In this chapter we concentrate on some of the ways in which writing a dissertation builds upon what we hope you have already grasped about essaywriting from what we have covered so far. In the process, we also point out some of the important differences between essays and dissertations. We focus on how you can piece together an argument in your dissertation by ensuring that you answer a range of implicit questions that could be posed of your work. But before moving on to any of these, we begin in the next section with the major task of identifying
provide and the question you are answering is crucial to making sure that you present your own argument and not merely the arguments you find in the literature.
Paragraphs and sentences
In the Introduction we argued that essaywriting means thinking not only about the content but also about how to communicate that content. In turn, conveying what you want to say does not just require constructing an argument, providing evidence or making sure your punctuation does not mislead; it also requires attending to the organisation and coherence of the essay or
looking back. Fascinated by the essay-writing technique (Himmelweit et al. 1952 ; Veness 1962 ; Jahoda et al. 2002 ), Pahl undertook this sub-project early on during his time on Sheppey as part of his efforts to understand how the chronic economic challenges of the period were affecting ordinary people’s everyday lives locally. It was one of his exploratory projects – ‘sort of a pilot thing’ (interview with Pahl, July 2009 ). Inspired by this material, and by other research using similar techniques to explore young people’s aspirations, hopes and dreams (Rex and
that secret, which escapes. 9
Away, ‘in a way that is vital’. This-a-way: the vital, the quick as lightning, the ‘living instant’, ‘right away’. As she observes in ‘Writing Blind’, ‘Without words as witnesses the instant (will not have been ) is not’ (146). Writing. Awaywithwords. As she says at the start of that essay, ‘writing is first of all a departure, an embarkation, an expedition’ (139). Irreducibly multiple, growing and dying (‘But dying is not what we think’ ), every piece of writing is a sortie, a departure, a launch and release, a raid, an
control and refine their passions and desires by rubbing and polishing them within the group.
They could thus reach that equilibrium, that ‘happy medium’ mentioned above, which was, in effect, the ideological designation
of a social space, the public sphere of the ‘middle class’, whose
territory continued to expand by pushing the nobility and ‘the
vulgar’ increasingly to the sides.
Conversation painting, like Addison’s essaywriting, thus appears
as the visual record – and modelling – of this search for the perfect
balance, as the representation of the refinement of
achieve is the correct
emotional level of the scene. We never talk about the overall purpose or
ideological content of a scene, which I may not know myself.
AUDIENCE MEMBER: I’m curious about the origins of your involvements in
theatre, at university, or how else as a poet you were drawn to such a performative medium.
HB: I was not involved in theatre as a student at all; though as a student I wrote
poetry and novels, unpublished quite rightly, but someone said to me that I
wrote good dialogue, and I essayedwriting a dialogue piece for radio: so I
came to the theatre
This chapter has offered advice on how to present your research.
However, each piece of work is different and you should remember that
the approach outlined here is simply a model of good practice; more
information on how to present your research will be offered as part of
your course of study. Sessions on essaywriting, using library resources
and time management can really help you to develop your work and
your ideas and will give you a clear indication of what is required of
you by your institution and department. The final section of this
that she found it difficult to write imaginatively while also being occupied with the demands of exam revision
and essaywriting. She had a particular reason for wanting to distinguish herself academically, since she harboured ambitions to remain
at Bristol as a postgraduate – telling Father Brocard, for example,
that ‘the reason why it behoves me to work very hard for my exams is
that I want to be invited to stay on and study some more’ (AC to FB,
18 May 1965). But, particularly with that added pressure, she found
the process of examination and assessment stressful
assumes the voice of his most recent girlfriend, Laura, in order to
condemn his part in their recent split. Having persuasively presented the
evidence of his own guilt, he comments that ‘[h]e could only hope that she
wouldn’t be able to make the case against him as well as he himself could’
4 For a detailed discussion of the reception of these stories, see Roth’s essay
‘Writing About Jews’ (Roth 2001a: 193–211).
5 In ‘Writing About Jews’, he quotes from a letter from an irate reader
who sets Roth a series of questions about his story, ‘Epstein’, including:
reasoned essaywriting over the emotional theatre of the mass platform has left us
with an abundance of republican literature, but the depth of its political and
cultural purchase is far from certain. Platform radicalism largely retained its faith
in constitutional precedent, and the rational republican rejection of Christianity
as a superstition no less illogical than monarchy, was almost a guarantee of
As we saw in the 1790s, however, sympathy for Paineite rationalism did not
always presuppose fully fledged enthusiasm for republican deism. While