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Journal articles on the topic 'Writerly'

Author: Grafiati
Published: 8 September 2022
Last updated: 18 September 2022

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1

Quijon, Carlos. "Writerly Dispositions." Southeast of Now: Directions in Contemporary and Modern Art in Asia 6, no. 1 (March 2022): 203–10. http://dx.doi.org/10.1353/sen.2022.0011.

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2

Stanley, L. K. "The Writerly Archive." Novel: A Forum on Fiction 43, no. 2 (June 1, 2010): 371–74. http://dx.doi.org/10.1215/00295132-2010-018.

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3

Boyce, Robert. "Writerly Rules for Teachers." Journal of Higher Education 66, no. 1 (January 1995): 32. http://dx.doi.org/10.2307/2943950.

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4

Ryan, John Charles. "Biological Processes as Writerly?" Environmental Humanities 9, no. 1 (May 2017): 129–48. http://dx.doi.org/10.1215/22011919-3829163.

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5

Boice, Robert. "Writerly Rules for Teachers." Journal of Higher Education 66, no. 1 (January 1995): 32–60. http://dx.doi.org/10.1080/00221546.1995.11774756.

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6

Comfort, Juanita Rodgers. "Becoming a Writerly Self: College Writers Engaging Black Feminist Essays." College Composition and Communication 51, no. 4 (June 2000): 540. http://dx.doi.org/10.2307/358911.

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7

Jackson, Russell, and Ian Small. "Oscar Wilde: A "Writerly" Life." Modern Drama 37, no. 1 (March 1994): 3–11. http://dx.doi.org/10.3138/md.37.1.3.

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8

Lind, Hans. "The mood of writerly reading." New Writing 17, no. 3 (May 1, 2019): 229–43. http://dx.doi.org/10.1080/14790726.2019.1601236.

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9

Eberwein, Robert T. "Genre and the Writerly Text." Journal of Popular Film and Television 13, no. 2 (July 1985): 62–68. http://dx.doi.org/10.1080/01956051.1985.10661994.

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10

Alharbi, Majed. "Reimagining the Ever-Changing Construct of Saudi Writerly Identity: A Heuristic Approach." Arab World English Journal 11, no. 4 (December 15, 2020): 254–71. http://dx.doi.org/10.24093/awej/vol11no4.17.

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This paper takes on a heuristic approach (Crowley & Debra, 2004) to the study of Saudi writerly identity. In this critical review paper, the author argues that little work has been carried out to study Saudi English as a second langauge (ESL) writers' identity, for most of the empirical studies approach their writing as substandard writers. Therefore, this paper adds critical insights to the exciting literature about L2 Saudi writers and invite second language (L2) researchers to deconstruct the essentialized view towards peripheral writers. The paper also was guided by the question: how are ESL Saudi writers perceived in the Western educational system? Throughout the paper, the researcher problematizes that most studies about L2 Saudi writers are rife with references to phenomena in these student writings as negative transfers and linguistic errors. Other empirical studies were blinded from Saudi L2 discourse by the minutia of mechanism and look at students' writings as illegitimate. However, studies like Canagarajah’s (2013) and Saba’s (2013) can forward the conversation into a deeper understanding of these students’ writing identities and how they perceive themselves as writers and knowledge constructors. The article briefly explores the current definition of identity and how it is related to second language writing, followed by an explanation of Ivanić’s framework of writer identity. Then, the paper reviews previous research on how ESL Arab students negotiate and construct their written identities in Western educational settings. Finally, the author proposes directions for future empirical research and promising windows for studying the identity of Saudi ESL writers.
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MUSACHIO, BENJAMIN. "Where Writers Were Made: The Soviet Writerly Family in Houses of Creativity." Russian Review 81, no. 4 (August 22, 2022): 705–23. http://dx.doi.org/10.1111/russ.12387.

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12

Waite, Stacey. "The Cultivation of Writerly Habits Is a National Emergency." Pedagogy 20, no. 2 (April 1, 2020): 225–28. http://dx.doi.org/10.1215/15314200-8091818.

