2nd Cw Conference Programme Final 2015 Book
252
1 2o Διεθνές Συνέδριο « Δημιουργική Γραφή » Κέρκυρα, Ελλάδα 1-4 Οκτωβρίου 2015 ΤΟΜΟΣ ΠΕΡΙΛΗΨΕΩΝ Επιμέλεια Τριαντάφυλλος Η. Κωτόπουλος , Βασιλική Νάνου Πρόγραμμα Μεταπτυχιακών Σπουδών « Δημιουργική Γραφή » ΦΛΩΡΙΝΑ 2015
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2nd Cw Conference Programme Final 2015 Book
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-
1
2o
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2015
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MELROSE ANDREW
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1 2015
15:00 16:00
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DELEGATE REGISTRATIONS
16:00 16:15
CONFERENCE OPENING
16:15 17:00
OPENING CEREMONY
,
( 72, )
EMILE LEGRAND,
( 72, )
239, ,
, ( 72, 2 )
2
2nd International
Conference
Creative Writing
CONFERENCE PROGRAMME
-
8
1 2015
17:00-18:30
..
..
.
ANNA
17:00 17:15
- * Developing FL skills and
motivated students
within a creative writing
context: a pilot project
in primary education
* T. Williams Small Craft
Warnings ( )
* : Heinrich von Kleist.
17:15 17:30
* :
* : , fan fiction
IORDANOPOULOS
DIMITRIOS*
Creating leading
characters for character-
driven cinematic long-
form storytelling
17:30 17:45
* ANTI-NARRATIVE Project.
A Community Text
Short Presentation
* : Black-out Poetry
* O
17:45 18:00
*
* :
18:00 18:15
18:15 18:30
-
9
1 2015
18:30-20:00
..
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18:30 18:45
To :
18:45 19:00
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19:00 19:15
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19:15 19:30
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2 2015
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- : Kafka Kadinski.
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2 2015
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2 2015
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14:00 14:15
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2 2015
17:00 18:15
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2 2015
18:45- 19:45
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: clarin:el
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19:15 19:30
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2 2015
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3 2015
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Asperger: -
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10:30 10:45
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- ; Charles Bukowski
10:45 11:00
: project .. ..
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11:00 11:15
11:15 11:45
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17
3 2015
11:45- 13:00
CREATIVE WRIING
..
PASCHALIS NIKOLAOU
11:45 12:00
AVDIKOS
EVAGGELOS
From ethnography to
fiction the example of
Mikas shadow
HOLLY HOWITT- DRING
Science fiction and science
fact: on the use of science in
literary fiction.
12:00 12:15
NIKOLAOY PASCHALIS
Encounters of
Creative Writing and
Literary Translation:
From shared poetic
spaces to didactic
perspectives
KOTOPOULOS TRIANTAFYLLOS -
NANOY VASSILIKI
Alumni of the Postgraduate
Programme Creative Writing in Greece: a qualitative and
quantitative analysis
FYLAKTAKI PENNY
Creative Writing and
Theatrical Writing
12:15 12:30
: . : ;
ALYSON MORRIS- TIM KELLY
Creative Writing as Cross-
Disciplinary Assessment
TV and Movie Characters:
Generation Next
12:30 12:45
REMMY SHIENDU BARASA - Reflections on writing
strategies in Ezekel Alembis Fiction For Children
- .
12:45 13:00
13:00 13:15
-
18
3 2015
13:15 14:15
..
..
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13:15 13:30
- - Pad:
13:30 13:45
(microfiction, flash fiction,
minificcin) :
K video .
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13:45 14:00
: Catullus (Carmina 43 86).
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14:00 14:15
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social media
14:15-
14:30
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19
3 2015
17:00
17:30
POLTICAL AND ACADEMIC SALUTATIONS
17:30
19:00
ANDREW MELROSE
CENTRAL PRESENTATION BY PROFESSOR ANDREW
MELROSE
CENTRAL PRESENTATION BY PROFESSOR THEODORE
PAPAGGELIS
CENTRAL PRESENTATION BY PROFESSOR THEODORE
PAPPAS
-
CENTRAL PRESENTATION BY RESEARCHERS
PANAGIOTOPOULOY AIKATERINI-KONSTATNTINOS
KREMMYDAS
19:00 -
19:15
19:15
20:15
VENUS KHOURY-GHATA
CENTRAL PRESENTATION BY AUTHOR VENUS KHOURY-
GHATA
GRAEME HARPER
CENTRAL PRESENTATION BY PROFESSOR GRAEME
HARPER
20:15
21:15
AWARD CEREMONY FOR PANAGIOTIS GIANNAKIS
AWARD CEREMONY FOR TITOS PATRIKIOS
AWARD CEREMONY FOR TITOS PATRIKIOS
21:15
21:45
2
2nd International
Conference
Creative
Writing
CONFERENCE PROGRAMME
-
20
4 2015
10:00 11:15
..
