Relevant bibliographies by topics / Creative writing; Australian poetry

Academic literature on the topic 'Creative writing; Australian poetry'

Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Creative writing; Australian poetry"

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Čerče, Danica. "Generating Alternative Worlds: The Indigenous Protest Poetry of Romaine Moreton." ELOPE: English Language Overseas Perspectives and Enquiries 7, no. 1 (May 17, 2010): 49–59. http://dx.doi.org/10.4312/elope.7.1.49-59.

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Since the 1980s, indigenous authors have had a high profile in Australia and their writing has made a significant impact on the Australian public. Given that poetry has attracted more indigenous Australians than any other mode of creative expression, this genre, too, has provided an important impetus for their cultural and political expression. Discussing the verse of Romaine Moreton, and taking up George Levine’s view (2000) that works of art are able to produce critical disruptions and generate alternative worlds, the article aims to show that Moreton’s mesmerising reflections on origin, dispossession, dislocation and identity of Australian indigenous peoples encouraged national self-reflection and helped create a meaningful existence for the deprived and the dispossessed. It also touches upon some other topics explored in Moreton’s poetry and provides evidence of its universal relevance.
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Anae, Nicole. "“Brave Young Singers”: children's poetry-writing and 1930s Australian distance education." History of Education Review 43, no. 2 (September 30, 2014): 209–30. http://dx.doi.org/10.1108/her-01-2013-0002.

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Purpose – There has been virtually no explication of poetry-writing pedagogy in historical accounts of Australian distance education during the 1930s. The purpose of this paper is to satisfy this gap in scholarship. Design/methodology/approach – The paper concerns a particular episode in the cultural history of education; an episode upon which print media of the 1930s sheds a distinctive light. The paper therefore draws extensively on 1930s press reports to: contextualise the key educational debates and prime-movers inspiring verse-writing pedagogy in Australian education, particularly distance education, in order to; concentrate specific attention on the creation and popular reception of Brave Young Singers (1938), the first and only anthology of children's poetry written entirely by students of the correspondence classes of Western Australia. Findings – Published under the auspices of the Australian Council for Educational Research (ACER) with funds originating from the Carnegie Corporation, two men in particular proved crucial to the development and culmination of Brave Young Singers. As the end result of a longitudinal study conducted by James Albert Miles with the particular support of Frank Tate, the publication attracted acclaim as a research document promoting ACER's success in educational research investigating the “experiment” of poetry-writing instruction through correspondence schooling. Originality/value – The paper pays due critical attention to a previously overlooked anthology of Australian children's poetry while simultaneously presenting an original account of the emergence and implementation of verse-writing instruction within the Australian correspondence class curriculum of the 1930s.
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Marchetti, Elena, and Debbie Bargallie. "Life as an Australian Aboriginal and Torres Strait Islander Male Prisoner: Poems of Grief, Trauma, Hope, and Resistance." Canadian Journal of Law and Society / Revue Canadienne Droit et Société 35, no. 3 (December 2020): 499–519. http://dx.doi.org/10.1017/cls.2020.25.

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AbstractFor Australia’s Aboriginal and Torres Strait Islander people, writing is predominantly about articulating their cultural belonging and identity. Published creative writing, which is a relatively new art form among Aboriginal and Torres Strait Islander prisoners, has not been used as an outlet to the same extent as other forms of art. This is, however, changing as more Aboriginal and Torres Strait Islander rappers and story-writers emerge, and as creative writing is used as a way to express Aboriginal and Torres Strait Islander empowerment and resistance against discriminatory and oppressive government policies. This article explores the use of poetry and stories written by Aboriginal and Torres Strait Islander male prisoners in a correctional facility located in southern New South Wales, Australia, to understand how justice is perceived by people who are (and have been) surrounded by hardships, discrimination, racism, and grief over the loss of their culture, families, and freedom.
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Lee, Nanci, and Peter Taylor. "Insights from an E-Dialogue of Practitioners on Arts in Transformative Learning." Journal of Adult and Continuing Education 17, no. 2 (November 2011): 80–95. http://dx.doi.org/10.7227/jace.17.2.8.

