Bibliografias temáticas / Creative writing (Higher education) – England

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Literatura científica selecionada sobre o tema "Creative writing (Higher education) – England"

Autor: Grafiati
Publicado: 25 de julho de 2024
Última modificação: 31 de julho de 2024

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Artigos de revistas sobre o assunto "Creative writing (Higher education) – England"

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Mcculloch, Sharon. "Hobson’s choice: the effects of research evaluation on academics’ writing practices in England". Aslib Journal of Information Management 69, n.º 5 (18 de setembro de 2017): 503–15. http://dx.doi.org/10.1108/ajim-12-2016-0216.

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Purpose The purpose of this paper is to examine the influence of research evaluation policies and their interpretation on academics’ writing practices in three different higher education institutions and across three different disciplines. Specifically, the paper discusses how England’s national research excellence framework (REF) and institutional responses to it shape the decisions academics make about their writing. Design/methodology/approach In total, 49 academics at three English universities were interviewed. The academics were from one Science, Technology, Engineering and Mathematics discipline (mathematics), one humanities discipline (history) and one applied discipline (marketing). Repeated semi-structured interviews focussed on different aspects of academics’ writing practices. Heads of departments and administrative staff were also interviewed. Data were coded using the qualitative data analysis software, ATLAS.ti. Findings Academics’ ability to succeed in their career was closely tied to their ability to meet quantitative and qualitative targets driven by research evaluation systems, but these were predicated on an unrealistic understanding of knowledge creation. Research evaluation systems limited the epistemic choices available to academics, partly because they pushed academics’ writing towards genres and publication venues that conflicted with disciplinary traditions and partly because they were evenly distributed across institutions and age groups. Originality/value This work fills a gap in the literature by offering empirical and qualitative findings on the effects of research evaluation systems in context. It is also one of the only papers to focus on the ways in which individuals’ academic writing practices in particular are shaped by such systems.
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Mardiningrum, Arifah, Yan Nisa Intan Sistyawan e Andi Wirantaka. "Creative Writing for EFL Classroom: A Perspective from Higher Education". Journal of Languages and Language Teaching 12, n.º 1 (9 de janeiro de 2024): 546. http://dx.doi.org/10.33394/jollt.v12i1.8888.

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Within the English as a Foreign Language (EFL) context of higher education, there is a discernible emphasis on academic writing, often overshadowing the realm of creative writing. Nevertheless, creative writing remains a prevalent and integral component of EFL education. This study endeavors to scrutinize the perceptions of EFL students regarding creative writing and elucidate the potential benefits derived from its practice. Employing a qualitative approach, the research conducted in-depth interviews as its primary mode of data collection, engaging six students enrolled in an English Education Study Program in Indonesia. These students had actively chosen to participate in an elective course centered on literary works. The study's findings revealed nuanced perspectives among students, highlighting the intricacies associated with creative writing. Students perceive creative writing as intriguing, underscoring the necessity for its inclusion in higher education. Simultaneously, they acknowledge its potential difficulty and emphasize the importance of clarity in its instructional delivery. Furthermore, the research discerned that creative writing serves as a valuable tool for emotional expression, a conduit for the development of creativity and imagination, and a means to refine writing and language skills. The implications of these findings extend beyond the conventional realm of language mastery, emphasizing the multifaceted advantages that creative writing offers in an educational context. Consequently, educators in higher education are urged to deliberate and meticulously plan the incorporation of language in creative writing classes or activities. Recognizing and leveraging the broader educational benefits of creative writing can enhance the pedagogical approach, fostering a more comprehensive and enriching learning experience for EFL students.
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Bulman, Colin. "Creative Writing in Higher Education: Problems of Assessment". English in Education 20, n.º 1 (março de 1986): 48–56. http://dx.doi.org/10.1111/j.1754-8845.1986.tb00681.x.

