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Therapeutic Potential of Creative Writing: Writing Myself. London: Jessica Kingsley Publishers, 1999. Colburn, Steven E.. Anne Sexton: Telling the Tale . Michigan: University of Michigan Press, 1998. Erwin, Edward. The Freud Encyclopedia: Theory, Therapy, and Culture. New York: Routledge, 2002. Flint, Rose. “Fragile Space: Therapeutic Relationship and the Word.” Creative Writing in Health and Social Care. Ed. by Fiona Sampson . London: Jessica Kingsley Publishers, 2004. 138-153. Freely, Maureen. “Writing as Therapeutic Practice: Students, Teachers, Writers

References Attridge, Derek. “The Body Writing: Joyce’s Pen.” European Joyce Studies 17 (2006): 47-64. Baer, John. “Domain specificity of creativity: Theory, research, and practice.” TEXT Special Issue: Creativity: Cognitive, Social and Cultural Perspectives . Eds Nigel McLoughlin & Donna Lee Brien (2012). Web. 12 December 12. Brace, Catherine & Adeline Johns-Putra. “Recovering Inspiration in the Spaces of Creative Writing.” Transactions of the Institute of British Geographers 35 (2010): 399-413. de Certeau, Michel. The Practice of Everyday Life . London

Abstract

In their article “Hand-Written Road Maps to Multi-Dimensional Space” István Berszán and Philip Gross investigate the heightened alertness of literary reading and writing in an interview with Gross, the prize-winning British poet and professor of creative writing. After the presentation of the interviewee Berszán ask him questions concerning the kinetic spaces of his literary practices. The itinerary follows issues like place, temporality of occurrences, attention, system and ecology, metaphor, time projection, gesture-resonance and collaboration. Gross seems to be as good a creative playmate during the discussion as he was for children, students, artists or readers who met him in a „collaborative space between”: his answers turn the questions both into hunter and quarry.

Abstract

Helpful reviews are like good movies or a good novel: if you’re hooked right away, you stay and remember. No matter how short, a review tells a story in much the same way as a novel. If you want to persuade, it should start with something dramatic and sensational or the key takeaway, rather than saving the best elements for the end. Narrative elements can change the way reviews influence people, and media literacy can go a long way. Social media influencers and professional reviewers should now also know that they are better off investing in creative writing or storytelling courses than choosing to analyze experiences factually. Further, software developers should learn to distinguish useful reviews from less helpful or relevant ones. With such skills, they can structure platforms in ways that make writing transporting, helpful, persuasive reviews as easy as possible and can develop algorithms that favor real and useful reviews.

Abstract

The modernization of higher education in the field of plastic arts methodology, the improvement and development of the educational methodology, as well as the professional rise of the teachers are the key issues in raising the level of creativity of the future plastic art teachers in the context of the new requirements of artistic training. The volume of creative knowledge and skills varies from one person to another; it is our permanent intention to know and understand creativity, to demonstrate the laws of artistic and plastic creativity, to create a logical theory through which personality can be developed creatively, thus contributing to the complex process of the student’s artistic activity. Art contributes to the development of the artistic creativity of pupils / students, constituting a source of knowledge of national and universal culture through the many methodological, plastic and technological varieties specific to art, which offer vast possibilities to create a creative product of artistic, aesthetic and cultural value. The development of creative writing skills initially involves a visual experience, followed by the stages specific to the creative process in the field of fine arts and is finalized by a material form of the creative product, obtained through specific means in the field of fine arts.

new]. Warszawa: Krytyka Polityczna. Talarczyk-Gubała, M. (2016). Pilotażowy raport o pozycji kobiet w polskiej kinematografii. Fakty i liczby. Krytyka Polityczna, http://krytykapolityczna.pl/file/2016/06/RaportMonika_Talarczyk_Gubala.pdf, [access 11.2017] Tomasik, K. (2004). Polskie reżyserki filmowe 1919 - 2002. [Polish women film directors 1919 - 2002]. Kultura i Historia, 6, http://www.kulturaihistoria.umcs.lublin.pl/archives/179, [access 12.2017]. Sawyer, K. (2009). Writing as a Collaborative Act. In S. B. Kaufman, J.-C. Kaufman (Ed.). The Psychology of Creative

-Laird P. The Computer and the Mind: An Introduction to Cognitive Science, Harvard University Press, Cambridge, MA, 1989. [8] Kaufman, James C., Claudia A. Gentile, and John Baer. (2005) Gifted Child Quarterly Do gifted student writers and creative writing experts rate creativity the same way?.” 49(3) 260-265. [9] Oura Y, Sōzō-teki ginō ryōiki ni okeru jukutatsu-ka no ninchi shinrigakutekikenkyū [Cognitive Psychology Studies of Proficiency of Skills in the Creative Area], Kazamashobo, Tokyo [in Japanese], 2000. [10] C.H.M. Hardaker, G.J.W. Fozzard. (1997) “The bra design

the education of a society which is still wondering what kind of education we deserve. Another thing is that in my country, Spain and Catalonia, this kind of literary production is almost nonexistent. One possible explanation is that here we don’t have university campuses, like the American or English ones, which make possible this kind of literary productions. Another possible reason, related to the first one, could be the lack of Creative Writing programs in the Spanish universities and therefore a scarcity of creative writers working in universities. We

. (ed.) Feminism and Black Women Creative Writing. Ibadan: AMD Publishers. OGUNDIPE-LESLIE, M. (1994) Recreating Ourselves: African Women and Critical Transformations. Trenton: Africa World Press, Inc. Pp. 23–36. OJO-ADE, F. (1983) Female Writers, Male Critics. African Literature Today . 13. Pp.158–179. OKIGBO, Ch. (1967) Collected Poems, Maja-Pearce, A. (ed.), preface Theroux, P. London: Heinemann. OYEWUMI, O. (2001) Ties that (Un) bind Feminism, Sisterhood and Other Foreign Relations. Jenda. A Journal of Culture and African Women Studies . Vol. 1. Pp. 1

, ‘Behavior, communication, and assumptions about other people’s behavior in a commons dilemma situation’, J. Pers. Soc. Psychol. , vol. 35, no. 1, pp. 1–11, 1977, doi: 10.1037/0022-3514.35.1.1. [15] I. V. Kulamikhina, J. Birova, A. Y. Alipichev, D. G. Vasbieva, and O. A. Kalugina, ‘Developing Communication and Critical Thinking through Creative Writing in English and French Language: Analysis of Classroom Management Strategies’, Commun. - Sci. Lett. Univ. Zilina , vol. 20, no. 1A, Art. no. 1A, May 2018. [16] M. Garrett, L. Schoener, and L. Hood, ‘Debate: A Teaching