ashoka university creative writing workshop

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The Ashoka University, International Creative Writing Workshop.

Ashoka University will organize its 12th international eight-day Creative Writing Workshop on May 24, 2023, for all of our Creative Writing aficionados.

Sanya Tayal 

Sonipat :  The  Ashoka University is organizing Eight-Day International Creative Writing Workshop in Prose Fiction : Applications are Open. The last day to apply is 14th May 2023.

Ashoka University will organize its 12th international eight-day Creative Writing Workshop on May 24, 2023, for all of our Creative Writing aficionados. It will be guided, as usual, by its originator and course designer, novelist, poet, essayist, and musician Amit Chaudhuri. He is the Professor of Creative Writing and Director of Ashoka University, and formerly Professor of Contemporary Literature at the University of East Anglia from 2006 to 21. 

The workshop has generated a constant stream of published authors over the previous seven years, with several of them being picked up by prominent publishers. While others have earned MAs and MFAs in prose fiction from top universities. The eight-day international workshop will take place from May 24th to June 1st, 2023. The 28th of May is a public holiday. There will be a maximum of 12 students in this course.  Four candidates will be chosen from applications submitted to Ashoka University. The remaining eight positions are open to applicants from anywhere in the world.

It will be held online, with session times spanning from 3 to 6 p.m. weekdays. Standard Time in India Three participants will be workshopped each day. Following the final selection, the timetable will be revealed. Participants should ideally have creative writing talents and be able to provide detailed feedback on the works of other participants.

How Do You Apply?

To apply for this workshop, send a CV, a writing sample of 15,00 words, a reference, and a short statement of maximum 300 words to [email protected]   by May 14th, 2023. The writing sample should be the best work of the candidate. The reference is optional, and the brief statement should clarify what the candidates hope to contribute to and achieve through this workshop. The fee for the session is Rs 20,000 or its equivalent in other currencies. The university waives the fees for Ashoka University students, but all other requirements apply to all candidates.

Please visit https://www.ashoka.edu.in/event/the-ashoka-university-eightday-international-creative-writing-workshop-in-prose-fiction/   for more information. 

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The Centre’s purpose is to provide a forum in which to raise and address questions to do with both creative practice and critical argument. The convergence of creativity with thought has a history that’s central to literature and the arts. Some of the most influential criticism across cultures was written by writers and artists, and creativity itself was a powerful form of thinking. Today, this lineage is generally ignored – by literature departments, creative writing workshops, publishers, and the media. It was to address this vacuum that Amit Chaudhuri, Professor of Creative Writing at Ashoka University from 2020 and, from 2006-2021, Professor of Contemporary Literature at the University of East Anglia, conceptualised the first symposium in ‘ Literary Activism ’ in December 2014 in Calcutta, in partnership with the University of East Anglia and Presidency and Jadavpur Universities. This was called an ‘important symposium’ by the Times Literary Supplement, and six more symposia have since taken place, with institutional partnerships in different parts of the world, including The Oxford Research Centre for the Humanities (TORCH), St Hugh’s College, Oxford, and the Columbia Institute of Ideas and Imagination, Paris. Ashoka University, since 2018, has been the lead partner and host of the annual international symposia. It also supports the website edited by Professor Chaudhuri, literaryactivism.com.

In bringing together novelists, poets, translators, artists, scholars, filmmakers, journalists and publishers with different traditions and histories from all over the world, the Centre will foster intercultural and ‘extra-disciplinary’ discussions about creative practice in ways that have become impossible in more professionalised settings, such as the academic conference, or in more market-driven ones, such as the literary festival. The highly-regarded symposia and website will continue to be an important part of the Centre’s activities. So will new courses, talks, and events.

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The five-day workshop will focus on developing and revising MPhil and PhD dissertations. Participants will work closely with CWC's senior writing tutors through lectures, in-class exercises, and on-on-one sessions.

