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Creative Writing and the New Humanities

By Paul Dawson | Go to book overview

Notes

Introduction

1
The Writers' Workshop Brochure. Online. (accessed 9 Feb. 2004).
2
The clearest illustration of this style of teaching is offered by McFarland (1993), and the best critique of it is provided by Dooley (1990).
3
See D. Hall (1983), Kuzma (1986), J. Epstein (1988), Dooley (1990).
4
See Watkins (1989:191-6) for an account of this idea of the placeless writer and how it complemented the Arnoldian concept of critical freeplay.

Chapter 2

1
In 1922, Middlebury College advertised its Summer School of English, and one of the courses was in 'Creative Writing (verse and prose)'. This advertisement can be found in The English Journal 11.4 (April 1922): 264. The School had been held since 1920, but, this was the first time the phrase 'Creative Writing' was used to denote instruction in fiction and poetry writing. It is out of this Summer School that the Breadloaf Conference on Creative Writing emerged in 1926.
2
I take this phrase from Ian Hunter's Culture and Government (1988), a compelling account of the relationship of progressive education to modern Literary Studies in the popular school system in England. Hunter draws attention to an influential textbook by Randolph Stow which describes the role of the teacher as a supervisor in the government school playground. For Hunter, the role of the English teacher, as an ethical exemplar who encourages the play and self-expression of the student within the classroom, is an extension of this practice of moral supervision in the playground. Not only was progressive education deployed in this regard, but so was the Romantic caste practice of reading and writing as a means of ethical self-formation; both operated within the governmental apparatus of the popular school system as a means of population management. The 'unfathomable' text of literature, coupled with the role of the teacher as an ethical exemplar, encouraged students to internalise the practice of ceaseless self-scrutiny via the reading of literature. Hunter skirts around the role of Creative Writing, preferring to concentrate on the role of drama, and the way post-Romantic conceptions of literature have been

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