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Dissertations / Theses on the topic 'Creative writings'

Author: Grafiati
Published: 4 June 2021
Last updated: 7 February 2022

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1

Lang, Kristen, and mikewood@deakin edu au. "Creative redemption : Uncertainty in poetic creativity." Deakin University. School of Communication and Creative Arts, 2003. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20050719.121154.

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2

Wong, Lai Fan. "Stories by...portfolio consisting of dissertation and creative work." Thesis, University of Macau, 2010. http://umaclib3.umac.mo/record=b2456353.

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3

Kammerdiener, F. Leslie. "Creative essays regarding issues in ministry a forum for pastors and wives of numerically small churches in the Kansas City Kansas Baptist Association /." Theological Research Exchange Network (TREN), 2005. http://www.tren.com.

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4

Fimi, Dimitra. "Creative uses of scholarly knowledge in the writings of J.R.R. Tolkien." Thesis, Cardiff University, 2005. http://orca.cf.ac.uk/55586/.

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This thesis is an interdisciplinary study of Tolkien's writing, seeking to place his work within the framework of the historical period within which it was created. The thesis concentrates on four areas of Tolkien's expertise and experience and explores how their historical development informed the creation of Tolkien's legendarium. The Introductory Chapter presents an overview of Tolkien criticism and defines the scope and range of the thesis. Chapter 2 concentrates on the question of the centrality of the Elves in the Middle- earth mythos and explores how the evolution of their image corresponds to the development of the science of folklore. Chapter 3 examines the influence of contemporary anthropology on Tolkien's ideas and how the decline of racial anthropology left its mark in the conception of the different creatures that inhabit Middle-earth. Chapter 4 is a new, detailed analysis of Tolkien's 'invented languages' as an integral part of his fiction. The chapter looks at the principles of Tolkien's language invention, contextualises the creation of his imaginary languages within a long philosophical and literary tradition (that of the search for the perfect language) and explores the role of philology and the - then emerging - science of modern linguistics in the construction of the languages of Middle-earth. This chapter is complemented by an Addendum on the Writing Systems of Middle-earth. Chapter 5 takes the previously almost entirely neglected topic of Tolkien's awareness of contemporary archaeology and its role in his work. The chapter focuses on the depiction of material culture in Middle- earth, mainly through examining the human 'cultures' of Tolkien's invented world, but also treating such issues as the anachronistic material culture of the hobbits, and the creation of Middle-earth landscapes. The Epilogue recapitulates the main conclusions of the thesis and further examines the interplay of biography and literature in Tolkien's case, by using the concept of 'biographical legend'.
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5

Long, Imogen Jessica Tydfil. "Women intellectuals in France and their creative and polemical writings 1968-86." Thesis, University of Leeds, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.493773.

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This study examines a neglected group of French women intellectuals active in the aftermath of the May 1968 events: Benoite Groult, Francoise Parturier, Gisele Halimi, Francoise Giroud, Daniele Sallenave and Elisabeth Badinter. Despite their media profile and many public interventions, these women have not received the same level of attention as those associated with 'French feminism': Helene Cixous, Julia Kristeva and Luce Irigaray.
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6

Scaringi, Paul. "Freedom and the 'creative act' in the writings of Nikolai Berdiaev : an evaluation in light of Jürgen Moltmann's theology of freedom /." St Andrews, 2008. http://hdl.handle.net/10023/443.

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Hooker, Ashleigh. "Shelter /." View thesis, 2002. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20031023.134111/index.html.

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Scaringi, Paul A. "Freedom and the 'creative act' in the writings of Nikolai Berdiaev : an evaluation in light of Jürgen Moltmann's theology of freedom." Thesis, University of St Andrews, 2008. http://hdl.handle.net/10023/443.

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This project revisits the work of Nikolai Berdiaev, one of the first Russian Silver Age religious philosophers to be widely read in the West. The focus of this research is his thought on freedom and the ‘creative act’. We will argue that Berdiaev’s vision of freedom contains two types of freedom – a freedom understood within the created order and a freedom ‘outside’ of creation. It will be shown that in the former type, the reader finds a nuanced and insightful multi-layered conception of human freedom, which offers intriguing possibilities for exploring freedom and its implications for humanity. It will also be demonstrated that this type of freedom is closely related to his innovative view of creativity. Berdiaev conceives of freedom and creativity as distinct concepts, and yet so integrally related that they are interdependent. In the latter type of freedom, the reader will encounter a highly speculative and original metaphysical view that attempts to explain freedom as non-determination and answer the challenges of theodicy, which, this research will maintain, fails to do. This research will contend (contrary to Berdiaev’s own statements) that his thought is most comprehensible from a broadly theological perspective. This perspective will underscore the significant tension within his work that arises from his speculative metaphysics. Unlike earlier works on Berdiaev that glossed over this tension, we will attempt to ameliorate it by engaging Jürgen Moltmann’s theology of freedom. Moltmann’s theology will provide a number of ideas and concepts for an analysis, critique, and reconfiguration of Berdiaev’s vision. This reconfiguration will seek to remain faithful to Berdiaev’s core concerns, while providing a new interpretation of his thought that is relevant for a contemporary dialogue concerning the significance of freedom and creativity for the person and community in relation to God.
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9

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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Beaudoin, Andrea. "Las raices de la luz/ Escritura creativa en español: trayectoria, pedagogia y proyecciones en programas de posgrado en Estados Unidos." University of Cincinnati / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1583853794470005.