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Asri, Yasnur, M. Aries Taufiq, Jasril Jasril, Lira Hayu Afdetis Mana e Rahmi Eka Putri. "Analysing Students’ Needs in Creative Writing Course: An Exploratory Case Study in an Indonesian Higher Education". AL-ISHLAH: Jurnal Pendidikan 14, n.º 2 (30 de abril de 2022): 1029–36. http://dx.doi.org/10.35445/alishlah.v14i2.1977.

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This study aims at investigating what students expect when taking a Creative Writing course. To obtain the required data, an exploratory case study was utilized by distributing a questionnaire to the students and conducting interviews with the writing lecturer and the head of the study program. 60 students, one writing lecturer, and the head of the Indonesian Language Study Program were involved in this study. Findings in this study indicated that students expected to learn by having more practice in writing. Four emergent topics were discussed, namely building creativity and accuracy in writing, effective learning methods, available learning resources, and considering students' ability and interest in writing. They wished to write by following the writing process explained by the lecturer. This study concluded that it is required to design a learning model which facilitated students to learn in Creative Writing courses in a better way. The learning model is expected to provide students with the writing process and grammar.
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Wilson, Christine. "Review: Understanding Writing Transfer: Implications for Transformative Student Learning in Higher Education". Teaching English in the Two-Year College 47, n.º 3 (1 de março de 2020): 312–14. http://dx.doi.org/10.58680/tetyc202130588.

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OLTEAN-CÎMPEAN, Alexandru. "Setting up a Creative Writing Program at Babeș-Bolyai University". Studia Universitatis Babeș-Bolyai Philologia 68, n.º 4 (30 de dezembro de 2023): 267–85. http://dx.doi.org/10.24193/subbphilo.2023.4.13.

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"Setting up a Creative Writing Program at Babeș-Bolyai University. The present paper argues for the establishment of a Creative Writing program within Babeș-Bolyai University, by initially providing more courses at the BA level, with an MA in Creative Writing being the end goal. By examining the history of the field and its current status within higher education in America, the UK and beyond, I show that, wherever Creative Writing programs have appeared and gained sufficient traction, they have thrived, attracting significant numbers of students year after year. In those countries outside of Anglophone space where the implementation of Creative Writing is a much more recent endeavor, significant steps have already been taken to analyze and find solutions for the current issues that might slow down the spread of interest in this field. With this in mind, the paper concludes that it is time for Babeș-Bolyai University to embrace this growing trend. Keywords: Creative Writing, Babeș-Bolyai University, humanities, pedagogy, study program."
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Mihăilă-Lică, Gabriela. "The Beginnings of Modern Higher Education in England". International conference KNOWLEDGE-BASED ORGANIZATION 27, n.º 2 (1 de junho de 2021): 155–59. http://dx.doi.org/10.2478/kbo-2021-0065.

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Abstract Realizing that a people can not be entirely conquered unless it is educated to embrace the culture and civilization of the conquerors, the Romans established the first schools in Britain in order to ‘romanize the sons of native chieftains’ [1]. With the arrival of Christianity, associated with the mission of Augustine in 597 AD, the churches took upon themselves the mission of teaching reading, writing and some religious knowledge, but few men benefited from this. The schools in the cathedrals and monasteries gradually grew to become universities, their main objective being to make students understand and explain the truth of God. “After the year 1000, cathedral schools replaced monasteries as cultural centres, and new forms of learning emerged. The cathedral schools were in turn supplanted by the universities, which promoted a “Catholic” learning that was inspired, oddly enough, by the transmission of the work of Aristotle through Arab scholars.”[2]. The paper analyses in broad lines the lengthy and burdensome process the English universities went through until the beginning of the 20th century in order to reach the performance of forming people capable not only of doing research and of disseminating knowledge, but also of contributing to the development of the country.
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Cintamulya, Imas, Lilik Mawartiningsih e Warli* Warli*. "Optimizing the Creativity of Reflective and Impulsive Students through Writing Articles Based on Information Literacy". European Journal of Educational Research 12, n.º 4 (15 de outubro de 2023): 1667–81. http://dx.doi.org/10.12973/eu-jer.12.4.1667.

