Category: uusimmat

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Outi Kallionpää: Uusien mediakirjoitustaitojen merkitys

Uudet kirjoitustaidot, kuten multimodaalinen kirjoittaminen, sosiaalisten ja luovien verkkotekstilajien tuottaminen, julkaisuprosessin hallinta sekä monisuorittamisen ja tietoisuustaitojen vuorottelu ovat tärkeitä uusia taitoja.

Kirjoittamusen väitöskirjaa valmisteleva Outi Kallionpää käsittelee Media&Viestintä -tutkimusjulkaisussa näiden taitojen huomioimista kouluopetuksessa. Teknisen kehityksen ja sosiaalisen median vaikutuksesta syntyneet uudet kirjoitustaidot ovat luonnollisesti tulevaisuustaitoja.

Perinteinen koululaitos on hidas omaksumaan uusia toimintamalleja, Kallionpää kysyy, pitäisikö näiden uusien sisällöntuottamistaitojen opetusta alkaa kehittää tavoitteellisesti. Tulevaisuuden yhteiskunnassa uusien kirjoitustaitojen merkitys tulee olemaan täysipainoisen sosiaalisen, kulttuurisen, yhteiskunnallisen ja taloudellisen osallistumisen mahdollistajana ilmeisen keskeinen.

Linkki koko artikkeliin Media&Viestintä 4/2014 julkaisussa.

 

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Kirjoittajasta kirjailijaksi, käsikirjoituksesta romaaniksi

Liisa Rinteen Kirjoittajasta kirjailijaksi, käsikirjoituksesta romaaniksi tutkii kirjailijuuden syntyä työpäiväkirjojen perusteella.

Työn taiteellisesta osasta on muokattu esikoisromaani Odotus (Atena 2015). Romaani käsittelee entisen kasvatuslapsen kehitystä vanhemmuuteen, siihen liittyviä odotuksia sekä äitiyden kokemuksia. Teoksen ytimenä on tilanne, jossa minäkertoja odottaa esikoistaan, käsittelee suhdetta kasvatusvanhempiinsa ja valmistautuu tapaamaan biologisen äitinsä. Tämä tilanne antaa hänelle aiheen muistella elämäänsä, jolloin lukija saa sitä kuvan. Kerronta ei rajaudu vain minäkertojan kokemuksiin, muistoihin lapsuudesta, kasvatusvanhemmista, minäkertojalle tuntematon biologinen äiti saa myös äänen. Romaanin runollinen proosa on aistillista ja detaljeiltaan rikasta kieltä. Tarina hahmottuu episodeina, ja keskeisten tapahtumien emotionaalinen merkitys on toimintaa keskeisempää.

Liisa Rinteen lähtökohtana on se, kuinka romaanin valmistuminen ja kirjailijan identiteetti liittyvät yhteen. Miten kirjoittajasta tulee kirjailija ja miten romaanin aihiosta tulee käsikirjoitus ja julkaistu teos. Tutkielmassa nostetaan esiin haasteellisia, innostavia kysymyksiä, erityisesti naisena kirjoittamiseen liittyen.

Työhön sisältyy runsain mitoin kirjailijan viisautta, erityisesti pohdinnat lukemisen ja kirjoittamisen suhteesta osoittavat, kuinka olennaisesti lukeminen on vaikuttanut esikoiskirjailijan tyylillisiin pyrkimyksiin. Kirjoittamisoppaat ovat paljon esillä tutkimuksessa, mutta mallien ottamisen sijaan Liisa Rinne käy dialogia niiden kanssa. Vuoropuhelu on syvällistä, ja dialogi välittyy työpäiväkirjaan sekä kirjeisiin asti.

Liisa Rinne käsittelee pro gradussaan esikoisteoksen syntyprosessia ja kirjailijaksi tulemista. Hän keskustelee lukukokemuksistaan ja kirjailijan työstä. Tutkimus on antoisaa luettavaa niille, jotka ovat kiinnostuneet esikoisteoksen syntyprosessista, naisena kirjoittamisesta, lukemisen merkityksestä kirjoittamiselle ja suhteesta muiden kirjailijoiden työskentelytapoihin.

