#Dissertation purpose

[aimlayworldwide]

Know The Difference Between Dissertation Writing & Thesis Writing

In the realm of academia, the terms "dissertation" and "thesis" are often used interchangeably, leading to confusion among students and researchers. However, there are subtle differences between the two, both in terms of purpose and structure. In this article, we shed light on the disparity between dissertation writing and thesis writing, offering clarity to those embarking on their advanced academic journeys. 

Purpose and Audience 

The primary difference lies in the purpose and intended audience of the documents. A thesis is typically associated with master's programs, while a dissertation is commonly associated with doctoral programs. A thesis aims to demonstrate the student's mastery of knowledge within a specific field and is typically evaluated by a committee consisting of faculty members. On the other hand, a dissertation is an original research project that contributes new insights or knowledge to the existing body of literature within the respective field of study. Dissertations are often evaluated by a committee of experts in the field and may have a broader readership. 

Scope and Depth of Research 

Another crucial distinction between dissertations and thesis is the scope and depth of research conducted. While a thesis focuses on synthesizing existing knowledge and demonstrating proficiency in a particular subject area, a dissertation requires original research. Dissertations demand a more extensive investigation, involving data collection, analysis, and interpretation, to produce novel findings or perspectives. Dissertations typically contribute to advancing the understanding of a field or addressing gaps in existing knowledge, whereas thesis focus on a comprehensive understanding of a specific topic. 

Length and Structure 

In general, dissertations tend to be longer and more comprehensive than thesis. A thesis usually ranges from 50 to 100 pages, whereas a dissertation can span from 100 to several hundred pages. This disparity in length is reflective of the differing levels of research and analysis conducted. However, the specific requirements regarding length and structure can vary between institutions and academic disciplines, so it is essential to consult the guidelines provided by the respective program or department. 

Originality and Contribution 

As mentioned earlier, one of the fundamental aspects of a dissertation is its originality. Dissertations are expected to contribute something new to the field, whether it is through the discovery of new knowledge, the development of a new theory or framework, or the application of existing knowledge in a novel context. Thesis, on the other hand, are focused on synthesizing existing information and demonstrating the student's ability to critically analyze and evaluate existing research. 

Time and Complexity 

Given the difference in scope and depth of research, dissertations typically require a more extended period to complete compared to thesis. The process of conducting original research, collecting data, analyzing findings, and writing a comprehensive dissertation demands substantial time and effort. Thesis, while still requiring rigorous analysis and synthesis, can often be completed within a shorter timeframe. 

Conclusion 

While the terms "dissertation" and "thesis" are often used interchangeably, understanding the distinctions between them is crucial for students and researchers. Dissertations are characterized by original research, a broader scope, and a contribution to the existing body of knowledge, while thesis focus on synthesizing existing information and demonstrating mastery of a subject. By comprehending these differences in purpose, scope, length, and originality, students can embark on their academic journeys equipped with a clear understanding of the expectations associated with dissertation writing and thesis writing. 

[romnianistan]

@joannerowling

[Introduction]

While many articles have been written about Harry Potter and the school board genre or its relationship to fantasy, very few people have looked into the influence of the Gothic in Harry Potter (or in JKR's works in general). Part of it I think is due to the depreciation of Harry Potter by the cultural bourgeoisie, who only regard it as mere children's books that don't hold any actual literary value and that aren't worth to be studied seriously. Yet many tropes, storylines and plot devices used by JKR draw inspiration from the Gothic genre, bringing to it a modern twist by both adverting and subverting Gothic clichés. This inspiration is apparent in JKR's focus on broken families stuck into a cycle of poverty and violence involving incest and alcoholism or in the settings of many of the most iconic scenes of her book (to me the situation of Merope Gaunt, the way she's treated by her male relatives and the description of her house clearly allude to that of Catherine Linton at Wuthering Heights). In another (badly written) post, I tried to argue that one example of such a subversion in JKR's works was her use of the Gypsy theme -- Romani people as the embodiement of marginality, social and sexual danger as well as oriental mysticism --, a trope of Gothic literature most notably used by Emily Brontë in Wuthering Heights and Victor Hugo in the Hunchback of Notre-Dame, and that's been studied by Ken Lee in his article on Gypsylorism. But while JKR never once mentions Romani people in the Harry Potter series (an omission that is very interesting in itself; she's leaving out of her series the ethnic group that's been associated the most with witchcraft in folk tales for centuries, even though she's drawing inspiration from European folklore), she does mention them a bit in The Casual Vacancy and a lot in Cormoran Strike. However, as opposed to Wuthering Heights and HoND, Romani people aren't actually associated with paganism in JKR's books (they would have if she had been racist); their mention serves a Gothic aesthetic purpose as the non-Romani pov character starts thinking about Gypsy witchcraft and wandering, but that romanticising is quickly destroyed once the narrative brings up the actual reality of what it means to be Romani(-adjacent) in the UK: poverty and social exclusion. (In my opinion, this is a subtle commentary on how rich people idealize wanderness and poverty despite their being trauma-inducing experiences for the people who experience them.)