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<p style="text-align: justify;">Creativity and information literacy are skills necessary for students for task completion in the learning process. One of the tasks assigned to students in learning is to write drafts of scientific articles. Furthermore, teachers must pay attention to cognitive styles in the learning process. This study aimed to describe students' creativity in writing drafts of scientific papers based on information literacy concerning reflective and impulsive cognitive styles. This research was exploratory qualitative research to explain the creativity of reflective and impulsive students in writing scientific article drafts based on information literacy. The research subjects comprised two students for each reflective and impulsive cognitive style. The cognitive style was measured using the Matching Familiar Figure Test instrument. Students' creativity was measured using a test with fluency, flexibility, originality, and elaboration indicators. The results indicated that reflective students were highly creative in writing drafts of scientific articles. Meanwhile, impulsive students were relatively creative in the same activity. In conclusion, students possessing the reflective cognitive style are more creative than students following the impulsive cognitive style in writing drafts of scientific articles based on information literacy. We recommend that writing articles based on information literacy is required to increase HOTs (Higher Order Thinking Skills).</p>
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Sulistijani, Endang, Arinah Fransori e Friza Youlinda. "Kegiatan Menulis Kreatif Sastra Pada Siswa Kelas VII SMP Di Jakarta Timur Sebagai Wujud Gerakan Literasi Sekolah". Nusa: Jurnal Ilmu Bahasa dan Sastra 13, n.º 3 (28 de agosto de 2018): 370. http://dx.doi.org/10.14710/nusa.13.3.370-379.

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The purpose of writing this paper is to describe creative writing activities for seventh grade students in East Jakarta. This activity was carried out by a team of lecturers, students and alumni of the Indonesian Language Study Program at Indraprasta PGRI University as a form of the Tri Dharma of Higher Education in Community Service. The implementation of this activity lasted for two days at two different schools. The method used in this creative writing activity is the lecture and brainstorming methods. In addition, the Community Service team also used a demonstration method in describing the stages or process of creative writing of literature according to its experience in literary copyright. With literary creative writing activities both writing poetry or short stories, from these our team expected that the more real growth and development of school literacy will occur so that more students produce literary works. Therefore, the outcome of this activity is the publication of Short Story Poetry and Antalogy book by students
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Brasil, Luiz Antonio De Assis, Bernardo Bueno, Gabriela Silva, Moema Vilela Pereira, María Elena Morán Atencio, Gabriel Eduardo Bortulini, Marcelo Maldonado Cruz et al. "Percepções e perspectivas discentes nos cursos de pós-graduação em Escrita Criativa da PUCRS". Navegações 10, n.º 2 (31 de janeiro de 2018): 149. http://dx.doi.org/10.15448/1983-4276.2017.2.29789.

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Este artigo se propõe a analisar os dados parciais obtidos pelo grupo de pesquisa Escrita Criativa na Academia: a formação do escritor, que desenvolve, desde 2015, uma pesquisa cujo objetivo geral é analisar a estrutura curricular e as condições de ensino oferecidas pelos cursos de mestrado e doutorado voltados para a formação do escritor, do pesquisador e do docente na área de Escrita Criativa da PUCRS. Pretende-se aqui discutir quais são as percepções dos alunos e egressos do programa de pós-graduação em Escrita Criativa sobre os aspectos mais importantes de sua educação e seus objetivos profissionais na área.********************************************************************Student/alumni perceptions and perspectives in the postgraduate studies Creative Writing courses at PUCRSAbstract: This article aims to analyze the partial data obtained by the Creative Writing in Academia – the writer´s education research group at the Pontifical Catholic University of Rio Grande do Sul (PUCRS) in Brazil. This research, developed since 2015, has as main objective the analysis of Master and PhD-level Creative Writing courses at PUCRS, focusing on study conditions and student/alumni perceptions about their education, its most important aspects, as well as their professional aspirations in Creative Writing.Keywords: Creative writing; Higher education; Graduate studies; Brazil
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Teses / dissertações sobre o assunto "Creative writing (Higher education) – England"

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

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Hatmaker, Elizabeth A. Strickland Ron L. "Producing desire/desiring production reconfiguring creative writing pedagogy /". Normal, Ill. Illinois State University, 2003. http://wwwlib.umi.com/cr/ilstu/fullcit?p3106757.