..
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10:00 10:15
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10:15 10:30
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11:00 11:15
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21
4 2015
11:45- 13:15
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22
4 2015
13:15 14:30
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13:15 13:30
Give place to imagination,
two examples: Schools of
Humanities and
Engineering, University of
Western Macedonia.
Creative Writing as an
alternative teaching
method
, .
Pairs of singable translations
for the same song in
comparison
13:30 13:45
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13:45 14:00
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Some observations on the Surface Structure of
singable translations for
song texts from Goethes Wilhelm Meister
14:00 14:15
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14:15 -
14:30
-
23
-
1 2015 17:00 18:30
24
Developing FL skills and motivated students within a creative
writing context: a pilot project in primary education
Isaak Papadopoulos, PhD Candidate, Aristotle University of Thessaloniki,
Evangelia Theologou, Aristotle University of Thessaloniki,
Varvara Peiou, Center of Greek Education Larissa,
Dimitra Gouzioti, English Language Teacher, [email protected]
This paper outlines the rational for and the purpose of designing and implementing a
pilot project aiming at developing EFL students motivation and foreign language skills
within a creative writing context. Studies have demonstrated the lack of students
motivation both in the typical school subjects and in the foreign language courses as
well (Griva et al. 2012). Meanwhile, creative writing environments provide people with
engagement, motivation and inspiration vital elements for the language
development. This pilot project aimed at developing students motivation and FL skills,
being engaged in creative writing tasks. This project was implemented to Sixth grade
students of a primary school of Larissa (Central Greece) and its duration was the first
five school months (September 2014 - February 2015) with 3 weekly educational
interventions. During this project, students participated in activities of creative writing
and expression such as stories continuation and changing, poems, own stories based
on a title or a painting etc., based on everyday topics that were familiar to them while
they created their personal portfolios with their work throughout the intervention. For
the evaluation of the project, the researcher/teacher used a) a Pre-/post language
test, b) the researcher's journal, c) portfolio of students with their creative writing works
and d) questionnaires of satisfaction for each student individually. The quantitative and
qualitative data processing exhibited an improvement in students positive attitude
towards learning a foreign language and in their motivation to collaborate with their
classmates and taking up a proactive role in the EFL class.
-
1 2015 17:00 18:30
25
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1 2015 17:00 18:30
26
ANTI-NARRATIVE Project
A Community Text
Short Presentation
Christos Martinis, Post-Graduate Student MA Creative Writing
Anti-Narrative is a text created by a community and a literary text in development . t
is an open document which is being modified by many writers in real time, a projector
and the reader. In other words is a simple structure and, at the same time, an innovative
narrative platform which requires an internet connection instead of a pencil.
The aim of the Anti-Narrative Project is to explore literature possibilities through new
technologies. Through the use of a free Open document it tries to overcome the
obstacles of writing, such as the isolation of the author, by seeking an outcome shaped
by both the authors and the reader. It is an open text the writers create, develop and
edit in front of their readers eyes, a text that is imprinted to the reader from the very
first to the last moment.
The nature of the Anti-Narrative Project progresses in an Open Google Document free
for reading by every internet user.During the performance, the timeframes that
previously separated the writer from the reader are now minimized. The reader can
now see how literature is converted from something vague and elusive into concrete
words, how it brings the reader into the literary production while forcing the author to
expose himself by highlighting their inherent weaknesses.
-
1 2015 17:00 18:30
27
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1 2015 - 17:00 18:30
28
T. Williams
Small Craft Warnings
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1 2015 - 17:00 18:30
29
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fan fiction
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1 2015 17:00-18:30
33
Creating leading characters for character-driven cinematic
long-form storytelling
Dimitrios Iordanopoulos, PhD candidate Aristotle University of Thessaloniki,
Most of the stories are only as good as the characters within them. Therefore, it is very
important for writers to make sure that their characters can attract and maintain the
audiences interest. Especially in character-driven stories, the leading characters are
the most deadly arrows in the writers quiver. Audience will engage with them, listen to
them, and follow them till the edge of the world and even further. Sturdy characters
may also develop the super-power to reveal the plot of the story themselves. The
power of narration in television series is exceptional. During the last decade scriptwriters
forced their audiences to sympathize with drug kingpins (Breaking Bad), cheer for serial
killers (Dexter), or share the craving for power with irreverent careerist politicians (House
of Cards).For the purpose of writing several episodes for television series, the ninety-
minute cinematic narration has been extended and long-form cinematic narration has
prevailed. Character-driven narration focuses more on inner conflict,
characterization, and relationships between characters. The story progresses through
decisions and actions of the characters, instead of the characters reacting to events
beyond their control.
