Below is the schedule for Thesis Preparation that is run here. Try to keep to the deadlines, or take one extra week for each if needed (but no later for submissions).
Tim, Noel and myself will post the text of our presentations to keep you up to date on content here. I will email you a list of who is your tutor (Tim/me) this week and a schedule for email contact, in lieu of tutorial time.
THESIS PREPARATION MODULE
Fine Art
Stage 3, Semester 6
Tutors: Niamh Ann Kelly, Tim Stott Room: 304 Wednesdays: 11am- 1pm
WEEK/DATE
MODULE CONTENT
Week 1
3 Feb
Feedback on Essays, Semester 5
Week 2
10 Feb
Introduction to thesis programme – What is a Thesis?
Selecting a Topic -Where do I start? How do I focus my topic?
Week 3
17 Feb
Image/Object Presentations
Defining/Identifying research questions
Week 4
24 Feb
Research Methods & Literature Review
DIT Library Talk
Week 5
3 March
Submission of Written Proposals of Thesis Topic, with Bibliography
Class discussion on proposals.
Thesis Guidelines. Referencing, Citing & Using the Internet
Week 6
10 March
REVIEW WEEK – no seminar
Week 7
17 March
19 March
St. Patrick’s Day – no seminar
Submission of Literature Review (1,500 words). Review will be on at least three key texts relevant to your topic
Week 8
24 March
Tutorial feedback on literature review and written proposal.
EASTER
Week 9
14 April
Types of Thesis Structures: How arguments are constructed. Case-study. Comparative Analysis. Historical Narrative. Critical Review. Interpretation.
Week 10
21 April
Submission of Conference Paper
(2,000 words, applying literature review to object analysis).
Class Presentations
Week 11
28 April
Class Presentations
Week 12
5 May
Tutorial feedback on conference paper
Week 13
12 May
Tutorial feedback on conference paper
Monday, February 22, 2010
Friday, November 27, 2009
Erasmus Critical Theory Project
Erasmus Critical Theory Project
For the students currently on Erasmus, we would like you to write a 500 word reflection on each of the questions below. You will need to visit at least two galleries/museums in order to complete the assignment. We would like you to give a presentation based on your reflections on your return in January 2010.
1. Choose one museum or gallery in your host country and reflect on how the museum showcases contemporary local artists and/or designers.
2. With reference to two galleries or museums in your host country, examine how cultural institutions participate in the presentation and construction of national heritage
3. How has the experience of living in your host country affected your own practice?
4. How has your understanding of your host country changed since you’ve lived there?
5. What recommendations would you make to students doing the same Erasmus exchange next year?
For the students currently on Erasmus, we would like you to write a 500 word reflection on each of the questions below. You will need to visit at least two galleries/museums in order to complete the assignment. We would like you to give a presentation based on your reflections on your return in January 2010.
1. Choose one museum or gallery in your host country and reflect on how the museum showcases contemporary local artists and/or designers.
2. With reference to two galleries or museums in your host country, examine how cultural institutions participate in the presentation and construction of national heritage
3. How has the experience of living in your host country affected your own practice?
4. How has your understanding of your host country changed since you’ve lived there?
5. What recommendations would you make to students doing the same Erasmus exchange next year?
Critical Theory Team Nov 2009
Wednesday, October 14, 2009
writing guidelines
Section 6: Guidelines for Written Work
6.1 Length.
Written submissions should not be excessively long. The key requirement is that you write clearly in response to the topic or subject that you are addressing.
A written essay submitted as part of your work in stages 1, 2 and 3 will typically be between 1,500 and 3,000 words. The required length will be specified as part of the brief given to you during a module. In the final phase of your BA studies you will take a module in critical studies - usually called “the thesis” - which will entail you writing a longer work of 8,000-10,000 words. The programme is set up in such a way that you progress towards being able to construct such a major piece of written research work by developing skills through the written work set during stages 1, 2 and 3.