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Thesis (Ph. D.)--Illinois State University, 2003.
Title from title page screen, viewed October 17, 2005. Dissertation Committee: Ronald Strickland (chair), Janice Neuleib, Cecil S. Giscombe, Karen Coats. Includes bibliographical references (leaves 201-211) and abstract. Also available in print.
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Solomon, Ryan. "In search of copia : a rhetorical approach to teaching creative writing /". Diss., CLICK HERE for online access, 2007. http://contentdm.lib.byu.edu/ETD/image/etd1942.pdf.

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Cucciarre, Christine Peters. "Audience Matters: Exploring Audience in Undergraduate Creative Writing". Bowling Green, Ohio : Bowling Green State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1224415510.

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Light, Gregory James. "The literature of the unpublished : student conceptions of creative writing in higher education". Thesis, Institute of Education (University of London), 1995. http://eprints.ioe.ac.uk/7421/.

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This study develops a non textual theory of creative writing in terms of critical issues of student learning, writing and literature. It does so from a dialogical or intersubjective perspective, grounding both 'learning' and 'literature' in student conception or active understanding of the practice of writing. In this respect, it relates to research in student learning which has established the importance of contrasting (reproducing/transforming) conceptions of and (deep/surface) approaches to learning, and to research on the socio-cultural character of writing and literature. The study employs qualitative methods, focusing on 40 in-depth interviews with students studying and practising creative writing at three different institutions of higher education. Despite the rather unique nature of the discipline, a detailed examination and analysis of the interview transcripts disclosed a typology of six differing conceptions of student understanding and practice of creative writing which parallel, to a large degree, the conceptions of learning in other more traditional academic disciplines. It presents this typology from three accumulating perspectives, compositional, structural and situational. The first two describe the nature of the main transcribing and composing categories of conception and the third grounds conception within the socioacademic encounter between student and course. These findings show, moreover, that student conceptions of creative writing are not stable, independent cognitive entities, but are, rather, characterised by the complex myriad of socio-cultural and institutional issues describing the individual and the writing course; issues governed and defined by an authoritative 'literary' discourse or paradigm. In addition the very distinctive nature of creative writing (often drawing, in the first instance, on personal sources) sheds new light on the nature of conception and suggests an extended, more unified model of student learning.
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McCrary, Robin Micah. "Toward a Cultural Competence in Creative Writing Pedagogies". Ohio University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1578408835816055.

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Fodrey, Crystal N. "Teaching Undergraduate Creative Nonfiction Writing: A Rhetorical Enterprise". Diss., The University of Arizona, 2014. http://hdl.handle.net/10150/319904.

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This project presents the results of a case study of creative nonfiction (CNF) pedagogical practices in undergraduate composition studies and creative writing courses at The University of Arizona, exploring how those who teach CNF at this top-ranked school for the study of the genre are shaping knowledge about it. This project analyzes within a rhetorical framework the various subject positions CNF teachers assume in relation to their writing and teaching as well as the teaching methodologies they utilize. I do this to articulate a theory of CNF pedagogy for the twenty-first century, one that represents the merging of individualist and public intellectual ideologies that I have observed in teacher interviews, course documents, and pedagogical publications about the genre. For students new to the genre, so much depends on how CNF is first introduced through class discussion, representative assigned prose models, and invention activities when it comes to creating knowledge about exactly what contemporary CNF is/can be and how writers might best generate prose that fits the genre's wide-ranging conventions in form, content, and rhetorical situation. Understanding how and why instructors promote certain ideologies in relation to CNF becomes increasingly important as this mode of personally situated, fact-based, narrative-privileging, literarily stylized discourse continues to gain popularity within and beyond the academy.
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Gillam, Kenneth M. Neuleib Janice. "Toward an ecology of revision a revision model of chaos and cooperation /". Normal, Ill. : Illinois State University, 2005. http://wwwlib.umi.com/cr/ilstu/fullcit?p3196646.