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This article shares contributions from a moderated e-forum in 2007 that explored the transformative potential of arts in learning and social change. It draws on examples of poetry, creative writing, and experiences of innovative practice shared through these conversations by adult educators in contexts as diverse as Africa, Asia, Europe, North America and Australia. The paper provides a conceptual frame to explore tensions in transformative learning between the mytho-poetic and the critical-rational, and between the individual and the collective. Using this frame, it connects the experiences shared by the e-forum participants to the literature. The paper reflects on how educators have used artistic and creative expression in their work and discusses how they have navigated the tensions presented in the earlier conceptual frame. It concludes by identifying four conditions that seem critical if arts and creativity are to play a role in transformative learning: authenticity, resonance, reflection, and freedom.
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Lum, Wing Tek, Jennifer Hayashida, and Juliana Chang. "Creative Writing: Poetry." Journal of Asian American Studies 19, no. 3 (2016): 427–28. http://dx.doi.org/10.1353/jaas.2016.0043.

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Wang, Dorothy, Kazim Ali, and Cathy Linh Che. "Creative Writing: Poetry." Journal of Asian American Studies 20, no. 3 (2017): 465. http://dx.doi.org/10.1353/jaas.2017.0040.

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Tay, Eddie. "Writing photography, seeing poetry and creative writing scholarship." New Writing 13, no. 3 (July 14, 2016): 387–401. http://dx.doi.org/10.1080/14790726.2016.1184685.

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Morris, Benjamin. "2005 creative writing contest winner—poetry." Journal of General Internal Medicine 20, no. 7 (July 2005): 675. http://dx.doi.org/10.1007/s11606-005-0118-0.

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Safitri, Yuyun, Sarwiji Suwandi, Herman Waluyo, and M. Soediro Satoto. "Developing a Textbook of Creative Poetry Writing Based on Local Wisdom Problem Based Learning." Jurnal Darussalam: Jurnal Pendidikan, Komunikasi dan Pemikiran Hukum Islam 10, no. 1 (September 30, 2018): 1. http://dx.doi.org/10.30739/darussalam.v10i1.262.

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The purpose of this article is to describe: (1) Condition textbook of creative writing poetry which is used in learning “Creative Writing Poetry” for the student of Indonesian Language and Literature Education in University of West Kalimantan. (2) Needs of the Student and Lecturer of Indonesian Language and Literature Education Study Program in West Kalimantan University in developing textbook if creative writing poetry based on local wisdom. Methodology which is used is research and development. Conclusions of the research result are as follow: (1) condition of the creative writing textbook which is used in earning creative writing poetry is inadequate, the detail of the book is less clear and less appropriate to the condition of the student. The poetry which is used are less attention to the face of poetry (typography), diction, imagination, concrete word, language style, rhyme/rhythm, theme/mean, feeling, tone, mandate/purpose/mean, and less attention to local wisdom. (2) Student and lecturer need a special book about creative writing poetry based on local wisdom which contains the text of poetry based on local wisdom and supporting illustration image, and also the evaluation sheet.
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Rahmayantis, Marista Dwi, and Nurlailiyah Nurlailiyah. "PEMBELAJARAN MENULIS PUISI DENGAN MENGGUNAKAN TEKNIK PEMODELAN." MARDIBASA: Jurnal Pembelajaran Bahasa dan Sastra Indonesia 1, no. 1 (December 1, 2020): 47–76. http://dx.doi.org/10.21274/jpbsi.2021.1.1.47-76.

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Abstract Writing poetry is an activity to develop literary skills that requires a creative thinking process. Through writing poetry activities, students will be able to develop ideas, feelings, and thoughts to produce beautiful language symbols. Writing poetry is included in creative writing. In writing poetry, one cannot immediately write poetry but must go through several processes, one of which is continuous learning. One of the techniques used in learning to write new poetry is modeling techniques. This technique was chosen to assist students in learning to write poetry by using models in the form of poetry texts. With the existence of models and examples that can be imitated, it will be a new innovation in learning poetry and can help overcome students' difficulties in writing poetry. Keywords: learning to write; poetry; modeling techniques
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Dissertations / Theses on the topic "Creative writing; Australian poetry"

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Buchanan, David. "Contextual thesis Part I & Part II : Book of poems, "Looking off the Southern Edge" ; Stage play (full-length): Ecstasis." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2001. https://ro.ecu.edu.au/theses/1015.