An indicative list of topics is as follows:

Introduction to academic writing: Originality and Research Ethics

Finer points of academic writing: Introductions and Conclusions

Building original discussions of field literature: Review and Research Questions

Writing to Finish: Editing Strategies and Abstract Writing

Who can apply: All MPhil and PhD scholars from the humanities stream are encouraged to apply. HAVING A THESIS TOPIC IS MANDATORY.

Fee: INR 10830/- plus 18% GST ( Course fee+ Accommodation and food charges)

Deadline for registration: 23 May 2022

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20th June 2022 to 24th June 2022

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How to build a creative writing programme as part of academic courses at an Indian university

The second in a three-part series on the beginnings and the development of creative writing as a formal discipline in india..

Perhaps the best-known recent attempt of sustained creative writing instruction in India is the series of workshops run by the University of East Anglia in India since 2013, popularly known as the UEA-India workshops. They are organised by Amit Chaudhuri, who is a Professor of Contemporary Literature at UEA, where he teaches every autumn semester. As part of the initiative of the UEA’s presence in India, Chaudhuri conducts a eight-day creative writing workshop, usually taught by Chaudhuri and one guest writer – a list which has included Adam Foulds, Ian Jack, Anjali Joseph, and Kirsty Gunn, among others.

These are conducted once, and sometimes two times, a year, and admit students on a competitive basis, based on their writing sample, personal statements, and letters of recommendation. Over ten of these workshops have been conducted so far, and their alumni now includes several published authors, editors, and journalists. They are, in fact, currently considered to be the most prominent route for new Indian writers to get published on visible professional platforms.

Beginning 2020, the UEA-India workshops have moved to Ashoka University, where Chaudhuri is now Professor of Creative Writing, teaching a course every spring. Now renamed the Ashoka-UEA Creative Writing Workshops, this programme is possibly the most recognised university-initiated creative-writing programme in India that is also open to a wider community – in this instance, to anyone from any part of the world who is able to meet its admission requirements.

It is perhaps not coincidental that one of the earliest university-run, degree-granting creative writing programmes in India has been instituted at Ashoka, a university that seeks to adapt the American model of liberal arts education to the Indian landscape.

A minor, not a major

Even at Ashoka University, where we established a BA Minor in Creative Writing (later to include an interdisciplinary BA in English and Creative Writing and an M.A. in English with a Creative Writing Track), this happened almost as something of an accidental afterthought. But the founders of Ashoka University were sensitive to the pedagogic need for writing instruction – if only of the academic kind – and it was in connection to this need that the founding faculty included Aruni Kashyap, a bilingual writer and translator, in Assamese and English (who later left to join the creative writing faculty at the University of Georgia).

After a semester as a visiting professor, I joined the faculty on a permanent basis. Along with the two of us, there was Janice Pariat, another fiction writer, at that time a preceptor in writing for the Young India Fellowship (a one-year postgraduate diploma programme in liberal arts), later to join the Creative Writing faculty. The three of us put together the plan of a BA Minor in Creative Writing.

I love the idea of Creative Writing as an undergraduate minor, but I have to say that don’t think it should be a major. I’ve seen American institutions with a BFA in Creative Writing, and it always struck me as a bit of a fluff major. It’s rather like a young person, a teenager, deciding that they want to be a full-time writer, to the exclusion of everything else early on in life. What are you going to write about if you don’t have a life outside of writing? Making writing the degree of your prime focus in college is rather like that.

I’d much rather see students study literature, economics, biology, computers, history, any full-blown academic subject, and bring a real world to their fiction or poetry, rather than commit to the navel-gazing of an already-professionalising writer. If there is a time for such navel-gazing – and there will be, as what is writing without egoism? – it comes later in life, when the writer has gathered enough of the world along the path of life and study.

Like the rest of the programme at Ashoka, we had to live with the irony of a programme in English-language writing in a country with a wide range of indigenous vernaculars. But English always ends up being the bridge language amidst the challenging diversity, at least for the bourgeoisie. Still, two things need to be noted here.