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Thesis (Ph. D.)--Illinois State University, 2005.
Title from title page screen, viewed September 25, 2006. Dissertation Committee: Janice Neuleib (chair), Bob Broad, Claire Lamonica. Includes bibliographical references (leaves 221-233) and abstract. Also available in print.
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Bradway-Hesse, Becky Harris Charles B. "Rhetoric, belles lettres, and the emergence of writing programs in the American university". Normal, Ill. Illinois State University, 1998. http://wwwlib.umi.com/cr/ilstu/fullcit?p9924344.

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Thesis (Ph. D.)--Illinois State University, 1998.
Title from title page screen, viewed July 13, 2006. Dissertation Committee: Charles Harris (chair), Ronald Fortune, Curtis White. Includes bibliographical references (leaves 304-316) and abstract. Also available in print.
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Bir, Elizabeth A. "Teaching matters pedagogical ideologies and success in the basic writing classroom /". Greensboro, N.C. : University of North Carolina at Greensboro, 2007. http://libres.uncg.edu/edocs/etd/1510Bir/umi-uncg-1510.pdf.

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Thesis (Ph.D.)--University of North Carolina at Greensboro, 2007.
Title from PDF t.p. (viewed Mar. 11, 2008). Directed by Nancy A. Myers; submitted to the Dept. of English. Includes bibliographical references (p. 176-186).
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Livros sobre o assunto "Creative writing (Higher education) – England"

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Glindemann, Barbara. Creative writing in England, den USA und Deutschland: Kulturelle Hintergründe, literaturwissenschaftlicher Kontext, institutioneller Bezug. Frankfurt: Lang, 2001.

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Thomas, Quiller-Couch Arthur. On the art of writing. Mineola, NY: Dover Publications, 2006.

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Arnold, Rau Hans, ed. Kreatives Schreiben an Hochschulen: Berichte, Funktionen, Perspektiven. Tübingen: M. Niemeyer, 1988.

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Turley, Richard Marggraf. The writer in the academy: Creative interfrictions. Cambridge: D. S. Brewer, 2011.

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Sampildėndėv, Kh. Mongolyn uran zokhiol sudlal. Ulaanbaatar: Sogoo Nuur, 2005.

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Universiṭat Bar Ilan. Shainy Rudoff Graduate Program in Creative Writing. The Shainy Rudoff graduate program in creative writing: At Bar Ilan University ... Ramat Gan: Bar-Ilan University, 2008.

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Programs, Associated Writing. The AWP official guide to writing programs. 6a ed. Norfolk, Va: Associated Writing Programs, 1992.

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

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Moira, Monteith, e Miles Robert 1953-, eds. Teaching creative writing: Theory and practice. Buckingham: Open University Press, 1992.

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1958-, Coffin Caroline, ed. Teaching academic writing: A toolkit for higher education. London: Routledge, 2003.

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Capítulos de livros sobre o assunto "Creative writing (Higher education) – England"

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Roberts, Michael Symmons. "Assessment of Poetry in Higher Education Courses: What Are the Limits?" In Teaching Creative Writing, 151–55. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137284464_21.

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Tarabochia, Sandra L., Kristy A. Brugar e Julie Ann Ward. "Running, writing, resilience". In Creative Expression and Wellbeing in Higher Education, 87–104. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003207863-8.

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Vanderslice, Stephanie. "Chapter 6. Sleeping With Proust vs. Tinkering Under the Bonnet1: The Origins and Consequences of the American and British Approaches to Creative Writing in Higher Education". In Creative Writing Studies, editado por Graeme Harper e Jeri Kroll, 66–74. Bristol, Blue Ridge Summit: Multilingual Matters, 2007. http://dx.doi.org/10.21832/9781847690210-008.

