By Candace Spigelman
Candace Spigelman investigates the dynamics of possession in small staff writing workshops, basing her findings on case stories concerning teams: a five-member artistic writing crew assembly per month at a neighborhood Philadelphia espresso bar and a four-member college-level writing workforce assembly of their composition school room. She explores the connection among specific notions of highbrow estate inside every one workforce in addition to the effectiveness of writing teams that embody those notions. Addressing the negotiations among the private and non-private domain names of writing inside of those teams, she discovers that for either the devoted writers and the newbies, values linked to textual possession play a vital function in writing team performance.”
Spigelman discusses textual possession, highbrow estate, and writing team procedures after which studies theories with regards to authorship and information making. After introducing the contributors in each one staff, discussing their texts, and describing their workshop periods, she examines the writers’ avowed and implied ideals approximately replacing principles and keeping person estate rights.
Spigelman stresses the mandatory rigidity among person and social elements of writing practices: She argues for the necessity to foster extra collaborative task between scholar writers via replicating the approaches of writers operating in nonacademic settings but additionally contends that each one writers needs to be allowed to visualize their person supplier and authority as they compose.
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Additional resources for Across Property Lines: Textual Ownership in Writing Groups
In bookstores, cafes, libraries, and classrooms, writers meet, share texts, critique, receive feedback, and enjoy the work of fellow writers. As technology advances, new forms of writers’ workshops are developing online. In some college workshops, students share their essays with writers they have never met, students from other courses or even from other universities across the country. Online writing groups raise new and interesting questions about group dynamics and about issues relating to intellectual property: Without face-toface contact, can con¤dence in members be developed and sustained?
Doug’s method of composing his novel was more elaborate than Fay’s. He had ¤rst plotted out the entire story, developing an outline 29 30 Crossing Property Lines that included settings, character sketches, and action for each of the intended chapters. Before he began, he knew how his story would end. With a goal toward the production of one chapter a week, Doug adhered to his intended plan, making few structural changes along the way. ” He explained that he revised constantly at the computer and on draft copies.
Writing group members do not passively “receive” each other’s papers but creatively integrate them to arrive at an understanding of the work that is partly the writer’s and partly the reader’s. In order to discuss a work, the reader will need to employ the writer’s words and phrases, what Bakhtin terms speaking an “alien” discourse. At the same time, the reader will color those words with his or her own signi¤cations and intentions (355). Notably, the con®ict between speakers’ and listeners’ meanings frequently leads to synthesis—the creation of new meanings: “Within the arena of almost every utterance,” Bakhtin explains, “an intense interaction and struggle between one’s own and another’s word is being waged, a process in which they oppose or dialogically interanimate each other” (354, my emphasis).