Creating leading characters for character-driven cinematic long-form storytelling
- Likeable or intriguing. The alluring attraction of leading characters, magnetizes the
viewers, seduces them and drags them into unexpected adventures. They can be
likeable ordinary people such as the struggling lawyer who fights for both his and his
wacky brothers survival in Better call Saul. Or they can be less likeable but yet intriguing
extraordinary individuals like the determined blonde agent of anti-terrorism in
Homeland.
-The morality of a character (based on Aristotles opinion about characters qualities,
ethics and McKees research about characters)
-Placing the character in the worst possible situation
-The leading characters ability to influence the side characters
-Finding the perfect balance between comedy and drama
-
1 2015 17:00-18:30
34
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3 2015 10:00 11:15
129
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3 2015 10:00 11:15
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writing);
-
3 2015 11:45- 13:00
131
From ethnography to fiction: the example of "Mika's
shadow"*
Evangelos Avdikos, Professor, University of Thessaly,
By no means does literary creation come by a carte blanche. The meaning of
inspiration does not have any metaphysical dimensions. It draws its material from
personal and cultural experiences, which could be the result of readings or social
experiences as members of a social group. However, what goes without saying for any
person of letters may act as a trap or an Achilles' heel for a folklorist or an anthropologist
who draws his/her material from personal and cultural experiences, especially during
his/her scientific term in the fieldwork. There is a risk for the ethnographic material, a
story, to be considered a sufficient parameter leading to a literary creation. In art,
history is not enough. What counts is the narrative form and its fundamental interaction
with the story that is being told, as well as the characters. In this paper I will try to
investigate the relationship between the ethnographer-ethnographic material and the
writing of a novel. The roles of the ethnographer/folklorist and the novelist overlap. This
is a self-defining relationship of the speaker who is making an attempt to investigate
the limits of the shift from ethnographic material to fiction.
* Original novel title: H
-
3 2015 11:45- 13:00
132
Encounters of Creative Writing and Literary Translation: From
shared poetic spaces to didactic perspectives
Paschalis Nikolaou, Ionian University
From creative, poetic translations to interpreters and translators featuring as
characters within fiction, the meeting points of writing creatively and translating literary
texts have proven to be multiple and fruitful across the centuries. In fact, what at first
may appear to us to be curious hybrids, infrequent events inside a gray zone can be
traced to the core of producing literature; to essential psychologies and imperatives
shared by both creative writers and literary translators. This paper will survey some of
their outcomes, from Borges tale of Pierre Menard, Author of the Quixote, to
Cervantes own practice of pseudotranslation; from poetic books by modernist poets
like Pound or Lowell, consisting of versions and re-voicings, to the meaningful self-
translations of Samuel Beckett or Vassilis Alexakis. Recognizing the part such textual
practices play within a history and an understanding of literature requires, at the same
time, investigations into what truly takes place in the mind of the poet and the
translator; not least as they are often, one and the same person.
This also means recognizing the necessity for common spaces in the teaching of
creative writing and literary translation: practitioners of both stand only to gain from
awareness of what their other, does. For this reason, in the Dept of Foreign Languages,
Translation and Interpreting of the Ionian University, starting from the academic year
2014-15, a creative writing workshop is being offered to undergraduate students who
also follow literary translation courses; while, at postgraduate level, there is now a
seminar now titled Literary Translation and Creative Writing. In these classes we
explore the range of creative possibilities between original and translation: we search
for voices from the field, we attend the changing dialogue between authors and
translators as they influence each other. The second part of this paper will thus proceed
to discuss the materials given, the exercises and experience from teaching these
courses along with feedback from students and some ideas for going forward.
-
3 2015 11:45- 13:00
133
: .
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1960 Robert Lowell , , John Berryman
, Anne Sexton , , WD Snodgrass.
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(Patricia Spacks). H Louise Borgan Ann
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-
3 2015 11:45- 13:00
134
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-
3 2015 11:45- 13:00
135
Science fiction and science fact: on the use of science in
literary fiction.
Dr Holly Howitt-Dring, University of Portsmouth
My most recent novel, Beyond the Moon, is a tale which involves a large portion of
popular science, as well as conspiracy theories, which link to the moon landing of 1969.
In writing the novel, it became clear that my knowledge of science in the 1960s, and
the race to the moon (which was a part of both popular and scientific culture), was
limited. Although it can be argued that there is not generally much pure science in
science fiction, I needed some key theories and histories to be presented correctly,
and intact, to create a degree of verisimilitude in an otherwise rather fantastical tale. I
therefore created a network of astrophysics and physicists who verified (or not) the fact
in this scientific fiction, meeting with me, discussing my work, and allowing me insight
into their own. My findings were perhaps surprising: these chosen scientists were
extremely open to the idea that science was not an answer to everything, and that
creativity in science was as important as fact, therefore the fact here could be seen
as relatively subjective. This paper will demonstrate these findings and show them
applied to my creative process through the refining of my novel.
