Siga este link para ver outros tipos de publicações sobre o tema: Creative writing.
Teses / dissertações sobre o tema "Creative writing"
Crie uma referência precisa em APA, MLA, Chicago, Harvard, e outros estilos
Veja os 50 melhores trabalhos (teses / dissertações) para estudos sobre o assunto "Creative writing".
Ao lado de cada fonte na lista de referências, há um botão "Adicionar à bibliografia". Clique e geraremos automaticamente a citação bibliográfica do trabalho escolhido no estilo de citação de que você precisa: APA, MLA, Harvard, Chicago, Vancouver, etc.
Você também pode baixar o texto completo da publicação científica em formato .pdf e ler o resumo do trabalho online se estiver presente nos metadados.
Veja as teses / dissertações das mais diversas áreas científicas e compile uma bibliografia correta.
1
King, Willow. "Yantra: A creative writing thesis (Original writing, Poetry, Creative fiction)". Diss., Connect to online resource, 2005. http://wwwlib.umi.com/cr/colorado/fullcit?p1425764.
Texto completo da fonte
2
Bonhomme, Desmond. "Creative Writing Thesis: Poetry". Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/cmc_theses/563.
Texto completo da fonteResumo:
The title of this compilation of my own creative writings is Trees, Breathe, Paper. This unique collection of poetry, short stories and prose contains a range of work, composed from 2002-2012. The thematic goal of this undertaking is to ballast as many implicit and explicit meanings as are comprehensible, and to extrapolate a distinct spectrum of latent and straightforward explanations with discernible psycho-analytical accuracy. We all know poetry is truly formless and based on springs of natural inspiration. Thus, we derive our purest inspiration from the natural world and we prune it in its unfiltered, raw state. Poetry is an externality that materializes from thin air.
3
Riber, Henrik, e Pontus Sjögren. "Motivation in Creative Writing". Thesis, Malmö universitet, Fakulteten för lärande och samhälle (LS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-35292.
Texto completo da fonteResumo:
This paper aims to investigate to what extent creative writing promotes motivation for EFL learners to write. A report published by the National Assessment Project (NAFS) commissioned by The Swedish National Agency for Education evaluated the national tests in English for Swedish students during 2018/2019, documenting that the Swedish students obtained the lowest English scores on writing. This result corresponds with the national test scores in English from earlier years. According to The Swedish National Agency for Education (Skolverket, 2019) motivation is a necessary component for L2 learning, and teachers are expected to play a fundamental role in creating student motivation. However, research within the area of motivation indicates that the understanding of motivation in L2 learning is limited. Likewise, the research indicates a need for the understanding of motivation to be both revised and subject to further research, both to understand the nature of motivation and to define tools on how to push motivation in L2 writing. One such tool could be creative writing (CW). Thus, to understand to what extent CW can motivate EFL learners to write, we explore recent studies that examine how different implementations of CW activities and CW courses can motivate students to write within a school context. In the study, we argue that CW motivates EFL learners to produce text. CW seems to facilitate relevance for the student and empower writing activities that consider the student’s self-interest as well as bring new life to the student’s understanding of writing. The insights of this study hold pedagogical values for L2 writing in the EFL classroom.
4
Smith, Heidi Ann. "Sensing the logic of writing : creative writing reimagined". Thesis, Middlesex University, 2016. http://eprints.mdx.ac.uk/20822/.
Texto completo da fonteResumo:
This project draws attention to the ‘graphic elements’ – both written and visual – of a creative writing practice by exploring those graphic elements in both the critical component of this mixed-mode dissertation and in a series of creative artefacts. Its principle aim is to record how as a practising creative writer-researcher I have made a series of artefacts as a way of providing an opportunity for readers and researchers to explore this specific instance of theoretically-informed aesthetic experimentation. The psychophysiological researcher, Tony Bastick, having investigated expert ‘experimenters’ in Intuition: How We Think and Act (1982), identified an “intuitive method” that provides “insights” into a “creative process” that is, importantly, “preverbal”, yet not in fact visual (298–299). In this project I raise a different set of questions from those raised by ‘alphabetically’-guided ways of creating writing, as a means of continuing to learn and reinvent my own creative writing practice as mixed-mode (combining written and visual invention). My proposal is to demonstrate how a creative writer-researcher with a keen interest in the visual arts might make an original contribution to the fields of creative writing and visual arts by providing readers with an opportunity to view and examine that set of artefacts alongside a critical document that explores how the choices were made during the double creative process. My central hypothesis is that a practising creative writer-researcher is uniquely situated to identify how her or his own expanded and complexified creative writing process might work and to share that specific crossdisciplinary knowledge as the epistemic aspects of a creative writing practice draws on resonances and exchanges with other disciplines, including the visual arts. On these bases this mixed-mode submission includes a portfolio of writing within a visual arts framework together with a written critical commentary focused on issues raised by those complex practices themselves.
5
Біскуб, Ірина Павлівна, e Iryna P. Biskub. "Computer Literacy and Creative Writing". Thesis, Горлівський державний педагогічний інститут іноземних мов, 2006. http://evnuir.vnu.edu.ua/handle/123456789/1003.
Texto completo da fonte
6
De, Maci Lola De Julio. "Curriculum design in creative writing". CSUSB ScholarWorks, 1995. https://scholarworks.lib.csusb.edu/etd-project/1012.
Texto completo da fonte
7
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.
