Jen Webb – författare

Contemporary Asian art has had a remarkable impact on global art practice, in addition to serving as a record of the region’s history from decolonisation to the present. Many Asian artists are deeply concerned about what it means to be human and to contribute to the development of a sustainable society, as well as having a sustained commitment to making art. This book, written at the start of the ‘Asian century’, focuses on the contexts and conditions which have helped to shape both art practice and postcolonial society in the region. One of the first surveys of contemporary Asian art, it uses case studies of key artists to discuss the work in relation to issues of human rights, social and environmental well-being and creativity. As such, it makes an important contribution to studies of contemporary Asian art and art history.

Contemporary Asian art has had a remarkable impact on global art practice, in addition to serving as a record of the region’s history from decolonisation to the present. Many Asian artists are deeply concerned about what it means to be human and to contribute to the development of a sustainable society, as well as having a sustained commitment to making art. This book, written at the start of the ‘Asian century’, focuses on the contexts and conditions which have helped to shape both art practice and postcolonial society in the region. One of the first surveys of contemporary Asian art, it uses case studies of key artists to discuss the work in relation to issues of human rights, social and environmental well-being and creativity. As such, it makes an important contribution to studies of contemporary Asian art and art history.

Craft lives inside the artist, and it operates in the mind, not in standards or techniques. Creative writers navigate thresholds in consciousness as they develop their arts practice. Craft Consciousness and Artistic Practice in Creative Writing explores what it is to be an artist as it traces radical, feminist, and culturally embedded traditions in craft. The new term "craft consciousness" identifies the nexus from which writers explore making processes and practitioner knowledge. Writers, as with all artists, create and reimagine themselves anew, and it is in this perpetual state of becoming that they find ways to enlarge their sense of artistry through an exploration of forms, processes, and mediums beyond the written word.For writers, this book initiates a reexamination of the mission of creative writing through disrupting patriarchal, racist, colonialist, ableist, and capitalist associations with dominant craft. Drawing from twenty-five interviews with living artists outside of writing and in a host of fields from conceptual art to leatherwork and dance, the book shines a light on how the processes associated with craft are embodied. Craft is an internalized matrix; it need not be commodified for the marketplace or codified in the standards necessitated by institutions of higher education. By redesigning writing workshops and MFA/PhD programs through craft consciousness, new potentials and collaborations emerge, and it becomes more conceivable to imagine dynamic, inclusive relationships between writers, scientists, and other artists.

Aimed toward graduate student instructors and other creative writing educators, Teaching Cultural Dexterity in Creative Writing offers a formula for important changes in creative writing instruction—especially in literary/creative nonfiction, probing how instruction might become more inclusive and accessible for minoritized/marginalized student-authors. The book chapters use antiracist, trauma-informed, and anticolonial frameworks toward exploring the 21st-century professional, theoretical, and institutional concerns surrounding creative writing practices in North American higher education. As a result, the book explores ways creative writing pedagogies and theories might be adapted for racially and linguistically marginalized (by English) student-authors, who often inhabit minoritized positions within North American colleges and universities.Applying as a frame the notion of cultural dexterity as it is taught to medical professionals to allow them to engage effectively with patients from all backgrounds, ethnics groups and with all sensitivities, Teaching Cultural Dexterity in Creative Writing examines why and how creative writing instruction needs to be urgently renegotiated. In this essential text for all creative writing instructors, McCray provides all the tools necessary to take positive action with discussions of potential readings, writing prompts and sample course materials.

Aimed toward graduate student instructors and other creative writing educators, Teaching Cultural Dexterity in Creative Writing offers a formula for important changes in creative writing instruction—especially in literary/creative nonfiction, probing how instruction might become more inclusive and accessible for minoritized/marginalized student-authors. The book chapters use antiracist, trauma-informed, and anticolonial frameworks toward exploring the 21st-century professional, theoretical, and institutional concerns surrounding creative writing practices in North American higher education. As a result, the book explores ways creative writing pedagogies and theories might be adapted for racially and linguistically marginalized (by English) student-authors, who often inhabit minoritized positions within North American colleges and universities.Applying as a frame the notion of cultural dexterity as it is taught to medical professionals to allow them to engage effectively with patients from all backgrounds, ethnics groups and with all sensitivities, Teaching Cultural Dexterity in Creative Writing examines why and how creative writing instruction needs to be urgently renegotiated. In this essential text for all creative writing instructors, McCray provides all the tools necessary to take positive action with discussions of potential readings, writing prompts and sample course materials.