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11

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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12

Riber, Henrik, and Pontus Sjögren. "Motivation in Creative Writing." Thesis, Malmö universitet, Fakulteten för lärande och samhälle (LS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-35292.

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This paper aims to investigate to what extent creative writing promotes motivation for EFL learners to write. A report published by the National Assessment Project (NAFS) commissioned by The Swedish National Agency for Education evaluated the national tests in English for Swedish students during 2018/2019, documenting that the Swedish students obtained the lowest English scores on writing. This result corresponds with the national test scores in English from earlier years. According to The Swedish National Agency for Education (Skolverket, 2019) motivation is a necessary component for L2 learning, and teachers are expected to play a fundamental role in creating student motivation. However, research within the area of motivation indicates that the understanding of motivation in L2 learning is limited. Likewise, the research indicates a need for the understanding of motivation to be both revised and subject to further research, both to understand the nature of motivation and to define tools on how to push motivation in L2 writing. One such tool could be creative writing (CW). Thus, to understand to what extent CW can motivate EFL learners to write, we explore recent studies that examine how different implementations of CW activities and CW courses can motivate students to write within a school context. In the study, we argue that CW motivates EFL learners to produce text. CW seems to facilitate relevance for the student and empower writing activities that consider the student’s self-interest as well as bring new life to the student’s understanding of writing. The insights of this study hold pedagogical values for L2 writing in the EFL classroom.
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Barr, Donald J. "Splinter : a website constructed for the creation, development, and dissemination of thematic creative writing." Virtual Press, 2005. http://liblink.bsu.edu/uhtbin/catkey/1327288.

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This project has presented a web site (splinteronline.net) as a digital forum to explore stories in all its forms.Stories are at the core of human communication. We use stories to educate, enlighten, and entertain and we actively seek out stories from others. This dynamic narrative exchange takes many forms — conversation, journalism, film, television, radio, literature, Internet — and will continue to expand and endure as new ways of presenting stories emerge.My creative project actively participates in this exchange by offering a forum for users to engage and share their stories with others. Like a barrel catching rainwater, the site serves as a kind of digital downspout that funnels stories into various themes like Grace, Anger, Home, Mother, Solitude, Regret, Jazz, Courage, Justice, Work, and Greed. Each theme is then identified by genre — humor, fact, memoir, fiction, editorial, poetry — to allow users to search for their favorites.
Department of Telecommunications
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14

Davies, Dawn. "Mothers of Sparta." FIU Digital Commons, 2015. http://digitalcommons.fiu.edu/etd/1929.

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Mothers of Sparta is a collection of thirteen personal essays that examine place—knowing one’s place, and finding one’s place in the world. The narrative arc chronicles the narrator’s childhood, young adulthood, marriage and child rearing years, ultimately encompassing the difficulties of raising a child who, due to brain damage, faces an uncertain future. As the narrator grows older, place shifts from a concrete knowledge of the physical world around her, to learning her place within gendered and regional social constructs, and defining her place through roles such as wife, mother, student and writer. These essays are diverse in style. Woven throughout is a theme of violence, weighted with visceral language: the violence of accident and death, the violence that occurs in nature and in domestic spaces, and the violence that often goes unnoticed because we live in a violent world.
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15

Smith, Heidi Ann. "Sensing the logic of writing : creative writing reimagined." Thesis, Middlesex University, 2016. http://eprints.mdx.ac.uk/20822/.

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This project draws attention to the ‘graphic elements’ – both written and visual – of a creative writing practice by exploring those graphic elements in both the critical component of this mixed-mode dissertation and in a series of creative artefacts. Its principle aim is to record how as a practising creative writer-researcher I have made a series of artefacts as a way of providing an opportunity for readers and researchers to explore this specific instance of theoretically-informed aesthetic experimentation. The psychophysiological researcher, Tony Bastick, having investigated expert ‘experimenters’ in Intuition: How We Think and Act (1982), identified an “intuitive method” that provides “insights” into a “creative process” that is, importantly, “preverbal”, yet not in fact visual (298–299). In this project I raise a different set of questions from those raised by ‘alphabetically’-guided ways of creating writing, as a means of continuing to learn and reinvent my own creative writing practice as mixed-mode (combining written and visual invention). My proposal is to demonstrate how a creative writer-researcher with a keen interest in the visual arts might make an original contribution to the fields of creative writing and visual arts by providing readers with an opportunity to view and examine that set of artefacts alongside a critical document that explores how the choices were made during the double creative process. My central hypothesis is that a practising creative writer-researcher is uniquely situated to identify how her or his own expanded and complexified creative writing process might work and to share that specific crossdisciplinary knowledge as the epistemic aspects of a creative writing practice draws on resonances and exchanges with other disciplines, including the visual arts. On these bases this mixed-mode submission includes a portfolio of writing within a visual arts framework together with a written critical commentary focused on issues raised by those complex practices themselves.
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16

