Welcome

This blog was created as part of the Erasmus Mundus Crossways in Cultural Narratives Masters programme, which is the only one of the EU approved and funded Erasmus Mundus Masters programmes to specialise in traditional humanities with a modern languages background. The Crossways Consortium comprises 6 top-class European universities.

For further information, please check the programme's official website and the universities' websites on the Useful Links section on the left. If you wish to have a specific question answered, please click on Email here and submit your query.

Mundus students, here you will find regular posts regarding the universities of the consortium, tips, activities, events, pictures, etc. Apart from checking it regularly to keep yourself up to date, a good way to use the blog is through the search device. We already have a significant amount of information on some universities of the consortium, so if you want to find information on a specific city, type its name in the search field (top left). You will then see all posts related to that specific city (because each post title contains the city's name in it). You can also type "General" in order to find information concerning everybody.

Sunday, 19 July 2009

Dissertation-writing Tips

by Poonam Ganglani
Dealing with Common Dissertation Difficulties
I’ve put together a few pointers that might help some of you deal with the dissertation if it’s still ahead, based my own experience of dissertationing this last semester. Many of the ideas here are just my opinions on the research process. They may or may not be useful, depending on the methods of study that personally work best for you, and of course the subject of your dissertation. A theory of a co-Mundus dissertationer is that we’re either better as marathoners or sprinters when it comes to the dissertation. I’d say these tips are more along the lines of the marathon method, but they might contain some helpful ideas in general!

1. Confronting the Dissertation
A common problem is the tendency to think of the dissertation as a mammoth task looming closer, making it difficult to even confront it and start organizing for it. A co-Mundus dissertationer and I came up with a solution that greatly helped us throughout the whole process: first things first, demystify the dissertation. The words ‘FINAL DISSERTATION’ are drilled into our heads from day one, perhaps making it seem more threatening than it really is. I was able to start concrete work on my dissertation the minute I decided to perceive it in the same way that I think of a dossier. Think of each chapter as an essay that you need to hand in for one of your courses, and plan your draft accordingly. It might help crossing the most basic barrier of dissertation-dread.

2. How Much Reading?
It’s difficult to decide how much to read, since there’s always more to be learned about the subject. At the same time, it could be dangerous to go on reading indefinitely and without planning — firstly, because you might end up with a more horizontal rather than a vertical knowledge about your subject; and secondly, because you might have less time than you need for the writing process later on, which could become very stressful. I was overwhelmed by the amount of reading I had to do and so developed a plan of action: I organized my reading list by order of importance, and then gave myself a deadline to complete the reading for each chapter. I almost never finished the planned reading by the deadline, but put it aside anyway to begin the writing. This really helped, and gave me better direction while doing intermittent readings later on.

3. Getting Started with the Writing Process
Okay, so you’ve done all the reading, you’re in front of your computer or with pen and paper in hand, ready to start writing…and your mind draws a blank. Sound familiar? Don’t worry if it does, I think this happens to almost everyone at some point. I spent hours sometimes, staring at blank MS Word pages, or coming up with one paragraph at the end of a whole day (and then re-writing it the next). I finally realized what the problem was: the flow of my thoughts was being disrupted by my attempt to simultaneously structure them on paper. It might help to set structure aside when you’re before the screen or paper for the first time. Just pen down whatever your initial thoughts are about the subject, even if it’s haphazard and without any academic form — this will help just getting the ideas out. You can then approach the same text, refine it, and structure your ideas more academically.


4. Thematic or Methodological Framework?
When writing, you usually have a rough skeletal framework in mind around which you structure other thoughts and ideas. Some tend to use the methodology as the larger framework, and then try and fit in the theme of study into the theory. Sometimes however, it might help to try things the other way around: approach your theme of study directly, without being hindered by the need to fit it all within a theoretical framework. Once you have your core ideas down, it will be easier to integrate the theoretical notions where appropriate.

5. The Introduction
As a basic guide, you could try and answer four questions in your introduction: 1.What is the broader context in which the research is based? 2. What theme in particular will the research investigate and what is your objective in undertaking this study? (You could also mention what the research does not aim to pursue, i.e., delimit your objectives). 3. From which methodological perspective will this be considered? 4. And finally, how will the study be organized/divided throughout the dissertation? You could also use the introduction to discuss the research process, particularly if you have some personal thoughts to express about the challenges faced during your research experience. Also, it might help to re-write or refine your introduction once you’ve completed the other chapters, since by then you’d have a more global perspective of your own work.

