Academic literature on the topic 'Degree Discipline: Creative Writing'
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Journal articles on the topic "Degree Discipline: Creative Writing"
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Du Plessis, H. "Teksheid: Die kreatiwiteitsgraad van ’n teks as aanduiding van die grense tussen taaldissiplines." Literator 21, no. 2 (April 26, 2000): 133–44. http://dx.doi.org/10.4102/lit.v21i2.477.
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Textness: The degree of creativity of a text as marker of the boundaries between language disciplines In this article it is proposed that the traditional distinction between linguistics and literature poses more questions than it gives answers. In view of the modern academic context of focus areas and research programmes the focus should rather be on the similarities between the subdisciplines of language than on the differences. The growth of creative writing as science and the development of the discipline of language usage as applied in South Africa force us to look afresh at language-related subjects. Text is postulated as the binding factor between the study of linguistics, literature, creative writing and language usage. But text has to be defined in terms of the degree of creativity, thus indicating text as the binding factor of a given text, and creativity as the differentiating factor.
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Readman, Mark, and Jenny Moon. "Graduated scenarios: Modelling critical reflective thinking in creative disciplines." Art, Design & Communication in Higher Education 19, no. 2 (October 1, 2020): 167–83. http://dx.doi.org/10.1386/adch_00021_1.
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This article describes the development and implementation of Jenny Moon’s ‘Graduated scenarios’ (2004, 2001, 2009) in the disciplinary context of media production. Graduated scenarios have previously been used to model different levels of critical thinking and reflection and have been based on situations and experiences that can be related to by a wide range of people. Our development of them in a specific creative disciplinary context, for use by students within that context, represents an evolution of the process, but we also consider the possible reception of such models in the context of debates around academic literacies and the degree to which they may be seen and used as contributing to an orthodoxy of expression. We acknowledge that this experiment in writing and pedagogy may be perceived as providing ‘exemplars of standards’, but argue that it actually models differing depths of thinking, and also opens up discussion about orthodoxies of academic writing. Our four models of different levels of critical reflective writing are provided as appendices, and may be used or adapted as necessary. The production of such graduated accounts is ‘effortful work’, but the process can help us (academics) to better understand our own, as well as facilitating learners’, concepts of depth and ‘good practice’.
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Sherekhova, O. M. "Academic Literacy Development among Master’s Degree Students in the Process of Studying a Foreign Language in Professional Communication." Vysshee Obrazovanie v Rossii = Higher Education in Russia 31, no. 5 (May 19, 2022): 150–66. http://dx.doi.org/10.31992/0869-3617-2022-31-5-150-166.
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The knowledge-based model of education, in which the formation of the students’ skills to critically think, evaluate, analyze information and use it in their own research comes to the fore. However, it is necessary to note that the level of academic literacy is low, because students lack the academic writing skills needed to become successful professionals after graduation. This problem is caused by the lack of students’ motivation to write academic texts and present the result of their research work in front of the audience, the insufficient number of modern methods and approaches to teaching academic writing, the lack of special courses aimed at foreign language writing competence developing, as well as the absence of strategies for the formation of academic literacy which is the key competence for creating new knowledge. The article presents an analysis of the phenomenon of “academic literacy,” its structural components, on the basis of which the author suggests the indicators of its formation among undergraduates. Since academic literacy depends on the ability to communicate in academic discourse, the author of the article describes the experience of organizing the process of teaching written forms of professional and scientific communication to master’s degree students in law within the framework of the discipline “Foreign Language in Professional Communication.” Consistent writing skills training makes it possible to realize the requirements for academic literacy, namely: the ability to critically think, analyze information, accept and respect someone else’s point of view, create new knowledge, express ideas in a well-structured and accessible form, work independently, as well as evaluate the results of work. The process of mastering academic writing skills facilitates academic literacy of students, which opens up opportunities for effective communication in the academic community, as well as the successful integration of future specialists into scientific professional communities.
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Larcombe, W., A. McCosker, and K. O'Loughlin. "Supporting Education PhD and DEd Students to Become Confident Academic Writers: an Evaluation of Thesis Writers’ Circles." Journal of University Teaching and Learning Practice 4, no. 1 (January 1, 2007): 61–71. http://dx.doi.org/10.53761/1.4.1.6.
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This paper critically evaluates the pilot of a Thesis Writers’ Circles program offered to Education PhD and DEd students at the University of Melbourne in semester 2, 2005. The analysis focuses on the needs of those students that were felt to be well-met by this model of support. Broadly, the paper identifies two distinct but inter-related themes: firstly, the challenge of developing writing skills to a level sufficient to meet the demands of preparing a research thesis; secondly, the importance for research higher degree students of building confidence as apprentice academic writers. In relation to the latter theme, the paper identifies the benefits of community participation and peer-collaboration in working towards the aim of consolidating a thesis-writing identity. It is in this capacity, we argue, that thesis writers’ circles have distinct advantages compared with other forms of candidature support, making them a valuable supplement to both conventional supervision practices and generic English language and thesis writing programs. The paper affirms the importance not only of equipping international and non-English speaking background (NESB) students with writing tools and strategies, but also of creating opportunities for all postgraduate research students to receive (and offer) non-judgmental feedback on work-in-progress within a discipline-specific learning and discourse community.
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Hirvonen, Jouni, Outi Salminen, Katariina Vuorensola, Nina Katajavuori, Helena Huhtala, and Jeffrey Atkinson. "Pharmacy Practice and Education in Finland." Pharmacy 7, no. 1 (February 23, 2019): 21. http://dx.doi.org/10.3390/pharmacy7010021.
