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Writing in Coffee Shops: Confessions of a Playwright
by Ryan CraigWhat makes someone a playwright?How do their identities and ideas interweave and co-exist?What permanent truths can we discern from examining existing texts?How can we write theatre that encapsulates the contemporary moment?How do we develop an idea from the embryonic impulse to a full and robust piece of theatre? In this fresh, lively and often very funny book, playwright Ryan Craig makes a case for the vitality of playwriting in our contemporary world and offers a way into writing those plays.From the very first moment of the process, as you sit in a coffee shop, staring at your 'laptop yawning open like some big, gormless mouth, the screen a flickering blank', to seeing your play staged and reviewed, the author takes you through the complete journey. Drawing on his own experience of writing for theatres such as the National, Hampstead and Tricycle and Menier Chocolate Factory, TV drama scripts for BBC, ITV and Channel Four, radio plays and adaptation, as well as commercial theatre, the author explores what practical tools the dramatist can use to write plays that build bridges between us. Full of practical advice for the aspiring - and practising - playwright, this book is also an important call-to-arms for playwrights everywhere, arguing for its necessity in the context of an increasingly fractured, distracted, disconnected world.
Writing in Context: Textual Practices and Learning Processes in Sociocultural Settings (Studies in Writing #15)
by Triantafillia KostouliThe premise that writing is a socially-situated act of interaction between readers and writers is well established. This volume first, corroborates this premise by citing pertinent evidence, through the analysis of written texts and interactive writing contexts, and from educational settings across different cultures from which we have scant evidence. Secondly, all chapters, though addressing the social nature of writing, propose a variety of perspectives, making the volume multidisciplinary in nature. Finally, this volume accounts for the diversity of the research perspectives each chapter proposes by situating the plurality of terminological issues and methodologies into a more integrative framework. Thus a coherent overall framework is created within which different research strands (i.e., the sociocognitive, sociolinguistic research, composition work, genre analysis) and pedagogical practices developed on L1 and L2 writing can be situated and acquire meaning. This volume will be of particular interest to researchers in the areas of language and literacy education in L1 and L2, applied linguists interested in school, and academic contexts of writing, teacher educators and graduate students working in the fields of L1 and L2 writing.
Writing in Limbo: Modernism and Caribbean Literature
by Simon GikandiIn Simon Gikandi’s view, Caribbean literature and postcolonial literature more generally negotiate an uneasy relationship with the concepts of modernism and modernity—a relationship in which the Caribbean writer, unable to escape a history encoded by Europe, accepts the challenge of rewriting it. Drawing on contemporary deconstructionist theory, Gikandi looks at how such Caribbean writers as George Lamming, Samuel Selvon, Alejo Carpentier, C. L. R. James, Paule Marshall, Merle Hodge, Zee Edgell, and Michelle Cliff have attempted to confront European modernism.
Writing in Pain: Literature, History, and the Culture of Denial
by V. RamazaniThis book argues that while pain is an irreducible neuro-physiological phenomenon, how pain is experienced is powerfully inflected by language and culture. Using Second Empire France after Napoleon III's seizure of power as a particularly revealing time of re-acculturation, it elaborates on the "culture of denial."
Writing in Public: Literature and the Liberty of the Press in Eighteenth-Century Britain
by Trevor RossBuilding upon his previous work on the emergence of "literature," Trevor Ross offers a history of how the public function of literature changed as a result of developing press freedoms during the period from 1760 to 1810. Writing in Public examines the laws of copyright, defamation, and seditious libel to show what happened to literary writing once certain forms of discourse came to be perceived as public and entitled to freedom from state or private control. Ross argues that;¢;‚¬;€?with liberty of expression becoming entrenched as a national value;¢;‚¬;€?the legal constraints on speech had to be reconceived, becoming less a set of prohibitions on its content than an arrangement for managing the public sphere. The public was free to speak on any subject, but its speech, jurists believed, had to follow certain ground rules, as formalized in laws aimed at limiting private ownership of culturally significant works, maintaining civility in public discourse, and safeguarding public deliberation from the coercions of propaganda. For speech to be truly free, however, there had to be an enabling exception to the rules. Since the late eighteenth century, Ross suggests, the role of this exception has been performed by the idea of literature. Literature is valued as the form of expression that, in allowing us to say anything and in any form, attests to our liberty. Yet, paradoxically, it is only by occupying no definable place within the public sphere that literature can remain as indeterminate as the public whose self-reinvention it serves.