Mattingly, Stacy. "The hit and other writing." Thesis, Boston University, 2012. https://hdl.handle.net/2144/32034.

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Thesis (M.F.A.)--Boston University. Please note: creative writing theses are permanently embargoed in OpenBU. No public access is forecasted for these. To request private access, please click on the locked Download file link and fill out the appropriate web form.
2031-01-02
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17

De, Maci Lola De Julio. "Curriculum design in creative writing." CSUSB ScholarWorks, 1995. https://scholarworks.lib.csusb.edu/etd-project/1012.

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18

Houston, Elisabeth. "Dollhouse poems." Thesis, Boston University, 2012. https://hdl.handle.net/2144/31568.

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Thesis (M.F.A.)--Boston University. Please note: creative writing theses are permanently embargoed in OpenBU. No public access is forecasted for these. To request private access, please click on the locked Download file link and fill out the appropriate web form.
2031-01-01
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19

Ayars, Katherine. "The burgundy room and other stories." Thesis, Boston University, 2012. https://hdl.handle.net/2144/31502.

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Thesis (M.F.A.)--Boston University. Please note: creative writing theses are permanently embargoed in OpenBU. No public access is forecasted for these. To request private access, please click on the locked Download file link and fill out the appropriate web form.
2031-01-01
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20

Chow, Ashley E. "Dust." Thesis, Boston University, 2012. https://hdl.handle.net/2144/31527.

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Thesis (M.F.A.)--Boston University. Please note: creative writing theses are permanently embargoed in OpenBU. No public access is forecasted for these. To request private access, please click on the locked Download file link and fill out the appropriate web form.
2031-01-01
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21

Donate, Charles Alfredo. "I got revolution and other stories." Thesis, Boston University, 2012. https://hdl.handle.net/2144/31539.

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Thesis (M.F.A.)--Boston University. Please note: creative writing theses are permanently embargoed in OpenBU. No public access is forecasted for these. To request private access, please click on the locked Download file link and fill out the appropriate web form.
2031-01-01
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22

Gavin, James. "The copy chief and other stories." Thesis, Boston University, 2012. https://hdl.handle.net/2144/31558.

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Thesis (M.F.A.)--Boston University. Please note: creative writing theses are permanently embargoed in OpenBU. No public access is forecasted for these. To request private access, please click on the locked Download file link and fill out the appropriate web form.
2031-01-01
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23

McDonald, Zoe Nicole. "Writing Gets Personal: Listening at the Intersections of Creative Writing and Writing Tutoring." ScholarWorks @ UVM, 2018. https://scholarworks.uvm.edu/graddis/842.

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In this thesis, I investigate the extent to which creative writing impacts the ways writing tutors work with student writers on their academic writing. In doing so, I interview five writing tutors with creative writing experiences for their personal definitions of creative writing, and the extent to which drawing on, or ignoring, creative writing impacts their writing tutoring. Through combining the interviews with reflections into my writer identities, I find creative writing focuses on self-expression and narrative features which strengthen disciplinarity and conventions. Additionally, focusing on creative writing’s influence in the writing center allows tutors to engage as fellow writers able to learn alongside the students they tutor. Specifically, I notice writing tutors perceive a division between creative and academic writing. Crossing that perceived division requires a willingness to confront assumptions about academic and creative writing, but allows for the opportunity for tutors and the students they tutor to deepen their writing processes.
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24

Dolgin, Steven Alfred Getsi Lucia Cordell. "Creative writing and the composing process the role of creative writing in the English curriculum /." Normal, Ill. Illinois State University, 1987. http://wwwlib.umi.com/cr/ilstu/fullcit?p8713213.

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Thesis (D.A.)--Illinois State University, 1987.
Title from title page screen, viewed July 25, 2005. Dissertation Committee: Lucia C. Getsi (chair), Curtis K. White, Robert D. Sutherland, Ronald J. Fortune, William E. Piland. Includes bibliographical references (leaves 137-140) and abstract. Also available in print.
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25

Marsh, Meredith. "Good Writing: Integrating Creative Writing Elements in Undergraduate Composition." University of Findlay / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=findlay1469050437.

