Writing Workshop Research Articles

High-Skilled South Asian Immigrants to the USA: Integration Through Spiritual Training Lessons and Story Writing Workshops

High-Skilled South Asian Immigrants to the USA: Integration Through Spiritual Training Lessons and Story Writing Workshops

Motherlands

Motherlands Su Hwang (bio) The limits of woman, human. Everything put to the test. Antigone, a new mother,asunder some heavy ledger to taint and tear you, make you caveand kin my sister of unbearable splendor sun yung shin [End Page 69] Su Hwang Su Hwang is a poet, activist, stargazer, and the author of Bodega (Milkweed Editions), which received the 2020 Minnesota Book Award in poetry and was named a finalist for the 2021 Kate Tufts Discovery Award. Born in Seoul, Korea, she was raised in New York and then called the Bay Area home before transplanting to the Midwest. A recipient of the Jerome Hill Fellowship in Literature, she is a teaching artist with the Minnesota Prison Writing Workshop and is the cofounder of Poetry Asylum. Copyright © 2022 University of Nebraska Press

Discomfort in Literature: The Novel Fetish Nullo

Tomislav Longinović is Professor Emeritus at the Department of Slavic Studies and Comparative Literature at the University of Wisconsin-Madison. In his rich career as a professor and writer, he shifted his focus of interest several times. He started his higher education at the Department of Clinical Psychology in Belgrade, and then received an MFA at the most prestigious institution for the study of creative writing in the world (University of Iowa Writer's Workshop, USA), where in addition to writing, he specialized in performance and video art. Longinović has published over fifty scientific papers and a dozen books, translated into many languages, including French, Spanish, Turkish, Czech, and Polish. In addition to research and writing, he continues to work as a psychologist as well, through the creation of a unique RADA method of body-oriented personal change. When it comes to his research, Longinović has, among others, published studies: Vampire Nation: Violence as Cultural Imaginary (Durham, NC: Duke University Press, 2011) and Borderline Culture: The Politics of Identity in Four Twentieth Century Slavic Novels (Fayetteville: University of Arkansas Press, 1993/Belgrade: Službeni Glasnik, 2013). Tomislav Longinović's latest novel Fetish Nullo (Belgrade: Dereta, 2020) has already won two awards, immediately after its publication: the "Rastko Petrović" award given by the Association of Emigrants and Serbs in the region, and the "Jovan Skerlić" award for best novel. In addition to the novel Fetish Nullo, Tomislav Longinović has published two other novels: A Moment of Silence/Minut ćutanja (San Francisco: Burning Books, 1990/Belgrade: Radio B92, 1997) and Sama Amerika (Belgrade: Radio B92, 1994).

4th National Scientific Writing Workshop for Ayurveda Research Scholars

A one day National Scientific Writing Workshop for Ayurveda Scholars organized by Association of Ayurvedic Physicians of India (AAPI) in collaboration with Department of Pharmacology, King George’s Medical University (KGMU), Lucknow was held on 23rd July 2022, at Kalam Centre, KGMU, Lucknow, India. This event was attended by over 50 PG Scholars and medical officers from different branches of Ayurveda belonging to different regions of India. The workshop was highly productive and meaningful as the tips on publishing in the workshop were given by few most eminent figures in the field of Ayurveda publishing in the country. The event was marked by a continued need of such activities in the field and so its conduction for 4th time in a row was highly appreciated.

Perspectives of Kidney Transplant Recipients, Transplant Candidates, and Living Kidney Donors on the Role of Patients' Self-Narratives and Experiences of Creative Writing Workshops: A Qualitative Study.

