Relevant bibliographies by topics / Creative writing research

Academic literature on the topic 'Creative writing research'

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

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Journal articles on the topic "Creative writing research"

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Wirtz, Jason. "Creating Possibilities: Embedding Research into Creative Writing." English Journal 95, no. 4 (March 1, 2006): 23. http://dx.doi.org/10.2307/30047083.

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Brien, Donna Lee. "Creative Practice as Research: A Creative Writing Case Study." Media International Australia 118, no. 1 (February 2006): 53–59. http://dx.doi.org/10.1177/1329878x0611800108.

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This paper utilises a case study approach to examine practice-led research in a specific discipline of the creative arts by examining the range of research strategies utilised during the author's doctoral studies in creative writing. This personal example is then situated within a broader context through suggestions about the contribution such creative arts-based research practice can make to the development and enhancement of creativity more generally, and an exploration of why this is important.
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Butt, Maggie. "Creative Writing Research Degrees: Range and Rigour." New Writing 6, no. 1 (March 2009): 53–56. http://dx.doi.org/10.1080/14790720802617637.

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Harper, Graeme. "Creative writing: words as practice-led research." Journal of Visual Art Practice 7, no. 2 (November 2008): 161–71. http://dx.doi.org/10.1386/jvap.7.2.161_1.

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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.

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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.
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Malilang, Chrysogonus Siddha. "Drawing Maps for Research in Creative Writing through A/r/tography." Journal of Urban Society's Arts 4, no. 2 (December 26, 2018): 71–88. http://dx.doi.org/10.24821/jousa.v4i2.2158.

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The return of Creative Writing to the academia was intended as an answer to rigid approaches employed in the nineteenth century’s teaching of English Literature. This comeback has since brought back a new perspective in seeing body of literature as a living body but at the same time also introduced clash between dominating research paradigm in the academia. The writers who were hired to teach creative writing tended to prioritise their creative practice, while the general consensus in academia called for more theoretical-oriented research. In order to compromise, the practice-based research method was born. Despite various justifications that creative process is the same as research inquiry, the heavier emphasis on creative works in this method still invites criticism, such as the lack of research rigour (Biggs & Büchler, 2007). New framework to balance and bridge practice and research rigour is thus needed – especially one that can accommodate the non-linear thinking trajectories in creative practices. Due to the possible non-linearity, the new research platform should not follow the reigning ‘arborescent scheme’ in the academic research tradition, but incorporate the concept of Deleuzian rhizome. A/r/tography – developed based on the premise of art and art creation as a rhizomatic process / activity – is proposed as one of the potential practices for creative writing research. The non-linear view of a/r/tography towards arts practices suggests a rhizomatic role in the mapping of creative writing process. As it addresses and accommodates multiplicities, a/r/tography also facilitates non-native English speakers to conduct and map his journey in art creation and research inquiry. Author’s project of writing a collection of bilingual poems based on classical Javanese song cycle – Sekar Macapat – is presented to illustrate the claim.
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Malilang, Chrysogonus Siddha. "Drawing Maps for Research in Creative Writing through A/r/tography." Resital: Jurnal Seni Pertunjukan 19, no. 1 (April 1, 2018): 1–17. http://dx.doi.org/10.24821/resital.v19i1.2448.

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The essay aims to review clashes in research methodologies for creative practices–especially Creative Writing–and to propose a possible solution to bridge it. A/r/tography–a research methodology developed based on the premise of art and art creation as a rhizomatic process/activity–is elaborated here as a middle ground between opposing schemes. The author’s project of writing a collection of bilingual poems based on classical Javanese song cycle–Sekar Macapat–is presented to illustrate how a/r/tography can be used to address various multiplicities and non-linear process in creative process.
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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.

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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.
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Kotišová, Johana. "Creative Nonfiction in Social Science: Towards More Engaging and Engaged Research." Teorie vědy / Theory of Science 41, no. 2 (February 24, 2020): 283–305. http://dx.doi.org/10.46938/tv.2019.487.

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The paper aims at identifying, explaining and illustrating the affordances of “creative nonfiction” as a style of writing social science. The first part introduces creative nonfiction as a method of writing which brings together empirical material and fiction. In the second part, based on illustrations from my ethnographic research of European “crisis reporters,” written in the form of a novel about a fictional journalist, but also based on a review of existing social science research that employs a creative method of writing, I identify several main affordances of creative nonfiction in social-scientific research. In particular, I argue that creative nonfiction allows scientists to illustrate their findings, to express them in an allegorical way, to organize data into a narrative, to let their pieces of research act in the social world, and to permeate research accounts with self-reflexive moments. I also discuss some apparent negative affordances: challenges that creative nonfiction poses to readers and to the institutionalized academic discourse. Finally, I suggest that writing about sociological problems in the style of creative nonfiction can help to produce more engaging and engaged texts, and I discuss the ethical implications of the approach.
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Larasaty, Gina. "THE UNIVERSITY STUDENTS’ PERCEPTION OF CREATIVE WRITING IN RELATION WRITING SKILL." ENGLISH JOURNAL OF INDRAGIRI 4, no. 2 (July 15, 2020): 253–63. http://dx.doi.org/10.32520/eji.v4i2.1096.