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26

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

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Durst, Tristan. "Marathon." Digital Commons @ Butler University, 2017. https://digitalcommons.butler.edu/grtheses/495.

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28

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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29

Karlsson, Katarina. "Kreativt textskapande : – Lärares uppfattningar om kreativt textskapande i ämnet svenska." Thesis, Högskolan i Skövde, Institutionen för kommunikation och information, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-8322.

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The study highlights teachers´ perceptions of creative writing as part of learning processes in the subject of Swedish, based on creative activities. The background to this study comes from the curriculum that describes opportunities to experience different kinds of knowledge. Creative activities in various forms and the ability to one´s own creativity is emphasized. The empirical data in this study is collected through qualitative interviews with four practicing teachers. The result shows that there are two different views according to creative writing as a text creation. The result also shows that many of the teachers have a negative attitude towards creativity. The study also shows that the teacher´s role is important for the students´ creation of texts. The literature highlights the importance of a broader language concept to students´ language development. The creation of texts is an important part of this language development and language itself invites a creative approach.
Studien belyser lärares uppfattningar om kreativt skrivande som en del av lärandeprocesser i ämnet svenska med utgångspunkt från skapande verksamhet. Bakgrunden till denna studie kommer från styrdokument som beskriver möjligheter till att få uppleva olika uttryck för kunskaper. Skapande verksamhet i olika former och förmåga till eget skapande betonas. Det empiriska materialet för studien är insamlad genom kvalitativa intervjuer från fyra verksamma lärare. Resultatet visar att det förekommer två skilda uppfattningar om kreativt skrivande som textskapande. Jag kunde även utläsa att ett flertal av lärarna ger uttryck för ett negativt förhållningssätt till kreativitet. Studien visar även att lärarens roll är viktig för elevers textskapande. Litteraturen belyser vikten av ett vidgat språkbegrepp för elevernas språkutveckling. Textskapande är en viktig del i denna språkutveckling och språket inbjuder till ett kreativt arbetssätt, vilket diskuteras i studien avslutningsvis.
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30

Braun, Jennifer Ann. "Wikis and the creative writing process." Thesis, University of British Columbia, 2009. http://hdl.handle.net/2429/11442.

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A wiki is one example of social software that can assist and augment the creative writing process in a number of ways. In this thesis, I present a work of original fiction developed in a wiki, a select literature review on wikis, an autoethnography of my creative writing process while working in a wiki, and an ethnographic study of my students who wrote their own wiki stories. The research thus far suggests that wikis can facilitate the following vis-à-vis creative writing: increased risk-taking; more extensive revision and editing; greater flexibility and freedom for writers; instant access to writing via the internet; the storage of intermediate drafts; and the ability to incorporate multimedia and hyperlinks to convey complexity in ways not possible in print. Wiki environments may also support dialectical inquiry and collaboration between students and teachers. This opportunity for easy (and easy to monitor) collaboration, along with their organizational and creative affordances, is why wikis should be more readily adopted into school curricula. As many texts today are digital, collaborative and under constant revision, wikis can support the creative writing process in a milieu that is becoming increasingly comfortable for people and provide them with a much wider audience than most print formats.
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Knez, Dora. ""The Release" : a creative writing thesis." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60609.

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The genre of fantasy contains texts which are unlike, or distance from, the real or empirical world--the world of the reader's experience. Nevertheless, fantasy texts can reveal truths which are relevant to the empirical world, and thus fantasy texts can be said to have cognitive value. The notion of possible worlds, the semiotic theory of metaphor, and a discussion of ambiguity are the three critical approaches used to investigate the cognitive value of fantasy texts. The stories in this collection provide a sampler of fantasy figures--such as mermaids, ghosts and living mummies--and make use of the emotional power of ambiguity.
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32

Melkersson, Fabian. "Facilitating Learner Engagement in Creative Writing." Thesis, Malmö universitet, Malmö högskola, Institutionen för kultur, språk och medier (KSM), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-41048.

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Creative writing is a well-established approach to teaching English in the L2 classroom, with the Swedish curriculum including it among its core contents section. There is however a lack of research done on the field, especially when it pertains to learner engagement. As such, this study investigates to what extent engagement in learners can be fostered and facilitated for creative writing. The method used is an analysis of the empirical studies performed on the subject to this date, with the aim of making conclusions based on their findings. Some of the conclusions made from those are that learner engagement can be fostered and facilitated in creative writing, but any exercise should take into concern the learners’ own interests and capabilities. The results also suggest including feedback and revision in every creative writing exercise to extend the time spent on any given project, leading to higher engagement levels in the given exercise. The results of the analysed studies do suggest a clear picture of the advantages of creative writing for engagement, but the lack of research on the subject, both in a Swedish and international context, coupled with creative writing’s central role in the classroom suggests more research needs to be done on the subject.
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Sprackland, Jean. "Creative writing on place and nature." Thesis, Manchester Metropolitan University, 2016. http://e-space.mmu.ac.uk/612204/.