6.2 Methods of Citation
DIT employs the Harvard Referencing Style.
6. 2.1 Bibliography.
A bibliography is a list of books. All sources of information that have been used in producing an essay or thesis should be listed in alphabetical order. This may also include internet sites, interviews and unpublished materials. Works should be cited as follows:
Books
AUTHOR (date) Title, Place, Publisher.
For example:
SAID, Edward (1978) Orientalism, Harmondsworth, Penguin.
Or:
AUTHOR (date) ‘Title’, in AUTHOR (ed.), Title, Place, Publisher, page numbers.
For example:
KANDINSKY, W. (1968) ‘Concrete Art’, in CHIPP, H. B. (ed.), Theories of Modern Art, Berkeley, University of California Press, pp. XXX-XXXX.
Or:
CERA, D. (ed.), (1992) Jewels of Fantasy: Costume Jewellery of the 20th Century, New York, Abrams.
Periodical literature.
Periodical literature refers to magazines and journals which appear on a regular basis e.g. monthly or weekly i.e. periodically, hence the name periodical.
AUTHOR (date) ‘Title’, Journal, Volume, Number, page numbers.
For example:
HUTCHINSON, J. (1987) ‘Interview with Patrick Graham’, Irish Arts Review, Vol. 4, No. 4, pp. 16-20.
For exhibition catalogues with no author the organiser should be cited as author, e.g:
ARTS COUNCIL (1971) Art in Revolution: Soviet Style and Design Since 1917, London.
Films.
Director. (Date) Title. [Material designation]. Place, Organisation.
Example:
LORD, P. and PARK, N.(2000) Chicken Run. [Animated film]. Bristol, Aardman.
Published Interviews.
For interviews, the interviewer should be cited as author, followed by date (in parentheses), details of the interview (interviewee), location, etc.
O’CONNOR, J. (2006) Interview with Damien Harrington. Kilkenny, June 18th.
Internet Sources.
For web files, cite (as much of the following as available): author’s name beginning with surname, date (in parentheses), full title of the specific item (in inverted quotes), the title of the complete work (in italics), any version or file numbers, protocol and full URL, date of access (in parentheses):
BURKA, Lauren P. (1993) ‘A Hypertext History of Multi-User Dimensions’, MUD History. [http://www.utopia.com/talent/lpb/muccex/essay] (2/8/1996).
References in the text to material on the World Wide Web should be made in the same way as for other material, e.g. (Burka, 1993).
6.2.2 References / Footnotes.
All sources, whether quoted directly or paraphrased, shall be carefully referenced. Items in the bibliography should be listed in alphabetical order. The author's surname, the date of publication and the relevant page, pages or chapter are then used within the text to refer to an item in the bibliography.
For example:
‘Things begin to change with the Renaissance because a new consciousness forms in the European mind’ (Amin, 1989: 75).
Or:
According to Amin, a new European mind-set resulted in changes around the time of the Renaissance (1989: 75).
In paraphrases where the origin of the material cited is not immediately obvious from the text, the author’s name should be included in the reference. For example:
“One author notes changes developing around the time of the Renaissance, due to the emergence of a new European mind-set (Amin, 1989: 75).”
In the case where the bibliography includes more than one work by an author in a particular year, the items should be numbered a, b, c (etc.) in the bibliography and references made accordingly in the text.
With this system of references, footnotes are used only to give additional information or comment, to direct attention to supporting, divergent or conflicting opinions, or to refer to other pages or passages in the thesis. A footnote reference is indicated by placing a number--a raised or superscript numeral--immediately after the end of the statement for which reference is given, e.g.: “....this argument.4”
If footnotes contain a quotation, it should be in the same format as those in the text. Footnotes may be placed at the bottom of the page, at the end of the essay/ thesis chapter, or at the end of the thesis. They may be numbered by chapter, or consecutively throughout the thesis.
