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« Chaque fois que je franchis les portes blindées d'une prison et que les surveillants fouillent mon cartable, il me semble que j'apporte à ces hommes, mieux qu'un 38 Spécial, une lime ou un téléphone portable. Chacune de mes poches est bourrée de mots, de sensations, de cris, de tendresse et d'émotion. » René Frégni Les mots sont parfois sauvages et terrifiés, parfois doux et affectueux. J'ai essayé de parler de mon travail, si modeste, dans les prisons, du rôle des livres, des mots et de l'amour tout au long de ma vie, de mon impuissance face à ces montagnes de misère et d'injustice qui s'accumulent et annoncent des jours sans doute barbares. J'ai écrit en quelques pages l'immense voyage de ma vie vers la peur et la beauté. Seule la sincérité a guidé ma main. Le Minot de Marseille

Prisons --- Writers' workshops.

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Artists' studios. --- Writers' workshops. --- Creation (Literary, artistic, etc.).

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English language --- Report writing --- Writing centers. --- Writers' workshops. --- Rhetoric --- Study and teaching. --- Study and teaching (Higher)

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En marge de la revue belge "Ides et autres" consacrée au fantastique et à la science-fiction, un ensemble de communications et d'articles dont l'intérêt réside, pour les spécialistes, dans les informations à propos de ces deux genres dans les pays autres que français et anglo-saxons.

Fantasy literature. --- Science fiction --- Science fiction. --- Writers' workshops. --- History and criticism. --- Lovecraft, H. P.

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In a letter dated September 1, 1912, drama professor George Pierce Baker recommended the term "workshop" for an experimental course in playwriting he had been planning with former students at Harvard and Radcliffe. This was the first time that term, now ubiquitous, was used in the context of creative writing pedagogy. Today, the MFA (master of fine arts) industry is a booming one, with more than 200 programs and thousands of residencies and conferences for aspiring writers nationwide. Almost all of these offerings operate on the workshop model.In Craft Class, Christopher Kempf argues that the primary institutional form of creative writing studies, the workshop, has remained invisible before our scholarly eyes. While Baker and others marshaled craft toward economic critique, craft pedagogies consolidated the authority of elite educational institutions as the MFA industry grew. Transcoding professional-managerial soft skills-linguistic facility, social and emotional discernment, symbolic fluency-in the language of manual labor, the workshop nostalgically invokes practices that the university itself has rendered obsolete. The workshop poem or short story thus shares discursive space with the craft IPA or hand-loomed Pottery Barn rug-a space in which one economic practice rewrites itself in the language of another, just as right-wing corporatism continuously rewrites itself in the language of populism.Delineating an arc that extends from Boston's fin de siècle Society of Arts and Crafts through 1930s proletarian workshops to the pedagogies of Black Mountain College and the postwar MFA, Craft Class reveals how present-day creative writing restructures transhistorical questions of labor, education, and aesthetic and economic production. With the rise of the workshop in American culture, Kempf shows, manual and mental labor have been welded together like steel plates. What fissures does that weld seal shut? And on whose behalf does the poet punch in?

Ateliers d'écriture. --- Creative writing --- Writers' workshops --- Study and teaching --- Ateliers d'écriture.