bluuebunny/crossref_metadata_2025_split huggingface dataset:
Creative writing as nourishment: The political philosophy of Corine Pelluchon applied to our field
Authors: van Loon Julienne 
Published: May 2021

What if we thought of the creative writing discipline as part of a sustainable and sustaining urban or cosmo-political ecology that includes but is not limited to the university sector and the book industry? And what if we thought of creative writing practice and its resultant contribution (to knowledge, to arts practice, to the public good) as a means for sustaining an ethics of life? In this article, I draw on the work of political philosopher Corine Pelluchon, and in particular her recent work Nourishment: A Philosophy of the Political Body (2019), and apply her thinking to the kind of practice I (we) do on a daily basis. On the basis of a phenomenology of food and nourishment, Pelluchon’s thinking shows us how freedom depends on the “love of life” and on sharing what nourishes others. She applies her thinking to political systems, reimagining them such that their core aim comes to sustain an ethics of life that is relevant to multiple lifeforms and that takes into account past, present and future generations. Her project is underpinned by her affirmative ethics, her insistence on “love of life” as a crucial consideration. Inspired by her applied philosophy, I wonder about the shifts in thinking that may arise if we consider the creative writing discipline through the lens of her phenomenology of nourishment. Pelluchon argues that “we are bound to others through our relationship to nourishment” and that relationship is “above all a relation of enjoyment” (p. 11). What if we consider creative writers as integral to fashioning and maintaining “the milieu from which we live today” (p. 13). On whom (or what), then, does the creative writer interdepend for nourishment, and how might a foregrounding of such interdependence shape and reshape an ethics of creative writing practice?
Productive discomfort: negotiating totality in collaborative digital narrative practice
Authors: Wright-Brough Freya 
Published: May 2021

Working as a collaborative writing team, there are many different power structures at play influencing what stories can be told and how they are told. Creative practitioners must negotiate these power structures if they are to work productively as collaborators. Looking at the collaborative process through a Levinasian lens provides new insights into the complex nature of how power structures affect the narratives produced by collaborative teams and how creative practitioners can work towards more ethical and productive collaboration. This study examines the process of producing the digital narrative, We See Each Other, as part of a collaborative writing team from my perspective as one of the creative practitioners. Interview and field note data is drawn upon to analyse the ways in which Levinas’s notions of totality and infinity played out in the creative process revealing that productive collaborative relationships are formed when collaborators experience transcendent encounters with one another. Analysis of the creative process also reveals the often-blurred line between totality and infinity, making working toward these transcendent encounters challenging. Working towards ethical collaboration therefore involves learning to work alongside totality, a process conceptualised in this paper as ‘productive discomfort’.
My objects of affection
Authors: Coles Katherine 
Published: May 2021

‘My objects of affection’ is the closing essay in a book called The Stranger I Become: On Walking, Looking, and Writing (forthcoming May 25, 2021, Turtle Point Press). This essay blends personal experience, encounters with ‘others’ (in this case not only people but also objects), observations about perception, and both technical and personalised readings of poems that live inside and influence me. In doing so, it serves the goal of gaining both scholarly and personal insight into how, through the deployment of objects, poems come into the world, operate, and inhabit the life of a reader. Together, the essays consider how a mind submerged in poetry and alive in a world of objects, and the slippery language in which objects are invoked, synthesises varieties of experience, including scholarly experience, into producing poetry and thinking deeply about how it works. In particular, the essay examines the ways in which objects, which exist independently in the world but also as sites of meaning and connection in our relationships with the world, can therefore be deployed in poetry both as touchstones and as sites of instability. What most sets this work apart from ‘braided’ texts is its attempt to eradicate distinctions among elements other essays treat separately, including the objects it references via images, nouns, and pronouns, placing materials together in a conversation that blurs rather than establishes hierarchies and distinctions. Under the category of ‘objects,’ I include the human body and its constituent parts, so confusing distinctions between body and person and among persons, including writer and reader. Thus, the research and artistic claims are identical: that, in an integrated life, assigning personal and poetic meaning to objects, being among others, considering death, and composing or encountering a poem in a way that leads to deep understanding, don’t have to be separate endeavours. In this, the essay participates in my larger project of showing through enacting, how poems, operating as poems, illuminate and are illuminated by an individual life.
the blue case
Authors: Hall Pyke Sue 
Published: May 2021

