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.

What I ‘know’: Literary studies and the teaching of English

This essay unfolds through a series of juxtapositions, involving storytelling and writing of a more analytical nature. In thinking about what I ‘know’ as an English teacher, my aim has been to present my ideas in a form that might do justice to the contradictions and complexities of my professional life, including my continuing efforts to negotiate a pathway between the rich particularities of the educational settings in which I have worked and my knowledge and values as an English teacher. My primary focus is on how my literary education has shaped and been shaped by my work as an English teacher vis-à-vis a devaluing of teachers’ disciplinary knowledge that has occurred through standards-based reforms. I attempt to make the standpoint from which I am writing an object of scrutiny, thus producing an account of what I ‘know’ that arises out of my work as an English teacher and returns to it as a necessary dimension of a politically committed praxis.

The tangled web internet plagiarism and international students` academic writing

This study explores the notion of plagiarism and the Internet from 11 English as Second Language (ESL) teachers and 186 first-year ESL students at South-Coast University in Melbourne, Australia. Data collection was by a questionnaire and semi-structured interviews, and coded using SPSS and N*Vivo software to ascertain trends in response. The most significant difference in response related to the concept of the Internet as copyrightable space. ESL teachers in this study regarded cyberspace as a limitless environment for ‘cut and paste’ plagiarism in students’ academic writing, whereas ESL students considered the Internet a ‘free zone’ and not governed by legal proprietary rights. These conflicting views, it is suggested, relate to differing notions of authorship and attribution: the Romantic notion protected by legal theory and sanctions versus literary theory and techno-literacy notions of authorship. This research highlights the need to reformulate plagiarism policies in light of global and technological perspectives of authorship and attribution of text.

Living autobiographically : how we create identity in narrative / Paul John Eakin

Preview of the article : Ever since the publication of Fictions in Autobiography in 1985, Paul John Eakin has been a major presence in the field of autobiography studies. As with his other monographs, Eakin’s latest work, Living Autobiographically: How We Create Identity in Narrative, brings together elegance and range, as well as clarity and conceptual complexity. Like his other works, too, Living Autobiographically covers a wide range of theoretical and autobiographical texts. While not indifferent to literary theory per se, Eakin (as has been apparent for some time) is profoundly stimulated by theory that goes beyond not only the literary but also the humanities. Most notable in this monograph is Eakin’s use of recent research in neurobiology. With regard to his choice of autobiographical texts for discussion, most are American, though Eakin does discuss the Australian writer David Malouf (a long-time favorite of Eakin’s), as well as the Norwegian autobiographical narratives analyzed in Marianne Gullestad’s Everyday Life Philosophers: Modernity, Morality, and Autobiography in Norway (1996). Eakin’s interest in Gullestad’s work, which is based on a project that elicited autobiographical narratives from “ordinary” individuals, shows that he is not solely concerned with so-called “literary” texts, something also seen in his discussion of the “Portraits of Grief ” series that appeared in the New York Times in the wake of 9/11.

Bringing together such disparate texts, auto/biographical procedures, and theoretical concerns is an ambitious enterprise. Most ambitious of all is that Living Autobiographically brings “culturalist” and biological frameworks together as a way of answering the question

Historical fictions : the historical novel in Australia during the 1930s and 1940s

The thesis examines historical novels written in Australia during the 1930s and 1940s, providing close readings of Xavier Herbert's Caprocornia, Miles Franklin's All That Swagger, M. Barnard Eldershaw's Tomorrow and Tomorrow and Tomorrow, Katherine Susannah Prichard's goldfields trilogy, and Eleanor Dark's The Timeless Land. No attempt has been made at encyclopaedic completeness. The organising principle behind the study relates, instead, to the question of the status of the historical novel as a genre. The thesis considers the importance of genre in literary theory, and reflects on the construction of Australian literary history, which in the post-war period has consistently involved a debunking of historical fiction. In the first chapter, various approaches to historical fiction are considered, special attention being paid to Lukacs's The Historical Novel. This leads on to an examination of Marxist approaches to literature, including Frederic Jameson's The Political Unconscious, in order to establish some of the coordinates of the subsequent analysis. While Lukacs's study represents an inadequate theoretical basis for an examination of the historical novel, his popular frontism suggests a useful context for an examination of historical fiction written in Australia during the 'thirties and 'forties, raising the question of the relationship between literature and ideology during this period. The thesis, however, embraces a wider ideological spectrum than the Popular Front, including P.R. Stephensen's 'Australia First' Movement, as well as Katherine Susannah Prichard's communism. The next two chapters are devoted to a consideration of Capricornia and All That Swagger, novels P. R. Stephensen praised in the columns of The Publicist for being 'authentically Australian'. The thesis is generally concerned with the question of the relationship between Australian nationalism and literary production, a concern which is taken up in the following chapter, where Tomorrow and Tomorrow and Tomorrow and Prichard's goldfields trilogy are examined in connection with the Popular Front. Eleanor Dark's development as a writer forms the subject matterof the concluding chapters of this study, when the significance of the historical novel for writers of her generation is established through considering the importance of the historical novel within her oevre.