6. Creative Writing and Thinking
The foremost objective of writing a dissertation is of course, to express your ideas clearly and crisply. However, apart from being a scholarly work, the dissertation is also a piece of aesthetic writing. I liked to think of my dissertation as a challenge in creative writing in addition to its academic dimension (This is just my opinion, and I know that many students feel otherwise). It might help to maintain a vocabulary list. I regularly noted down interesting words and phrases that randomly came to mind over the two years, and integrated some of them into my work, which really helped enhance my writing style.
To get some creative ideas flowing, it sometimes helps to think aloud, either to yourself or to your friends. Exchanging ideas with a colleague during a general conversation could help give you perspectives that you never considered earlier— some that the other person expresses, and others that you spontaneously come up with when talking aloud.

7. Cite, Don’t Cite, or Stereotype?
I am quoting this directly from some writing tips provided by one of my professors in Sheffield. This was of huge help in helping decide whether or not to cite a certain piece of information:
‘When you present a fact or statement, decide whether you need to cite it or not, and whether or not it’s a stereotype. Cite ALL quotes (from the text that you are writing about, as well as from secondary sources. If you present a fact that you didn’t know before reading it in a book, cite it (even if you aren’t quoting anything directly).

Examples-
“Cat on a Hot Tin Roof was partly inspired by a clipping from a small-town newspaper in Mississippi.” CITE
“Brick, one of the central characters in Cat on a Hot Tin Roof, is an alcoholic.” DON’T CITE [However, it’s wise to cite information that is mentioned only once or twice in the text. For example, it might be worth citing a page number for the information that Brick missed his football team’s Thanksgiving game because of a spinal injury (Act 1, p. 43).]
“Modern theatre audiences are much harder to shock than Elizabethan audiences were.” Stereotype

8. Some Useful Links and Books

- For guidelines on research ethics:
http://www.shef.ac.uk/researchoffice/gov_ethics_grp/ethics

- For laws of copyright: (I thought this link was helpful, although there may be many better ones)
http://www.copyrightservice.co.uk/copyright/
- For Research Methods:
‘The Research Student’s Guide to Success’ by Pat Cryer, Open University Press, 1996.

Wednesday, 15 July 2009

General: EM courses quality assessment

Quality assessment of EM courses - enter the website to voice your opinions.


"Erasmus Mundus - Excellence website


The Directorate General for Education and Culture is pleased to announce the launch of the Erasmus Mundus Excellence website addressed to co-ordinators, partners and grantees of the Erasmus Mundus programme, as well as students, professors and the academic world in general.

This website provides a helpful Self-assessment Tool and a Quality Handbook. These tools result from a Quality Assessment Exercise developed with the voluntary participation of 6 Erasmus Mundus Masters Courses. The first phase of the exercise was carried out in 2008, and included direct visits to 18 universities (6 co-ordinators and 12 partner institutions). The second phase of this project is now under way with the participation of another 18 universities involved in the Erasmus Mundus programme.

We invite you to visit the web site and to measure your performance through the structured questions proposed under the option “Assess my course”, where a self-assessment procedure will help you identify areas in which your quality could be improved. The tools also offer you the opportunity to reflect on options and questions included in the 4 components of excellence.

The Quality Handbook is closely related to the questions included in the 4 components of excellence and includes examples of good practice that illustrate how challenges have been met by co-ordinators, partners, students and professors of excellent Erasmus Mundus Master Courses."

Sunday, 5 July 2009

International Meeting: Heterological Systems

Coletivo dos sistemas heterológicos

Caso 28 : Práticas do acaso

Encontro Internacional, 3 a 5 de março de 2010

Niterói, Rio de Janeiro, Brésil

O saber do médico e do estrategista difere, por sua natureza, da sapiência do filósofo. No primeiro caso, não se trata de uma ciência do Ser (das Essências imutáveis, das Idéias eternas, das Formas definitivas); trata-se de um saber da duração e das articulações do tempo. As batalhas e as doenças pertencem à categoria do evento : a dimensão temporal lhes é consubstancial. Longe de banhar-se em um tempo homogêneo e plano, cada evento possui sua duração própria, um tempo de velocidade variável cujos momentos não têm nem o mesmo valor nem a mesma intensidade :

Há pontos críticos do evento assim como há pontos críticos de temperatura, pontos de fusão, de congelamento; de ebulição, de condensação; de coagulação; de cristalização. E há até mesmo no evento estados de liquefação abaixo da temperatura de fusão que só se precipitam, só se cristalizam, só se determinam pela introdução de um fragmento do evento futuro. (Charles Péguy, Clio)

A intervenção oportuna do médico é da mesma ordem : seu gesto é determinante para o curso ulterior da doença. Ele deve espreitar as turbulências, as variações, bifurcações e pontos de ruptura qui turvam a mais lisa das durações, pois agindo precisamente nesses momentos de indeterminação, chegará a impor uma direção decisiva à patologia em curso. Desde que se interfira no momento oportuno, basta um pequeno toque, um leve desvio para dar um outro rumo à sequência de eventos.