6.2.3 Quotations.
These should be typed within single quotation marks, and quotations within quotations should use double quotation marks. Quotations of more than three lines should be set in block form, indented from the margins and typed single space, without quotation marks.
6.2.4. Titles used in the text.
Italics should follow normal publication usage, i.e. titles of books, periodicals and artworks should be italicised.
6.3 Presentation of Written Work.
6.3.1 Number of Copies.
Only one copy of an essay needs to be submitted.
However, for the final year thesis you must prepare a minimum of two copies of the written submission in an appropriate binding.
An electronic copy in Word.doc format of all written work should also be submitted for archival and administrative purposes. You will be given a specific e-mail address to send a copy of your essay.
6.3.2 Print and Pagination.
Written work shall be in print on one side only of A4-size paper with pages numbered consecutively (including appendices). Page numbers should be located centrally at the bottom of the page and about 20mm above the edge of the page.
The print should be easily legible, a good guideline is Times New Roman. The margin at binding edge should be not less than 40mm and other margins not less than 20mm, both for type and diagrams/images.
One-and-a-half spacing is recommended, except for indented long quotations, where single spacing should be used.
Photographs or diagrams should be related clearly to the text.
Illustrations should be computer-scanned and of good quality (typically 300d dpi or higher in resolution).
The pages on which illustrations appear should be numbered in sequence with the rest of the pages of the text.
6.4 More Information.
There are a great many resources available to research writers. These are some that may be of value:
About the Harvard Referencing Style:
[http://www.leeds.ac.uk/library/training/referencing/harvard.htm] (9/1/07)
6.1 Length.
Written submissions should not be excessively long. The key requirement is that you write clearly in response to the topic or subject that you are addressing.
A written essay submitted as part of your work in stages 1, 2 and 3 will typically be between 1,500 and 3,000 words. The required length will be specified as part of the brief given to you during a module. In the final phase of your BA studies you will take a module in critical studies - usually called “the thesis” - which will entail you writing a longer work of 8,000-10,000 words. The programme is set up in such a way that you progress towards being able to construct such a major piece of written research work by developing skills through the written work set during stages 1, 2 and 3.
6.2 Methods of Citation
DIT employs the Harvard Referencing Style.
6. 2.1 Bibliography.
A bibliography is a list of books. All sources of information that have been used in producing an essay or thesis should be listed in alphabetical order. This may also include internet sites, interviews and unpublished materials. Works should be cited as follows:
Books
AUTHOR (date) Title, Place, Publisher.
For example:
SAID, Edward (1978) Orientalism, Harmondsworth, Penguin.
Or:
AUTHOR (date) ‘Title’, in AUTHOR (ed.), Title, Place, Publisher, page numbers.
For example:
KANDINSKY, W. (1968) ‘Concrete Art’, in CHIPP, H. B. (ed.), Theories of Modern Art, Berkeley, University of California Press, pp. XXX-XXXX.
Or:
CERA, D. (ed.), (1992) Jewels of Fantasy: Costume Jewellery of the 20th Century, New York, Abrams.
Periodical literature.
Periodical literature refers to magazines and journals which appear on a regular basis e.g. monthly or weekly i.e. periodically, hence the name periodical.
AUTHOR (date) ‘Title’, Journal, Volume, Number, page numbers.
For example:
HUTCHINSON, J. (1987) ‘Interview with Patrick Graham’, Irish Arts Review, Vol. 4, No. 4, pp. 16-20.
For exhibition catalogues with no author the organiser should be cited as author, e.g:
ARTS COUNCIL (1971) Art in Revolution: Soviet Style and Design Since 1917, London.
Films.
Director. (Date) Title. [Material designation]. Place, Organisation.
Example:
LORD, P. and PARK, N.(2000) Chicken Run. [Animated film]. Bristol, Aardman.
Published Interviews.
For interviews, the interviewer should be cited as author, followed by date (in parentheses), details of the interview (interviewee), location, etc.