Texto completo da fonte
8
Dolgin, Steven Alfred Getsi Lucia Cordell. "Creative writing and the composing process the role of creative writing in the English curriculum /". Normal, Ill. Illinois State University, 1987. http://wwwlib.umi.com/cr/ilstu/fullcit?p8713213.
Texto completo da fonteResumo:
Thesis (D.A.)--Illinois State University, 1987.Title from title page screen, viewed July 25, 2005. Dissertation Committee: Lucia C. Getsi (chair), Curtis K. White, Robert D. Sutherland, Ronald J. Fortune, William E. Piland. Includes bibliographical references (leaves 137-140) and abstract. Also available in print.
9
McDonald, Zoe Nicole. "Writing Gets Personal: Listening at the Intersections of Creative Writing and Writing Tutoring". ScholarWorks @ UVM, 2018. https://scholarworks.uvm.edu/graddis/842.
Texto completo da fonteResumo:
In this thesis, I investigate the extent to which creative writing impacts the ways writing tutors work with student writers on their academic writing. In doing so, I interview five writing tutors with creative writing experiences for their personal definitions of creative writing, and the extent to which drawing on, or ignoring, creative writing impacts their writing tutoring.
Through combining the interviews with reflections into my writer identities, I find creative writing focuses on self-expression and narrative features which strengthen disciplinarity and conventions. Additionally, focusing on creative writing’s influence in the writing center allows tutors to engage as fellow writers able to learn alongside the students they tutor.
Specifically, I notice writing tutors perceive a division between creative and academic writing. Crossing that perceived division requires a willingness to confront assumptions about academic and creative writing, but allows for the opportunity for tutors and the students they tutor to deepen their writing processes.
10
Mattingly, Stacy. "The hit and other writing". Thesis, Boston University, 2012. https://hdl.handle.net/2144/32034.
Texto completo da fonteResumo:
Thesis (M.F.A.)--Boston University. Please note: creative writing theses are permanently embargoed in OpenBU. No public access is forecasted for these. To request private access, please click on the locked Download file link and fill out the appropriate web form.2031-01-02
11
Davies, Dawn. "Mothers of Sparta". FIU Digital Commons, 2015. http://digitalcommons.fiu.edu/etd/1929.
Texto completo da fonteResumo:
Mothers of Sparta is a collection of thirteen personal essays that examine place—knowing one’s place, and finding one’s place in the world. The narrative arc chronicles the narrator’s childhood, young adulthood, marriage and child rearing years, ultimately encompassing the difficulties of raising a child who, due to brain damage, faces an uncertain future.
As the narrator grows older, place shifts from a concrete knowledge of the physical world around her, to learning her place within gendered and regional social constructs, and defining her place through roles such as wife, mother, student and writer.
These essays are diverse in style. Woven throughout is a theme of violence, weighted with visceral language: the violence of accident and death, the violence that occurs in nature and in domestic spaces, and the violence that often goes unnoticed because we live in a violent world.
12
Cailes, John. "Towards the light : A fictionalized (auto) biography". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2005. https://ro.ecu.edu.au/theses/673.
Texto completo da fonteResumo:
Towards the Light - - at times biographical, autobiographical, and basically fiction - is built out of anecdotes supplied to me as the result of direct questioning of my parents and relatives, and from my own memories of past experiences; from private 'on the ground' observations both in Western Australia and in Cornwall, England – and, where factual information is lacking, a good deal of creative invention on my part. My paternal great-grandfather who at the age of eight began his working life in a Cornish tin mine provided me with a figure central to my purpose while constructing this narrative. To this character I have added details borrowed from or inspired by events that at times affected various other members of my family and those to whom they were devoted. Notable contributors to the composite character to whom I have given the name of Harry Coates, and to his family, are my father, his brothers and my own siblings. I suspect that I, too, appear reflected in the main text; but in general I have 'tried to contain my overt self within the autobiographical accompaniment that appears at the head of most chapters of the work. My over-arching interest, however, is in representing ordinary people such as inhabit the mostly anonymous majority of any society, the name-less ones whose existence is often only inferred in official histories; people such as the other forty-nine milliners and dressmakers besides Ann Haynes in Perth, for instance, to whom Tom Stannage refers in his The People of Perth (1979:114) or just a sample of the reported 8000 by which the Western Australian (white) population grew in the period 1870-1884 (Crowley,1964:33) - men and women who go about the vital business of their own survival.
13
Braun, Jennifer Ann. "Wikis and the creative writing process". Thesis, University of British Columbia, 2009. http://hdl.handle.net/2429/11442.
Texto completo da fonteResumo:
A wiki is one example of social software that can assist and augment the creative writing process in a number of ways. In this thesis, I present a work of original fiction developed in a wiki, a select literature review on wikis, an autoethnography of my creative writing process while working in a wiki, and an ethnographic study of my students who wrote their own wiki stories. The research thus far suggests that wikis can facilitate the following vis-à-vis creative writing: increased risk-taking; more extensive revision and editing; greater flexibility and freedom for writers; instant access to writing via the internet; the storage of intermediate drafts; and the ability to incorporate multimedia and hyperlinks to convey complexity in ways not possible in print. Wiki environments may also support dialectical inquiry and collaboration between students and teachers. This opportunity for easy (and easy to monitor) collaboration, along with their organizational and creative affordances, is why wikis should be more readily adopted into school curricula. As many texts today are digital, collaborative and under constant revision, wikis can support the creative writing process in a milieu that is becoming increasingly comfortable for people and provide them with a much wider audience than most print formats.
