<abstract xmlns="http://www.w3.org/1999/xhtml"> In the early 20th century the function of poetic imagery was given international attention through the Imagist movement in London and, ever since, many poets have self-consciously employed and exploited imagist techniques. At the same time poets and visual artists have frequently explored connections between each other’s works considering, as Art Berman writes, that “the visual can provide direct and even prelinguistic knowledge since the psyche presumably has operations that precede or take logical precedence over […] language” (49).Interart comparisons suggest that poetry and the visual arts can be talked about as if “work in one medium […] were operating in another” (Dayan 3). However, it is often unclear what it might mean to describe a work of visual art as “poetic” or a poem as “visual.” This paper explores these ideas with reference to Paul Hetherington’s and Anita Fitton’s practice-led research project, Spectral Resemblances.The project is investigating some of the ways in which written poetry and still visual imagery may convey related meanings. It asks whether meaningful connections between poetic and visual imagery are at best “spectral” and elusive. It explores how the juxtapositioning of complementary works in these different media may allow resonances to play back and forth in the conceptual spaces between them.</abstract>

Spectral Resemblances and Elusive Connections: A Practice-led Research Dialogue between Poetry and Digital Imagery

<abstract xmlns="http://www.w3.org/1999/xhtml"> Representations of young teenagers and adolescents (not yet young adults) in popular culture are problematic. All too often the term teenager is less about age and experience and more about consumer merchandise and lifestyles aimed at them as a demographic sector. This paper addresses some of the issues and myths that writers and film makers are confronted with when producing teenage culture - everything may not be as you think.</abstract>

Certificate <inline-formula><inline-graphic xmlns:xlink="http://www.w3.org/1999/xlink" xlink:href="../graphic/abcsj-2013-0012_1.png"/></inline-formula> and <inline-formula><inline-graphic xmlns:xlink="http://www.w3.org/1999/xlink" xlink:href="../graphic/abcsj-2013-0012_2.png"/></inline-formula>: “they were children yesterday…”

<abstract xmlns="http://www.w3.org/1999/xhtml"> What is poetry for? How does poiesis or making - the Greek root of the words poetry and poetics - succeed in moving us, in getting under our skins? “Becoming Animal” argues that art and literature are crucial zones of play, transformative modes that work by mixing up self and other, inside and out, human, animal and other matter. The essay moves from a consideration of D.W. Winnicott’s psychoanalytic discussion of the relationship between play and creativity, self and other, to Howard Searles’ investigation of transference and counter-transference as possible models for engaged and sensuously attuned critical stances. The last section of the essay offers an account of the “transgenic” work of Eduardo Kac, which literally mixes genetic material as art. The essay concludes by arguing that art, as poiesis, works by engaging us in constant contact with what is not ourselves as a process of becoming ourselves; it argues that such ‘self-estrangement’ is the way we sort out how to live an ontologically rich and ethically meaningful life.</abstract>

Becoming Animal, Becoming Others: What We Make with Art and Literature

<abstract xmlns="http://www.w3.org/1999/xhtml"> A host of recent studiesii have shown that creative acts such as writing have significant psychological, social, and emotional benefits. In the past few decades many healthcare settings have implemented creative writing groups as a complement to more traditional medical interventions for a wide variety of illnesses. However, the relative novelty of creative writing therapy, coupled with its conflicting artistic and medical aims, may mean that a writer who is considering leading such a group might be unclear as to what her role entails: whether she is primarily a teacher, mentor, or therapist; how much control she should exert over the patients’ creative output; the type of feedback, if any, she should give, and how to respond to upsetting or disturbing writing. This paper explores how various experts, from both artistic and medical backgrounds, have theorised what constitutes best practice in creative writing therapy, focussing specifically on the treatment of mental illness. The paper concludes that, as with more traditional medical interventions, creative writing therapy will work differently for each individual - indeed, for some, it may have adverse side-effects. As such, a practitioner must adopt an intuitive, empathetic, flexible approach, practising intense and constant self-reflection, and allowing patients their autonomy while still actively nurturing their development.</abstract>

“There Is No Map and There Is No Road”: Theorising Best Practice in the Provision of Creative Writing Therapy

<abstract xmlns="http://www.w3.org/1999/xhtml"> In the present study, I seek to examine narrative in consideration of three of its most important dimensions: the social (others’ narratives), the cognitive (acquisition of knowledge through stories), and the linguistic (acquiring and producing knowledge through language). There is no point of contention that ‘narrative’ is essentially communicative and dependent on a sociolinguistic and cultural context. Yet, with regard to fictional narratives, recent studies on text processing challenge the view of text as communication in its conventional sense. I explore the way(s) in which fictional worlds communicate from the constructivist standpoint and set out to develop the notion of narratorial stance. I then make use of the concept in the close reading section of the paper in order to examine and exemplify the modes in which Hornby’s homodiegetic narrators represent themselves and the others in their ‘turn-at-talk’ or stance-taking acts</abstract>