O’CONNOR, J. (2006) Interview with Damien Harrington. Kilkenny, June 18th.
Internet Sources.
For web files, cite (as much of the following as available): author’s name beginning with surname, date (in parentheses), full title of the specific item (in inverted quotes), the title of the complete work (in italics), any version or file numbers, protocol and full URL, date of access (in parentheses):
BURKA, Lauren P. (1993) ‘A Hypertext History of Multi-User Dimensions’, MUD History. [http://www.utopia.com/talent/lpb/muccex/essay] (2/8/1996).
References in the text to material on the World Wide Web should be made in the same way as for other material, e.g. (Burka, 1993).
6.2.2 References / Footnotes.
All sources, whether quoted directly or paraphrased, shall be carefully referenced. Items in the bibliography should be listed in alphabetical order. The author's surname, the date of publication and the relevant page, pages or chapter are then used within the text to refer to an item in the bibliography.
For example:
‘Things begin to change with the Renaissance because a new consciousness forms in the European mind’ (Amin, 1989: 75).
Or:
According to Amin, a new European mind-set resulted in changes around the time of the Renaissance (1989: 75).
In paraphrases where the origin of the material cited is not immediately obvious from the text, the author’s name should be included in the reference. For example:
“One author notes changes developing around the time of the Renaissance, due to the emergence of a new European mind-set (Amin, 1989: 75).”
In the case where the bibliography includes more than one work by an author in a particular year, the items should be numbered a, b, c (etc.) in the bibliography and references made accordingly in the text.
With this system of references, footnotes are used only to give additional information or comment, to direct attention to supporting, divergent or conflicting opinions, or to refer to other pages or passages in the thesis. A footnote reference is indicated by placing a number--a raised or superscript numeral--immediately after the end of the statement for which reference is given, e.g.: “....this argument.4”
If footnotes contain a quotation, it should be in the same format as those in the text. Footnotes may be placed at the bottom of the page, at the end of the essay/ thesis chapter, or at the end of the thesis. They may be numbered by chapter, or consecutively throughout the thesis.
6.2.3 Quotations.
These should be typed within single quotation marks, and quotations within quotations should use double quotation marks. Quotations of more than three lines should be set in block form, indented from the margins and typed single space, without quotation marks.
6.2.4. Titles used in the text.
Italics should follow normal publication usage, i.e. titles of books, periodicals and artworks should be italicised.
6.3 Presentation of Written Work.
6.3.1 Number of Copies.
Only one copy of an essay needs to be submitted.
However, for the final year thesis you must prepare a minimum of two copies of the written submission in an appropriate binding.
An electronic copy in Word.doc format of all written work should also be submitted for archival and administrative purposes. You will be given a specific e-mail address to send a copy of your essay.
6.3.2 Print and Pagination.
Written work shall be in print on one side only of A4-size paper with pages numbered consecutively (including appendices). Page numbers should be located centrally at the bottom of the page and about 20mm above the edge of the page.
The print should be easily legible, a good guideline is Times New Roman. The margin at binding edge should be not less than 40mm and other margins not less than 20mm, both for type and diagrams/images.
One-and-a-half spacing is recommended, except for indented long quotations, where single spacing should be used.
Photographs or diagrams should be related clearly to the text.
Illustrations should be computer-scanned and of good quality (typically 300d dpi or higher in resolution).
The pages on which illustrations appear should be numbered in sequence with the rest of the pages of the text.