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In the “post-truth” moment, educators need to cultivate writerly habits, which include attention to language, precision, imagination, questioning, and sustained inquiry. Writerly habits can foster compassion, creativity, critical thinking, and a politics of hope. The hope is that these habits move students toward a more just future.
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13

Tanusy, Jeanyfer. "Racism in Roald Dahl’s The BFG: A Social Criticism or White Supremacy Tendency?" k@ta 22, no. 2 (December 13, 2020): 63–69. http://dx.doi.org/10.9744/kata.22.2.63-69.

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Children stories can be a powerful tool for a writer to present their views of the world around them, both positive or negative ones. This article attempts to examine the message beneath a children novel, The BFG by Roald Dahl by employing Barthes’ five systems of codes. Focusing on the writerly codes, this descriptive qualitative research emphasizes on analyzing the smallest units of the stories, or the lexias. Each lexia is categorized into the three writerly codes to reveal the underlying message in the story. The findings show that despite The BFG being a children book, it consists of some serious social issues like racism. Another thing found in the research is that the issue can lead to a double meaning—whether Dahl intends to raise social awareness or that he wants to subtly say that he himself thinks of other races as inferior.
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14

PIGOTT, CHARLES M. "Aj-ts’íib or el letrado? Authorial Identity in Gómez Navarrete’s Bilingual Maya Poetry." Bulletin of Hispanic Studies: Volume 98, Issue 4 98, no. 4 (April 1, 2021): 415–32. http://dx.doi.org/10.3828/bhs.2021.24.

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Latin America is witnessing a revival in the literary production of indigenous languages, yet contemporary indigenous writers must often negotiate between different cultural understandings of what literature should be. The purpose of this article is to take one bilingual poem, composed in Yucatec Maya and Spanish, as a case study of the writerly conflict between the Maya paradigm of ts’íib and the ‘Western’ ideal of the letrado. The poem, written by Javier Abelardo Gómez Navarrete (1942-2018), is entitled ‘K’u’uk’um kaan’ in its Yucatec version and ‘Serpiente de regio plumaje’ in its version in Spanish. Through linguistic and hermeneutic analysis of key extracts, the article argues that Gómez Navarrete’s poem can be read as an exploration of what it means to be a Maya writer in the twentieth and twenty-first centuries, in terms of the antagonistic yet mutually constitutive relationship between the categories of ts’íib and the letrado.
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15

Zhulkova, Karina. "THE ISSUE OF HUMANE VALUES: A NOVEL BY C.T. AITMATOV «WHEN THE MOUNTAINS FALL (THE ETERNAL BRIDE)»." RZ-Literaturovedenie, no. 1 (2021): 161–69. http://dx.doi.org/10.31249/lit/2021.01.16.

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The definite rejection of the contemporary vices, which is the writerly credo of C.T. Aitmatov, is clearly evident in his novel When the Mountains Fall (The Eternal Bride) . The view of the Kyrgyz writer is focused on an individual that has found himself in a new historical condition. The humanistic ideas are affirmed in the last novel of C.T. Aitmatov through a series of antitheses - good and evil, high and low, mountains and city, natural and social.
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16

Abrahamson, David. "Teaching Literary Journalism: A Diverted Pyramid?" Journalism & Mass Communication Educator 60, no. 4 (December 2005): 429–34. http://dx.doi.org/10.1177/107769580506000410.

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There is ample evidence that the last decade or so has seen a new emphasis on more writerly forms in journalism. As a result, this is perhaps the appropriate time to re-examine the issue of literary/writerly influences on the construction of journalistic writing: the ways in which the present mirrors similar forms from the past, their status as journalistic genres, and their power to both convey information and inform argument. Most important, it explores the pedagogical ramifications of the phenomenon, addressing the special and somewhat undefined aspects of teaching this kind of journalism.
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17

Berbary, Lisbeth A. "Poststructural Writerly Representation: Screenplay as Creative Analytic Practice." Qualitative Inquiry 17, no. 2 (December 31, 2010): 186–96. http://dx.doi.org/10.1177/1077800410393887.

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18

Messier, Vartan. "Desire and the ‘Deconstructionist’: Adaptation as writerly praxis." Journal of Adaptation in Film & Performance 7, no. 1 (March 1, 2014): 65–82. http://dx.doi.org/10.1386/jafp.7.1.65_1.

