Women writing woman: representations of gender and sexuality

Pykett, Lyn. 'Women writing woman: representations of gender and sexuality', In: Women and literature in Britain 1800 - 1900 (Cambridge: Cambridge University Press, 2001), pp.78-98, 2008. RAE2008

Student perceptions of the writing process

Based on the critical research paradigm and using a mix of methodologies, this study examined student perceptions of the process approach used to teach writing. A class of 19 ESL students in an academic writing class at a small university paliicipated in the study. As collaborators in the study, they assessed their personality types using the PET Type Check (Crantoll & Knoop, 1995) and tlleir learning styles using Kolb'sLearning Styles Inventory (1976). Interviews, classroom observations, and journals provided a data base for case studies llilQ teacher reflection. Results indicated that students perceived the prewriting step of brainstonning and peer review as most useful. Student perceptions of the tasks and course and implications for theory and practice are examined.

The impact of a training program in phonological awareness on children's early writing

This study examined the effects that a training program in phonological awareness had on the early writing skills of children in a Grade One class in the Lincoln County Separate school system. The intent of the training program was to provide consistent and systematic practice in the manipulation of the phonological structure of language. The games and activities of the training program were related to a framework of developmental phonological skills and practised in a group setting during an unstructured period of the regular classroom schedule. The training program operated three days in a six-day cycle for approximately twenty minutes a day, from November until mid-March. All children were tested at the outset and conclusion of the study to determine level of functioning in letter identification, word recognition, verbal intelligence, phonological awareness and spelling. Results of the pre-tests and post-tests were compared to determine differences between the experimental and control groups over time. In addition, a systematic analysis of the children's writing looked at the development of the spelling of regular and irregular words. The results of this study provided strong support for the hypothesis that the treatment group would progress through the stages of early writing development more quickly than children without such training. On the basis of differences between the groups over time, it was evident that training in phonological awareness had a direct positive effect on the spelling of regular words for children during the early stages of writing. The training program did not have a significant effect on the spelling of irregular words. Test results evaluating phonological awareness indicated a significant difference within each group over time but no significance between the groups during the experimental period. It would appear that the results of these tests reflect maturational changes in the child rather than causal effects of the training program. Nor did the effects of the training program transfer significantly to other aspects of language. Although some of the hypotheses considered were not supported by the study, the results do indicate that children during the early stages of writing development can benefit from a training program in phonological awareness. The theoretical direction for effective programming as a result of this study is discussed. The educational implications of training phonological awareness concurrent to beginning efforts in writing are considered.

Building capacity in an indigenous nonprofit artistic enterprise

Growth in Indigenous artistic enterprises has attracted government funding, cultural tourists, and arts managers with a strong interest in cultural democracy and, more recently, an interest in business models for these artists. This paper documents a case study of Arilla Paper, an artistic enterprise in Queensland, Australia, where a group of Aboriginal women, worked on making paper from natural materials, to create a sustainable non-profit arts business. Sections of the business manual developed for these women, together with primary and secondary data supporting the Indigenous creative industries, are presented. The paper concludes that success in such ventures requires a social entrepreneurship model of funding that recognises the challenges of Indigenous cultural ownership and capacity building in business practice.

A case for blended and collaborative learning as strategies for teaching editing and publishing within a postgraduate writing program

Several recent studies have called for the breakdown of' arbitrary distinctions between virtual and "face-to-face" classrooms' (Comeaux & McKenna-Byington 2003: 348; see also McDonald 2002; Rosset, Douglis & Frazee 2003; Morse 2003). In 2004 the Professional and Creative Writing discipline at Deakin University added Editing and Publishing (which had previously been available as on-campus-only units at our institution) to an established list of online postgraduate writing units taught via the auspices of the new (to our university) WebCT technology. This paper describes and evaluates our experience of challenging the 'arbitrary distinctions' between our two cohorts of students by incorporating blended and collaborative learning strategies into our course via two specific projects.

Creative arts research : a pedagogical perspective

This paper emerges from current work related to a number of research projects across several creative arts disciplines. It poses the following questions: What implication does creative arts research have for extending our understandings of the role of experiential, problem-based learning and multiple intelligences in the production of knowledge? How can the application of such understandings influence policy and enhance opportunities for support of creative arts research in the university and the broader arena? In a previous paper examining the function of the exegesis (Barrett, 2004), I referred to the suggestion made by Lauchlan Chipman that: in a knowledge economy, it is necessary for a large number of people to comprehend the creative output of others in order for such output to be sufficiently taken up for the enhancement of society. This paper is an extension of the previous one in its attempt to promote wider understanding of the value of creative arts research. I will focus on the dialogic relationship between the exegesis and studio practice in painting, creative writing, performance and dance, in order to demonstrate that creative arts enquiry can promote a more profound understanding of how knowledge is revealed, acquired and expressed. Four successful research projects will be examined as 'case studies' to show how creative arts research methodologies may be applied in the development of more critical and innovative pedagogies and to argue that the role of creative arts research is still to be fully realized and acknowledged in the knowledge economy.