This work is a case of a worlding with every wording, where material textuality creates a poetic space for thick description that helps me see the world as textual material. A thing, the blue case, with a bare handle on itself, offers relations that write me as and to and with my family, creating ‘the blue case’ as another thing for us to handle. The actual and virtual matter forms and reforms in these relations. As these relations unfold and refold, the blue case and ‘the blue case’ condense and expand, holding more and less than I expect. Those dull abstractions, the object and the objective, are not to be found here. Rather, I write towards ‘subatomic, atomic and molecular forces’ that are subjects in relation (Goodman 2018: 11). Words, too, the call and response of language, are part of this relational material play. The work is carried by this force, where language is ‘etymologically calling forth what the tongue does’ (Campbell 2020: 4). My tongue is untied and then, redrafted, tied again, as the blue case and ‘the blue case’ become differently attended and expressed.
TEXT Poetry April 2021
Authors: Hecq Dominique , Maller Gershon , Oakman BN , Pearce Sarah , Sellers Nicole Rain , Smith Ian C 
Published: May 2021

New poetry exploring creativity, or the nature and process of writing, or teaching writing. Dominique Hecq, Excerpts from Masks: Letters to Orpheus Gershon Maller, Chiasma of being BN Oakman, divination Sarah Pearce, For J, Who Is No Longer My Friend Nicole Rain Sellers, Found in the Goldmines Ian C Smith, 2 poems
TEXT Poetry and Prose April 2019
Authors: Edmonds Phillip , Kerrison Dean , Loveday Timothy , Presto Susan , Wakelin Oliver 
Published: May 2021

New creative works exploring creativity, the nature and process of writing, the teaching of writing, or the writer’s life. Phillip Edmonds, Down the Mountain Timothy Loveday, Sunlight Susan Presto, The poethical wager Oliver Wakelin, Island Dean Kerrison, Boots and Beats: Musical Time-travel through Car Boots
Introduction
Authors: Hunn Deborah , Murphy Ffion , Noske Catherine , Surma Anne 
Published: May 2021

In negotiating the positionality of peripheral visions (in answering the question, peripheral in relation to what?),those of us who work with words must remain critically alert to the potential domestication of the peri-feral;to, that is, the periphery’s inextricable interrelation to that rapidly evolving, rabidly de-radicalising, yet deceptively hegemonic centre against which itsets its visions. This special issue of TEXT seeks to investigate peripheral visions of past, present and future;of figures and forms, fractures and erasures. Inspired by the AAWP’s 2018 annual conference held in Perth, Western Australia, we invited writers and scholars to think deeply and broadly about the purpose and potential of writing of all kinds. Authors were encouraged to tackle, for example, unconventional wisdom, unsettled perspectives,lapsed borders—that which is beyond and outside the accepted or obvious. By this means, we hoped that various worlds, ideas, fictions and verities would emerge, compete, coalesce, fragment and challenge. During a period of elevated consciousness, when countless voices vie for attention, we believe there is a need for vibrant and rigorous scrutiny of writing’s potential to interrupt, corrupt and disrupt, as well as to rouse, revivify and heal—in other words, for writing that explores and encourages various forms of peripheral vision.
Relational ethics: Writing about birds; writing about humans
Authors: Lobb Joshua 
Published: May 2021