6.4 More Information.
There are a great many resources available to research writers. These are some that may be of value:
About the Harvard Referencing Style:
[http://www.leeds.ac.uk/library/training/referencing/harvard.htm] (9/1/07)
history of art reading list
Fine Art, Stage 3: Critical Theory 3.5, History of Art 2009/10
Lecturer: Niamh Ann Kelly READING LIST
BOOKS
Azoulay, Ariella, The Civil Contract of Photography, 2008
Bal, Mieke, Looking in: the art of viewing, 2001
Blazwick, Iwona (Ed), Century city: art and culture in the modern metropolis, 2001
Cashell, Kieran, Aftershock: the ethics of contemporary transgressive art, 2009
Crimp, Douglas, On the museum's ruins; with photographs by Louise Lawler, 1993
Da Costa, b & Philip, K, Tactical biopolitics: art, activism, and technoscience, 2008
Douglas, S & Eamon, C (Eds), Art of Project, 2009
Fernie, Eric, Art History and its Methods, 1995
Frascina, F. & Harris, J., (Eds) Art in Modern Culture: An Anthology of Critical Texts, 1992
Fraser, Andrea (Alberro, Alexander, Ed), Museum highlights: the writings of Andrea Fraser, 2005
Gablik, Suzi, The Re-enchantment of Art, 1991
Gablik, Suzi, Conversations before the end of time, 1997
Hal, Foster, The Return of the Real, 1996
Harris, Jonathon (Ed), Dead History, Live Art? – Spectacle, Subjectivity and Subversion in Visual Culture since the 1960s, 2007
Harrison, C & Wood, P. (eds), Art in Theory 1900-1990, 2002
Hatfield, Jackie (Ed), Experimental film and video: an anthology; picture editor, Stephen Littman., 2006
Herrero, Mart, Irish intellectuals and aesthetics:the making of a modern art collection, 2007
Hiller, Susan (Ed), The Myth of Primitivism, Perspectives on Art, 1991
Hoffmann, Jens & Jonas, Jonas, Perform, 2005
Hooks, Bell, Art on My Mind, 1995
Johnson, Ellen H, Modern Art and the Object – A Century of Changing Attitudes, 1995
Kelly, Liam, Thinking Long, 1996
McCorquodale, Duncan, Siderfin, Naomi and Stallabrass, Julian (Eds), Occupational hazard : critical writing on recent British art, 1998
McGonagle, Declan, O’Toole, Fintan & Levin, Kim, Irish Art now: from the poetic to the politcal, 1999
O’Doherty, Brian, Inside the white cube : the ideology of the gallery space, 1999
O’Doherty, Brian, Studio and Cube: on the relationship between where art is made and where art is displayed, 2007
Pollock, Griselda (Ed), Vision and Difference, 1988
Potts, Alex, The Sculptural Imaginations – Figurative, Modernist & Minimalist, 2000
Roberts, John (Ed) Art has no History, the Making and Unmaking of Modern Art, 1994
Roberts, John, The art of interruption: realism, photography, and the everyday, 1998
Roberts, John, Postmodernism, politics and art, 1990
Sandler, Irving, Art of the Postmodern Era: from the late 1960s to the early 1990s, 1996
Schubert, Karsten, The Curator’s Egg: the Evolution of the museum concept form the French Revolution to the Present Day
Sontag, Susan, On Photography, 2002
Stocker, Gerfried und Schöpf. Christine (Eds), Simplicity : the art of complexity, 2006 (Ars Electornica)
Sukla, Ananta Ch(Ed), Art and Representation: contributions to contemporary aesthetics, 2001
Taylor, Brandon, Art Today, 2004
Zurbrugg, Nicholas, Critical Vices: the myths of postmodern theory, 2000
JOURNALS/MAGAZINES
Art Forum; Art Monthly; Artext; Circa; Frieze; Irish Arts Review; Journal of Visual Culture; Source, Third Text
INTERNET RESEARCH
Be wary of internet sources - make sure the articles you are interested in have an author. Some useful sites:
http://www.ubu.com/
http://aaaarg.org/
http://www.tate.org.uk/tateshots/
http://.ctheory.net/
http://www.artforum.com/
http://www.flashartonline.com/
http://www.cabinetmagazine.org/
http://www.frieze.com/
http://www.artmonthly.co.uk/
http://www.factualtv.com/documentaries/art-and-artists
Lecturer: Niamh Ann Kelly READING LIST
BOOKS