 

Liisa Rinne: KIRJOITTAJASTA KIRJAILIJAKSI, KÄSIKIRJOITUKSESTA ROMAANIKSI
1. JOHDANTO
Sanoista romaani – kirjoittajaidentiteetti ja kirjoittamisen prosessi

2. MINÄ KIRJOITTAJANA – KIRJOITTAJAIDENTITEETTI
2.1 Kirjailija vai kirjoittaja?
2.2. Minä kirjoittajana
2.3. Naistekijyys
2.4. Oma kokemus sanoiksi – naiskirjoittaminen ja muita variaatioita kielen reunalla 16

3. KIRJOITTAMISEN JA LUKEMISEN RAJAPINNALLA
3.1. Lukijasta kirjoittajaksi, kirjoittajasta lukijaksi
3.2. Kirjoitusoppaat
3.3. Kirjoittamisen prosessi
3.4. Kirjoittamisen rytmi – kirjoittaminen fyysisenä kokemuksena

4. KÄSIKIRJOITUKSEN VAIHEET
4.1. ”Kääritään hihat, ruvetaan hommiin”
4.2. Tarina – mistä kerrotaan ja miten kerrotaan?
4.3. Henkilöt
4.4. Juoni
4.5. Yksityiskohta, tekstin pienin yksikkö

5. YKSITYISESTÄ JULKISEKSI
5.1. Palaute
5.2. Kustannussopimus
5.3. Luopuminen osana kirjoitusprosessia

6. LOPUKSI
”Hyvä Mrs. Woolf”

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Keynotes of the Conference will be published in Scriptum

“Our roots are in the air” was the motto of Philip Gross in the Conference of Creative Writing: Pedagogy and Well-Being  Jyvaskyla.  SCRIPTUM 1/2015 will be out in January and the speeches of Philip Gross, Alain Andre, Jurate Sisylate, Juhani Ihanus and Fritz Ostermayer will be published there.

We had over 80 participants in the Conference. Thank you all, students, writers, poets, authors, teachers, researchers from Finland and different parts of Europe.

 

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Javier Sagarna: Creativity, sensibility and technique

Javier Sagarna Escuela de Escritores, Spain CREATIVITY, SENSIBILITY AND TECHNIQUE, three goals for our master course in narrative Initializing the Panel Universities/Art Schools 21.1o Programme In October 2009, after a 2 years period of carefully building up, Escuela de Escritores opened its Master course in Narrative, a programme of 576 hours of classes (876 counting the hours the students will dedicate to their end of master projects), which is intended to give to students the complete set of tools a young writer needs to start his career. This programme is organized around what was identified as the three critical points that, in our experience, has to be enhanced in the students if we want them to really grow as writers, not only to acquire useful knowledge: creativity, sensibility and literary technique. Designed as and artistic formation, Escuela de Escritores divided the Master course in Narrative in three kind of matters: theoretical matter, practical matters and creativity matters, and is focused on the writing by each one of the students, during the second year of the programme, of a narrative project (a novel, a book of short stories), that will help them to settle and really handle most of the knowledge and tools acquired, during a complete creative writing process. At the date, after 4 promotions of our Master course had already finished and another one has finished its first year and waiting for the crucial second one, we can say the programme is working and the results are really good and better than any expectations. The Master course is a great step forward for all students, and many of them has seen their master projects published by commercial publishing houses, and keep writing day by day and developing new projects, as well as many of them are now working as creative writing teachers, journalists, etc. The aim of my lecture will be to expose to the conference in a detailed way the pedagogical bases of our Master course in Narrative, as well as our experience with students and the results and conclusions we make after this five years period of existence or the programme.