Philip Armstrong points out that scholars in Animal Studies are ’interested in attending not just to what animals mean to humans, but what they mean to themselves; that is, to the ways in which animals might have significances, intentions and effects quite beyond the designs of human beings’ (2008: 2). This essay asks: what are the ethics of representing birds in fiction? It promotes the model offered by Linda Alcoff in ’The Problem of Speaking for Others’ (1992). Alcoff offers a set of ‘interrogatory practices’ for writers, including an analysis of our speaking position to expose any implicit discourses of domination at work, and, most importantly, a consideration for the effects of ‘speaking for’ on actual animals. Using Alcoff’s interrogatory practices as a framework, I examine the ways writers have allowed for ‘ethical relationships’ between humans and birds in fictional spaces. I investigate the function of birds as metaphor in three Australian novels: Alexis Wright’s The Swan Book (2013), Evie Wyld’s All the Birds, Singing (2013) and Catherine McKinnon’s Storyland (2017). In each of these, birds serve a symbolic function but are also given space to allow for their own experiences, voices, and knowledges. I will also reflect on the attempts I have made in my own novel, The Flight of Birds (2019), to grapple with the discourses of power at work and the impact of that power on the lives of real birds.
The Other Writing Group: an embodied workshop Abstract:
Authors: McKenzie Vahri 
Published: May 2021

New insights and approaches to creative activity grounded in embodiment have the potential to enhance creative writing practices by focusing on the embodied dimensions of writing, such as undertaking whole organism warm-ups, and attending to the material set-up of a workshop. This article presents findings from a pilot research project called The Other Writing Group that offered a structure for writers to explore embodied strategies in a community of peers. The structure employed by the group owes its origins to dance researcher Nancy Stark Smith’s Underscore, a collaborative creative model for practising and researching improvisation. It is argued that embodied and social approaches to writing, more usually associated with performing arts, can critique notions of the writer as virtuoso and innovator, and instead present repetition and habit as significant in a fuller account of productive practice. Feedback and reflections from participants in the group suggest that approaches to practice which emphasise social and embodied dimensions can enhance individual creative writing practice.
Investigating candidates’ research experience beyond the thesis: the peripheral world of the doctorate
Authors: Craig Batty, Elizabeth Ellison Donna Lee Brien, Alison Owens, 
Published: May 2021

This article focuses on both the process and the results of a recently completed research project that concentrated on what are commonly seen as peripheral aspects of the doctorate; that is, aspects of candidature that lie beyond, and outside of, the core work of what is widely understood to be research training. The project saw 18 candidates from the creative arts and humanities – and creative writing in particular – gather to reflect upon their learning journeys, and then analyse and theorise the ‘human’ dimensions of undertaking a doctorate. These often peripheral aspects were revealed to have a major influence on undertaking a research degree, as well as affecting candidates’ progress and satisfaction with their studies, and career potential beyond the research degree. This article first outlines how candidates were able to develop a language with which to identify some of the major human dimensions – the lived experience – of undertaking a doctorate that emerged from the project. It then explores how candidates were able to articulate their own growth in the form of producing an edited collection of essays in order that others might benefit from this reflective learning.
Anyhere, out where: fantasy, psychosis, and writing worlds
Authors: Baker Daniel 
Published: May 2021

Ursula Le Guin claimed that fantasy ’is a different approach to reality, an alternative technique for apprehending and coping with existence’ (1979: 84). In 2015, I began work on a fantasy novel, A life in streets, and discovered that to write fantasy is to simultaneously exist in this world, that world, and the world of the keyboard. Consequently, the need to see and keep seeing an alternative vision of my past, present, and future realities is not without its illuminations, not without its spectres. Anchored by the work of Kathryn Hume, Rosemary Jackson, and Slavoj Žižek, this paper argues that Jackson’s paradigmatic positioning of marvellous or secondary-world fantasy as inherently non-subversive misses the mark. Moreover, her valorisation of the transgressive energies manifested by the literary fantastic seriously undervalues the transformative potential inherent to the construction of impossible, secondary worlds which, it could be said mimic something of a literary psychotic break: the articulation of an alternative reality involving a rejection of current forms of social authority and their subsequent reimagining in different developmental pathways. Significantly, such a revision of the genre, forces both reader and writer into an apprehensive position. That is, it requires that traditionally dismissive attitudes attached to criticism related to fantasy – escapism and regression, for example – be fundamentally re-examined.
Genre and gender: reading domestic noir through the lens of feminist criminology
Authors: Vann Meg 
Published: May 2021

