Re-writing Texts, Re-constructing the Subject: Work as Play on the Critical-Creative Interface

Pope, Rob

doi:10.1057/9780230507906_9

Cited by 4 publications

(6 citation statements)

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“…In creating AGG , I was inspired by Pope to write a work of IF that I hoped would be capable of ‘de‐centring’ (Pope, 1995, p. 14) a classic work of literature: The Great Gatsby . I imagined that the work of IF I created might motivate my students to become more playful and creative (Pope, 2003) in their critical explorations of Fitzgerald's work, and in their reading more generally. For example, I wanted my students to consider what meanings could have arisen, had Fitzgerald chosen to write from a different perspective.…”

Section: Theoretical Framingmentioning

confidence: 99%

“…This was a novel challenge; instead of designing a set of slides (as teachers often do) or crafting a narrative (as a writer of fiction), I set out to perform a creative form of pedagogical criticism, working at the ‘critical‐creative interface’ and producing potential ‘counter‐text[s]’ (Pope, 2003, p. 105) that my students could explore. The text I designed demands that student‐readers make language choices themselves, considering their significance.…”

Section: Theoretical Framingmentioning

confidence: 99%

“…Also, by obliging my students to choose , I position them as readers who must actively respond to the text, making something of it (Rosenblatt, 2005a). In performing this meaning‐making, they simultaneously become writers themselves; the reader becomes a creative re‐writer (Pope, 2003, p. 106), making the creative process of reading more salient and blurring the lines between reading and writing. As such, AGG does not position reading and writing as discrete or autonomous skills (Fleming and Stevens, 2010; Ivanič, 2010) or as vehicles for ‘mechanistic outcomes’ (Goodwyn, 2012, p. 234); rather, reading and writing become part of a critical‐creative, metalinguistic learning experience.…”

Section: Theoretical Framingmentioning

confidence: 99%

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Using Interactive Fiction to Stimulate Metalinguistic Talk in the English Classroom

Holdstock

2023

Literacy

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Interactive Fiction (IF)—a digital form of non‐linear narrative writing—requires readers to respond, to make choices that shape their reading experience. I argue that such choices can be put to use in the classroom, helping teachers to facilitate metalinguistic talk. In this article, I offer a clear conceptualisation of metalinguistic talk, drawing upon existing research to create a useful framework comprised of four characteristics. Using this framework, and with reference to interview data and field notes, I analyse and consider two transcripts of classroom talk in order to explore the extent to which a particular work of IF enabled me to facilitate metalinguistic talk with a class of 16–17‐year‐old English Literature students. The lesson in question formed part of an action research project exploring the possibilities for IF in the secondary school English classroom. I argue that the choices contained within A Great Gatsby, a work of IF which I designed via a process of critical‐creative textual intervention and using Fitzgerald's The Great Gatsby as my source material, can help to scaffold metalinguistic talk—conversations about language.

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Section: Theoretical Framingmentioning

confidence: 99%

Section: Theoretical Framingmentioning

confidence: 99%

Section: Theoretical Framingmentioning

confidence: 99%

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Using Interactive Fiction to Stimulate Metalinguistic Talk in the English Classroom

Holdstock

2023

Literacy

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“…This part of the procedure is, thus, 'critical-creative'. I take my cue here from the important work of Rob Pope (Pope, 2003; who argues that any critical engagement is creative and any creative engagement is critical. (Pope is a scholar inspired, in part, by the work of Deleuze.…”

Section: Connecting To An Existing Interpretationmentioning

confidence: 99%

Performance stylistics: Deleuze and Guattari, poetry and (corpus) linguistics

O’Halloran¹

2012

ijes

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Taking as stimulus some key ideas of the French philosopher, Gilles Deleuze, and his collaborator the psychoanalyst, Félix Guattari, I demonstrate an alternative interpretative engagement with poetry. In this approach, a poem is seen as an invitation to the reader to be creative via a web-based, interpretative journey which is individual, edifying and refreshing. This approach allows a poem’s obliqueness and suggestiveness to trigger, randomly, knowledge and resources on the world-wide-web that are new for the reader; in turn, these can be used as fresh perspectives on the poem in order to perform it in individual ways, to ‘fill in’ creatively personas and scenarios in the poem. This web-based engagement with a poem involves stylistic analysis.The web-based element of performance stylistics is centrifugal, taking the reader outside of the poem, travelling from website to website. This centrifugal movement is balanced by a centripetal one which takes the reader into the patterns of the poem. Stylistic analysis meets this centripetal need effectively. Traditionally, stylistic analysis has been used to provide linguistic evidence for interpretation of a literary work. However, influenced by ideas in the work of Deleuze and Guattari, I also use stylistic analysis in a non-traditional way - to mobilise interpretation of a poem. In this article, the poem I use to demonstrate performance stylistics is Robert Frost’s, ‘Putting in the Seed’. Performance stylistics can draw on corpus analysis too.

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“…Pope’s work (1995, 2003) on what he calls ‘heuristic interactive learning’ (1995: 183), invites students to engage actively with meaning‐making through intervening, re‐writing and re‐creating. At the heart of this is the insistence on the act of reading as significant creative play in the search for alternative and counter representations of textual reality and dialogism.…”

Section: Textual Interventionmentioning

confidence: 99%

Pedagogical stylistics: A text world theory approach to the teaching of poetry

Giovanelli

2010

English in Education

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This article explores how the stylistic framework of Text World Theory (Werth 1999, Gavins 2007 can be used in the classroom to generate critical insights and analyses of the ways in which texts operate. This approach falls within the scope of the discipline of pedagogical stylistics and as such it will examine and consider its usefulness as a teaching model to encourage both student awareness of language and wider consideration and understanding of the interaction between readers and texts, including intertextuality and the positioning of the text in its socio-historical context.

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Re-writing Texts, Re-constructing the Subject: Work as Play on the Critical-Creative Interface

Cited by 4 publications

References 0 publications

Using Interactive Fiction to Stimulate Metalinguistic Talk in the English Classroom

Using Interactive Fiction to Stimulate Metalinguistic Talk in the English Classroom

Performance stylistics: Deleuze and Guattari, poetry and (corpus) linguistics

Pedagogical stylistics: A text world theory approach to the teaching of poetry

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