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19

Barnacle, Robyn, and Gloria Dall'Alba. "Beyond skills: embodying writerly practices through the doctorate." Studies in Higher Education 39, no. 7 (April 4, 2013): 1139–49. http://dx.doi.org/10.1080/03075079.2013.777405.

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20

Heawood, Jonathan. "Writerly rights: free speech, privacy and H.G. Wells." Critical Quarterly 56, no. 4 (December 2014): 71–82. http://dx.doi.org/10.1111/criq.12161.

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21

Rabaté, Jean-Michel. "Beckett’s Sade / Barthes’s Zade." Samuel Beckett Today / Aujourd’hui 32, no. 2 (July 30, 2020): 272–88. http://dx.doi.org/10.1163/18757405-03202009.

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Abstract Eight thematic clusters are used to draw parallels between texts by Samuel Beckett and Roland Barthes that focus on Marquis de Sade and sadism. By examining places like Roussillon and La Coste and themes like Machines, Screams, Order and Reason, the Family, the Law, Class and Lit bodies, one can see better how both writers have worked with Sade’s images and concepts. If Barthes’s theses throw new light on Beckett’s texts like Watt, How It Is and Catastrophe, conversely Beckett’s skepticism facing Reason and narrative forms highlights Barthes’s main writerly strategies.
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22

Ardoin, Paul. "“The courage to be a writer”: Theorizing Writerly Courage in Burroughs’s Blade Runner: A Movie." Papers of the Bibliographical Society of America 109, no. 1 (March 2015): 63–81. http://dx.doi.org/10.1086/680700.

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23

Farkas, Aliz. "Organized Chaos: Cohesive Devices in Benjy’s Sections of William Faulkner’s The Sound and the Fury." Acta Universitatis Sapientiae, Philologica 8, no. 2 (December 1, 2016): 167–76. http://dx.doi.org/10.1515/ausp-2016-0025.

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Abstract As the history of criticism on The Sound and the Fury proves it, Benjy’s section is probably the most controversial part of the novel. Some literary critics and writers celebrated it as an excellent piece of literary art, the peak of writerly performance, while others felt confused and irritated over the trials it posed to the reader. Although critical voices that reproach the writer for the incoherence of Benjy’s narrative may be justified at first sight, a closer inspection reveals that it is much less incoherent than it appears. In my paper, I will argue that there are several ways in which the author helps the reader to construct a more or less coherent story line out of the fragmented events that happened in the course of about thirty years. Secondly, I want to demonstrate that functional-semantic approaches to text analysis, such as Systemic Functional Grammar or Text Linguistics, can be effectively employed in analysing and interpreting literary texts. Finally, I try to find a psychological explanation of how Benjy’s incoherence is made readable by the interworking between the coherence-seeking dispositions of the reader and the ingenious cohesive devices used by the writer.
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24

Harzoune, Mustapha. "Laura Reeck, Writerly identities. In Beur fiction and Beyond." Hommes & migrations, no. 1292 (July 1, 2011): 157–58. http://dx.doi.org/10.4000/hommesmigrations.660.

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25

Birden, Lorene M. "The writerly reporter: Saki as correspondent for The Outlook." European Journal of Humour Research 1, no. 3 (September 2013): 2–14. http://dx.doi.org/10.7592/ejhr2013.1.3.birden.

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26

Whiteman, Bruce. "High-Born Stealth and Other Readerly and Writerly Manners." Eighteenth-Century Studies 38, no. 2 (2005): 333–36. http://dx.doi.org/10.1353/ecs.2005.0021.

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27

van Berkel, Maaike. "Order in the House: Epilogue." Journal of Abbasid Studies 7, no. 2 (December 29, 2020): 288–97. http://dx.doi.org/10.1163/22142371-12340062.

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Abstract The contributions to this Special Issue of the Journal of Abbasid Studies show that the later third/ninth to the early fifth/eleventh century witnessed the output of a variety of voluminous books, not only in the Arabic-Islamic tradition, but in chronologically parallel cultures as well. For an overall understanding of the writerly culture of the era, further exploration of the organisation of information and the development of tools to locate data is called for. My epilogue offers a step in this direction against the backdrop of fourth/tenth-century caliphal administration and the organisation of archives on the one hand, and a comparison with the later and much more studied Mamluk writerly culture on the other.
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28

Stukenberg, Jill. "Deep habits: Workshop as critique in creative writing." Arts and Humanities in Higher Education 16, no. 3 (July 14, 2016): 277–92. http://dx.doi.org/10.1177/1474022216652770.

