Библиотека – 2018

Материалы к лекциям и дискуссиям:

1. Все материалы к летней школе: ЛШ_2018

2. Джеймс Генри. Письма Асперна (к воркшопу Андрея Аствацатурова)

3. Вопросы от лекторов и участников летней школыВопросы


Chris Merrill

Отрывок для обсуждения на воркшопе Криса Меррилла: Merrill Reading_the creative process

Рекомедуемая библиография от Криса Меррилла:

  1. Carlson, Ron. Ron Carlson Writes a Story. Saint Paul: Graywolf Press, 2007.
  2. Fulton, Alice. Feeling as a Foreign Language: The Good Strangeness of Poetry. Saint Paul: Graywolf Press, 1999.
  3. Gardner, John. The Art of Fiction: Notes on Craft for Young Writers. New York: Alfred A. Knopf, 1984.
  4. Ghiselin, Brewster (ed.). The Creative Process: A Symposium. Berkeley: University of California Press, 1952.
  5. Hampl, Patricia. I Could Tell You Stories: Sojourns in the Land of Memory. New York: W. W. Norton & Company, 1999.
  6. Hirsch, Edward. The Demon and the Angel: Searching for the Source of Artistic Inspiration. New York: Harcourt, Inc., 2002.
  7. Karr, Mary. The Art of Memoir. New York: Harper Perennial, 2016.
  8. King, Stephen. On Writing: A Memoir of the Craft. New York: Scribner, 2000.
  9. Koch, Kenneth. Making Your Own Days: The Pleasures of Reading and Writing Poetry. New York: Scribner, 1998.
  10. Lopate, Philip. To Show and To Tell: The Craft of Literary Nonfiction. New York: The Free Press, 2013.
  11. McDowell, Gary L. and Rzicznek, F. Daniel (eds.). The Rose Metal Press Field Guide to Prose Poetry: Contemporary Poets in Discussion and Practice. Brookline: Rose Metal Press, 2010.
  12. Miller, James E. Jr. (ed.). Theory of Fiction: Henry James. Lincoln: University of Nebraska Press, 1972.
  13. Richardson, Robert D. First We Read, Then We Write: Emerson on the Creative Process. Iowa City: University of Iowa Press, 2009.
  14. Turner, Alberta (ed.). Fifty Contemporary Poets: The Creative Process. White Plains: Longman Inc., 1977.
  15. Voigt, Ellen Bryant. The Art of Syntax: Rhythm of Thought, Rhythm of Song. Saint Paul: Graywolf Press, 2009.

Вопросы к обсуждению:

  1. What in your mind are the central elements of the creative process?
  2. In what ways do creative writing programs cultivate or stifle creativity?
  3. What would be the ideal relationship between creativity and scholarship?
  4. How can the study of creative writing enhance scholarship in the humanities?
  5. How would you describe the difference between what creative writers might learn from a text and what scholars seek?
  6. How to distinguish between fruitful and destructive tensions in an academic setting?
  7. What can writers teach scholars, and vice versa?


Maureen Freely

Вопросы к обсуждению:

Into the Academy

British universities have been home to many generations of poet scholars, and there have been scholars who write novels on the side for just as long.  But it has only been during the last two decades that creative writing has become institutionally embedded.  Many of us who have been part of this process are of the view that the future belongs to humanities degrees with a practice element. At my own institution we see even greater possibilities for writers who take full advantage of what our new home has to offer.  We have set out to work with scholars across our faculty and beyond, taking our investigations far beyond the realms traditionally assigned to the literary writer. In this lecture, I shall aim to give a sense of the breadth of our intellectual engagement, and its inevitably subversive nature, before speaking in greater detail about my own areas of engagement with History, Translations Studies, and our Law School’s Centre for Human Rights in Practice.

  1. From the academic perspective:

a) Creative writing programmes are generally situated in literature departments.  How have scholars responded to the presence of creative writers, many or most of whom are not also scholars?

b) How can creative work be understood and evaluated as research?

c) How is it taught in the classroom and how can it be marked?  How does this differ from tuition and marking elsewhere in the department?

d) How does the classroom experience differ in a creative module?  A hybrid (creative/critical) module?

e) How do creative writing programmes in the UK set out to connect with literary networks outside the academy?

  1. From the writers’ perspective

a) How do scholarly approaches to literature deepen their own practice and that of their students?

b) Where do they get in the way?

c) When have the differences in scholarly and writerly practice result in a creative tension?

d) And when do they destroy/impede/undermine?

e) Where are the main areas of contention, and how are they resolved, or not?

3. General

a) How might the scholars of the academy benefit from meaningful engagement with its newly arrived writers?

b) How might the academy serve to nurture and strengthen the cause of literature both inside and outside its walls


Андрей Аствацатуров

1. Воркшоп «Конфликт и проблема дискоммуникации».

Умение выстроить конфликт – одна из ключевых задач начинающего автора. Как это сделать проще всего? Как выстраивание конфликта связать с техническими и идеологическими задачами? Об этом мы попытаемся поговорить.

Тексты, обязательные для подготовки к занятию:

Чехов А.П. «Враги»

Киплинг Р. «Лиспет», «За чертой»

Джеймс Генри «Письма Асперна»

2.Круглый стол “Филология и литература”

Анонс дискуссии Андрея Аствацатурова: Филология и Литература – Аствацатуров 


Дискуссия “Преподавание литературы на писательский манер: обсуждаем рассказ Толстого”

К дискуссии: “Три смерти“(1859), “Письмо к индусу” (1908).