By Barbara Kamler

This crucial advisor bargains a brand new method of doctoral writing, written in particular 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 examine and hands-on event, 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 means of the tales and writing of real doctoral scholars.

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Students also use bodily pain and discomfort imagery to represent the process of literature work, with popular clichés dominant, including: • • • • • pulling teeth sweating blood being hit by a truck sinking in quicksand getting caught in knots of other people’s writing. While such images dominate the groups we’ve worked with, highlighting a lack of agency and being overwhelmed, a small number of students have offered more benign images of searching the literature, as: • gold mining: extracting the golden threads that provide the value • collecting seashells 34 Persuading an octopus into a glass • digging in the ground for precious metal • building a brick wall, laying down one brick at a time until this magnificent wall has been created.

We begin by outlining the framework we use to conceptualize doctoral texts, the student and supervisor, the institution and broader policy context. Wr i t i n g a s d i s c u r s i v e s o c i a l p r a c t i c e The framework we’ve developed for understanding doctoral writing as a social practice borrows from the fields of critical discourse analysis and new literacy studies. In particular, we find Norman Fairclough’s (1992) three-dimensional model of discourse useful for conceptualizing the tensions and demands faced by doctoral writers and their supervisors.

In acting the scholar, she became more of one. Identities and their performances are discursively formed. Identities are embedded in available discourses and may be thought of as a suturing together of various discursive events, modes and assemblages. In Kathryn’s response to Janet after the conference, she articulated a narrative of herself as a more confident scholar. Her use of the dominant discourse of scholarly work is signified by her use of words such as ‘readings and misreadings, the field, lit review, account for my argument’.

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