Fisher and Phelps found a refreshing, original form for their writing on thesis structure. The authors chose to present their thoughts on the tension between traditional academic writing and the non linear threads of action research as a play – actors, set, props and all. The play presents the academic work of each of the authors including thesis topic, research process and examiners’ comments.
I found it particularly interesting to read the quotes from examiners, some were familiar with the action research and some were not. Some of the examiners were willing to follow the instructions for reading the text and others insisted on reading the thesis as though it had traditional 5 blocks structure. It is clear that today students are writing their research in varied ways but there is no doubt that it still involves risk. There is always a chance that a thesis will be rejected on structural basis. I understand that the further the departure from conventional form, the more reader-friendly the text must be.
The authors raise a question I have already raised in my blog:
“Some of you will be fortunate enough to be studying and researching from innovative academic faculties with strong traditions of participatory inquiry and action research…” (p. 145). Does this describe Monash?
One of the authors explains that she convinced her supervisors of the necessity of a non traditional writing form and then justified this choice in the introduction of the thesis.
Both authors chose to present themselves as active participants in the research process from the outset. They discussed their personal experience which led to their choices in research topic and process.
Narrative:The authors quote Ellis and Bochner (2000, as cited in Fisher & Phelps, 2006) and report that narrative in research encourages readers “to feel the moral dilemmas, think with our story instead of about it, join actively in the decision points…and consider how their own lives can be made a story worth telling” (p. 151). Isn’t that what I am hoping that my readers will experience?
Fisher explained in her thesis that there are three different voices involved: (p. 152)
- “a relatively ‘neutral’ reporting voice that relays the ‘facts’ of what happened”
- “the ‘reflective practitioner’
- the ‘critical reflector’, offers a ‘commentary’ on the sometimes naive voice of the reflective practitioner from a vantage point that names the assumptions made and reflects on some of the silences and absences in the narrative.”
Both authors presented their PhD theses in chronological form where the literature review unfolded throughout the text as it did during the research process. They did not pretend (as in traditional research form) that they had read and analysed all the literature before they embarked on the project. They both discussed the influence reading had on the unfolding project.
Both authors discussed the “dead ends” (p. 153) they met in their research , seeing them as an integral part of the process.
As far as facing examiners go, the authors proclaim: “While there is always the risk of an unsympathetic examiner, by explicitly structuring the thesis consistent with the epistemological, methodological and ethical aspects of action research, postgraduate students can provide a clear and rigorous justification for their choices (p. 159).
It is interesting that most of the materials before me have been written by Australian academics. I’m not sure why that is, the paper chase is just blowing in that direction.
Fisher, K., & Phelps, R. (2006). Recipe or performing art? Challenging conventions for writing action research theses. Action Research, 4(2), 143-164. Retrieved from http://arj.sagepub.com/