Creative Writing

The aim of my creative research is, as far as this is possible in written form, to show how the creative process of oral storytelling can engage and mobilize individuals and communities towards positive social change by enabling questions of social responsibility through arts practice. The intention of this paper is to argue for the efficacy of the arts, specifically storytelling particularly in the creation of liminal space.

Possessing indescribable strength and effortlessly able to defeat villains have always been the most popular choice of characteristics of the protagonist in boys’ narrative writing. The main idea of this paper is to comprehend the differences between teenage boys and teenage girls’ narrative writing style and what characteristics they give to their protagonists. Basically, teenage boys and girls go through different course of life simply because they are of different gender which will eventually reflect in their writings. This paper reveals differences on language use by genders and the factors affecting the differences. The factors revolve around media, peers, teachers, cultural, environment and social structure. Meanwhile the characters are different from fairies to princesses and superheroes. When writing, women use more words depicting emotions as compared to men.

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Ovu pesmu sam posvetio kumi Zagorki iz Bajmoka. Pesma je napisana jednog letnjeg poslepodneva 2014. god. u naletu inspiracije. Pisana je u starom žargonu vojvođanske ravnice. Sličan stil izražavanja je koristio Đorđe Balašević u pesmi: ''Al' se nekad dobro jelo''.

Paul de Man’s transgressive, trans-genred theoretical writing style is complex and difficult, but his theories equip postmodern reader-writers with critical positions to read, write, and think from. However, when applying the theorist’s re-reading strategies to his own essay, ‘Phenomenality and materiality in Kant’, creative writers must speak back to de Man when he attempts to reframe the sublime as a purely linguistic principle. In opposing de Man’s rhetorical claims, creative writers are likely to argue that rather than a linguistic principle, the sublime remains a phenomenological event.