Search results

1

Anja Oed, Uta Reuster-Jahn (eds), Beyond the Language Issue. The Production, Mediation and Reception of Creative Writing in African Languages, „Meizner Beträge zur Afrikaforschung” 19, Köln: Rüdiger Köppe Verlag, 2008, 293 pp.

100%

Piłaszewicz S.

Studies in African Languages and Cultures

|

2009

|

issue 43

122-127

EN

A review of a book by Anja Oed and Uta Reuster-Jahn (eds) "Beyond the Language Issue. The Production, Mediation and Reception of Creative Writing in African Languages".

2

Kompetencja twórcza tłumacza. O potrzebie kształcenia kreatywnego myślenia i pisania

80%

Brożyna-Reczko M.

Między Oryginałem a Przekładem

|

2017

|

vol. 38

11-33

EN

The article presents an overview of the most significant findings related to creative activities in psychology and related fields. In the description, four dimensions: creative product, process, person and environment/press have been included. The presented aspects have been implemented in the translation-related research and in the field of translator education. The following research questions have been mainly discussed: What is the role of creativity in translation? How to develop students’ creativity? The theoretical part of the article is followed by an overview of creativity techniques such as paraphrasing, transformation and designing (de)compositional plan.

3

Schreiben in „anderem Gewand“? – Zur Rolle der E-Mail im (Schul-)Alltag

80%

Pawłowska A.

Germanica Wratislaviensia

|

2014

|

vol. 139

393 - 406

EN

The article is an attempt at analyzing — from both theoretical and empirical perspectives — the email as a nowadays particularly popular form of communication, as well as at exploring the options to use it in foreign language classes. The study is based on the e-mail correspondence generated within the framework of a pilot study focused on creative writing skills in German-Polish Internet tandems.

4

Wyobraźnia, empatia i twórcze pisanie

80%

Sieja-Skrzypulec H.

Zagadnienia Rodzajów Literackich

|

2017

|

vol. 60

|

issue 1 (121)

9-25

EN

The author analyzes the exercises in Polish creative writing guides, involving imagination, sensitivity and empathy. The article is an attempt to answer the question: what is the role of exercise in the stimulation of the writing process?

5

Creative writing for publication: An action research study of motivation, engagement, and language development in Argentinian secondary schools

80%

Banegas D. L., Lowe R. J.

Studies in Second Language Learning and Teaching

|

2021

|

vol. 11

|

issue 3

401-421

EN

There has been much research on the connections between second language (L2) writing and learner motivation. However, few studies have focused on contexts in which L2 learning is mandatory, rather than elective. This technical action research-based study evaluated a project in which teenage learners in Argentina were engaged in creative writing tasks, with the goal of including their final written pieces in a formal publication. Through focus group interviews and group discussions, it was found that the project had increased the motivation not only of the learners, but also of the teachers. Further, the study highlights the importance of making such writing tasks student-centered, and calls attention to the role played by the teachers in motivating and engaging students. The study suggests that effort should be made to develop more initiatives in formal education settings in order to motivate and engage learners involved in mandatory language study.

6

Pisarz (i czytelnik) w laboratorium, czyli od twórczego pisania do twórczego programowania — przypadek Twine

70%

Przybyszewska A.

Zagadnienia Rodzajów Literackich

|

2017

|

vol. 60

|

issue 1 (121)

43-56

EN

Writer (and Reader) in a Laboratory, or from Creative Writing to Creative Programming — case study of Twine

7

Close reading/reading closely a twórcze pisanie. O prze-pisywaniu literatury w programie nauczania twórczego pisania

70%

Lemann N.

