching approaches that were adopted. For reasons of economy of space we present here only the experiment that was conducted in the School of Fine arts. These teaching methods we attempted to implement based on bibliographic research, both during the teaching sessions and in the final assessment, were a) translation and b) creative writing. On the one hand, we tried to familiarize students with the meaning and appropriate use of the terminology of their own scientific fields in both the English and the Greek language and on the other hand we attempted to stir their imagination and create an interest in writing. Our aim was to encourage them to produce their own texts by using knowledge from their own scientific field, express their thoughts, feel more confident when communicating in the foreign language and improve their language skills.</em></p><p> </p>
34
Levesque, Lauren Michelle, and Cecile Rozuel. "Puppets Know Best." Art/Research International: A Transdisciplinary Journal 7, no. 1 (March 26, 2022): 1–28. http://dx.doi.org/10.18432/ari29626.
Full textAbstract:
This article addresses the struggle of crafting a recognized professional scholarly identity, and reflects on the significance of puppets to interrupt this struggle, assert one’s voice, and creatively occupy one’s space. Our interdisciplinary contribution aims to extend conversations on the realities of academic life that are often muted or diluted such as anxiety, self-doubt, weariness and failure, with implications for creative research practices. We engage the aforementioned realities through a mix of creative and whimsical writing styles (e.g., human-puppet dialogues; poetry; reflection), leveraging insights from the Jungian psychological approach to archetypal symbol and the imagination as well as transformative arts-based approaches involving storytelling, voice, and liminal space. After exploring our own experiences carving out space as creative and reflective scholar-practitioners, we discuss two examples where puppets disrupted the status quo of particular academic settings and provided opportunities for different, more spontaneous forms of engagement with the self and with others.
35
Gontarski, S. E. "Tennessee Williams’s Creative Frisson, Censorship, and the Queering of Theatre." New Theatre Quarterly 37, no. 1 (February 2021): 82–99. http://dx.doi.org/10.1017/s0266464x20000810.
Full textAbstract:
The world around Tennessee Williams in the 1960s, 1970s, and into the 1980s was changing at an astonishing pace, the cultural revolution of the period rendering most of his themes of sexual closeting and repression almost inconsequential. At least the entrenched cultural taboos against which he wrote seem to have disappeared by the mid-1960s and 1970s. In the 1980s, Broadway productions of his work grew infrequent, while those mounted tended to have short runs. He told interviewers from Theatre Arts magazine: ‘I think my kind of literary or pseudo-literary style of writing for the theatre is on its way out.’ European productions of his work, on the other hand, seemed regenerative: Howard Davies’s Cat on a Hot Tin Roof (1989), in which the director used Williams’s original third act and not the version rewritten by Elia Kazan for the New York premiere; Peter Hall’s revival of Orpheus Descending (1989–91); Benedict Andrews’s A Streetcar Named Desire (2014), followed by his 2017 Cat on a Hot Tin Roof – a revival deemed ‘so courageous’; and in Italy, Elio De Capitani’s productions of Un tram che si chiama desiderio (1995) and Improvvisamente, l’estate scorsa (2011), both in fresh, new, up-to-date translations by Masolino D’Amico – all these have maintained an edge to Williams’s theatre lost in so many American productions. All seem to suggest the continued vitality of Williams’s work in Europe by directors willing to probe and rediscover Williams’s depths, who consider him ‘a playwright worthy of further artistic investigation’, as European audiences, correspondingly, seem less inclined to dismiss him as an artist whom history has overtaken. S. E. Gontarski is Robert O. Lawton Distinguished Professor of English at Florida State University. His critical, bilingual edition of Tennessee Williams’s A Streetcar Named Desire was published as Un tram che si chiama desiderio / A Streetcar Named Desire (Pisa: Editioni ETS, 2012). His Włodzimierz Staniewski and the Phenomenon of ‘Gardzienice’, co-edited with Tomasz Wiśniewski and Katarzyna Kręglewska, is forthcoming (Routledge).
36
Blasing, Molly Thomasy. "Through the Lens of Loss: Marina Tsvetaeva's Elegiac Photo-Poetics." Slavic Review 73, no. 01 (2014): 1–35. http://dx.doi.org/10.5612/slavicreview.73.1.0001.
