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Journal articles on the topic 'Play writing'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Rensenbrink, Carla. "Writing as Play." Language Arts 64, no. 6 (1987): 597–602. http://dx.doi.org/10.58680/la198725565.

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2

Sellers, Marg, and Barbara Chancellor. "Playing with Play(ing): Play-Fully Writing about Play." Global Studies of Childhood 3, no. 3 (2013): 297–309. http://dx.doi.org/10.2304/gsch.2013.3.3.297.

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3

Beloborodova, Olga. "Writing and Staging Play." Samuel Beckett Today / Aujourd’hui 31, no. 1 (2019): 147–62. http://dx.doi.org/10.1163/18757405-03101011.

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Abstract The archival turn in Beckett studies has revealed a wealth of material that, despite being discarded or reworked, remains a valuable source of information on Beckett’s modus operandi as a writer. This article examines the genesis of Play from the postcognitive angle of extended cognition, and demonstrates how the author’s mind, contrary to the generally accepted Cartesian internal-external opposition, extends beyond the boundaries of skin and skull and forms a hybrid cognitive system with the emerging text in the drafts. Influenced by a number of other external factors, including the

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4

McMurray, Janice. "Writing a Christmas Play." Activities, Adaptation & Aging 14, no. 1-2 (1989): 117–22. http://dx.doi.org/10.1300/j016v14n01_20.

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5

Balaska, Ioulia. "Spontaneous writing: co-creating a play." Murmurations: Journal of Transformative Systemic Practice 5, no. 1 (2022): 72–83. http://dx.doi.org/10.28963/5.1.7.

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In this paper, I propose a way of systemic work through art and specifically through theatrical practice in order to prompt this kind of creative writing called spontaneous writing. In the Improvisational Experiential Theatre method that I practise, spontaneous writing is prompted by theatrical improvisations. The writings of the group members compose a play, which is brought before a theatre audience. Systemic practitioners often use writing in their work with people in order to help them to express themselves. Spontaneous writing which aims for the creation of a theatrical play triggers the

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6

Bert, Norman A. "Writing Your First Play (review)." Theatre Journal 52, no. 3 (2000): 440–41. http://dx.doi.org/10.1353/tj.2000.0071.

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7

Cook, Vivian, Benedetta Bassetti, and Jyotsna Vaid. "The writing system at play." Writing Systems Research 4, no. 2 (2012): 120–21. http://dx.doi.org/10.1080/17586801.2012.740432.

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8

Gurevitch, Zali. "The Serious Play of Writing." Qualitative Inquiry 6, no. 1 (2000): 3–7. http://dx.doi.org/10.1177/107780040000600101.

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9

Badenhorst, Cecile. "Emotions, Play and Graduate Student Writing." Canadian Journal for Studies in Discourse and Writing/Rédactologie 28 (February 6, 2018): 103–26. http://dx.doi.org/10.31468/cjsdwr.625.

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While playfulness is important to graduate writing to shift students into new ways of thinking about their research, a key obstacle to having fun is writing anxiety. Writing is emotional, and despite a growing field of research that attests to this, emotions are often not explicitly recognized as part of the graduate student writing journey. Many students experience writing anxiety, particularly when receiving feedback on dissertations or papers for publication. Feedback on writing-in-progress is crucial to meeting disciplinary expectations and developing a scholarly identity for the writer. Y

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10

Andrews, Jim. "Default play mode text: Writing (Arteroids)." Explorations in Media Ecology 17, no. 2 (2018): 187–91. http://dx.doi.org/10.1386/eme.17.2.187_1.

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11

Fossen, Rachael Van. "Writing for the Community Play Form." Canadian Theatre Review 90 (March 1997): 10–14. http://dx.doi.org/10.3138/ctr.90.002.

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People only slightly familiar with the community play art form often wrongly assume that these plays are written collectively with the community, or are “written by committee”, with the playwright acting more or less as an expert recorder, scripting material into dialogue and scenes as directed by the community people, or even critiquing work that the community people have themselves written for the play. I readily admit there is room in the community play art form for a process involving local people in the actual writing of the play. That process, however, is different from my own, and certa

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12

Idegu, Emmy Unuja. "Historical Play writing and the Identity Question: An Examination of Effiong Etim Johnson's Not Without Bones." A JOURNAL OF THE INSTITUTE OF EDUCATION 16, no. 2 (2000): 82–92. https://doi.org/10.5281/zenodo.5090037.