In my opinion, another influence of the Gothic is also the character dynamic she builds around Harry and Voldemort. In three different ways, the Harry/Voldemort dynamic parallels that of Dracula and Mina Harker in Bram Stoker's Dracula: first, the in-narrative construction of that dynamic; second, the way that character dynamic is used as a plot device by both Stoker and JKR in their respective works; third, the significance/symbolism of that character dynamic.

1. The narrative build up

In both Dracula and HP, the psychic bond that unites Mina/Harry and Dracula/Voldemort is created in spite of Dracula and Voldemort. In Dracula, that bond is an inevitable consequence/side effect of the repeated blood sucking Dracula does on Mina. In HP, that bond is created despite the knowledge of Voldemort and as a consequence of Voldemort's murder attempt.

In both stories, that bond was created/reinforced by blood mixing. In Dracula, blood mixing allows Dracula to link his mind directly with Mina's. In HP, that bond becomes much stronger after the graveyard scene, when Voldemort also uses Harry's blood to regain life. In both cases, we have blood magic and DNA mixing involved, resulting in an identity crisis on the part of Harry/Mina (their sense of self is eroded after the distinction between their body and that of Dracula/Voldemort got blurred and as the emotions/thoughts of the other start influencing theirs).

Dracula forms a psychic bond with Mina Harker as a step towards mind control. He wants to read, manipulate and control her mind and her thoughts, and in particular, he wants to use it to spy on his enemies (Jonathan and Van Helsing). However, he is forced to block the link when he realizes that, if he can spy on the heroes through Mina, Mina can spy on him as well by being put into a hypnotic trance that allows her to sense Dracula and his surroundings and can feel how far away or how close he is to them. This is what eventually leads the heroes to Dracula and allows them to catch him.

In Harry Potter as well, Dumbledore fears that psychic link would be used by Voldemort to spy on the Order of the Phoenix through Harry. This is why Dumbledore ignores and isolates Harry for an entire year and this is also what prompted Dumbledore to get Snape to teach Occlumency to Harry -- to block Voldemort's thoughts. But Voldemort doesn't actually use the link to spy. afaik he only uses it twice: once to deceive Harry and get him to come to the Ministry of Magic, and once at the very end of OotP when he briefly takes control of Harry's body. But Harry (just like Mina) realizes he can use that link to his own advantage and spy back on Voldemort (he repeatedly does so in DH): just like Mina, Harry is able to feel what he feels, to hear his thoughts and to sense how far or how close he is.

So we have a similar process following the same steps: evil blood magic on the part of an unwilling villain first, blurring of identity second. In both stories, the psychic link serves as a war strategy playing out over a deep identity crisis. The difference is that this process spans 4 books and 13 years in Harry Potter, with many more smaller steps in between, but overall it's still the same structure.

2. The Harry/Voldemort (Mina/Dracula) dynamic as a plot device

Because everyone uses the psychic link to spy on the other, it becomes a power play for the two characters involved, symbolically representing the struggle between life and death (love and hatred). But it also serves a narrative purpose: both stories are written from the perspective of the heroes. By introducing the psychic link as a plot device, the reader can get some insight into the pov of the villain of the series. The psychic link then becomes a way to drive the action: after each discovery, the character (be it Mina, Harry, Dracula or Voldemort) takes action. They plan a fight/battle, they track each other or they fly from each other. With the psychic link, the writer (Stoker/Rowling) is able to write very cool descriptive scenes from a totally different perspective, taking place in a totally different setting we don't normally see otherwise (think of the description of the Riddle House at the beginning of GoF -- an apparition that is justified in-narrative by its being shown to Harry in a dream). In both Dracula and HP, the psychic link also allows the writer to write dialogues that have more to do with the mystery genre than the fantasy genre (what's the villain doing? are we sure that information is legit? who is he talking to?) Finally, and even if we have to wait a few chapters for it, it leads to the introduction of battle scenes.

