Extending the notion of ‘text’: the visual and performing arts doctoral thesis

Abstract

Doctoral writing in the visual and performing arts poses many challenges for the academy, not the least of which is accounting for the possible relations which can hold between the written and creative/performed components of a doctoral thesis in these fields. This article proposes that the interrelations between the two components in doctoral submissions of this kind can be theorized as being on a continuum of interrelations, with a number of key text types (or archetypes) being manifested. Through textual analysis of the written component only, the different possible relations can be distinguished through the ways in which the creative component is resemiotized in the written text, through both the verbal and visual semiosis of the written component. This enables us to identify a number of ways in which the ‘one’ project can be construed through its two different component parts, casting an important light on debates within the field in terms of the relations between creative practice and research.

Resisting Best-Practice in Australian Practice-Based Jazz Doctorates

“…The main centripetal force at stake here is the underlying functions of a doctoral thesis, such as the need to contextualize the research, the need to engage with theory, the need to place the research within a broader field, and the need to demonstrate the way/s in which the doctoral project moves the field forward. (Paltridge et al, 2012, p. 10) In further discussion of the same data set, Ravelli et al (2013) have argued bluntly that institutional inertia -i.e. 'what institutions have accepted as instances of doctoral theses in the visual and performing arts' -has led to 'anxiety often felt by students and supervisors as to how a thesis "should" be written' (Ravelli et al, 2013, p. 417).…”

“…(2013) have argued bluntly that institutional inertia – i.e. ‘what institutions have accepted as instances of doctoral theses in the visual and performing arts’ – has led to ‘anxiety often felt by students and supervisors as to how a thesis “should” be written’ (Ravelli et al ., 2013, p. 417). This institutional pressure impacts ‘[the] sense of agency on the part of the authors/artists’ who may wish to explore ‘different typical relations as a way of opening up the semiotic space [i.e.…”

'Academic literacies' as moving beyond writing: Investigating multimodal approaches to academic argument

“…Writing practices in the academy are changing, in part due to digital technology, making it easier to mix and match different modes of communication. Scholars have begun to note and investigate the changing nature of the doctoral thesis (Andrews et al, 2012;Björkvall, 2016;Fransman, 2012;Kress, 2012;Ravelli et al, 2013). The tasks set for students' assignments often require competence in integrating modes, and written assignments also take design and layout into consideration.…”

Implementing a new doctor of creative arts program in the Chinese year of the fire monkey

“…Stock Arts (DDCA), provides a space for creative artists in academia to discuss the complexities around demonstrating the research contribution of NTROs and 'issues and activities relating to practice, research and teaching taking place within the university sector' (DDCA/NiTRO, 2016). However, despite this recognition, candidates and academics in programs such as a DCA often feel as if they operate at the periphery, forever called upon to justify their creative work as legitimate research, compared to other disciplines whose longer history in the academy have conferred credibility (Baker et al, 2009;Ravelli et al, 2013).…”

“…The (Baker et al, 2009;Ravelli et al, 2013). A major restructure of the university has seen substantial progress in the last three years in 'formalising' ways of reporting creative arts outcomes in a visible way (ARC, 2015).…”