...Shirley Geok-lin Lim The article examines the significance of lore in creative writing pedagogy discourse, the problem posed by the historical distinction between teaching craft and drawing out talent in workshops, and the role of social identity as it is rejected, theorized, or ignored...

... that incorporate lore-based methodology with innovations from critical and rhetorical theory. © 2014 by Kate Kostelnik 2014 Works Cited Andrews Kimberly . 2009 . “ A House Divided: On the Future of Creative Writing .” College English 71.3 : 242 – 55 . Bernays Anne Painter Pamela...

....” In Multiculturalism: A Critical Reader , ed. David Theo Goldberg, 157 -67. Malden, MA: Blackwell. Harkin, Patricia. 1991 . “The Postdisciplinary Politics of Lore.” In Contending with Words: Composition and Rhetoric in a Postmodern Age , ed. Patricia Harkin and John Schlib, 124 -38. New York: Modern Language...

...] That Matter” in Academic Writing   455 Kostelnik, Kate | Innovative Frameworks and Tested Lore for Teaching Creative Writing to Undergraduates in the Twenty-­First Century   435 Kreiser, Chris | “I’m Not Just Making This Up as I Go Along”: Reclaiming Theories of Improvisation...

... narrative medicine; modern and contemporary American literature and drama; southern literature, drama, and culture; folk- lore; and gender studies. Her work has been published in Midwestern Folklore and Mississippi Quarterly. She is the coeditor of Carson McCullers in the Twenty-First­ Century...

... and essays have appeared in College English, College Composition and Communication, The Terministic Screen: Rhetorical Per- spectives on Film (2003), and Composition Studies. She is the coeditor, with Stephanie Vanderslice, of the essay collection This Is (Not) Just to Say: Lore and Creative Writing Pedagogy...

... and essays have appeared in College English, College Composition and Communication, The Terministic Screen: Rhetorical Per- spectives on Film (2003), and Composition Studies. She is the coeditor, with Stephanie Vanderslice, of the essay collection This Is (Not) Just to Say: Lore and Creative Writing Pedagogy...

.... Kazan is an assistant professor at Elmhurst College, where she teaches courses in rhetoric, composition, literary theory, and fi lm. She is a coeditor of Lore: An E-Journal for Teachers of Writing. Shelley King is an associate professor of English at Queen s University, Kings- ton, where she teaches...

... Program Administration Journal , and Lore: An e-Journal for Teachers of Writing and in the collection Brave New Classrooms: Democratic Education and the Internet (2006). Focusing on teaching and assessment, her interdisciplinary study with Nicholas N. Behm and Peg Cook appeared in the first volume...

..., UK : Multilingual Matters . Vanderslice Stephanie Manery Rebecca . 2017 . Can Creative Writing Really Be Taught? Resisting Lore in Creative Writing Pedagogy . 2n d ed. London : Bloomsbury Academic . Westbrook Steve . 2004 . “ Just Do Ittm: Creative Writing Exercises...

... . Ritter Kelly . 2007 . “Ethos Interrupted: Defusing ‘Star’ Pedagogy in Creative Writing Programs.” College English 69 : 283 – 92 . Ritter Kelly Vanderslice Stephanie , eds. 2007 . Can It Really Be Taught? Resisting Lore in Creative Writing Pedagogy . Portsmouth, NH : Boynton...

...) points out, is “perhaps the most pervasive and ill-defined term within the lore of creative writing.” Despite this, craft is returned to frequently as the stock answer for what the classroom offers. Creative writing as a field exists in disparate places that function together to create a more or less...

... (1996) that Eng- lish teachers need to listen to students. Stephen North takes his point about the limits of lore (1987) to an extreme as he discusses the generalized busi- ness of English, straining to fi nd any connections to particular classrooms and their lore. Villaneuva s commitment to Freire...

... (1996) that Eng- lish teachers need to listen to students. Stephen North takes his point about the limits of lore (1987) to an extreme as he discusses the generalized busi- ness of English, straining to fi nd any connections to particular classrooms and their lore. Villaneuva s commitment to Freire...

.... Jones, Robert, and Joseph J. Comprone. 1993 . “Where Do We Go Next in Writing across the Curriculum?” College Composition and Communication 44 : 59 -68. Kail, Harvey. 2003 . “Separation, Initiation, and Return: Tutor Training Manuals and Writing Center Lore.” The Center Will Hold: Critical...

... that does away with such lore. He feels this is necessary for the writer to be able to lead or participate in a workshop and to function as part of society as well, since Royster believes doing away with the ideal of the solitary genius forces the writer to become more aware of his or her role...

..., and Stephanie Vanderslice. 2005 . “Teaching Lore: Creative Writers and the University.” Profession 2005 : 102 - 12. Smith, Michael, and Suzanne Greenberg. 1999 . Everyday Creative Writing: Panning for Gold in the Kitchen . Blacklick, OH: NTC Contemporary. The Writing Community: A New Model...

... pervasive texts, such as Ida Fink’s A Scrap of Time and Other Stories, Lore Segal’s Other People’s Houses, Charlotte Delbo’s Auschwitz and After,  Jurek Becker’s Jacob the Liar, and Imre Kertesz’s Kaddish for an Unborn Child, claim my class’s attention. Perhaps you hear too in the opening...

... that sterilized it. This allegorical reading has been questioned (e.g., Armour 1989; Dronke 1986: 55 – 81), and Peter Armour (1989) has dem- onstrated that medieval lore portrayed griffins in very negative terms: as large and fierce predators more likely to symbolize avarice, cruelty, and evil than Christ...

.... In faculty lore, as she reports, nonacademic work- places represent “an endless well of exploitation where employees are virtual prisoners with no recourse in the face of horrific abuses.” McArdle believes that most academics extrapolate from their own experiences and those of their colleagues...