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Jurate Sucylaite introducing personal writing therapy experience

sucylaiteDr. Jurate Sucylaite University of Klaipeda, Lithuania
WRITING AS A TOOL IN REHABILITATION AND EDUCATIONAL WORK

22.10 conference programme
Low Self-esteem leads to loneliness, depression, negative thinking and is tied with negative emotions. Individual tries to escape painful emotions, to run away from unsolved problems, inhibits emotions and looses energy. When people share their feelings emotional tension reduces, but often it is difficult to find sensitive listeners; often wounded person doesn’t find words to express inner feelings, his (her) language hasn’t enough vitality.

Writing is a space between trauma and freedom: is allowed to express painful feelings, to witness cruelty, to discover not wounded vital powers inside, and to notice new horizon.

It is a challenge to empower person to write. The benefit of writing was studied in different groups (schizophrenic patients, depressed patients, and elderly people, nursing students).

Often research confirmed a necessity to help participants to learn to be an observer: to pay attention to the details of Nature world (the river, the trees, the path under your feet), to sense and to share senses in written form; to be an observer what goes now (in Present moment): to face pain in own body, to face reminiscences, and to witness in written form. Writing helps to find Spirituality: connectedness with oneself, with others, with nature world, with God and leads to personal transformations.

Collective writing or poetic improvisation when facilitator uses words of every client creates feeling of safe place; encourages to participate and to try writing.  Author presents a methodical system of her work and results in different groups of participants.

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Philip Gross: “Our Roots Are In The Air…”

Gross“Our Roots Are In The Air…” :
the teaching of Creative Writing in UK universities.
21.10. keynote in Conference
Prof. Philip Gross of the University of South Wales was one of the working writers involved in first wave of Creative Writing courses in British universities. Reflecting on three decades, from the discipline’s almost accidental birth and growth to the leaner, more challenging present, he explores the subtly shifting balances and tensions in this growing discipline, between a robust practicality, a commitment to knowledge and the serious play and indeterminacy vital to creative process. Using his own poetry, as the most self-reflexive and self-questioning of writing forms, he explores what it means to think like a writer in the academic context, or rather, to think like the writing itself. Questioning one of the discipline’s most established practices, he proposes a quietly radical model of the workshop, in relational terms – as a (dynamic and creative) ‘space between’:

… what holds together,
for its moment,
when the air
is a pliant and see-through cartilage
between the words,
between them and what’s
not said, what’s known somewhere else but here,
hardly known that it’s known…

Apart from offering a fertile space for new writers, exploring this space fosters interpersonal and intrapersonal skills, reveals valuable creative paradoxes and maybe, almost incidentally, offers the discipline a fresh way to defend its value in the changing world.

Philip Gross is professor of the University of South Wales and creative writing teacher. He’s also award winning fiction writer and poet, who writes for both adult and children.

Gross has won several major awards within the last few years such as the T S Eliot poetry prize 2009 for The Water Table, Wales Book of the Year 2010 for I Spy Pinhole Eye and the CLPE Poetry Award 2011 for children’s poetry Off Road To Everywhere.

Gross’ new collection, Deep Field, is an exploration of his refugee fathers’ loss of language to aphasia in the last years of his life. The book was shortlisted for Wales Book of the Year 2012.

http://www.philipgross.co.uk/index.htm

 

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Alain ANDRÉ: How far our early readings matter for the way we teach?

Alain ANDRÉ (keynote): “Reading, writing and teaching – how far our early readings matter for the way we teach?”
Abstract of 22.10 keynote, programme
Initial training of creative writing teachers implies a “survival kit” for teaching situations. It also implies a lot of experimenting and sharing about the posture: the way we live in it, its ethics and horizons (it’s more important, by a long chalk). One of the key-points consists in helping young teachers to work around a few blind spots and think about their own situations in this prospect. It includes the ways they manage between teaching and writing or their relationships with knowledge and its transmission.

A major one lies in their own situations and attitudes towards reading and literature: what do they read or not? Do they feel legitimate in the literary field or do they feel terrified by the “monster” literature? Which tools do they use as it comes to reading complex texts?