So both Dracula and HP use the psychic link as a plot device in a similar way: 1. it drives the action by justifying the writing of descriptive scenes, action scenes and dialogues, 2. it makes the story even more compelling for the reader who gets to hear the exclusive thoughts of the villain in a setting we are not used to (the villain's lair!) so those scenes feel special and cool, 3. it allows the writer to diverisfy the genre of their book by introducing new elements taken from the mystery genre.

3. The symbolic of that relationship

Voldemort, just like Dracula, is an undead being, a living dead. While Voldemort himself isn't a zombie (an "inferi"), a ghost or a vampire, he does surround himself with them and his physical description is very much akin to that of the undead. Two of his most significant features are his paleness (also a recurrent adjective to describe ghosts) and his long, spidery fingers, which together can be used to describe both Voldemort and Nosferatu:

(book!voldemort literally looks like this bad guy over there ^ but without a nose and with red eyes -- and this is why he haunts my sleep sometimes!! that character design fucks)

Symbolically as well, Voldemort is an undead being, a living dead, as it says in his very name ("fleeing death", "flight from/of death"). In his backstory as well, Voldemort became twice a living dead. First, by spiritually killing himself and rendering his soul to the dark arts in pursuit of immortality (in much the same way vampires render their soul to the devil). Second, by falling victim to his own Avada Kedavra spell in Godric's Hollow. (Harry is an example of how one survives the Avada Kedavra; I wouldn't say Voldemort survived it considering all the (physical, if not spiritual) remnants of his past humanity were completely destroyed by it.)

More specifically, Voldemort is a vampire: in his very first apparition in the series, he is seen drinking the lifeblood of a living creature (a unicorn). All throughout the series, Voldemort is the undead that needs to feast on others to survive, by exploiting his followers (in the years following Godric's Hollow, he only survives by drawing on the life force of Quirrell and by living as a parasite with Pettigrew), by living on the terror he inspires to other people, and by turning other living beings (Nagini and Harry) into horcruxes (the same way a vampire would turn the human he drinks the blood of into another vampire). Of course, the number 1 inspo for Voldemort is the boogeyman: everyone in the wizarding world is scared to say his name in case he might literally materialize out of thin air. But he is not described (narratively, physically) as any boogeyman, he is specifically the vampire.

Just as Voldemort is Dracula, Harry is Mina Harker: a human being who represents life. Both Harry and Mina carry a part of Voldemort/Dracula's inside of them, and both of them are scared of eventually becoming like them. Both Harry and Mina survived their confrontations with Voldemort/Dracula thanks to the help of their friends (love and friendship trumping death). Both of them are also common human beings who have been involuntarily turned into something so much more unique by the very assault they survived. The way they responded to it (opposing hatred with love and bravery) turned them into something so much more important than mere human beings: they became symbols inspiring strength to others around them. And all throughout the story, both Mina and Harry retain that common-ness, it is repeatedly stated by both Stoker and JKR, in-narrative, that the only thing that sets them apart from others is Mina/Harry's ability to feel empathy and to draw strength from the love of others.

In the novel, Mina openly feels pity for Dracula - not for the monster that he is but for his soul, explicitly questioning whether it might want to find peace. In the last two books of the HP series, Harry also takes on a similar stance with regards to Voldemort. Dumbledore's last teaching was that Voldemort was someone to be pitied (don't feel pity for the dead but for those who live without love), and even though pity doesn't excuse evil, it gives us the moral ground to be better people and create a better world. This was also Dumbledore's most important teaching, the one Harry only fully understands by the end of Deathly Hallows, when he confronts Voldemort and says the only thing that sets him apart from others and that makes him stronger than Voldemort is the love he feels (only understanding this after spending the entire book trying to figure out why hadn't Dumbledore left a strong weapon, like the elder wand, for him in his will).

So in both their moral complexity wrt to the villain and in the ideals they represent, Harry and Mina are very similar. I would finally add that both of them represent vulnerable groups of people (children and women) who are victims of male/patriarchal violence: Harry (a 14yo boy) is abducted and tortured by Voldemort (an adult male) in Goblet of Fire, while Mina is metaphorically raped by Dracula. It's a bit tangential but I think it's another interesting parallel between these two; in all of her books, JKRowling often associates the harm men do to women to the harm fathers(/male authority figures) do to children and the way Voldemort repeatedly tortured, abducted and tried to kill Harry from age 0 to age 17 could also be one of the ways she builds on that social commentary.