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In this era, writing is one of the skills that should be mastered by the students, because it will be useful in the future. Writing has a purpose of entertaining and of giving the information, for example, in creative writing. This research aimed to know the students’ perception of abilities they acquired after they participated in creative writing at the university level. The method of this research is descriptive analysis. The Participants of this research are coming from students in the fourth semester of English Department in Wiralodra University who took the Poetry subject Then the study resulted in the identification of abilities the students acquired after learning creative writing, the students are more self-confidence, critical reading and gain their vocabulary, grammar and punctuation in writing.
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Dissertations / Theses on the topic "Creative writing research"

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Ware, Damien Lamont. "Borne the Battle; Creative Writing for Military and Personal Trauma." Cleveland State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=csu1592388118726987.

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Stevenson, Kylie J. "Creative River Journeys: Using reflective practice to investigate creative practice-led research." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2017. https://ro.ecu.edu.au/theses/2025.

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This ‘Creative River Journey’ doctoral study explored the processes of art practice and knowledge-making by six artist–researchers engaged in creative higher degrees by research (HDR) at Edith Cowan University (ECU) in three arts disciplines—performing arts, visual arts, and creative writing. The study applied the Creative River Journey (CRJ) reflective practice strategy, originally applied as the River Journey tool in music education (Burnard, 2000; Kerchner, 2006), but further developed by the researcher into a three-phase reflective practice strategy for its application in complex practice-led research projects over the extended period of the participants’ HDR studies. Six rich cases studies of HDR artist– researchers, and their reflective practice and practice-led research, resulted. The researcher took an a/r/tographical approach (Irwin & de Cossen, 2004) and specifically focused on inquiring into the intersection between arts practice, practice-led research, and HDR creative arts training and pedagogy. The study addresses three questions in relation to these three concepts about what the application of the CRJ strategy to the creative process elucidated for, and about, the HDR artist–researcher. A fourth question addresses the experiences and evaluations by participants of the CRJ strategy. The ‘Creative River Journey’ study aimed to examine the way that reflective practice and the CRJ reflective strategy might add to emerging practice-led research methodologies for individual artist–researchers and the field of practice-led in general. In the past decade, there has been a significant continued discussion about the nature of research in the creative arts (for example, Nelson, 2013; Barrett & Bolt, 2007; Smith and Dean, 2009). This study adds the perspective of the HDR artist–researcher engaged in a creative arts doctorate to this discussion. The study’s HDR perspective joins existing Australian contextual reviews of practice-led research, for example, effective supervision of creative practice higher degrees (Hamilton & Carson, 2013a), and examining doctorates in the creative arts (Webb, Brien & Burr, 2012). This study advances this discussion by providing rich case studies of HDR practice-led research from the outsider perspective of the researcher whilst, at the same time, providing a unique insider perspective as the researcher acts as a co-constructor of the participants’ reflective practice, and as the participants independently document their creative practice and reflective practice strategies. This thesis will demonstrate that the CRJ reflective strategy is an innovative way of exploring the relationship between the creative and critical components in creative arts higher education degrees. The strategy generated knowledge about how each artist–researcher engaged in a meld of practice and research in the art-making process within practice-led research, and brought to light key critical moments in the practice-research nexus. Of consequence to the knowledge outcomes for the HDR artist–researchers in the study is how these captured the phenomena of their praxis, and thus was a useful documentation approach to their practice-led research. This thesis will make evident the ‘Creative River Journey’ study’s contribution to the rich established field of practice-led research in general, made possible through the deliberate pedagogical interventions of the CRJ reflective strategy.
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North, Sue, and n/a. "Relations of power and competing knowledges within the academy: creative writing as research." University of Canberra. Creative Communication, 2004. http://erl.canberra.edu.au./public/adt-AUC20051025.121424.

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The aim of this thesis is to explore the politics of discourse within Australian universities with particular reference to the position of creative writing as a research discipline. My thesis argues that some discourses have more power than others, with the effect that some forms of knowledge are seen as valid research and others as invalid, at least in research terms. Academic research has been increasingly dichotomised in the short history of research in Australian universities through issues of public versus private funding, and university concern for sector autonomy. The growing influence on university research, stemming from a global market economy, is one that privileges applied research. Creative writing�s position within a basic/applied dichotomy is tenuous as its practitioners vie for a place in the shrinking autonomous research sector of universities. I show the philosophical understanding of creativity (with specific reference to creative writing) from a historical perspective and explore this understanding in the current climate. This understanding of creativity confounds creative writing�s position as research, for this highlights the obstacles faced in certifying it as a valid form of knowledge. I investigate the current status of creative writing in the area of university research in relation to research equivalence, and examine the terminology, the social structures and individual experiences surrounding creative writing as a form of research.
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Simon, Gail. "Writing (as) systemic practice." Thesis, University of Bedfordshire, 2011. http://hdl.handle.net/10547/223012.