I’ll argue it’s important for them to dig in their autobiographical experiences with writing of course, but also with reading. Writing and sharing about that is one of the best ways for them to become more conscious of the variety of the possible points of view and to question their own spontaneous literary norm. I’ll develop it as a training method and give a few examples, first of my prompts in this area, then about what I discovered about myself, as I was writing about my own personal readings when I was between 6 and 11 year old – a work still in progress.
andre  Alain André is a President of the French writing school Aleph-Écriture, that he founded in 1985 as well as a Vice-President of the European Association of Creative Writing Programmes (EACWP). For EACWP, he organized the first International Pedagogical Conference in Paris (2012).

André is the author of novels La Passion, dit Max (2007) and Rien que du bleu ou Presque (2000). He has also written short stories and various essays dedicated to creative writing, such as Babel heureuse. L’atelier d’écriture au service de la création littéraire (1989/2011), Devenir écrivain (un peu, beaucoup, passionnément) (2007/2012) and Écrire l’expérience. Vers la reconnaissance des pratiques professionnelles (2007/2012).

André is also one of the main contributors for the numerical creative writing French magazine L’Inventoire.

As a creative writer teacher, he accompanies groups of young writers involved in personal projects and trains young creative writing teachers.

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Presentation: Creative Writing Studies in Jyväskylä

Arts and Culture Studies in Jyväskylä is part of research University and not Art University, that’s why artistic work  is only one part of Creative Writing Studies. Still the situation is inspiring for writers because the department of Arts and culture studies can offer an innovative campus for writers.  The Literary theory is well represented in the department, where reading, analyses and writing belongs quite naturally together. The department gives possibilities to work for example with experimental literature, or studying contemporary and digital culture.

Special emphasis is also in pedagogy.  Jyväskylä is the leading pedagogical university in Finland, and it can offer studies for new teachers who are interested in creative writing in schools, colleges. New media writing is important part of pedagogical studies.  Creative Writing Studies has also co-operation with general Art Education of the department.

Doctoral level of Creative Writing Studies in research University is quite traditional. The artistic work is only one among different possibilities. At the moment we have  four authors doing artistic research of writing, and it is quite poorly supported. Because of the pedagogical emphasis, we have five researchers in the area of creative writing pedagogy, tree of them has now possibility to do full time research. One part of pedagogical research is also area of therapeutic writing with two researchers. It is important to see, that there are authors also doing traditional research of pedagogy and writing therapy.

Masters studies of Creative Writing follows the same interests. Their master’s work consists of artistic and theoretical part, they are studying autobiographical writing, pedagogy and therapeutic writing, new media writing. Artistic research is focused in the process of writing, creativity and the genres of writing.

Students are also working with the theories and concepts, together with teachers and researchers the students are producing material for finish open access Encyklopedia  in the area of creative writing studies.

 

 

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Areas of SCRIPTUM Creative Writing Studies

POETICS, Studies on composing the text; the genres of prose, lyrics and drama, the style, experimental and methodical writing, programmed poetry, writing as philosophical asking.

PROCESS OF WRITING, Studies on schemes and composing the text, skills and virtuosity of writing, creative process, different versions of the text, textual criticism, verbal choices, shadows of the story, online writing, improvisation, editing, co-operation and collaborative writing.

ARTISTIC RESEARCH, authors researching their own art, art as research.

LITERARY THEORY Studies on narratology, intertextuality, tropes and the figures of the text or metafiction. Theories related in creative writing.

RHETORIC Studies on expression and audience, reader, public spheres.

PEDAGOGY OF WRITING  Studies on teaching children and young in verbal art, writing in schools, free groups and internet forums, workshops of writing, master and novice, comments between authors.

POETRY THERAPY Studies in writing and mourning, depression, mental health, individual therapy, healing narratives and metaphors, healing groups, writing and self care, web healing.

SOCIAL MEDIA Studies on digital writing, visual rhetoric with writing, social publicity, networks between writers.

MEDIA WRITING Studies on film and multimedia and writing, manuscripts, adaptation of literature on multimedia, visual narrative, voice in narrative and poetry.