This onto-epistemic experimental essay is a modest attempt to imagine another world yet to come in a time of what David Theo Goldberg calls "dread." To interrogate the unnamable feeling/texture the author's body wants to be free from, memories of the author, an…

In this essay, I share reflections on what it meant to teach my book of poetry in an introductory English literature class. The book took inspiration from the philosophy of Emmanuel Levinas, particularly his studies on encountering the other person. Engaging with this text (both the poetry and the philosophy), I consider some of the nuances of a…

This article details how we integrate Jody Shipka's approach to creativity and rhetorical awareness into a Professional Writing, Rhetoric, and Technology major at the University of South Florida. We situate Shipka's pedagogy alongside postpedagogy, differentiating the latter from postcomposition. In short, we argue that postpedagogy echoes…

Creative Writing (CW) courses and degrees are growing in numbers and influence. They are fashionable for students to enrol on, fashionable for institutions to offer. CW courses have an established track record in producing successful novelists, bring new challenges in reconciling creativity and conformity, and provide a useful source of employment…

Reports on research efforts to isolate and identify standards of judging creativity, and to develop judgment and objective correlate measures of creativity in writing. (RB)

In a graduate in-service course on creativity in teaching, an exercise in finishing a story was used to see if teachers scored better on three of Guilford's creativity traits (expressional fluency, elaboration, and originality) when working alone or in groups and when provided or not provided with clues. (SJL)

Argues for expanded definitions of "creative writing" and the "creative writer." Shows how recent theories of creativity with an emphasis on problem finding can enhance composition pedagogy. (SR)

Discusses the difficulties to be faced in teaching creative writers and suggests ten techniques of teaching creative writing. (DD)

Knowing a place well may demand experiencing it from the inside to see it in detail and viewing it from the outside to attain greater perspective. This article suggests elements that contribute to understanding home when away by using the works of American expatriate writers who lived in Paris in the 1920s. (RM)

Analyzes three views of the process of creative writing, pointing out weaknesses in each of the three. (DD)

Concludes that writing fiction and stressing subjective reaction and personal experience are positive approaches in remedial writing courses. (DD)

Reviews the major principles and techniques from the literature on rhetorical invention that bear on honest inquiry in the framework of Graham Wallace's four stages of the creative process. (DD)

Examines motives that can serve as the framework for a creative composition course and suggests some specific creative writing procedures. (DD)

Asserts that the greatest hindrance to creativity is what students have learned about school and describes exercises to encourage the creative writing process. (KS)

Prospective teachers judged the creativity of eleventh grade students' modified essay compositions on the following subjects; mirrors; if the schools should close; or the new woman. Higher creativity ratings were associated with two factors: number of sentences, and number of novel ideas expressed. (Author/GDC)