Writing in Public: Literature and the Liberty of the Press in Eighteenth-Century Britain
by Trevor RossBuilding upon his previous work on the emergence of "literature," Trevor Ross offers a history of how the public function of literature changed as a result of developing press freedoms during the period from 1760 to 1810. Writing in Public examines the laws of copyright, defamation, and seditious libel to show what happened to literary writing once certain forms of discourse came to be perceived as public and entitled to freedom from state or private control. Ross argues that;¢;‚¬;€?with liberty of expression becoming entrenched as a national value;¢;‚¬;€?the legal constraints on speech had to be reconceived, becoming less a set of prohibitions on its content than an arrangement for managing the public sphere. The public was free to speak on any subject, but its speech, jurists believed, had to follow certain ground rules, as formalized in laws aimed at limiting private ownership of culturally significant works, maintaining civility in public discourse, and safeguarding public deliberation from the coercions of propaganda. For speech to be truly free, however, there had to be an enabling exception to the rules. Since the late eighteenth century, Ross suggests, the role of this exception has been performed by the idea of literature. Literature is valued as the form of expression that, in allowing us to say anything and in any form, attests to our liberty. Yet, paradoxically, it is only by occupying no definable place within the public sphere that literature can remain as indeterminate as the public whose self-reinvention it serves.
Writing in Time: Emily Dickinson's Master Hours
by Marta L. WernerFor more than half a century, the story of Emily Dickinson’s “Master” documents has been the largely biographical tale of three letters to an unidentified individual. Writing in Time seeks to tell a different story—the story of the documents themselves. Rather than presenting the “Master” documents as quarantined from Dickinson’s larger scene of textual production, Marta Werner’s innovative new edition proposes reading them next to Dickinson’s other major textual experiment in the years between ca. 1858–1861: the Fascicles. In both, Dickinson can be seen testing the limits of address and genre in order to escape bibliographical determination and the very coordinates of “mastery” itself. A major event in Dickinson scholarship, Writing in Time: Emily Dickinson’s Master Hours proposes new constellations of Dickinson’s work as well as exciting new methodologies for textual scholarship as an act of “intimate editorial investigation.”
Writing India, Writing English: Literature, Language, Location
by G. J. PrasadThe essays in this book look at the interaction between English and other Indian languages and focus on the pressure of languages on writers and on each other. Divided into two parts, the first part of the book deals with the pressure that English language has exerted, and continues to exert, in India and our ideas of connectedness as a nation in the ways in which we deal with this pressure. The essays emphasise on the emergence of the hybrid language in the Tamil cultural world because of the presence of English (and Hindi); on the politics of ‘anthologisation’; and how Karnad’s Tughlaq deals with the idea of the nation, looking at its historical location. The second part of the book focuses on Indian English literature and deals with how it interacts with the idea of representing the Indian nation, sometimes obsessively, seen both in poetry and novels. The book argues that the writer’s location is crucial to the world of imagination, whether in the novel, poetry or drama. The world is inflected by the location of the author, and the struggle between the language dominant in that location and English is part of the creative tension that provides energy and uniqueness to writing.
Writing India, Writing English: Literature, Language, Location
by G. J. PrasadThe essays in this book look at the interaction between English and other Indian languages and focus on the pressure of languages on writers and on each other. Divided into two parts, the first part of the book deals with the pressure that English language has exerted, and continues to exert, in India and our ideas of connectedness as a nation in the ways in which we deal with this pressure. The essays emphasise on the emergence of the hybrid language in the Tamil cultural world because of the presence of English (and Hindi); on the politics of ‘anthologisation’; and how Karnad’s Tughlaq deals with the idea of the nation, looking at its historical location. The second part of the book focuses on Indian English literature and deals with how it interacts with the idea of representing the Indian nation, sometimes obsessively, seen both in poetry and novels. The book argues that the writer’s location is crucial to the world of imagination, whether in the novel, poetry or drama. The world is inflected by the location of the author, and the struggle between the language dominant in that location and English is part of the creative tension that provides energy and uniqueness to writing.
Writing Indians and Jews: Metaphorics of Jewishness in South Asian Literature
by A. GuttmanWriting Indians and Jews examines discursive practices surrounding the representation of Jews and Jewishness in Indian literature in English. These investigations make an important contribution to the study of contemporary South Asian and diasporic literature, and understandings of anti-Semitism, religious fundamentalism, and globalization.
Writing-Intensive: Becoming W-Faculty in a New Writing Curriculum
by Wendy StrachanIn one of the few book-length studies of a major post-secondary writing-across-the-curriculum initiative from concept to implementation, Writing-Intensive traces the process of preparation for new writing requirements across the undergraduate curriculum at Simon Fraser University, a mid-sized Canadian research university. As faculty members across campus were selected to pilot writing-intensive courses, and as administrators and committees adjusted the process toward full implementation, planners grounded their pedagogy in genre theory—a new approach for many non-composition faculty. So doing, the initiative aimed to establish a coherent yet rhetorically flexible framework through which students might improve their writing in all disciplines. Wendy Strachan documents this campus cultural transformation, exploring successes and impasses with equal interest. The study identifies factors to be considered to avoid isolating the teaching of writing in writing-intensive courses; to engender a university-wide culture that naturalizes writing as a vital part of learning across all disciplines; and to keep the teaching of writing organic and reflected upon in a scholarly manner across campus. A valuable case history for scholars in writing studies, WAC/WID, and curricular change studies.