[Conclusion]

=> So narratively, I would say JKR drew inspiration from Dracula when designing the Harry/Voldemort bond. In Dracula and HP, that link is established in pretty much the same way: through blood magic, DNA mixing and resort to the dark arts. It is repeatedly reinforced throughout the story following the encounters of Mina/Harry and Dracula/Voldemort, and it serves as a war strategy between the two of them as everyone involved realizes they can use it to spy on the other, leading to the ultimate demise of the villain. When it comes to character growth, the psychic link also works in the same way: it leads to emotional/mental/psychological distress for Harry/Mina who is scared to become evil too. Structurally as well, JKR used a plot device identical to that developed by Stoker in Dracula to create the Harry/Voldemort dynamic. The psychic link introduces a POV-shift in a book series that's otherwise almost exclusively written from the good guy's pov, drives the action by leading to descriptive/action scenes and dialogues, and makes the story more entertaining for the reader. Thematically, I would also say JKR drew inspiration from Dracula when creating Voldemort and Harry as characters. In the books, Voldemort represents a vampiric living dead boogeyman who rendered his soul in search of immortality (just like Dracula), while Harry represents the hidden force of life and love that lies inside the most common of people (like Mina).

[hadesknockedupintheunderworld]

That feeling you get when you want to write essays about the hyperfixation media but you can't because they require the prerequisite of reading/understanding other even larger essays (since they are the basis of understanding for the other essays) that you also haven't written

[leonardcohenofficial]

also ordered this numero group comp a few days ago (if you're not familiar they do amazing archival releases truly one of the best labels out there for rare and obscure stuff) but despite how amazing all the music included on here is for some reason the whole album makes me feel incredibly sad lmfao

[egoarc4de]

wip

[rearranging-deck-chairs]

bad wolf soda <3

[orphyd]

Everyone criticizing Ariana for dating Spongebob boy because his role on stage is a little cringe and corny and not because he’s a cheater do not know the power of a silly goofy lame ass man-

[evansbby]

hi I don’t think basing your entire view of white men on one dumbass is a productive thing to do. Personally this whole identity politics thing is not just reductive to the experiences huge cross section of coloured people especially women, but also to “white people”. Brits and different from Europeans who are different from Australians who are different from Americans. Not to mention how these groups are themselves incredibly diverse. Women of colour get shafted in a lot of places even by their own communities, sometimes especially by their own communities. They surely also get orientalised and fetishised by “white” people. However telling young women of colour things like “they don’t want to be seen with us” or “they don’t want to take us back home” just plays into the comfort of identity politics and screws their opinion of inter racial or inter national relationships, which very much should be the norm. Not to mention assumes white people are a monolith or that the term “white” is in any capacity appropriate to group people. White is a concept. Anyway I’m sorry Chris Evans has such a reductive view of WOCs. But super imposing Hollywood, especially American media, on the world is not only misguided but only going to screw up how we approach people which cultural differences in romantic contexts, and propagates the idea that “white culture” exists the way it does in America all over the world. “White” is not a thing. It’s a concept based on exclusion.

bestie i just woke up…

i didn’t say anything wrong, it was MY experience not based on him but how it reminded me of how white boys IN REAL LIFE have acted with me and countless of my friends… or did you completely skip that part?

i refuse to be gaslit lmfao all i did was state my opinion in my tags of my personal experiences and how i don’t agree with the jamal thing. i don’t need you coming here with your university thesis and fancy wording trying to act all superior and condescending and accusing me of something you KNOW wasn’t my intention.

[possiblytracker]

started talking. forgot everything. had a breakdown. started talking again. had another breakdown. lecturers went "ok fine you've covered basically everything let's just skip to the questions" and started asking me shit and I straight up transformed from quivering wreck to Knowledgeable Professional in 2 seconds potentially saving my entire grade

[finexbright]

if i asked you guys what home meant to you, will you tell me in the tags? and what song gives you the most home vibes ever?

[exilley]

don’t mind me i’m just thinking about hunter x hunter like a well-adjusted human being again. obviously i’m lying but let me dump my thoughts here real quick

a lot of the destruction Gon leaves in his wake can be explained very logically and reasoned through, yet Togashi did not make that the total sum of his writing to go -> and that explains everything he's ever done. because he builds on the notion that there is method to Gon’s madness by instead going -> and in spite of that he is human. you cannot strip his character of that immutable fact. and in that humanity, there is love to be received and given yet.