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Buripakdi, Adcharawan, e Napapat Thongwichit. "Reconceptualization of English Creative Writing Instruction in Thai Higher Education". In International Perspectives on Creative Writing in Second Language Education, 65–84. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003183914-6.

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Kruse, Otto, Christian Rapp e Kalliopi Benetos. "Creativity Software and Idea Mapping Technology". In Digital Writing Technologies in Higher Education, 63–79. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-36033-6_5.

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AbstractThis contribution focusses on technologies connected with the graphical representation of knowledge and text content through the generation, creation and organization of important concepts, thoughts or ideas into visual diagrams. Although they already existed in the pre-digital era, with digitalization, mind maps and concept maps have been scrutinized methodologically and the scope of their use has been expanded with respect to function and applicability. For writing, mapping technologies serve both a creative function to develop a pool of interconnected ideas from where to begin writing and a selective and structuring function to organize content during writing. Both kinds of mapping have been developed primarily as learning and thinking tools but can also be used as valuable means of connecting thinking and learning with writing. The contribution shows important developments as well as methodological differentiations and suggests the integration of idea mapping technologies into writing courses at the early undergraduate level, particularly in connection with the teaching of reading, summarizing and synthesizing sources.
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Båth, Katarina. "Insights in Trauma-Informed Pedagogy From the Field of Bibliotherapy, Literary Trauma Studies and Creative Writing". In Trauma-Informed Pedagogy in Higher Education, 131–47. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003260776-12.

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Fiftinova, Erlina e Muslih Hambali. "Twine as a Digital Tool in Writing Digital Fiction: A Creative Writing Instruction in Higher Education". In Proceedings of the 20th AsiaTEFL-68th TEFLIN-5th iNELTAL Conference (ASIATEFL 2022), 208–25. Paris: Atlantis Press SARL, 2023. http://dx.doi.org/10.2991/978-2-38476-054-1_18.

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Ghemmour, Riadh. "Reimagining Research Methods Curriculum in Education Otherwise: A Decolonial Turn". In Creative Ruptions for Emergent Educational Futures, 223–43. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-52973-3_10.

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AbstractThis chapter seeks to explore decolonisation as a creative orientation to problematise the politics of knowledge hierarchies of university curriculum (research methods in the case of this chapter) in order to respond to issues of epistemic violence and exclusion, and create transformative and radical ideas about the future of education. The critical discussions are the result of my interactions with different educators and students within the UK and beyond, my lived experience as an Algerian Kabyle who immigrated to the UK, and my doctoral research. The latter sought to explore the lived experiences of EFL (English as a foreign language) master’s (MA) students in studying research methodology and writing their dissertations in education fields at an Algerian university. I begin to discuss my own education journey in both Algeria and the UK which was grounded in Eurocentrism. The chapter then defines the concept of decolonisation in the context of educational research, and what this proposed orientation may mean for the future of education. I further explain the significance of using decolonisation as a creative approach to address exclusion and inequality, and invite readers to think of what it may mean in terms of their practices, pedagogies and creating new possible realities of educational futures. I also conclude with offering some practical ideas for change to decolonise educational research methods curriculum in a higher education (HE) context.
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Natanel, Katie. "Steps Toward a Decolonial Feminist Ecology". In Creative Ruptions for Emergent Educational Futures, 267–90. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-52973-3_12.