Full textAbstract:
Marina Tsvetaeva is often described as a poet of keen aural sensibilities, while the visual world has been thought to be of secondary importance to her. This study of the influence of photography on Tsvetaeva's poetic writing contributes new evidence of the role of visual culture in her creative world. In detailing Tsvetaeva's experiences with the material and metaphysical properties of photographic imagery, Molly Thomasy Blasing argues that photography played a significant role in shaping the poet's elegiac writings on death, loss, and separation. The article makes available a number of previously unpublished archival photographs taken by Tsvetaeva—images that are directly linked to her cycle of poems dedicated to Nikolai Gronskii, Nadgrobie. Blasing contextualizes this discovery within a network of other photo-poetic encounters in Tsvetaeva's life and works, revealing the extent to which the poet's thinking about photography relates to the goals of her poetic practice.
37
Zipes, Jack. "The art of daydreaming: How Ernst Bloch and Mariette Lydis defied Freud and transformed their daydreams through writing and art." Book 2.0 10, no. 2 (December 1, 2020): 217–31. http://dx.doi.org/10.1386/btwo_00031_1.
Full textAbstract:
We all dream. Even my dog dreams; he whines when he dreams, perhaps because his dreams are as filled with anxiety as my own sometimes are. Dreams – bad dreams and nightmares, particularly – can be profoundly unsettling and disturbing. They can shock and terrify us because they cannot be controlled: they are their own narrators, and the only way we can resolve their penetrating stories is by attempting to interrupt them. Only by jolting ourselves and waking up, we can enlighten ourselves and come to light, and only by generating daydreams, we can counteract the malign influences of bad dreams and nightmares and take charge of our lives. Bad dreams and nightmares can bring dread and devastating realizations: they can leave us marooned in our past. Daydreams, by contrast, can generate options, and perhaps a renewed joy in life as well: they demand that, despite obstacles and despair, we move onwards into the future. They are artful stories; they are the art of utopia and are filled with our wishes and anticipatory illumination. They appeal to us to become artists and narrators of our lives. Participating in the creative arts – writing, painting, acting and making music – is to envision dream-like visions of where we want to go with our lives. Without the arts, without writing especially, and without our conscious picturing the ideal other life, there is little possibility that our desires will be fulfilled. We need hope, and we need daydreams to map our destiny. I believe we need to act on our daydreams, and not slumber into nocturnal nightmares. These beliefs and ideas have been informed by studying the work of Ernst Bloch and his notions about daydreams (not nocturnal dreams). He is a neglected, iconoclastic philosopher, and I believe brilliant. In this article, I propose to discuss his theories about daydreams and then turn to the neglected, Austrian-Jewish painter Mariette Lydis, who in her various works offers proof that daydreams play an immense and important role in our creative lives. Contemporaries, both Bloch (1885–1977) and Lydis (1887–1970) wrote and/or painted during the same century as Freud (1856–1939) and Jung (1875–1961). Both were of Jewish origin. Both survived the First World War, the Nazis and the Second World War. Both kept realizing their desires for a better world through writing and picturing their writing.
38
Demirtoka, Sezin. "My quarantine landscapes: A personal inquiry into the COVID-19 lockdown experience through drawings." Journal of Applied Arts & Health 13, no. 2 (July 1, 2022): 213–29. http://dx.doi.org/10.1386/jaah_00103_1.
Full textAbstract:
This article presents an art-based personal inquiry into the author’s experience of the COVID-19 lockdown in 2020. Drawing was used as a way to document, process and regulate feelings during the lockdown. The author revisited these drawings over the course of the following year, engaging with them through imaginative dialogues and creative writing, and looking for patterns to make meaning of them. This inquiry highlighted themes of existential issues around death and life, longing for connectedness to nature and other humans, and the toll of home confinement on the lived body. The author reflects on how artistic inquiry helped her approach an anxiety-provoking situation with curiosity, become aware of existential issues that the pandemic had brought up and treat them with intentionality and authenticity.