The vernacular life of English

First, the vernacular life of English. I’ve always imagined this to be the life-force of our Creative Writing Department. Our inspiration does not come merely from MFA programmes in the US – our English writing derives much life from the speech, dialect, and literature of the local vernaculars, often carrying their shadow in the syntax. Whether it is Assamese, Bengali, or Khasi, as with the founding faculty, or Hindi, Gujarati, Kashmiri or Urdu – as through synergy with the English department, which, to all intents and purposes, is really a department of comparative literature.

When we were asked to select an external reviewer, we chose noted Kannada writer Vivek Shanbhag (later to join as a visiting professor), who has only recently arrived in English-language spotlight through the English translation of his remarkable novella, Ghachar Ghochar . The medium of work in this programme was English, but our spirit was spread across the multiple indigenous vernaculars of India.

The vernacular life of English took a deeper hold on our department when we made translation part of the programme and began to accept works of translation as accepted theses. The Bangla-English translator Arunava Sinha joined the faculty as an associate professor of practice, and Rita Kothari, professor of English and well-known translator of Gujarati literature into English, was available close by.

The second issue takes us right back to the question of critical awareness of creative practice. Creative writing programmes thrive across the US, and so does their bitter animosity with departments of literature, often housed in the same building. A range of forces (the deconstructive and cultural studies turn in literature departments key among them) have created a vast gulf between the so called “scholars” and “practitioners” – the English and the Creative Writing professoriate, leading to the creation of much hostility between them.

The poet-critics of the New Critical generation seemed light years away in this world, where the creative practice and scholarly thought about literature seemed locked in mutual war, or at best, indifference. I experienced this firsthand during my own American MFA: the glorification of a certain minimalist tradition in fiction inherited from Ernest Hemingway via Raymond Carver seemed to go with a natural suspicion of anything that remotely looked or sounded like intellectualism. There were exceptions to this, but on the whole, this was the general pattern of the mutual relations between departments of literature and creative writing in the US.

It became clear from the beginning that this was a conflict we would be able to avoid at Ashoka. My arrival as the chair of the department of Creative Writing also coincided with my appointment as a professor with a joint appointment – in English & Creative Writing, and I think the credit for the mutual affinity between the two departments goes to, well...both of them. What we have at Ashoka is what one might call a public-facing English department, where all the senior faculty, with significant publications of academic scholarships, have more recently turned to publishing trade or crossover books, alongside articles in the mainstream media.

Apart from Rita Kothari, whom I have already mentioned, this includes Jonathan Gil Harris’ work on iterations of Shakespeare in Indian popular films, and Madhavi Menon’s work on gender and sexuality. Most members of the Creative Writing Department have, along with their publications in poetry, fiction and personal or narrative nonfiction, a significant record of publications in criticism, which range from academic scholarship to editorial and curatorial work, and more personal essays on their craft or the literary landscape around.

Sumana Roy, who joined the department in 2019, was already one of the most visible critical and curatorial voices in the Indian-English literary landscape through her essays, reviews, and editorial work when she published her first full-length book, How I Became a Tree , a work of nonfiction on plant life, an intriguing mix of the personal and the scholarly, in 2017.

Subsequently, she has published a novel, a collection of short stories, and a book of poems, and she continues to be one of the most influential reviewers and essayists on contemporary Indian writing through her regular work in magazines and newspapers. Her critical and curatorial work is one of the most serious that we have in contemporary Anglophone India, in charting a writerly awareness of a literary tradition that makes the modern Indian writer.

Amit Chaudhuri, established as a leading writer in multiple genres – poetry, fiction, nonfiction, and criticism, joined the department in 2020, making this awareness central to the department. Apart from his critically acclaimed novels, Chaudhuri is the author of a book on deconstruction and the poetry of DH Lawrence, and a wide range of essays on literature, art, and music, several of them collected into volumes. Chaudhuri is also the editor of an important anthology, The Picador Book of Modern Indian Literature , which includes a couple of his key essays in the introduction, and offers valuable literary-historical insights in the biographical sketches he writes before each selection.