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AbstractThis chapter explores how embodied ecological practices might stretch the space/time of teaching and learning in Higher Education, (re-)orienting students and teachers toward justice and solidarity. Inspired by Raja Shehadeh’s Palestinian Walks (2008) and recent initiatives by BIPOC and LGBTQ+ organisers to increase access to the land, we draw on experiences of facilitating encounters with the natural world in a Higher Education institution based in Devon, southwest England. While our journey begins with a walk designed to provide a break from the weight of study, unexpected ruptures open us to new modes of teaching and learning, connecting to each other and the land, and working toward material and epistemic decolonisation. Step by step, our story reveals how emergent educational futures might nourish political organising and extend the horizon/s of our work. By moving together through local woods, lanes and fields, we connect settler colonialism in Palestine/Israel with the (present-day) coloniality of Britain—in ways that insist on our accountability and action. Moving, breathing and sensing invite new forms of encounter and collectivity, which ground us in a broader ethic of care and sense of shared struggle. These ties, we suggest, are the roots of a decolonial feminist ecology.
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Phillips, Michelle, e Ava Podgorski. "Best Practice Considerations for Arts Educators When Developing Intensive Online Courses for Creative Industries Higher Education Students". In FGF Studies in Small Business and Entrepreneurship, 183–97. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-28559-2_13.

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AbstractThe 2-year StART Entrepreneurship Project (StART) aims to support creative industries students to develop skills and utilise real-world experience to build successful and sustainable careers. UK-based and funded by the Office for Students and Research England, StART is a collaboration between the Royal Northern College of Music (RNCM), the Royal Central School of Speech and Drama (RCSSD) and University of the Arts London (UAL). The project involves the development of new in-curricular and extracurricular content and events, tailored specifically for students studying for higher education degrees in these and other specialist creative arts institutions.This chapter explores one specific way of delivering entrepreneurship education to students, an intense period of contact time often referred to as a ‘boot camp’. The chapter outlines the planning stage of this event, including how existing research on entrepreneurial learning might be mapped onto the boot camp format and how aspects of the QAA (Enterprise and Entrepreneurship Education: Guidance for UK education providers, Quality Assurance Agency for Higher Education, Gloucester, 2018) guidance was to be integrated. The chapter will also detail how existing frameworks such as EntreComp (McCallum et al., Joint Research Centre Entrepreneurship and the creative economy (3):400–414, 2018) and the CLEAR IDEAS model (Birdi, European Journal of Work and Organizational Psychology 30(3):400–414, 2021) informed design and delivery and how input from external industry partners and students themselves (both event participants and members of the StART Student Advisory Board) was a key part of the planning.
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Trabalhos de conferências sobre o assunto "Creative writing (Higher education) – England"

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

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Currently, educational policymakers identify Critical Thinking (CT) as an essential aspect of progress and knowledge growth in any field and in the broad society. Peer interactions and individual writing are helpful pedagogical strategies for CT development that could be enhanced by the use of technologies (Guiller, Durndell, &amp; Ross, 2008). Starting from the above-mentioned evidence, a university module was designed by combining collaborative and creative writing with the critical analysis of literary texts and the fruition of figurative arts. 123 students worked in groups and their CT level was assessed at different times of the course. Most of the students’ groups showed an increase in their CT level whilst a few did not. The difficulties in the management of group dynamics corresponded to the decreasing CT level. On the contrary, groups able to organize their work improved their CT throughout the course. Additionally, students’ work modes had an impact on their performance at different CT tasks. The research results could be used to improve university course design for CT education.
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Sukirno, Sukirno, M. Fakhrudin e Junaedi Setiyono. "Teaching Creative Writing Using Wiki Collaborative Learning in Higher Education". In Proceedings of the International Conference on Interdisciplinary Language, Literature and Education (ICILLE 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icille-18.2019.81.

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Van Goch, Merel. "Creativity in liberal education before and after study commencement". In Fourth International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2018. http://dx.doi.org/10.4995/head18.2018.8228.

