Understanding Creativity and Creative Writing

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Contents:
Understanding Creativity :The concept of creativity has been debated and discussed through number of critical positions. The historically contextualized definitions of this ubiquitous term will be explored. Csikszentmihaly’s study of wide range of creative domains will be assessed for new possibilities.
Creativity in any domain entails apprenticeship. Critical reading and experiments in writing are two vitally interconnected processes for a writer. The quest of the young writer is placed within India’s multilingual, plural cultures. In this complex ethos the sense of the self becomes far more complicated.
Important writers have dealt with these issues in regional languages and English. Significant literary experiments will be discussed through English translations and original writing in English. To develop meaningful, original literary work, students are encouraged to break away from fragmentation in knowledge systems as it is a barrier to ‘self-actualization’.

To Be A Writer : What does it mean to be a writer? Are there ideal conditions for writing? The debates about writing independently and writing within academic institutions have raged in recent years. With the rising trend of institutionalizing creative writing, the paradoxical relationship between unhampered creativity and institutional facilitation has gained greater significance.
To enable informed decisions, writerly concerns regarding the stages of the writing process have been discussed in comparative perspective. Albert Camus, Chekhov, Atwood, Tagore, Mahasweta Devi and Rushdie provide varied insights.
Wide ranging examples from popular culture have also been examined for their influence on young minds. These ideas will be discussed in generative framework to release fresh energy.

Drama: A Performative Mode : Writers experiment with various literary-cum-performative forms. In this module, drama is foregrounded. Its multilayered features are examined to highlight a range of action-oriented issues. The notions of “play”, “otherness” and “performance” will be introduced through seminal studies.
With focus on playwriting, salient features of dramatic texts such as physical activity, action, dialogue, subtext, conflict, plot, theme, character will be explained.
Keeping in mind postcolonial, intercultural tendencies of drama, classical Western and Indian theories and dramatic texts will be explored. Modern and postmodern examples will be placed within this perspective.
Mime and monologues will be emphasized as entry points for writing and performance. These forms have gained unique significance in the era of globalization. Number of illustrative examples will be shared.

The Short Story : The last module will build on the preceding discussion of various intertextual, comparative perspectives with reference to the short story. The radical difference between mythic, classical tales and the search motifs of modern and postmodern short stories will be examined.
Through various Western and Indian examples the issue of point-of-view; historical location and compressed intensity of the short story genre will be discussed.
Number of generative exercises will be developed to help students compose short stories and discover their own voice.

Course Curriculum

L1-Overview Details
L2-In Conversation with Richard Schechner Details
L3-Multilingual Plurality: Our Environment Details
L4-Multilingual Plurality: Our Environment -Part II Details
L5-Interplay of Languages and Forms of Writing Details
L6-Interplay of Languages and Forms of Writing -Part II Details
L7-Creativity and Culture’s Details
L8-Notion of Play and The Three Domain Activities Details
L9-Theory of Enjoyment: Critical Assessment Details
L10-Divergences and Convergences Details
L11-Divergences and Convergences -Part II Details
L12-Creative and Cultural Spaces for Students Details
L13-Being and Doing: Writing as Performance Details
L14-Writers and Writing: The Dialogic Process Details
L15-Creativity, Writing, Creative Writing: Recent Viewpoints Details
L16-Issues Related to the Teaching of Creative Writing Details
L17-Writers on Writing: Albert Camus Details
L18-Critical Reading of Great Writers: Albert Camus Details
L19-Critical Reading of Important Writers: Margaret Atwood Details
L20-Reading and Writing Details
L21-Indian Writing: Writers/Narrators Details
L22-Contemporary Indian Writers: The Search for Creativity (I) Details
L23-Contemporary Indian Writers: The Search for Creativity (II) Details
L24-Mosaic Patterns: Module 2 Details
L25-Introduction to Drama Details
L26-Performance and Script Writing: Mime Details
L27-Western Classical Theory Details
L28-Student Response (I) Details
L29-Indian Drama: Classical Theory and Practice Details
L30-Interacting Continuum: Classical, Folk and Modern Drama Details
L31-From The Perspective of Playwriting: Monologue Details
L32-From The Playwright’s Perspective Details
L33-From The Playwright’s Perspective -Part II Details
L34-From The Perspective of Playwriting: Anton Chekhov Details
L35-Drama in the Classroom: Experience and Writing Details
L36-Student Response (II) Details
L37-Performative Reading of the Cherry Orchard Details
L38-Short Story as a Genre Details
L39-Short Stories by Indian Women Writers Details
L40-Modern Western Short Story Details
L41-Varieties of Writing Processes Details

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