Disrupting Hegemonic Masculinity Through Creative Writing

Taking a view of identity as a discoursal participation in figured worlds, this chapter draws upon data collected during a longitudinal, small-scale research project, exploring the relationship between creative writing and boys’ identities as they make the transition from primary to secondary school. Using language-context discourse analysis, creative writing from six of the boys is analyzed in order to illustrate the ways in which the creative text can open up a space for hybrid discourses with identity enactments that disrupt hegemonic masculinity. This radical potential for boys to enact other identities through creative writing is seen as being related to the pedagogy adopted by the teacher. Accordingly, an argument is made: against a restrictive backdrop of a neoconservative curriculum and global neoliberalism’s state-controlled decontrol, it is only through pedagogies that involve weaker framing and choice that boys can realize other ways of being

Preservice Teachers Identity Agency With Progressive Writing Pedagogies

This study explores the relationship between preservice teachers perceptions of their professional identities and their progressive primary school writing practices as part of a University-school partnership project We analyse preservice teachers identities using discourse analysis and find a tension between self-perceptions as progressive teachers and the difficulties they experience enacting progressive pedagogies For the majority these difficulties are overcome through reflective theorising but in utilising process drama their otherwise expansive identity-agency is restricted by their wider apprehension of neoliberalism We conclude by underlining the importance of specialised and concurrent models of teacher preparation which align preservice teachers identities and practice

Becoming the falconer: productive feedback for the redrafting of creative writing

Within a wider neoliberal education system, time and space for redrafting creative writing are marginalised, with focus on the written product rather than the writing process. This precludes the development of young writers. As academics and creative writers working in university Schools of Education, we use inductive autoethnography to explore our memories of feedback on creative writing throughout our writing lives. The affective dimension of feedback, with readers having power over their writers, is emphasised. We identify how feedback can be unproductive and unempathetic, harming the writer. We also identify how feedback can be productive, nurturing the writer through the process towards an internal dialogue with their inner ideal reader – their ‘superaddressee.’ It is the internal dialogue with the superaddressee, who perfectly understands what the writer is communicating, that develops the writer over time, giving them control over the writing process and facilitating redrafting. We recommend the professional development of teachers to become self-reflexive readers, who plan focused writing assessments, and provide productive feedback as well as mentorship programmes in publishing to develop new writers. Future research should explore the psychoanalytic nature of the writer–reader relationship and what the facilitation of redrafting looks like in educational settings

Becoming the Falconer: Productive Feedback for the Redrafting of Creative Writing

Within a neoliberal education system, time and space for redrafting creative writing is marginalised, with focus on the written product rather than the writing process (Price, 2020). This precludes the development of young writers. As academics and creative writers working in University Schools of Education, we use inductive autoethnography to explore our memories of feedback on creative writing throughout our writing lives. The affective dimension of feedback, with readers having power over their writers, is emphasised. We identify how feedback can be unproductive and unempathetic, harming the writer. We also identify how feedback can be productive, nurturing the writer towards an internal dialogue between with their inner ideal reader - their “superaddressee” (Bakhtin, 1986). It is the internal dialogue with the superaddressee, who perfectly understands what the writer is communicating, that develops the writer over time, giving them control over the writing process and facilitating redrafting. We recommend the professional development of teachers to become self-reflexive readers, who plan focussed writing assessments, and provide productive feedback as well as mentorship programmes in publishing to develop new writers. Future research should explore the psychoanalytic nature of the writer-reader relationship and what the facilitation of redrafting looks like in educational settings

Embracing hybridity: the affordances of arts-based research for the professional doctorate in education

Despite the growth of the professional doctorate in education (EdD), its potential for capturing practice is restricted by academic tradition (Vaughan, 2021). In this hybrid paper, we argue that arts-based research (ABR) can help rectify this. We bookend the paper with creative non-fiction of our own EdD experiences, where ABR is restricted and afforded. We develop our argument through a position paper mapping the theoretical similarities of the EdD and ABR. We then undertake a scoping review identifying existing research into ABR on EdD programmes. We analyse six articles using the 5A’s theory of creativity (Glăveanu, 2013) to see how these theoretical similarities are afforded. Using ABR in the form of creative writing on the EdD is shown to promote reflexivity and co-creation, impacting upon diverse audiences. We conclude with a challenge for further research into ABR on EdD programmes through hybrid research

Letters To The Editor.

No abstract available

Story making in brave spaces of wilful belonging: co-creating a novel with British-Pakistani girls in primary school

The Story Makers Press is a university-based publisher who focus on making and publishing hybrid stories with children who are under-represented in literature. This article explores the embodied drama processes used in the co-creation of our third book called ‘Zalfa Emir is Warrior' with eighteen 10–11-year-old girls from second generation Pakistani heritage. Utilising practitioner inquiry, the paper examines the ways in which the girls used Drama Worldbuilding as a form of counter storytelling and belonging. The project raises critical questions about the value of pedagogies which create ‘brave spaces’ to reflect the realities of our culturally diverse classrooms