39
Dickson, Caroline, and Kate Sanders. "We are creative – are you?" International Practice Development Journal 11, no. 1 (May 19, 2021): 1–2. http://dx.doi.org/10.19043/ipdj.111.001.
Full textAbstract:
When thinking about this editorial, we knew we wanted to say something about creativity. Working creatively is a valuable means of accessing embodied knowledge and new insights about ourselves, our practice and our workplace cultures that can be used to inform development and transformation. However, being new to writing editorials, we first decided to have a look back through the journal’s editorial archives and seek the wisdom of previous authors. In doing so, it was interesting to see that our first Academic Editor, Professor Jan Dewing, had written an editorial about being creative back in May 2012; we encourage you to have a look. Jan began: ‘Yet again I recently heard someone saying they weren’t a creative person... ’and this is something we both experience when working with others. Is this because the word creativity is perceived to refer to the arts – for example, crafting, painting, movement and music – rather than a broader understanding, as suggested by the dictionary definition below: ‘The ability to transcend traditional ideas, rules, patterns, relationships, or the like, and to create meaningful new ideas, forms, methods, interpretations, etc.; originality, progressiveness, or imagination ’(dictionary.com). Taking this more expansive perspective opens up the possibility for us all to perceive ourselves as inherently creative. It could be argued that this creativity has come to the fore as we have adapted to new ways of living and working during the Covid-19 pandemic. While this crisis has brought huge uncertainty and challenge right across the complex mix of health and social care services, what has been remarkable is the ability people have shown to change their ways of working, to seek solutions – and to do so at pace. We believe this reflects the creative nature of human beings/persons. Oliver (2009) argues that creativity is everywhere, as humans and the world are constantly engaged in a process of making. He contends that we should view creativity as ‘openness’, which is person-oriented (Massey and Munt, 2009). In this way, we create the possibility for participatory exploration of the social, cultural and embodied context, and for improvisation and transformation, by engaging in people’s ‘interests, curiosities and passions ’(Massey and Munt, 2009, p 305).
40
Snell, K. D. M. "Ronald Blythe: ‘Just a voice for his time’." Rural History 32, no. 1 (March 29, 2021): 3–22. http://dx.doi.org/10.1017/s0956793320000205.
Full textAbstract:
AbstractRonald Blythe is often seen as Britain’s finest living rural writer. He has published over thirty books, some of them, like Akenfield and The View in Winter, widely acknowledged as classics, inspiring a film and follow-up books by others. His literary output has been extraordinary: novels, short stories, poetry, rural documentary writing, oral history, ‘parish’ writing, religious books, his own autobiographical work (among a remarkable milieu of creative people), and historical studies ranging from the seventeenth to the twentieth centuries. He has also edited a great range of authors and types of writing. Ronald Blythe is especially an East Anglian author, writing about that English region, in whose work the local and the religious are often to the fore. As this famous author approaches one hundred years of age, this article is a forthright academic appreciation of his work, a discussion of its themes and impressive variety, and an analysis of the meanings and importance of his writing to modern readerships.
41
Nagy-Seres, Imola. "‘I am short of puff’: Katherine Mansfield's Poetics of Breathing." Modernist Cultures 17, no. 2 (May 2022): 267–89. http://dx.doi.org/10.3366/mod.2022.0371.
Full textAbstract:
This article investigates the medical and aesthetic role of breath in Katherine Mansfield's writing. Through an examination of Mansfield's correspondence and her short stories ‘Prelude’ (1918) and ‘Bliss’ (1918), in parallel with early twentieth-century medical and fitness literature, I argue that respiration foregrounds a kind of form-shifting expansiveness, softening the body's edges and opening it up to forces beyond rational control, while also drawing attention to the self's limitations in forging meaningful bonds with others. While Mansfield often experienced respiration as physically painful – a disrupting force that separated her from her surroundings – she also imbued breath with hopeful and life-affirming qualities that carved out an affective and creative space of unlimited possibilities. As such, in Mansfield's writings, breath links up with a sense both of loss of control and desperation, and a desire to live, feel, and create.
42
Chow, Yiu-Fai. "Connecting Memories, or the Making of an Inverted Archival Tree." Cubic Journal 5, no. 5 (December 17, 2022): 52–61. http://dx.doi.org/10.31182/cubic.2022.5.48.