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This PhD by Publication (Route 2) brings together a series of three books of which I am the sole author, and which share common ground in terms of theme and preoccupation. I seek to demonstrate how these three publications have contributed to the existing body of work in creative writing about place and nature, and specifically how they might be seen to address three key research questions. The submission includes my two most recent poetry collections, Tilt (2007) and Sleeping Keys (2013), both of which are characterised by an awareness of place and an acute attention to the natural world. These two collections explore two very different kinds of location: the poems in Tilt are mostly situated in the wide open spaces of the coast, whereas those in Sleeping Keys are largely located indoors, in the rooms of houses, occupied or abandoned. The third item in the submission is Strands: A Year of Discoveries on the Beach (2012), a book of essays or meditations which collectively describe a year’s walking on the wild estuarial beaches between Formby and Southport, charting the changing character of place through different weathers and seasons. This text might be classified as ‘creative non-fiction’ or ‘narrative non-fiction’ (neither of these terms is entirely uncontroversial or clearly defined). These three books have achieved a large and international readership. They are recognised by critics and by other writers as examples of the recent renaissance in creative writing on place, landscape, nature and environment. All three contribute to current discourses about ‘the new nature writing’, which have been particularly significant and audible over the past seven years. More broadly, all three contribute to ‘place writing’, which is not limited to the natural world but engages in more diverse ways with notions of place and space and our human interactions with them. I will therefore consider my work and its contribution to these two distinct but overlapping disciplines. Both are of course international, but for the purposes of this commentary I am considering them within a British context.
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34

Caine, Marjory. "What is creative about creative writing? : a case study of the creative writing of a group of A Level English Language students." Thesis, University of Sussex, 2014. http://sro.sussex.ac.uk/id/eprint/48753/.

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This thesis reports on a case study of the creative writing of A Level English Language students. The research took place over the two year course and involved five students from one class in an 11 – 18, secondary grammar school in the South East of England. The students were aged 16 at the beginning of the case study. There were two girls and three boys, and all from families with little or no tradition of going to university. The research was based on the theoretical framework of the New Literacy Studies (The New London Group, 1996), where literacy is seen as a socially constructed phenomenon. Genres, discourse and creative voices were researched through discourse analysis toolkit to reflect and interrogate the socially constructed literacy event: the two pieces of coursework each participant produced. Additional data was also included to present a kaleidoscopic deep study of the literacy practice through using interviews, domain-mapping and questionnaires. It is also a reflexive study as it has built on findings from earlier studies for the EdD course, and also projects forwards to the continuing tensions in the teaching of English. Although Creative Writing is now an accredited A Level for examination from 2014, and is a valued component of the A Level English Language, in the earlier years of secondary education students have had limited exposure to creative writing. This is due to the effect of the National Curriculum that has shaped the generation of this case study. Creative writing has been marginalised and devalued within the GCSE (paradoxically since the QCA, 2007 Programme of Study for English put greater emphasis on creativity), where there is limited creative writing opportunity: teachers select a title from a possible six which their students respond to. The Department for Education's draft new National Curriculum has a brief reference to creativity in a list where grammar and accuracy are prioritised. There is a tension in what policy statements, including stakeholders such as Ofsted, say about creative writing and what students experience in delivery of the syllabus driven by the National Curriculum. There is also the anomaly that many students have a range of literacy practices as they operate in increasingly multimodal literacies that schools do not recognise as writing experiences. At present, there is much written about creative writing in primary schools and in Higher Education; but the creative writing of young adults following an A Level course is not visible in policy documents, nor the focus of academic research (with a few exceptions such as Dymoke, 2010, and Bluett, 2010). Therefore, it is an area that is worth exploring. The original contribution to knowledge that the thesis provides is a definition of the literacy practice of the creative writing of A Level English Language students. The thesis, through the case study, identifies the range of influences the students draw on and, in particular, the evidence of intertextuality. How the students develop and shape their creative writing through different creative voices, building on the intertextual influences is presented through the lenses of multiple and multimodal data-sets. In conclusion, a pedagogical model is offered for practitioners who perceive echoes with their own educational contexts.
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Javeri, Sabyn. "The creative process : a journey of self-discovery through creative writing." Thesis, University of Leicester, 2016. http://hdl.handle.net/2381/37801.