Kidney transplantation is the best treatment for kidney failure but is associated with medical, psychological, and existential challenges for patients. Patients' experiential knowledge can help other patients facing these challenges. Patients' self-narratives and creative writings are ways to operationalize this experiential knowledge. Creative writing has been described as a therapeutic tool for patients with chronic disease. Over the past year, we conducted creative writing workshops with kidney transplant recipients (KTRs), living kidney donors (LKDs), kidney transplant candidates (KTCs), and professional writers. During these workshops, patients were invited to explore different aspects of their experiences of their transplant or donation journey through narrative-writing, poetry, comic art, and screenwriting. The objectives of this study were to gather the perspectives of KTRs, KTCs, and LKDs on the role of patients' self-narratives and creative writing, and to collect patients' experiences of the creative writing workshops. Focus groups and individual interviews. The Center hospitalier de l'Université de Montréal (CHUM) kidney transplant program. KTRs, LKDs, and KTCs attending the CHUM kidney transplant clinic between February 2020 and January 2021. We conducted 2 focus groups and 8 semi-structured individual interviews with 7 KTRs, 8 LKDs, and 5 KTCs from the CHUM between June and November 2020, before the creative writing workshops. We also conducted 10 semi-structured interviews with 5 KTRs, 1 KTC, and 4 LKDs in March 2021, after their participation in the creative writing workshops. The interviews were recorded and transcribed. Thematic and content analyses were conducted. KTRs, LKDs, and KTCs had multiple significant moments to share from their transplant/donation journey. These moments were highly emotional and marked by uncertainty. The creative writing workshops were described as therapeutic by participants, because they offered a safe space for group-facilitated reflection, including a discovery and learning process, and normalization, relativization, and appreciation of the transplant/donation experience. The creative writing workshops also provided an opportunity to give back to others (helping other patients, promoting kidney donation and continuing this process in the future through the web platform). Our participants came from a single French-speaking urban transplant center in Quebec and were highly educated. The study set out to capture the perspectives of KTRs, LKDs, and KTCs through the sharing of self-narratives and their participation in creative writing workshops related to their transplant or donation journey. A website was set up to publish patients' creative writings (https://recitsdudonetdelavie.lorganon.ca/les-recits/). Further study is needed to assess the website's impact on other patients. Not registered.

A View from Somewhere: Situating the Public Problem in Creative Writing Workshops

A View from Somewhere: Situating the Public Problem in Creative Writing Workshops

Tutors� Column: �Graduate Writing Workshops: To Generalize or to Specialize�

Tutors� Column: �Graduate Writing Workshops: To Generalize or to Specialize�

Toward a Decolonial Creative Writing Workshop: Mbari as a Case Study in Examining Intercultural Models for Arts Education

Toward a Decolonial Creative Writing Workshop: Mbari as a Case Study in Examining Intercultural Models for Arts Education

PENULISAN ARTIKEL ILMIAH DALAM RANGKA PENGEMBANGAN MANAJEMEN SUMBER DAYA MANUSIA (SDM) DOSEN DI PERGURUAN TINGGI SWASTA LEMBAGA LAYANAN PENDIDIKAN TINGGI (LLDIKTI) WILAYAH VII

In an effort to improve the quality and quantity of LLDIKTI Region VII scientific publications, LLDIKTI Region VII needs to hold a Scientific Article Writing Workshop for LLDIKTI Region VII Private Higher Education lecturers in 2018. The scope of material presented in the workshop includes: 1) government policy on article writing Scientific in scientific journals, 2) scientific frame of mind, 3) clinical draft of writing scientific articles in the field of economics, 4) code of ethics for writing and ethics of writing scientific papers, 5) clinical draft of writing scientific articles in the field of science, 6) writing style, writing grammar and language of scientific articles, 7) clinical draft of writing scientific articles in the field of humanities, 8) plagiarism and sources of writing materials and 9) clinical draft of writing scientific articles in the field of science and medicine. The workshop activity is the responsibility for carrying out the duties of the organizing committee in accordance with the Letter of the Head of LLDIKTI Region VII number: 140 / K7 / SK / SI / 2018 dated June 8, 2018, concerning the Formation and Appointment of the Committee for the Workshop on Writing Scientific Articles for Private Higher Education Lecturers ( PTS) LLDIKTI Region VII Year 2018. This activity is also expected to be input and evaluation for all leaders at the Secretariat of the LLDIKTI Region VII Office in policy making in the following years.
 
 Keywords: Scientific Article Writing Workshop, Lecturer HR Management Development

Candid Advanced Proposal Writing Workshop

Nonprofit Business AdvisorVolume 2021, Issue 387 p. 4-4 Conferences & Events Candid Advanced Proposal Writing Workshop First published: 10 November 2021 https://doi.org/10.1002/nba.31122Read the full textAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinked InRedditWechat No abstract is available for this article. Volume2021, Issue387December 2021Pages 4-4 RelatedInformation

The impact of the American Association for Thoracic Surgery on National Institutes of Health grant funding for cardiothoracic surgeons