14
Knez, Dora. ""The Release" : a creative writing thesis". Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60609.
Texto completo da fonteResumo:
The genre of fantasy contains texts which are unlike, or distance from, the real or empirical world--the world of the reader's experience. Nevertheless, fantasy texts can reveal truths which are relevant to the empirical world, and thus fantasy texts can be said to have cognitive value. The notion of possible worlds, the semiotic theory of metaphor, and a discussion of ambiguity are the three critical approaches used to investigate the cognitive value of fantasy texts. The stories in this collection provide a sampler of fantasy figures--such as mermaids, ghosts and living mummies--and make use of the emotional power of ambiguity.
15
Melkersson, Fabian. "Facilitating Learner Engagement in Creative Writing". Thesis, Malmö universitet, Malmö högskola, Institutionen för kultur, språk och medier (KSM), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-41048.
Texto completo da fonteResumo:
Creative writing is a well-established approach to teaching English in the L2 classroom, with the Swedish curriculum including it among its core contents section. There is however a lack of research done on the field, especially when it pertains to learner engagement. As such, this study investigates to what extent engagement in learners can be fostered and facilitated for creative writing. The method used is an analysis of the empirical studies performed on the subject to this date, with the aim of making conclusions based on their findings. Some of the conclusions made from those are that learner engagement can be fostered and facilitated in creative writing, but any exercise should take into concern the learners’ own interests and capabilities. The results also suggest including feedback and revision in every creative writing exercise to extend the time spent on any given project, leading to higher engagement levels in the given exercise. The results of the analysed studies do suggest a clear picture of the advantages of creative writing for engagement, but the lack of research on the subject, both in a Swedish and international context, coupled with creative writing’s central role in the classroom suggests more research needs to be done on the subject.
16
Sprackland, Jean. "Creative writing on place and nature". Thesis, Manchester Metropolitan University, 2016. http://e-space.mmu.ac.uk/612204/.
Texto completo da fonteResumo:
This PhD by Publication (Route 2) brings together a series of three books of which I am the sole author, and which share common ground in terms of theme and preoccupation. I seek to demonstrate how these three publications have contributed to the existing body of work in creative writing about place and nature, and specifically how they might be seen to address three key research questions. The submission includes my two most recent poetry collections, Tilt (2007) and Sleeping Keys (2013), both of which are characterised by an awareness of place and an acute attention to the natural world. These two collections explore two very different kinds of location: the poems in Tilt are mostly situated in the wide open spaces of the coast, whereas those in Sleeping Keys are largely located indoors, in the rooms of houses, occupied or abandoned. The third item in the submission is Strands: A Year of Discoveries on the Beach (2012), a book of essays or meditations which collectively describe a year’s walking on the wild estuarial beaches between Formby and Southport, charting the changing character of place through different weathers and seasons. This text might be classified as ‘creative non-fiction’ or ‘narrative non-fiction’ (neither of these terms is entirely uncontroversial or clearly defined). These three books have achieved a large and international readership. They are recognised by critics and by other writers as examples of the recent renaissance in creative writing on place, landscape, nature and environment. All three contribute to current discourses about ‘the new nature writing’, which have been particularly significant and audible over the past seven years. More broadly, all three contribute to ‘place writing’, which is not limited to the natural world but engages in more diverse ways with notions of place and space and our human interactions with them. I will therefore consider my work and its contribution to these two distinct but overlapping disciplines. Both are of course international, but for the purposes of this commentary I am considering them within a British context.
17
Houston, Elisabeth. "Dollhouse poems". Thesis, Boston University, 2012. https://hdl.handle.net/2144/31568.
Texto completo da fonteResumo:
Thesis (M.F.A.)--Boston University. Please note: creative writing theses are permanently embargoed in OpenBU. No public access is forecasted for these. To request private access, please click on the locked Download file link and fill out the appropriate web form.2031-01-01
18
Ayars, Katherine. "The burgundy room and other stories". Thesis, Boston University, 2012. https://hdl.handle.net/2144/31502.
Texto completo da fonteResumo:
Thesis (M.F.A.)--Boston University. Please note: creative writing theses are permanently embargoed in OpenBU. No public access is forecasted for these. To request private access, please click on the locked Download file link and fill out the appropriate web form.2031-01-01
19
Chow, Ashley E. "Dust". Thesis, Boston University, 2012. https://hdl.handle.net/2144/31527.
Texto completo da fonteResumo:
Thesis (M.F.A.)--Boston University. Please note: creative writing theses are permanently embargoed in OpenBU. No public access is forecasted for these. To request private access, please click on the locked Download file link and fill out the appropriate web form.2031-01-01
20
Donate, Charles Alfredo. "I got revolution and other stories". Thesis, Boston University, 2012. https://hdl.handle.net/2144/31539.
Texto completo da fonteResumo:
Thesis (M.F.A.)--Boston University. Please note: creative writing theses are permanently embargoed in OpenBU. No public access is forecasted for these. To request private access, please click on the locked Download file link and fill out the appropriate web form.2031-01-01
21
Gavin, James. "The copy chief and other stories". Thesis, Boston University, 2012. https://hdl.handle.net/2144/31558.
