The writing cure?: ethical considerations in managing creative practice lifewriting projects

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dc.contributor.author Joseph, Sue en_US
dc.contributor.author Rickett, Carolyn en_US
dc.contributor.editor Sue Joseph and Carolyn Rickett en_US
dc.date.accessioned 2012-02-02T11:12:06Z
dc.date.available 2012-02-02T11:12:06Z
dc.date.issued 2010 en_US
dc.identifier 2010000806 en_US
dc.identifier.citation Joseph Sue and Rickett Carolyn 2010, 'The writing cure?: ethical considerations in managing creative practice lifewriting projects', , The Australian Association of Writing Programs, Guyra, Australia, , pp. 1-11. en_US
dc.identifier.issn 978-0-9807573-3-0 en_US
dc.identifier.other E1 en_US
dc.identifier.uri http://hdl.handle.net/10453/16720
dc.description.abstract The autobiographical turn in literary studies has increasingly placed value on selfrepresentation as a strategic means of reclaiming voice, identity and agency. By and large, the narrating 'I' is circulated and read as a storied performance/product which empowers the writer. Typically such texts are often ones that rehearse, record and expiate individual trauma, and also produce a set of readings that textually frame the work as 'therapeutic'. There is a growing selection of texts which narrativise personal trauma now being set for literary examination in tertiary syllabi. Concurrent to the formal reading of trauma texts in the context of literary studies is the narrative impulse to repackage traumatic experience as autobiographical process/literary output within creative practice higher degrees. This paper seeks to interrogate some of the ethical concerns that arise from students drawing on personal trauma in creative writing contexts for the production of literature that is to be formally supervised and examined. How is the potential risk of re-traumatisation of the student, and vicarious traumatisation of the supervisor/lecturer, managed? If higher degrees are providing an emergent space for catharsis, 'unofficially' offering writing as a therapeutic mode in creative practice, what are the implications of the supervisor/lecturer moving from a role of artistic and scholarly critic, to one of bearing witness? And in this newly formed therapeutic alliance, does an academic need more skills than they have developed in simply delivering a writing or literary curriculum? And what professional frames of support, if any, are in place to sustain both the student and the academic throughout the process? Without well-established professional support and guidelines, is commodifying trauma in order to gain a degree, and or a literary output, ethical professional practice? en_US
dc.language en_US
dc.publisher The Australian Association of Writing Programs en_US
dc.relation.isbasedon NA en_US
dc.title The writing cure?: ethical considerations in managing creative practice lifewriting projects en_US
dc.parent Strange Bedfellows or Perfect Partners - Refereed Conference Papers of the 15th Annual AAWP Conference en_US
dc.journal.volume en_US
dc.journal.number en_US
dc.publocation Guyra, Australia en_US
dc.identifier.startpage 1 en_US
dc.identifier.endpage 11 en_US
dc.cauo.name FASS.Faculty of Arts and Social Sciences en_US
dc.conference Verified OK en_US
dc.for 190400 en_US
dc.personcode 970675 en_US
dc.personcode 0000065677 en_US
dc.percentage 100 en_US
dc.classification.name Performing Arts and Creative Writing en_US
dc.classification.type FOR-08 en_US
dc.edition en_US
dc.custom Australasian Association of Writing Programs en_US
dc.date.activity 20101125 en_US
dc.location.activity Melbourne, Australia en_US
dc.description.keywords memoir - trauma - ethics - supervision en_US


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