The oppressions of ‘creativity’? Equity and power in emergent global discourses of the Creative Writing (SL) field

IF 0.4 0 LITERATURE
Dan Disney
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引用次数: 0

Abstract

ABSTRACT In previous papers, I have sought to usher Creative Writing in English into Literary Studies contexts in Korea by responding to rhetorical questions, such as “[h]ow to begin to feel like ourselves in a language we do not quite feel at home in?” (Disney 2011: 7) and, erroneously, “how might [students] do something materially akin to [western] canonical texts set before them” (Disney 2014: 3). On reflection, and after more than a decade in Korea, it is wholly apparent just how uncritically these questions centralize English and, therein, my own unchecked entitlement. Both questions remain as if ethically indifferent to the inherent inter-linguistic, trans-cultural power relations at play within Creative Writing in Non-Native Language contexts (herewith, “CW[SL]”). When calling our attention to the fact that “there is something amoral about teaching English Creative Writing in Asia” (52), writer, researcher, and educator Xu Xi issues a direct challenge: how are native-speaking English-language writer-scholars to be more than unwitting avatars of privilege, performing vectors of dominance (Ritzer 204) in a first language among non-native language-learning writer-students? One suspects answers may well be located inside languages other than English.
“创造力”的压迫?创意写作(SL)领域新兴全球话语中的公平与权力
摘要在之前的论文中,我试图通过回答修辞问题,将英语创意写作引入韩国文学研究的语境,例如“如何开始在一种我们不太自在的语言中感觉自己?”(迪士尼2011:7),“[学生]如何做一些实质上类似于摆在他们面前的[西方]规范文本的事情”(迪士尼2014:3)。经过思考,在韩国呆了十多年后,很明显,这些问题是如何不加批判地集中了英语,以及我自己不受约束的权利。这两个问题在伦理上似乎都与非母语背景下创造性写作中固有的跨语言、跨文化的权力关系无关(本文简称“CW[SL]”)。当我们注意到“在亚洲教授英语创意写作有一些不道德的东西”(52)时,作家、研究员和教育家徐neneneba习提出了一个直接的挑战:本土英语写作学者如何不仅仅是不知情的特权化身,在非母语学习作家的学生中用第一语言执行优势向量(Ritzer 204)?有人怀疑答案很可能存在于英语以外的其他语言中。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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CiteScore
0.90
自引率
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26
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