Blank page : the location of creativity

Whether one writes in the field of literary studies or that of creative writing, one begins with the 'blank page'. The field of interest I am calling the 'blank page' has implications for the discipline of creative writing, and can be useful to theorising creativity, writing practice, and pedagogy. One creates out of, or into, the 'blank page '; one's practice is partly determined by how one theorises, however subconsciously, this blank page (how does one start? how blank is the page? how have others figured the blank page); and one teaches students who have to face literal blank pages. ln this paper I will consider how the theorisation of the blank page in literary studies addresses such creative-writing issues. I will then engage D.W. Winnicott's psychoanalytic theory on 'the location of play' to consider the implications of conceptualising the blank page as 'the location of writing'. A Winnicottian approach to the blank page, as a space akin to the potential space of play, allows various insights into the process of writing, especially as a proccss involving paradox.

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.

Why educators should bring an end to pedagogy

As Australia is moving towards a national curriculum there are also activities to nationalise teacher education. This involves various departments of state and federal governments, third-party bodies funded by government such as the Curriculum Corporation and Teaching Australia, and non-government organisations such as the Business Council of Australia. These agencies are producing models and principles which aim on establishing standards of best practice for how they want teachers to teach. Within all of this activity the term ‘pedagogy’ is often employed to represent aspects of these best practices. Examples include ‘productive pedagogies’, ‘new pedagogies’, ‘pedagogical content knowledge’ and ‘pedagogical strategies’. However these are all means only without any end purposes which identify them as being valuable for education. In this paper I will argue that in order to have educative value teachers themselves must exercise a degree of professional autonomy to bring their own end purposes to their choice of pedagogy.

Knowing schooling, identity and pedagogy visually

This research produced in one region in Ghana examines the production of educational practices, relations of power and student experiences within teaching and non-teaching spaces in junior secondary settings. The strength of the visual approach in interrogating school cultural norms and the problematising of the tangled complexities of knowing about schooling, identity and pedagogy are outlined. An important aspect of the study is the foregrounding of educational practice as a social act occurring in response to historical circumstances and changing social contexts (Brown & Jones, 2001). We see this work as an important step towards democratization of the research relationship and empowerment of students to contribute to the way they are educated. But also we are wary of how representation through visual methods also can 'frame' participants and the researchers. We recognise that one way to uncover how school practices are exemplified in Ghana is to put students in the middle of researching their experiences. In this way, our research moved from constructing students as simply consumers of adult designed and managed products to practices based on democratic participation (Thomson & Gunter, 2007). Throughout the research journey we were guided by the fact that knowledge is not neutral or to be discovered. Culture and communicative processes are essential determinants of reality. In this study the students as researchers, produced photographs that trigger dialectical conversations of students’ perspectives that foreground their experiences at school. This enabled us to digress from dominant positivistic empiricism to a more legitimate ethical practice, and understanding of the intricacies of educational practice, the norms and structures that underpin everyday actions in schools.