Taking Collaborative Stances to Tell the Story. A Socio-linguistic Approach to Nick Hornby’s A Long Way Down

<abstract xmlns="http://www.w3.org/1999/xhtml"> Creative writing happens in and alongside the writer’s everyday life, but little attention has been paid to the relationship between the two and the contribution made by everyday activities in enabling and shaping creative practice. The work of the anthropologist Tim Ingold supports the argument that creative writing research must consider the bodily lived experience of the writer in order fully to understand and develop creative practice. Dog-walking is one activity which shapes my own creative practice, both by its influence on my social and cultural identity and by providing a time and space for specific acts instrumental to the writing process to occur. The complex socio-cultural context of rural dog-walking may be examined both through critical reflection and creative work. The use of dog-walking for reflection and unconscious creative thought is considered in relation to Romantic models of writing and walking through landscape. While dog-walking is a specific activity with its own peculiarities, the study provides a case study for creative writers to use in developing their own practice in relation to other everyday activities from running and swimming to shopping, gardening and washing up.</abstract>

The Writer Walking the Dog: Creative Writing Practice and Everyday Life

AHEAD OF PRINT

Volume 41 (2023): Issue 1 (December 2023)

Volume 40 (2023): Issue 1 (June 2023)

Volume 39 (2022): Issue 1 (December 2022)

Volume 38 (2022): Issue 1 (June 2022)

Volume 37 (2021): Issue 1 (December 2021)

Volume 36 (2021): Issue 1 (June 2021)

Volume 35 (2020): Issue 1 (December 2020)

Volume 34 (2020): Issue 1 (June 2020)

Volume 33 (2019): Issue 1 (December 2019)

Volume 32 (2019): Issue 1 (June 2019)

Volume 31 (2018): Issue 1 (December 2018)

Volume 30 (2018): Issue 1 (June 2018)

Volume 29 (2017): Issue 1 (December 2017)

Volume 28 (2017): Issue 1 (June 2017)

Volume 27 (2016): Issue 1 (December 2016)

Volume 26 (2016): Issue 1 (June 2016)

Volume 25 (2015): Issue 1 (December 2015)

Volume 24 (2015): Issue 1 (June 2015)

Volume 23 (2014): Issue 1 (December 2014)

Volume 22 (2014): Issue 1 (August 2014)

Volume 21 (2014): Issue 1 (January 2014)

Volume 20 (2013): Issue 1 (June 2013)

Volume 19 (2012): Issue 2012 (December 2012)

American, British and Canadian Studies

 Publishing House and Owner: Lucian Blaga University of Sibiu, Romania  Founded in 1999 as the journal of the Academic Anglophone Society of Romania, American, British and Canadian Studies is currently published biannually by Lucian Blaga University of Sibiu, under the aegis of the Research Centre for Linguistic, Literary and Cultural Studies at LBUS and the Academic Anglophone Society of Romania. It is an international, peer-reviewed journal that sets out to explore disciplinary developments in Anglophone Studies in the changing environment forged by the intersections of culture, technology and electronic information. Our primary goal is to bring together in productive dialogue scholars conducting advanced research in the theoretical humanities. As well as offering innovative approaches to influential crosscurrents in contemporary thinking, the journal seeks to contribute fresh angles to the academic subject of English and promote shape-changing research across conventional boundaries. By virtue of its dynamic and varied profile and of the intercultural dialogue that it caters for, American, British and Canadian Studies aims to fill a gap in the Romanian academic arena, and function as the first publication to approach Anglophone Studies in a multi-disciplinary perspective. Within the proposed range of diversity, our major scope is to provide close examinations and lucid analyses of the role and future of the academic institutions at the cutting edge of high-tech. With this end in view, we especially invite contributions in the fields of Comparative Literary and Cultural Studies, Postcolonial Theory, Area Studies, Cultural Anthropology, Language and Linguistics, Multimedia and Digital Arts, Translation Studies and related subjects. With its wide subject range, American, British and Canadian Studies aims to become one of the academic community’s premium scholarly resources.  Archiving  Sciendo archives the contents of this journal in Portico - digital long-term preservation service of scholarly books, journals and collections.  Plagiarism Policy  The editorial board is participating in a growing community of Similarity Check System's users in order to ensure that the content published is original and trustworthy. Similarity Check is a medium that allows for comprehensive manuscripts screening, aimed to eliminate plagiarism and provide a high standard and quality peer-review process. 