Full textAbstract:
Collect. Connect. I was intrigued by the correspondence between these two words, when I, primarily as a creative writer, started my residency at the Asia Art Archive (AAA) in Hong Kong, where I was invited to focus on AAA’s Ha Bik Chuen Archive (H.B.C Archive). Ha (1925–2009) was a well-known artist, a fervent collector of exhibition catalogues, documentations, and the photographs he took at these exhibitions, among other things. Visiting the HBC Archive and his old home, I started to think of Mrs. Ha, of the impossibility of a collection without connection. We collectively remember; we connect for memories. If we can’t know of what, we can at least know with whom. This essay documents my – or our – project titled Connective Memories , or the making of an inverted archival tree, a project that brought me into contact with six young people and over to the field of music. I end with a song on faith and letter-writing.
43
Starostina, Svetlana A. "Modern writing blogs in the literary, scientific, and educational space." Neophilology, no. 27 (2021): 475–82. http://dx.doi.org/10.20310/2587-6953-2021-7-27-475-482.
Full textAbstract:
We consider the phenomenon of network literature as an integral part of the modern literary process. We analyze such a phenomenon as a “writing blog” for its compliance with the basic requirements of the neterature: hypertextuality, interactivity, multimedia, informality and pro-cessuality of the text, as well as its semantic content. We conduct a study of the author’s blogs of D. Glukhovsky, E. Vodolazkin, E. Grishkovets, on the one hand, as methods of creating an artistic work, on the other, as ways of promoting the personality and creativity of the writer. Meanwhile, we identify not only the author’s peculiarities of blogging and communication of writers with the readership, but also the individual approaches of particular artistic individuals to the creation and popularization of their works (collective texts writing, combining an artistic work with multimedia content, etc.). We consider the issue of studying online literature in secondary educational institu-tions, and also develop ways to solve it. In particular, we propose an introduction to the educational process of research project work on topical issues of neterature, modern interactive teaching methods, as well as communication of schoolchildren with modern network writers in the format of forums and blogs.
44
Wilsher, Mark. "The phantom ‘practice-only thesis’." Journal of Writing in Creative Practice 13, no. 2 (February 1, 2020): 219–27. http://dx.doi.org/10.1386/jwcp_00005_1.
Full textAbstract:
As universities become accustomed to the complexities of their art and design faculties, a body of literature has emerged that explores some of the possibilities of a doctorate in the creative arts. In the area of fine art in particular, although not exclusively, there has been a drive towards a purely practice-based thesis. This article argues that the notion of the practice-only thesis is not only an unrealistic illusion that puts pressure on students, but also does not reflect contemporary professional practices. For an art practice to communicate any sort of specific knowledge it must be embedded in a pre-existing and continuously evolving flux of discourse produced through written and spoken language. The American artist Trisha Donnelly’s 2014 Serpentine Gallery exhibition is taken as an example. Critical writing in the art press produces an accepted interpretation, and this is what the artist ‘Trisha Donnelly’ comes to stand for. So artwork that might appear to be producing its meaning autonomously should be seen as a collaborative practice involving the artist together with their professional interpreters. Research students are required to produce a self-contained project which would seem to preclude the incorporation of writing or academic interpretation by others. But it is fundamentally unfair to demand a thesis without any written component since it does not exist in an expanded notion of the contemporary art world.
45
Leymarie, Frederic Fol, and Prashant Aparajeya. "Medialness and the Perception of Visual Art." Art and Perception 5, no. 2 (June 5, 2017): 169–232. http://dx.doi.org/10.1163/22134913-00002064.