Zagadnienia Rodzajów Literackich

|

2017

|

vol. 60

|

issue 1 (121)

57-75

EN

This paper is concerned with the methodological, practical and analytical dimension of creative writing training. Lectures and seminars for first year students „Literary masterpieces of XX–XXI Century”, have been dedicated to the education of close reading skills, which is an introduction to the skills of creative writing, understood as re-writing, or re-formulation of canonical literary texts. Creative writing students have been instructed how to find their own voice on the margins of famous texts. This approach for creative writing education is presented by Nicholas Delbanco, author of The Sincerest Form. Writing Fiction by Imitation. Close reading and creative re-writing of canonical literary works is a significant exercise of stylization, pastiche, narrative modes, point-of-view technique, focalization and world and character building processes. Exercises like these are not only creative writing training but also a workout of critical thinking, based on influential paradigms like post-colonialism, feminism, cultural studies, due to the subversive potential of re-written literature. This is an interesting challenge for both sides of the education process: for students and for academic teachers. This paper is a review of analytical procedures, practical exercises, questions and issues which were given to students during a course on „Literary masterpieces of XX–XXI Century” (dedicated to Lord Jim by J. Conrad, The Death in Venice by T. Mann; The Stranger by A. Camus) and an opportunity to present students’ short stories and exam task fragments.

8

Zum fremdsprachlichen Schreiben vor dem Hintergrund der einzelnen Sprachfertigkeiten am Beispiel des Deutschunterrichts auf der Fortgeschrittenenstufe

70%

Pawłowska A.

Acta Neophilologica

|

2013

|

issue XV/2

75-87

EN

The article is an attempt to answer a question whether writing in a foreign language is a genuine challenge, a support in (educational) everyday reality, or solely a separate activity of secondary importance. Writing in a foreign language is considered here from the perspective of other language skills, followed by an analysis of a questionnaire conducted among students of School of German examining the importance and level of difficulty attached by them to individual skills.

9

L’écriture créative : technique efficace pour favoriser l’expression écrite en classe de FLE

70%

Luchkevych V.

Academic Journal of Modern Philology

|

2022

|

vol. Special Issue

|

issue 17

75-83

EN

The paper aims to show the importance of creativity in the class of French as a Foreign Language (FLE). The objectives defined in this study are the deepening of theoretical knowledge as well as the search for teaching techniques to work on the writing skills in the course of FLE in a creative and effective way. Creative writing has been analyzed as an effective technique of teaching a foreign language, contributing to the activation of the students’ cognitive activity and increasing their interest in language learning. The paper shows didactic strategies that focus on creative writing activities as a motivating factor for learners.

10

„Jedem seine Geschichte“ – Reflexionen zu Storytelling und Kreativem-Autobiographischem-Literarischem Schreiben „Each his story“

61%

Wolting S.

Glottodidactica

|

2019

|

vol. 46

|

issue 1

237-253

DE

The aim of the text is to discuss some issues related to the academic principles ofautobiographical writing and practical workshops aiming to improve intercultural, trans- and cross-cultural competences. We have to keep in mind that the significance of terms as narration, telling, storytelling particularly with regard to different academic contexts is growing. The study is based on different tried and tested writing exercises, on writing plays as flash-fiction, writing based on a model, so as to motivate and inspire the students, to produce their own creative, autobiographical and, in a broader sense, “literary works” and to take this into account for foreign language teaching

11

Der Erwerb der Schreibkompetenz im Deutsch als Fremdsprache – zwischen Konzepten und Modellen

61%

Kosevski Puljić B.

Glottodidactica

|

2009

|

vol. 35

91-101

DE

The common issue of writing concepts is modelling of the processes which can increase the ability of acquiring the writing competence. It is necessary to consider different aspects included in the process of acquiring the writing ability: cognitive, communicative, language productive, language receptive, language reflexive, rational and emotional aspects.

12

Fora i portale literackie, czyli sieć jako miejsce inicjatyw piśmienniczych

61%

Jankowiak D.

Kultura i Edukacja

|

2013

|

issue 2(95)

270-282

EN

The following paper will discuss selected literary forums and portals as environments in which users can attain, develop and perfect creative writing skills. They will also be examined as spaces enabling the introduction of innovative literary concepts that would be impossible or difficult to put into practice off-line or before the advent of computer networks. Due to these qualities, a description of such forums and portals could balance out the perception of the Internet as a medium promoting profanity and graphomania. The paper will describe the functioning of literary portals, which can be seen to initiate and promote creative writing on the Internet not merely by constituting hubs for on-line literary activity but mostly through various activities stimulating and encouraging literary production. Examples of such online activities will be provided, and demonstrated to encourage writing activity. They include relay writing, literary slam, and other practices providing non-material, non-financial gratification to writers. Finally, the paper will examine some problematic issues in the functioning of such literary environments.