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In today’s society, creativity is an important quality. Creativity is defined as the ability to produce something novel and valuable as defined within a social context and it involves skills such as divergent thinking, problem solving and perspective taking. This study assesses the creative potential of students before and after commencement of an interdisciplinary, liberal undergraduate program. In between measurements, students followed a course in connective thinking through creative reading and writing. The results showed that students’ creative potential developed over time. Implications for theory as well as practice are discussed.
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Rosmawaty, Rosmawaty, Sumarsih Sumarsih, Muhammad Joharis e Achmad Yuhdi. "Learning Design of Creative Writing in Higher Education Based on Case and Team Based Project Methods in Creating High Order Thinking Skill". In Proceedings of the 5th International Conference on Innovation in Education, Science, and Culture, ICIESC 2023, 24 October 2023, Medan, Indonesia. EAI, 2024. http://dx.doi.org/10.4108/eai.24-10-2023.2342320.

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Dissanayake, Achala K. "The Use of the Literary Present Tense in Literary Analyses Written by Undergraduates of English Literature in Sri Lanka: An Error Analysis". In SLIIT International Conference on Advancements in Sciences and Humanities 2023. Faculty of Humanities and Sciences, SLIIT, 2023. http://dx.doi.org/10.54389/xlko6426.

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In literary analyses, the literary present tense is used to discuss certain events that take place in literary works. In other words, in literary analyses, writers sometimes use the present tense in reference to works of literature written in the past. Literature students for whom English is a second language can find it daunting to grasp the concept of using the simple present to discuss past events. Apart from this confusion, undergraduate students of English literature can face difficulty in distinguishing between the creative and academic writing styles, especially as they are exposed to both styles of writing and are expected to write academically about creative writing. Against this backdrop, this study analyzed errors related to the use of present tense that occurred in academic writing samples of 21 undergraduate students studying English literature at a Sri Lankan non state higher education institute. The causes of these errors too were determined. The error analysis was conducted according to the five steps suggested by S. Pit Corder (1967). A total of 32 present tense-related errors were identified. Of them, 12 were instances of when the literary present tense was not used where necessary. The remaining 20 errors were examples of students’ usage of the simple present tense instead of the simple past. These two types of errors indicate that the students lack knowledge and/ or practice in determining when (and when not) to use the literary present tense in their literary analyses. Furthermore, a reporting sentence which could be written in either the simple present or simple past tense was identified; such reporting sentences can be construed as increasing the difficulty that students would face in the selection of tenses. Therefore, it can be concluded that literature undergraduates should be introduced to the concept of the literary present tense, which is not a term that is frequently discussed in books written about the pedagogy of academic writing, according to the researcher’s knowledge.
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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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Mercean-Țârc, Mirela. "The genre of symphony in the transylvanian school of composition – the last seven decades". In Conferința științifică internațională "Învăţământul artistic – dimensiuni culturale". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2022. http://dx.doi.org/10.55383/iadc2022.04.

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The term „school of composition” has been used mainly to define a group of composers whose directions in music creation meet two conditions: claiming from a founding- master and respecting the continuity of the traditions established by him, often going beyond the original model. In this sense, we should emphasize the contribution made by Professor Sigismund Todita to the establishment of the composition school within the “Gh. Dima” Academy of Music in Cluj-Napoca, one of the most active musical higher education institutions from Transylvania in the second half of the 20th century. A dominant figure by the authority conferred by erudition and his encyclopedic spirit, S. Toduţă formed entire generations of composers whose creative path also marked original orientations in contemporary Romanian music. Maestro Cornel Ţăranu took over the management of this composition school after the retirement of S. Toduţă, in the last two decades of the 20th century and the first decade of the new millennium. Currently, the composer Adrian Pop is the main coordinator of the destinies of the future music creators, Adrian Borza, Şerban Marcu and Cristian Bence Muk taking over the responsibility of consolidating a bright future for music composition in this prestigious Transylvanian school, The „Gh. Dima” Academy of Music from Cluj-Napoca The paper aims to highlight the role and the place of symphony in the creation of these composers, as the fruit of creative maturity, of the craft in the art of orchestral writing. At the same time, it will try to draw a global picture of the evolution of this genre in terms of stylistic stages, of the language of each composer and the adaptation to the orientations and the directions of contemporary music in the last seven decades.
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