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The Pharmacy Education in Europe (PHARMINE) project studies pharmacy practice and education in the European Union (EU) member states. The work was carried out using an electronic survey sent to chosen pharmacy representatives. The surveys of the individual member states are now being published as reference documents for students and staff interested in research on pharmacy education in the EU, and in mobility. This paper presents the results of the PHARMINE survey on pharmacy practice and education in Finland. Pharmacies have a monopoly on the dispensation of medicines. They can also provide diagnostic services. Proviisori act as pharmacy owners and managers. They follow a five-year (M.Sc. Pharm.) degree course with a six-month traineeship. Farmaseutti, who follow a three-year (B.Sc. Pharm.) degree course (also with a six-month traineeship), can dispense medicines and counsel patients in Finland. The B.Sc. and the first three years of the M.Sc. involve the same course. The current pharmacy curriculum (revised in 2014) is based on five strands: (1) pharmacy as a multidisciplinary science with numerous opportunities in the working life, (2) basics of pharmaceutical sciences, (3) patient and medication, (4) optional studies and selected study paths, and (5) drug development and use. The learning outcomes of the pharmacy graduates include (1) basics of natural sciences: chemistry, physics, technology, biosciences required for all the students (B.Sc. and M.Sc.), (2) medicine and medication: compounding of medicines, holism of medication, pharmacology and biopharmaceutics (side-effects and interactions), patient counseling, efficacy and safety of medicines and medication, (3) comprehensive and supportive interactions of the various disciplines of pharmacy education and research: the role and significance of pharmacy as a discipline in society, the necessary skills and knowledge in scientific thinking and pharmaceutical research, and (4) basics of economics and management, multidisciplinarity, hospital pharmacy, scientific writing skills, management skills. In addition, teaching and learning of “general skills”, such as the pharmacist’s professional identity and the role in society as a part of the healthcare system, critical and creative thinking, problem-solving skills, personal learning skills and life-long learning, attitude and sense of responsibility, and communication skills are developed in direct association with subject-specific courses. Professional specialization studies in industrial pharmacy, and community and hospital pharmacy are given at the post-graduate level at the University of Helsinki.
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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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Sharma, Anandita. "The Role of Critical Theory in Creative Writing: An Evaluation of Horace’s Ars Poeticaas a Prototype." SMART MOVES JOURNAL IJELLH 9, no. 5 (May 17, 2021): 38–56. http://dx.doi.org/10.24113/ijellh.v9i5.11030.
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Critical Theory and Creative Writing as disciplines are considered antithetical to each otherand a prevailing tendency is to confine them to their own fields.However, this paper argues that critical theory plays a crucial role in the discipline of creative writing. To further my point, I analyse, Horace’s Ars Poetica, a text that deserves worthy attention by scholars and students of literature and acts as a guide to the art of writing. Although, the text dates back to the ancient times, the advice given by Horace to the Pisos family are relevant to the art of writing in general. The paper has been divided into two sections. The first section aims to study the establishment of creative writing as an academic discipline and the role of critical theory in creative writing. The second section discusses how Horace’s Ars Poetica as a critical writing text offers some essential rules in creative writing. The aim is to promote creative inspiration, expand cognition processand bring in a new outlook to stimulate creative thinking.
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Simon, Josep. "Writing the Discipline." Historical Studies in the Natural Sciences 46, no. 3 (June 1, 2016): 392–427. http://dx.doi.org/10.1525/hsns.2016.46.3.392.
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The historiography of physics has reached a great degree of maturity and sophistication, providing many avenues to consider the making of science from a historical perspective. However, the big picture of the making of physics is characterized by a predominant narrative focused on a conception of disciplinary formation through leadership transfers in research among France, Germany, and Britain. This focus has provided the history of physics with a periodization, a geography, and a fundamental goal commonly considered to be conceptual and theoretical unification. In this paper, I suggest the interest of reassessing this picture by analyzing the temporal, national, and epistemological viewpoint from which it is written. I use for this purpose an exemplary case study: Adolphe Ganot’s physics textbooks in France and their translation by Edmund Atkinson in England. In this context, I suggest future avenues for the study of the making of physics as a discipline, which consider the canonical role of textbooks in disciplinary formation beyond the Kuhnian paradigm.
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Du Plessis, H. "Skryfkuns as graadvak." Literator 14, no. 1 (May 3, 1993): 107–16. http://dx.doi.org/10.4102/lit.v14i1.694.
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Creative writing has been taught as a subject at the tertiatiory level in the USA for many years. In this article the issue of creative writing as subject for a South African degree is discussed. The matter at issue is not whether creative writing has the potential to be a university subject, but rather what such a subject should include. Thus the content of creative writing as university subject and how it should be taught are addressed. The conclusion that is reached is that the main issue at stake is the balance to be struck among literary theory, writing theory and writing practice. Starting in the near future the Potchefstroom University for CHE will be offering a course in creative writing as a degree credit. The subject-matter, possible organization and integration, as well as its specific niche are considered.
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Jamil, Adil. "Reflections on the Teaching of Creative Writing At the American Universities." European Scientific Journal, ESJ 12, no. 22 (August 30, 2016): 324. http://dx.doi.org/10.19044/esj.2016.v12n22p324.