13

Kreatywnie po polsku – rekomendacja pracy metodą Creative Writing na lektoracie języka polskiego jako obcego

61%

Roter-Bourkane A.

Roczniki Humanistyczne

|

2018

|

vol. 66

|

issue 10: Glottodydaktyka

103-115

PL

Tematyka tekstu oscyluje wokół wykorzystania metody pisania kreatywnego na zajęciach z języka polskiego jako obcego. W centrum zainteresowania postawione jest doświadczenie płynące z pracy z użyciem elementów tej metody, artykuł ma charakter stricte praktyczny i dotyczy sposobów wprowadzania i korzystania z tego sposobu pracy w trakcie regularnego lektoratu oraz podczas zajęć dodatkowych typu warsztaty czy letnie kursy polskiego jako obcego.

EN

The article is dedicated to teaching Polish as a foreign language using elements of creative writing method. As the author has had quite rich experience in using this kind of teaching, the text is rather subjective and shares some tips on how to implement this method well and continue to use it along the course. It is also a good material before organizing additional workshops or summer course of Polish as a foreign language.

14

WARSZTATY PISANIA AUTOBIOGRAFII DLA SŁUCHACZY UNIWERSYTETÓW TRZECIEGO WIEKU. ZAŁOŻENIA – CELE – UWAGI PRAKTYCZNE

61%

Krzysztofik M.

Edukacja Dorosłych

|

2016

|

vol. 2(75)

151-162

PL

W artykule prezentuję opracowany oraz zrealizowany przeze mnie program warsztatów pisania autobiografii dla słuchaczy Uniwersytetów Trzeciego Wieku. Na wstępie sygnalizuję aktualny stan potrzeb edukacyjnych różnych grup odbiorców w zakresie oferty kursów kreatywnego pisania w Polsce w porównaniu z krajami anglojęzycznymi. Omawiam założenia programu warsztatów (15 spotkań 1,5 godzinnych, praca w małej grupie, chronologiczny układ zagadnień, cykl rocz- ny, przebieg spotkania składającego się z trzech części: omówienie pracy domo- wej, wykład i dyskusja, zadanie pisemnej pracy na kolejne spotkanie). Wymieniam zastosowane metody (dyskusja, burza mózgów, wykład, praca z tekstem, praca w podgrupach, metoda analogii i przekładu intersemiotycznego). Charakteryzuję cztery grupy wykorzystanych przeze mnie materiałów pomocniczych (teksty lite- rackie, reprodukcje dzieł malarskich, karty pracy, materiały piśmienne). Określam cele założone w zakresie wiedzy, umiejętności oraz postaw społecznych. Wypo- wiedź kończę uwagami praktycznymi dotyczącymi przebiegu warsztatów oraz po- stulatem ubogacenia oferty edukacyjnej w zakresie kursów i warsztatów kreatyw- nego pisania dla osób dorosłych.

EN

In this article I present a workshops program for writing autobiography, designed and carried out by me for the students of Universities of the Third Age. At the outset I indicate the present status of the educational needs of different audiences with regard to the offer of creative writing courses in Poland, in comparison with the English-speaking countries. I discuss the assumptions of the workshop program (15 meetings of 1.5 hour, working in a small group, the chronological arrangement of issues, year cycle; the meeting consists of three parts: checking homework, lecture and discussion, asking students for writing their homework for the next meeting). I enumerate the methods I used (discussion, brainstorming, lecture, working with text, working in subgroups, method of analogy and intersemiotic translation). I describe four groups of auxiliary materials used by me (ego-thematic literary texts, paintings’ reproductions, worksheets, other written historical materials). I define the goals in terms of knowledge, skills and social attitudes. Finally I note some practical comments on the workshop and I postulate for enriching the educational offer with regard to courses and workshops in creative writing for adults.

15

Zabawy literackie w szkole podstawowej – czytanie, pisanie i interpretacja głosowa

57%

Wróblewski M.