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This PhD submission constitutes a novel and accompanying critical commentary. My novel Nobody Killed Her provides an alternative history of the assassination of Pakistan's only female Prime Minister, Benazir Bhutto. The thesis questions the choices I made in order to develop the writing of this novel and the decisions I took in order for it to reach its readers. I discuss the issues of creative integrity and the role of the publisher as an enabler, and as a modern day censor. I examine the role of literary influences and publishing pressures on the multi-layered and shifting strains of the creative process and explore fiction as a powerful tool for communicating the paradoxical state of modern Pakistani women, which my novel draws upon. Accordingly, my research narrative is interspersed with personal vignettes that helped shape my writing. Reflecting upon the role of memory, history and politics, and literary influences that shape our writing, I try to interrogate the ‘flash-bulb’ moments of inspiration and argue that creative writing is actually a series of complex thought processes that shape our consciousness. I have also, during the compilation of this essay, looked critically at the role of the publisher in shaping an author’s creativity and the author’s desire for publication in influencing his or her creative choices. I have examined the role of the audience, by asking who the writer is writing for, concluding that the creative journey is more important than the destination i.e., the culmination of the writing into a published form. I conclude by contending that creative writing is above all communication, not just with the reader but also with one’s self. It is about self- expression and therefore must remain true to the self.
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36

Coulter, Catherine Ann. "Writing with word processors : effects on cognitive development, revision and writing quality /." Full-text version available from OU Domain via ProQuest Digital Dissertations, 1986.

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37

Greenlee, Edwin D. "Inservice and preservice teacher attitudes toward creative writing as a learning mechanism." Morgantown, W. Va. : [West Virginia University Libraries], 2000. http://etd.wvu.edu/templates/showETD.cfm?recnum=1306.

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Thesis (Ed. D.)--West Virginia University, 2000.
Title from document title page. Document formatted into pages; contains vii, 436 p. Vita. Includes abstract. Includes bibliographical references (p. 430-435).
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38

Orner, Phyllis June. "Lady Liberty." University of the Western Cape, 2016. http://hdl.handle.net/11394/5544.

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39

Howe, Jeff. ""Predators" a short story collection." Thesis, Boston University, 2012. https://hdl.handle.net/2144/32025.

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Thesis (M.F.A.)--Boston University. Please note: creative writing theses are permanently embargoed in OpenBU. No public access is forecasted for these. To request private access, please click on the locked Download file link and fill out the appropriate web form.
2031-01-02
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40

Pledge-Amaral, Carolyn D. "Desert Palms." FIU Digital Commons, 2016. http://digitalcommons.fiu.edu/etd/2977.

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DESERT PALMS is a contemporary women’s novel set in an Arizona RV park. When Miamians Margie Campos and her husband, Carlos, unexpectantly inherit Desert Palms, a rundown retirement community, Margie reluctantly agrees to stay in Arizona to overhaul the park. With the discovery of a secret letter that threatens to unravel the family, an unscrupulous broker determined to buy the park on the cheap, and a husband bent on hitting it big, Margie digs in and starts to find purpose amidst a desert microcosm. Told from Margie’s perspective in a closely attached third person, DESERT PALMS is a realistic and humorous narrative that falls somewhere between the style of Liane Moriarty in, “The Husband’s Secret” and Anne Tyler in her novel, “Back When We Were Grownups.” DESERT PALMS offers an offbeat cast of central characters who help Margie gain a deeper understanding of herself and what makes life worth living.
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41

Blake, Turnbull. "Translanguaging in Japan: Perspectives and potentials in EFL academic and creative writing." Kyoto University, 2019. http://hdl.handle.net/2433/242723.

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Kyoto University (京都大学)
0048
新制・課程博士
博士(人間・環境学)
甲第21846号
人博第875号
新制||人||210(附属図書館)
2018||人博||875(吉田南総合図書館)
京都大学大学院人間・環境学研究科共生人間学専攻
(主査)准教授 中森 誉之, 教授 水野 眞理, 准教授 PETERSON Mark
学位規則第4条第1項該当
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42

Marino, Pedro R. "Viene la ausencia / Escritura creativa: historia, teoria y agencia." University of Cincinnati / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1584001009624074.

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43

Starks, Erica Holmes. "Honoring ancestors through pilgrimage and creative writing." Thesis, Institute of Transpersonal Psychology, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1599165.