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Creative writing as an academic discipline has been contested since the very beginning of its existence at the American universities, and "backlash against it is always in full blood" (Burroway, 61). To critics, it seems to be softer, and less rigorous discipline, in comparison to other English studies (Elliott 100). Other critics describe it as the most undertheorized and in that respect the most anachronistic [field] in the entire constellation of English study (Haake, 83). Even some faculty members at English departments expressed mockery and sarcasm when the universities began recruiting creative writers to teach creative writing. For instance, a professor of English at Cornell University, who when told of the proposal to hire the novelist Vladimir Nabokov, said to do so would be like the Department of Zoology hiring an elephant (Dibble & Van Loon. April 2000). In examining critics' negative stand, one may assume that it basically stems from two different misconceptions: first, critics seem unable or possibly unwilling to digest the idea that creative writing is a process-led, process-based discipline and its nature decrees different set of conventions and teaching techniques; second, it is more possibly that critics' adverse stand is based chiefly upon the performances of some incompetent instructors whose ineffective performances are taken as ground for criticism. Against all odds, creative writing has continued growing and expanding incessantly and has always received strength from its popularity and ability to recruit, and all attempts to marginalize it would be doomed to failure. Unfair and rather groundless attitudes persist regardless of the acknowledged popularity. The current study is designed to show the highlights of teaching creative writing at the American universities, and then to fairly discuss this peculiar experience and gauge its validation. After surveying the current state of this ever-blooming discipline and the negative stand held by some critics, the study examines the commonalties, the shared conventions, and the ground rules of fiction writing workshops. A considerable number of essentials would be tackled such as the layout, the setting of workshop, the number of enrolled students, the requirements of completion and success, the portfolio and its contents, the role of instructor, the conduct of student author, and of student critic, and the response to peer work. The rules that govern class discussion, the instructors' theoretical assumptions, and the methods of assessing and grading student work are also examined. The careful scrutiny of the aforementioned essentials may hone the idea that creative writing is like other disciplines, if not better; it is neither softer, nor less rigorous discipline; actually it is more demanding, more rigorous, and more orderly in comparison to other English studies. Furthermore, the study would show that every activity in the workshop stems from unspoken theoretical assumptions about whether or not writers used conventions and generic expectations. Besides, this study would spotlight the effective means and methods used by competent instructors to nurture the promising, yet still unborn, talents of young writers. In brief, this study has two goals in mind: first to bring to light the shared conventions and ground rules prevalent in organized fiction writing workshops, and second to deflate the ever-blowing adverse criticism and to show the futility and groundlessness of it.
Dissertations / Theses on the topic "Degree Discipline: Creative Writing"
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Donnelly, Dianne J. "Establishing Creative Writing Studies as an Academic Discipline." Scholar Commons, 2009. http://scholarcommons.usf.edu/etd/3809.
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The discipline of creative writing is charged "as the most untheorized, and in that respect, anachronistic area in the entire constellation of English studies (Haake What Our Speech Disrupts 49). We need only look at its historical precedents to understand these intimations. It is a discipline which is unaware of the histories that informs its practice. It relies on the tradition of the workshop model as its signature pedagogy, and it is part of a fractured community signaled by its long history of subordination to literary studies, its lack of status and sustaining lore, and its own resistance to reform. These factions keep creative writing from achieving any central core.
I argue for the advancement of creative writing studies. As a scholarly academic discipline, creative writing studies explores and challenges the pedagogy of creative writing. It not only supports, but welcomes intellectual analyses that may reveal new theories.Such theories have important teaching implications and insights into the ways creative writers read, write, and respond. My study explores the history of creative writing, its workshop model as its primary practice, and the discipline's major pedagogical practices. Through its pedagogical and historical inquiry of the field, this study has important implications to the development of creative writing studies. Its research includes a workshop survey of undergraduate creative writing teachers as well as scholarship in the field. My argument envisions a more robust, variable, and intelligent workshop model. It considers how an understanding of our pedagogical practices might influence our teaching strategies and classroom dynamics and how we might provide more meaning to the academy, our profession, and our diverse student body.
At a curricular level, my study offers course and program development, and it justifies the importance of including graduate level training for teacher preparation to further explore the field's history and pedagogy. Through my inquiries and research, I advance creative writing studies, define its academic home, and better position the discipline to stand alongside composition studies and literary studies as a separate-but-equal entity, fully prepared to claim it own identity and scholarship.
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Walker, Ginger. "'The Writing Writes Itself': Deleuzian Desire and the Creative Writing MFA Degree." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4721.
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This post-qualitative inquiry project investigated subjectivity (sense of self) among graduates of creative writing Master of Fine Arts (MFA) programs. The project asked how subjectivity is involved in the creative writing process and how that process fuels further writing after a creative piece (such as the MFA thesis) is completed. A post-qualitative, thinking-with-theory approach was used to explore the role of subjectivity among four anonymous graduates of creative writing MFA programs who provided writing samples describing their creative writing processes. Following the thinking-with-theory approach, the data were analyzed using Deleuze and Guattari’s theory of productive desire. Study findings are presented in two formats. First, a traditional, qualitative presentation of findings describes how unconscious desires develop a beneficial weakening of subjectivity that may encourage creative writers to continue writing after completion of the MFA degree. Next, further findings are presented via a nonlinear, rhizomatic data assemblage. The project concludes with recommendations for the use of Deleuzian productive desire as a pedagogical framework in graduate-level creative writing courses, as well as a call for the consideration of post-qualitative research methods in the field of education.
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Addington, Robert Welling. "Discipline and Publish: Creative Writing Programs, Literary Markets, and the Short Story Renaissance." Case Western Reserve University School of Graduate Studies / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=case1370467541.
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Dingman, Toni SuzAnne. "Facilitating creativity through the discipline of craftsmanship within the writing process." CSUSB ScholarWorks, 1990. https://scholarworks.lib.csusb.edu/etd-project/770.