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This doctoral portfolio is a collection of papers and pieces of creative writing arising out of therapeutic, supervisory and training conversations and in relation to a wide range of texts. I have wanted to find ways of writing ethically so as to avoid objectifying people and appropriating their words, their life stories. I find ways of writing in which the values and practices of a collaborative, dialogical and reflexive ways of being with people are echoed in the texts. I show how writing and reading are relational practices in that I speak with the participants in the texts as well as with the reader and also with other writers. To do this, I experiment with a variety of written forms and employ literary devices so as to speak from within a range of practice relationships, from within inner dialogue, with real and fictitious characters. Technically and ethically, I try to write in a way which not only captures the sound of talk but which also speaks with the reader who would be reading, and perhaps hearing these accounts of conversation. By sharing a rich level of detail from my polyvocal inner dialogue, I invite the reader into a unique and privileged alongside position as a participant-observer in my work. Inspirational research methodologies include: writing as a method of inquiry, reflexivity, autoethnography, performance ethnography and transgression interpreted by many areas of systemic theory and practice. To support this innovative work, I offer several theoretical and practical papers offering novel developments on systemic practice theory. I situate systemic practice as a research method and demonstrate many family resemblances between systemic inquiry and qualitative inquiry. I offer a reflexive model for systemic practice and practice research which I call Praction Research which regards therapy and research as political acts requiring an activist agenda. Linked to this I politicise ideas of reflexivity by introducing local and global reflexivity and create a political connection with a concept of theorethical choices in theory and ethics in practice research. I propose a new form of ethnography suited to systemic practice, Relational Ethnography in which I draw attention to reflexive relationships between writer and readers, between the voices of inner and outer dialogue in research texts.
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Martin, Samuel James Louis. "The 'Lad Lit' dilemma : institutional influences on creative writing practice." Thesis, Queensland University of Technology, 2008. https://eprints.qut.edu.au/17032/1/Sam_Martin_-_eighteenth.pdf.

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This thesis consists of a novel, eighteenth, and an exegesis, The ‘Lad Lit’ Dilemma: Institutional influences on creative writing practice. It will address my research question; how did institutional factors surrounding the publishing category of Lad Lit influence my creative practice in drafting and re-drafting the novel eighteenth? eighteenth is the story of Will Swift, a seventeen year-old Brisbane university student. Will is part of a close group of friends from high school. When he falls for Kate, family friend of his mate Simon, his first semester of study becomes more complicated than he might have expected. Will’s movement through these issues and character development is represented symbolically through four eighteenth birthday parties. The project’s exegesis then analyses the changing nature of the publishing industry in the last twenty years, and the implications of these changes for creative writers. Together, the two elements of this practice-led research will articulate the shift in the balance between the cultural and commercial imperatives of publishers, explain the impact of this shift for the publishing category of Lad Lit, and explore the ramifications of this for creative writing practitioners.
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Martin, Samuel James Louis. "The 'Lad Lit' dilemma : institutional influences on creative writing practice." Queensland University of Technology, 2008. http://eprints.qut.edu.au/17032/.

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This thesis consists of a novel, eighteenth, and an exegesis, The ‘Lad Lit’ Dilemma: Institutional influences on creative writing practice. It will address my research question; how did institutional factors surrounding the publishing category of Lad Lit influence my creative practice in drafting and re-drafting the novel eighteenth? eighteenth is the story of Will Swift, a seventeen year-old Brisbane university student. Will is part of a close group of friends from high school. When he falls for Kate, family friend of his mate Simon, his first semester of study becomes more complicated than he might have expected. Will’s movement through these issues and character development is represented symbolically through four eighteenth birthday parties. The project’s exegesis then analyses the changing nature of the publishing industry in the last twenty years, and the implications of these changes for creative writers. Together, the two elements of this practice-led research will articulate the shift in the balance between the cultural and commercial imperatives of publishers, explain the impact of this shift for the publishing category of Lad Lit, and explore the ramifications of this for creative writing practitioners.
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Moessner, Meeka K. "The use of irritation in mood and character development in creative writing." Thesis, Queensland University of Technology, 2018. https://eprints.qut.edu.au/116543/1/Meeka_Moessner_Thesis.pdf.

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This research project takes a practice-led approach to the study of negative emotions, to address the question of how their representation can feature as a basis of character response and influence in plot development in novels. l discuss irritation, in particular, as an affective mood in creative writing practice. Examination of case studies and my own creative practice will illustrate how writing devices are used to create a novel's overarching mood of irritation. I identify the potential that non-cathartic emotions have to promote plot development through the protracted experience of irritation, thereby leading to new possibilities of character response, and story.
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Murphy, Caroline. "Practice, pedagogy and policy : the influence of teachers' creative writing practice on pedagogy in schools." Thesis, Northumbria University, 2012. http://nrl.northumbria.ac.uk/13334/.

