“Implementing the Student-Centered Creative Writing Workshop Model in Remote Learning Classroom Environments”

This presentation shares my experiences as an instructor implementing student-centered creative writing workshop practices in a face-to-face nonfiction workshop that turned into a remote learning class in the wake of the COVID-19 pandemic. Building on my previous presentation at the CWSO Mini Conference in San Antonio, “On Inclusive Creative Writing Workshop Practices: The Student-Centered Model,” I have developed additional pedagogical strategies for facilitating the student-centered model in online and remote classroom settings. These methods account for the novel and timely concerns of students in the age of the coronavirus—such as privacy, accessibility, personal anxiety/upheaval, etc.—in order to help instructors best serve both the needs of individual students and the classroom community as a whole in this new era of teaching and learning. The ethos of the student-centered workshop is based upon teacherless peer-review methods in composition studies wherein students shape the conversation during a workshop session (Elbow). The student-centered approach to the creative writing workshop is a collaborative process between instructor and student-writers that includes: critique of existing workshop practices, engagement in whole class discussion, designing a new workshop model, and ample opportunities for feedback from students. In a remote learning environment, the student-centered workshop model shares commonalities with user-centered design pedagogies, which consider a given course’s relationship to accessibility, interface, individual student accommodation, among other concerns (Borgman). Many existing online creative writing workshops replicate the conditions and experience of traditional face-to-face workshops, often basing classroom pedagogy on the much-derided “Iowa” workshop model (Myers). The student-centered model, by contrast, serves as an actionable solution to the systemic and immediate problems inherent to the traditional workshop model by affording student-writers the opportunity to collaborate with the instructor on a new model specific to both the needs of individual students and the classroom community as a whole. Working from my experiences moving a face-to-face workshop course to an online format, I examine existing remote learning workshop pedagogies and argue for the viability of the student-centered workshop model in online environments. The efficacy of this model is supported with examples and student feedback from the workshop I led at Ohio University in the Spring 2020 semester (IRB 20-E-36)

In vitro and in vivo behaviour of paclitaxel loaded lipid nanocapsules

International audienc

(Re)Considering Craft and Centralizing Cultures: A Revision of the Introductory Creative Writing Workshop

This article explores options for introductory creative writing curricula that allow for and encourage a greater consideration of personal identity and audience on the part of the student-author. It reaches toward possibilities for revising the introductory creative writing course as a space for student-authors to not only consider the cultural positions of the professional authors they study, but also the ways in which their own subject-positions influence their writing practices, craft choices, and understandings of genre. The article overall proposes a holistic revision to the standard, introductory creative writing curriculum, moving student-authors beyond considerations of “good” creative writing, and toward a more common consideration of cultural inclusion and diversity

Evolutions chimico-minéralogiques du grenat et de la muscovite au voisinage de l'isograde biotite-staurotide dans un métamorphisme prograde de type barrovien : un exemple en vendée littorale (Massif armoricain).

National audienc

Justice Staunton in Toronto, London, and Zürich: The Case of The Manticore

Robertson Davies' The Manticore mirrors the Canadian penchant for antithesis between the rational and the feeling, the bourgeois and the poor. The eighteenth century's love of reason finds its echo in the character of David Staunton, who appears to be modelled on that paradigmatic and therefore anonymous creature of reason. Staunton must encounter mysticism, passion, and dark psychological recesses in order to become more alive and humane. English Canada, like the character, loves Reason, and fears passion