Why literature students should practise life writing

Cardell, Kylie; Douglas, Kate

doi:10.1177/1474022216635825

Cited by 13 publications

(4 citation statements)

References 18 publications

(33 reference statements)

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“…Non-fictional writing skills may be handy for the students in real life situation for example, making profiles for work, connecting reflexively in everyday writing settings such as online forums, etc. Besides that, students can also practice first-person narration, subjectivity and also the ethics of writing relational issues [18].…”

Section: B Lit-movie Applicationsmentioning

confidence: 99%

“Lit-Movie”: Teaching Literature using Media-Assisted Learning

Hashim,

Rusli,

Hashim*

et al. 2020

IJITEE

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The teaching and learning of English Literature is to be considered as one of the main components in Malaysian English Second Language (ESL) context. The methods and strategies of teaching and learning literature components has evolved over time and this includes the integration of technology in teaching literature. All parties, including teachers, parents and schools have been responsible in promoting literature. However, regardless of all the initiatives taken in regards to promoting literature, students nowadays tend to still lack of competency in learning literature due to lack of interest in learning literature. Hence, it is believed that there is a need for an innovation of using media in teaching literature in the classroom. “Lit-Movie” which is an inventive teaching and learning material is designed and developed to help assist language teachers with a more fun way to teach literature to their students

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Section: B Lit-movie Applicationsmentioning

confidence: 99%

“Lit-Movie”: Teaching Literature using Media-Assisted Learning

Hashim,

Rusli,

Hashim*

et al. 2020

IJITEE

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show abstract

“…Interestingly, those who have written on the topic work predominantly within literary studies and creative writing. Kylie Cardell and Kate Douglas (2016) found that scaffolding course content, including contextualising material and foreshadowing particularly challenging content, promoted student agency in approaching difficult material, while Ika Willis (2016) has argued that trigger warnings constitute a form of consent between teacher and student.…”

Section: Trigger Warnings Trauma and Discomfort In The Classroommentioning

confidence: 99%

[Insert image here]: a reflection on the ethics of imagery in a critical pedagogy for the humanities

Carniel

2017

Pedagogy, Culture & Society

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Queensland, where she teaches courses on ethics, the history of ideas, and global migration. Broadly, her research is concerned with questions of cultural representation in Australian and global society, with a particular focus on themes of gender and ethnicity.[Insert image here]: a reflection on the ethics of imagery in a critical pedagogy for the humanities Using the controversial image of Syrian toddler Alan Kurdi as its provocation, this paper reflects upon the ethics of images used in teaching in a time of high-volume image circulation via social media, as well as a time when debates about content and trigger warnings are starting to gain more traction in the Australian tertiary sector. It integrates personal reflection upon a variety of choices made by the author in teaching with a consideration of the related pedagogical and ethical issues, drawing particularly on theories of the pedagogy of discomfort and visual ethics. It is argued that the discursive space of trigger warnings per se remains problematic as this immediately places the students into a negative and possibly traumatic relationship with the material rather than empowering them to use their affective responses and experiences productively. Educators are instead encouraged to develop reflexive critical pedagogies that acknowledge the ethical relationship between student and teacher, while also still fulfilling the prosocial impetus of the humanistic education.

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“…My own work has explored experiences with academic writing via a script that drew on my experiences and interview data from academics at varying stages of their career (Moriarty, 2015a); adopted a splintered narrative that merged script, poetry and memoir to detail my experiences of completing a creative PhD (Moriarty, 2015b); and a study of the effects of neo-liberalism using autoethnodrama (Moriarty, 2016). Having been told that any creative writing I produced would not be deemed worthy for the Research Excellence Framework (REF), the framework used for judging academic's success in terms of academic writing (Canagarajah, 2002), it has been an absolute revelation to discover a methodology that permits creative work in academic research. In this way, I can allow research to inform my practice and present my findings via academic books, journal articles and chapters and also at conferences and in my teaching too.…”

Section: Introductionmentioning

confidence: 99%

Empowering Students as Researchers: Teaching and Learning Autoethnography and the Value of Self-Narratives

Moriarty

2018

Teaching Narrative

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Helping students to connect their academic research with their creative writing processes is often a challenge but when achieved, can provide valuable pathways between their personal experiences and the social world under study. The author identifies supporting this connection as a potentially powerful teaching and learning tool, helping undergraduates to make the leap from student to writer and researcher. This chapter will identify possible ways in which the writing and sharing of autobiographical narratives can inform and enhance pedagogy in creative writing workshops with undergraduate students. The author identifies autoethnography as an evolving methodology that values and legitimizes personal stories and evocative academic work, and can facilitate recovery from personal events that have been difficult or traumatic (Richardson and St Pierre 2005). The chapter will explore how the study of self-narrative can empower students to make explicit links between these personal experiences and their academic research. This chapter will be of interest to teachers and students carrying out research in education and to those trying to develop their own teaching practice to incorporate student-focussed approaches to creative writing. The author suggests that an autoethnographic approach can contribute to an increased confidence in students' sense of their place within the discipline of creative writing and the place of their discipline within the wider world.

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Why literature students should practise life writing

Cited by 13 publications

References 18 publications

“Lit-Movie”: Teaching Literature using Media-Assisted Learning

“Lit-Movie”: Teaching Literature using Media-Assisted Learning

[Insert image here]: a reflection on the ethics of imagery in a critical pedagogy for the humanities

Empowering Students as Researchers: Teaching and Learning Autoethnography and the Value of Self-Narratives

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