(Re)Writing Craft: Composition, Creative Writing, and the Future of English Studies(Re)Writing Craft focuses on the gap that exists in many English departments between creative writers and compositionists on one hand, and literary scholars on the other, in an effort to radically transform the way English studies are organized and practiced today. In proposing a new form of writing he calls "craft criticism," Mayers, himself a compositionist and creative writer, explores the connections between creative writing and composition studies programs, which currently exist as separate fields within the larger and more amorphous field of English studies. If creative writing and composition studies are brought together in productive dialogue, they can, in his view, succeed in inverting the common hierarchy in English departments that privileges interpretation of literature over the teaching of writing. |
From inside the book
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Page 7
... positions within the dominant strand of the discipline, can essentially get away with knowing little or nothing about composition or, for that matter, about creative writing.1. From. Required. Course. to. Expanding. Field. For many who ...
... positions within the dominant strand of the discipline, can essentially get away with knowing little or nothing about composition or, for that matter, about creative writing.1. From. Required. Course. to. Expanding. Field. For many who ...
Page 10
... position is in this debate, it serves as evidence, I believe, that composition studies has reached an important stage in its development and is possibly ready to expand its scope to encompass territory commonly thought to belong only to ...
... position is in this debate, it serves as evidence, I believe, that composition studies has reached an important stage in its development and is possibly ready to expand its scope to encompass territory commonly thought to belong only to ...
Page 11
... positions—yet many creative writers, not to mention academics from other fields, do not consider their work “scholarship.” Indeed, creative writers most often publish, and are expected to publish, original works of poetry, fiction, and ...
... positions—yet many creative writers, not to mention academics from other fields, do not consider their work “scholarship.” Indeed, creative writers most often publish, and are expected to publish, original works of poetry, fiction, and ...
Page 13
... position might be stated as follows. First, “creative writing” as understood in academic terms is “serious writing.”4 This presumably distinguishes it from commercial or utilitarian forms of writing, though this distinction is certainly ...
... position might be stated as follows. First, “creative writing” as understood in academic terms is “serious writing.”4 This presumably distinguishes it from commercial or utilitarian forms of writing, though this distinction is certainly ...
Page 18
... position of notable authority—the authority, that is, to define what creative writing is and what it does. In fact, Fenza has a history oftrying to do just this; in , he published an essay savaging “theory” for its alleged ...
... position of notable authority—the authority, that is, to define what creative writing is and what it does. In fact, Fenza has a history oftrying to do just this; in , he published an essay savaging “theory” for its alleged ...
Contents
1 | |
2 Craft Criticism and the Possibility of Theoretical Scholarship in Creative Writing | 29 |
3 Writing Reading Thinking and the Question Concerning Craft | 65 |
4 Terms of an Alliance | 97 |
5 Starting Somewhere | 129 |
Notes | 169 |
Works Cited | 175 |
Index | 183 |
Back Cover | |
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(Re)Writing Craft: Composition, Creative Writing, and the Future of English ... Tim Mayers No preview available - 2007 |
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