Writing Intersectional Identities: Keywords for Creative Writers
by Janelle Adsit Renée M. ByrdIs it okay to write about people of other genders, races and identities? And how do I do this responsibly?Whether you are working in fiction, poetry, drama or creative non-fiction, becoming conscious of how you represent people of different social identities is one of the most important responsibilities you have as a writer. This is the first practical guide to thinking and writing reflectively about these issues.Organised in an easy-to-use A to Z format for practicing writers, teachers and students, Writing Intersectional Identities covers such key terms as: Appropriation Authenticity Body Class Counternarrative Disability Essentialism Gender Indigenous Power Privilege RepresentationThe book is meant for writers of fiction, poetry, screenplays and creative non-fiction who are seeking to develop a writing practice that is attentive to the world. The book is supported by a companion website at www.criticalcreativewriting.com.
Writing Intersectional Identities: Keywords for Creative Writers
by Janelle Adsit Renée M. ByrdIs it okay to write about people of other genders, races and identities? And how do I do this responsibly?Whether you are working in fiction, poetry, drama or creative non-fiction, becoming conscious of how you represent people of different social identities is one of the most important responsibilities you have as a writer. This is the first practical guide to thinking and writing reflectively about these issues.Organised in an easy-to-use A to Z format for practicing writers, teachers and students, Writing Intersectional Identities covers such key terms as: Appropriation Authenticity Body Class Counternarrative Disability Essentialism Gender Indigenous Power Privilege RepresentationThe book is meant for writers of fiction, poetry, screenplays and creative non-fiction who are seeking to develop a writing practice that is attentive to the world. The book is supported by a companion website at www.criticalcreativewriting.com.
Writing Ireland's Working Class: Dublin After O'Casey
by Michael PierseExploring writing of working-class Dublin after Seán O'Casey, this book breaks new ground in Irish Studies, unearthing submerged narratives of class in Irish life. Examining how working-class identity is depicted by authors like Brendan Behan and Roddy Doyle, it discusses how this hidden, urban Ireland has appeared in the country's literature.
Writing Islam from a South Asian Muslim Perspective: Rushdie, Hamid, Aslam, Shamsie
by Madeline ClementsThis book explores whether the post-9/11 novels of Rushdie, Hamid, Aslam and Shamsie can be read as part of an attempt to revise modern ‘knowledge’ of the Islamic world, using globally-distributed English-language literature to reframe Muslims’ potential to connect with others. Focussing on novels including Shalimar the Clown, The Reluctant Fundamentalist, The Wasted Vigil, and Burnt Shadows, the author combines aesthetic, historical, political and spiritual considerations with analyses of the popular discourses and critical discussions surrounding the novels; and scrutinises how the writers have been appropriated as authentic spokespeople by dominant political and cultural forces. Finally, she explores how, as writers of Indian and Pakistani origin, Rushdie, Hamid, Aslam and Shamsie negotiate their identities, and the tensions of being seen to act as Muslim representatives, in relation to the complex international and geopolitical context in which they write.
Writing Jewish: Contemporary British-Jewish Literature
by Ruth GilbertBritish-Jewish writers are increasingly addressing challenging questions about what it means to be both British and Jewish in the twenty-first century. Writing Jewish provides a lively and accessible introduction to the key issues in contemporary British-Jewish fiction, memoirs and journalism, and explores how Jewishness exists alongside a range of other different identities in Britain today. By interrogating myths and stereotypes and looking at themes of remembering and forgetting, belonging and alienation, location and dislocation, Ruth Gilbert examines how these writers identify the particularity of their difference – while acknowledging that this difference is neither fixed nor final, but always open to re-interpretation.
Writing Jewish: Contemporary British-Jewish Literature
by Ruth GilbertBritish-Jewish writers are increasingly addressing challenging questions about what it means to be both British and Jewish in the twenty-first century. Writing Jewish provides a lively and accessible introduction to the key issues in contemporary British-Jewish fiction, memoirs and journalism, and explores how Jewishness exists alongside a range of other different identities in Britain today.By interrogating myths and stereotypes and looking at themes of remembering and forgetting, belonging and alienation, location and dislocation, Ruth Gilbert examines how these writers identify the particularity of their difference – while acknowledging that this difference is neither fixed nor final, but always open to re-interpretation.