Admissible Christianity : a study of Christian fundamentalism in the writings of James Barr

An attempt to set forth the essential nature of a theology is a notoriously difficult task. This thesis addresses two questions to a contemporary study of fundamentalism. It asks to what extent has James Barr been able to describe the theology of fundamentalism and to what extent his critical analysis of that theology is philosophically valid? The first chapter identifies the inherent difficulties in a phenomenology of fundamentalism and includes an historical survey of the theology of the movement. This chapter is supported by appendix one which identifies the philosophical culture associated with fundamentalist thought. Barr's description of the theological and religious character of fundamentalism is accepted within the identified limitations. The second and third chapters give an account of Barr's theological evaluation of fundamentalism. He argues the fundamentalists espouse an aberrant form of Christianity. Their religion represents a projection onto the biblical text of a religion foreign to the theological character of the Old and New Testaments. This projection is achieved by an intellectually sophisticated hermeneutical procedure. The doctrines of inerrancy, verbal inspiration and infallibility establish an understanding of Christianity which does not represent the essential character of the Christian faith. Fundamentalist hermeneutics, Barr concludes, allows for a theology indigenous neither to the biblical text nor to the Christian tradition. It attempts to afford biblical justification to the doctrines of a human religion extraneous to the biblical text. The fourth chapter considers the philosophical basis of Barr's understanding of the Bible. He takes the idealist view that the biblical text possesses a theological meaning whose boundaries can be delineated and whose essential content defined. This chapter is supported by appendix two which locates Barr's writings on fundamentalism within his wider concerns about the hermeneutical problems raised by the biblical text and the religious authority of the Bible. The penultimate chapter surveys the insights of contemporary literary theory concerning the perception of written texts. The philosophical validity of an idealist view of the biblical text is questioned. Two major conclusions are drawn. Barr's assessment of fundamentalism is philosophically dependent upon his idealist perception of the biblical text. This conclusion leads to the more general conclusion that the biblical text contains no essential description of Christianity but is capable of being read according to a range of theological interpretations some of which are more defensible than others.

Chaos rules : an exploration of the work of instructional designers in distance education

This thesis provides an examination of the work of instructional designers in distance education, through the conceptual lens of chaos theory. Chaos theory was chosen as an analytical tool because of its ability to reveal the patterns and processes of complex systems as they move between order and turbulence. Recent work in the social sciences, specifically literary theory, has provided impetus for applications of chaos theory to educational settings. Specifically, chaos theory is used to analyse eight case studies of projects volunteered by instructional designers working in five institutions in Hong Kong and Australia. Data were gathered over a period of months with each participant, chiefly through interviews, but also involving diary accounts, electronic mail and letters. The methodology was thus qualitative, specifically informed by Eisner's vision of the ‘critical connoisseur’. Eisner equates an ‘enlightened eye’ with attainment of the skills of a critical connoisseur. First, an effective qualitative researcher must develop connoisseurship, the art of appreciation. On its own, though, connoisseurship is not enough; it is a private act, and thus needs a public face or presence. Criticism is this link, criticism being the art of disclosure. The critical connoisseur aims to help others to increase perception and deepen understanding of an educational situation or event. In addition to the empirical work, a parallel strand of this thesis investigates the theory and reported practice of instructional design. A brief history of instructional design is presented, along with discussion of acknowledged deficiencies of current theory and approaches. Recent reported investigations of both theory and practice are analysed from the viewpoint of chaos theory. Examination of key contributions in the literature of instructional design and distance education reveals considerable resonance between these contributions and the fundamental properties of chaotic systems. Links are made, in both the theoretical and empirical strands, between instructional design and the behaviour of dissipative structures, attractors and the process of bifurcation. Use is also made of the time-dependent nature of chaos theory as a theory of becoming, rather than one of being. The thesis comprises eight chapters, two appendices and a references section. The introductory chapter explains the research problem, and outlines the structure of the thesis. Methodological considerations are left until after an assessment of instructional design literature and (reported) practice. This deliberately theoretical investigation (Chapters 2 and 3) comprises the first of the parallel strands that are presented. The basic conclusions are that instructional design theory has not been particularly helpful to or used by instructional designers, and that chaos theory might provide an alternative way of viewing instructional design practice. The other parallel strand is the empirical work, which for four chapters outlines the methodology and my findings concerning the role of instructional designers in distance education. The methodology is detailed in Chapter 4. Chapter 5 establishes the contexts of the participants, by examining their backgrounds and introductions to their roles. It also investigates their views on their role and status within their institutions and with working colleagues. Chapter 6 is an exploration of the major issues that influenced the work of the instructional designers. These are the issues that arose naturally in the interviews as the participants outlined the development and interactions that took place on a day to day basis. Time emerges as a key influence in their work, and its effects on the projects are outlined and analysed. The ways that instructional designers give advice to those with whom they work is also investigated. The next chapter continues consideration of their work, but this time as they reflect on their role and its demands. This includes their reactions to the various metaphors that have appeared in the literature, along with those that they introduced into our discussions. The links that are established between the two parallel strands are drawn more explicitly in the final chapter, Chapter 8, which is a notion of what a model of instructional design based on my conclusions might resemble. It summarises the evidence that it is not necessarily by striving for order—in fact quite the opposite — during key periods of course development, that leads to creative outcomes. The introduction of uncertainty and turbulence does, in some cases and under some conditions, move the system to a higher level. The image that is offered from chaos theory is that of time-bound dissipative structures, interacting with their open environment at far-from-equilibrium conditions, and transforming themselves from disorder to order through bifurcation. The role of strange or chaotic attractors is highlighted in the process. The first appendix gives background information in terms of the methodology. The second is the heart of the data upon which the thesis draws. That is, the second appendix outlines the case studies of the participants. Most are short summaries, but the final one is a detailed study, tracing the progress of the design and development of a subject in distance education.

