To write an abstract for your thesis or abstract is an important component of your thesis. Presented at the beginning of the thesis, it is likely the first substantive description of your work read by an external examiner. You should view it as an opportunity to set accurate abstract is a summary of the whole thesis. It presents all the major elements of your work in a highly condensed abstract often functions, together with the thesis title, as a stand-alone text. Abstracts appear, absent the full text of the thesis, in bibliographic indexes such as psycinfo.
Most readers who encounter your abstract in a bibliographic database or receive an email announcing your research presentation will never retrieve the full text or attend the abstract is not merely an introduction in the sense of a preface, preamble, or advance organizer that prepares the reader for the thesis.
In addition to that function, it must be capable of substituting for the whole thesis when there is insufficient time and space for the full tly, the maximum sizes for abstracts submitted to canada's national archive are 150 words (masters thesis) and 350 words (doctoral dissertation).
Preserve visual coherence, you may wish to limit the abstract for your doctoral dissertation to one double-spaced page, about 280 structure of the abstract should mirror the structure of the whole thesis, and should represent all its major example, if your thesis has five chapters (introduction, literature review, methodology, results, conclusion), there should be one or more sentences assigned to summarize each in the thesis itself, your research questions are critical in ensuring that the abstract is coherent and logically structured.They form the skeleton to which other elements should be presented near the beginning of the is only room for one to three questions. If there are more than three major research questions in your thesis, you should consider restructuring them by reducing some to subsidiary most common error in abstracts is failure to present primary function of your thesis (and by extension your abstract) is not to tell readers what you did, it is to tell them what you discovered.
Other information, such as the account of your research methods, is needed mainly to back the claims you make about your imately the last half of the abstract should be dedicated to summarizing and interpreting your ull department directoryfaculty te programsmaster of arts in englishma of fine arts in creative writingmfa uk mfa creative writing residency at the mill h graduate student of philosophy in englishphd dissertation abstracts share this page:“image/text and text/image: reimagining multimodal relationships through dissociation”.
My dissertation addresses the question of how meaning is made when texts and images are united in multimodal arguments.
Visual rhetoricians have often attempted to understand text-image arguments by privileging one medium over the other, either using text-based rhetorical principles or developing new image-based theories.
I argue that the relationship between the two media is more dynamic, and can be better understood by applying the new rhetoric’s concept of dissociation, which chaim perelman and lucie olbrechts-tyteca developed to demonstrate how the interaction of differently valued concepts can construct new meaning.My dissertation expands the range of dissociation by applying it specifically to visual contexts and using it to critique visual arguments in a series of historical moments when political, religious, and economic factors cause one form of media to be valued over the other: byzantine iconoclasm, the late medieval period, the 1950’s advertising boom, and the modern digital age. In each of these periods, i argue that dissociation reveals how the privileged medium can shape an entire multimodal argument.
I conclude with a discussion of dissociative multimodal pedagogy, applying dissociation to the multimodal composition classroom.Apparitional economies is invested in both a historical consideration of economic conditions through the antebellum era and an examination of how spectral representations depict the effects of such conditions on local publics and individual persons.
From this perspective, the project demonstrates how extensively the period’s literature is entangled in the economic: in financial devastation, in the boundaries of seemingly limitless progress, and in the standards of value that order the worth of commodities and the persons who can trade for them. I argue that the space of the specter is a force of representation, an invisible site in which the uncertainties of antebellum economic and social change become visible. I read this spectral space in canonical works by nathaniel hawthorne, edgar allan poe, herman melville, and walt whitman and in emerging texts by robert montgomery bird, theophilus fisk, fitz james o’brien, and edward williams clay.
Methodologically, apparitional economies moves through historical events and textual representation in two ways: chronologically with an attention to archival materials through the antebellum era (beginning with the specters that emerge with the panic of 1837) and interpretively across the readings of a literary specter (as a space of lack and potential, as exchange, as transformation, and as the presence of absence). As a failed body and, therefore, a flawed embodiment of economic existence, the literary specter proves a powerful representation of antebellum social and financial uncertainties.
Drawing from the history of adolescence and the context of midcentury female juvenile delinquency, i argue that studios and teen girl stars struggled for decades with publicity, censorship, and social expectations regarding the sexual license of teenage girls. Until the late 1950s, exploitation films and b movies exploited teen sex and pregnancy while mainstream hollywood ignored those issues, struggling to promote teen girl stars by tightly controlling their private lives but depriving fan magazines of the gossip and scandals that normally fueled the machinery of stardom. This new image was a significant departure from the widespread belief that the sexually active teen girl was a fundamentally delinquent threat to the nuclear family, and offered a liberal counterpoint to more conservative teen girl prototypes like hayley mills, which continued to have cultural currency.
This dissertation joins a vibrant conversation in the social sciences about the challenging nature of care labor as well as feminist discussions about the role of the daughter in victorian culture.