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The world of today has been reduced to a global village. Despite the technological, economic and socio-cultural impact of globalisation, the question has remained that of how technologically disadvantaged communities fare in the global debate. What are the attempts to preserve and re-define humanity and individual or group identities in the confrontation against global forces which threaten to submerge our identities to global culture. Attempts to make us look inward and re-assert our history and identities should be encouraged. One of the ways of this reassertion is through historical playwri

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13

Mazer, Anne, and Ellen Potter. "Profiles and Perspectives: Spilling Ink: Writing in the Play Zone." Language Arts 88, no. 5 (2011): 381–85. http://dx.doi.org/10.58680/la201114934.

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Anne Mazer and Ellen Potter, authors of SPILLING INK: A YOUNG WRITER'S HANDBOOK, discuss techniques that can help teachers more fully engage students in creative writing. Â Mazer explores young writers’ fear of making mistakes and straying from mainstream writing rules. She suggests that removing expectations from the writing process and allowing students to follow their own natural bents will help them to gain confidence in their writing. Potter discusses ways to work with children’s natural instinctive playfulness in order to keep them connected to the writing process. She also suggests vari

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14

Mendicino, Kristina. "Writing Coincidence: Brecht’s and Marlowe’s History Play." Monatshefte 107, no. 1 (2015): 46–63. http://dx.doi.org/10.3368/m.107.1.46.

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15

Amell, Brittany, and Eve-Marie C. Blouin-Hudon. "Engaging with Play and Graduate Writing Development." Canadian Journal for Studies in Discourse and Writing/Rédactologie 28 (February 6, 2018): 33–56. http://dx.doi.org/10.31468/cjsdwr.606.

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We begin by situating this work and ourselves in graduate writing. Although our experiences as burgeoning researchers are not a focus of this article, we are nonetheless present in the background, not unlike a palimpsest. We trace one aspect of this palimpsest—the use of playful and creative methods to generate ideas for this paper—before then suggesting three key concepts we consider foundational to discussions about play and graduate writing development. These are play, playspace, and mindsets. Building on these concepts, we offer some concluding remarks about the ambivalence some learners m

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16

Clader, Emily. "What If? : Mathematics, Creative Writing, and Play." Journal of Humanistic Mathematics 6, no. 1 (2016): 211–19. http://dx.doi.org/10.5642/jhummath.201601.13.

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17

Bahlmann Bollinger, Chelsey M., and Joy K. Myers. "Young Children’s Writing in Play-Based Classrooms." Early Childhood Education Journal 48, no. 2 (2019): 233–42. http://dx.doi.org/10.1007/s10643-019-00990-0.

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18

Miller, Susan. "The Play of Words: Issues in Writing." Clearing House: A Journal of Educational Strategies, Issues and Ideas 60, no. 7 (1987): 292–93. http://dx.doi.org/10.1080/00098655.1987.9959352.

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19

Daiute, Colette. "The Role of Play in Writing Development." Research in the Teaching of English 24, no. 1 (1990): 4–47. http://dx.doi.org/10.58680/rte199015499.

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20

Snow, Marianne, Zohreh R. Eslami, and Jeong Hyun Park. "English language learners' writing behaviours during literacy-enriched block play." Journal of Early Childhood Literacy 18, no. 2 (2016): 189–213. http://dx.doi.org/10.1177/1468798416637113.

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Despite the rising number of linguistically diverse students in countries where English is the primary medium of instruction in schools, there is a relative lack of research on how these students learn to write in English and respond to common classroom literacy practices. One practice found in early childhood classrooms is literacy-enriched play, but little research explores how young English language learners respond to this particular intervention. This exploratory study examines three linguistically diverse kindergarten students' use of writing materials in a literacy-enriched block centre

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21

Macdonald, Ian W. "Forming the craft: Play‐writing and photoplay‐writing in Britain in the 1910s." Early Popular Visual Culture 8, no. 1 (2010): 75–89. http://dx.doi.org/10.1080/17460650903515970.

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22

Cook, Margaret. "Writing and Role Play: A Case for Inclusion." Reading 34, no. 2 (2000): 74–78. http://dx.doi.org/10.1111/1467-9345.00138.