Taken together, Chaudhuri has been a sharp voice of polemic, not just through his own fiction but also through his criticism, of certain dominant global traditions of writing that have ranged from a fetishisation of the spectacular public sphere of history to disguised forms of what he has called “market activism”, to counter which, he has initiated a series of symposiums titled “Literary Activism,” now hosted at Ashoka University.

I, too, have been happy at this intersection of the “Creative and the Critical,” to borrow the title of the course Chaudhuri teaches at Ashoka. Apart from my novels, my academic work has dealt with English as a language of world literature and the question of criticism as a public form caught between the amateur and the professional, something that my mainstream media articles returns to visit in various ways. Janice Pariat, the author of novels, novellas, and short stories, also writes newspaper columns on literature and art history, a field in which she has academic training; accordingly, she also holds a partial appointment in the department of visual arts.

Arunava Sinha, though best known for his translations from Bangla, having published more than 50 books of English translations from the language, also performs an important curatorial function through his role as the consulting editor for literature for this very venue, Scroll.in . Altogether, this is a department which often sees the work of the intellectual as inseparable from that of the artistic, and occasionally, vice versa. Criticism, I feel, is just another genre of literary writing – the way prose, poetry and drama make up different genres. I don’t know if my colleagues would be in agreement – but I like to hope that they are.

Saikat Majumdar ’s novels include The Firebird (2015) and The Scent of God (2019).

Can creative writing be taught in universities? Is it not in conflict with academic rigour?

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The MA in English is committed to thinking across boundaries of genre, culture and chronology. Our coursework allows for exposure to a wide array of texts, theories and disciplinary formations from around the world. MA students will also have the opportunity to pursue courses in other departments at Ashoka thus bringing new lenses to bear on literary studies. Above all, students will pursue their study of literature in relation to the larger world they live in and ask pertinent questions of it. 

The MA English programme places a premium equally on rigorous critical thinking and in-depth research. This emphasis on rigour, alongside the other avenues for intellectual, professional and personal growth offered by Ashoka University, will better prepare students for a variety of career paths, including further study leading to a PhD, teaching at the high-school level, advertising, media, and law. 

The MA in English is a two-year, four-semester programme. Students take a mixture of required courses, elective courses, Independent Study Modules, and electives from other programmes. 

Within the programme, students have the option of pursuing a concentration, and specializing in a particular field. They are also free to follow a general path of literary studies and can choose not to have a concentration. Students who choose to pursue a concentration are required to take a minimum of two electives as well as write a thesis in their field of specialization. 

Should students select a concentration, it is required that they do so by the beginning of the third semester, so that they are able to take a minimum of two electives in their chosen subfields before writing their theses. 

Additionally, each student must choose their thesis advisor by the beginning of the third semester. This should be the professor with whom the student feels most compatible both intellectually and personally.

Students are required to graduate with a total of 48 credits. These are distributed over four semesters with 12 credits per semester. Each course carries 4 credits, and the final semester thesis will carry 8 credits. MA students cannot register for more than three courses per semester. 

Students are thus expected to take 10 courses while they complete their thesis. Of these 10 courses, 4 are required courses and the other 6 are electives. 

Seminar in Literary Theory: This course will focus on the study of various schools of literary theory. The course seeks to examine the bigger questions of literature—ranging from the ways in which texts can engage with various issues to an understanding of how we make meaning—by examining how various theorists address them.

Seminar in Writing and Research Methodology: This course aims to provide clues to read, interpret and write academically.  The aim of the course is to expose students to methods of gleaning arguments, writing abstracts; identifying archives; learning citation styles; and familiarizing themselves to a range of research methods.

Graduate Pro-Seminar: Thesis Preparation: The graduate pro-seminar is a two-semester sequence. In the first semester, students will have the opportunity to familiarize themselves with the methodological foundations of thesis writing by engaging with research-active faculty and their writing, learning directly from scholars in the field.

