返回Google圖書搜尋

The Rise of the Creative Writing Program in Poetry

出版	University of Wisconsin--Madison, 2016
URL	http://books.google.com.hk/books?id=S9R00AEACAAJ&hl=&source=gbs_api

註釋Over the past half-century, terminal-degree graduate creative writing programs have evolved from fringe operations matriculating only a small minority of American poets to near-ubiquitous institutional fixtures on the American academic and literary landscape. In 2010, the London Review of Books termed "beyond dispute" the premise that "the creative writing program has exercised the single most determining influence on postwar American literary production." This study uses hard data and historical research to chart the history and present situation of terminal-degree poetry-writing programs in America. In aiming to help redress perceived gaps in the present literature on poetry's academic institutionalization, the study does the following: (1) provides an accurate, data-rich history of the generation, expansion, and pedagogical and institutional development of terminal degrees in the field of poetry; (2) contextualizes these processes as part of a heterogeneous movement aimed at incorporating student-authors academically and culturally into the American university. The conclusion of the document investigates "metamodernism," an emerging cultural paradigm, as a means to understand the continued interweaving of creative writing's far-flung curricular strands-and even the possible confluence of these strands in the future as a novel and transgressive poetics. This study is intended for a general as well as an academic audience. Those who teach in MFA programs may well wish to better understand the historical development and significance of the curricular and cultural phenomena in which they participate, perhaps as a justification for further refining their in-class pedagogies; current and former students of MFA programs may benefit from being able to better situate their experiences within the series of discrete first principles that seem to animate the contemporary American poetry community; scholars seeking to perfect their twentieth and early twenty-first century literary, disciplinary, and subcultural histories may also find this research of use; and finally, working poets may find compelling this research's contention that creative writing is not reducible to a single pedagogy-the "workshop"-but rather is a 130 year-old movement in the American academy whose ambitions are finally sociocultural rather than dogmatic.