Editorial

The Creative Writer’s Mind is a book for creative writers: it sets out to cross the gap between creative writing and science, between the creative arts and cognitive research. It examines what cognitive psychology, neuroscience and literary studies can tell creative writers about the processes of their writing mind.

<p>Existing studies suggest that Asian panethnicity is the political mobilisation of diverse groups of people under a new name, to oppose racism and discrimination. Asian panethnicity is shaped by social forces, including those that exclude. As such, it is inherently political. However, it is limiting to think of it only as a kind of intentional, collective action bent towards achieving a predetermined group goal. This thesis expands this understanding of panethnicity, by considering how “Asiannness” is experienced on an intersubjective level and asks what “Asian” means to and for the Asian individual. Lingering Orientalism perpetuates a sense of Asian people as not quite belonging in the West. Though by now cliché, this narrative of non-belonging continues to determine ideas of Asianness and set the parameters of appropriate Asian behaviour. But, this non-belonging is also the site in and from which Asian actors make their own meanings and seek their own kind of situated belonging. This thesis takes an autoethnographic and ethnographic approach to field sites in Australia and Aotearoa New Zealand to observe some of the ways Asian identity is formed. It is inevitable that transnational processes contribute to this identity work, but these global processes are also subsumed by localised structures and contexts. Drawing from participant observation with social and community groups, and interviews with creative artists, writers, administrators, community workers and activists addressing the question of what it means to be Asian, I argue that Asian panethnicity is constituted by “doing”. It is made up of different acts, repeated over time, and in different settings. As a product of relationships between externally imposed, in group enforced, and self-made conceptions of “Asianness”, Asian panethnicity is both performative and performed. This thesis presents scenarios in which these performances and presentations of the Asian self take place. In considering some of the possible contexts and conventions that give rise to the performative act/s of being Asian, I argue that being Asian is a creative, collaborative, ongoing endeavour. It is a means by which to accomplish belonging in the world.</p>

REVIEWS Patricia A. Morley, The Immoral Moralists (Toronto: Clarke, Irwin and Com­ pany Limited 1972). xvi, 144. $4.50/ Fraser Sutherland, The Style of Innocence (Toronto: Clarke, Irwin and Company Limited 1972). xvi, 120. $4.50 There is extant in the world of Canadian letters the idea that if a critic discusses three or more Canadian writers in a single study, he is Frigian. If he talks about them in relation to universal concepts, he is both thematic and a chauvinist. And if he mentions their cultural context, he is not really a critic at all but a social commentator. It is a time of particular difficulty for Canadian literary criticism, as indicated by the confused response it receives from reviewers. Normally, the critic can lay down the perimeters within which he proposes to function, and then function as best he can. In Canada, it is not so simple. The current need for critical direction, evaluation, and definition within the field of Canadian litera­ ture demands of the critic - or forces him to demand of himself —a social responsibility, even at the expense of his literary vision. Both the creative and explicative arts suffer accordingly. Whatever his approach, the critic draws on a presumably broad range of literary experience. The ability to analyse, form analogues, and make evalua­ tions derives from an informed taste built upon knowledge of genre and tradition. Assumptions are necessarily made as to the range of knowledge shared by those to whom he writes. In Canada, these assumptions cannot be made. Highly literate people in this country know nothing of the country's literature. They have been schooled exclusively in other literatures, and as the Canadian tradition emerges from the shadows of esoteria and indifference they suffer a dissociation of intellect which renders them simultaneously inquisitive and unreceptive. The critic, usually an academic, knows this from his experi­ ence of the world around him. Since common knowledge cannot be assumed, the critic tends to make every commentary seem a fresh beginning. Since he addresses an unpredictable readership, he is impelled always to place Canadian writing in a larger world context or to sum it up, or both. He is confronted by an apparent vacuum which will not be contained simply by the elucidation of art. All literary critics, of course, have a social function in providing a bridge E n g l is h S t u d ie s in C a n a d a , 1 , 2 (su m m e r 19 7 5 ) 231 R e v i e w s between art and life. The responsibility of the Canadian critic, whether taken up on his own or imposed upon him by reviewers or the reading public, is extended somewhat further. He must act as an impresario. A number of recent books, including Elizabeth Waterston's Survey, Clara Thomas's Our Nature - Our Voices, and Margaret Atwood's Survival follow in the footsteps of Desmond Pacey's 1952 compendium, Creative Writing in Canada, combining literary history with descriptive analysis and a thematic overview. These are aimed at the self-confessed initiate. They are readers' guides which attempt to sell the literature while illuminating it. Each attempts to see the literature whole, to circumscribe it within a single encyclopaedic vision which will strike some responsive chord in its Canadian readers. The critic must also act as a tour guide. Meeting this demand directly, a great number of monographs and handbooks have appeared from a variety of publishers on the works of single authors. These range from the utilitarian to the execrable with a few, such as Margaret Stobie's study of Grove in the Twayne series, and Michael Ondaatje's of Cohen in the New Canadian Library, rising to genuine heights of scholarship or creative insight. For the most part, these, too, fall into the category of study aids. The serious critic of Canadian literature, as opposed to the handbook-critic, is expected to fill the role of guru. The prototype, here, is Northrop Frye whose brilliant, sometimes restrictive, overview in the Literary History of Canada will dominate the popular conception of our literature for decades to come. Ap­ proaching the literature more...

