We publish research that examines the teaching, practice, journals, and history of creative writing. This scholarship makes use of theories and methodologies from a variety of disciplines. We believe knowledge is best constructed in an studies conversation among diverse voices and multiple perspectives. Therefore, our editors actively seek creative include work from marginalized and underrepresented scholars.
Journal of Creative Writing Studies is dedicated to the idea that humanities writing ought to be accessible and available to all. As a digital journal, we encourage authors to employ video, audio, image, or other digital media. We expect that all submitted research will conform to the highest standards creative ethical conduct as outlined by the Institutional Review Board of journals scholar's creative university. This includes obtaining consent from human subjects i. Journal of Creative Writing Studies is now open -- and will always be open -- to submissions in the following sections.
Articles should be submitted directly to the online journal here: If you would like to become a member of CWSO, please consider backing our crowdfunding campaign here: We are also open to receiving work that is cv writing service bristol in research while writing challenging the assumptions and conventions of academic discourse in narrative, lyrical, dramatic, avant-garde, theoretical, or meta-theoretical modes.
Additionally, we are interested in submissions that interrogate the definition and practice of creative writing research itself.
Articles based solely on the author's own writing may be appropriate if academic are the results of well-defined studies research. Eve Ensler's V-Day academic seeks to end violence against women while raising funds for women's shelters across the globe. The Yes Men's interventionist theater relies on multi- and mass-media platforms to demand corporate accountability organization unethical business practices. As these examples suggest, diverse approaches creative creative west virginia wesleyan mfa creative writing link the art of the word with consequential actions in the world.
I am also familiar with the work of the publishing house, and have a professional connection with a journal from this publisher. The possible conflict of interest implicit in this situation was the source of my initial uncertainty regarding whether I was the best reviewer for this book.
Thinking this through before I replied to the invitation, I could identify two interlinked notions at work. The first was prompted by the idea that all reviews are a form of peer review, with the most valued of these the double-blind review, where neither the author being reviewed nor the reviewers are aware of each others' identities.
The second is the associated idea that all reviews - whether of a book, movie, concert or restaurant - are, at their best, objective appraisals of artefacts or events. In this case, both of these factors would presume that the best review of this, or any, book would comprise a detached and impartial assessment that is uninfluenced by the bias that cannot help but attend a personal knowledge of the authors. Many have, of course, recognized the impossibility of any kind of perfect objectivity.
We know that human beings are subjective, driven by our beliefs, desires, hopes, observations and motivations. Within this, the book reviewer can at best, I believe, aspire to begin from a position of neutrality, and then, as I have here, acknowledge any possible influences on his or her judgments. Despite attempting to begin from a neutral position - with no pre-existing personal enmities or disciplinary axes to grind for instance - I do not see how anyone can maintain a position of neutrality while actively engaged in the act of reading.
Especially if a book reviewer is someone knowledgeable and - as I am - passionate about the subject of the book, there is no hope that a position of detached neutrality can be sustained. There is, however, another meaning of the word 'review': that of reconsideration. This implies that a review can be a re-examination or re-assessment, in effect a re-view of an artefact or event, after that artefact or event has been completed. It was in this engaged spirit that I read this book, and offer the comments below. In the first chapter, the editors define the scope of the book as a focus on creative writing as a subject in universities, with the contents of the book arranged around the three organising sub-themes of practice, research and pedagogy.
Creative Writing Pedagogies for the Twenty-First Century
This introductory chapter states that, in this case, 'creative writing' refers to that which is undertaken and taught in English, making the point, however, that creative writing is also occurring in, and around, universities throughout Europe, Asia and Africa. This collection makes a truly international contribution to the field, with the co-editors based in Australia and UK, and five contributors from each of Australia, UK and the USA.
These fifteen are represented by six female and nine male contributors, who range from senior academics to doctoral students in the discipline. Given that the two editors both have Australian connections, I missed any representation of our Australasian neighbours, New Zealand, and note that only one article, that by Stephanie Vanderslice, provides a comparison of the different approaches internationally - focusing on teaching creative writing in the USA and UK.
Could a body of best practices be assembled, or is creativity still an individual response? Part 2.
Research Perspectives on Creativity in Writing 3. Alice W.
Current Issue: Volume 3, Issue 1 (2018)
Harvard Medical School. She completed her her A.
Her scientific research focuses on brain systems that control drives, whether to walk, to communicate, or to create. Both have been multiply translated, and dramatized. Brain diseases and their medical treatment may help or hurt creativity.
Scientists and cultural historians have proposed links between creativity and disorders ranging from depression and psychosis to epilepsy and syphilis, but the best evidence is for conditions such as hypomania mild mania that elevate energy and mood. Many writers with symptoms of depression, anxiety, bipolar disorder, attention deficit hyperactivity disorder ADHD , or even insomnia need advice about what medications can do to creativity. Doctors, however, typically dodge the issue. This article describes what drugs may be safest, and also reviews the effects of intoxicants such as alcohol.
In general, treating severe illness has benefit to creativity that outweighs the medication side effects, but some medications are better than others. Fredricka K. Reisman holds a Ph. Reisman is founding director of the Drexel School of Education and oversees the Master in Creativity and Innovation degree and certificates in the Goodwin College of Professional Studies. She is president of the American Creativity Association and has authored a trilogy on teaching mathematics creatively with E.
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Paul Torrance. She is grateful for her 30 year friendship and collaboration with E. Paul Torrance commencing with her academic appointments at the University of Georgia and continuing until his death in This article integrates a research foundation in creativity with practical applications to writing pedagogy. A creativity assessment based upon the work of Torrance and Guilford and designed for diagnosing rather than predicting individual creative thinking strengths ispresented along with tools and techniques for enhancing creative writing pedagogy and a preliminary analysis of user comments on effectiveness.
Victoria University of Wellington. In addition to her academic work, she has advised on communication issues in professional contexts, notably as a project manager at IBM. This article explores the creative aspects of written discourse. It argues that all written texts, regardless of genre, contain creative elements to varying degrees, largely because of the representational aspects of written language. The article proposes an approach that places creative elements of texts on a continuum of low to high creativity, and it discusses the stylistic factors that underpin this continuum.
By analyzing selected examples from a database of texts, the article explains some pertinent linguistic and non-linguistic approaches to creativity, and it leads to a typology of semantic, syntactic and textual techniques through which creativity can be studied.
Creative Writing Studies Practice Research And Pedagogy New Writing Viewpoints
Columbia University. Dorothea Lasky recently completed her Ed. In addition, she holds an Ed. This article discusses creativity within the classroom with a focus on creative writing. Small-c creativity values the kind of thinking that produces new ideas in learners but is not necessarily historically important to any field or domain. It can be argued that when educators help their students excel at thinking creatively every day, it assists them in more frequently producing creative products.
Using this theoretical lens, an analytical study framework was developed from a review of the literature stating that teachers who foster small-c creativity: 1 support divergent thinking; 2 accept learning artifacts that are novel; 3 nurture collaboration in which individual kinds of creativity are supported; 4 provide choices in what is an acceptable response; and 5 include lesson guidelines that enhance learning and self-confidence. Findings of the science study were applied to the writing classroom, as five poet-teachers were interviewed regarding their beliefs about small-c creativity.
The themes that emerged within the teacher interviews are discussed. The piece concludes with recommendations for writing teachers geared to help them foster small-c creativity in their classrooms.
Related Creative Writing Studies: Practice, Research and Pedagogy
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