As the most popular and fastest growing form of media today, the podcast is a vital tool for creative writing courses in their bid to become more dynamic, interactive, inclusive, and multi-modal. Exploring the benefits of podcasting as both a pedagogical resource and as an important medium of expression for young writers, Digital Voices illuminates how podcasts can help every student forge personal connections to the content of their creative work and instruction they receive, no matter their background or experience. Beginning with the history of the podcast and the opportunities it affords today, this book moves through the benefits of bringing this popular medium into the workshop, demonstrating how it can aid in the creation of "Many Voices classrooms" and new metacognitive and introspective learning strategies, offer students new methods of evaluating creative products, and enhance inclusive access for a truly intersectional classroom. Other topics examined include the technical aspects of creating narrative fiction, poetry and nonfiction podcasts; how instructors might best curate podcasts for their classes; guidance on using podcasts to create scaffolding for teaching creative writing craft elements in different modes; and the ways of using author podcasts to demystify the writerly mystique.With each chapter featuring a section on practical application in the classroom, hints and tips from teacher-podcasters, and suggested student assignments, Digital Voices is an accessible primer, offering both a critical examination of the medium and a practical guide to putting the concepts discussed into practice.

As the most popular and fastest growing form of media today, the podcast is a vital tool for creative writing courses in their bid to become more dynamic, interactive, inclusive, and multi-modal. Exploring the benefits of podcasting as both a pedagogical resource and as an important medium of expression for young writers, Digital Voices illuminates how podcasts can help every student forge personal connections to the content of their creative work and instruction they receive, no matter their background or experience. Beginning with the history of the podcast and the opportunities it affords today, this book moves through the benefits of bringing this popular medium into the workshop, demonstrating how it can aid in the creation of "Many Voices classrooms" and new metacognitive and introspective learning strategies, offer students new methods of evaluating creative products, and enhance inclusive access for a truly intersectional classroom. Other topics examined include the technical aspects of creating narrative fiction, poetry and nonfiction podcasts; how instructors might best curate podcasts for their classes; guidance on using podcasts to create scaffolding for teaching creative writing craft elements in different modes; and the ways of using author podcasts to demystify the writerly mystique.With each chapter featuring a section on practical application in the classroom, hints and tips from teacher-podcasters, and suggested student assignments, Digital Voices is an accessible primer, offering both a critical examination of the medium and a practical guide to putting the concepts discussed into practice.

Craft lives inside the artist, and it operates in the mind, not in standards or techniques. Creative writers navigate thresholds in consciousness as they develop their arts practice. Craft Consciousness and Artistic Practice in Creative Writing explores what it is to be an artist as it traces radical, feminist, and culturally embedded traditions in craft. The new term "craft consciousness" identifies the nexus from which writers explore making processes and practitioner knowledge. Writers, as with all artists, create and reimagine themselves anew, and it is in this perpetual state of becoming that they find ways to enlarge their sense of artistry through an exploration of forms, processes, and mediums beyond the written word.For writers, this book initiates a reexamination of the mission of creative writing through disrupting patriarchal, racist, colonialist, ableist, and capitalist associations with dominant craft. Drawing from twenty-five interviews with living artists outside of writing and in a host of fields from conceptual art to leatherwork and dance, the book shines a light on how the processes associated with craft are embodied. Craft is an internalized matrix; it need not be commodified for the marketplace or codified in the standards necessitated by institutions of higher education. By redesigning writing workshops and MFA/PhD programs through craft consciousness, new potentials and collaborations emerge, and it becomes more conceivable to imagine dynamic, inclusive relationships between writers, scientists, and other artists.

Shortlisted for the international 2026 Max Nänny Word and Image Prize.An investigation into the powerful effects occurring at the threshold between articulation and inarticulation in original and translated works, this book models how creative writing research, practice, processes, products and theories can further academic thought. At the threshold of in/articulacy, language can be said to ‘thicken’ and obscure the usual conditions of legibility or lexical meaning, becoming unfamiliar, flexible, incomplete, even absent. These ‘thickening’ moments alter and enrich literary processes and texts to initiate a paradigm shift in composition, translation and reading experiences. Interrogating this shift from the viewpoints of writers, translators and readers, Judy Kendall draws on translation studies, literary theory, anthropology, philosophy and physics and more to examine the practices of Semantic Poetry Translation, code-switching, made-up English, visual text, vital materiality and the material-discursive. Breaking new ground with her enactment of the ways in which creative writing can take an active and productive lead in research enquiries, Kendall looks at works including Old English riddles, Nigerian novels, J R. R. Tolkien’s and Ursula K. Le Guin’s narratives, Caroline Bergvall’s hybrid works, Caryl Churchill’s The Skriker, Patrick Chamoiseau’s novels, Zong! and several other visual texts.

Shortlisted for the international 2026 Max Nänny Word and Image Prize.An investigation into the powerful effects occurring at the threshold between articulation and inarticulation in original and translated works, this book models how creative writing research, practice, processes, products and theories can further academic thought. At the threshold of in/articulacy, language can be said to ‘thicken’ and obscure the usual conditions of legibility or lexical meaning, becoming unfamiliar, flexible, incomplete, even absent. These ‘thickening’ moments alter and enrich literary processes and texts to initiate a paradigm shift in composition, translation and reading experiences. Interrogating this shift from the viewpoints of writers, translators and readers, Judy Kendall draws on translation studies, literary theory, anthropology, philosophy and physics and more to examine the practices of Semantic Poetry Translation, code-switching, made-up English, visual text, vital materiality and the material-discursive. Breaking new ground with her enactment of the ways in which creative writing can take an active and productive lead in research enquiries, Kendall looks at works including Old English riddles, Nigerian novels, J R. R. Tolkien’s and Ursula K. Le Guin’s narratives, Caroline Bergvall’s hybrid works, Caryl Churchill’s The Skriker, Patrick Chamoiseau’s novels, Zong! and several other visual texts.

