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TRANSCRIPT
Background
This zine was created as part of the Creative Critical Writing
Workshop which took place at University College London from the
28th until the 29th June 2017. Bringing together researchers with
an interest in creative critical methodologies, the workshop
encouraged creative exploration of research questions/problems.
In particular, the session ‘The Academic Lab: How Research Can
Spark Creative Expression’ asked scholars to engage creatively
with their research in form of poetry, drawings or collage. The
enclosed pieces illustrate the breadth of creative critical responses
and aim to inspire other scholars to consider the possibilities of
creativity for/in research.
Claire Tunnacliffe
Denise Saul
Denise Saul
Ceren Hamiloglu
Contributors
Claire Tunnacliffe: This reflects the experience of the last two
days and trying to both place and find the self within my work
which meant the blurring of academia, activism and artistic
practice. Poetry written during yesterday’s workshop sits next
to emotions felt during particular exercises, framed by the
urban environment within which my research sits and the
colour blue—nostalgia, memory, grief.
Carla Scarano D’Antonio: Reading Ida John’s letters and
writing the poem The self-washed self made me reflect on
Margaret Atwood’s characters, how she constructs her
heroines as victims at first who then become aware of their
condition and find a creative way to liberate themselves.
Ida’s letters can be considered an example of the intertextual
background present in Margaret Atwood’s work, which is
inherent in her unique female characters. Ida was an artist
who lived during the Victorian age in a bohemian
environment, but this didn’t save her from a life of servitude
and belittlement. She was forgotten and never mentioned to
her sons and grandchildren after her death. Her letters testify
her artistry and rich personal life, through which she
eventually cut her space out with words.
http://www.carlascaranod.co.uk
Denise Saul: The collages, Sign, and Pseudonym, explore the
voice as a direct expression of the disabled body: of the lived
experience and how it comes in and out of a corporeal body. The
tension of language between voices of the abled poet, myself, and
the aphasic individual, my late mother, reflects the challenges
faced by the abled poet in assuming inarticulation of a disabled
voice.
http://www.denisesaul.co.uk
http://www.silent-room.net
Ceren Hamiloglu: How can heritage be thought as an
accumulation of cultural practices and nature?
Rachel Watts: Cover design
Christiane Luck: Facilitator & editor
http://alittlefeministblogonlanguage.blogspot.co.uk