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Creativity, practice-led research and collaboration

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Paul Hetherington

on 6 October 2014

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Transcript of Creativity, practice-led research and collaboration

Creativity, practice-led research and collaboration
3. Getting along better
4. Creative practice
The Soul has Bandaged moments -
When too appalled to stir -
She feels some ghastly Fright come up
And stop to look at her -

Salute her, with long fingers -
Caress her freezing hair -
Sip, Goblin, from the very lips
The Lover - hovered - o'er -
Unworthy, that a thought so mean
Accost a Theme - so - fair -

The soul has moments of escape -
When bursting all the doors -
She dances like a Bomb, abroad,
And swings opon the Hours,
5. Writing
6. Creative practice (2)
7. Writing a creative PhD
8. Voice, conversation and audience
• find a clear and separate voice for each piece of writing; and
• imagine, as you are writing, that you are having a kind of conversation with someone.
- In the case of the creative work (e.g. a memoir, or a novel), this might be a creative conversation with an educated lay person who likes reading
- In the case of an exegesis, this might be a scholarly conversation with an expert, or group of experts in the field (preferably not too many). You can identify such a person or people through your reading of books and journals (try to find someone whose work makes you wish to that you could meet and chat to them)
• And always remember that, if in doubt, it is better to narrow your topic and focus rather than broaden it

9. Practice-led research
1. A Confession
2. An overheard conversation
As do the Bee - delirious borne -
Long Dungeoned from his Rose -
Touch Liberty - then know no more -
But Noon, and Paradise

The Soul's retaken moments -
When, Felon led along,
With shackles on the plumed feet,
And staples, in the song,

The Horror welcomes her, again,
These, are not brayed of Tongue -

10. Collaboration
12. Collaboration over these two days
13. Abstracts
The collaborative poetry project ‘Borrowings’ investigates and theorises some of the processes of poetic composition. Two collaborators, by making use of incepts from each other’s work, have generated new poems by exploring the nature of intertextual genesis. This paper presents key ideas generated by this activity and, in doing so, applies Deleuze’s analysis of games to its consideration of the nature of poetic composition, along with his contention that ‘[t]o pass to the other side of the mirror is to pass from the relation of denotation to the relation of expression … It is to reach a region where language no longer has any relation to that which it denotes’. The project explores some of the ways in which poetry makes ‘sense’, both to the writer and reader; as well as questioning the extent to which poetry depends on its author’s ‘decision’ about what to write. It also teases out some of the implications for how we understand authorship if authorial decisions may be generated by incepts of one kind or another that occur to the poet apparently randomly, or may be given to them by a line or phrase that they encounter while reading. This paper’s ultimate wager, and one put to the test in the project itself, is that limitation has an expansive effect on the generation of creative work.
The connections between memory and poetry have long been asserted and are present, for example, in the mythology and writings of the ancient Greeks. The nature of memory has been discussed by numerous ancient and modern writers, including Sigmund Freud. While Freud acknowledged that memories were sometimes fantasies, he nevertheless frequently likened the retrieval of autobiographical memory through analysis to an archaeologist’s work in digging up objects from the past—as if in memory the past might remain intact and unchanged. Yet autobiographical memory is increasingly being understood as unreliable, as constituted of ‘temporary mental representations’ and as configuring present understandings rather than simply detailing past events. While many contemporary lyric poems are based on autobiographical memory, these poems often use material from the past to construct new narratives of the self. Thus the past is in front of, rather than behind the poet who makes use of autobiographical material.
11. Collaboration can be harder
than it looks
14. In conclusion
The importance of reading to writing has often been asserted and it is generally agreed that providing Creative Writing students with opportunities to read literature, including ‘classic’ texts, plays an important role in teaching Creative Writing. Self-consciously ‘literary’ texts can be particularly useful in highlighting how such texts have been made. Yet the amount of reading that can be offered during Creative Writing courses is limited and many Creative Writing students have not read widely. As a result, many students have a limited range of models for their creative work, which is often relatively unambitious. Combining Literary Studies and Creative Writing courses and course practices and, in doing so, encouraging students to write as readers and read as writers is one way to improve the teaching of Creative Writing and Literary Studies in Australian universities.
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