Azoulay, Ariella, The Civil Contract of Photography, 2008
Bal, Mieke, Looking in: the art of viewing, 2001
Blazwick, Iwona (Ed), Century city: art and culture in the modern metropolis, 2001
Cashell, Kieran, Aftershock: the ethics of contemporary transgressive art, 2009
Crimp, Douglas, On the museum's ruins; with photographs by Louise Lawler, 1993
Da Costa, b & Philip, K, Tactical biopolitics: art, activism, and technoscience, 2008
Douglas, S & Eamon, C (Eds), Art of Project, 2009
Fernie, Eric, Art History and its Methods, 1995
Frascina, F. & Harris, J., (Eds) Art in Modern Culture: An Anthology of Critical Texts, 1992
Fraser, Andrea (Alberro, Alexander, Ed), Museum highlights: the writings of Andrea Fraser, 2005
Gablik, Suzi, The Re-enchantment of Art, 1991
Gablik, Suzi, Conversations before the end of time, 1997
Hal, Foster, The Return of the Real, 1996
Harris, Jonathon (Ed), Dead History, Live Art? – Spectacle, Subjectivity and Subversion in Visual Culture since the 1960s, 2007
Harrison, C & Wood, P. (eds), Art in Theory 1900-1990, 2002
Hatfield, Jackie (Ed), Experimental film and video: an anthology; picture editor, Stephen Littman., 2006
Herrero, Mart, Irish intellectuals and aesthetics:the making of a modern art collection, 2007
Hiller, Susan (Ed), The Myth of Primitivism, Perspectives on Art, 1991
Hoffmann, Jens & Jonas, Jonas, Perform, 2005
Hooks, Bell, Art on My Mind, 1995
Johnson, Ellen H, Modern Art and the Object – A Century of Changing Attitudes, 1995
Kelly, Liam, Thinking Long, 1996
McCorquodale, Duncan, Siderfin, Naomi and Stallabrass, Julian (Eds), Occupational hazard : critical writing on recent British art, 1998
McGonagle, Declan, O’Toole, Fintan & Levin, Kim, Irish Art now: from the poetic to the politcal, 1999
O’Doherty, Brian, Inside the white cube : the ideology of the gallery space, 1999
O’Doherty, Brian, Studio and Cube: on the relationship between where art is made and where art is displayed, 2007
Pollock, Griselda (Ed), Vision and Difference, 1988
Potts, Alex, The Sculptural Imaginations – Figurative, Modernist & Minimalist, 2000
Roberts, John (Ed) Art has no History, the Making and Unmaking of Modern Art, 1994
Roberts, John, The art of interruption: realism, photography, and the everyday, 1998
Roberts, John, Postmodernism, politics and art, 1990
Sandler, Irving, Art of the Postmodern Era: from the late 1960s to the early 1990s, 1996
Schubert, Karsten, The Curator’s Egg: the Evolution of the museum concept form the French Revolution to the Present Day
Sontag, Susan, On Photography, 2002
Stocker, Gerfried und Schöpf. Christine (Eds), Simplicity : the art of complexity, 2006 (Ars Electornica)
Sukla, Ananta Ch(Ed), Art and Representation: contributions to contemporary aesthetics, 2001
Taylor, Brandon, Art Today, 2004
Zurbrugg, Nicholas, Critical Vices: the myths of postmodern theory, 2000
JOURNALS/MAGAZINES
Art Forum; Art Monthly; Artext; Circa; Frieze; Irish Arts Review; Journal of Visual Culture; Source, Third Text
INTERNET RESEARCH
Be wary of internet sources - make sure the articles you are interested in have an author. Some useful sites:
http://www.ubu.com/
http://aaaarg.org/
http://www.tate.org.uk/tateshots/
http://.ctheory.net/
http://www.artforum.com/
http://www.flashartonline.com/
http://www.cabinetmagazine.org/
http://www.frieze.com/
http://www.artmonthly.co.uk/
http://www.factualtv.com/documentaries/art-and-artists
history of art project, fine art year 3
Fine Art, Stage 3: Critical Theory 3.5, History of Art 2009/10
Lecturer: Niamh Ann Kelly PROJECT
Project: ESSAY
Write a 3,000 word essay on one of the following:
1. The development of new approaches to how art and technology interact has redefined the audiences of contemporary art. Discuss this statement in relation to two artists of your choice working between 1990 and today.
