Готові списки джерел за темами / Writerly craft

Добірка наукової літератури з теми "Writerly craft"

Автор: Grafiati
Опубліковано: 10 грудня 2022
Оновлено: 29 січня 2023

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Статті в журналах з теми "Writerly craft"

1

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

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Анотація:
Travel writers seldom reveal the degree to which they deploy fictional elements in their notionally nonfictional books, nor do they discuss the precise motivations for and mechanics of fictionalization and fabrication in travel writing. In this article a travel-writing practitioner turned travel-writing scholar analyzes his own work: the thirteen-year-old manuscript of The Ghost Islands, an unpublished travel book about Indonesia. This analysis reveals various patterns of fabrication across what was presented as and intended to be a “true account,” including the craft-driven fabrications necessitated by reordering and amalgamating events, the omissions generated by attempts to overcome belatedness and to express antitouristic sentiments, the fictional elements introduced through the handling of dialogue and translation, and the self-fictionalization impelled by awareness of genre conventions. The article highlights the significance of writerly craft as a key—and largely overlooked—variable in the scholarly analysis of travel-writing texts.
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Lingard, Lorelei. "The writer's craft." Perspectives on Medical Education 4, no. 2 (April 2015): 79–80. http://dx.doi.org/10.1007/s40037-015-0176-x.

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3

Wescott, Pamela, Dorothea Brande, Celeste West, Natalie Goldberg, and Brenda Ueland. "Learning the Writer's Craft." Women's Review of Books 4, no. 10/11 (July 1987): 11. http://dx.doi.org/10.2307/4020106.

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4

Utami, Astari, Heri Soeprayogi, and Adek Cerah Kurnia Azis. "Pembuatan Kerajinan Bunga Berbahan Kulit Jagung Ditinjau dari Prinsip-prinsip Seni Rupa dan Kerajinan." Journal of Education, Humaniora and Social Sciences (JEHSS) 3, no. 1 (August 20, 2020): 260–64. http://dx.doi.org/10.34007/jehss.v3i1.282.

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This study aims to determine the work of flowers made of corn husk on the work of students of class X MS 1 and X SOS 2 of SMA Negeri 1 Kabanjahe. The limitation of the problem in this study focuses on the work of flowers made of corn leather with the review of the principles of fine arts and crafts . The population in this study were grade X students of SMA Negeri 1 Kabanajahe, with 352 students divided into 7 classes for X MS and 4 classes for SOS X. In this study the authors took a sample of 1 class for class X MS 1 and X SOS 2 with a total of 32 works using the Clusster Random Sampling technique. The reason is because the number of students is too much so the author limits the sample by comparing the work of students of class X MS 1 with students X SOS 2. In this study the writer will examine the work of flower craft made from corn skin based on the principles of fine arts and crafts. The method used in this research is qualitative descriptive method. Data collection techniques used are the work of students' crafts, documentation and observation. The results showed that the work of corn husk craft in class X SMA N 1 Kabanjahe in terms of the fine arts and craft principles of class X MS 1 students obtained an average number of grades 80.47 categorized well while class X SOS 2 students received an average grade of an average of 78.60 with a good category.
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Figueiredo, Débora de Carvalho. "The Writer's Craft, The Culture's Technology." Journal of Pragmatics 39, no. 10 (October 2007): 1886–89. http://dx.doi.org/10.1016/j.pragma.2007.03.004.

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Harris, Jeanette, Sheena Gillespie, Robert Singleton, and Robert Becker. "The Writer's Craft: A Process Reader." College Composition and Communication 38, no. 1 (February 1987): 107. http://dx.doi.org/10.2307/357599.

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7

Richardson, Nick. "Whither the future of feature writing?" Asia Pacific Media Educator 28, no. 2 (December 2018): 218–22. http://dx.doi.org/10.1177/1326365x18807023.

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Historically feature writers occupied a privileged, often protected, position in a newsroom. While news reporters were required to produce copy to a tight deadline, the feature writer had the luxury of time in which to craft a well-researched and argued piece. Today, that is rarely the case. Feature writers are no longer inured from every day newsroom pressures. They’re expected to produce news as well as features, a reality which has contributed to a decline in the quality of longer form journalism. While technology has promoted greater interactivity among writer and audience, or content producer and audience in the case of online features, the focus and scope of features has changed immeasurably.
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Skains, R. Lyle. "The materiality of the intangible: Literary metaphor in multimodal texts." Convergence: The International Journal of Research into New Media Technologies 25, no. 1 (April 21, 2017): 133–47. http://dx.doi.org/10.1177/1354856517703965.