Texto completo da fonteResumo:
Thesis (M.F.A.)--Boston University. Please note: creative writing theses are permanently embargoed in OpenBU. No public access is forecasted for these. To request private access, please click on the locked Download file link and fill out the appropriate web form.2031-01-01
22
Caine, Marjory. "What is creative about creative writing? : a case study of the creative writing of a group of A Level English Language students". Thesis, University of Sussex, 2014. http://sro.sussex.ac.uk/id/eprint/48753/.
Texto completo da fonteResumo:
This thesis reports on a case study of the creative writing of A Level English Language students. The research took place over the two year course and involved five students from one class in an 11 – 18, secondary grammar school in the South East of England. The students were aged 16 at the beginning of the case study. There were two girls and three boys, and all from families with little or no tradition of going to university. The research was based on the theoretical framework of the New Literacy Studies (The New London Group, 1996), where literacy is seen as a socially constructed phenomenon. Genres, discourse and creative voices were researched through discourse analysis toolkit to reflect and interrogate the socially constructed literacy event: the two pieces of coursework each participant produced. Additional data was also included to present a kaleidoscopic deep study of the literacy practice through using interviews, domain-mapping and questionnaires. It is also a reflexive study as it has built on findings from earlier studies for the EdD course, and also projects forwards to the continuing tensions in the teaching of English. Although Creative Writing is now an accredited A Level for examination from 2014, and is a valued component of the A Level English Language, in the earlier years of secondary education students have had limited exposure to creative writing. This is due to the effect of the National Curriculum that has shaped the generation of this case study. Creative writing has been marginalised and devalued within the GCSE (paradoxically since the QCA, 2007 Programme of Study for English put greater emphasis on creativity), where there is limited creative writing opportunity: teachers select a title from a possible six which their students respond to. The Department for Education's draft new National Curriculum has a brief reference to creativity in a list where grammar and accuracy are prioritised. There is a tension in what policy statements, including stakeholders such as Ofsted, say about creative writing and what students experience in delivery of the syllabus driven by the National Curriculum. There is also the anomaly that many students have a range of literacy practices as they operate in increasingly multimodal literacies that schools do not recognise as writing experiences. At present, there is much written about creative writing in primary schools and in Higher Education; but the creative writing of young adults following an A Level course is not visible in policy documents, nor the focus of academic research (with a few exceptions such as Dymoke, 2010, and Bluett, 2010). Therefore, it is an area that is worth exploring. The original contribution to knowledge that the thesis provides is a definition of the literacy practice of the creative writing of A Level English Language students. The thesis, through the case study, identifies the range of influences the students draw on and, in particular, the evidence of intertextuality. How the students develop and shape their creative writing through different creative voices, building on the intertextual influences is presented through the lenses of multiple and multimodal data-sets. In conclusion, a pedagogical model is offered for practitioners who perceive echoes with their own educational contexts.
23
Javeri, Sabyn. "The creative process : a journey of self-discovery through creative writing". Thesis, University of Leicester, 2016. http://hdl.handle.net/2381/37801.
Texto completo da fonteResumo:
This PhD submission constitutes a novel and accompanying critical commentary. My novel Nobody Killed Her provides an alternative history of the assassination of Pakistan's only female Prime Minister, Benazir Bhutto. The thesis questions the choices I made in order to develop the writing of this novel and the decisions I took in order for it to reach its readers. I discuss the issues of creative integrity and the role of the publisher as an enabler, and as a modern day censor. I examine the role of literary influences and publishing pressures on the multi-layered and shifting strains of the creative process and explore fiction as a powerful tool for communicating the paradoxical state of modern Pakistani women, which my novel draws upon. Accordingly, my research narrative is interspersed with personal vignettes that helped shape my writing. Reflecting upon the role of memory, history and politics, and literary influences that shape our writing, I try to interrogate the ‘flash-bulb’ moments of inspiration and argue that creative writing is actually a series of complex thought processes that shape our consciousness. I have also, during the compilation of this essay, looked critically at the role of the publisher in shaping an author’s creativity and the author’s desire for publication in influencing his or her creative choices. I have examined the role of the audience, by asking who the writer is writing for, concluding that the creative journey is more important than the destination i.e., the culmination of the writing into a published form. I conclude by contending that creative writing is above all communication, not just with the reader but also with one’s self. It is about self- expression and therefore must remain true to the self.
24
Reynolds, Kimberly Jo. "Grit Line". TopSCHOLAR®, 2010. http://digitalcommons.wku.edu/theses/1095.
Texto completo da fonte
25
Graber, Margaret Ann. "These Hearts are Watermelon". OpenSIUC, 2014. https://opensiuc.lib.siu.edu/theses/1389.
Texto completo da fonteResumo:
This thesis examines the construction and deconstruction of home. These poems explore this theme largely through the poet's relation to geography and the natural world of the Great Lakes region, friends and family, experiences centered in human interconnectedness, traveling, the impact of technology, orientation in a cosmic space, the ways in which culture shapes and reshapes the one living inside it, and how in a 21st century world, one must still seek to show compassion for other living creatures. Through the utilization of metaphor, narrative, and imagination, this thesis journeys from the poet's home of Indiana to her ancestral roots of Ireland before returning to America with a more complex sense of identity as well as a renewed vision for the future.
26
Durst, Tristan. "Marathon". Digital Commons @ Butler University, 2017. https://digitalcommons.butler.edu/grtheses/495.