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This research aims to develop understanding of how teachers’ experience of practising creative writing influences pedagogy in schools. The research is located within a literary studies domain, responding to the context in which creative writing is most commonly taught in schools and in higher education. The central research question explored is: • How is the pedagogy of creative writing in schools influenced by teachers’ creative writing practice? The research explores the premise that creative writing practice has the potential to raise teachers’ ‘confidence as writers’, enabling them to ‘provide better models for pupils’ (Ofsted, 2009: p.6). This thesis examines what ‘creative writing practice’ means in the context of developing pedagogy; considers how creative writing is conceptualised by teachers; and investigates how teachers’ creative writing practice connects to pedagogic methods and approaches. The research sub questions that underpin the research are: • How has creative writing been conceptualised in educational policy, and how do these conceptions influence pedagogy in schools? • Does the practice of creative writing influence teachers’ conceptualisations of creative writing, and, if so, what is the impact on pedagogy? • Does the practice of creative writing influence teachers’ perceptions of themselves as writers, and, if so, what is the impact on pedagogy? • Does the experience of working with writers influence teachers’ pedagogic approaches in the classroom, and if so, how? The research includes a case study involving 14 primary and secondary school teachers, engaged in developing their own creative writing practice under the guidance of professional writers. The case study approach enables exploration of the research questions through analysis of participants’ lived experience of creative writing practice and pedagogy. The analysis of the case study at the heart of this research is situated within an interpretive framework, acknowledging the complexity of multiple meanings at play in socio-cultural learning contexts. The analysis draws on Bruner’s exploration of how pedagogical approaches imply conceptions of the learner’s mind and pedagogy (Bruner, 1996), and considers the interplay between teachers’ experiences of creative writing, and their choice of pedagogical methods and approaches.
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Philp, Alexandra. "Subversive sisters: Reimagining biological sisters as Gothic in fiction." Thesis, Queensland University of Technology, 2021. https://eprints.qut.edu.au/207282/1/Alexandra_Philp_Thesis.pdf.

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This thesis examines the potential of reimagining the Gothic to produce more complex representations of biological sisters when writing fiction. Through writing the novel, 'The Marble Platform', this project reveals how Gothic tropes of the double, transgression, and haunting can be adapted to facilitate subversive behaviour between fictional sisters. Recognising this subversive behaviour is crucial for expanding understandings of sisters in literary narratives, and for providing creative writers with a new approach for engaging with the Gothic tradition.
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Ferrell, Rosemary Kaye. "Voice in Screenwriting: Discovering/Recovering an Australian Voice." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2017. https://ro.ecu.edu.au/theses/2004.

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This creative practice research explores the concept of an identifiable screenwriter’s voice from the perspective of screenwriting as craft, proposing that voice can be understood and described based on its particular characteristics. Voice is understood to be the authorial presence of the screenwriter, whose mind shapes every aspect of the text. This presence is inscribed in the text through the many choices the screenwriter makes. More than this, the research argues that the choices made inflect the text with a cultural-national worldview. This occurs because of the close association between voice and personal (including cultural/national) identity, and because of the power of textual elements to signify broader concepts, ideas and phenomena belonging to the actual world. The thesis includes an original feature film screenplay evidencing a particular Australian voice, and an exegesis which describes voice and national inflection more fully. The practice research began with the interrogation of voice in a previously-existing screenplay which, though an original work written by an Australian screenwriter – myself – was described as having an American voice. Voice and its mechanisms were then further investigated through the practice of writing the original screenplay, Calico Dreams. Theories of voice from within literary theory, and the concept of mind-reading, from cognitive literary theory, acted as departure points in understanding voice in screenwriting. Through such understanding a conceptual framework which can assist practitioners and others to locate aspects of voice within a screenplay, was designed. This framework is a major research outcome and its use is illustrated through the description of voice in the screenplay, Calico Dreams. The research found that screenwriter’s voice serves to unify and cohere the screenplay text as an aesthetic whole through its stylistic continuities and particularities. Through the voice, the screenwriter also defines many of the attributes and characteristics of the film-to-be. A theory of screenwriter’s voice significantly shifts the theoretical landscape for screenwriting at a time when an emerging discourse of screenwriting is developing which can enrich understandings of the relationship between the screenplay and its film.
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Books on the topic "Creative writing research"

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Kroll, Jeri, and Graeme Harper, eds. Research Methods in Creative Writing. London: Macmillan Education UK, 2013. http://dx.doi.org/10.1007/978-1-137-27254-6.

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Graeme, Harper, and Kroll Jeri 1946-, eds. Creative writing studies: Practice, research and pedagogy. Clevedon [England]: Multilingual Matters, 2008.

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Writing research/researching writing: Through a poet's i. New York: P. Lang, 2001.

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Ann, Matsuhashi, ed. Writing in real time: Modelling production processes. Norwood, N.J: Ablex Pub. Corp., 1987.

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Patricia, Briles, ed. Write every day: 178 reproducible research and writing activities. New York, NY: Scholastic Professional Books, 1990.

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Writing and research for college: The structures of imaginative literacy. Dubuque, IA: Kendall Hunt, 2014.

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Domenick, Caruso, ed. Writing research papers: A guide to the process. 2nd ed. New York: St. Martin's Press, 1986.