Poetry, terrorism, and the uncanny : “Timothy McVeigh’s ‘invictus’”

While Timothy McVeigh—the Oklahoma City Bomber—made no verbal statement before being executed in 2001, he did offer as his ‘final written statement’ a poem (without attribution): W.E. Henley’s ‘Invictus’. This paper offers a reading of this text as ‘Timothy McVeigh’s “Invictus”’, a limit case for our understanding of poetry, quotation, and the relationship between literary and non-literary discourses. The paper will demonstrate how McVeigh’s enigmatic act of appropriation produces a poetry of the uncanny, so that categories such as ‘poet’ and ‘terrorist’ become disquietingly porous. It will also demonstrate how ‘Timothy McVeigh’s “Invictus”’ offers unexpected insights into some basic concerns of contemporary literary theory, especially with regard to quotation, obscurity, and poetic address. Lastly, it will show how ‘Timothy McVeigh’s “Invictus”’ illustrates the unpredictable ways that a supposedly marginal cultural practice—poetry—can act in times of crisis.

Collaborative authorship in film production: Walter Murch and film editing

Filmmaking is frequently cited as the most collaborative of all arts, yet for the most part, mainstream and scholarly literature have received films as the creative voice of just one artist – the director. The reasons for this are many: general ignorance of how films are made; the hijacking of film theory by literary theory, and the continuing popularity of the myth of the Romantic Artist as solitary genius are some of them. The case for collaborative authorship has gained momentum since the 1980s as studies on the production of individual films, actors, production companies and the history of the film industry as a whole have proliferated and drawn attention to the disparities between how films are perceived and how they are actually made. This article analyses collaboration in film production culture through examination of the role of the film editor. Concentrating specifically on the film/sound editor and mixer Walter Murch, it examines his role as a collaborative author in his early work with director Francis Ford Coppola and his later work with English director Anthony Minghella.

Sex, culpability, and the defence of provocation

The partial defence of provocation is one of the most controversial doctrines within the criminal law. It has now been abolished in a number of international jurisdictions. Addressing the trajectory of debates about reform of the provocation defence across different jurisdictions, Sex, Culpability and the Defence of Provocation considers the construction and representation of subjectivity and sexual difference in legal narrations of intimate partner homicide. Undeniably, the most vexing exculpatory cultural narrative of our times is that of a woman 'asking for it'. This book explores how the process of judgment in a criminal trial involves not only the drawing of inferences from the facts of a particular case, but also operates to deliver a narrative. Law, it is argued, constructs a narrative of how the female body incites male violence. And, pursuing an approach that is informed by socio-legal studies, literary theory and feminist theories of the body, Sex, Culpability and the Defence of Provocation considers how this narrative is constructed via a range of discursive practices that position woman as a threat to masculine norms of propriety and autonomy. Once we have a clear understanding of the significance of narrative in legal decision-making, we can then formulate textual strategies of resistance to the violence of law's victim-blaming narratives by rewriting them.

Telling tales: the value of storytelling for early career teachers

This article examines how early career teachers, participants in a research project, make sense of their experiences through storytelling. The teachers’ stories provide a significant counterpoint to the way standards-based reforms construct their professional development, prompting us as teacher educators to think again about what it means for our students to make the transition from initial teacher education into the institutional setting of a school. We draw on Ricoeur’s understanding of narrative to show the complexity of the identity work they perform and how their stories position them as authorities when it comes to the experience of beginning teaching and of negotiating a pathway within existing policy environments. Close attention to the language of these narratives produces rich insights into early career teachers’ experiences and raises questions as to how researchers might solicit and respond to such narratives.

The romanticism of contemporary theory : institution, aesthetics, nihilism

"Justin Clemens presents a valuable study of the links between Romanticism and contemporary theory. The central contention of this book is that contemporary theory is still essentially Romantic - despite all its declarations to the contrary, and despite all its attempts to elude or exceed the limits bequeathed it by Romantic thought." "This study will be of interest to literary theorists, philosophers, political theorists, and cultural studies scholars."--BOOK JACKET.

Applying social critical literacy theory to deaf education

This article explores social critical literacy theory and its application to deaf education. It argues that critical literacy offers an approach that can lead to engagement with and empowerment over written text, repositioning students as researchers of language. Texts that represent deaf people - if only through their absence - offer an opportunity for deaf students to engage in literate practices in meaningful contexts. An example of critical text analysis is provided using articles on a contested issue: cochlear implantation.