Polonistyka. Innowacje

|

2020

|

issue 12

185-198

EN

An article is based on the reflections and observations induced by the works hop “Literary Fun. Careful Reading. Careful Writing” (“Zabawy literackie. Piękne czytanie. Piękne pisanie”) which was conducted in several primary schools Cuiavia-Pomerania region. The main goal of this project, funded by Ministry of Culture and National Heritage, was to improve different skills among pupils from 12 to 15 aged. First of all, a close Reading of the paragraphs of the novels, short stories, and reportages by former and contemporary Polish or foreign writers, for example: M. Rej, H. Sienkiewicz, M. Wańkowicz, J. R. R. Tolkien, S. Mrożek, S. Lem , O. Tokarczuk and R. Kosik. The workshops consisted from the three parts, the first was built on the association activities, the next relates to the oral interpretation, and the last focuses on a creative writing process. The association activities enable to encourage mental activity of the young people. After that the pupils tried to orally interpret the pieces of the literary texts in order to grasp certain melody, rhythm, and meaning. During the last part in a creative writing process young people wrote their own stories which begun from a short cite (one or three sentences) of the literary texts. Unfortunately, the results of this project demonstrate a lack of practical skills among students. First of all, they were not able to read carefully different literary genres, they had troubles with the oral interpretation of the texts and a large majority of the participants of the “Literary Fun” wrote unsophisticated texts and they were secondary to the original and testified the poor vocabulary use of their authors.

PL

Zawarte w artykule refleksje i uwagi, odnoszące się do podstawowych umiejętności uczniów szkół podstawowych województwa kujawsko-pomorskiego, a w szczególności do czytania ze zrozumieniem, interpretacji głosowej oraz pisania są efektem realizacji projektu „Zabawy literackie. Piękne czytanie. Piękne pisanie”, finansowanego przez Ministra Kultury i Dziedzictwa Narodowego. Jego uczestnicy wykonywali ćwiczenia związane z czytaniem, interpretacją głosową i twórczym pisaniem w związku z lekturą wybranych fragmentów powieści, opowiadań czy reportaży polskich i zagranicznych pisarzy dawnych i współczesnych, m.in. M. Reja, H. Sienkiewicza, M. Wańkowicza, J. R. R. Tolkiena, S. Mrożka, S. Lema, O. Tokarczuk i R. Kosika. Warsztaty składały się zazwyczaj z trzech części: ćwiczeń wprowadzających opartych na działaniach skojarzeniowych, uważnego czytania wcześniej przygotowanych fragmentów i interpretacji głosowej tekstów literackich oraz twórczego pisania. Celem pierwszej części było mentalne pobudzenie uczniów do kreatywnej pracy związanej, w dalszej kolejności z doskonaleniem umiejętności uważnego czytania i kreatywnego pisania. Niestety, w wyniku poczynionych obserwacji należy stwierdzić, że większość uczniów czytała teksty literackie powierzchownie i nie potrafiła ustalić, które informacje w nich zawarte są ważne. Również uczniowskie teksty, wywiedzione z jednego bądź kilku zdań czytanego utworu, pod względem fabularnym miały charakter wtórny w stosunku do oryginału i świadczyły o ubogim słownictwie ich autorów.

16

Arspoetyka

57%

Grądziel-Wójcik J., Kwiatkowska A., Kraskowska E.

Forum Poetyki

|

2015

|

issue 1

76-85

EN

The term „ars poetica” can refer both to a relatively new (sub)genre of poetry and to the classical Latin works (often) bearing the title ars poetica. The article proposes to use it to cover three areas of literary and metaliterary work: 1) classical normative-descriptive poetics; 2) self-reflexive poems devoted to the art of poetry; 3) guides to creative writing and essays on secrets of the writer’s craft.

PL

Hasło „arspoetyka” zawiera definicję i charakterystykę tego nowego terminu, nawiązującego do łac. ars poetica. Proponuje się objąć nim trzy obszary zjawisk literackich i metaliterackich: 1) klasyczne poetyki normatywno-opisowe; 2) wiersze autorefleksyjne poświęcone sztuce poetyckiej; 3) poradniki twórczego pisania i eseistykę poświęconą tajnikom warsztatu pisarskiego.

17

Meduza na strychu. O teorii i praktyce procesu twórczego

57%

Chutnik S.