The contemporary crime fiction trend of domestic noir evinces literary themes and features that align with biases and advancements in criminological research, most specifically in feminist understandings of women and violence. Using the methodology of criminologist Drew Humphries as a conceptual framework, I analyse Liane Moriarty’s Big Little Lies (2014) to explore how key concepts in feminist criminology addressing domestic violence, including Critical Feminist Theory and Social Learning Theory, are useful in a textual analysis. I then demonstrate how this understanding of the production and subversion of generic features in domestic noir can be useful to inform creative work, with reference to my thriller novella Girl Crazy (2019).
Peripheral hearing: ‘collaborative audio literature’ and the uncanny
Authors: McCooey David 
Published: May 2021

This (self-exegetical) essay concerns ‘collaborative audio literature’, a form of asynchronous collaborative practice that brings together music, sound design, and literary texts. As a form of literary audio ‘content’, such a genre is peripheral to the mainstream audio literary genres of audio books and podcasts. Collaborative audio literature exists at the periphery of performance, literature, sound design, and music, as an experimental, interdisciplinary form. After a discussion of the relationship between music and sounded poetry, this essay discusses ‘Three Sisters’ (from my album The Double, 2017), an audio work based in part on Maria Takolander’s short story of that name (2013). In ‘Three Sisters’, I undertake an innovative form of adaptation that employs sampling and text-to-speech synthesis to place the newly produced text in a complex sonic field of music and sound design. The ‘un-performability’ of this piece (and others from The Double) is central to the work’s aesthetic, in which literature and music occupy virtual, peripheral spaces. The use of voices (synthetic and real) at the threshold of hearing also produces an aesthetic of ambiguity with regard to the usual predominance of words. ‘Three Sisters’, then, works with ambiguous, threshold spaces that test the limits of perception, authorship, genre, and the categories of literature and music themselves. The essay analyses my creative practice via the trope of the periphery-as-uncanny, a virtual space that evokes the disquieting interplay between the familiar and the unfamiliar.
The Invent Your Own Religion Workbook
Authors: Dudeck Michael 
Published: May 2021

ABSTRACT
The “Invent Your Own Religion Workbook” is a practice-based artistic intervention/provocation that takes the form of a short introductory essay and an accompanying participatory workbook, exploring my own invented religion as art within the larger phenomenon of invented religions that have emerged in the West from the 1960s to the present. Invented religions, a new category emerging within the larger study of new religious movements are distinctive in overtly claiming their fictional status with a propensity for their adherents to transform works of speculative-fiction into scriptures, which in turn generate “religious” beliefs that overtly surpass fandom and enter into the domain of the religious. For this intervention/provocation the author invokes the writings of Dr. Timothy Leary whose “Start Your Own Religion” manual provided a framework for how invented religions can transform works of speculative fiction into functioning belief systems.
Sacred Sites and Secular Sounds
Authors: Manokara Nidya Shanthini , Samosir Nora , Wee Lionel 
Published: May 2021

ABSTRACT
Drawing on travels as performers-researchers to sacred sites including the Magdalena Institute in Magdala, the River Jordan (Israel), Kurukshetra City, and the Ganges (India), Christian-actor Nora Samosir's and Hindu-Bharatanatyam dancer Nidya Shanthini Manokara's devised performance, Wandering Women: From Kurukshetra to Magdala, investigates the influence and interactions these sacred physical environments have on corporeal and aesthetic experiences. Sociohistorical and spiritual presences of spaces translate themselves into performance through the ludic yet volatile intersection between tactile experiences and sound. In particular, the performer-researchers explore how “quiet sounds” from the sacred site-visits, including shuffling of feet against the stones of the marketplace where Jesus walked at the Magdalene Institute and the bubbling water amidst temple bells at the Ganges, become catalysts for shaping performance sensibilities and implicate the social lens.
Drawing Torah from Troubling Texts
Authors: Belser Julia Watts 
Published: May 2021