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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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Bronkhorst, Jennifer. "Exegesis - Storytelling circles and straight lines : thesis - In transit: a collection of short stories : an exegesis and thesis submitted to Auckland University of Technology in partial fulfilment of the degree of Master of Creative Writing, 2009 /." Click here to access this resource online, 2009. http://hdl.handle.net/10292/795.
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Storytelling: circles and straight lines is a qualitative, retrospective analysis of my thesis (a collection of iconoclastic New Zealand short stories, entitled In Transit), in which I define the scope of my creative work by: positioning my approach within the wider contemporary and literary contexts; explaining its conceptual framework; and describing my intention and process. To these ends, I have drawn extensively on my personal experience, accumulated knowledge, and orientation, supplemented by wide reading. Throughout the text, I substantiate my views, arguments and conclusions with reference to noted writers, critics, language experts, and philosophers.
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Breen, Karen. "Sleep sister a thesis submitted to Auckland University of Technology in fulfilment of the requirements of the degree of Master of Creative Writing (MCW), 2009 /." Click here to access exegesis online, 2009. http://hdl.handle.net/10292/798.
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This submission is in two parts. The first, an exegesis, sets my creative work in a literary, stylistic and social context. The second and main part of this submission is the first draft of a novel, Sleep, Sister, which I have written over the course of the last year. The exegesis explores issues such as the history of the road novel, alienation and loneliness within society, and in particular within families. It also discusses the novel as a coming of age story, with its main characters being members of Generation X, those born between 1960 -1980. This was the first generation of New Zealand children for whom divorced parents and blended families were common experiences. The exegesis also describes how the themes of the story have informed the style, narrative and characterisation of the book. It concludes with the main question of the novel; whether the two main characters – sisters – can overcome their damaging past. The novel is set in New Zealand, predominantly in the year 1987, although there are flashbacks to the girls’ 1970s childhood. It is written mainly in the present tense and with shifting points of view.
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Thompson, Blaire Evan. "A Revolutionary Patience: The Life of a Writer." Malone University Undergraduate Honors Program / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ma1430998273.
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Hall, Grant. "Holey Umbrella an exegesis submitted to Auckland University of Technology in partial fulfilment of the degree of Master of Creative Writing (MCW), 2008 ; Fissure (an extract), 2009 /." Click here to access this resource online, 2009. http://hdl.handle.net/10292/803.
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The creative outcome of my Masters Degree is an extract of my manuscript for a novel. The extract is 40,000 words in length and represents approximately one half of the completed novel. Fissure is the title of the novel. It is a novel which is unconventional in relation to the mainstream understanding of what a traditional novel is. Fissure aims to position itself within a post modern framework. It consists of two primary narratives set apart in time.
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Fee, Roderick Harold. "Sandcastles, and, The postmodern rules for family living a thesis submitted to Auckland University of Technology in partial fulfilment of the degree of Master of Creative Writing (MCW), 2008." Click here to access exegesis online, 2008. http://aut.researchgateway.ac.nz/handle/10292/770.
Full textBooks on the topic "Degree Discipline: Creative Writing"
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Donnelly, Dianne. Establishing creative writing studies as an academic discipline. Bristol: Multilingual Matters, 2011.
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Inc, ebrary, ed. Applied theatre: International case studies and challenges for practice. Bristol, UK: Intellect, 2009.
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Middell, Matthias. French Historical Writing. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199225996.003.0014.
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This chapter traces French historiography, which counts among the most professionalized in the world, influencing global trends in the interpretation of the Middle Ages, of early modern social and political developments, of the French Revolution, of contemporary history, and of the comparison of civilizations and the history of colonial empires. The ‘professionalization’ of French historiography dates back to the nineteenth century, and included not only the creation of an institutional setting that gave rise to a highly differentiated discipline, but also an intense search for new methods among historians that guaranteed innovation and resistance to the ongoing process of fragmentation. The label ‘Annales School’ reduced a diversity of practices to the straightforward opposition of old-fashioned ‘positivist’ historiography versus a new historiography. Internationally, it influenced the image of French historiography to such a degree that the ‘Annales’ became identified with the most valuable contributions by French historians to the discipline.
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Donnelly, Dianne. Establishing Creative Writing Studies As an Academic Discipline. Channel View Publications, Limited, 2011.
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Donnelly, Dianne. Establishing Creative Writing Studies As an Academic Discipline. Multilingual Matters, 2011.
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Donnelly, Dianne. Establishing Creative Writing Studies As an Academic Discipline. Multilingual Matters, 2011.
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The effect of creative drama on student discipline, social maturity and creative writing: Final report. [North York, Ont.]: North York Board of Education, 1991.
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Balfour, Michael, Monica Prendergast, Sheila Preston, and Kirsten Sadeghi-Yekta. Applied Theatre: Ethics. Bloomsbury Publishing Plc, 2022.
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Jaillant, Lise. Literary Rebels. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192855305.001.0001.
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Abstract The first transatlantic history of creative writing programmes in universities, from the 1930s onwards. How many times have you heard that creative writing programmes are factories that produce the same kind of writers, isolated from real life? Only by escaping academia can writers be completely free. Universities are profoundly conservative places, designed to favour a certain way of writing—preferably informed by literary theory. Those who reject the creative/critical discourse of academia are the true rebels, condemned to live (or survive) in a tough literary marketplace. Conformity is on the side of academia, the story goes, and rebellion is on the other side. This book argues against the notion that creative writing programmes are driven by conformity. Instead, it shows that these programmes in the United States and Britain were founded and developed by literary outsiders, who left an enduring mark on their discipline. To this day, creative writing occupies a marginal position in Anglo-American universities. The multiplication of new programmes, accompanied by rising student enrolments, has done nothing to change that positioning. As a discipline, creative writing thrives on opposition to the mainstream university, while benefiting from what the university has to offer. Even when creative writing is located within literature departments, relationships with scholars remain uneasy. Creative writers and scholars are not, and have never been, natural bedfellows.