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23

Beloborodova, Olga. "Before Play, With Play, After Play: The Shaping of ‘formal integrity’ in the Early Drafts of Play." Journal of Beckett Studies 32, no. 2 (2023): 195–218. http://dx.doi.org/10.3366/jobs.2023.0404.

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The present essay argues that Beckett's concept of ‘formal integrity’, which he first articulated in his discussion of Film with the production team in 1964, was in fact shaped long before Film was on Beckett's writing desk. Rather, it emerged gradually during the early genesis of Play, the work that has often been associated with Film as the two were written around the same time and deal with similar themes. In order to make this point, the essay engages with the draft material in a recently discovered notebook that contains the earliest stage of the play's genesis – the manuscripts that were

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24

Grainger, Teresa. "Conversations in the Classroom: Poetic Voices at Play." Language Arts 76, no. 4 (1999): 292–97. http://dx.doi.org/10.58680/la199933.

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Illustrates how children’s "poetic voices in action" provide context for the writing of poetry. Describes how the author taped hours of classroom interaction and the talk that surrounded the children’s writing, browsing, reading and performance of poetry. Shares examples of reflective voices at play. Examines ways in which teachers can celebrate and enhance children’s poetic potential.

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25

Kuppers, Petra, VK Preston, Pamela Block, and Kirsty Johnston. "Public Intimacies: Water Work in Play." Canadian Journal of Disability Studies 8, no. 1 (2019): 32–57. http://dx.doi.org/10.15353/cjds.v8i1.470.

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This essay emerges out of water. It follows the thoughts of four disability culture scholars and artists who went swimming together and reflected on artful methods of public somatic presence. The writing developed from Petra Kuppers’ initial queercrip aqua-fitness research, and from a series of communal post-swim free-writes in which the group meditated on boundaries and contiguity, on contagious laughter and demonstrative peace. The team conceptualized their self-care in a range of different ways: as political, as queered women’s labour, as deeply personal, and as forcefully communal. Through

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26

Maricar, Farida. "Acronyms: a Representation of Language Play." IJOLEH : International Journal of Education and Humanities 3, no. 2 (2024): 105–13. http://dx.doi.org/10.56314/ijoleh.v3i2.253.

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This paper describes the use of acronyms in our daily activities, both in speaking and in writing. Acronyms are pervasive and created in various ways by different individuals. Language is used as the primary means of communication. Sometimes, it is simplified or set in various ways to make it easy to be spoken. This is qualitative descriptive research. Data were from speech and writing in the case of acronyms. Data then were collected by note taking. The technique of analyzing data was the matching technique. This research found that people use acronyms to show their ability in playing the lan

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27

Radulescu, Domnica. "Romania by Taxi. A Play." European Journal of Life Writing 4 (December 15, 2015): C35—C60. http://dx.doi.org/10.5463/ejlw.4.180.

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A Romanian writer and professor now a US citizen returns with her son to her native country on a fellowhsip after many years, in the mid 2000s. This article was submitted to the European Journal of Life Writing on 6 January 2015 and published on 15 December 2015.

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28

Brownell, Cassie J. "Creative Language Play(giarism) in the Elementary English Language Arts Classroom." Language Arts 95, no. 4 (2018): 218–28. http://dx.doi.org/10.58680/la201829526.

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29

Aswan, Aswan. "Play While Writing: Breakthroughs for Digital Literacy Activities during the Covid-19 Pandemic." Jurnal Pendidikan Bahasa 9, no. 2 (2020): 164. http://dx.doi.org/10.31571/bahasa.v9i2.2011.

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<p class="abstrak">Covid-19 presence in the world has paralyzed the education system. Indonesia became one of the countries affected by Covid-19. The education system, which is usually conducted face-to-face, is forced to go online to reduce the risk of contracting the Covid-19 outbreak. Literacy activities that are considered important in schools are also affected by Covid-19. Seeing these problems, this study aims to create a literacy learning model that focuses on writing activities. The writing learning model with the play approach is a renewal in online writing activities. The metho

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30

Sunghee Kim. "The Dehistoricization Trend in Historical Plays: Play with History and Everyday Life History Writing." Journal of korean theatre studies association 1, no. 48 (2012): 51–84. http://dx.doi.org/10.18396/ktsa.2012.1.48.002.

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31

조영수. "A Study on Teaching-learning Methods of Play Writing -Focus on Pre-writing Step-." Journal of Research in Curriculum Instruction 11, no. 2 (2007): 451–84. http://dx.doi.org/10.24231/rici.2007.11.2.451.