Abstract
This article argues for the importance of developing queer feminist disability ethics in ways that push beyond the conventional canon, acknowledging the violence present in many traditional texts and their failures to do justice to lived disability experience. Critiquing a famous debate in the Babylonian Talmud, Ketubot 17a, in which Hillel and Shammai debate the permissibility of telling a lie in order to praise the beauty of a disabled bride at her wedding, the author argues for a Jewish disability ethics that engages secular disability arts. Examining the artistry of queer disabled dancer Claire Cunningham, the essay draws out the embodied ethical insights expressed through disability arts and argues that Cunningham's work offers a more compelling answer to the Talmud's question—in her claim that love lodges in the tangible acts of paying attention to another.
Empathy and Ethics in Navigating Religious Pluralism
Authors: Day Katie 
Published: May 2021

Abstract
Multifaith engagement must be motivated by ethics, sustained by ethics, and constructive of ethics. Written from the perspective of Christian ethics, this article locates empathy at the core of the ethics of building meaningful inter-religious relationships and activities. It draws on the life and work of Christian theologian Dietrich Bonhoeffer to illustrate the transformative role of empathy in constructing moral courage and action.
Jewish Ethics and Leadership
Authors: Newman Louis E. , Messinger Ruth , Waxman Deborah , Kennebrae Georgette 
Published: May 2021

Abstract
These reflections on the ethics of Jewish communal leadership unite a scholarly examination with three personal narratives from the field. Anchoring the discussion is an argument for leadership grounded in four core virtues: anavah (humility), kavod (respect), yosher (integrity), and spiritual orientation. Three Jewish communal leaders highlight ethical quandaries and imperatives they confront in their work. One calls for the cultivation of moral courage. The others explore the tension between personal identity and public representation and the ethical imperative for the Jewish community to confront gender bias and racism.
Becoming Militants of Reconciling Love: 1 John 3:1–3 and the Task of Ethical Formation
Authors: Rhodes Michael J. 
Published: May 2021

ABSTRACT
The renewed interest in moral formation among theological ethicists has elicited strong critiques from those concerned with an alleged overemphasis on human agency in character development. While such concerns cannot be brushed aside lightly, the solution is to situate human agency within a larger theological frame. As John Webster suggests, theological ethics should begin talking about the self and its agency by offering a “moral ontology” that includes a “moral anthropology” of human agents within the “drama of human nature, origin, and destiny” and the moral “field” or “space” of selfhood and action. Drawing on recent studies of Johannine ethics, I argue that 1 John 3:1–3 provides a programmatic description of just such a moral ontology. I then consider the epistle’s account of imitation in light of this ontology. Drawing on a second-person Thomistic virtue ethic, I argue that, for John, imitation serves as a second-person practice of moral formation whereby believers actively seek to purify themselves as Jesus is pure (1 John 3:3). Such theological interpretation adds support to the recent recovery of Johannine ethics and suggests that such an ethic may make serious contributions to contemporary discussions of moral formation.
Soteira, Savior of Ships: Mediterranean Identity in the Hellenistic Period
Authors: Bedin Eleonora , Gambash Gil 
Published: May 2021

Abstract
Was there such a thing as a Mediterranean identity in antiquity? And if so, how are we to define it? This article addresses these questions, focusing on maritime-based religious associations within Mediterranean societies and how these associations developed over time. Through an examination of the maritime, climatic, and geographical aspects of the human experience during the Hellenistic period, it is possible to evaluate the nature of Mediterranean deities and their common features across boundary lines of locality, nationality, ethnicity, and culture. The emerging picture suggests that the cross-cultural dimension of Mediterranean deities allows for the existence of a superordinate identity that may best be described as Mediterranean.