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Garner, Robert, and Yewande Okuleye. The Oxford Group and the Emergence of Animal Rights. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197508497.001.0001.
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This book is an account of the life and times of a loose friendship group (later christened the Oxford Group) of ten people, primarily postgraduate philosophy students, who attended the University of Oxford for a short period of time from the late 1960s. The Oxford Group, which included—most notably—Peter Singer and Richard Ryder, set about thinking about, talking about, and promoting the idea of animal rights and vegetarianism. The group therefore played a role, largely undocumented and unacknowledged, in the emergence of the animal rights movement and the discipline of animal ethics. Most notably, the group produced an edited collection of articles published as Animals, Men and Morals in 1971 that was instrumental in one of their number—Peter Singer—writing Animal Liberation in 1975, a book that has had an extraordinary influence in the intervening years. The book serves as a case study of how the emergence of important work and the development of new ideas can be explained, and, in particular, how far the intellectual development of individuals is influenced by their participation in a creative community.
Book chapters on the topic "Degree Discipline: Creative Writing"
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Girardi, Tamara. "New Creative Writing “Classroom”." In Critical Examinations of Distance Education Transformation across Disciplines, 1–14. IGI Global, 2015. http://dx.doi.org/10.4018/978-1-4666-6555-2.ch001.
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The field of creative writing studies includes commonly regarded forms of distance education such as online courses, but there is an impressive diversity regarding the opportunities available to creative writers. To illustrate this, the chapter discusses the two tracks available to writers. The first features the university environment, where students enroll in undergraduate and graduate creative writing degree programs. These programs could be full-residency, low-residency, or online. However, not all writers are able or willing to enroll in such programs. For these writers, there are non-academic options that are driven not by colleges and universities but by the publishing community. Non-degree writers might enroll in online workshops or communities. Finally, non-degree seeking writers might work independently through MOOCs, extension classes, iTunesU courses, and how-to texts. This chapter discusses the history of distance education as it is evolving and the potentially overwhelming number of options available to aspiring writers.
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"Introduction: The Emergence of Creative Writing Studies." In Establishing Creative Writing Studies as an Academic Discipline, 1–12. Bristol, Blue Ridge Summit: Multilingual Matters, 2011. http://dx.doi.org/10.21832/9781847695918-003.
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"Conclusion: The Legitimacy of Creative Writing Studies." In Establishing Creative Writing Studies as an Academic Discipline, 148–51. Bristol, Blue Ridge Summit: Multilingual Matters, 2011. http://dx.doi.org/10.21832/9781847695918-007.
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Gontarski, S. E. "Becoming Degree Zero: Authors Vanishing into the Zone of Imperceptibility." In Creative Involution. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748697328.003.0009.
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This concluding chapter looks at American writer William Burroughs. In many respects, William Burroughs was an apostle of invisibility, assiduously pursuing versions of physical vanishing and advocating, above all, authorial disappearance. He has on occasion declared himself simply an ethereal medium through which his texts pass into the visible world. Samuel Beckett's initial rejection on first meeting Burroughs in 1959 was not solely or particularly to the aleatory nature of the process but to the fact that the cut up method of Burroughs involved using the writing of other authors. Burroughs's reply to such charges generally suggested what one might call today intertextuality — that all writing was cut up or collage in one way or another and that his was different from those only by degree.
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"SECTION 2. The Writing Workshop Model." In Establishing Creative Writing Studies as an Academic Discipline, 71–128. Bristol, Blue Ridge Summit: Multilingual Matters, 2011. http://dx.doi.org/10.21832/9781847695918-005.
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"SECTION 1. A Taxonomy of Creative Writing Pedagogies." In Establishing Creative Writing Studies as an Academic Discipline, 13–70. Bristol, Blue Ridge Summit: Multilingual Matters, 2011. http://dx.doi.org/10.21832/9781847695918-004.
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"SECTION 3. The Academic Home of Creative Writing Studies." In Establishing Creative Writing Studies as an Academic Discipline, 129–47. Bristol, Blue Ridge Summit: Multilingual Matters, 2011. http://dx.doi.org/10.21832/9781847695918-006.
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"List of Figures." In Establishing Creative Writing Studies as an Academic Discipline, vii. Bristol, Blue Ridge Summit: Multilingual Matters, 2011. http://dx.doi.org/10.21832/9781847695918-001.
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"Acknowledgements." In Establishing Creative Writing Studies as an Academic Discipline, viii—x. Bristol, Blue Ridge Summit: Multilingual Matters, 2011. http://dx.doi.org/10.21832/9781847695918-002.
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"References." In Establishing Creative Writing Studies as an Academic Discipline, 152–61. Bristol, Blue Ridge Summit: Multilingual Matters, 2011. http://dx.doi.org/10.21832/9781847695918-008.
Full textConference papers on the topic "Degree Discipline: Creative Writing"
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Weirauch, Angelika. "CREATIVE WRITING IN CONTEXT OF UNIVERSITIES." In International Conference on Education and New Developments. inScience Press, 2022. http://dx.doi.org/10.36315/2022v1end056.