Como o médico, os poetas e artistas sempre se mostraram atentos às articulações internas do evento. Ovídio oferece várias exemplos : iludida por uma maçã de ouro, a virgem Atalanta declinat cursus, inclina-se e colhe o objeto de sua inclinação, dando assim a Hipomeno ocasião de ganhar tanto a corrida quanto a jovem. Assim se articulam os saberes do kairos et do clinamen, do ponto crítico e da declinação. Há momentos em uma corrida (ou em um discurso, em um curso d’água, no curso dos dias, no decurso de uma batalha, nas cotações dos mercados financeiros...) em que a mais ínfima inflexão pode dar aos eventos um rumo totalmente diferente e uma outra versão. Dito de outro modo : há um saber do clinamen e esse saber não é somente teórico, mas prático.

O objetivo desse encontro será portanto não apenas o de discutir como os artistas dão a sentir esses pontos de indeterminação temporal, mas igualmente o de mostrar como, nas práticas artísticas, os recursos dessa indeterminação são por eles explorados. E talvez também o de produzir gestos kairóticos sobre o cursus do que estamos em vias de nos tornar no século XXI. Praticando o acaso haja o que houver, esperamos aumentar nossas chances de pegar os kairoi pelos cabelos.

Fronte capillata, post est occasio calva.

Programa Erasmus Mundus Crossways in European Humanities/Universidade Federal Fluminense. Organização : Maria Cristina Franco Ferraz (mcfferraz@hotmail.com), Jonathan Pollock (pollock@univ-perp.fr). Data limite das propostas : 30 de junho de 2009.


Collectif des systèmes hétérologiques

Cas n° 28 : Pratiques du hasard/Práticas do acaso

Rencontre internationale, 3-5 mars 2010

Niterói, Rio de Janeiro, Brésil

Le savoir du médecin et du stratège est d’une autre nature que la sapience du philosophe. La leur n’est pas une science de l’Être (des Essences immuables, des Idées éternelles, des Formes définitives), mais un savoir de la durée et des articulations du temps. Les batailles et les maladies relèvent de la catégorie de l’événement : la dimension temporelle leur est consubstantielle. Loin de baigner dans un temps homogène et plat, chaque événement possède sa durée propre, un temps à vitesse variable, et dont les moments n’ont pas tous la même valeur ni la même intensité :

Il y a des points critiques de l’événement comme il y a des points critiques de température, des points de fusion, de congélation ; d’ébullition, de condensation ; de coagulation ; de cristallisation. Et même il y a dans l’événement de ces états de surfusion qui ne se précipitent, qui ne se cristallisent, qui ne se déterminent que par l’introduction d’un fragment de l’événement futur. (Charles Péguy, Clio)

L’intervention opportune du médecin est de cet ordre-là : son geste est déterminant pour le cours ultérieur de la maladie. Il doit guetter les turbulences, les remous, les bifurcations et points de rupture qui troublent la durée la plus lisse, car en agissant précisément à ces moments d’indétermination, il arrivera à imposer une direction décisive à la pathologie en cours. Pourvu qu’on intervienne au bon moment, il suffit d’un petit coup de pouce, d’une légère déviation pour donner à la suite des événements une autre tournure.

À l’instar du médecin, les poètes et les artistes se sont toujours montrés attentifs aux articulations internes de l’événement. Ovide foisonne d’exemples : leurrée par une pomme d’or, la vierge Atalante declinat cursus, s’incline et ramasse l’objet de son inclination, donnant ainsi à Hippomène l’occasion de gagner et la course et la fille. Ainsi s’articulent les savoirs du kairos et du clinamen, du point critique et de la déclinaison. Il y a des moments dans une course (ou dans un discours, ou dans un cours d’eau, ou dans le cours du jour, ou dans le cours d’une bataille, ou dans le cours des marchés financiers…) où la plus infime inflexion peut donner une toute autre tournure aux événements — une toute autre tournure, et une toute autre version. Autrement dit, il existe un savoir du clinamen, et ce savoir n’est pas seulement théorique, mais pratique. L’objet de cette rencontre sera donc non seulement d’explorer comment les artistes donnent à sentir ces points d’indétermination temporelle, mais de montrer également comment ils en exploitent les ressources dans leur pratique même. Et peut-être aussi de produire des gestes kairotiques sur le cursus de ce que nous sommes en train de devenir au 21e siècle. En pratiquant le hasard à tout hasard, on espère augmenter nos chances de saisir les kairoi par les cheveux.

Fronte capillata, post est occasio calva.

Programme Erasmus Mundus Crossways in European Humanities/Université Fédérale Fluminense. Organisation : Maria Cristina Franco Ferraz (mcfferraz@hotmail.com), Jonathan Pollock (pollock@univ-perp.fr). Date limite des propositions 30 juin 2009.