Graduate Pro-Seminar: Thesis Writing: In the second semester of the graduate pro-seminar, students will workshop their thesis drafts through a series of round tables and conference-style panel presentations, culminating in an academic symposium at which they will present their thesis projects to a larger audience.

Apart from the required courses, students are free to take 6 elective courses that cater to their individual interests. As the programme encourages interdisciplinarity, students are required to take at least one of these 6 electives from another Department across their two years of study. The other 5 electives must be taken from the electives offered by the English and Creative Writing department. 

If students have an area of interest that has not been explored by any of the offered electives, they may also approach faculty to propose the possible creation of an Independent Study Module (ISM) that focuses on the subject in question. The availability of ISMs will depend on the consent of the faculty advisor. Students can take up to a maximum of one ISM on a topic of their devising.

These are the 6 concentrations that students can currently pursue as part of their MA in English. 

South Asian Literature (SAL)

This concentration adopts a comparative approach to the study of textual and popular cultural traditions of South Asia (India, Pakistan, Sri Lanka, Bangladesh, Afghanistan and Nepal). In working towards this concentration, students develop an understanding of South Asia as a ‘region’ by exploring its overlapping and divergent religious and political contexts of the self and the community. 

Courses might include (but are not limited to): Partition Literature, Scripting Caste, Women Writers from South Asia, Violence and South Asian Literatures, Indian Literatures in Translation, Sufi Poetry, Bollywood and the Ideas of India.

Global and Indian Shakespeares (GIS)

Shakespeare's work has been reimagined all over the world in a variety of media.  His plays have been reconceived with extraordinary frequency across the Indian subcontinent, in theatre, literature and especially film, often tackling issues such as gender, colonialism, caste, communal violence, and partition.  Students in this concentration are invited to hone their critical and creative skills by producing their own locally grounded reimaginings.  

Courses might include (but are not limited to): Masala Shakespeare, Shakespeare and the World, Spectres of Hamlet, Shakesqueer, Adapting Shakespeare: Writing and Performance Workshop.

Gender and Sexuality Studies (GSS)

This track will focus on the importance of gender and sexuality in literature as well as in our everyday lives. Rather than following the trajectory of  “women” or “homosexuals” as categories, we will put pressure on the assumptions undergirding these categories in the first place. Students will be taught to ground their thinking of literature and the world in wider theoretical frameworks related to queer and feminist thought. 

Courses might include (but are not limited to): Reading the Body Politic, A History of Desire in India, Shakesqueer, South Asian Literature and Gender, Desiring Film, Women’s Writing, Victorian Fetishes, The Law of Desire, Bollywood and Gender, Dalit Literature.

Modern Literature and Culture (MLC)

This track of study explores the question of modernity and its aftermath, ranging from the Enlightenment era to the present. Areas of focus include 18th, 19th and 20th century literature and culture, modernisms including vernacular modernisms in literature and cinema, postmodernism, postcolonial literatures, law and literature, ecocriticism and discourse analysis.

Courses might include (but are not limited to): Epic Histories, Privacy, Neoliberalism, Trauma and Disaster, Children's Literature, Cinema and Violence, Acts of Faith, ‘Romanticism, History, Prophecy’, American Outlaws, Conspiracy Fiction, Conquests of Nature, Climate Fiction, Reading Theory, The Law of Desire, Victorian Fetishes, Making Space, Loss and Longing, Literature and the Age of Empire, Postcolonial Literature, The Rhetoric of Social Protest, Critical Race Theory.

 Global Medieval Studies (GM)

The Global Medieval Studies concentration takes a comparativist approach to the cultures of the various medieval periods in world history, particularly in Europe and South Asia, while encouraging students to think critically about periodic nomenclatures. The track encourages students to think about the medieval not simply as a historical field, but also as a conceptual category that is critical to our constructions of antiquity and modernity. This concentration brings medieval works from different cultures into conversation while also encouraging the interdisciplinary study of literature, art and architecture, music, science, religion and philosophy.  