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Domenick, Caruso, ed. Writing research papers: A guide to the process. 3rd ed. New York: St. Martin's Press, 1990.

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Weidenborner, Stephen. Writing research papers: A guide to the process. 6th ed. Boston: Bedford/St. Martin's, 2001.

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Domenick, Caruso, ed. Writing research papers: A guide to the process. 4th ed. New York: St. Martin's Press, 1994.

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Book chapters on the topic "Creative writing research"

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Casterton, Julia. "Doing your Research." In Creative Writing, 151–60. London: Macmillan Education UK, 2005. http://dx.doi.org/10.1007/978-1-137-11496-9_13.

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Cowan, Andrew. "Is Creative Writing Research Writing?" In Against Creative Writing, 197–224. London: Routledge, 2022. http://dx.doi.org/10.4324/9780429489358-6.

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Harper, Graeme. "Creative Writing Research." In A Companion to Creative Writing, 278–90. Chichester, UK: John Wiley & Sons, Ltd, 2013. http://dx.doi.org/10.1002/9781118325759.ch18.

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Harper, Graeme. "Practice-led research." In Creative Writing Analysis, 26–40. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003023388-3.

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Cook, Jon. "Creative Writing and Ph.D. Research." In Teaching Creative Writing, 99–103. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137284464_13.

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Thorpe, Ryan. "Research in Creative Writing." In Teaching Creative Writing to Second Language Learners, 26–38. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003043492-3.

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Harper, Graeme. "6. Creative Writing Research." In Key Issues in Creative Writing, edited by Dianne Donnelly and Graeme Harper, 103–15. Bristol, Blue Ridge Summit: Multilingual Matters, 2012. http://dx.doi.org/10.21832/9781847698483-009.

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Mort, Graham. "Transcultural Writing and Research." In Research Methods in Creative Writing, 201–22. London: Macmillan Education UK, 2013. http://dx.doi.org/10.1007/978-1-137-27254-6_10.

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Brien, Donna Lee. "Non-Fiction Writing Research." In Research Methods in Creative Writing, 34–55. London: Macmillan Education UK, 2013. http://dx.doi.org/10.1007/978-1-137-27254-6_3.

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Lasky, Kim. "Poetics and Creative Writing Research." In Research Methods in Creative Writing, 14–33. London: Macmillan Education UK, 2013. http://dx.doi.org/10.1007/978-1-137-27254-6_2.

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Conference papers on the topic "Creative writing research"

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Guangzhi, Zhao. "Relative research of creative Writing and industries about creative culture." In 2014 Conference on Informatisation in Education, Management and Business (IEMB-14). Paris, France: Atlantis Press, 2014. http://dx.doi.org/10.2991/iemb-14.2014.105.

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Li, L. "Action Research on Teaching of Creative Writing for Postgraduates." In 2015 International Conference on Social Science, Education Management and Sports Education. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/ssemse-15.2015.31.

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"Research on Thinking Training Path in English Creative Writing Teaching." In 2018 International Conference on Education, Psychology, and Management Science. Francis Academic Press, 2018. http://dx.doi.org/10.25236/icepms.2018.026.

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Barbas, Maria, and Pedro Matos. "CREATIVE WRITING AND READING ON MULTIMEDIA ENVIRONMENTS WITH STUDENTS WITH DISABILITIES." In 12th annual International Conference of Education, Research and Innovation. IATED, 2019. http://dx.doi.org/10.21125/iceri.2019.0538.

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Poce, Antonella, and Francesca Amenduni. "Creative writing and Critical Thinking Enhancement at Higher Education." In Fifth International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2019. http://dx.doi.org/10.4995/head19.2019.9221.

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Currently, educational policymakers identify Critical Thinking (CT) as an essential aspect of progress and knowledge growth in any field and in the broad society. Peer interactions and individual writing are helpful pedagogical strategies for CT development that could be enhanced by the use of technologies (Guiller, Durndell, & Ross, 2008). Starting from the above-mentioned evidence, a university module was designed by combining collaborative and creative writing with the critical analysis of literary texts and the fruition of figurative arts. 123 students worked in groups and their CT level was assessed at different times of the course. Most of the students’ groups showed an increase in their CT level whilst a few did not. The difficulties in the management of group dynamics corresponded to the decreasing CT level. On the contrary, groups able to organize their work improved their CT throughout the course. Additionally, students’ work modes had an impact on their performance at different CT tasks. The research results could be used to improve university course design for CT education.
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Sutinwong, Nichtawan. "An analysis creative genre writing of Thai adolescent learners in terms of their knowledge of information reports genre." In 2018 5th International Conference on Business and Industrial Research (ICBIR). IEEE, 2018. http://dx.doi.org/10.1109/icbir.2018.8391264.

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Suing, Abel, Patricio Barrazueta, and Lilia Carpio. "COMPETENCES IN CREATIVE WRITING THROUGH DISTANCE EDUCATION. CASE OF DEGREE IN COMMUNICATORS OF THE UNIVERSIDAD TÉCNICA PARTICULAR DE LOJA." In 11th annual International Conference of Education, Research and Innovation. IATED, 2018. http://dx.doi.org/10.21125/iceri.2018.1974.