2. Changing notions of identity - either personal or shared - are central to how contemporary artists explore cultural or political themes in the public domain. Discuss this statement in relation to two artists of your choice working between 1990 and today.
3. Critiques of the institutions that mediate art - such as curatorship, the art market, studio management and art criticism - are changing the discourses surrounding contemporary art. Discuss this statement in relation to two artists of your choice working between 1990 and today whose works address one or more of the listed institutions of art.
Submission: EMAIL to niamhann.kelly@dit.ie
ON either 15th or 16th DECEMBER 2009
(Do not email on any other day please)
Format: Word Document,
with illustrations & full bibliography
Please read and follow Guidelines for Written Submissions.
Lecturer: Niamh Ann Kelly PROJECT
Project: ESSAY
Write a 3,000 word essay on one of the following:
1. The development of new approaches to how art and technology interact has redefined the audiences of contemporary art. Discuss this statement in relation to two artists of your choice working between 1990 and today.
2. Changing notions of identity - either personal or shared - are central to how contemporary artists explore cultural or political themes in the public domain. Discuss this statement in relation to two artists of your choice working between 1990 and today.
3. Critiques of the institutions that mediate art - such as curatorship, the art market, studio management and art criticism - are changing the discourses surrounding contemporary art. Discuss this statement in relation to two artists of your choice working between 1990 and today whose works address one or more of the listed institutions of art.
Submission: EMAIL to niamhann.kelly@dit.ie
ON either 15th or 16th DECEMBER 2009
(Do not email on any other day please)
Format: Word Document,
with illustrations & full bibliography
Please read and follow Guidelines for Written Submissions.
Tuesday, September 22, 2009
Erasmus PROTOCOLS FOR ACADEMIC YEAR 2009/10 Fine Art -
For this academic year Fine Art students are eligible to travel in both Semester One and Semester Two.
Referrals
Students carrying referral projects into the semester they are due to participate on Erasmus will not be eligible for the scheme.
Monitoring of students
In the event of a large students cohort being away – staff are designated a number of Erasmus students to keep in contact with.
Assessment procedures
Communication
DIT staff will only communicate with Erasmus students via the DIT email system. Students must use the receipt option when sending their emails to DIT staff thus avoiding follow up emails regarding receipt of same.
Critical Theory and Professional Practice modules
Semester 5, Stage 3
Students to submit by email, for deadlines as per semester hand in date *:
1. Discipline History Project - same as class body
2 Erasmus Theory Project - set each year for Erasmus students,
across the school
* same end of semester hand in date as those not on Erasmus eg- for Semester One Jan 2010, for Semester Two May 2010
Semester 6, Stage 3
Students to submit, for deadlines as per semester
1. Literature Review - same as class body
2. Mini-Thesis - same as class body
To accommodate the above, Critical Theory Staff have offered to make available on line: lecture schedule, reading lists and where appropriate presentation content/notes. This relates to: Discipline Histories, Semester 5 and Thesis Preparation, Semester 6.There will be agreed, limited email tutori-al facility, as allowable per individual timetables.
The Erasmus Theory Project will be agreed annually across all Stage 3 TheorySeminar staff and the assessment will be shared, equally.
Special Erasmus Professional Practice Projects will also be issued at the beginning of each Semester.
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