In a challenge to monolingual, Anglophone dominated creative writing workshops, this book explores why and how students’ multilingual backgrounds and lack of fluency with the English language can emerge as assets rather than impediments to artistry and creativity. Grounded in the Chinese tradition of Daoism as an ongoing discourse, this exploration uses rigorous academic readings of the philosophical text, the Zhuangzi, as an analytical framework and takes a translingual approach to writing where translation and composition intersect, inscribing one language upon another within a single text. With concepts that resist expression such as inspiration, uncertainty, non-knowing, spontaneity, unity, forgetting the self, and the perfection behind the imperfection of language, Jennifer Quist demonstrates how Daoism’s theories and metalanguage can re-imagine creative writing education whilst de-naturalizing the authority of English and Euro-American literary traditions. With analytical lenses derived from East Asia given context through translations of Chinese educators’ primary accounts of the history and theory of postsecondary creative writing education in 21st-century China, Quist develops a method for examining the practices of exemplary translingual writers from China, Japan, and their diasporas.Featuring translingual writing prompts and practices for individual or classroom use by students at all levels of multilingualism, Translingual Creative Writing Theory, Practice, and Pedagogy opens up the current workshop model and discloses the possibilities of linguistic transcendence for instructors and students. With writing strategies based in cross-cultural collaboration and balanced with de-Anglicization of creative writing pedagogy, this book calls to rework the structures, methods, and metaphors of the workshop and presents ideas for more collaborative, collective, equitable, diverse, and inclusive programs.

In a challenge to monolingual, Anglophone dominated creative writing workshops, this book explores why and how students’ multilingual backgrounds and lack of fluency with the English language can emerge as assets rather than impediments to artistry and creativity. Grounded in the Chinese tradition of Daoism as an ongoing discourse, this exploration uses rigorous academic readings of the philosophical text, the Zhuangzi, as an analytical framework and takes a translingual approach to writing where translation and composition intersect, inscribing one language upon another within a single text. With concepts that resist expression such as inspiration, uncertainty, non-knowing, spontaneity, unity, forgetting the self, and the perfection behind the imperfection of language, Jennifer Quist demonstrates how Daoism’s theories and metalanguage can re-imagine creative writing education whilst de-naturalizing the authority of English and Euro-American literary traditions. With analytical lenses derived from East Asia given context through translations of Chinese educators’ primary accounts of the history and theory of postsecondary creative writing education in 21st-century China, Quist develops a method for examining the practices of exemplary translingual writers from China, Japan, and their diasporas.Featuring translingual writing prompts and practices for individual or classroom use by students at all levels of multilingualism, Translingual Creative Writing Theory, Practice, and Pedagogy opens up the current workshop model and discloses the possibilities of linguistic transcendence for instructors and students. With writing strategies based in cross-cultural collaboration and balanced with de-Anglicization of creative writing pedagogy, this book calls to rework the structures, methods, and metaphors of the workshop and presents ideas for more collaborative, collective, equitable, diverse, and inclusive programs.

Just like a magician, spiritual guide or modern-day witch, poets use their craft to tap into the inherent power of language as an agent of change, willing words to construct and alter reality through intentional acts and performances. Through an examination of the linguistic, historical, and affective poetics of magic, this book shows how pragmatic magical practices from the ancient and Medieval worlds, and poetry from the English Romantics to the present day, leverage the same linguistic qualities to bring about change.Making the case that contemporary poets, especially poets of disenfranchised identity groups, write with language meant to do something, Robert Eric Shoemaker highlights how these writers successfully incant through language, using techniques such as metaphor, symbolism, chant and other magics, to change their readers by leveraging slippages of meaning. Drawing on the long histories of magical, religious, and ritual language, from modernist poets through the English Romantics and stretching back to poems and spells from the Middle Ages and ancient Egyptian, Greek, Roman, and Jewish traditions, this book establishes a theoretical, analytic, and practical framework for magical poetics. An introduction to the theory and topic, Magical Poetics manages and expands on important poetic legacies, establishes frameworks of contemporary practitioners and aids today’s writers and readers in seeing the importance of poetry in the everyday, positioning them as part of the larger lineage of poet-hierophants who may work to change the world with words.

An accessible introduction to the work of the leading French social and cultural theorist Pierre Bourdieu, who has left his mark on most of the "big" theoretical issues in the world of contemporary theory - gender, subjectivity, the body, culture, citizenship, and globalisation.

An engaging guide to the skills needed to analyse images of all kinds and a lucid introduction to the emerging field of visual culture. Author Webb from University of Canberra, ACT.