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Ancestor reverence, in this study, is considered to consist of reflecting on and honoring the women and men who came before us in our bloodlines, including those friends and chosen family who were part of our intellectual or spiritual lineages. Many traditions include beliefs that our consciousness continues after death, and some traditions hold that ancestors may influence the events of the living or intercede with the gods on the living's behalf. In many traditions ancestors are honored through altar building, rituals, and trance journeys. Rituals performed for the ancestors create strong familial and community bonds. This thesis work is important because it expanded the opportunities for me to understand my family dynamics and to develop relationships with my deceased foremothers and forefathers. I learned about myself in understanding my families' past and felt stronger connections to my lineage and progeny. The literature revealed that genealogy research is a form of ancestor reverence; especially in Western cultures that no longer have formalized ancestor reverence rituals and practices. Through genealogy research, I learned the names and stories of my ancestors and ancestresses and, in combination with that research, on a pilgrimage to my ancestral homeland, I explored my matriline using an archaeomythological and feminist lens that combined archaeology, anthropology, mythology, folklore, genetics, ecology, and history to search for the evidence of what women did throughout herstory. I gathered the stories focused on how women worked, lived and contributed to society throughout history, because the stories of my ancestresses, like the accomplishments of most women from 1500-1900, were often omitted from written history. A sacred journey can catapult the participant into greater and faster spiritual growth; this was true for me in that I may not have gained this wisdom otherwise. In this paper I explored the idea that ancestors were revered through multiple methods, including pilgrimage and creative writing. While altar building, rituals, trance journeys, and genealogy were most often recorded in written form in regards to ancestor reverence, they are not the only methods that can provide experience and impact to the descendant who honors their ancestors. I have tried to prove this assertion through academic research: I used a heuristic approach to carefully examine my personal experiences with each of these forms of ancestor reverence and an arts-based approach through creative writing to pen short works about my ancestors.

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Poindexter, Wanda 1946. "Creative imitation: An option for teaching writing." Thesis, The University of Arizona, 1988. http://hdl.handle.net/10150/291444.

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Creative Imitation is an alternative strategy to help students improve their expository writing in college composition. It combines writing by imitation with process modeling to increase student fluency with both the products and processes of writing. For centuries, a technique of "imitatio" was used to teach oral and written language traditions. Isocrates, Quintilian, and Cicero shaped the tradition of imitating writing models. Their principles were revived in the 60s by two neo-classical educators, Corbett and D'Angelo. Objections to the principles of imitation to teach writing are analyzed: models intimidate students, imitation focuses on the products instead of the processes of writing, and imitation reduces individual creativity. Some teachers have reported success with student-centered writing-by-imitation exercises in college composition classrooms. They assert that imitation exercises increase student awareness of correct usage, grammar conventions, rhetorical strategies, and paradoxically enable students to develop an "authentic" voice in their own writing.
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Zhao, Yan. "L2 creative writers : identities and writing processes." Thesis, University of Warwick, 2011. http://wrap.warwick.ac.uk/45919/.

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L2 creative writing research is a relatively unchartered area. Pedagogical discussions on L2 creative writing activities often focus on manifestations of L2 learners' language learning, writing improvement, or expressions of emotion. There is a lack of research investigating the underlying identities of L2 creative writers as social agents. The present research targets the L2 creative writers who are interested and experienced in certain forms of creative writing. It investigates if and how L2 creative writers' emergent identities enacted in their online cognitive writing activities under particular tasks are mediated by the writers' 'autobiographical identities' (Clark and Ivanič, 1997) rooted in their life histories. Fifteen L2 creative writers from diverse sociocultural and academic backgrounds participated in the research. Firstly, the participants' 'autobiographical identities' were explored through eliciting their retrospective life-history accounts in in-depth interviews. Secondly, the research implemented two think-aloud story-writing sessions (Autobiographical writing & Prompted story-continuation writing) to capture the writers' emergent identities instantiated in their cognitive writing processes. Subsequently, the interconnectedness between these two types of identities was sought. Two parallel data analyses were conducted: 1) quantitative data coding targeting all fifteen L2 creative writers and 2) qualitative discussions concentrating on five selected focal participants. These two levels of analyses together show that the participants' cognitive writing processes as evinced through their engagement in these creative writing activities (i.e. their task-situated emergent identities) are mediated by the writers’ previous participation in multiple discourses and social worlds up to the moment of writing (i.e. their autobiographical identities formed throughout their life histories). The findings suggest certain directions for theory development in L2 creative writing research as well as in L2 writer identity research. Regarding L2 creative writing research, L2 teachers' practice could be enhanced by a deeper understanding of how creative writing is employed by L2 individuals not only for language or literacy acquisition purposes, but also as a self-empowering tool to achieve particular social positioning. Secondly, regarding L2 writer identity research, more research needs to be done regarding this micro and dynamic view of writer identity which resides in the movements of the writers' emerging thoughts situated in an immediate creative writing context and mediated by the writers' previous sociocultural experiences.
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Warr, Tracey Karen. "Creative acts : curating and writing with artists." Thesis, University of Plymouth, 2006. http://hdl.handle.net/10026.1/1150.