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32

Gibbons, Lauren. "Writing Needs a Place to Play: Leaving Room for Rehearsing through Revision Centers." Voices from the Middle 21, no. 4 (2014): 16–23. http://dx.doi.org/10.58680/vm201425105.

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How do we get middle level students to write at the level for narrative writing that the Common Core State Standards require? To assist students in recognizing the various nuances found in narrative writing, young adolescents utilize a resource called revision centers. In revision centers, students read a text that uses a specific element of craft (in this case repetition), discuss the meaning and the effect of that element with their groups, find places in their own writing where they could replicate such a technique, and then rehearse possible ways to infuse skills into their own writing wit

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33

Sagimin, Eka Margianti, and Setiono Sugiharto. "Alignment and embodiment in a play script writing process: A sociocognitive perspective." JOALL (Journal of Applied Linguistics and Literature) 8, no. 2 (2023): 321–37. http://dx.doi.org/10.33369/joall.v8i2.27430.

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Recent development in second language acquisition scholarship has advanced our understanding of how language is acquired by aligning the mind, body, and socio-material world. Although many studies have been conducted from this perspective, more study on alignment focusing on writing a play script story in literature is needed. Drawing upon the idea of socio-cognitive alignment, this study investigated English literature student interactions during the process of writing a play script. It aims were to find out how mind-body-world as socio-cognitive alignment could contribute to a meaning-making

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34

Stone, Robin. "Perfect 10: Writing and Producing the 10-Minute Play, and: Writing Your First Play, and: The Playwright's Guidebook: An Insightful Primer on the Art of Dramatic Writing (review)." Theatre Journal 56, no. 1 (2004): 145–47. http://dx.doi.org/10.1353/tj.2004.0034.

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35

Oakes, Elizabeth. "Writing Shakespeare: Some Pre-Play Exercises for "The Tempest"." English Journal 82, no. 4 (1993): 36. http://dx.doi.org/10.2307/820845.

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36

Shea, Megan L. "Echoes of Performance: Writing and the Play of Pedagogy." Theatre Topics 24, no. 1 (2014): 51–62. http://dx.doi.org/10.1353/tt.2014.0004.

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37

Tagg, Caroline, and Philip Seargeant. "Writing systems at play in Thai-English online interactions." Writing Systems Research 4, no. 2 (2012): 195–213. http://dx.doi.org/10.1080/17586801.2011.628583.

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38

Schmidt-Wilk, Jane. "Expanding Our Teaching Repertoire With Writing and Role-Play." Management Teaching Review 3, no. 2 (2018): 104–6. http://dx.doi.org/10.1177/2379298118769396.

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39

Holm, J. B. "Nachmanovitch's Free Play as a Context for Experimental Writing." Pedagogy: Critical Approaches to Teaching Literature, Language, Composition, and Culture 10, no. 3 (2010): 575–86. http://dx.doi.org/10.1215/15314200-2010-010.

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40

Harris, M. "Scaffolding reflective journal writing – Negotiating power, play and position." Nurse Education Today 28, no. 3 (2008): 314–26. http://dx.doi.org/10.1016/j.nedt.2007.06.006.

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41

Jenkins, Thomas E. "At Play with Writing: Letters and Readers in Plautus." Transactions of the American Philological Association 135, no. 2 (2005): 359–92. http://dx.doi.org/10.1353/apa.2005.0020.

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42

M. Boldt, Gail. "Kyle and the Basilisk: Understanding Children’s Writing as Play." Language Arts 87, no. 1 (2009): 9–17. http://dx.doi.org/10.58680/la20097972.

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In this article, Boldt considers decisions teachers must make about the value of children’s writing as a form of play in primary classrooms. She offers a brief history of the framing of this question at 1966 Dartmouth Conference on English, focusing particularly on the perspective of Jimmy Britton. She highlights the relationship between Britton’s work on play and fantasy and that of his brother-in-law, the child psychoanalyst D. W. Winnicott. Reading across their publications on play and fantasy, she has drawn out the argument that their work was motivated by a mutual concern about the danger

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43

Oakes, Elizabeth. "Writing Shakespeare: Some Pre-play Exercises for The Tempest." English Journal 82, no. 4 (1993): 36–38. http://dx.doi.org/10.58680/ej19937853.