Acta Universitatis Lodziensis. Folia Sociologica

|

2022

|

issue 80

11-22

EN

Hélène Cixous’s Manifesto The Laughter of Medusa was first published in 1975 and immediately became one of the most frequently quoted texts on écriture féminine – women’s writing. How can the essay be perceived today and has the literary work of women become an emancipatory element or rather fell into a trap of an essentialism? Using the example of theoretical texts, my own work, and many years of experience in conducting creative writing classes, I critically discuss Cixous’s view. I refer to the theoretical works of Marguerite Duras, Izabela Filipiak (Morska), Katarzyna Bonda or Julia Cameron, trying to draw guidelines for women writers mentioned above and juxtapose them with the examples of their literature. I also reach for my own writing workshop and check, if the model of “a madwoman in the attic” by Sandra Gilbert and Susan Gubar is still valid in the 21st century.

PL

Manifest Hélène Cixous Śmiech Meduzy po raz pierwszy został opublikowany w 1975 roku i od razu stał się jednym z najczęściej przywoływanych tekstów dotyczących écriture féminine – pisarstwa kobiecego. Jak można odbierać esej współcześnie i czy twórczość literacka kobiet stała się elementem emancypacyjnym, czy raczej wpadła w pułapkę esencjalizmu? Na przykładzie tekstów teoretycznych oraz własnej twórczości i wieloletniego doświadczenia prowadzenia zajęć z creative writing omawiam krytycznie spojrzenie Cixous. Sięgam do tekstów teoretycznych Marguerite Duras, Izabeli Filipiak (Morskiej), Katarzyny Bondy czy Julii Cameron, kreśląc wskazówki dla piszących kobiet i zderzając je z przykładami tworzonej przez nie literatury. Sięgam również do własnego warsztatu pisarskiego i zastanawiam się, czy model „wariatki na strychu” („A Madwoman in The Attic”) Sandry Gilbert i Susan Gubar obowiązuje w XXI wieku.

18

Sieci neuronowe typu GAN i GPT-2, słowa zużyte i kreatywność, czyli literacki second-hand

53%

Okulska I.

Forum Poetyki

|

2019

|

issue 18

26-35

EN

Is creativity only a human domain? Can a neural network, even the most sophisticated architecture, fed with material created and chosen by man, be creative, and even if it is not a work of art secondary to human beings? Or maybe, as Bakhtin, and behind him Kristeva, wanted, each of our expressions is still destined to be secondary, because this is the nature of language? What is creativity, what can artificial intelligence do, what critical literary reflections can its work induce, especially in the context of intertextual and interpoetic relations? In the article I am searching for answers on the example of functioning of neural networks type GAN and GPT-2 model. Apart from fragments of analyzed texts and references to the theory of literature, there is also an introduction to the structure and essence of the analyzed technological solutions

PL

Czy kreatywność to wyłącznie domena człowieka? Czy sieć neuronowa, choćby najbardziej skomplikowanej architektury, nakarmiona materiałem stworzonym i wybranym przez człowieka może być kreatywna, a jeśli nawet, to czy jej dzieło nie będzie wobec ludzkiego wtórne? A może, jak chciał Bachtin, a za nim Kristeva, każda nasza wypowiedź i tak jest skazana na wtórność, bo taka jest natura języka? Czym jest kreatywność, co potrafi sztuczna inteligencja, do jakich refleksji krytycznoliterackich skłaniać może jej twórczość, szczególnie w kontekście relacji intertekstualnych, interpoetyckich? W artykule odpowiedzi szukam na przykładzie funkcjonowania sieci neuronowych typu GAN oraz modelu GPT-2. Oprócz fragmentów analizowanych tekstów i nawiązań do teorii literatury pojawia się również wprowadzenie do struktury i istoty omawianych rozwiązań technologicznych.

19

Vliv klasických postupů při nácviku dovednosti psaní na rozsah slovní zásoby ve srovnání s metodou psaní tvůrčího

51%

Stárková Z.

