What does it meme? The exegesis as valorisation and validation of creative arts research

This paper will draw on Richard Dawkin's idea of the 'meme' to discuss how the creative arts exegesis can operate as valorisation and validation of creative arts research. According to Dawkins, the rate and fecundity of replication permits an artefact to achieve recognition and stability as a meme within a culture. The value and application of traditional forms of research is underpinned by a secondary order of production, publication, that establishes visibility of the work and articulates its empirical processes and findings as sources of social benefit and cultural enhancement.

In the arts, conventional modes of valorisation such as the gallery system, reviews and criticism focus on the artistic product and hence, lack sustained engagement with the creative processes as models of research. Such engagement is necessary to articulate and validate studio practices as modes of enquiry.

A crucial question to initiate this engagement is: 'What did the studio process reveal that could not have been revealed by any other mode of enquiry?'

Re-versioning of the studio process and its significant moments through the exegesis locates the work within the broader field of practice and theory. It is also part of the replication process that establishes the creative arts as a stable research discipline, able to withstand peer and wider assessment. The exegesis is a primary means of realising creative arts research as 'meme'.

A question of genre : de-mystifying the exegesis

In this paper I wish to draw together two on-oing debates which are being played out, at least in part, in TEXT. These debates concern the nature of research for the discipline of Creative Writing and those dealing with problems associated with awarding and assessing research higher degrees - MAs, MA(Hons), MPhils and PhDs. In particular I wish to suggest that the combination of these two debates sheds considerable light on the nature and role of the research higher degree's exegesis which accompanies the creative product.

What does it meme? The Exegesis as valorization of creative arts research

This paper will draw on Richard Dawkin's idea of the 'meme' to discuss how the creative arts exegesis can operate as valorisation and validation of creative arts research. According to Dawkins, the rate and fecundity of replication permits an artefact to achieve recognition and stability as a meme within a culture. The value and application of traditional forms of research is underpinned by a secondary order of production, publication, that establishes visibility of the work and articulates its empirical processes and findings as sources of social benefit and cultural enhancement.

In the arts, conventional modes of valorisation such as the gallery system, reviews and criticism focus on the artistic product and hence, lack sustained engagement with the creative processes as models of research. Such engagement is necessary to articulate and validate studio practices as modes of enquiry.

A crucial question to initiate this engagement is: 'What did the studio process reveal that could not have been revealed by any other mode of enquiry?'

Re-versioning of the studio process and its significant moments through the exegesis locates the work within the broader field of practice and theory. It is also part of the replication process that establishes the creative arts as a stable research discipline, able to withstand peer and wider assessment. The exegesis is a primary means of realising creative arts research as 'meme'.

Nowhere : novel and exegesis

The thesis is a work of original creative fiction, in which an agoraphobic writer liberates himself from his prison using his writing. The novel employs metafictional techniques and a bifocal narrative. The exegesis explores creativity and originality in modern literature, using both the thesis and contemporary criticism.

Fragments of a map ; an exegesis concerning the novel, Fragments of a map

The novel explores the journey towards completion for two women and, through its concerns and structure, plays with the notion of research in the creative arts. The exegesis comments upon the concerns of the novel, and the writing and research processes.

Colour of walls : incorporating the exegesis "Unfit for publication"

The thesis is presented in two parts: a novel and a theoretical essay. It is a broadly autobiographical work, concerning issues and events surrounding father-daughter rape. It is written from the mother's perspective, and deals with the impact of child sexual assault on the lives of two generations of working-class women.

Madonna of the eucalypt : novel and exegesis

The thesis comprises a novel and exegesis. The novel explores migration and spirituality in a family saga that moves from the islands of Sicily to the Australian Mallee desert. The exegesis concentrates on the "unknowability" of the creative process, which is explored through the journey motif.

Maternal realms : an exegesis and novel

Combines a novel and exegesis. The fictional autobiography, "The wardrobe drawer", describes a girl's prepubescent experiences in a dysfunctional family. The exegesis explores the process of life writing and renegotiates terms for motherhood and femininity by drawing from feminism, autobiography, queer theory and psychanalytic theory.

Leavings : a novel and exegesis

In the novel, Billie, a painter living on the Hawkesbury River, remembers her life in Italy and England in a search for family and identity. The exegesis investigates the prophetic figure of the Sibyl from a writer's perspective, exploring notions of writing, research, creativity, authority and textual longevity.

The shadow maker: a novel, and Exegesis exploring magical realism, trauma and elegy

 Through a creative artefact and critical exegesis, this thesis explores the interconnections between trauma literature, magical realism, and elegy. Drawing on various theoretical fields including postcolonialism and feminist theory, the thesis contributes an original intervention into the field of magical realist scholarship, arguing for the continuing significance of the magical realist mode as a politically engaged and subversive literature.