ObjectivesThe American Association for Thoracic Surgery, through its annual meeting, pilot grant funding, Scientific Affairs and Government Relations Committee activity, and academic development programs (Grant Writing Workshop, Clinical Trials Course, Innovation Summit), has aimed to develop the research careers of cardiothoracic surgeons. We hypothesized that American Association for Thoracic Surgery activities have helped increase National Institutes of Health grants awarded to cardiothoracic surgeons. MethodsA database of 1869 academic cardiothoracic surgeons in the United States was created in December 2020. National Institutes of Health grant records from 1985 to 2020 were obtained for each surgeon using National Institutes of Health Research Portfolio Online Reporting Tools Expenditures and Results. Analyses were normalized to the number of active surgeons per year, based on the year of each surgeon's earliest research publication on Scopus. ResultsA total of 346 cardiothoracic surgeons have received 696 National Institutes of Health grants totaling more than $1.5 billion in funding, with 48 surgeons actively serving as principal investigator of 66 R01 grants in 2020. The prevalence of research grants (7.4 vs 5.6 grants per 100 active surgeons, P < .0001), percentage of surgeons with a research grant (5.3% vs 4.7%, P = .0342), and number of research grants per funded surgeon (1.4 vs 1.2 grants, P < .0001) were significantly greater during the Scientific Affairs and Government Relations era (2003-2020) than the pre–Scientific Affairs and Government Relations era (1985-2002). The incidence of new research grants after surgeon participation in an American Association for Thoracic Surgery academic development program was significantly greater than that in the absence of participation (3.5 vs 1.1 new grants per 100 surgeons per year, P < .0001). ConclusionsThrough dedicated efforts and programs, the American Association for Thoracic Surgery has provided effective support to help increase National Institutes of Health grant funding awarded to cardiothoracic surgeons.

The impact of an outdoor learning experience on the development of English creative writing skills: an action research case study of year 7 and 8 secondary school students in Australia

ABSTRACT Standardized literacy assessments that place emphasis on testing and attainment of results have caused many students, particularly in middle years schooling to be disenfranchised by literacy teaching and learning practices. This study employed an action research methodology to investigate whether an outdoor learning experience in a Year 7/8 English Writers Workshop course (including students aged 13–14 years) at a secondary school in Victoria, Australia enhanced creative writing capacity and engagement. This study was conducted in three stages, with qualitative and quantitative data collected. Wilcoxon signed-rank and Mann-Whitney U tests demonstrated significant improvement in creative writing from pre-intervention to post-intervention (z = −3.73, p < 0.001, r = −0.58). Qualitative thematic analysis identified the learning environment, quiet space, and the instructional approach as key themes. The findings provide insight into more effective teaching practices and outline how outdoor learning could be integrated into English and other curriculum learning areas.

Poetry Writing Workshops as ‘True, Impossible Archives’ (or, Teaching as Collaborative Research)

Poetry Writing Workshops as ‘True, Impossible Archives’ (or, Teaching as Collaborative Research)

Maya’s Materialistic Longings Resulting in Alienation and Frustration: A Feminist Reading of Anita Desai’s Cry, the Peacock

Anita Mazumdar Desai occupies a much privileged place in the Indian Writing in English. She is known as an acclaimed Indian woman novelist who deals with the psychological problems of her women characters. She was born in 24 June 1937 in Mussoorie. Her father D.N. Majumdar was a Bengali businessman and her mother Toni Nime was a German immigrant. Anita Desai is working as Emeritus John E. Buchard Professor of Humanities at the Massachusetts Institute of Technology. Anita Desai got a congenial environment to learn different languages in her own home and neighbourhood. She learnt Hindi from her neighbourhood. They used to speak German, Bengali, Urdu and English at their home. She learnt English at her school. She attended Queens Mary Higher Senior Secondary School in Delhi and she did her B.A. in 1957 from the Miranda House of the University of Delhi. So far is Anita Desai literary career is concerned, she wrote her first novel Cry, the Peacock in 1963. With the help of P. Lal, they founded the publishing firm Writers Workshop. Clear Light of Day (1980) is her most autobiographical work. Her novel In Custody was enlisted for the Booker Prize. She became a creative writing teacher at Massachusetts Institute of Technology in 1993. When she published her novel Fasting Feasting and it won the Booker Prize in 1999, she came to the limelight. She was shortlisted for the Booker Prize three times in 1980, 1984 and 1999 for her novels Clear Light of Day (1980), In Custody (1984) and Fasting Feasting (1999) respectively. She received Padma Bhushan in 2014 also. She has received Sahitya Akademi Award in 1937 for her well-known novel Fire on the Mountain. The present paper analyses the central female protagonist Maya’s materialistic pursuits which turn in a great catastrophe for her in the novel Cry, the Peacock.