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"We present an old process developed more than a hundred years ago at American universities. It means professional, journalistic and academic forms of writing. It also includes poetry and narrative forms. Creative writing has always been at the heart of university education. Today, there are more than 500 bachelor's degree programs and 250 master's degree programs in this subject in the United States. In other fields of study, it is mandatory to enrol in this subject. After World War II, it came to Europe, first to England and later to Germany. Here, ""... since the 'Sturm und Drang' (1770-1789) of the early Goethe period, the autodidactic poetics of the cult of genius prevailed. The teachability of creative writing has been disputed ever since and its dissemination has therefore always had a hard time in Germany"" [von Werder 2000:99]. It is rarely found in the curricula of German universities. At the Dresden University of Applied Sciences, we have been practicing it for five years with great response from social work students. They learn different methods: professional writing for partners and administration, poetic writing for children's or adult groups, scientific language for their final thesis and later publications. Although we offer it as an elective, more than 80% of students choose it. Final papers are also written on these creative topics or using the methods learned. ""Writing forces economy and precision. What swirls chaotically around in our heads at the same time has to be ordered into succession when writing"" [Bütow in Tieger 2000:9]. The winners of this training are not only our former students! Children in after-school programs and youth clubs improve their writing skills through play. Patients in hospitals work on their biographies. People who only write on the computer discover slow and meaningful writing, activating their emotional system. Therefore, this paper will show how clients benefit from creative writing skills of their social workers and what gain other disciplines can expect as well."
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Vasconcelos, Ana. "Eisenman’s Conceptual-Generative Diagram: A Creative Interface between Intention, Randomness and Imagination and Space-Form." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1002331.
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Digital diagrams are constituted as strategic-communicative-productive intermediate space-matrices among architecture, the architect and the digital machine, and between architecture and other disciplinary fields. According to Stan Allen, diagrams are a map of the possible worlds, a description of potential relationships, where a plethora of functions, actions and configurations are implicit in time, subject to continuous modifications.Alluding to the notions of diagrams, machinic and figural of Deleuze and Guattari, Eisenman’s conceptual-generative diagram functions as a hypertext and a creative and affective interface between intention, randomness and imagination, and architectural space and form. Proposing a new type of reality in a permanent state of evolution and of form-thinking and form-making, they have become a technique or poetic operation that, in addition to representing, also present and evoke, in between order and chaos, intention and the unexpected, mechanical and organic, real and virtual, presence and absence. For Eisenman, diagrams function as a heuristic instrument of criticism in the design process, in search of other spatial and conceptual qualities for a reflection within the discipline of architecture itself. Diagrams are a space-matrix, or as Eisenman puts it, a “meta-writing” in terms of the field of orientations and possibilities to be apprehended and inscribed, first in the project and later in the construction of the architectural place. These possibilities and orientations, guidelines or meanings are not totally contained within the diagram itself, rather they also reside in the intermediate space between the diagram and the observer, creator or architect. Diagrams are an evocative and inspiring space-formal matrix, the contents or evocations of which are not found “embedded” or “enclosed” in their shape or material, rather they are indicated or outlined, in varying degrees of explicitness, as signals or traces, evoking multiple interpretations and reflections. Eisenman uses digital diagrams as a mediating agent or instrument to investigate, explore, create and draw the architectural space within the thematic basis of the interstitial–“the “in-between”. He does so through a process that is intentional, random, interpretive, esthetic and poetic, all at the same time. In contrast to the traditional quest for form that is synthesized in the idea of a box or container, Eisenman proposes an alternative means, through which form or space can be found through a long process in which rational approaches and computerized drawing intermingle, introducing formal randomness, in which the diagram is the mediator. Eisenman refers to that procedure as “spacing”, ”espacement” or ”espaciamiento”, in opposition to “forming”.Eisenman’s conceptual-generative diagram constructs and develops a matrix field of forces and geometries that, acting in the project as a spatial-formal guide, opens up from the first record or first intention, to many possibilities of configuration/definition of the object or architectural place. Consequently, it makes possible the exploration and discovery in architecture of other ways of thinking, imagining and manifesting forms and spaces, that investigate new ways of occupancy and promote other possible ways of life. It is an architecture in which diagrams are constituted as an expression of the figural/imprecise/blurred condition, the traces of which persist in the space-form of the building; a diagram that is both a creative interface between the intrinsic exploration of its defined concepts and the final configured complexity of its spatialities and functional superpositions.
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Akinfeyeva, I. I. "REVIEW OF CREATIVE TASKS IN THE DISCIPLINE «GRAPHICS AND PAINTING» DIRECTION 54.04.01 DESIGN (MASTER'S DEGREE LEVEL)." In INNOVATIONS IN THE SOCIOCULTURAL SPACE. Amur State University, 2021. http://dx.doi.org/10.22250/iss.2021.2.9.
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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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Pearce Churchill, Meryl, Daniel Lindsay, Diana H Mendez, Melissa Crowe, Nicholas Emtage, and Rhondda Jones. "Does Publishing During the Doctorate Influence Completion Time? A Quantitative Study of Doctoral Candidates in Australia." In InSITE 2022: Informing Science + IT Education Conferences. Informing Science Institute, 2022. http://dx.doi.org/10.28945/4912.
