Lily Rose Tope Lily Rose Tope i(A113593 works by)
Gender: Female
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1 “Very Communitas” : Testing a Hypothesis in Creative Writing, Methodologically Francesca Rendle-Short , Michelle Aung Thin , David Carlin , Melody Ellis , Lily Rose Tope , 2023 single work essay
— Appears in: TEXT : The Journal of the Australian Association of Writing Programs , October vol. 27 no. 2 2023; 'This paper examines the concept of communitas in practice (as a loanword from cultural anthropology and social sciences), what it is and what it can offer creative writing, to test whether it might apply to different creative practice settings. Specifically for this essay, the setting is WrICE (Writers Immersion and Cultural Exchange program) and the research project examining WrICE as the object of its enquiry (Australian Research Council Discovery Project entitled “Connecting Asia-Pacific Literary Cultures: Grounds, Encounter and Exchange”). If we think of communitas in the way anthropologist and poet Edith “Edie” Turner likes to describe it as (un)structured ritual, a condition for creativity, a space where the intensity of feeling or joy can arise (2012), how might a communitas unfolding look and feel as we practice creative writing? How might we think about communitas and what would it mean to do communitas as creative writing method, as drawing-as-method? Also, how might communitas be performed on the page in an academic context such as this: can we as researchers enact or embody communitas?' (Publication abstract) 
1 Performing Ethnicity, Ethnicizing History : The Eurasians of Singapore in Rex Shelley's 'The Shrimp People' Lily Rose Tope , 2011 single work criticism
— Appears in: Narrating Race : Asia, (Trans)Nationalism, Social Change 2011; (p. 145-162) The article notes that at least one scene in The Shrimp People is set in Perth WA.
1 State of Engagement: Filipino and Singaporean Women Writers in English Engage the State Lily Rose Tope , 2007 single work criticism
— Appears in: Asiatic , December vol. 1 no. 1 2007; Lily Rose Tope reads stories by Filipino and Singaporean women writers - Merlinda Bobis among these - whose work contests dominant national narratives and seeks to engage with states that are in other ways unresponsive or even destructive to their constituents (p. 12).
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