Write On! A Clinical Writing Workshop for Psychoanalysts and Psychotherapists

ABSTRACT This writing workshop is designed for new and experienced clinical writers. In it, I analyze thirteen writing samples (many from this issue) to appreciate the writer’s craft. I discuss several writing terms and show how the samples illustrate them. You will also find twenty writing exercises and encouragement to find your own voice as a writer.

Chapter 9: Writing as Capital: The Emancipatory Act of Writing for Profit, Advocacy, and Charity

Context Writing is an agentive act. Despite drastic improvements over the past few decades in writing instruction and the push for sharing with authentic audiences, the majority of writing students do is still for the teacher. These practices are at odds with those who advocate for classrooms that are culturally relevant, culturally responsive, and culturally sustaining. When students write for the sole purpose of “doing school,” they are denied opportunities to use their writing voices to write about, for, and within their communities. Writing is used to empower—to pose problems and solve them. The distribution of that writing is equally important. Publication matters. It is in the distribution and response to writing that one can experience the power of written words to impact one's world. Purpose In this chapter, we outline authentic purposes for writing centered on culturally relevant, responsive, agentive, and sustaining pedagogies. We describe the writer's workshop, an instructional structure in which to embed these pedagogies. The writer's workshop is the setting in which these students were situated to write purposefully. We take the reader into three classrooms using descriptive vignettes. The three classroom vignettes presented frame emancipatory writing for (a) personal profit to reinforce the value—monetary and social—of using one's intellectual skills and written words for personal gain; (b) advocacy—through fostering critical consciousness that explores equitable and just familial structures and relationships and monetizing written words to directly impact a family through adoption; and (c) charity—through a service-learning project in which students used writing to influence others to financially support a charity that helps people who have been impacted by oppression in the forms of kidnapping, trafficking, and modern-day slavery. Research Design This is a narrative accounting of three teachers’ experience implementing this practice in their own classrooms. Conclusions In all three instances, children were agents who wrote for monetary motivation— seeking and acquiring capital for themselves, for others, or to effect desired social change. Moreover, the outcomes were achieved by students who used their skills and worked within their capacities to meaningfully effect change. Suggestions for implementation and generalization are offered.

Brecht and the Writer's Workshop: ‘Fatzer’ and Other Dramatic Projects, edited by Tom Kuhn and Charlotte Ryland

<i>Brecht and the Writer's Workshop: ‘Fatzer’ and Other Dramatic Projects</i>, edited by Tom Kuhn and Charlotte Ryland

Creative Writing Workshops and the Narrative Construction of Self: Using Oral History to Explore the Impact of Public Engagement in the Arts and Humanities

ABSTRACT The measurement and evaluation of the nonacademic impact of publicly funded university research have been important components of the funding model that has existed in the UK higher education sector since 2014, the year in which “research impact” was incorporated into the Research Excellence Framework (REF) as a key performance indicator. Chief among the methodological challenges created by the impact agenda is the need to develop mechanisms to capture and evaluate the longer-term impact of research findings beyond the academy. This paper responds to this need by offering a case study of the positive role a combined life-history and narrative analysis methodology can play in capturing the deeper subjective impacts of public engagement activity. Drawing upon the authors’ experience of public engagement and an analysis of semistructured interviews with nonacademic partners, the paper demonstrates how research impact reception functions as a plural and differential process that is personally and socially mediated. Based on this finding, it argues that research evaluation mechanisms need to be sensitively calibrated to facilitate a fuller appreciation of the emotional, situational, and historical dynamics that shape the impact of public engagement activity.

