What goes on in creative writers’ heads when they write? What can cognitive psychology, neuroscience, literary studies and previous research in creative writing studies tell creative writers about the processes of their writing mind? Creative writers have for centuries undertaken cognitive research. Some described cognition in vivid exegetical essays, but most investigated the mind in creative writing itself, in descriptions of the thinking of characters in fiction, poetry and plays. The inner voicings and inner visualising revealed in Greek choruses, in soliloquies, in stream-of-consciousness narratives are creative writers’ ‘research results’ from studying their own cognition, and the thinking of others. The Creative Writer’s Mind is a book for creative writers: it sets out to cross the gap between creative writing and science, between the creative arts and cognitive research.
The rise of digital publishing and the ebook has opened up an array of possibilities for the writer working with innovation in mind. Creative Writing and the Radical uses an examination of how experimental writers in the past have explored the possibilities of multimodal writing to theorise the nature of writing fiction in the future. It is clear that experimental writers rehearsed for technological advances long before they were invented. Through an in-depth study of writers and their motivations, challenges and solutions, the author explores the shifts creative writing teachers and students will need to make in order to adapt to a new era of fiction writing and reading.
What goes on in creative writers’ heads when they write? What can cognitive psychology, neuroscience, literary studies and previous research in creative writing studies tell creative writers about the processes of their writing mind? Creative writers have for centuries undertaken cognitive research. Some described cognition in vivid exegetical essays, but most investigated the mind in creative writing itself, in descriptions of the thinking of characters in fiction, poetry and plays. The inner voicings and inner visualising revealed in Greek choruses, in soliloquies, in stream-of-consciousness narratives are creative writers’ ‘research results’ from studying their own cognition, and the thinking of others. The Creative Writer’s Mind is a book for creative writers: it sets out to cross the gap between creative writing and science, between the creative arts and cognitive research.
The book focusses on questions of individual and collective action, the emergence and dynamics of social norms and the feedback between individual behaviour and social phenomena. It discusses traditional modelling approaches to social norms and shows the usefulness of agent-based modelling for the study of these micro-macro interactions. Existing agent-based models of social norms are discussed and it is shown that so far too much priority has been given to parsimonious models and questions of the emergence of norms, with many aspects of social norms, such as norm-change, not being modelled. Juvenile delinquency, group radicalisation and moral decision making are used as case studies for agent-based models of collective action extending existing models by providing an embedding into social networks, social influence via argumentation and a causal action theory of moral decision making. The major contribution of the book is to highlight the multifaceted nature of the dynamics of social norms, consisting not only of emergence, and the importance of embedding of agent-based models into existing theory.
Topics in the book include: novel processes, removal of ammonia and nitrogen, retrofitting/upgrading treatment plants for nutrient removal, and operating experiences at full-scale plants. Nutrient removal from wastewaters is a critical topic in every region. Problems can arise from domestic sewage, industrial wastewater, or rainwater runoff.
The rise of digital publishing and the ebook has opened up an array of possibilities for the writer working with innovation in mind. Creative Writing and the Radical uses an examination of how experimental writers in the past have explored the possibilities of multimodal writing to theorise the nature of writing fiction in the future. It is clear that experimental writers rehearsed for technological advances long before they were invented. Through an in-depth study of writers and their motivations, challenges and solutions, the author explores the shifts creative writing teachers and students will need to make in order to adapt to a new era of fiction writing and reading.
Rarely has contemporary fiction confronted so directly male passion and sexuality, or explored with such depth the complexity of living outside the boundaries of public approval.
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