This study aims to analyse Emma Donoghue’s Room and Nathaniel Hawthorne’s Scarlet Letter from a psychoanalytic perspective with a focus on the mother and child relationship. In the novel Room we witness the experiences, traumas, fight in the ‘’outer space’’ of a five-year-old boy Jack, along with his mother, Ma who spent her years in an eleven-feet room as captives. The inspiration of Room is the Fritzl case in Austria and in the real case Elizabeth Fritzl was raped and sexually abused by her biological father for 24 years and as a result of this disgusting systematic incest, she gave birth to 7 kids in the cellar of their home. Emma Donoghue’s gorgeous pen writes this heart-pounding situation of Elizabeth and one of her sons in a fictional way by naming them Ma and Jack. On the other hand, the Scarlet Letter deals with the intimate relationship of Hester and Pearl in an abandoned world. They are a reflection of each other as well as the voice of their conscience and a light of hope for each other to survive in a challenging society. Especially Hawthorne’s life overlaps with the relationship between Hester Prynne, Dimmesdale and Chillingworth in many respects, such as the observation of Oedipus complex. The writer reflects his unconscious personality on his characters by putting himself in their place through psychoanalytic theory. Both novels feature the identification of a mother with her child in an enclosed, isolated area as if they were imprisoned captives in their secluded rooms and demonstrate how they complete each other and contribute to each other’s self-development and transformation in the mother-child relationship under social pressure. Through the act of writing, the author expresses his/her desires and the words become his/her digging tools. Like an archaeologist, he/she digs for the past and wants to express the experience of the past. Therefore, he/she fantasizes and manifests his/her wishes in the form of art. For Freud’s informal talk called Creative Writers and Day- Dreaming which was given in 1907 and consequently published in 1908 as a written document there is a close relationship between unconscious phantasy and creative art and while we are reading a text, we understand the psyche of the author in a way. Because the desires of a man remain suppressed in his unconscious level of mind and when he produces something like an artistic work regarding a poem or novel, those desires and ideas rise up and come to the surface. While demonstrating both novels that bear the traces of Emma Donoghue and Herman Melville’s childhood traumas, this study also analyses how the fictional characters reveal their inner worlds, repressed desires, and feelings through their actions. Closely related to psychoanalytic theory, Nathaniel Hawthorne deals with the effects of social taboos and constraints on individuals in the expression of repressed feelings, desires and inward thoughts. He enables readers to go deeper into the complicated minds and psychological disorders of his characters with a focus on their later psychological transformation. Ma’s id, ego, superego, Oedipus syndrome that Jack lives, the dreams of the characters that unmask their unconscious starkly are touched upon in this study as well.