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Aim/Purpose This paper investigates the association between publishing during doctoral candidature and completion time. The effects of discipline and of gaining additional support through a doctoral cohort program are also explored. Background Candidates recognize the value of building a publication track record to improve their career prospects yet are cognizant of the time it takes to publish peer-reviewed articles. In some institutions or disciplines, there is a policy or the expectation that doctoral students will publish during their candidature. How-ever, doctoral candidates are also under increasing pressure to complete their studies within a designated timeframe. Thus, some candidates and faculty perceive the two requirements – to publish and to complete on time – as mutually exclusive. Furthermore, where candidates have a choice in the format that the PhD submission will take, be it by monograph, PhD-by-publication, or a hybrid thesis, there is little empirical evidence available to guide the decision. This pa-per provides a quantitative analysis of the association between publishing during candidature and time-to-degree and investigates other variables associated with doctoral candidate research productivity and efficiency. Methodology Multivariate logistic regression analyses were used to examine the predictors (discipline [field of research], gender, age group, domestic or international student status, and belonging to a cohort program) of doctoral candidate research productivity and efficacy. Research productivity was quantified by the number of peer-reviewed journal articles that a candidate published as a primary author during and up to 24 months after thesis submission. Efficacy (time-to-degree) was quantified by the number of Full-Time Equivalent (FTE) years of candidature. Data on 1,143 doctoral graduates were obtained from a single Australian university for the period extending from 2000 to 2020. Complete publication data were available on 707 graduates, and time-to-degree data on 664 graduates. Data were drawn from eight fields of research, which were grouped into the disciplines of health, biological sciences, agricultural and environmental sciences, and chemical, earth, and physical sciences. Contribution This paper addresses a gap in empirical literature by providing evidence of the association between publishing during doctoral candidature and time-to-degree in the disciplines of health, biological sciences, agricultural and environmental sciences, and chemical, earth, and physical sciences. The paper also adds to the body of evidence that demonstrates the value of belonging to a cohort pro-gram for doctoral student outcomes. Findings There is a significant association between the number of articles published and median time-to-degree. Graduates with the highest research productivity (four or more articles) exhibited the shortest time-to-degree. There was also a significant association between discipline and the number of publications published during candidature. Gaining additional peer and research-focused support and training through a cohort program was also associated with higher research productivity and efficiency compared to candidates in the same discipline but not in receipt of the additional support. Recommendations for Practitioners While the encouragement of candidates to both publish and complete within the recommended doctorate timeframe is recommended, even within disciplines characterized by high levels of research productivity, i.e., where publishing during candidature is the “norm,” the desired levels of student research productivity and efficiency are only likely to be achieved where candidates are provided with consistent writing and publication-focused training, together with peer or mentor support. Recommendations for Researchers Publishing peer-reviewed articles during doctoral candidature is shown not to adversely affect candidates’ completion time. Researchers should seek writing and publication-focused support to enhance their research productivity and efficiency. Impact on Society Researchers have an obligation to disseminate their findings for the benefit of society, industry, or practice. Thus, doctoral candidates need to be encouraged and supported to publish as they progress through their candidature. Future Research The quantitative findings need to be followed up with a mixed-methods study aimed at identifying which elements of publication and research-focused sup-port are most effective in raising doctoral candidate productivity and efficacy.
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Roquette, Juan, Fernando Alonso, and Pilar Salazar. "Human-Centered Design since the Degree Kickoff: from Alumni Experience to Designer and User Experience." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001377.
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This article seeks to investigate the new paradigms of digital form and their application to the design process as a way to integrate service design from the very beginning of the process. It addresses a review of the generation of design in the key of "activity of conformation of open strategies". The aim is to open a deep reflection that allows an evolution of the understanding of the discipline of design linked to the outdated definition of "task of formalization of finished objects", which is widespread and still widely assumed. It is undeniable that engineering, urban planning, architecture, graphic design, product design, experience design and fashion design all share a common objective: all of them, in the end, can be considered as "service design".Indeed, each of the modalities of contemporary design and creation involves providing conceptual and oper-ational responses to needs (functional, aesthetic, symbolic, structural, social, individual). In short, creative activity consists of interpreting requirements and constraints in the most creative and efficient way possible. Design is not so much concerned with the need to produce "finished" objects, whether tangible or intangible. Contemporary design aims to create "formal laws", flexible and open, that can be applied according to the changing scenarios posed by today's users. To design digitally today is to create logical structures of data, algorithms and open results. This article rais-es the possibility of designing -from the genesis of the design- by integrating data referring to users and their algo-rithms as the basis of the formal, diagrammatic or structural law of the design solution. From clear mathematical rules and their parameterization, we propose the generation of the base structure of the "digital contemporary design"; from the exposition of data to the generation of “empty form”. In order to that, a preliminary reflection on the Technical drawing / CAD / BIM is proposed as well as describing the languages of the contemporary Design project (data and algorithms necessary for the construction of the form by topological transformations on simple forms). This is a con-temporary way of understanding the generation of the “empty form”. A "prepared" and "structured" format for the subsequent acquisition of successive layers of information (user data) that would trigger the "virtual twin" of the de-sign. Designing by means of topological transformations is an essential exercise in the foundations of digital culture: working with this type of algorithm is the main work of CAD programs. The conception of contemporary design must increasingly take into account the digital era, which constitutes the paradigm of our culture. The ideation and formalization of the actions that define design, architecture, urbanism and the physical environment, go through the management of formal operations within information systems that com-bine identity, visuality, materiality, measurement, financing, parameterization, industrialization, construction mainte-nance and, of course, interaction with users and systems. This phenomenon once again highlights the importance of geometry and drawing as fundamental disciplines that sustain the solid foundations of design education in the Univer-sity.Finally, the article addresses the urgency of defining new methodologies for the design process to ensure that design does not remain a mere "cultural response" to the technical advances produced by science, nor is it a purely intuitive process that proposes images but dispenses with the technical language of its time. We defend the activity of design as a purely contemporary task, which must be generated with the languages and methodologies of our current (and future) time, and for which it must have the possibility of integrating data and adapting to them with flexibility. In this way, any kind of design can be considered "service design" because it will "serve" effectively, avoiding the unnecessary iterations pursued by the LEAN system, which make human actions on reality inefficient and unsustaina-ble. Such a design would prevent the industry from having to generate an overabundance of designs and then discard the inadequate ones (by natural selection, through trial and error, dictated by the market and by user needs).Keywords: Design Training · Design Methodologies · Human-centered Design · Alumni experience · Designer experience ·User Experience · Service Design · Form · Contemporary Design process
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Mountain, Jeffrey R., and Angela D. Riddick. "Process Control System Design Experiences: A Real World Approach." In ASME 2005 International Mechanical Engineering Congress and Exposition. ASMEDC, 2005. http://dx.doi.org/10.1115/imece2005-80306.