Texto completo da fonte
27
Adédínà, Fémi A. "Death's laughter (novel) and crafting a novel (exegesis)". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2011. https://ro.ecu.edu.au/theses/388.
Texto completo da fonteResumo:
This thesis consists of a creative component, a novel, Death’s laughter and an exegetical essay, Crafting a novel. The novel centres on a true Nigerian story: a Pentecostal pastor, who died in a plane crash, was a government official found out to have amassed large sums of money and assets that were far greater than could be accrued from his modest salary. In addition, he was accused of bigamy because he had two wives who did not know each other in two different cities within the country. This basic story serves as the nucleus of the novel. The novel tells the stories of various characters who were created with the intention of telling their own stories and, in doing this, giving the readers a montage of the pastor who was passive but ever present in the novel. Though the pastor dies in Chapter One of the novel, each character -- who is related or has a relationship with the pastor -- tells their own stories and together builds a picture of what happened to the pastor and the kind of person he was. Pastor Jude Akanmu Babajide in the novel represents the Pastor Femi Àkànní, who was the character in the true Nigerian story. This novel does not paint a picture based on the research into the Nigerian pastor, it creates a fictional account of the pastor and of the various characters who populated the novel. As the reader goes through the various tales he/she is given an insight into Nigerian society and an introduction to some Yoruba cultural concepts.
28
Coulter, Catherine Ann. "Writing with word processors : effects on cognitive development, revision and writing quality /". Full-text version available from OU Domain via ProQuest Digital Dissertations, 1986.
Encontre o texto completo da fonte
29
Zhao, Yan. "L2 creative writers : identities and writing processes". Thesis, University of Warwick, 2011. http://wrap.warwick.ac.uk/45919/.
Texto completo da fonteResumo:
L2 creative writing research is a relatively unchartered area. Pedagogical discussions on L2 creative writing activities often focus on manifestations of L2 learners' language learning, writing improvement, or expressions of emotion. There is a lack of research investigating the underlying identities of L2 creative writers as social agents. The present research targets the L2 creative writers who are interested and experienced in certain forms of creative writing. It investigates if and how L2 creative writers' emergent identities enacted in their online cognitive writing activities under particular tasks are mediated by the writers' 'autobiographical identities' (Clark and Ivanič, 1997) rooted in their life histories. Fifteen L2 creative writers from diverse sociocultural and academic backgrounds participated in the research. Firstly, the participants' 'autobiographical identities' were explored through eliciting their retrospective life-history accounts in in-depth interviews. Secondly, the research implemented two think-aloud story-writing sessions (Autobiographical writing & Prompted story-continuation writing) to capture the writers' emergent identities instantiated in their cognitive writing processes. Subsequently, the interconnectedness between these two types of identities was sought. Two parallel data analyses were conducted: 1) quantitative data coding targeting all fifteen L2 creative writers and 2) qualitative discussions concentrating on five selected focal participants. These two levels of analyses together show that the participants' cognitive writing processes as evinced through their engagement in these creative writing activities (i.e. their task-situated emergent identities) are mediated by the writers’ previous participation in multiple discourses and social worlds up to the moment of writing (i.e. their autobiographical identities formed throughout their life histories). The findings suggest certain directions for theory development in L2 creative writing research as well as in L2 writer identity research. Regarding L2 creative writing research, L2 teachers' practice could be enhanced by a deeper understanding of how creative writing is employed by L2 individuals not only for language or literacy acquisition purposes, but also as a self-empowering tool to achieve particular social positioning. Secondly, regarding L2 writer identity research, more research needs to be done regarding this micro and dynamic view of writer identity which resides in the movements of the writers' emerging thoughts situated in an immediate creative writing context and mediated by the writers' previous sociocultural experiences.
30
Warr, Tracey Karen. "Creative acts : curating and writing with artists". Thesis, University of Plymouth, 2006. http://hdl.handle.net/10026.1/1150.
Texto completo da fonteResumo:
The published texts and curatorial practice collected together in this PhD interrogate the nature of the creative act in contemporary visual art practices. They focus on the complex of co-creation in relation to: - creative acts of dialogue between the practices of artists, curators and writers - creative acts of experiencing the world - creative acts of making art about experiencing. They form a coherent programme of research addressing: - site-based and contextually engaged curated projects since the 1950s - relationships between, and definitions of, the roles of curator, writer and artist in contemporary practices - the nature of authorship and collaboration - histories, theories and practices around Body Art and Land Art - current philosophical and scientific debates around consciousness - the situated, immersive and creative nature of embodied consciousness - writing practices that address consciousness and experience. The material draws, in particular, on the ideas and work of James Joyce and Marcel Duchamp, as well as a range of other thinkers including Georges Bataille, Rosalind Krauss, Mary Douglas, Francisco Varela and Elaine Scarry. Section 1 Includes materials and discussion of independent site-based curatorial projects In the UK including New British Sculpture, Edge 90, Edge 92, TSWA, Tyne International, Artscape Nordland and Artangel. Artists discussed include Helen Chadwick, Cornelia Parker, Guillermo Gomez Pena & Coco Fusco, Maria Thereza Alves, Alan Michelson & Jimmie Durham. This section also includes articles on Marina Abramovic, Dorothy Cross and Carolee Schneemann. Section 2 includes materials and discussion of curatorial and writing projects concerned with the nature of experience and embodied consciousness. This includes the projects EarthWire with artists Kathleen Rogers, Rena Tangens, Jozefa Rogocki and Bruce Gilchrist, James Turrell's Northumberland Skyspace and Twilight It also includes writings on the artist's body, embodied consciousness, documentation and performance, James Turrell, Heather Ackroyd and Dan Harvey, Chris Burden, Joan Jonas and Cyril Lepetit. Section 3 considers embodied consciousness immersed in its environment and the work of artists addressing this theme. It includes the curatorial projects Here, Contemporary Romantic and the sound art festival OX' with artists including Ray Lee and Alexel Shulgin, the exhibition projects KnoWhere, Generator and Dialogue and writings on art and weather, women's art, KnoWhere, Marcus Coates, London Fieidworks and Optik.