Corona Heights

Corona Heights Kate Wisel (bio) If I were what I see, these logs, I'd be a staircaseand this view. Long, rambling geometry I tracebut can't learn. Feet gripping bedrock. Californiastreet signs: Van Ness, Bella Vista, Divisadero,high-grade shampoos I want but can't afford.Nob Hill tennis balls spin over net then roll like pbr cans in the Haight. I am crushedas a can sliced into weapon, lostas your mind when you sent meto the grass outside the Auto Bodyshop as men wiped their handsclean of oil. Your arms like a wheel turningthe air from my throat. There is concrete where I want to speak. The wall the junkierests her head on. Mouth agapewith smoke, I count the knots that climbher throat and narrow stairs between rowsof queenly houses. The trim that ties them,the way you did before you leaned over melike an emt and cut off my clothes,knifed the net of my nylons. In San Franciscostairs double forward, steep as the day I met you. Trees dangle broomsticksI reach but can't grasp. At the bridge,fog erases the road and the suspension's [End Page 51] raise arms like the crowd that stole youthrough palms at the metal show. I watchedyou go, your anger lifted at last by handsthat shared the weight, all your tattoosblinking to life like amulets for the passage. Cables pull the busesgodward. And there, the sun with its warmfingers flashing relentlessly at my throat.I'd do anything to climb inside its mouth. [End Page 52] Kate Wisel Kate Wisel is the author of Driving in Cars with Homeless Men (University of Pittsburgh Press 2019) winner of the Drue Heinz Literature Prize, selected by Min Jin Lee. Her fiction has appeared or is forthcoming in publications that include Gulf Coast, Tin House online, Los Angeles Review, New Ohio Review, The Best Small Fictions 2019, Norton Anthology: Flash Fiction America, Redivider (as winner of the Beacon Street Prize), and elsewhere. She is the recipient of the "Poetry on the T" prize and the Marcia Keach Prize. She was a Carol Houck fiction fellow at the University of Wisconsin-Madison and awarded scholarships at The Wesleyan Writer's Conference, the Squaw Valley Writer's Workshop, the Juniper Institute, Writing x Writer's at Tomales Bay and Methow Valley and elsewhere. She lives in Chicago where she teaches at Columbia College Chicago and Loyola University. Copyright © 2021 University of Nebraska Press

Brother Wish, and: Submission

Brother Wish, and: Submission Jenny Johnson (bio) Brother Wish I know the systems hurt us allwhen the visibly repressed manwith elliptically oppressivefollow-up questionsasks me directly:"How do you write about the body?"If this were not a video callI'm not sure we'd ever sharea room in which we could heareach other. If we were dogshe'd have already pissed onevery tree that encircles me.I wish he'd think to ask:"How do you write about a body?"Or "how do you speak froma kaleidoscope of shapes?"I've rarely seen her, this body, as the.It seems to me that to be the bodyin all the hallowed roomsof one's life is to missso many cues, for example,how many poems aren'taddressing you at all.Dear Not-Brother, I wish for youto know how many brothersthis dyke loves.There's the one I liketo do morning pages with,preferably on a porch,his jean jacket worn-infrom giving good hugs.The one who texts backin complete sentences.A counter to doom is [End Page 177] waking to the voice of my brother,who sings Enya to himselfin a house we sometimes share.And coming home lateto sweet plantains in the oven,being asked, "What's good?"And dear to me, the one who sets a timerfor equal confessions.Not blood relatives, but if we wereracing up the gravel hill as kidsin the split second where he surges aheadand I feel for the first timemy hips betray me, and so in a panicgrab the back of his T-shirtwith my fist to pull his body back, too,he would know it isn't personal,it isn't personal. [End Page 178] Submission I can't remember evernot wanting thisclenching a painter's capout a car windowthe one I chose as a kidto wear backwardssun stunned in the back seatso many numbing miles to gothe cap flapping, my fisttightening, as it whippedand whirled andpirouetted in the wind.Above the brim in lettersairbrushed were the words:Let's get physical.Physical. A world whizzed by.A voice inside dared meto do it. Where it went when Ilet go I didn't seethough I felt a flutteringas the hat was suckedup and back in the pummeling airfast into the openmouth of a tunnel invisiblebeneath the bay. In this roomwhere we're playingmy arms have been upfor a while. I'm losing count ofthe smacks the falls makehow much pressure you've deliveredto each of my shoulders.When you tear the topoff a marigold, there areso many fine, loose strings.When I lose my grip, this timeI meet the slap of your voice:Did I ask you to let go? [End Page 179] Jenny Johnson Jenny Johnson is the author of In Full Velvet (Sarabande Books, 2017). Her honors include a Whiting Award, a Hodder Fellowship at Princeton University, and a National Endowment for the Arts Fellowship. She is an Assistant Professor of Creative Writing at West Virginia University, and she is on the faculty of the Rainier Writing Workshop, Pacific Lutheran University's low-residency MFA program. Copyright © 2021 Middlebury College