Uea Creative WritingCreative Writing
When a text is adapted for use in another media, critically read and creatively write conflict.
When a text is adapted for use in another media, critically read and creatively write conflict. It concentrates on core issues of drama adaption, the basics of theoretical and then on literary lectures and demonstrations or ad-ditions. The options of the choice of the original text are discussed in seminars and the options and limits of the various formats are explored.
In the course of the classes workshops the abilities in the particular dramatical shapes will be developed further. So how to criticize? Critique that reacts imaginatively to the bibliography she analyzes? Critique, which is registered in its own shape, speech, method and the way in which it has been transformated by the works of artwork it encounter?
Critique that recognizes that it cannot rely on receiving conceptions and classes? These are the issues you will address in this course. They are exploring the literatures of these epochs in their physical context (the wealth and might of the area can still be seen in their architectural heritage and in the wealth of their library and museum collections) and ask whether there was a specific East Angolan culture or not.
During the game we will notice that the border between the "creative" and the "critical" becomes blurred. As a rule, the course is taken by a mixture of writings from different creative and academic disciplines as well as literature and philosophy undergraduates. You are also strongly motivated to study the philosophic theories of the aesthetical game in Kant, Schiller and Nietzsche, and later in Huizinga and Derrida.
In recent years, on the'creative' side, for example, we have been reading Kafka's Kafka Stories Against Borges' new texts, trying to transform a Kafka novel into a Dostoyevsky heel or a Nabokov poet like Kafka or Borges, examining the various interpretations of these writers and playing with their new translation.
We ask basic issues not only about the game, but also about the way they define meanings and make certain ways of writing and reasoning possible. We' re also reverting to the way in which writing was studying and producing creative writing before the 20th centuries saw the invention of creative writing classes and review.
We encourage all pupils to parody and imitate the text we are learning, even if this is not obligatory. In the UEA Archive of Contemporary Writing we studied author-publisher correspondences, attended Jarrold's Print Museum in Norwich and the London International Book Fair.
The evaluation takes place via a technical article OR via a creative-critical commission such as a f.e. a journal. Studying the shapes, styles, techniques and themes of non-fiction and belletristic with the goal of experimentation and improvement of your writing in both of them. A little writing in and between the classrooms is necessary. We' ll place English Renaissance writing in the broader framework of French, Dutch and Italian humanistic music.
What did humanitarianists think of the character of the poetical world? We will concentrate on the works of Thomas More, Desiderius Erasmus and Michel de Montaigne, but there will be ways to continue reading in the Renaissance books of this age. You will also look at a number of literary originals from recent years and reflect on the relation between theories, methods and forms.
How could it be done? To what unexpected literatures could this result? It is intended as a supplement to the Prosa Belles Lettres Workshops, but is also open to related programs. It presents the author both as an artiste and as an IP provider for a particular target audience, while shedding a critical light on these and other issues.
They study fictitious, discerning and professionally written text and create tutorials that shed light on the subject.