31
Starks, Erica Holmes. "Honoring ancestors through pilgrimage and creative writing". Thesis, Institute of Transpersonal Psychology, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1599165.
Texto completo da fonteResumo:
Ancestor reverence, in this study, is considered to consist of reflecting on and honoring the women and men who came before us in our bloodlines, including those friends and chosen family who were part of our intellectual or spiritual lineages. Many traditions include beliefs that our consciousness continues after death, and some traditions hold that ancestors may influence the events of the living or intercede with the gods on the living's behalf. In many traditions ancestors are honored through altar building, rituals, and trance journeys. Rituals performed for the ancestors create strong familial and community bonds. This thesis work is important because it expanded the opportunities for me to understand my family dynamics and to develop relationships with my deceased foremothers and forefathers. I learned about myself in understanding my families' past and felt stronger connections to my lineage and progeny. The literature revealed that genealogy research is a form of ancestor reverence; especially in Western cultures that no longer have formalized ancestor reverence rituals and practices. Through genealogy research, I learned the names and stories of my ancestors and ancestresses and, in combination with that research, on a pilgrimage to my ancestral homeland, I explored my matriline using an archaeomythological and feminist lens that combined archaeology, anthropology, mythology, folklore, genetics, ecology, and history to search for the evidence of what women did throughout herstory. I gathered the stories focused on how women worked, lived and contributed to society throughout history, because the stories of my ancestresses, like the accomplishments of most women from 1500-1900, were often omitted from written history. A sacred journey can catapult the participant into greater and faster spiritual growth; this was true for me in that I may not have gained this wisdom otherwise. In this paper I explored the idea that ancestors were revered through multiple methods, including pilgrimage and creative writing. While altar building, rituals, trance journeys, and genealogy were most often recorded in written form in regards to ancestor reverence, they are not the only methods that can provide experience and impact to the descendant who honors their ancestors. I have tried to prove this assertion through academic research: I used a heuristic approach to carefully examine my personal experiences with each of these forms of ancestor reverence and an arts-based approach through creative writing to pen short works about my ancestors.
32
Poindexter, Wanda 1946. "Creative imitation: An option for teaching writing". Thesis, The University of Arizona, 1988. http://hdl.handle.net/10150/291444.
Texto completo da fonteResumo:
Creative Imitation is an alternative strategy to help students improve their expository writing in college composition. It combines writing by imitation with process modeling to increase student fluency with both the products and processes of writing. For centuries, a technique of "imitatio" was used to teach oral and written language traditions. Isocrates, Quintilian, and Cicero shaped the tradition of imitating writing models. Their principles were revived in the 60s by two neo-classical educators, Corbett and D'Angelo. Objections to the principles of imitation to teach writing are analyzed: models intimidate students, imitation focuses on the products instead of the processes of writing, and imitation reduces individual creativity. Some teachers have reported success with student-centered writing-by-imitation exercises in college composition classrooms. They assert that imitation exercises increase student awareness of correct usage, grammar conventions, rhetorical strategies, and paradoxically enable students to develop an "authentic" voice in their own writing.
33
Walker, Ginger. "'The Writing Writes Itself': Deleuzian Desire and the Creative Writing MFA Degree". VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4721.
Texto completo da fonteResumo:
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.
34
Pledge-Amaral, Carolyn D. "Desert Palms". FIU Digital Commons, 2016. http://digitalcommons.fiu.edu/etd/2977.
Texto completo da fonteResumo:
DESERT PALMS is a contemporary women’s novel set in an Arizona RV park. When Miamians Margie Campos and her husband, Carlos, unexpectantly inherit Desert Palms, a rundown retirement community, Margie reluctantly agrees to stay in Arizona to overhaul the park. With the discovery of a secret letter that threatens to unravel the family, an unscrupulous broker determined to buy the park on the cheap, and a husband bent on hitting it big, Margie digs in and starts to find purpose amidst a desert microcosm.
Told from Margie’s perspective in a closely attached third person, DESERT PALMS is a realistic and humorous narrative that falls somewhere between the style of Liane Moriarty in, “The Husband’s Secret” and Anne Tyler in her novel, “Back When We Were Grownups.” DESERT PALMS offers an offbeat cast of central characters who help Margie gain a deeper understanding of herself and what makes life worth living.
35
Greenlee, Edwin D. "Inservice and preservice teacher attitudes toward creative writing as a learning mechanism". Morgantown, W. Va. : [West Virginia University Libraries], 2000. http://etd.wvu.edu/templates/showETD.cfm?recnum=1306.
Texto completo da fonteResumo:
Thesis (Ed. D.)--West Virginia University, 2000.Title from document title page. Document formatted into pages; contains vii, 436 p. Vita. Includes abstract. Includes bibliographical references (p. 430-435).
