By Barbara Kamler

This crucial consultant bargains a brand new method of doctoral writing, written particularly for doctoral supervisors. Rejecting the DIY web pages and manuals that advertise a privatised skills-based method of writing examine, Kamler and Thomson offer a brand new framework for scholarly paintings to assist doctorate scholars produce transparent and well-argued dissertations. Drawing on quite a lot of study and hands-on adventure, the authors argue that making an unique contribution to scholarly wisdom calls for doctoral applicants to do either textual content and id paintings. Their dialogue of the complexities of forming a scholarly identification is illustrated by way of the tales and writing of real doctoral scholars.

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Sample text

Becker, 1986: 142) Becker suggests that the LR is a particular kind of text, an argument. ) Here we allow Becker to make the initial point: You want to make an argument, instead of a table. You have created some of the argument yourself, perhaps on the basis of new data or information you have collected. But you needn’t invent the whole thing. Other people have worked on your problem or problems related to it and have made some of the pieces you need. You just have to fit them in where they belong.

Narrative is one form of identity performance. Writing is another kind of performance. As Kathryn wrote her conference paper, she wrote herself as a researcher not as a school principal. The writing worked to continue her identification as scholar. But it had limitations. She could not imagine, while sitting at the computer, how to speak as a scholar. This had to be materially done. The conference presentation was thus another site for Kathryn to perform her identity as a researcher. In the conference she had to embody a scholar: one who knows their field and its literature, speaks with assurance, argues logically about their point of view, and listens with respect to alternative points of view.

Which fields? Which landmines to avoid? How to be ‘critical’, who to be critical of, and how to escape being tangled in the barbed wire? How to negotiate the complexities of power relations in a strange land? Who to include and exclude in the negotiations? Who to engage with, who to ignore and with what effects? While the metaphor of occupied territory may be dramatic, perhaps even overstated, it stands in opposition to a taken-for-granted view of literature work as a relatively straightforward, if time-consuming, task.

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