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This thesis, which accompanies my book of poems Looking Off the Southern Edge and my full-length stage play Ecstasis, is submitted in two parts: Part-I and Part-II. Part-l contextualises the writing practice of the above poems in considering the epistemological, autobiographical and landscape contexts of my poetry. Part-I then discusses how the poetry is involved in the process of decentring subjectivity within the southern India/Pacific arena. It should be pointed out that Part-I was submitted and marked last year, as the first year component of the Master of Arts (Writing) course. It is included this year because much of its thesis informs Part-II (and indeed is referred to and referenced by Part-II), especially in terms of my general theoretical approach to writing poems, plays, as well as the relevance of my music, painting and stained glass practices. Part II mostly addresses the writing of the play Ecstasis. I have however, discussed why I have re-edited, augmented and re-submitted my book of poems. I have then contextualised the writing of the play, by addressing the areas of Apophasis and the Aporia of 'the story', An Ecstatic Dramaturgy and the Undecidable Subject, and Ecstasis and an Endemic Specificity. This play was written, workshopped and enjoyed a partially moved reading (as late as the 11th, November) in the course of this year. While the writing of the piece is addressed under the previous headings, the workshopping and reading process is discussed in Workshopping the 'Spectacle Text' in the Co-operative Medium of 'Theatre. I have also included Appendix (i) in support of this process, in particular, the changes inspired by the reading. The conclusion discusses some of the boundaries for my writing of A Poetry and The Spectacle Text for theatre, and hints at the context required for any writing of experimentation in the southern Indian/Pacific arena.
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Jackson, Janet Ruth. "A coat of ashes: A collection of poems, incorporating a metafictional narrative - and - Poetry, Daoism, physics and systems theory: a poetics: A set of critical essays." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2018. https://ro.ecu.edu.au/theses/2125.

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This thesis comprises a book-length creative work accompanied by a set of essays. It explores how poetry might bring together spiritual and scientific discourses, focusing primarily on philosophical Daoism (Taoism) and contemporary physics. Systems theory (the science of complex and self-organising systems) is a secondary focus of the creative work and is used metaphorically in theorising the writing process. The creative work, “A coat of ashes”, is chiefly concerned with the nature of being. It asks, “What is?”, “What am I?” and, most urgently, “What matters?”. To engage with these questions, it opens a space in which voices expressing scientific and spiritual worldviews may be heard on equal terms. “A coat of ashes” contributes a substantial number of poems to the small corpus of Daoist-influenced poetry in English and adds to the larger corpus of poetry engaging with the sciences. The poems are offset by a metafictional narrative, “The Dream”, which may be read as an allegory of the writing journey and the struggle to combine discourses. The four essays articulate the poetics of “A coat of ashes” by addressing its context, themes, influences, methodology and compositional processes. They contribute to both literary criticism and writing theory. Like the creative work, they focus on dialogues between rationalist or scientific discourses and subjective or spiritual ones. The first essay, “An introduction”, discusses the thesis itself: its rationale, background, components, limitations and implications. The second, “Singing the quantum”, reviews scholarship discussing the influence of physics on poetry, then examines figurative representations of physics concepts in selected poems by Rebecca Elson, Cilla McQueen and Frederick Seidel. These poems illustrate how contemporary poetry can interpret scientific concepts in terms of subjective human concerns. The third essay, “Let the song be bare”, discusses existing Daoist poetry criticism before considering Daoist influences in the poetry of Ursula K. Le Guin, Randolph Stow and Judith Wright. These non-Indigenous poets with a strong awareness of the sciences have, by adopting Daoist-inflected senses of the sacred, been able to articulate the tension engendered by their problematic relationships with colonised landscapes. Moreover, the changing aesthetic of Wright’s later poetry reflects a struggle between Daoist quietism and European lyric commentary. The final essay, “Animating the ash”, reflects on the process of writing poetry, using examples from “A coat of ashes” to construct a theoretical synthesis based on Daoism, systems theory and contemporary poetics. It proposes a novel way to characterise the nature and emergence of the hard-to-define quality that makes a poem a poem. This essay also discusses some of the Daoist and scientific motifs that occur in the creative work. As a whole, this project highlights the potential of both the sciences and the more ancient ways of knowing — when seen in each other’s light — to help us apprehend the world’s material and metaphysical nature and live harmoniously within it.
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Bonhomme, Desmond. "Creative Writing Thesis: Poetry." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/cmc_theses/563.

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The title of this compilation of my own creative writings is Trees, Breathe, Paper. This unique collection of poetry, short stories and prose contains a range of work, composed from 2002-2012. The thematic goal of this undertaking is to ballast as many implicit and explicit meanings as are comprehensible, and to extrapolate a distinct spectrum of latent and straightforward explanations with discernible psycho-analytical accuracy. We all know poetry is truly formless and based on springs of natural inspiration. Thus, we derive our purest inspiration from the natural world and we prune it in its unfiltered, raw state. Poetry is an externality that materializes from thin air.
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King, Willow. "Yantra: A creative writing thesis (Original writing, Poetry, Creative fiction)." Diss., Connect to online resource, 2005. http://wwwlib.umi.com/cr/colorado/fullcit?p1425764.