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The creative writing workshop, involving peer critique of manuscripts in progress, is deeply connected to many writerly habits of mind. As such, this article examines workshop as a signature pedagogy in creative writing. Through workshop, students develop awareness of their readers, understanding of how texts are created by readers and through process, and abilities to problem-solve in drafts and hone their personal tastes while encountering contemporary aesthetic values. At the same time, examination of the writerly habits of mind transmitted through workshop also reveals other key skills and ways of thinking that can be shortchanged when workshop is too much the sole methodology; one deleterious habit of mind, that of being overly self-critical, may even result.
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29

Sorvari, Marja. "Narratives of Displacement: On Embodied Experience of Migration in Ulitskaya, Lindén, and Palei." Contemporary Women's Writing 14, no. 2-3 (July 1, 2020): 350–66. http://dx.doi.org/10.1093/cww/vpab002.

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Abstract This essay discusses representations of migrant experiences of displacement by Russian women writers Liudmila Ulitskaya, Zinaida Lindén, and Marina Palei. The theoretical approach is guided by feminist geography and narrative studies, with attention to the conceptualization of space and place through embodied everyday experiences. The authors represent different writerly positions with which today’s Russophone writers engage, including multilingual and multilocal trends in and outside post-Soviet Russia. Although Lindén and Palei reside outside and Ulitskaya in Russia, their texts address (post-)Soviet migration and displacement, bringing critical perspectives both to their new home countries and to their homeland, Russia. In each text literary figures question and/or oppose the colonizing histories of their homeland and rewrite their personal stories in the form of narratives of displacement.
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30

PLOUFFE, O. BRUCE. "Martin Walser's Ein fliehendes Pferd: A Pro-Narrative Writerly Text." Seminar: A Journal of Germanic Studies 36, no. 3 (September 2000): 343–57. http://dx.doi.org/10.3138/sem.v36.3.343.

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31

Vitali, Ilaria. "Laura K. Reeck, Writerly Identities in Beur’s Fiction and Beyond." Studi Francesi, no. 169 (LVII | I) (April 1, 2013): 216. http://dx.doi.org/10.4000/studifrancesi.3554.

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32

Ventrella, Francesco. "The Writerly and the Dialogical Imagination of Feminist Art History." Art History 43, no. 1 (January 22, 2020): 200–207. http://dx.doi.org/10.1111/1467-8365.12484.

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33

Wirtz, Jason. "Creativity in 3D: Poets and Scientists Converge on Writerly Invention." Interdisciplinary Science Reviews 39, no. 1 (February 27, 2014): 62–72. http://dx.doi.org/10.1179/0308018813z.00000000068.

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34

Hubbell, Amy L. "Writerly Identities in Beur Fiction and Beyond by Laura Reeck." French Review 86, no. 5 (2013): 1040–41. http://dx.doi.org/10.1353/tfr.2013.0247.

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35

Doloughan, Fiona J. "Text design and acts of translation." Discourse Analysis and Translation Studies 4, no. 1 (June 5, 2009): 101–15. http://dx.doi.org/10.1075/tis.4.1.06dol.

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In relation to two contemporary works of literature, Monica Ali’s Brick Lane (2003) and Xiaolu Guo’s A Concise Chinese-English Dictionary for Lovers (2007), this essay sets out a view of reading and writing as essentially translational and transformational acts. It argues that text design and production in the contemporary age, at a time when many writers of works in English are the product of more than one culture and language, depend upon access to and the ability to transform a range of cultural and material resources. It is concerned with ‘how newness enters the world’ (Bhabha 2007) in the era of globalization and postmodernity and sees creativity as an outcome of both readerly and writerly acts of cultural, generic and linguistic translation.
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36

Wilkinson, Amy Day. "The Writerly Task and the Narrative: Making Art of the Quotidian." Missouri Review 39, no. 4 (2016): 189–203. http://dx.doi.org/10.1353/mis.2016.0071.

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37

Johnson, E. Patrick. "Queer Epistemologies: Theorizing the Self from a Writerly Place Called Home." Biography 34, no. 3 (2011): 429–46. http://dx.doi.org/10.1353/bio.2011.0040.