This paper argues that travel should be taken seriously as a research tool for creative writers. The work of sociologist Fiewel Kupferberg and cognitive psychologist Angela Leung supports the notion that exposure to new environments and cultures stimulates creativity in both scientists and creative artists. For maximum benefit the travel should be undertaken with a particular purpose, working from knowledge already gained. Travel under those conditions provides the opportunity to interact with people who may not be directly concerned with the project or study, but who stimulate the imagination and perceptions of the researcher. The positive effect of research/travel can beseen in the work of established writers, and postgraduate students who are completing doctorates in creative writing.

L’influence des médias et de l’informatique sur les sociétés humaines constitue un des principaux thèmes façonnant les stratégies visuelles et les orientations philosophiques des animes de Oshii Mamoru et Kon Satoshi. L’analyse des Ghost in the Shell et Innocence d’Oshii révèle ainsi que le développement d’une esthétique du sublime cybernétique se trouve simultanément fondé sur un univers hiérarchique et animé par un rêve de transcendance. L’étude des films de Kon, tels Perfect Blue, Millennium Actress et Paprika, dévoile quant à elle une approche très différente des questions de représentation : celle du « miroir virtuel ». Dans ces œuvres, la réalité quotidienne est saturée de portails ressemblant à des miroirs, et menant à des lieux identitaires alternatifs où l’on se prête à des jeux intersubjectifs ; des espaces nonhiérarchiques qui, contrairement à la vision d’Oshii, suggèrent une vue immanente de l’univers.

The significance of creative literary arts and writings of Ganjae school during 19～20th centuries in Gang-woo area

I suggest ways the discipline of dance can enrich and challenge the discipline of creative writing. I focus particularly on improvisation in dance, relating this to creative writing pedagogy, classroom structure and activities. Much possibility exists in utilising moments when creative arts disciplines touch. How might creative writers and creative writing courses use such fusions? I draw on material theory and briefly upon transformative and collaborative education theories in my exploration of these ideas.

After the institutionalization of English within higher education, academia starts to become a rival to creative writing and, particularly after the High Theory of the 1960s, writers are gradually displaced or replaced by critics. This article argues that because of the twentieth-century critics’ deemphasis on the author since the professionalization of English literature as an academic discipline and in the wake of Roland Barthes’s famous announcement of the death of the author, symptoms of paranoia and anxiety projected onto protagonists of novels who are often writers begin emerging as a feature of creative writing from the 1960s to the 1980s. This article argues that paranoid delusions and the fear of losing authorial agency are a significant source of artistic creativity as the writer projects these semi-paranoid delusions, fears, and anxieties onto characters and stories. This article contends that the protagonist, Wilfred Barclay, is a paranoid creative writer, the author’s alter-ego, who anxiously tries to construct and defend an authorial identity and agency, though a textualized fictitious one. This article also argues that Tucker is a symbolic reification of Barclay’s own delusions and perhaps Golding’s.

The article outlines the main directions of research on the topic “Alexander Pushkin and Aleksei Remizov.” A historical and biographical approach entails a study of the history of Remizov’s acquaintance with Pushkin’s works and an evaluation of their role in Remizov’s life. A theoretical approach examines the frequency and role of quotations from Pushkin’s texts in Remizov’s creative writings and assesses the extent of the influence that the poet’s works had on Remizov’s concept of artistic creativity. Moreover, this approach analyzes Remizov’s attitude towards the so-called Pushkin Direction in Russian literature. A neo-mythological approach involves Remizov’s myth about Pushkin — the question of its singularity and the ways in which this myth is implemented in Remizov’s works. The author of the article concludes that Pushkin influenced the formation of Remizov’s “Theory of the Russian Mode.” In his arguments in favor of this theory, Remizov contrasts Pushkin’s creativity and his artistic ideas with the linguistic concepts of his later followers (V. Briusov, M. Kuzmin, G. Adamovich, etc.). Remizov thus made the poet one of the predecessors of the theory of the reunification of the Russian oral and written culture, which Remizov championed.

