By Paul Dawson
This ebook examines the institutional historical past and disciplinary way forward for inventive writing within the modern academy, taking a look way past the perennial questions 'can writing be taught?' and 'should writing be taught?'.Paul Dawson strains 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 line with the increase of 'theory' in the USA, England and Australia.Dawson argues that the self-discipline of inventive writing built as a sequence of pedagogic responses to the long-standing 'crisis' in literary reviews. His polemical account presents a clean viewpoint at the value of artistic writing to the emergence of the 'new humanities' and makes an immense contribution to present debates concerning the function of the author as public highbrow.
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Additional resources for Creative Writing and the New Humanities
Caldwell Cook, through his book The Play Way (1917), was ‘the earliest exponent of creative activity in English’ (86). And by the time of the Newbolt Report of 1921, ‘experience of literature and creative work in the native language had both come to be seen as vitally important in the development of character’ (65). In America, by contrast, creativity became a symbol of democracy and attempts were made to harness creativity in order to aid and expand capitalist productivity rather than preserve a nostalgic haven against it.
Thus, because imagination partakes of divine creation, nature (God’s creation) is something which also operates on our minds from within. The ‘secondary imagination’ is an echo of the former in the sense that it reduplicates the primary act of perception via the conscious will. It differs in its ‘mode of operation’ because the mode of operation is not general perception, but poetic creation. The poetic imagination, then, differs in degree from the primary because it is an echo of the original. It is a more localized operation of the imagination, but at the same time is more heightened.
What Young means by imitating nature is different from what Aristotle means, however, for he is referring to a personal experience of nature achieved by introspection, rather than an objective representation of universal forms. Young plays down the importance of learning and upholds the native force of mind of genius. ‘Genius is a masterworkman, learning is but an instrument’ (279). Genius ‘can set us right in composition, without the rules of the learned’ (280). To prove that genius, the only mind from which originality can come, is not rare, Young claims that there may be many geniuses unknown to us.