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Based on a larger practice-based research project in digital writing, this article examines how the materiality of digital media contributes to a layered metaphor that delivers meaning, reflects on the cognitive processes (the writer’s and the reader’s) of navigation and generates a dynamic narrative structure through multimodality, unnatural narration and user interaction. Many writers and artists engage with their chosen medium through an instinctive understanding of the materials at hand, gained through experience; the explicit study of a medium’s materiality is not always required for artistic success, however, that may be judged. This article offers insights into the creative process of creating digital, multimodal fiction, based on a practice-based research project designed to explore the effects of digital media on author and text, and argues that digital media have a significant effect on the outcome of the artefact itself. Awareness of these effects, their variations according to hardware and software, and the affordances of these various materials offer the digital writer greater insight and capability to craft his/her texts for the desired metaphorical meaning.
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Polet, Cora. "Kan De Dienaar Beter Zijn Dan De Meester?" Vertalen in theorie en praktijk 21 (January 1, 1985): 50–55. http://dx.doi.org/10.1075/ttwia.21.07pol.

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In the course of history there have been different schools of thought about how texts should be translated, and the effect translations have on the target language literature, either directly or indirectly. Garmt Stuiveling, formerly professor of Dutch Studies at the University of Amsterdam, and for many years chairman of the Dutch Writers' Union, produced the following dictum: in a translation sixty-five per cent of what the author has tried to express, reaches the reader. In translators' circles a variety of views can be heard. This one for instance: the profession of a translator is more demanding than that of a writer. A writer uses his own style, but a translator must master a number of styles, since he translates different authors. Or this one: the achievement of a translator is equal to that of a writer; the source language version and the target language version provide texts of equal literary value. A more modest view, and the one held by the writer of the present article, could be phrased as follows: literary translation is a craft, a creative craft to be sure, but still a craft. And playing with words and stylistic features is part of that craft. A literary translator is to be compared to a performing artist, rather than his creative counterpart. It is noted that there has never been any research into the norms of present day translators. This means that judging translations, whether for purposes of reviews, a jury's decision or the awarding of grants, is often a matter of inspired guesswork. If such research were ever carried out, it should also discover whether translators actually use in their own work the translation strategies they profess to be using. Finally a selection of translating errors culled from literary works is proof that translators are not always good readers, to judge by the non-sense they sometimes manage to produce.
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HAINES, JOHN. "Anonymous IV as an Informant on the Craft of Music Writing." Journal of Musicology 23, no. 3 (2006): 375–425. http://dx.doi.org/10.1525/jm.2006.23.3.375.

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ABSTRACT For the 13th-century music writer known as Anonymous IV, the craft of music writing was a primary literary concern, though one virtually ignored by previous modern writers on music. The importance of music writing to Anonymous IV is evident from the variety and quantity of references in his treatise, many of which are found in its central second chapter. This information-rich chapter includes a history of music notation and a miniature handbook for music scribes. The Anonymous is indebted to the then recent surge in production of how-to manuals of all kinds; his miniature handbook for music scribes partakes of their style and vocabulary. This practical work of Anonymous IV is tied to the revival of Euclidean geometry in the liberal arts curriculum at Paris. The specialized geometric terms he uses are attested in numerous sources, including student handbooks from the university. It is possible that the anonymous writer came under the spell of Roger Bacon, also an Englishman at the University of Paris in the late 13th century, whose writing and pedagogy reveal several similarities with the music treatise of Anonymous IV.
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Дисертації з теми "Writerly craft"

1

Furgerson, Susan Paige. "Teaching the writers' craft through interactive writing: A case study of two first grade teachers." The Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=osu1101760120.

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MacKeith, G. N. "Antonio Dal Masetto (1938-) : a study of a writer's craft, and an exploration of his place on the Argentine literary map." Thesis, University College London (University of London), 2007. http://discovery.ucl.ac.uk/1444959/.

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I became interested in the work of Antonio Dal Masetto through reading his weekly column in the Argentine newspaper Pdgina/12 when I lived in Buenos Aires for a period in 2002. These were short observational pieces about characters and situations in the city with a narrative perspective which seemed to denote an 'outsider'. As an outsider myself, I found this voice inclusive and intriguing and also sometimes very funny. It struck me that the perceptions in this column were more profound than material I might have expected to appear in a daily broadsheet newspaper. The style of the writing appealed to me this cool observational tone, a gentle humour, a simple prose and a certain implicit quality which reminded me of poetry. This was my initial subjective response.
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Книги з теми "Writerly craft"

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Patricia, Westerhof, ed. The writer's craft. Orlando [Fla.]: Harcourt Canada, 2003.

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2

Blau, Sheridan. The writer's craft. Evanston, Ill: McDougal, Littell & Company, 1995.

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3

Dunkelberg, Kendall. A Writer's Craft. London: Macmillan Education UK, 2017. http://dx.doi.org/10.1057/978-1-137-61096-6.

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4

D, Blau Sheridan, Elbow Peter, and Killgallon Don, eds. The writer's craft. Evanston, Ill: McDougal Littell, 1998.