In this hybrid essay, through my critical observations, research and analysis as a student of Creative Writing at Cardiff University, I intend to define drama education and its constructive impact on the creative mind. I will then postulate briefly that the classroom can be viewed as a postmodern theatre, utilizing its dramatic elements to create a pedagogy for performance teaching, grounded in reflective theories and acute observation as an academic. Postmodernism is defined as a literary movement that opposes universal truths, narratives and provides a framework for literary production that destabilizes established grammar, structure and themes. While I was studying in Cardiff, the classroom environment created a socio-cultural conflict in terms of how teaching is perceived, which differed from my previous experience in a classroom in India. From these ex-periences, I imagined the classroom as a theatre, teachers as actors, students as performers and transferred the associations of post-modern dramatic elements into classroom objects to create a model pedagogy for creative arts teaching based on drama performance. The analysis of this experience using scientific theories proved that drama performance improves meta-cognition, helps students with language and speech impairments, de-velops empathy and memory, and builds better humans.

The University for the Creative Arts has, since the early 1990s, taught journalism within the Schools of Film & Media, Fashion and, more recently, the Business School for the Creative Industries. There have been more than half a dozen different journalism courses from the straightforward (BA Journalism) to the highly niche (BA Automotive Journalism) and the combined (BA Journalism & Creative Writing). This overview of undergraduate journalism at UCA, 2003–2019, unpicks some of the key concerns of student writers and broadcasters during this period and, in particular, the balance between what might be termed big P political stories (such as national protests or debates) and small p personal political stories (for example relating to sexuality or mental health). It argues that student journalists have not shied away from difficult or contentious political issues, but the language used to discuss their anxieties has changed. Finally, it reflects on the role that changing institutional priorities may have on the content of student publications.

This article discusses my research into how our worldview shapes our experience of grief and loss in relation to death and dying and how, using the methodology of practice-led research, I wrote a novella, ‘If the sky should fall’. The purpose of the novella is to explore grief from a comparative perspective of Atheism, Buddhism, Christianity, Islam, Judaism and New Age spirituality, and to explore worldviews through the lens of grief. The novella was submitted as my creative artefact for the degree of Masters of Creative Arts, Creative Writing, at the University of the Sunshine Coast.

The textbook for creative literary universities and masters of philological faculties of universities is the first scientifically based (linguistically, literary, methodically) and creatively tested domestic course of literary mastery, developed by the author in the process of teaching (literary mastery in the Union of writers of Russia, rhetorical poetics in the Literary Institute. A. M. Gorky, in the process creative occupational-training). The methodological basis of the course is the linguo-symbolic concept of literary text as a narrative discourse in conjunction with the system of methods for the allocation of its structural and semantic elements and operational technologies for teaching their creation. The theory of the subject is based on the synthesis of linguistics and literary studies: discourse analysis, text linguistics; hermeneutics, structural semantics; classical and modern rhetoric; stylistics and poetics, theory and history of literature. The methodical complex consists of creative and analytical tasks, texts for analysis, exercises, recommended literature. The course and method have been tested and proved to be effective when working with novice authors. Foreign analogue is widely used in the training of professionals in various fields and specialties of the subject of CREATIVE WRITING. The result of the course - knowledge of the basics of technology of creation of creative verbal texts: artistic, advertising, journalistic, popular science - all those that are built with the help of symbolic symbolic structures. The final competence is defined as verbal artistic creativity (literary creativity based on the knowledge of linguistic, rhetorical, psychological, poetic mechanisms of influence on the reader and interaction with him in the space of the created text, as well as on the possession of the main means of such influence).

This article considers the archive as a source of inspiration for creative writers, specifically focusing on how writing can highlight and expose silences within the archive. This is developed through a case study of a collaborative creative writing project at the University for the Creative Arts (UCA), where students developed ‘Fictional Biographies’ from archive research and resources. The article looks at the history of creative writing in the context of archives; the article then focuses on the case study, drawing in theories of archival silences, after which we conclude by reflecting on outputs and learning outcomes of the project.