Writing Landscape and Setting in the Anthropocene: Britain and Beyond
by Philippa Holloway Craig Jordan-BakerThis edited collection offers an in-depth exploration of the role of landscape and place as literary ‘settings’. It examines the multifaceted relationships between authors, narrators, and characters to their locales, as well as broader considerations of the significance of the representation of landscape in a world deeply affected by human interventions. Consisting of case studies of projects that engage with these questions, as well as research examining the theoretical underpinnings of both creative practices/processes and post-textual analysis of published works, this volume is both multidisciplinary and interdisciplinary in scope. In the context of the climate crisis and a pandemic which has caused us to re-evaluate the significance of landscape and the environment, it responds to the need to engage current trends within the academy and in broader social debate about our relationship to the natural world.
Writing Law Dissertations: An Introduction And Guide To The Conduct Of Legal Research (PDF)
by Julie Mason Michael SalterThis book covers legal dissertation level research, embracing both LL. B. and the specific demands of LL. M. dissertations. Adopting a highly practical approach, this book shows the reader how to research and write a dissertation, covering the various stages - planning, identifying key issues, utilising the appropriate research methods, time management issues, and managing one's supervision. KEY FEATURES * Shows how to avoid common stylistic and substantive pitfalls * Discusses the character and pros and cons of adopting law and policy methods for defining the issues and conducting legal research - including black letter, socio-legal, interpretive, experiential * A running example throughout the text illustrates the various points made in each section and provides continuity
Writing Left-Handed: Collected Essays
by David HareThe leading British writer-director of his generation, David Hare is also one of the most productive. The last two years have seen the outstanding success of two stage plays, The Secret Rapture and Racing Demon, and the release of two films, Paris by Night and Strapless.The pieces collected here, written left-handed, form both a concealed professional autobiography and a lucid commentary on his work.
Writing Life: Early Twentieth-Century Autobiographies of the Artist-Hero (English Association Monographs: English at the Interface #4)
by Mhairi PoolerWriters’ lives are endlessly fascinating for the reading public and literary scholars alike. By examining the self-representation of authors across the schism between Victorianism and Modernism via the First World War, this study offers a new way of evaluating biographical context and experience in the individual creative process at a crucial point in world and literary history. Writing Life explores how and why a select group of early twentieth-century writers, including Edmund Gosse, Henry James, Siegfried Sassoon and Dorothy Richardson, adapted the model of the German Romantic Künstlerroman, or artist narrative, for their autobiographical writing. Instead of (mis)reading these autobiographies as historical documentation, Pooler examines how these authors conduct a Romantic-style conversation about literature through literature as a means of reconfirming the role of the artist in the face of shifting values and the cataclysm of the Great War.
Writing Like An Engineer: A Rhetorical Education (Rhetoric, Knowledge, and Society Series)
by Dorothy A. WinsorComprised of a study spanning over five years, this text looks at four engineering co-op students as they write at work. Since the contributors have a foot in both worlds -- work and school -- the book should appeal to people who are interested in how students learn to write as well as people who are interested in what writing at work is like. Primarily concerned with whether engineers see their writing as rhetorical or persuasive, the study attempts to describe the students' changing understanding of what it is they do when they write. Two features of engineering practice that have particular impact on the extent to which engineers recognize persuasion are identified: * a reverence for data, and * the hierarchical structure of the organizations in which engineering is most commonly done. Both of these features discourage an open recognition of persuasion. Finally, the study shows that the four co-op students learned most of what they knew about writing at work by engaging in situated practice in the workplace, rather than by attending formal classes.
Writing Like An Engineer: A Rhetorical Education (Rhetoric, Knowledge, and Society Series)
by Dorothy A. WinsorComprised of a study spanning over five years, this text looks at four engineering co-op students as they write at work. Since the contributors have a foot in both worlds -- work and school -- the book should appeal to people who are interested in how students learn to write as well as people who are interested in what writing at work is like. Primarily concerned with whether engineers see their writing as rhetorical or persuasive, the study attempts to describe the students' changing understanding of what it is they do when they write. Two features of engineering practice that have particular impact on the extent to which engineers recognize persuasion are identified: * a reverence for data, and * the hierarchical structure of the organizations in which engineering is most commonly done. Both of these features discourage an open recognition of persuasion. Finally, the study shows that the four co-op students learned most of what they knew about writing at work by engaging in situated practice in the workplace, rather than by attending formal classes.
Writing Literary Features
by R. Thomas BernerFirst Published in 1988. Routledge is an imprint of Taylor & Francis, an informa company.
Writing Literary Features
by R. Thomas BernerFirst Published in 1988. Routledge is an imprint of Taylor & Francis, an informa company.