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5

Littell, McDougal. The writer's craft. Evanston, Ill: McDonugal, Littell & Company, 1995.

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6

The young writer's craft. Paisley: Hodder Gibson, 2008.

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7

To the young writer: Nine writers talk about their craft. New York: Franklin Watts, 2002.

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8

Blau, Sheridan D. The writer's craft: [Purple level]. Evanston, Ill: McDougal Littell, 1995.

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9

Gillespie, Sheena. The writer's craft: A process reader. 3rd ed. New York, NY: Harper Collins College Publishers, 1993.

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10

1938-, Gillespie Sheena, Singleton Robert, and Becker Robert, eds. The Writer's craft: A process reader. 2nd ed. Glenview, Ill: Scott, Foresman, 1989.

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Частини книг з теми "Writerly craft"

1

Leigh, S. Rebecca. "Word Craft." In Wounded Writers Ask, 97–111. Rotterdam: SensePublishers, 2014. http://dx.doi.org/10.1007/978-94-6209-713-1_4.

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2

Dunkelberg, Kendall. "Introduction." In A Writer's Craft, 1–7. London: Macmillan Education UK, 2017. http://dx.doi.org/10.1057/978-1-137-61096-6_1.

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Dunkelberg, Kendall. "Creative Nonfiction." In A Writer's Craft, 101–14. London: Macmillan Education UK, 2017. http://dx.doi.org/10.1057/978-1-137-61096-6_10.

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Dunkelberg, Kendall. "Poetry." In A Writer's Craft, 115–28. London: Macmillan Education UK, 2017. http://dx.doi.org/10.1057/978-1-137-61096-6_11.

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Dunkelberg, Kendall. "Fiction." In A Writer's Craft, 129–46. London: Macmillan Education UK, 2017. http://dx.doi.org/10.1057/978-1-137-61096-6_12.

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Dunkelberg, Kendall. "Drama." In A Writer's Craft, 147–60. London: Macmillan Education UK, 2017. http://dx.doi.org/10.1057/978-1-137-61096-6_13.

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Dunkelberg, Kendall. "Other Genres." In A Writer's Craft, 161–67. London: Macmillan Education UK, 2017. http://dx.doi.org/10.1057/978-1-137-61096-6_14.

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Dunkelberg, Kendall. "The Writing Process." In A Writer's Craft, 9–19. London: Macmillan Education UK, 2017. http://dx.doi.org/10.1057/978-1-137-61096-6_2.

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Dunkelberg, Kendall. "Language, Rhythm, and Sound." In A Writer's Craft, 21–30. London: Macmillan Education UK, 2017. http://dx.doi.org/10.1057/978-1-137-61096-6_3.

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Dunkelberg, Kendall. "The Writer in the World." In A Writer's Craft, 31–40. London: Macmillan Education UK, 2017. http://dx.doi.org/10.1057/978-1-137-61096-6_4.

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Тези доповідей конференцій з теми "Writerly craft"

1

Ferrer Forés, Jaime J. "Binibeca Vell. Interpreting tradition." In HERITAGE2022 International Conference on Vernacular Heritage: Culture, People and Sustainability. Valencia: Universitat Politècnica de València, 2022. http://dx.doi.org/10.4995/heritage2022.2022.15325.

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Following the visual and volumetric bases extracted from the traditional Mediterranean architecture, Francisco Juan Barba Corsini (1916-2008) and Antoni Sintes Mercadal (1921-1981) designed Binibeca Vell (1964-1972) a respectful complex with the environment and the constructive traditions. The integration in the site, the built forms, the materials used and the urban structure reflect the organization of a traditional village. The research aims to analyze the architectural features, the reinterpretation of vernacular elements and the local traditional construction crafts involved in the complex and the details, symbolism and aesthetics. Binibeca consists of 165 townhouses, shopping center, hotel, social club, church and a small marina, all arranged in the form of a fishing village. The urban structure, the different typologies and the construction process is considered an alternative to the block of apartments of tourist promotion, reinterpreting a model of traditional settlement. The initial proposal was to recreate a traditional fishing village that would inspire the work of intellectuals, painters and writers. Barba Corsini stated that he had felt closer to the way a fisherman builds than to an architect: “I have met Alvar Aalto on several occasions and I came to understand the superiority of the beauty of a wall made by a fisherman or a farmer compared to that of a specialist technician” (Barba Corsini, 2005). With the reinterpretation of an architecture of the past, Binibeca Vell recovers the autochthonous values of the Mediterranean coast. The resonance between topography and architecture, the harmony with the constructive traditions, the plasticity of organic integration and the picturesqueness of the access route characterize Binibeca, which incorporates the adjective "Vell" to the toponym to distinguish itself from new constructions.
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