Full textAbstract:
In this article we explore the practical use of medialness informed by perception studies as a representation and processing layer for describing a class of works of visual art. Our focus is towards the description of 2D objects in visual art, such as found in drawings, paintings, calligraphy, graffiti writing, where approximate boundaries or lines delimit regions associated to recognizable objects or their constitutive parts. We motivate this exploration on the one hand by considering how ideas emerging from the visual arts, cartoon animation and general drawing practice point towards the likely importance of medialness in guiding the interaction of the traditionally trained artist with the artifact. On the other hand, we also consider recent studies and results in cognitive science which point in similar directions in emphasizing the likely importance of medialness, an extension of the abstract mathematical representation known as ‘medial axis’ or ‘Voronoi graphs’, as a core feature used by humans in perceiving shapes in static or dynamic scenarios. We illustrate the use of medialness in computations performed with finished artworks as well as artworks in the process of being created, modified, or evolved through iterations. Such computations may be used to guide an artificial arm in duplicating the human creative performance or used to study in greater depth the finished artworks. Our implementations represent a prototyping of such applications of computing to art analysis and creation and remain exploratory. Our method also provides a possible framework to compare similar artworks or to study iterations in the process of producing a final preferred depiction, as selected by the artist.
46
Codreanu, Cătălin. "Paradigms of Education in The Art of Acting." Studia Universitatis Babeş-Bolyai Dramatica 67, no. 2 (December 13, 2022): 9–28. http://dx.doi.org/10.24193/subbdrama.2022.2.01.
Full textAbstract:
"Embedded in interculturality and transculturality, this paper focuses on the actor’s training, on facing, understanding and assimilating the theater lessons of the Far East, especially those of the Nō theater, based on the constructive encounters with them by practicing the Tadashi Suzuki (b. 1939) method, Japanese martial arts, researching Zen philosophy and the writings of Zeami Motokiyo (1363-1443). This article points out the similarity between certain paradigms of the Western theatricality with those of the Far Eastern one (holism, body-mind, here and now, flow, imaginary) as well as their fusion with other paradigms due to the interdisciplinary transfer existing between martial arts (aikidō and iaidō), Japanese culture, and the art of acting (shin-waza-tai, shoshin, ichigo ichie). The way in which fixed forms relate to imagination (kata), specific to both Far Eastern theater and martial arts (aikidō and iaidō), is also very important. This research highlights the essential nature of the fixed form for the impulses of imagination and creative freedom. Keywords: interculturality, art of acting, Zen, Nō theater, martial arts, holism, body-mind, imagination."
47
Taylor, Stayci. "Battle of the sketches: Short form and feminism in the comedy mode." Journal of Screenwriting 11, no. 3 (September 1, 2020): 363–77. http://dx.doi.org/10.1386/josc_00039_1.
Full textAbstract:
The screenwriting of sketch comedy and, in particular, how female writers of sketch comedy engage with this form to illuminate female experience, are topics not yet widely theorized. This article reviews the scholarship, in order to bring together histories, definitions and distribution of sketch comedy from which to investigate how this form of comedy screenwriting can contribute to feminisms that ‘engage openly and playfully with humor and irony as weapons of choice’ (Willet et al. 2012). Drawing on anecdotal accounts and available archives from A Black Lady Sketch Show (2019–present), French and Saunders (1987–present), Inside Amy Schumer (2013–present), Wood & Walters (1981–82) and others, this article considers these against the theories of writing sketch comedy to draw some conclusions on how this short form, combined with its most popular form of distribution, can accommodate multiple perspectives and serve their audiences. This article offers itself as a starting point in identifying the unique challenges and strategies for women writing sketch comedy, and the possibilities offered by the form more broadly, while highlighting the need for further empirical exploration of the creative practice of female sketch comedy writers, and further critical attention to short form comedy screenwriting.
48
O.J, ZACCHEAUS. "Survey of Apartheid and Problems of Creative Writing in South Africa on Tell Freedom and Mine Boy By Peter Abrahams." International Journal for Innovation Education and Research 4, no. 2 (February 29, 2016): 24–30. http://dx.doi.org/10.31686/ijier.vol4.iss2.513.
Full textAbstract:
Literarily, Peter Abrahams’ endeavours to capture the dilemma of Black man in South Africa as a critical problem. From the context of corruption, deceit, injustice, insecurity, insincerity, indiscipline and cheap popularity, the novelist portrays how the economic, social, political and host of other state systems have been bastardized. Most African leaders oppress and rule through the force of arms; instances could be seen in Empror Bukasa of Central African Republic (CAR), Sese-Seko of Congo, Abacha of Nigeria, Samuel Doe of Liberia, Gaddafi of Libya just to mention a few. These people became oppressive in their different countries. Moreso, this paper attempts to analyze and critically examine the two texts in view of the above topic: TELL FREEDOM AND MINE BOY would be examined from two approaches that is, empirical and descriptive. Finally, this paper concludes that Black man in South Africa has lost his essence (then) from his groaning under the cobweb of the white man. In view of this, the way out would be critically examined.