36
Orner, Phyllis June. "Lady Liberty". University of the Western Cape, 2016. http://hdl.handle.net/11394/5544.
Texto completo da fonte
37
Howe, Jeff. ""Predators" a short story collection". Thesis, Boston University, 2012. https://hdl.handle.net/2144/32025.
Texto completo da fonteResumo:
Thesis (M.F.A.)--Boston University. Please note: creative writing theses are permanently embargoed in OpenBU. No public access is forecasted for these. To request private access, please click on the locked Download file link and fill out the appropriate web form.2031-01-02
38
Colbert, Elizabeth Dianne. "Speaking the unspoken the ontology of writing a novel /". Australasian Digital Theses Program, 2009. http://hdl.handle.net/1959.3/64875.
Texto completo da fonteResumo:
Creative practitioners, undertaking practice-led research, theorise their practice within an academic domain. Within a three-tiered, performative research paradigm, this project researched writerly identity during the writing of a novel and exegesis. Firstly, based on the writer’s experience with creative and academic writing, the differences were explored through two first-person narratives in a frametale novel, The Fragility Papers, a process documented by critical and reflective journaling. Secondly, the insights gained during the writing of the novel were theorised within the domain of creative writers. Thirdly, the understandings embedded in the novel were considered in the light of these insights and those gained during writing of the exegesis and further theorised within the areas of voice, the writing process and ontological change. Novel writing, it was found, drew not only on the imagination, research, in-flow stream of consciousness writing and serendipitous occurrences but also on personal embodied inscriptions, linguistic play, logic and reason in the development of narrative coherence, forward planning, previously unidentified editing values based in the sonority of language, and a knowledge of the expectations associated with the literary genre. Acknowledging this breadth of experience led to changes in the writer’s creative-writing process, a questioning of the theorised sole influence of language based texts as proposed in intertextual theory, and the proposal to italicise ‘text’ within intertextual to accommodate this breadth. The theorising of insights and emerging, experiential knowledge during the writing of the exegesis was realised in a series of evolving drafts in which interiorised knowledge was increasingly drawn upon in stream of consciousness writing. Further, in both genres, the dialogic engagement of the writer in conscious and unconscious activity at different stages of the writing process was found, suggesting that unconscious activity has a larger than envisaged role to play in academic writing.
39
Pritchard, Paul C. "The Pentimenti of Identity: Creative Writing as Medicine". Thesis, Griffith University, 2022. http://hdl.handle.net/10072/416283.
Texto completo da fonteResumo:
This Masters of Arts Research submission, ‘The Pentimenti of Identity: Creative Writing as Medicine’, comprises a creative writing product, titled, ‘Apple Distance’ and an accompanying exegesis/dissertation. I explore ideas around the pentimento of identity—how we are constantly becoming who we are within a fixed idea of space and time. This complex and tenuous set of ideas about identity, identity resolutions and evolutions, is explored through the creative writing process and the creative writing product, ‘Apple Distance’. My particular focus is on how both writing (direct) and reading (vicarious) can be cathartic medicine. I lean in to the concepts of Gestalt therapy as enacted by the two protagonists of ‘Apple Distance’ (Charles the therapist and Mary the client) as I meld auto-ethnographic fiction with covert, and/or manipulated memoir. Themes of identity, belonging, regrets, amends, sanity, ‘becoming’, self-enquiry, healing and transformation will be woven throughout the exegesis and the creative product. As organic and sentient life forms, we are in every moment an evolution, a variation of a theme of an ever-emerging self-identity. We have a rooted and seemingly recognisable self and yet that self is in constant flow with an infinite number of influences that forge, coerce and shape our perpetual becoming. It is the larger life events, the rites of passage, that when examined with great awareness, cause the seismic shifts within how we perceive and are perceived: how we ‘be’ and ‘become’ in the world.Thesis (Masters)
Master of Arts Research (MARes)
School of Hum, Lang & Soc Sc
Full Text
40
Ball, Christin B. "My Life in Pieces, Scattered Abroad: A 22 year old East Tennessean Attempts to Take Everything She Has Learned Growing Up in a Small Town and Make Sense of It in the French Riviera—the Côte d’Azur—Which Instantly Felt Like Home". Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/honors/236.
Texto completo da fonteResumo:
For my senior thesis, I have compiled essays that cover traveling to Aix en Provence for the month of June 2103 and growing up in East Tennessee. This project should exhibit my skills as a writer in the nonfiction category. I describe personal experiences, portray characters, and attempt to show readers a world that they may not otherwise have been able to experience. I blend narrative essays with travel writing to show overall how these two components create an intercultural experience that work to inform and answer each other.
41
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.
Texto completo da fonteResumo:
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.
42
Donnelly, Dianne J. "Establishing Creative Writing Studies as an Academic Discipline". Scholar Commons, 2009. http://scholarcommons.usf.edu/etd/3809.
Texto completo da fonteResumo:
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.
43
Gutierrez-Jones, Marina. ""Embers" and "Crossing Paths:" A Creative Writing Thesis". Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/cmc_theses/832.