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44

ZHAO, Meijiao. "Subaltern Writing in Hag-Seed." IRA International Journal of Education and Multidisciplinary Studies 17, no. 1 (2021): 8. http://dx.doi.org/10.21013/jems.v17.n1.p2.

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<em>Hag-Seed</em> is a re-imagining story of Shakespeare's '<em>The Tempest</em>' written by Margaret Atwood, a famous Canadian writer. <em>Hag-seed</em> is a successful adaptation in The Hogarth Shakespeare Project organized by Hogarth Press. In this novel, Atwood adopts the form “play in play” to recur the whole scene of <em>The Tempest</em>. Through the depictions of minor characters in a prison, the novel presents the dilemma and struggle of marginalized protagonists in front of the power. In the novel, the play directed by Felix criticizes t

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45

Darragh, Emma, and Christine Howe. "What if Teaching was Deliberately Fun? Combating burnout through creative play." Axon: Creative Explorations 14, no. 2 (2025): 1–12. https://doi.org/10.54375/001/1dn1h1shdl.

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This collaborative paper addresses a pressing institutional problem: how to respond to burnout as teachers of creative writing in a university setting? While many academic staff – both sessional and ongoing – have limited control over institutional constraints that contribute to burnout, we do have a measure of autonomy in the classroom itself. We propose that envisioning the creative writing classroom as a playground, in which the tutor and lecturer model and participate in creative play, is not only a valuable pedagogical approach for the students, but can also mitigate some of the effects o

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46

Brown, Stacey. "Play is Not Just for PE." English Journal 96, no. 3 (2007): 46–50. http://dx.doi.org/10.58680/ej20075739.

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Stacey Brown energizes high school students with “brain-twisting” writing prompts, word games to hone vocabulary and spelling skills, and art to show complex ideas. Additionally, reading aloud to her class models fluent reading, expands students’ vocabularies, builds community, and stimulates student-led discussions about the novel.

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47

McDonough, Kim, Pakize Uludag, and Heike Neumann. "Instructor Evaluation of Business Student Writing: Does Language Play a Role?" Business and Professional Communication Quarterly 84, no. 2 (2021): 116–34. http://dx.doi.org/10.1177/23294906211012398.

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Because few studies of disciplinary business writing have examined whether language features play a role in instructor assessment of student writing, this study explored the relationship between student language use and instructor essay scores. Undergraduate business students wrote a case study critique as part of their final exam, and their critiques were evaluated by their instructors for theory integration and essay structure. Student language use was analyzed in terms of error rate, lexical sophistication, lexical diversity, and phrasal complexity. Whereas lexical sophistication positively

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48

Bathurst, Ralph, and Fiona Kennedy. "Hunting the ‘play’: A leadership suite in 12 movements." Leadership 13, no. 1 (2016): 20–34. http://dx.doi.org/10.1177/1742715016654000.

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This article has been crafted to evoke the sound of leadership. It represents the hum and sigh and pounding of leadership as it appeared, disappeared and reappeared each time looking and sounding different in an extraordinary undertaking where senior citizens, many with no acting experience performed T. S. Eliot’s The Waste Land. The metaphor of a hunt and an episodic form represents our experience and we have sought to suggest sound by using principles of montage, Gestalt theory, and the poetic devise of enjambment that leave one reaching after meaning rather than being comforted by end point

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49

Devereaux, Michelle D., and Darren Crovitz. "Power Play: From Grammar to Language Study." English Journal 107, no. 3 (2018): 19–25. http://dx.doi.org/10.58680/ej201829462.

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This piece explores how moving from grammar instruction to language study empowers students and their writing. The authors detail how to leverage what students already know and how certain language moves negotiate power.

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50

Elaf Riyadh Khalil. "The Effect of Cognitive Strategies on Iraqi EFL College Students’ Writing Anxiety." Journal of the College of Education for Women 33, no. 4 (2022): 27–39. http://dx.doi.org/10.36231/coedw.v33i4.1633.

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Writing in English language demands both mental skills and a suitable level of language proficiency. Some studies showed that writing anxiety has an impact on the acquisition of language learning. This study; however, teaches the cognitive strategies (PLAY & WRITE) as a writing strategy, so as to decrease students’ use of it when experiencing writing anxiety at the academic writing level. The sample has been (100) second-stage Department of English learners at the College of Education (Ibn –Rushd), in the University of Baghdad-Iraq. They have been randomly selected and divided into experim

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