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Dikici, Birce. "Undergraduate Research With Entrepreneurial Approach: Creating New Insulation Materials Using Biomass Fibers." In ASME 2021 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2021. http://dx.doi.org/10.1115/imece2021-70718.

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Abstract Entrepreneurial approach suggests the creation and development of economic ventures. This study describes the activity for students for Clean Energy Systems course. The Undergraduate Research Integration is a project for students which is about writing a proposal report and giving presentations. Each team writes a research proposal during the course of the semester that involves the use of biomass composites. The proposal is assigned in the third week of the semester and is due at the end of the semester. Student teams performed a preliminary study to create, test, and document a new environmentally friendly material that will be used in their dorm insulation. This project introduces sustainable engineering issues to students. Students also have to bring biomass material samples collected from nature as a project deliverable. Adaptability, communication, and management skills influences the way people interact and engage with colleagues. Placing students in groups and giving them tasks that they depend on each other is a great way to utilize the social needs of students. Overall, increased level of student enthusiasm was observed compared to previous years. Students were engaged in group meetings and often lead asking questions at the group presentations in class. The creative nature of the project made students think outside the box and have interesting ideas.
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Nascimento, Suely. "Marlene's house." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.106.

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As an artist-researcher, I have been developing the research “Marlene's house” in the Doctorate in Arts, Graduate Program in Arts, Institute of Art Sciences, Federal University of Pará, since 2018. An extension of the research I produced in the Master's Degree in Arts, at the same institution of higher education, from 2016 to 2018. It is a poetics built from family and affective memory, in which photography, video, sound, writing, smell, taste, touch and feeling merge. And it is part of research line 1, on poetics and acting processes, dedicated to research in the arts, with a focus on poetics, on modes of acting, on the construction and presentation of an artistic work, accompanied by a reflective text. Thus, the research is being built with a memorial that houses the reflective text and a work, consisting of an installation with photography-video-sound-writing, records of my mother's house. Along the way, I talk to researcher Priscila Arantes, from São Paulo, who writes: “expanded field photography incorporates [...] the idea of dialogue, contamination and intersections of the field of photography with other fields of language and know." I also talk to the American Rosalind Krauss, who studies three-dimensional work and its expanded field. As a personal methodology, I mentally create a garden mixed with my memories of the garden of the house where I lived, where I develop the installation and the memorial. A meditation in which there is the action of artistic making. And it is in this garden that I experiment, read, research, edit photography-video-sound-written, reflect on my life path and what touches me throughout it, and write the research texts. During classes, in practical-reflective studies, I have been building my poetics, experimenting with installations in the classroom. One of them related to the kitchen of the house where I lived. I tried, in two subjects, the coffee experience with classmates. A performance I talk to Renato Cohen about, when he says that this creative act touches the tenuous boundaries that separate life and art. Each layer of the installation is perceived in the creative process of the artwork. And, based on what I perceive in my poetics, I develop conversations with the history of art, and I have conceived texts, which I named the artist's writings. With the letters, words, sentences and reflections, I write down what I thought/think about geometry, dimensions, space, the room in the house and sharing around a dining table. The poetic layers built in the creative path are countless and, in the installation, I present traces that are in me, in the garden, in the bedroom, in the kitchen and in the backyard where I lived a life in my mother's house.
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Ings, Welby. "Talking with Two Hearts: Navigating Indigenous Narratives as Research." In LINK 2022. Tuwhera Open Access, 2022. http://dx.doi.org/10.24135/link2022.v3i1.177.

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Floyd Rudman (2003) notes that by enlarge, contemporary theory posits biculturalism as a positive and adaptive phenomenon. However, as early as 1936, commentators like Redfield et al. proposed that “psychic conflict” can result from attempts to reconcile different social paradigms inside bicultural adaptation (p. 152). Child (1943/1970) also argued that biculturalism cannot resolve cultural frustrations and accordingly, they can be more distressing than a commitment to one culture or the other. The tensions these early theorists noted I found significant when writing and directing my recent feature film PUNCH (Ings, 2022). When creating this work I drew on both my Māori and Pākehā (European) ancestry, and my experience as a gay man who was raised in a heteronormative world. In creating the film’s characters I navigated tensions, working within and between cultural spaces as I wove experience into a fictional examination of what it is to be an outsider in a world that you call home. In this pursuit, I often found myself transgressing borders in my effort to give voice to an in-betweenness that was impure and at times disruptive. While being appreciative of cultural values and practices, I sought ways of expressing identities that are liminal. However, in designing the in-between, like many bicultural creatives I faced accusations of diminished purity. Significantly, I found myself encountering a form of cultural monitoring and pressure to reshape what I knew to be embodied truth because it failed to sit comfortably with the presuppositions of culturally anxious funding bodies, producers and distributors. Their opinions as to what authentically characterised cultural spaces (to which they did not belong), proved challenging. This was because ultimately I knew that audiences for the film would contain people from the in-between, from the liminal, the underrepresented and the marginalised … who would be seeking an expression of lived experiences that rarely appear in cinema. Using scenes from the film PUNCH, this presentation unpacks ways in which cultural networking, verification and responsibility were navigated to reinforce an attitudinal position of ‘positive cultural dissonance’ (Faumuina, 2015). By adopting this stance, I no longer saw biculturality as a diminishment or watering down of integrity, instead it was appreciated as a space of fertile tension and creative synergy. Using positive cultural dissonance as my turangawaewae (place to stand), I negotiated a research project that pursued the resilient beauty of in-betweenness in a story of bicultural, gender non-binary, small town conflict and resolution.
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Reports on the topic "Creative writing research"

