By Paul Dawson
This publication examines the institutional historical past and disciplinary way forward for artistic writing within the modern academy, taking a look well past the perennial questions 'can writing be taught?' and 'should writing be taught?'.Paul Dawson lines the emergence of inventive writing along the hot feedback in American universities; examines the writing workshop with regards to theories of creativity and literary feedback; and analyzes the evolution of artistic writing pedagogy along and in keeping with the increase of 'theory' in the US, England and Australia.Dawson argues that the self-discipline of inventive writing constructed as a chain of pedagogic responses to the long-standing 'crisis' in literary reviews. His polemical account presents a clean point of view at the significance of inventive writing to the emergence of the 'new humanities' and makes a huge contribution to present debates in regards to the function of the author as public highbrow.
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Despite this, poetry has always been associated with verse. In his Poetics Aristotle claimed that there is ‘an art which imitates by language alone’ (1984: 2316) and no name exists for this art, whether it is a Socratic dialogue or a mime or a metrical composition. He says, however, that anything written in verse is commonly called poetry, regardless of whether it 111 011 111 0111 0111 0111 1111 From imagination to creativity 35 is an art of imitation or a scientiﬁc treatise. So even though poetry is to be deﬁned as imitation rather than verse, he acknowledges its general usage.
Dryden defends this possible impropriety by use of the Hobbesian compound imagination. In the same way that a centaur is fashioned out of the image of a man and a horse, so Caliban is conceived out of ‘an incubus and a sorceress’, beings in which ‘at least the vulgar still believe’ (219). The ability to produce things which did not exist in nature gradually came to be seen not as delusion, or the workings of wild fancy which needed governing by reason, or as Hobbesian compounded imagination, but as original creation, analogous with that of God.
While this process began with the Romantics, the term ‘literature’ was not specialised until later, Williams argues, when it was pitted ‘against the full pressures of an industrial capitalist order, the assertion became defensive and reserving where it had once been positive and absolute. In “art” and “literature”, the essential and saving human qualities must, in the early phase, be “extended”; in the latter phase, “preserved”’ (50). This latter phase is undoubtedly a reference to the work of Leavis.
Creative Writing and the New Humanities by Paul Dawson