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The published texts and curatorial practice collected together in this PhD interrogate the nature of the creative act in contemporary visual art practices. They focus on the complex of co-creation in relation to: - creative acts of dialogue between the practices of artists, curators and writers - creative acts of experiencing the world - creative acts of making art about experiencing. They form a coherent programme of research addressing: - site-based and contextually engaged curated projects since the 1950s - relationships between, and definitions of, the roles of curator, writer and artist in contemporary practices - the nature of authorship and collaboration - histories, theories and practices around Body Art and Land Art - current philosophical and scientific debates around consciousness - the situated, immersive and creative nature of embodied consciousness - writing practices that address consciousness and experience. The material draws, in particular, on the ideas and work of James Joyce and Marcel Duchamp, as well as a range of other thinkers including Georges Bataille, Rosalind Krauss, Mary Douglas, Francisco Varela and Elaine Scarry. Section 1 Includes materials and discussion of independent site-based curatorial projects In the UK including New British Sculpture, Edge 90, Edge 92, TSWA, Tyne International, Artscape Nordland and Artangel. Artists discussed include Helen Chadwick, Cornelia Parker, Guillermo Gomez Pena & Coco Fusco, Maria Thereza Alves, Alan Michelson & Jimmie Durham. This section also includes articles on Marina Abramovic, Dorothy Cross and Carolee Schneemann. Section 2 includes materials and discussion of curatorial and writing projects concerned with the nature of experience and embodied consciousness. This includes the projects EarthWire with artists Kathleen Rogers, Rena Tangens, Jozefa Rogocki and Bruce Gilchrist, James Turrell's Northumberland Skyspace and Twilight It also includes writings on the artist's body, embodied consciousness, documentation and performance, James Turrell, Heather Ackroyd and Dan Harvey, Chris Burden, Joan Jonas and Cyril Lepetit. Section 3 considers embodied consciousness immersed in its environment and the work of artists addressing this theme. It includes the curatorial projects Here, Contemporary Romantic and the sound art festival OX' with artists including Ray Lee and Alexel Shulgin, the exhibition projects KnoWhere, Generator and Dialogue and writings on art and weather, women's art, KnoWhere, Marcus Coates, London Fieidworks and Optik.
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47

Colbert, Elizabeth Dianne. "Speaking the unspoken the ontology of writing a novel /." Australasian Digital Theses Program, 2009. http://hdl.handle.net/1959.3/64875.

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Creative practitioners, undertaking practice-led research, theorise their practice within an academic domain. Within a three-tiered, performative research paradigm, this project researched writerly identity during the writing of a novel and exegesis. Firstly, based on the writer’s experience with creative and academic writing, the differences were explored through two first-person narratives in a frametale novel, The Fragility Papers, a process documented by critical and reflective journaling. Secondly, the insights gained during the writing of the novel were theorised within the domain of creative writers. Thirdly, the understandings embedded in the novel were considered in the light of these insights and those gained during writing of the exegesis and further theorised within the areas of voice, the writing process and ontological change. Novel writing, it was found, drew not only on the imagination, research, in-flow stream of consciousness writing and serendipitous occurrences but also on personal embodied inscriptions, linguistic play, logic and reason in the development of narrative coherence, forward planning, previously unidentified editing values based in the sonority of language, and a knowledge of the expectations associated with the literary genre. Acknowledging this breadth of experience led to changes in the writer’s creative-writing process, a questioning of the theorised sole influence of language based texts as proposed in intertextual theory, and the proposal to italicise ‘text’ within intertextual to accommodate this breadth. The theorising of insights and emerging, experiential knowledge during the writing of the exegesis was realised in a series of evolving drafts in which interiorised knowledge was increasingly drawn upon in stream of consciousness writing. Further, in both genres, the dialogic engagement of the writer in conscious and unconscious activity at different stages of the writing process was found, suggesting that unconscious activity has a larger than envisaged role to play in academic writing.
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48

Ball, Christin B. "My Life in Pieces, Scattered Abroad: A 22 year old East Tennessean Attempts to Take Everything She Has Learned Growing Up in a Small Town and Make Sense of It in the French Riviera—the Côte d’Azur—Which Instantly Felt Like Home." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/honors/236.

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For my senior thesis, I have compiled essays that cover traveling to Aix en Provence for the month of June 2103 and growing up in East Tennessee. This project should exhibit my skills as a writer in the nonfiction category. I describe personal experiences, portray characters, and attempt to show readers a world that they may not otherwise have been able to experience. I blend narrative essays with travel writing to show overall how these two components create an intercultural experience that work to inform and answer each other.
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49

Wirtz, Jason. "Poets on inventing revisioning invention theory, practice and pedagogy within rhetoric, composition, English education and creative writing /." Diss., Connect to online resource - MSU authorized users, 2008.

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50

Merlin, Bailey. "Sentinel." Digital Commons @ Butler University, 2017. https://digitalcommons.butler.edu/grtheses/496.

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Devastated by the mysterious death of her guardians, Elizabeth Davenport finds herself thrust into a new world that proves to be scintillating and dangerous. Can she trust those who claim to be her friends? Or will her trust lead her into trouble? When a mysterious letter presents itself and proves that her guardians might have been more than they ever let on, Elizabeth must gather her courage and pursue the truth, whatever the cost.
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