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Hands-on, design oriented experiences have been shown to increase the visibility of the engineering profession; inspiring pre-college students to better prepare in math and science, and pursue an engineering degree. Most of these programs are successful, but they primarily focus on the creative aspects of highly specialized industries with little regard to the detail process of real world engineering design. Many students enroll in engineering programs believing the profession is solely focused on creativity and “building stuff” from a provided set of components. Once faced with the analysis and detail-oriented aspects of engineering practice, or the reality that most engineers are not employed by NASA or in robotics related industries, many students abandon engineering programs for other degree plans. The University of Texas at Tyler is using process control systems design as a theme to expose pre-college and college-level students to “common” engineering practices. This outreach program is part of a National Science Foundation funded project to provide hands-on opportunities to design, build, and test thermal/fluid based process control systems in an effort to attract and retain increased numbers of engineering students. This paper describes the proof of concept Process Control Breadboard System developed to provide a broad spectrum of students with exposure to the design of “common” engineering systems. Pre-college students come to realize that a wide range of engineering disciplines including: agricultural, chemical, electrical, mechanical, and petroleum engineering, consider process controls a part of their discipline. In addition, middle school students get exposed to the detail oriented aspects of real world engineering design; gaining experience in CAD modeling and producing bills of material prior to the hands-on build and test of their systems. Results from a variety of outreach and university level curriculum integration activities, conducted during the first two years of grant funding, will be presented, along with a summary of lessons learned and plans for future activities.
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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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Babadagli, Tayfun. "Reassessment of Petroleum Engineering Education: Is It the End of an Era or a New Start?" In SPE Annual Technical Conference and Exhibition. SPE, 2021. http://dx.doi.org/10.2118/205964-ms.
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Abstract Since emerging more than a century ago, petroleum engineering (PE) education has increasingly kept its popularity despite significant downturns in the industry. During these downturn periods, observed at least four times since the 1973 oil crisis, structural changes in university programs have been considered. On the other hand, during the "heyday" periods, institutions have had to tackle enormous demand from industry, severely increased enrollments, and reestablish resources to provide a proper service. In light of these observations and while experiencing the fifth downturn period over the last five decades, it is time again to ask the same question: "Shall we continue with the same PE education model or radically shift to a new model?" In this paper, after reviewing more than fifty articles published over the last 85 years reporting the attempts made towards reshaping PE education, an option of restructuring PE programs is discussed. This option is less oil industry (and oil prices) dependent and more of a "general" engineering education program with an emphasis on the "geoscience" or "subsurface" engineering aspects of the PE discipline. Detailed discussions focus on curriculum updates to address the industry practice of "subsurface" related engineering applications. Viability of this option was discussed from industry, academia, and students’ perspective. This restructuring option requires substantial changes to curricula, skill development, and teaching and learning styles. Fundamentals are essential to include in PE education similar to other general (or major) engineering disciplines such as mechanical, civil, chemical, and electrical engineering. The essential elements of engineering skills such as creative design, decision making, problem description and solving, management under high degree of uncertainty, and data collection and processing for optimization are to be included in the new model. Finally, the model proposed is critically discussed and analyzed from different perspectives (industry, academia, and students) considering current and prospected subsurface engineering applications.
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Armie, Madalina, José Francisco Fernández Sánchez, and Verónica Membrive Pérez. "ESCAPE ROOM AS A MOTIVATING TOOL IN THE ENGLISH LITERATURE CLASSROOM AT TERTIARY EDUCATION." In International Conference on Education and New Developments. inScience Press, 2021. http://dx.doi.org/10.36315/2021end058.
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The escape room, also known as escape game, is a gamification tool that aims to promote increased motivation and improved teamwork (Wood & Reiners, 2012). Recently, escape rooms have achieved prominence in the classroom as pedagogical instruments valid for any type of discipline. In the educational field in particular, the escape room can be defined as an action game in real time where the players, in teams, solve a series of puzzles or problems and carry out tasks related to the curricular contents worked on throughout the course, in one or more rooms with a specific objective and at a specific time (Nicholson, 2015). To do this, learners must put into practice the knowledge acquired about a particular subject, as well as their creative and intellectual abilities, and deductive reasoning. Despite being a pedagogical tool that has emerged as an innovative element in the last five years or so, the use of escape rooms for teaching-learning the English language at different educational levels has been studied qualitatively and quantitatively (Dorado Escribano, 2019; López Secanell & Ortega Torres, 2020). However, there is no study on the applicability of the escape room in the English literature classroom at the tertiary educational level. This paper aims to demonstrate how the inclusion of this innovative pedagogical tool can serve not only for teaching the language, but also for working on theoretical-practical contents of subjects focused on literary studies of the Degree in English Studies. In order to achieve the proposed objectives, the study will focus on the identification of types of exercises to implement as part of the educational escape room aimed at a sample of students; the preparation of tests/ exercises based on the established objectives; the design of a pre- and a post- questionnaire based on the established objectives; the implementation of the escape room in the literature class and the evaluation of the impact of this educational tool to foster students’ motivation.