Courses might include (but are not limited to): Global Medieval Women Writers, Comparative Medieval Mysticism, Global Medievalisms, Utopia in the Middle Ages, Medieval Travel Writing, History of Medieval Medicine, University Cultures.

Creative Writing (CW)

The Creative Writing track combines literary study with creative practice. Along with courses in the academic study of literature, students also take workshop courses and write a thesis in the genre of their choice: original prose, poetry, and translation, including multi-genre work.

Courses might include (but are not limited to): Poetry Workshop, Fiction Workshop, Translation Workshop, Publishing Seminar.

For more information refer to the handbook.

The Department of English and Creative Writing has a faculty whose interests in research and teaching span across a broad variety of fields.

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Creative Writing Workshops

Creative writing workshops offer students the chance to explore their creativity and experience the writing process among fellow writers. Students have the choice to focus on different genres: poetry, fiction or literary nonfiction.

These courses are offered through the English Department in the College of Arts and Sciences in the fall and spring semesters.  

The courses are offered in the fall and spring semesters.

Academic Credit

Each course is worth 3 credits.

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Geographic coordinates (latitude and longitude) define a position on the Earth’s surface. Coordinates are angular units. The canonical form of latitude and longitude representation uses degrees (°), minutes (′), and seconds (″). GPS systems widely use coordinates in degrees and decimal minutes, or in decimal degrees.

Latitude varies from −90° to 90°. The latitude of the Equator is 0°; the latitude of the South Pole is −90°; the latitude of the North Pole is 90°. Positive latitude values correspond to the geographic locations north of the Equator (abbrev. N). Negative latitude values correspond to the geographic locations south of the Equator (abbrev. S).

Longitude is counted from the prime meridian ( IERS Reference Meridian for WGS 84) and varies from −180° to 180°. Positive longitude values correspond to the geographic locations east of the prime meridian (abbrev. E). Negative longitude values correspond to the geographic locations west of the prime meridian (abbrev. W).

UTM or Universal Transverse Mercator coordinate system divides the Earth’s surface into 60 longitudinal zones. The coordinates of a location within each zone are defined as a planar coordinate pair related to the intersection of the equator and the zone’s central meridian, and measured in meters.

Elevation above sea level is a measure of a geographic location’s height. We are using the global digital elevation model GTOPO30 .

Elektrostal , Moscow Oblast, Russia

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New & Custom Home Builders in Elektrostal'

Location (1).

• Use My Current Location

Popular Locations

• Albuquerque
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• Portland Maine
• Salt Lake City
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• Washington D.C.
• Elektrostal', Moscow Oblast, Russia

Professional Category (1)

• Accessory Dwelling Units (ADU)

Featured Reviews for New & Custom Home Builders in Elektrostal'

• Reach out to the pro(s) you want, then share your vision to get the ball rolling.
• Request and compare quotes, then hire the Home Builder that perfectly fits your project and budget limits.

Before choosing a Builder for your residential home project in Elektrostal', there are a few important steps to take:

• Define your project: Outline your desired home type, features, and layout. Provide specific details and preferences to help the builder understand your vision.
• Establish a budget: Develop a comprehensive budget, including construction expenses and material costs. Communicate your budgetary constraints to the builder from the beginning.
• Timeline: Share your estimated timeline or desired completion date.
• Site conditions: Inform the builder about any unique site conditions or challenges.
• Local regulations: Make the builder aware of any building regulations or permits required.
• Land Surveying

What do new home building contractors do?

Questions to ask a prospective custom home builder in elektrostal', moscow oblast, russia:.

If you search for Home Builders near me you'll be sure to find a business that knows about modern design concepts and innovative technologies to meet the evolving needs of homeowners. With their expertise, Home Builders ensure that renovation projects align with clients' preferences and aspirations, delivering personalized and contemporary living spaces.

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