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38

Hindley, David, and Lisa Clughen. "Exploring the Development of Writerly Identity Through the Use of Blogging." Journal of Academic Writing 8, no. 2 (November 2018): 233–36. http://dx.doi.org/10.18552/joaw.v8i2.453.

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39

Sumara, Dennis J., and Rebecca Luce‐Kapler. "Action Research as a Writerly Text: locating co‐labouring in collaboration." Educational Action Research 1, no. 3 (January 1993): 387–95. http://dx.doi.org/10.1080/0965079930010305.

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40

DiPardo, Anne, Barbara A. Storms, and Makenzie Selland. "Seeing voices: Assessing writerly stance in the NWP Analytic Writing Continuum." Assessing Writing 16, no. 3 (July 2011): 170–88. http://dx.doi.org/10.1016/j.asw.2011.01.003.

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41

Dr. Anil Patil. "Revisiting the Elements of Postmodernism in Salman Rushdie’s Shame." Creative Launcher 7, no. 3 (June 30, 2022): 76–83. http://dx.doi.org/10.53032/tcl.2022.7.3.09.

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Postmodern literature is thought to be typically anti-traditional and anti-foundationalist. It can be said that the major body of postmodern literature is thought to have started from the 1950s onwards. The major postmodern literary features are metafiction, self-reflexivity, intertextuality, writerly text, hybridity, magical realism, foreshadowing, irony, parody, anti-novel, anti-hero, fabulation, surfiction, hyperreality, use of language games etc. The prominent themes in postmodern literature are such as crisis of identity, cultural hybridity, experiences of migrants and their feeling of alienation, the general feeling of rootlessness. Postmodern fiction also emphasizes the disbelief in God as well as the disbelief in the conventional notions of the unified or coherent individual. Salman Rushdie has been studied and researched as a postcolonial writer as there are obvious postcolonial themes in his novels. But we can also study him as a postmodern writer. The paper makes an attempt to discuss the postmodern literary concept of meaningless of life as prevalent in Rushdie’s Shame and to put forth Rushdie as a postmodern writer.
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42

Nayar, Sheila J. "Invisible Representation: The Oral Contours of a National Popular Cinema." Film Quarterly 57, no. 3 (January 1, 2004): 13–23. http://dx.doi.org/10.1525/fq.2004.57.3.13.

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Abstract This paper posits that the formula for India's popular cinema (a.k.a. ““Bollywood””——the Hollywood of Bombay) has been fundamentally contoured by the psychodynamics of orality, i.e., by the thought processes and personality structures that distinguish a non-writerly mindset and its narrative creations. Analyses of several Bollywood hits from the past halfcentury illustrate how.
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43

Schaeffer, Tesla. "Grief As It Is: Genre and Narrative Withholding in the Miserable Memoir." Contemporary Women's Writing 14, no. 1 (March 2020): 13–30. http://dx.doi.org/10.1093/cww/vpaa015.

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Abstract One of the consequences of the so-called “memoir boom” of the 1990s and early 2000s is that it both reflected and generated an enormous hunger for memoirs of grief and suffering; these memoirs combine to provide that increasingly codified genre of storytelling (what the Bookseller magazine and industry jargon term “misery lit”) with fixed conventions. Here, I look at two memoirs, Helene Cooper’s The House at Sugar Beach (2009) and Joan Didion’s The Year of Magical Thinking (2007), in order to trace writerly strategies of resistance against the modes of interpretation that the genre expectations of the grief memoir create. I analyze the moves that the writers make in order to honor the stories they tell despite the pressures that attend generic discourses of suffering, including where those discourses are moored to racial and gender associations.
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44

Mcenaney, Tom. "Forgotten Histories of the Audiobook." Journal of Musicology 36, no. 4 (2019): 437–63. http://dx.doi.org/10.1525/jm.2019.36.4.437.

