What is a La Trobe Research Degree?

You should discuss your plans to include publications in your thesis with your supervisor early in your degree. Your supervisor will help you determine how to combine any potential publications with the rest of your thesis and what constitutes sufficient output in your discipline. Papers that do not link directly to your research topic, or to which you have not made a significant contribution, can be included in a list of other publications elsewhere in your thesis.

Publications submitted or published prior to commencement of candidature cannot be included unless this work was undertaken during a degree at the same level at another university from which you have transferred to La Trobe.

How many published works appear in your thesis will depend upon their significance, originality, length and disciplinary differences – discuss this with your supervisor. You will want to take into account the volume of published & unpublished chapters; the framing material; and your contribution to the publications.

As a general guideline, a thesis which wholly comprised of publications will include:

• Doctorate = c. 4-6 publications
• Master’s by research = c.3-4 publications

Framing material should reveal the way the publications are thematically linked. If fully comprised of publications, it will likely include:

• At least one substantial integrating chapter, or
• A separate introduction, general discussion and conclusion
• Further critical appraisal of relevant literature and/or further details of the methods or methodology

You will need to include the full publication details (if published) in your thesis and/or include a contract/acceptance from publisher in your appendix.

You will also need to acknowledge the extent and nature of your own contribution to any jointly authored works and provide verification from co-authors, endorsed by your supervisor, when you are ready to submit.

Your publications will need to state that the research supporting the publication was undertaken while completing a PhD at La Trobe. This will typically appear following the author’s name in the authorship statement and before their other institutions are credited, for example:

“The research underpinning this publication was undertaken while completing a PhD at La Trobe University, Melbourne, Victoria”

You should also acknowledge your supervisors in the ’Acknowledgements’ section of the article and state specifically in the article that any procedures were approved by La Trobe University Human Ethics Committee, together with the ethics approval reference number.

Normally publishers will allow the use of published material in a thesis and many permit its use in the publically available copy of your thesis – check the details with the relevant publisher.

Re-use rights will generally be described in the Copyright transfer agreement/License Agreement / Author agreement that may have been signed when the publication was accepted.

You can also check the publisher’s policy on their website or ask for an addendum to the agreement. Note that publisher’s policies relate to different versions of the work: Published; Accepted (Post Print); Submitted (Pre Print)

If your publications have been accepted when you submit your thesis, the examiners will not request any changes to these. They may, however, request related changes to unpublished or framing material.

You may also submit for examination work which has been submitted, but not yet accepted for publication. The examiners may request amendments, which you will then need to make. If this is the case, you will need to request permission from your publisher to include the amended work in Library Repository; we may also be able to include a redacted copy of your thesis in the repository if required.

You may produce a single piece of work such as a documentary, a film script, novel, website, screen works, installation, a manual or tool kit for an art therapy procedure, a digital art therapy program or a software program; or a combination of multiple works such as an exhibition of paintings, poetry, theatre pieces, a series of audio productions (for broadcast or podcast), exhibitions or other outputs.

The general purpose of the critical research component is to address the research aims employed when creating the artefact from an analytical perspective. Depending on the discipline, the critical research component may be called an exegesis, critical commentary, thesis or critical research component.

The word length of the critical research component will depend in part on the artefact, but will typically be:

• Masters (20 - 25,000 words)
• PhD (30 - 50,000 words)

You will need to advise a shorter word lengths and information on how the components are weighted in the abstract.

The two components in this discipline may be presented together as a whole or separately.

The critical research component, commonly referred to as the exegesis in this discipline, does not provide a direct commentary on the making of the artefact and the artefact does not simply illustrate the critical research component.

The artefact

The artefact can include any of the following forms:

• Screenplay
• Audio-visual production
• Documentary
• Web series
• Film
• Sound/audioscape
• Media art

It is not always possible to present an artefact for examination in its final form. For example a screenplay is never really completed until filmed. If you submit a ‘draft’ artefact, you will need to contextualise the draft and include an explanation of how this work might be further developed or incorporated into a larger work.

Films should be prepared in an accessible digital format and uploaded to a suitable platform (usually Vimeo or You Tube) and made private by a password link. The URL of the video online is then made available to the examiners in the appendix of the thesis with the password for them to watch the film on line. Screenplays should be consolidated with the exegesis and any appendices.

The critical research component (exegesis)

You will need adhere to scholarly conventions and standards in the writing of the exegesis, but this does not exclude the possibility of adopting a ‘personal voice’ where appropriate.

Critical research component (exegesis)

The exegesis must frame the artefact with a specific set of research questions. Sample questions include:

• How is the artefact addressing questions or issues that have not been addressed elsewhere in the public sphere?
• How has the approach replicated or departed from existing practices?
• How, specifically, is the approach considered innovative?

Your exegesis will include an introduction that states the aims, scope and proposed methods of the entire project and – if appropriate – how each component relates to journalism research as defined by the Journalism Research Australia National Statement. The introduction will address the examinable work as a whole.

You will also need to include

• a literature review chapter addressing the themes of the exegesis. This would normally include a discussion of journalistic and academic approaches.
• a methodology chapter explaining the techniques and approaches relating to the artefact.
• a reflective chapter that explains insights gleaned by the completion of the artefact and how these might apply to both academic and journalistic practice. (This should not, however, be framed as a ‘making of’ story where you elaborate on what you have learnt about specific film techniques etc.)