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BIZIKOEVA, L. S., and M. I. BALIKOEVA. LEXICO-STYLISTIC MEANS OF CREATING CHARACTERS (BASED ON THE STORY “THE POOL” BY W.S. MAUGHAM). Science and Innovation Center Publishing House, 2021. http://dx.doi.org/10.12731/2077-1770-2021-13-4-3-62-70.

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Purpose. The article deals with various lexico-stylistic means of portraying a literary character. The analysis is based on the empirical study of the story “The Pool” by a famous English writer William Somerset Maugham. The main methods used in the research are: the method of contextual analysis and the descriptive-analytical method. Results. The results of the research revealed that the peculiar characteristic of the story “The Pool” as well as of many other Maugham’s stories is the author’s strong presence. The portrayal characteristics of the protagonists, their manner of speech, the surrounding nature greatly contribute to creating the unforgettable characters of Lawson and his wife Ethel. Somerset Maugham employs various lexico-stylistic means to create the images of Lawson and Ethel, allowing the reader to vividly portray their personalities. Practical implications. The received results can be used in teaching Stylistics of the English language, stylistic analysis of the text as well as theory and practice of translation, in writing course and graduation papers.
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Hall, Mark, and Neil Price. Medieval Scotland: A Future for its Past. Society of Antiquaries of Scotland, September 2012. http://dx.doi.org/10.9750/scarf.09.2012.165.

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The main recommendations of the panel report can be summarised under five key headings. Underpinning all five areas is the recognition that human narratives remain crucial for ensuring the widest access to our shared past. There is no wish to see political and economic narratives abandoned but the need is recognised for there to be an expansion to more social narratives to fully explore the potential of the diverse evidence base. The questions that can be asked are here framed in a national context but they need to be supported and improved a) by the development of regional research frameworks, and b) by an enhanced study of Scotland’s international context through time. 1. From North Britain to the Idea of Scotland: Understanding why, where and how ‘Scotland’ emerges provides a focal point of research. Investigating state formation requires work from Medieval Scotland: a future for its past ii a variety of sources, exploring the relationships between centres of consumption - royal, ecclesiastical and urban - and their hinterlands. Working from site-specific work to regional analysis, researchers can explore how what would become ‘Scotland’ came to be, and whence sprang its inspiration. 2. Lifestyles and Living Spaces: Holistic approaches to exploring medieval settlement should be promoted, combining landscape studies with artefactual, environmental, and documentary work. Understanding the role of individual sites within wider local, regional and national settlement systems should be promoted, and chronological frameworks developed to chart the changing nature of Medieval settlement. 3. Mentalities: The holistic understanding of medieval belief (particularly, but not exclusively, in its early medieval or early historic phase) needs to broaden its contextual understanding with reference to prehistoric or inherited belief systems and frames of reference. Collaborative approaches should draw on international parallels and analogues in pursuit of defining and contrasting local or regional belief systems through integrated studies of portable material culture, monumentality and landscape. 4. Empowerment: Revisiting museum collections and renewing the study of newly retrieved artefacts is vital to a broader understanding of the dynamics of writing within society. Text needs to be seen less as a metaphor and more as a technological and social innovation in material culture which will help the understanding of it as an experienced, imaginatively rich reality of life. In archaeological terms, the study of the relatively neglected cultural areas of sensory perception, memory, learning and play needs to be promoted to enrich the understanding of past social behaviours. 5. Parameters: Multi-disciplinary, collaborative, and cross-sector approaches should be encouraged in order to release the research potential of all sectors of archaeology. Creative solutions should be sought to the challenges of transmitting the importance of archaeological work and conserving the resource for current and future research.
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Semerikov, Serhiy O., Illia O. Teplytskyi, Yuliia V. Yechkalo, and Arnold E. Kiv. Computer Simulation of Neural Networks Using Spreadsheets: The Dawn of the Age of Camelot. [б. в.], November 2018. http://dx.doi.org/10.31812/123456789/2648.