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Nguyen, Alina. "Poetry as a Museum." Thesis, California State University, Long Beach, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10262632.

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Poetry as a Museum is a two-part collection of poems that reveals different subject matter from the poet’s view of the world. The first part deals with family and the juxtapositions of life in the United States and Vietnam. The second part is focused on the poet, her voice, and lens outside of family. Both parts cohere as a collection around the idea of a poetry museum, one that curates the various stories, memories, experiences, and interests of family and poet, in Vietnam and the United States. Moreover, the poems rely on their strangeness in image as well as structure.

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Halliday, Simon D. "Intersections : a collection of poetry." Master's thesis, University of Cape Town, 2006. http://hdl.handle.net/11427/8087.

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Beckerling, Philippa Mary. "Wings into darkness & Poetry - An Essay." Master's thesis, University of Cape Town, 2003. http://hdl.handle.net/11427/6938.

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Dymond, Danielle R. "Bitter Soil| Mapping Generational Female Experiences Through Poetry." Thesis, California State University, Long Beach, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10751007.

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Bitter Soil: Mapping Generational Female Experiences Through Poetry is a collection of creative writing made up of a methodological essay and forty-three poems. This collection, produced during my time in California State University, Long Beach’s M.F.A. in Creative Writing program, explores both familial bonds and personal growth. The essay portion of this thesis uproots my family tree for closer inspection as I explain my subject matter, influences, and process, as well as the benefits and challenges of being a woman writer. The forty-three poems within my manuscript specifically focus on my grandmother, my mother, and myself, zeroing in on our experiences as women across three very different generations. These poems are broken into two parts: the first half is about the lives of my grandmother and my mother, and the second half is mostly about my own life, as well as the lives of several other women that have moved me. Essentially, the purpose of my thesis work is to communicate female stories, relationships, and power, using my own relatives as proof in a creative effort to honor the women that I know and inspire those that I do not.

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Reynolds, Kimberly Jo. "Grit Line." TopSCHOLAR®, 2010. http://digitalcommons.wku.edu/theses/1095.

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Graber, Margaret Ann. "These Hearts are Watermelon." OpenSIUC, 2014. https://opensiuc.lib.siu.edu/theses/1389.

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This thesis examines the construction and deconstruction of home. These poems explore this theme largely through the poet's relation to geography and the natural world of the Great Lakes region, friends and family, experiences centered in human interconnectedness, traveling, the impact of technology, orientation in a cosmic space, the ways in which culture shapes and reshapes the one living inside it, and how in a 21st century world, one must still seek to show compassion for other living creatures. Through the utilization of metaphor, narrative, and imagination, this thesis journeys from the poet's home of Indiana to her ancestral roots of Ireland before returning to America with a more complex sense of identity as well as a renewed vision for the future.
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Books on the topic "Creative writing; Australian poetry"

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Writing dangerous poetry. Lincolnwood, Ill: NTC/Contemporary Pub. Group, 1999.

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Davidson, Chad. Writing poetry: Creative and critical approaches. Houndmills, Basingstoke, Hampshire [England]: Palgrave Macmillan, 2009.

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Davidson, Chad. Writing poetry: Creative and critical approaches. Houndmills, Basingstoke, Hampshire [England]: Palgrave Macmillan, 2009.

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Margaret, Ryan. Extraordinary poetry writing. New York: F. Watts, 2006.

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You can write poetry. Cincinnati, Ohio: Writer's Digest Books, 1998.

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Writing the life poetic. Cincinnati, OH: Writer's Digest Books, 2009.

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David, Starkey. Creative writing: An introduction to poetry and fiction. Boston: Bedford/St. Martin's, 2014.

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Lockerby, Patrick A. Creative writing: An anthology of prose and poetry. London: The author, 1991.

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Poetry writing: Theme and variations. Lincolnwood, Ill: NTC/Contemporary Pub. Group, 2000.

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editor, Wittrock Jeni, ed. Catch your breath: Writing poignant poetry. North Mankato, Minnesota: Capstone Press, a Capstone imprint, 2016.

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Book chapters on the topic "Creative writing; Australian poetry"

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Casterton, Julia. "Writing Poetry." In Creative Writing, 97–122. London: Macmillan Education UK, 2005. http://dx.doi.org/10.1007/978-1-137-11496-9_10.

