Creative pedagogies : "art-full" reading and writing

This paper reports on a small-scale research inquiry, designed to support teachers in a Melbourne primary school to bring together the arts, reading and writing in their classrooms in ways that create possibilities for "art-full" teaching and learning. The principal, concerned by underperformance on State literacy tests of the school’s largely working-class and NESB population, requested David Hornsby and other members of the project team from the Education Faculty at La Trobe University to offer whole-school professional development. The focus was on developing oral language as a foundation for literacy learning, enacting Britton’s claim that “reading and writing float on a sea of talk”. The project team introduced the teachers to a range of innovative classroom practices for using visual and performance arts, literature, music and crafts. Drawing on video, interviews and writing samples, a number of teachers worked collaboratively with the research team to develop case studies of individual students with a range of literacy aptitudes and social skills. A key research question was: "What do children take from their engagement in arts-based activities into reading of literary texts, and potentially into writing from the perspective of another character?" In this paper we ponder this from three vantage points: by outlining the informing principles in our research project; confirming insights from current interdisciplinary work about children learning to see, do, act and say in play; and analysing the research data from the initial phase.

Taking risks- experiential learning and the writing student

The role of a professional and creative writing degree is to provide resources, structured workshops, professional interactions - and the potential for creative risk. Opportunities for risk, within the structured environment of the university, challenge the individual's perspectives and judgements, as well as their ability to analyse and to reflect on their writing and creative practices.

From this starting point the authors, both writing industry practitioners and academics, have developed experiential projects with the aim of transforming their teaching practice from a model of narrative hierarchies of knowledge to learning through performativity, social correctedness and immersive workplace learning.

As the case studies illustrate, this transitional approach has enabled our millennial learners more confidently to take risks, accept challenges and transform their understanding of their own knowledge, skills and identities.

A systematic approach to writing and rating entrepreneurial business plans

This investigation provides the predicate for an intended series of studies in the field of Venture Capital deal screening. At issue is the use of theory-based standards for systematic creation and assessment of entrepreneurial business plans. A systems based approach guided synthesis of research-based principles contained in the literature. Results culminated in the formal articulation and operationalization of 10 principles in the form of a questionnaire (entitled EBPAR, for ‘entrepreneurial business plan evaluation regime’). The instrument can serve dual duty as a guide for writing and a regime for rating Entrepreneurial Business Plans. Discussion focused on utility of the assessment regime and future research directions.

Black and white : in search of an ‘apt’ response to Indigenous writing

‘The good editor,’ suggests Thomas McCormack in his Fiction Editor, the Novel and the Novelist, ‘reads, and … responds aptly’ to the writer’s work, ‘where “aptly” means “as the ideal appropriate reader would”.’ McCormack develops an argument that encompasses the dual ideas of sensibility and craft as essential characteristics of the fiction editor. But at an historical juncture that has seen increasing interest in the publication of Indigenous writing, and when Indigenous writers themselves may envisage a multiplicity of readers (writing, for instance, for family and community, and to educate a wider white audience), who is the ‘ideal appropriate reader’ for the literary works of the current generation of Australian Indigenous writers? And what should the work of this ‘good editor’ be when engaging with the text of an Indigenous writer? This paper examines such questions using the work of Margaret McDonell and Jennifer Jones, among others, to explore ways in which non-Indigenous editors may apply aspects of McCormack’s ‘apt response’ to the editing of Indigenous texts.

Writing as tribal practice : revisiting online collaborative writing

Many teachers encourage sharing ideas and knowledge through collaborative group writing to build self-confidence in developing writers. However, some students do not appear to gain a sense of belonging in the collaborative experience. This evolving study explores online collaborative writing with the purpose of creating a 'third author' - the group (tribal) voice. One aim is to reclaim writing as a conscious collaborative act where meaning is attained only at the end of the thought-sharing process. Therefore, the process of writing is seen as more important than the product. A further aim is to observe how intensive writing collaboration will affect both the writers and the writing during the process. A group of language teachers from Singapore, Australia, New Zealand and the USA meet every two weeks in cyberspace for a two-hour intensive writing session. The group has met for the past three months. Different discourses appear to be fusing into a metamorphosed new hybrid author - the tribal group voice. These early findings suggest that such practices may assist learners who experience difficulty entering or contributing to collaborative writing or group-work tasks. Additionally, online group work may benefit, as no physical human contact exists to gain a sense of 'group'.

Language, technology and the law : anti-plagiarism software and students' academic writing

Plagiarism is of grave concern for academic institutions in the twenty-first
century. Institutions utilise plagiarism policies, honour codes and regulations to ensure students develop a sense of educational integrity. Technology has recently afforded new methods for staff to detect plagiarism – through antiplagiarism software. This paper explores perspectives of seven teachers across five faculties to Turnitin.com (an anti-plagiarism software package) at a large Australian university. The findings indicate that software such as Turnitin.com may assist in the quest to detect text-matching, and perhaps reduce plagiarism. It should not, however, be considered the panacea for plagiarism. Plagiarism policies should also reflect cognisance of the existence of a 'plagiarism continuum' (Sutherland-Smith, 2003) through the use of technology. This research highlights the broader need for institutions to reformulate plagiarism policies in light of cross-cultural perspectives of authorship and attribution of text.

Critique and creativity : the pedagogical nexus between literary studies and creative writing

This paper will explore the nexus between literary studies and creative writing on the basis of Stanley Aronowitz’s and Henry Giroux’s work on the democratic potential embedded in a critical literacy education, which provides ‘a language of critique’ and ‘a language of possibility’ (1993: 46). This paper argues that literary studies and
creative writing, as cognate disciplines focused precisely on languages of critique and possibility, are uniquely positioned to cooperatively enact this pedagogical agenda.

Sleeping with the enemy : creative writing and theory in the academy

This paper will contend that as literary studies elevates creative writing to the highest level, by studying and analysing creative texts; creative writing is similarly enhanced when it is underpinned by theory. This flies in the face of the view that theory has no relevance to the needs of contemporary writers. This paper will examine the way in which theoretical insights and their applications are essential to the creative writing process and propose that without theory, creative writing classes might be at risk of constantly going over the same ground, with no way of being elevated to the next level.
Without the study of literary theory in creative writing, writers are in danger of producing imitations of acclaimed literature. Similarly, without studying creativity in literary studies, writers are at risk of imitating the language of French theorists in translation and failing to harness imaginative ways to create new ideas and theories. This paper encourages new ways of thinking about the union of literary studies and creative writing by focusing on theories and poetry of the sublime. This can assist creative and analytical writers with the anxiety of the blank page and the problem of the ineffable, through an examination of the role of imagination and reason in this process. Creative writing and theory should be studied simultaneously; they invigorate one another and this paper focuses on this important reciprocal relationship.