Creative-Critical Writing on The Tempest at A-Level

by | May 23, 2024 | Teaching, Title, Uncategorized

Harriet Parks, a teacher at Woodhouse College in Barnet, wanted her students to write in the voice of one of the characters in The Tempest as a form of imaginative, critical exploration of the play. To spur them on, and give them a sense of what was possible and what could be learnt about the play in the process, she wrote a monologue of her own in the voice of Miranda who has now returned to Italy with her father and Ferdinand. She also wrote an accompanying commentary explaining her choices and asked her students to do the same. Her monologue and commentary, as well as the student work, are a wonderful example of how much the creative-critical has to offer…

Thomas Karshan

by | Feb 18, 2023 | Event Sub Page, Uncategorized

  ‘How Should One Read a Book?’ My title question apes that of a talk Virginia Woolf first gave at a girls’ school in 1926: To read a book well, one should read it as if one were writing it. Begin not by sitting on the bench amid the judges but by standing in the...

Robert Hampson

by | Feb 17, 2023 | Event Sub Page, Uncategorized

What is the relation between the creative and the critical? What is the critical force of the creative?   I want to start with a story.   About twenty years ago I had a research student working on recent and contemporary poetry, looking at the work of poets...

Creative-Critical Writing in Schools

by | Feb 10, 2023 | Title, Uncategorized

Barbara Bleiman works at the English and Media Centre in London, which supports teachers by providing teaching materials and resources. On these pages you will find links to articles she has published on the EMC webpages about creative-critical modes of teaching,...

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