The non-verbal and the verbal: expanding awareness of practice-led research in creative writings

This paper takes up the concept of practice-led research: research (or the production and performance of knowledge) that is implicit within practice – in this case creative arts practice and more specifically, creative writing practice. Does practice-led research offer new possibilities for recognition of contributions to research by writers? This exploration of creative practice and research stretches out tendrils between creative writing and other art forms. What may the predominantly non-verbal creative arts disciplines offer creative writing in terms of exploring modes of knowledge production and performance?

Creative redemption : uncertainty in poetic creativity

[No Abstract]

Water's edge and the water's edge writing

Thesis consists of a novel and an exegesis with bibliography. There is no title page or abstract provided by the author.

Water's edge : And the water's edge writing

Water's Edge, and The Water's Edge Writing, is a work of practice-led research in the field of creative writing. Practice-led research, which refers to research undertaken in the process of making a creative artwork, has become a significant and innovative type of research particularly in the disciplines of the creative arts. This book consists of two parts in dialogue with one another. These include Water's Edge, a novel, and The Water's Edge Writing, an exegetical component. Water's Edge is the story of Serena, a midnight-to-dawn radio announcer, who discovers information about her family's past and future via the act of creative writing. The Water's Edge Writing addresses issues of practice-led research, including a teasing out of the nexus between creative arts practice and higher research in universities. This book represents an important example of how creative arts practice can constitute the discovery of new knowledge, in the form of practice-led research.

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.

Clarifying creative nonfiction through the personal essay

In a recent issue of TEXT, Matthew Ricketson sought to clarify the ‘boundaries between fiction and nonfiction’. In his capacity as a teacher of the creative nonfiction form he writes, ‘I have lost count of the number of times, in classes and in submitted work, that students have described a piece of nonfiction as a novel’. The confusion thus highlighted is not restricted to Ricketson’s journalism students. In our own university’s creative writing cohort, students also struggle with difficulties in melding the research methodology of the journalist with the language and form of creative writing required to produce nonfiction stories for a 21st century readership.
Currently in Australia creative nonfiction is enthusiastically embraced by publishers and teaching institutions. Works of memoir proliferate in the lists of mainstream publishers, as do anthologies of the essay form. During a time of increasing competition and desire for differentiation between institutions, when graduate outcomes form a basis for marketing university degrees, it is hardly surprising that, increasingly, tertiary writing teachers focus on this genre in their writing programs.
A second tension has arisen in higher education more generally, which affects our writing students’ approaches to tertiary study. The student writers of the 21st century emerge from a digitally literate and socially collaborative generation: the NetGen(eration). From a learner-centric viewpoint, they could be described as time-poor, and motivated by work-integrated learning with its perceived close links to workplace contexts and to writing genres. They seek just-in-time learning to meet their immediate employment needs, which inhibits the development of their capacity to adapt their researching and writing to various genres and audiences.
This article examines issues related to moving these NetGen student writers into the demanding and rapidly expanding creative nonfiction market. It is form rather than genre that denotes creative nonfiction and, we argue, it is the unique features of the personal essay, based as it is on doubt, discovery and the writer’s personal voice that can be instrumental in teaching creative nonfiction writing to our digitally and socially literate cohort of students.

Reading, writing, crafting – Innovations in first year tertiary writing pedagogy

This paper will outline some of the rationale behind, and strategies contributing to, curriculum revision in first-year creative writing at Deakin University in 2012 – delivered in that year and currently running in 2013. The process aimed to produce two consecutive offerings, with distinct but strategically scaffolded preoccupations. This paper deals with the first of these. The design process for this offering, named ‘Writing Craft’, involved addressing two central concerns: (a) the need to unhook the initial encounter with tertiary creative writing pedagogy from a preoccupation with ‘genres’ or the ‘forms’ of creative writing (such as prose fiction, creative nonfiction, script, poetry, and so on) and instead to reorient efforts towards establishing an engagement with craft per se; (b) to address a perceived impoverishment in the range of texts to which students had been exposed prior to commencing study – in other words, to emphasise the practice of reading to facilitate the practice of writing. The curriculum design also involved reimagining assessment, noting the ‘messages about making’ sent to students via the framing of tasks and rubrics. Aiming instead to deemphasise the role of inspiration and ‘work arriving fully formed’, it sought to offer assessment that provided clear – and bounded – prompts for incidents of making and the practice of craft, as well as to provoke conversation with a broad range of texts as a way of courting intertextual inspiration and aesthetic formation.

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.