49
Charise, Andrea, and Stefan Krecsy. "The Manual of Disaster: Creativity, Preparedness, and Writing the Emergency Room." University of Toronto Quarterly Forthcoming (July 16, 2021): e2021002. http://dx.doi.org/10.3138/utq.91.1.002.
Full textAbstract:
This essay offers a critical examination of creativity discourse at the intersection of two discipli-nary fields: health and humanities. In contrast to creativity’s longstanding associations with mak-ing, imitation, or invention, we examine the relatively recent emergence of what we call creativi-ty’s preparatory capacity, particularly within critical discussions of healthcare and illness narratives. Working with fictional representations of the emergency room in physician-writer Jay Baruch’s short story collection Fourteen Stories: Doctors, Patients, and Other Strangers (2007), we identify how particular narrative techniques are revealed in a range of emergency scenarios—both within and beyond the fictional setting—and what such deployments of creativity might signal for the future of literary studies more broadly.
50
P Woodrich, Megan, and Yanan Fan. "Google Docs as a Tool for Collaborative Writing in the Middle School Classroom." Journal of Information Technology Education: Research 16 (2017): 391–410. http://dx.doi.org/10.28945/3870.
Full textAbstract:
Aim/Purpose: In this study, the authors examine how an online word processing tool can be used to encourage participation among students of different language back-grounds, including English Language Learners. To be exact, the paper discusses whether student participation in anonymous collaborative writing via Google Docs can lead to more successful products in a linguistically diverse eighth-grade English Language Arts classroom. Background: English Language Learners (ELLs) make up a considerable portion of elementary and secondary public school students, as language and ethnic diversity has become the norm in the United States. The research literature finds that ELLs are statistically behind their monolingual peers on such key language and academic development indicators as writing. Educators and researchers then turn to collaborative writing with the assistance of online technology. Although it is shown in literature to be a worthwhile endeavor for students of all ages and ability levels, no studies have investigated the differences it makes, namely, in comparison to traditional face-to-face collaboration in the classroom, and to anonymous online collaboration in the virtual space. Methodology: Through face-to-face, online, and anonymous writing activities, a rubric, and a survey, this quantitative study asks if anonymous collaborative writing, com-pared to other modalities, equalizes participation among students of varying language fluencies, and if anonymous collaborative writing, compared to other modalities, affect student comfort levels. Contribution: This builds on research of online collaborative writing tools and suggests that using such tools (Google Docs in particular) is beneficial, especially for students who are building their language abilities. The study further reveals varied degree of success and student comfort level in participating writing tasks in three modalities. Findings: We ascertain that students of varying language fluencies participated more equally when they were able to remain anonymous. Face-to-face writing exhibited the highest overall scores, and students enjoyed working on Google Docs. Recommendations for Practitioners: Future and current teachers are encouraged to be open to new technologies and be creative in the use of technology to facilitate student learning. They should have the opportunity to participate in the discussion on how, not if, integrating technology impacts the cognitive, social, and cultural dimensions of teaching. Recommendation for Researchers: After this initial quantitative study on students’ reactions to various modalities of technology-supported writing formats, the next questions to ask may be how students were engaging in dialogues during face-to-face sessions or chat features of Google Docs trials, and what types of edits students are making. Researchers should turn their focus on secondary school classrooms where there is an increasing impact of technology-assisted collaborative writing on student learning and teaching pedagogy. Impact on Society: As online technology has become an integral part of daily life, it is beneficial to educators, policy makers, and classroom teachers to understand how technology can be integrated in writing programs and to what extent the integration can help boost student motivation and participation. Future Research: More longitudinal research on online assisted collaborative writing and addi-tional quantitative data are needed to further understand the complexities of the writing process in-group online writing and the nature of collaboration.