Hostname: page-component-586b7cd67f-dsjbd Total loading time: 0 Render date: 2024-11-20T17:22:27.270Z Has data issue: false hasContentIssue false

Bilingual creativity: University–level poetry writing workshops in English in China

How is ‘contact literature’ created?

Published online by Cambridge University Press:  12 August 2015

Extract

The university-level poetry writing workshops in English taught in a Chinese context are characterized chiefly by bilingual creativity. Based on the practical task of creating ‘contact literature’ (Kachru, 1992: 317), to be more exact, ‘contact poetry’, they transcend the limits of any one single language and culture so as to make points of contact between Chinese and English languages and cultures in terms of verbal images, sound devices, and thematic concerns.

Type
Research Article
Copyright
Copyright © Cambridge University Press 2015 

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Anderson, L. 2006. Creative Writing: A Workbook with Readings. London: Routledge.Google Scholar
Boran, P. 2013. Portable Creative Writing Workshop, 4th edn. Dublin: Dedalus Press.Google Scholar
Castillo, R. & Hillman, G. 1995. ‘Ten ideas for creative writing in the EFL classroom.’ English Teaching Forum, 33(4), 30–1.Google Scholar
Davies, S. J. 1998. ‘Creative writing.’ English Teaching Forum, 36(4), 25–6.Google Scholar
Emerson, R. W. 1841 [1983]. ‘The over-soul.’ In Porte, J. (ed.), Ralph Waldo Emerson: Essays and Lectures. New York: The Library of America, pp. 383400.Google Scholar
Gross, P. 2011. ‘Then again what do I know: Reflections on reflection in creative writing.’ In Turley, R. M. (ed.), The Writer in the Academy: Creative Interfrictions. Cambridge: D. S. Brewer, pp. 4970.CrossRefGoogle Scholar
Hanauer, D. I. 2010. Poetry as Research: Exploring Second Language Poetry Writing. Philadelphia: John Benjamins Publishing Company.CrossRefGoogle Scholar
Kachru, B. B. 1992. The Other Tongue: English across Cultures, 2nd edn.Urbana; Chicago: University of Illinois Press.Google Scholar
Magrs, P. 2001. ‘Dynamics.’ In Bell, J. & Magrs, P. (eds.), The Creative Writing Coursebook: 40 Writers Share Advice and Exercises for Poetry and Prose. London: Macmillan, pp. 315–19.Google Scholar
Mills, P. 2006. The Routledge Creative Writing Coursebook. London: Routledge.Google Scholar
Reid, L. A. 1983. ‘Aesthetic knowledge in the arts.’ In Ross, M. (ed.), The Arts: A Way of Knowing. Oxford: Pergamon Press, pp. 1941.Google Scholar
Simmel, G. 1909 [1997]. ‘Bridge and door.’ In Frisby, D. & Featherstone, M. (eds.), Simmel on Culture. London: Sage, pp. 170–4.Google Scholar
Smith, A. G. 2007. Inspired Creative Writing: 52 Brilliant Ideas from the Master Wordsmiths, 2nd edn. Oxford: Infinite Ideas.Google Scholar
Trifonovitch, G. 1981. ‘English as an international language: An attitudinal approach.’ In Smith, L. E. (ed.), English for Cross-cultural Communication. London: Macmillan, pp. 211–15.CrossRefGoogle Scholar
Whitworth, J. 2006. Writing Poetry, 2nd edn.London: A. & C. Black.Google Scholar