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The article substantiates the necessity to develop training methods of computer simulation of neural networks in the spreadsheet environment. The systematic review of their application to simulating artificial neural networks is performed. The authors distinguish basic approaches to solving the problem of network computer simulation training in the spreadsheet environment, joint application of spreadsheets and tools of neural network simulation, application of third-party add-ins to spreadsheets, development of macros using the embedded languages of spreadsheets; use of standard spreadsheet add-ins for non-linear optimization, creation of neural networks in the spreadsheet environment without add-ins and macros. After analyzing a collection of writings of 1890-1950, the research determines the role of the scientific journal “Bulletin of Mathematical Biophysics”, its founder Nicolas Rashevsky and the scientific community around the journal in creating and developing models and methods of computational neuroscience. There are identified psychophysical basics of creating neural networks, mathematical foundations of neural computing and methods of neuroengineering (image recognition, in particular). The role of Walter Pitts in combining the descriptive and quantitative theories of training is discussed. It is shown that to acquire neural simulation competences in the spreadsheet environment, one should master the models based on the historical and genetic approach. It is indicated that there are three groups of models, which are promising in terms of developing corresponding methods – the continuous two-factor model of Rashevsky, the discrete model of McCulloch and Pitts, and the discrete-continuous models of Householder and Landahl.
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Romova, Zina, and Martin Andrew. Embedding Learning for Future and Imagined Communities in Portfolio Assessment. Unitec ePress, September 2015. http://dx.doi.org/10.34074/rsrp.42015.

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In tertiary contexts where adults study writing for future academic purposes, teaching and learning via portfolio provides them with multiple opportunities to create and recreate texts characteristic of their future and imagined discourse communities. This paper discusses the value of portfolios as vehicles for rehearsing membership of what Benedict Anderson (1983) called “imagined communities”, a concept applied by such scholars as Yasuko Kanno and Bonny Norton (2003). Portfolios can achieve this process of apprenticeship to a specialist discourse through reproducing texts similar to the authentic artefacts of those discourse communities (Flowerdew, 2000; Hyland, 2003, 2004). We consider the value of multi-drafting, where learners reflect on the learning of a text type characteristic of the students’ future imagined community. We explore Hamp-Lyons and Condon’s belief (2000) that portfolios “critically engage students and teachers in continual discussion, analysis and evaluation of their processes and progress as writers, as reflected in multiple written products” (p.15). Introduced by a discussion of how theoretical perspectives on learning and assessing writing engage with portfolio production, the study presented here outlines a situated pedagogical approach, where students report on their improvement across three portfolio drafts and assess their learning reflectively. A multicultural group of 41 learners enrolled in the degree-level course Academic Writing [AW] at a tertiary institution in New Zealand took part in a study reflecting on this approach to building awareness of one’s own writing. Focus group interviews with a researcher at the final stage of the programme provided qualitative data, which was transcribed and analysed using textual analysis methods (Ryan and Bernard, 2003). Students identified a range of advantages of teaching and learning AW by portfolio. One of the identified benefits was that the selected text types within the programme were perceived as useful to the students’ immediate futures. This careful choice of target genre was reflected in the overall value of the programme for these learners.
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Lazonick, William, and Matt Hopkins. Why the CHIPS Are Down: Stock Buybacks and Subsidies in the U.S. Semiconductor Industry. Institute for New Economic Thinking Working Paper Series, September 2021. http://dx.doi.org/10.36687/inetwp165.

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The Semiconductor Industry Association (SIA) is promoting the Creating Helpful Incentives to Produce Semiconductors (CHIPS) for America Act, introduced in Congress in June 2020. An SIA press release describes the bill as “bipartisan legislation that would invest tens of billions of dollars in semiconductor manufacturing incentives and research initiatives over the next 5-10 years to strengthen and sustain American leadership in chip technology, which is essential to our country’s economy and national security.” On June 8, 2021, the Senate approved $52 billion for the CHIPS for America Act, dedicated to supporting the U.S. semiconductor industry over the next decade. As of this writing, the Act awaits approval in the House of Representatives. This paper highlights a curious paradox: Most of the SIA corporate members now lobbying for the CHIPS for America Act have squandered past support that the U.S. semiconductor industry has received from the U.S. government for decades by using their corporate cash to do buybacks to boost their own companies’ stock prices. Among the SIA corporate signatories of the letter to President Biden, the five largest stock repurchasers—Intel, IBM, Qualcomm, Texas Instruments, and Broadcom—did a combined $249 billion in buybacks over the decade 2011-2020, equal to 71 percent of their profits and almost five times the subsidies over the next decade for which the SIA is lobbying. In addition, among the members of the Semiconductors in America Coalition (SIAC), formed specifically in May 2021 to lobby Congress for the passage of the CHIPS for America Act, are Apple, Microsoft, Cisco, and Google. These firms spent a combined $633 billion on buybacks during 2011-2020. That is about 12 times the government subsidies provided under the CHIPS for America Act to support semiconductor fabrication in the United States in the upcoming decade. If the Congress wants to achieve the legislation’s stated purpose of promoting major new investments in semiconductors, it needs to deal with this paradox. It could, for example, require the SIA and SIAC to extract pledges from its member corporations that they will cease doing stock buybacks as open-market repurchases over the next ten years. Such regulation could be a first step in rescinding Securities and Exchange Commission Rule 10b-18, which has since 1982 been a major cause of extreme income inequality and loss of global industrial competitiveness in the United States.
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