Psychological Reflections on Post - Modernist Gothic Literature

The thesis consists of a creative component, two short stories, 'The Conservatory' and 'Psychosis', and a novella, 'The Lady of Tangiers', in the genre of Gothic fiction, and accompanying theoretical component with a psychological interpretation of literature, including theories of C.G.Jung, identifying psychological elements including symbolism of the unconscious, transformation and individuation in the short stories 'The Conservatory' and 'Psychosis', and an analysis of the novella 'The Lady of Tangiers', discussing the essay 'The Uncanny' by Sigmund Freud. The critical analysis and interpretation of the writing reflects the psychological development of the individual.

Writing “nhill” : the short story as still life

This chapter explores the philosophical, literary and practice-based elements that contributed to the writing by the author of a short story ('Nhill') and reflects upon how, as an example of creative-writing practice, the story contributes to Humanities-based research into issues of time, settlement, Aboriginality and post-coloniality. It works with theorists such as Gilles Deleuze, Julia Kristeva and Norman Bryson, as well as engaging with various painterly examples of Still Life. The possibility of a productive syncretism between Literature and Painting is proposed and extended.

Connecting with carnival : developing critical business education through reflective writing

In response to recent criticisms, and following a sustained effort by Critical Management Scholars, business education, especially the MBA, is increasingly taking seriously the idea that it needs to enable students to develop the capacities of critical and reflective thought. One method in particular is suggested as meeting this end; reflective writing. The aim of this current paper is to consider if this method lives up to the promise of developing critical and reflective coporate citizens. Using a body of critical theory on reflective practice, I argue that reflective writing as done by students tends to be a Truth posing exercise. This is insufficient to the end that critical scholars envision. My aim with this paper is to introduce a new form of reflective writing. Drawing on the based on Bakhtin's (1984) notion of carnival, I argue for a dialogical text in which different voices and perspectives jostle and claim that this is productive of texts that grant autonomy to the reader to make meaning. This form of writing is more conductive to the constitution of ethical and critical thinking than are the current truth books (Masschelein, 2006) that dominant reflective writing. I illustrate this through my experiences introducing reflective writing in an undergraduate accounting unit and to an MBA. I argue that the latter is more dialogical and carnivalistic as the reflective writing is a joint effort.

Exemplification and deconstructive writing: dancing with Massumi, Derrida, and others

I am experimenting with ‘exemplification’ (Massumi, 2002) and ‘deconstrucitve writing’ (Maclure, 2010) by applying them to selected data from research for my doctoral thesis. Central to both is the power of examples to expose detail and divergence that lead to new and different possibilities and connections. I have been inspired by Derrida’s (Maclure, 2003; Spitzer, 2011) notion of the fabric of a text with ‘tears’, ‘cuts’, ‘knots or aporias’. Therefore, I have created a fabric of text with tears and aporias: one that encourages readers to think and read doubly (Derrida, cited in Spitzer, 2011). I write in an ‘inattentive’ way (Massumi, 2002): juxtaposing examples (narratives) with the identities of the narrators, my responses to their narratives, and theoretical and other musings to play with the ambiguity of reality and identity. The interplay of inattention, exemplification, and deconstructive writing allows for interpretation, reinterpretation, affective responses, and new and different impressions and possibilities. My aim in writing this paper is threefold: (1) to explore the application of a Derridean perspective to some of my research, (2) to practise exemplification and deconstructive writing, and (3) to write in an inattentive and creative way.

Effective writing for health professionals : a guide to getting published

Written by a best-selling academic author, Effective Writing for Health Professionals provides insights and strategies for publishing designed for nurses, midwives and health professionals

Sensing the story: structure and improvisation in writing for performance.

This article discusses the process of writing through devising in performance. It takes as a case study Apart of and A Part From in which muscle and sense memory – touch, smell, taste, sound and sight – were the points of departure for a contemporary performance piece on migration and identity. This was a practice-as-research project aimed to better understand the artist’s body (myself) in improvisation with memory fragments. Working from a non-verbal frame the writing experience began as actions in space, then new memories in my body, to maps on paper, to key word and some staging patterns, to systematic capturing of the textual, rhythmic and spatial structures in the emerging 30-minute performance. Various objects were incorporated to give aesthetic coherence of the piece. The article reports on the processes of writing in action, the writing and performing as lived experience and how the writing emerged from the spaces in between – self and other, self and object, self and space, present self and past self.

This voice: the poetry of knowing and not knowing

This essay is concerned with how poetry—reading it, writing it, and adapting it—relies on a dialectic between knowing and not knowing, a flickering movement between understanding and ignorance that is central to the production of poetry and its effects. To illustrate this, I discuss my poem, ‘This Voice’, and its subsequent adaptation into what I call a ‘poetry soundtrack’, a form of digital audio poetry employing poetry, music, and sound design. The essay illustrates the centrality of the knowing/not-knowing dialectic to poetry by considering the following with regard to my works: the thematics of nescience; the liminal and virtual space of interpretation and play (the latter as theorised by D.W. Winnicott); ‘nocturnal poetics’; and sampling (both sonic and lexical).

Babes in the sand and flying predators : touristic corruption, exoticism and neocolonialism in Chandani Lokugé’s 'Turtle Nest'

In Chandani Lokugé’s Turtle Nest the Sri Lankan beach is a savage environment, a dystopia, where local children are molested by Western paedophile tourists. This essay examines representations of child vulnerability, exoticism, neocolonialism and envy in the novel. It reads these issues in the context of postcolonial tourism in Sri Lanka and elsewhere. It establishes connections between the commodification of children in Lokugé’s story and the real-world progress of exoticist tourism.

Rich stuff : review of Jeri Kroll and Graeme Harper (eds), Research methods in creative writing

A review of a cutting-edge collection of scholarly articles engaging with contemporary theories of creativity and a gamut of valid and often exhilarating research methods in contemporary creative writing practice.