Texto completo da fonteResumo:
Abstract
These two stories, written in first person, are two statements on the nature of self-love, romance, and loneliness. Embers voices a girl in a dying relationship as she tries to establish human connections before her best and only friend leaves the country. Crossing Paths is Jonathan’s beginning, an awakening triggered by a move to a new, uncanny and thickly forested environment. He begins the story as a grim, solitary figure, and through a gradual series of risks and victories, he succeeds in escaping his solitude and building a more complete life for himself. Though the two protagonists are separated my age, distance, and profession, the conclusions of both stories make similar statements with regards to the value of human connection, romantic and otherwise.
44
Slater, Mark Everard. "Influence and originality in the creative writing process". Thesis, University of Sussex, 2014. http://sro.sussex.ac.uk/id/eprint/51604/.
Texto completo da fonteResumo:
Using an approach that distinguishes between the epistemologies of critical theory and creative practice, this study investigates notions of originality and influence in literary theory and considers their applicability to the teaching of creative writing and creative writing practice. It argues that current paradigms offer limited and contradictory explanations of these phenomena and makes the case that, through the assimilation of recent philosophical and scientific perspectives into a framework of socially-situated theory, a fresh approach can be developed that acknowledges the embodied experience of the writing process. The study consists of two main research areas: qualitative and literary/theoretical. The literary/theoretical research falls into two strands of enquiry that are closely linked and run parallel to each other throughout the thesis. One strand is concerned with the need to find an ontological structure for creative writing that accommodates practical and theoretical approaches and provides a conceptual framework that allows issues of originality and influence to be seen from both inside the writing process and from an external theoretical perspective. The second strand, evolving within the former, analyses notions of originality and influence historically and more specifically within romanticism and the socially situated theory of Mikhail Bakhtin. The qualitative research was designed to offer a practical and experiential set of findings that could be used to guide the theoretical research. In this research project, using a phenomenological methodology, a group of part-time adult creative writing students (14 participants) were asked to reflect on their perception and experience of originality and influence in the writing process. Their responses were returned in the form of questionnaires and the findings were collated into fourteen key themes. The theoretical research contextualizes the study within debates with student writers in writing workshop sessions about issues of influence and originality in critical peer review. After a discussion of the pedagogic and theoretical issues that these debates generated, including an analysis of the impact of romanticism on contemporary notions of creativity and a survey of developments in pedagogic theory in creative writing, the literary/theoretical research goes on to explore notions of originality and influence in the work of Bakhtin and romanticism in greater detail. It develops a critique of Bakhtin's socially-situated theory of creativity and argues that this is due to a weakness in the ontological premises of Bakhtin's conceptual framework. Moving to a study of romanticism it proposes that Bakhtin's socially-situated theory fails to fully understand or assimilate embodied emotionality into its ontology and that the embodied emotionality in romanticism, when seen through a more contemporary paradigm of embodied realism reveals the shortcomings in socially-situated theory. The final section on embodied realism and the impact of neuroscience on studies of the body and emotionality argues for a fresh ontological perspective, which would resolve the paradoxical nature of the relationship between an epistemic, socially constructed view of reality and a more biologically determined notion of human nature. In the discussion of key findings and in the conclusion to the research the thesis shows how, by adopting the ontological perspective of embodied realism and incorporating it into socially-situated theory, new perspectives on originality, influence and creativity can be developed that fully integrate epistemologies of theory and practice, and offer a grounded theoretical position from which to construct a viable pedagogy for creative writing. Finally, the thesis offers ideas for further research and discusses ways in which this combined approach can be applied to teaching practice, offering examples of exercises developed during the course of the study and covered by the main topics of research.
45
McCrary, Robin Micah. "Toward a Cultural Competence in Creative Writing Pedagogies". Ohio University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1578408835816055.
Texto completo da fonte
46
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.
Texto completo da fonte
47
Fodrey, Crystal N. "Teaching Undergraduate Creative Nonfiction Writing: A Rhetorical Enterprise". Diss., The University of Arizona, 2014. http://hdl.handle.net/10150/319904.
Texto completo da fonteResumo:
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.
48
Teague, Sian. "Sink or swim: A memoir - and - Writing memoir: Truths, tensions, transitions: An essay". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2014. https://ro.ecu.edu.au/theses/2333.
Texto completo da fonte
49
Anderson, Joseph. "Visitations: A Novel". FIU Digital Commons, 2014. http://digitalcommons.fiu.edu/etd/1267.
Texto completo da fonteResumo:
VISITATIONS, a novel, explores themes of haunting and desire in New York City, in two time periods. The modern-day action focuses on Alan Philips whose wife, Beth, has recently died. His efforts to resume a normal life are sabotaged by what he comes to believe is her ghost. In the parallel story, in 1924, Oliver Nathan Blackburn, a pulp writer, in the midst of a breakdown writes a story that may play a role in Beth’s death.
VISITATIONS presents Alan and Oliver’s perspectives in third person narration, so that the reader is both close to and may question the subjectivity of their perceptions. The book employs a black-comic tone for the contemporary period and a more formal one for Oliver’s sections.
50
Merlin, Bailey. "Sentinel". Digital Commons @ Butler University, 2017. https://digitalcommons.butler.edu/grtheses/496.
Texto completo da fonteResumo:
Devastated by the mysterious death of her guardians, Elizabeth Davenport finds herself thrust into a new world that proves to be scintillating and dangerous. Can she trust those who claim to be her friends? Or will her trust lead her into trouble? When a mysterious letter presents itself and proves that her guardians might have been more than they ever let on, Elizabeth must gather her courage and pursue the truth, whatever the cost.