The artefact

The length of the artefact varies considerably depending on the format.

In the early stages of the project, you will need to discuss with your supervisor the choice of platform, storytelling mode, potential audience, and delivery and research methodologies.

Durable records

You will need to create digital records of: audio-visual materials and websites; correspondence from audiences via email, web and social media; and copies of recorded interviews.

In some cases the artefact may include items such as a writers’ festival forum or live radio segment. In such cases your supervisor will specify recording requirements.

The critical research component

The critical research component in Theatre and Drama can include:

• a definition or refinement of the research question/s while recognising that, in practice- based research, research questions often emerge or are clarified during the process of creating the artefact
• a literature (and practice) review
• reflection on and analysis of the artefact.

We encourage you to find a ‘complementary’ form of writing for the critical research component. This involves articulating an argument that has emerged from the practice and addresses the research question. The critical work should be considered as a further iteration of the artefact.

The artefact

You will need to document the work meticulously in the form of journals, photographs and video.

The performance of the theatre practice normally takes place before you submit the critical research component, which will be no later than six months after the performance.

Live theatre performances must be electronically recorded and uploaded to an appropriate platform for examiners to view according to instructions from the supervisor.

In English, your creative (artefact) and the critical research components may be combined or presented separately. Artefacts of practice-based degrees in English are generally in the genres of fiction, biography, autobiography, creative non-fiction, poetry or creative documentary.

The critical component should address the research question(s) that has inspired the creative artefact and should indicate a cutting-edge awareness of the critical and theoretical literature around those questions. The critical research component may be in the range of 10,000-25,000 words for the Master’s by research and 20,000- 50,000 words for the PhD.

The weightings of the respective components vary, usually within the range of 80 per cent for the creative and 20 per cent for the critical component to 50 per cent for the creative and 50 per cent for the critical component. You will need to outline the percentage weighting of the creative and critical components in the abstract.

In some instances, particularly when a thesis is presented in verse form, the length of the thesis may be somewhat lower than the maximum words prescribed for the respective degrees. You will be guided by your supervisor in what is required to meet the knowledge requirements of the particular degree. A word count lower than the normal minimum will be justified in the abstract.

Published La Trobe PhD theses which have combined the artefact and the critical/exegetical components are Kinglake-350 by Adrian Hyland (Text Publishing) and All the Beginnings: A Queer Autobiography of the Body by Quinn Eades (Australian Scholarly Publishing)

Visual Arts candidates undertake research projects such as works of art, design, photography, installation or architectural models resulting from creative investigations. The outcome of this work, together with an exegesis, constitutes the examinable material.

The exegesis

Your will employ a rigorous theoretical research methodology in your exegesis, which must clearly link to and support the studio creative work. It must document the studio process as well as the conceptual underpinning of the final exhibition. The exegesis is submitted six weeks prior to the final exhibition and provided to examiners before they assess the exhibition.

The artefact - exhibition

The artefact will consist of a coherent exhibition that has a demonstrated relationship with the exegesis. Some exhibitions will also require the inclusion of panels (didactic panels) providing background to the exhibition. The exhibition is considered a public event and as such you will have an opening and develop exhibition invitations. You will present your final exhibition in a gallery or other appropriate venue with the approval of the School and must outline the proposed arrangements an exhibition presentation plan three months in advance.

Critical research component (exegesis)

The exegesis must frame the artefact with a specific set of research questions. Sample questions include:

• How is the artefact addressing questions or issues that have not been addressed elsewhere in the public sphere?
• How has the approach replicated or departed from existing practices?
• How, specifically, is the approach considered innovative?

Your exegesis will include an introduction that states the aims, scope and proposed methods of the entire project and – if appropriate – how each component relates to art therapy or arts and health research. The introduction will address the examinable work as a whole.

You will also need to include:

• a literature review chapter addressing the themes of the exegesis. This would normally include a discussion of therapeutic and academic approaches.
• a methodology chapter explaining the techniques and approaches relating to the artefact.
• a reflective chapter that explains insights gleaned by the completion of the artefact and how these might apply to both academic and therapeutic practice. (This should not, however, be framed as a ‘making of’ story where you elaborate on what you have learnt about health instruction or project techniques etc.)

The artefact

Artefacts are typically based in visual arts and address the therapeutic/wellness needs of individuals or community groups. The size and breadth of the artefact varies considerably depending on the health intervention or project and may consist of an art exhibition, video, website, a set of materials such as a story book, image/emotion cards, or art journaling tools.

The artefact will have a demonstrated relationship with the exegesis. If it is a set of visual and other materials to be utilised directly with clients or consumers, the composite of elements must demonstrate a direct relationship with the therapeutic or health issue being addressed. The exhibition may be the manifestation of an art-based method of inquiry employed by the maker. Some exhibitions will also require the inclusion of panels (didactic panels) providing background to the exhibition. The exhibition is considered a public event and as such you will have an opening and develop exhibition invitations. You will present your final exhibition in a gallery or other appropriate venue with the approval of the School and must outline the proposed arrangements an exhibition presentation plan three months in advance.