[cowboytism]

imo, barry is the new breaking bad! but it’s never going to be the same kind of cultural zeitgeist, solely because breaking bad had an insane boom in popularity that came from the first three seasons being dropped on netflix, so people who hadn’t seen the show could stream it for the first time, and barry has always been available for streaming. there’s no new way for a new audience to access it because they’ve already always had access, and now the market is so saturated that it’s pretty much found the audience it’s gonna have until it’s conclusion

[melchinafan]

WAIT A SECOND I'm going through the Nursery in Secret World Legends again, and (spoilers for end-of-Transylvania story):

~~~

Reading this part of a lore entry (and remembering/rereading the related research) got my brain spiraling off on Yu-Gi-Oh thoughts:

CLICK-CLACK. A doctor types: "Similarly, we've found that inhabiting the child subject with an incorporeal entity allows the hemispheres of their brains to become separate processing units."

One of the experiments they were doing was deliberately possessing the kids with spirits/ghosts, and observing that—due to the plasticity of a child's developing brain—it allowed for the hemispheres to work individually: "...[able] to concentrate on separate subjects, and to solve multiple problems, simultaneously..." (with severe side effects, though the specifics are not listed)

Now, because I've been working on stitching YGO into the setting, this led to the thought...WHAT ARE THE IMPLICATIONS FOR YUGI AND RYOU

Granted, both of their spirits also reside within their respective Items, so that probably takes a HUGE load off the relative necessary "processing power" from their brains. So their side effects would've been mild to moderate, instead of severe. Plus, Yugi was older than the eldest in the Nursery when he solved the Puzzle. (He was ~16, the eldest mentioned was 13, and there's a note that it works for kids "to a much higher degree than inhabited adults.")

But Ryou was younger when he got the Ring (~10, at my estimation), thus within the range they were testing. So, between the two of them, it's more likely that he might have suffered some long-term side effects. Further evidenced by how Ryou was able to physically control his hand and click-clack at his own computer without Bakura noticing, during the Monster World TTRPG. (Granted, this was due to a weakening of Bakura based on his avatar in the game, but still.) With Yugi and Yami (as I recall), they either take turns, or work in tandem on the same thing. They can keep secrets from each other, but they don't go as far as controlling separate parts of their shared body simultaneously.

But then, maybe Yugi was also affected by the unlisted side effects, despite being a bit older. We know for sure he had (has?) two soul rooms—at least symbolically, if not a literal hemisphere split. A shame we never got to see Ryou's room. I imagine it looks much like his rad tabletop setups. Possibly even with a castle (or other foreboding structure) where Bakura nestled, when he wasn't fully in the Ring. Though, he's generally more subtle/sneaky when he's not going full Zorc...OH, MAYBE HE'S THE UNDERSIDE OF THE TABLE, WITH A DIFFERENT ENVIRONMENT! AND FLIPS IT WHEN HE TAKES OVER (LIKE WE SAW WITH THE FOREST AREA), SINCE HE CAN FULLY SUPPRESS RYOU, OOOOOOH I LOVE THAT IDEA

(Also swinging back around to the Nursery itself, some crossover AU idea shenanigans...Yugi and Ryou as (two of) the kids they did the ghosty experiments on. Bakura is definitely responsible for the doll room. The rest of the carnage likely involved Penalty Games. And...yanno, the facility itself is nearly a mirror of Yugi's soul rooms, with the play area very similar to Yugi's room, and the horrifying [everything else] sort of being like Yami's, if a bit less labyrinthine. Just a WHOLE BUNCH of horrifying experimentation rooms, instead. But also OH NO THERE ARE ACTUALLY TWO INHABITED CHILDREN IN THAT ROOM IN-GAME, I THOUGHT THERE WAS ONLY ONE? INSTEAD I GOT "HERE'S BOTH THE KIDS, HAVE FUN WITH VALIDATION OF THIS NIGHTMARE SCENARIO")

[daisydaz2000]

[devoveregear]

Intro post? Intro post.

Well, what goes around comes around and tumblr is back. As someone who made an entire business out of accessible body harnesses... I'm sure I should have stayed here all along. I'm Nicole. Or Cole. I'm into lingerie, fantasy, disability, and worldbuilding. Usually separately but sometimes together. It'll take a minute to get back into the swing of things with Tumblr, to brush up on my old HTML skills and to let the scrolling addiction rebuild. In the meantime, here's the shit I make. Give us a follow if you'll want to see more. Later. Eventually. Probably.

[thinkovity]

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