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The term `linguistically innovative poetry' (LIP) encompasses a range of practices and approaches that has emerged in British poetry since the 1980s. Critical and practice-led research undertaken by Sheppard has made an important contribution to the development and vitality of communities of practice and appreciation in British alternative poetries. His work has helped readers and critics to identify, appreciate and engage with British poetry and particularly LIP. This case study is based on the critical and practice-led research projects into the potentialities of literary experiment carried out by Sheppard, work that is generally constellated around the widely-used term `linguistically innovative poetry', a term he has helped to disseminate in the critical domain and in the field of literary production.
The impact and benefit is registered through a change in literary critical perspectives regarding LIP, including the use of the term, in several cultural environments, and in a heightened sense of the potentialities for literary experiment in the field of literary production itself.
Building on the University of Surrey's long history of involvement in the post-war British poetry scene, Surrey's School of English and Languages conducts research into some of the key questions surrounding contemporary poetic practice.
This research underpins the School's commitment to championing and investigating the most recent and innovative wave of contemporary British poetry: the renewed focus on a Modernist aesthetic that characterizes much of twenty-first-century verse.
The School has established a series of public events to bring this challenging and rewarding body of work to a wider audience. These events have made a significant economic contribution through their promotion of the British poetry industry, and have had a marked cultural impact on public access to and understanding of avant-garde poetry in the county of Surrey and across southeast England.
Professor Sir Andrew Motion works at the heart of the poetry sector in the UK and speaks for it at all levels of public discourse. His research into poetry through criticism and practice, and his tireless public engagement, lead to impacts on a wide range of users in cultural life and education, civil society, public discourses and public services. These are achieved through such positions as
Widespread benefits are felt through
Research in writing and the small presses at the University of Salford has directly impacted upon the creation of new contexts and networks for the development and showcasing of innovative writing. It has:
This case study describes the work of Professor Tony Lopez and its impact on the contemporary world of poetry and the creative and cultural economy. The impact has been on the general reading public, (who have recognised the importance of Lopez's works, on the writing community itself through Lopez's influence of creative practice, and on the publishers, editors, curators, arts festival programmers, and translators who work within the creative and cultural sectors of the economy. Publication, awards won, critical reception, and consultancy positions support the claim to impact.
Based on a common research interest in the collaborative poetic of the New York School, and a commitment to the public value of poetry, University of Kent poets have created a poetry scene of national and international significance. Together they founded the innovative poetry festival Sounds New Poetry, which led to the award-winning performance series Free Range. Sounds New Poetry's significance lies in its creation and intellectual enrichment of new audiences for poetry and its advancement of the creative practice of major musicians and poets through cross-media collaborations. Building on the achievement of Sounds New Poetry, the Arts Council-funded Wise Words enabled PGCE students to take contemporary poetry to `out of mainstream' groups. The programme extended the reach of the festival by changing pedagogy within regional PGCE practice and enriching the experience of users from a range of community education groups.
W.N. Herbert, Jackie Kay and Sean O'Brien have played central roles in the recent resurgence of interest in poetry as live performance and cultural event, and have been instrumental in a growing recognition of its power as a means of social engagement. Their research and writing have provided a foundation for the Newcastle Centre for the Literary Arts (NCLA), a University Research Centre directed by Linda Anderson. Through the NCLA they have been able (i) to build audiences for literature generally, and poetry in particular, at live events, online and in communities; (ii) to engage key groups, including young and older people, and to study creative writing's benefits for learning and wellbeing; (iii) to enhance the public understanding of poetry, by disseminating research, encouraging debate, and providing resources and new opportunities to encounter poetry.
The Department has worked proactively to bring creative writing out from the institutional sphere and into the public domain. While creative writing is often perceived as a niche activity largely confined to university writing programmes, Warwick's writers have broken new ground with their approach that writing can take all forms, that creativity is open to everyone, and that writing has the power to intervene meaningfully in the world. This commitment is demonstrated through a range of activities that include active involvement in campaigns for the freedom of expression, the foundation of distinctive literary prizes, widespread communication of interactive material through social media, and the establishment of new publishing houses and literary magazines.
The Oxford Brookes Poetry Centre has, since its inception, been a focus for original research, community engagement and external collaborations. This relationship between research and outreach activities has resulted in significant cultural, educational and economic benefits. Work with refugees has empowered the individuals involved and contributed to social inclusion debates, tackling social and economic issues in creative forms. Children from underprivileged educational and economic backgrounds have had poetry made accessible to them through the establishment of the Oxford City Poet, encouraging their own creative writing and re-inspiring teachers. These projects have directly improved the cultural and creative life of Oxford and given a voice to those who would have been otherwise unheard.
Mediating the complex and rewarding pleasures of poetry to a wide audience is central to the Department of English at Queen Mary's impact on the public understanding of the medium. Poetry has very high status in conceptions of literary merit and ambition, and commands large public audiences; yet it is also seen as difficult to understand by that audience, especially in the case of contemporary poetry. At Queen Mary, research on poetry includes scholarly modes of close reading and explication, analysis of poetics, women's writing, and poetry's print culture. Drawing on this research, we have used diverse strategies to enhance public understanding of poetry, including broadcast and internet dissemination, publishing ventures, poetry readings, and public archiving of poetry recordings. This has extended to work with teachers on teaching modern poetry in schools, the location where most general readers first encounter poetry.