Studie z aplikované lingvistiky - Studies in Applied Linguistics

|

2017

|

vol. 8

|

issue Zvláštní číslo 2017

48-62

EN

The paper deals with influence of creative writing on vocabulary’s extent in the written manifest of non-native speakers in compare with classical methods used in foreign language didactics. There are presented results of qualitative action research, probe, which was backed by Grant Agency of Charles University. Its respondents were 30 students of Czech as a foreign/second language levelled A2–B2 according to CEFR, from Charles University, Institute of Czech Studies. The respondents were divided into both two control and experimental groups. For analyzing the vocabulary extent, the Mistrík’s formula of repeated words Index was used and applied to the written works of the respondents. Next, the knowledge synonyms and antonyms was observed, on the entrance and final subtests. Probe’s result showed, that after using two different methods within one semester there was a comparable decrease of word’s rep, only half of the respondents, in both control and experimental groups I. In control group II, there was a slight decrease in rep, but experimental group II has a slight increase. The compare knowledge of synonyms and antonyms results that after using two different methods in both control and experimental groups causes increase, the growth was only in the control and experimental group I comparable, however. Due to similar research’s absence for Czech as a foreign/second language, there are briefly presented other researches on creative writing in foreign language tuition.

20

The Writer Walking the Dog: Creative Writing Practice and Everyday Life

51%

Williams T.

American, British and Canadian Studies Journal

|

2013

|

vol. 20

|

issue 1

224-238

EN

Creative writing happens in and alongside the writer’s everyday life, but little attention has been paid to the relationship between the two and the contribution made by everyday activities in enabling and shaping creative practice. The work of the anthropologist Tim Ingold supports the argument that creative writing research must consider the bodily lived experience of the writer in order fully to understand and develop creative practice. Dog-walking is one activity which shapes my own creative practice, both by its influence on my social and cultural identity and by providing a time and space for specific acts instrumental to the writing process to occur. The complex socio-cultural context of rural dog-walking may be examined both through critical reflection and creative work. The use of dog-walking for reflection and unconscious creative thought is considered in relation to Romantic models of writing and walking through landscape. While dog-walking is a specific activity with its own peculiarities, the study provides a case study for creative writers to use in developing their own practice in relation to other everyday activities from running and swimming to shopping, gardening and washing up.

Refine search results

Anja Oed, Uta Reuster-Jahn (eds), Beyond the Language Issue. The Production, Mediation and Reception of Creative Writing in African Languages, „Meizner Beträge zur Afrikaforschung” 19, Köln: Rüdiger Köppe Verlag, 2008, 293 pp.

Kompetencja twórcza tłumacza. O potrzebie kształcenia kreatywnego myślenia i pisania

Schreiben in „anderem Gewand“? – Zur Rolle der E-Mail im (Schul-)Alltag

Wyobraźnia, empatia i twórcze pisanie

Creative writing for publication: An action research study of motivation, engagement, and language development in Argentinian secondary schools

Pisarz (i czytelnik) w laboratorium, czyli od twórczego pisania do twórczego programowania — przypadek Twine

Close reading/reading closely a twórcze pisanie. O prze-pisywaniu literatury w programie nauczania twórczego pisania

Zum fremdsprachlichen Schreiben vor dem Hintergrund der einzelnen Sprachfertigkeiten am Beispiel des Deutschunterrichts auf der Fortgeschrittenenstufe

L’écriture créative : technique efficace pour favoriser l’expression écrite en classe de FLE

„Jedem seine Geschichte“ – Reflexionen zu Storytelling und Kreativem-Autobiographischem-Literarischem Schreiben „Each his story“

Der Erwerb der Schreibkompetenz im Deutsch als Fremdsprache – zwischen Konzepten und Modellen

Fora i portale literackie, czyli sieć jako miejsce inicjatyw piśmienniczych

Kreatywnie po polsku – rekomendacja pracy metodą Creative Writing na lektoracie języka polskiego jako obcego

WARSZTATY PISANIA AUTOBIOGRAFII DLA SŁUCHACZY UNIWERSYTETÓW TRZECIEGO WIEKU. ZAŁOŻENIA – CELE – UWAGI PRAKTYCZNE

Zabawy literackie w szkole podstawowej – czytanie, pisanie i interpretacja głosowa

Arspoetyka

Meduza na strychu. O teorii i praktyce procesu twórczego

Sieci neuronowe typu GAN i GPT-2, słowa zużyte i kreatywność, czyli literacki second-hand

Vliv klasických postupů při nácviku dovednosti psaní na rozsah slovní zásoby ve srovnání s metodou psaní tvůrčího

The Writer Walking the Dog: Creative Writing Practice and Everyday Life