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This article investigates the different affordances of magnetic tape and print as they are entextualized in various co(n)texts by writers, ethnographers, and musicians throughout the Americas in the late 1960s. I analyze printed books made from tape recordings—Cuban anthropologist Miguel Barnet and his interview subject Esteban Montejo’s Biografía de un cimarrón (Biography of a Runaway Slave, 1966), Rodolfo Walsh’s true-crime denunciation ¿Quién mató a Rosendo? (Who killed Rosendo?, 1968), and Andy Warhol’s experimental a: a novel (1968)—to ask why these writers transduced their recordings into print rather than release them as audiobooks, how or if listening to those tapes would alter the meaning of their printed entextualizations, and what musical interactions with the same media in the same contexts can tell us about the limits both of print and of symbolic musical notation. Tracing the intersection of musical and literary works, the article argues that a writerly ethics of distortion, rather than fidelity, arises from this mutual encounter with sound on tape, and ponders how dialogic audiobooks might contest older issues of power and representation for those writers, North and South, who worked in support of marginalized (Afro-Cuban, working class, and queer) subjects.
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45

MACKENZIE, CRAIG. "‘SIMPLE UNVARNISHED TALES’? A CASE STUDY OF H. C. BOSNIAN'S WRITERLY TECHNIQUE." English Studies in Africa 46, no. 2 (January 2003): 1–12. http://dx.doi.org/10.1080/00138390308691007.

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46

Hannigan, Tim. "Counting Up the Lies." Journeys 19, no. 2 (December 1, 2018): 1–22. http://dx.doi.org/10.3167/jys.2018.190201.

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Travel writers seldom reveal the degree to which they deploy fictional elements in their notionally nonfictional books, nor do they discuss the precise motivations for and mechanics of fictionalization and fabrication in travel writing. In this article a travel-writing practitioner turned travel-writing scholar analyzes his own work: the thirteen-year-old manuscript of The Ghost Islands, an unpublished travel book about Indonesia. This analysis reveals various patterns of fabrication across what was presented as and intended to be a “true account,” including the craft-driven fabrications necessitated by reordering and amalgamating events, the omissions generated by attempts to overcome belatedness and to express antitouristic sentiments, the fictional elements introduced through the handling of dialogue and translation, and the self-fictionalization impelled by awareness of genre conventions. The article highlights the significance of writerly craft as a key—and largely overlooked—variable in the scholarly analysis of travel-writing texts.
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47

Seltzer, Kate. "“A Lot of Students Are Already There”: Repositioning Language-Minoritized Students as “Writers in Residence” in English Classrooms." Written Communication 39, no. 1 (November 4, 2021): 44–65. http://dx.doi.org/10.1177/07410883211053787.

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This article centers on Faith, a Latinx bilingual student who, because of her failure to pass a standardized exam in English language arts, had to repeat 11th-grade English. Despite this stigma of being a “repeater,” during the year-long ethnographic study I conducted in her classroom, Faith proved to be an insightful and critical reader and self-described poet who shared her writing with her peers as well as with other poets in online forums. Drawing from that more expansive classroom study, this article features Faith’s metacommentary on language and her own writing process and explores how her insights (1) disrupt monoglossic, raciolinguistic ideologies by highlighting the disconnect between her sophisticated understandings of language and the writing process and her status as a “struggling” student; (2) draw attention her wayfinding, which chronicles her navigation of those ideologies that complicate her search for a writerly identity and obscure the translingual nature of all texts and all writers; and (3) can move teachers and researchers of writing to reimagine the writing classroom so that it (re)positions students like Faith as “writers in residence,” whose existing translingual writing practices and wayfinding can serve as mentors and guides for others.
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48

Lipschultz, Geri. "Of the World that Freely Offers Itself: An Exploration of Writerly/Artistic Rituals." International Journal of Transpersonal Studies 34, no. 1-2 (January 1, 2015): 202–10. http://dx.doi.org/10.24972/ijts.2015.34.1-2.202.

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49

von Germeten, Nicole. "Sifilografía: a history of the writerly pox in the eighteenth-century Hispanic world." Historian 83, no. 1 (January 2, 2021): 78–80. http://dx.doi.org/10.1080/00182370.2021.1933016.

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Crews, Dan. "Sifilografía: a history of the writerly pox in the eighteenth-century Hispanic world." Journal of Spanish Cultural Studies 22, no. 4 (October 2, 2021): 557–58. http://dx.doi.org/10.1080/14636204.2021.1999038.

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You might also be interested in the bibliographies on the topic 'Writerly' for other source types:
Dissertations / Theses Books
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