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Casterton, Julia. "Writing Poetry." In Creative Writing, 95–123. London: Macmillan Education UK, 1998. http://dx.doi.org/10.1007/978-1-349-14679-6_9.

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Yeh, Jane. "Revising poetry." In Creative Writing, 312–29. 2nd ed. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003189169-19.

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Yeh, Jane. "Introduction to poetry." In Creative Writing, 211–34. 2nd ed. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003189169-15.

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McLoughlin, Nigel. "Writing Poetry." In A Companion to Creative Writing, 40–55. Chichester, UK: John Wiley & Sons, Ltd, 2013. http://dx.doi.org/10.1002/9781118325759.ch3.

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Elvey, Anne. "Writing Unwriting Writing." In New Directions in Contemporary Australian Poetry, 97–106. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-76287-2_8.

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Elvey, Anne. "Writing Unwriting Writing." In New Directions in Contemporary Australian Poetry, 97–106. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-76287-2_8.

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Joseph, Sue. "When Your Subjects Do Not Agree: An ‘Idiosyncratically Australian Perspective’." In Creative Writing Practice, 191–206. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-73674-3_13.

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Attfield, Sarah. "The Ethics of Working-Class Realism in Poetry." In Creative Writing Practice, 13–27. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-73674-3_2.

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Munden, Paul. "Commentary 2. Poetry by Heart." In Creative Writing and Education, edited by Graeme Harper, 68–70. Bristol, Blue Ridge Summit: Multilingual Matters, 2015. http://dx.doi.org/10.21832/9781783093540-010.

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Conference papers on the topic "Creative writing; Australian poetry"

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Weirauch, Angelika. "CREATIVE WRITING IN CONTEXT OF UNIVERSITIES." In International Conference on Education and New Developments. inScience Press, 2022. http://dx.doi.org/10.36315/2022v1end056.

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"We present an old process developed more than a hundred years ago at American universities. It means professional, journalistic and academic forms of writing. It also includes poetry and narrative forms. Creative writing has always been at the heart of university education. Today, there are more than 500 bachelor's degree programs and 250 master's degree programs in this subject in the United States. In other fields of study, it is mandatory to enrol in this subject. After World War II, it came to Europe, first to England and later to Germany. Here, ""... since the 'Sturm und Drang' (1770-1789) of the early Goethe period, the autodidactic poetics of the cult of genius prevailed. The teachability of creative writing has been disputed ever since and its dissemination has therefore always had a hard time in Germany"" [von Werder 2000:99]. It is rarely found in the curricula of German universities. At the Dresden University of Applied Sciences, we have been practicing it for five years with great response from social work students. They learn different methods: professional writing for partners and administration, poetic writing for children's or adult groups, scientific language for their final thesis and later publications. Although we offer it as an elective, more than 80% of students choose it. Final papers are also written on these creative topics or using the methods learned. ""Writing forces economy and precision. What swirls chaotically around in our heads at the same time has to be ordered into succession when writing"" [Bütow in Tieger 2000:9]. The winners of this training are not only our former students! Children in after-school programs and youth clubs improve their writing skills through play. Patients in hospitals work on their biographies. People who only write on the computer discover slow and meaningful writing, activating their emotional system. Therefore, this paper will show how clients benefit from creative writing skills of their social workers and what gain other disciplines can expect as well."
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Haupert, Mary Ellen. "CREATIVITY, MEANING, AND PURPOSE: MIXING CULTURES IN CREATIVE COLLABORATION." In INNODOCT 2019. Valencia: Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/inn2019.2019.10109.

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Music composition is embedded into the Viterbo University music theory curriculum to promote active engagement of musical materials. The project accomplishes three basic complementary outcomes: 1) Students will be able to creatively apply and develop the foundations of music theory learned in their first year of university-level music study, 2) Students will develop proficiency using music writing software, and 3) Students will overcome their fear of composition and gain confidence as musicians. Students are taught foundational concepts during the first four semesters of music theory; these concepts are creatively applied and developed in the gestation and birth of a musical composition that is original and personal. Meaning and purpose, combined with guidance and encouragement, sustain these freshmen and sophomore students over a five-month process of framing a concept, composing music, editing their scores, and finally rehearsing and performing their works. The “concept” for the 2018-2019 freshmen and sophomore music theory students was a collaborative venture with Gateway Christian School, which is part of Project Gateway in Pietermaritzburg, South Africa. Poetry written specifically for this project by Grade 7 students was collected and given to Viterbo University students for setting; the learning outcomes, as well as the benefits and global focus of the project will be the focus of this paper.
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