-
3 2015 11:45- 13:00
136
Alumni of the Postgraduate Programme Creative Writing in
Greece: a qualitative and quantitative analysis
Triantafyllos Kotopoulos, Associate Professor, University of Western Macedonia,
Vassiliki Nanou, Cultural Informatics, University of Western Macedonia
During the summer of 2015, a multilateral survey was conducted among the alumni f
the postgraduate Programme in Creative Writing in the University of Western
Macedonia concerning their view and opinions about the Programme that had been
studying for. The survey, covering a broad range of questions concerning the courses
taught, professors, general opinions as well as the curriculum revealed several areas of
distinction for the Programme. Our alumni reported the high level of teaching provided
by the Programme, highlighting areas that can be improved. All the results converge
in the notion that the Postgraduate Programme in Creative Writing is characterised by
its uniqueness, providing alternative teaching methods, diversified and high level of its
teaching staff.
-
3 2015 11:45- 13:00
137
Creative Writing as Cross-Disciplinary Assessment
Ms Alyson Morris
Mr Tim Kelly
As Senior Lecturers in English and Creative Writing in the Department of English and
Languages at Coventry University, Alyson Morris and Tim Kelly have been working with
members of staff in the Law School, the Department of Geography Environment and
Disaster Management, the Department of International Studies and Social Science,
and the Faculty of Health and Life Sciences, to introduce creative writing as an
alternative to conventional forms of assessment (such as the essay, the report and the
case study) into the following subject areas:
Human Rights and Civil Liberties;
International Comparative Social Work;
Law, Ethics and Policy;
Comparative Research in Disaster Management;
Management and Team Working in a Large Organisations;
A History of International Organised Crime;
Nursing and its Fields of Practice.
Our investigations have found that creative assessment has proved not only a powerful
and popular medium, but has had positive effects on student motivation, engagement
and literacy. Dr Foster (Coventry Law School) said that students who choose to write a
story as opposed to a conventional case study appeared to have developed a much
deeper understanding and appreciation of their chosen case than we have come to
expect from law students in general.
This talk, which falls neatly within two thematic foci of the conference (2: Creative
Writing in Education and 8: Creative Writing and other sciences) aims to document the
spread of creative assessment across the disciplines and highlight our research findings.
-
3 2015 11:45- 13:00
138
Reflections on Writing Strategies in Ezekel Alembis Fiction for
children
Remmy Shiundu Barasa, PhD., Pwani University, Kilifi, Kenya
[email protected]/[email protected]
Childhood is a critical phase in the cognitive, affective and psychomotor development
of children. At this stage, the childs mind is vacuous but very receptive and malleable
to new experiences learnt from his immediate environment. This is an important time
for character formation, a responsibility which society must discharge to ensure the
formation is virtuous and meaningful to protect the child from malformation. The
material children read at this level, therefore, etches itself deep into their memory,
influencing their character and personality, to their adult life. The creative writer is part
of that society that shares in the responsibility of child upbringing through nourishing
their young mind with reading material. Consequently, the objective of this study is to
evaluate the writing strategies employed by one of Kenyas prolific and acclaimed
authors for children, Ezekiel Alembi (1960-2010), in his fiction for children. The analysis
examines Alembis style in the context of theoretical formulations on writing for children
within the context of the societal realities which threaten childrens moral and
upbringing. The methodology used will be close reading of purposively selected
children stories by Alembi. I will then make reflections on the writing strategies used by
the author against developmental theories as postulated by William Crain (2014) who
updates the thinking of earlier theorists such Jean Piaget, Erik Erikson, Lawrence
Kohlberg and Lev Vytgotsky.
-
3 2015 11:45- 13:00
139
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-
3 2015 11:45- 13:00
140
All the world's a stage but the stage is not a page: playwriting
vs. prose writing.
Penny Fylaktaki, Playwright, PhD in Translation and Cultural Studies,
The playwright and the prose writer share common writing ingredients: character, plot,
time, place, language. They also share the same goal: to transfer their message in the
most catholic manner possible in order to reach the collective subconscious on a
pragmatic as well psychological level offering at the same time the delight of high-
quality literary aesthetics. Yet, despite the inherent common ground between these
two genres , the use of writing tools, the writing methodology and the way a theatre
play and a work of prose head towards completion present significant differences,
which at times follow a diametrically opposite course. The paper wishes to investigate
the different writing codes applying in playwriting and prose writing and study the
diverse writers perspective in these two literary worlds in order to facilitate a writers
transition from one genre to the other against the same horizon: communication with
the audience, deep enough to make the literary work survive in Time.
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