• ANNOUNCEMENTS (INCLUDES QUOTE OF THE WEEK AND NEWS STORY OF THE WEEK)
  • THE EASY (COLOUR-CODED) GUIDE TO HOW TO REFERENCE A BOOK OR AN INTERNET SITE
  • COURSE INFORMATION
    • COURSE INFORMATION - ACADEMIC SUPPORT
    • COURSE INFORMATION - LEARNING OUTCOMES
    • COURSE INFORMATION - BLOOM'S TAXONOMY OF KNOWLEDGE
    • COURSE INFORMATION - BA1 HISTORICAL AND THEORETICAL STUDIES
    • COURSE INFORMATION - BA2 HISTORICAL AND THEORETICAL STUDIES
    • COURSE INFORMATION - BA3 HISTORICAL AND THEORETICAL STUDIES
  • PROJECT BRIEFS, INFORMATION AND SUBMISSION DATES
    • BA2 PROJECT BRIEFS AND SUBMISSION DATES
    • BA3 PROJECT BRIEFS AND SUBMISSION DATES
    • PROJECT BRIEF - RESEARCH FILE
    • PROJECT BRIEF - CRITICAL RESEARCH REPORT
    • PROJECT INFORMATION - CRITICAL RESEARCH REPORT STRUCTURE GUIDELINES
    • PROJECT BRIEF - REFLECTIVE JOURNAL
    • PROJECT BRIEF - ANNOTATED BIBLIOGRAPHY - NON-ASSESSED
    • PROJECT BRIEF - RESEARCH PROPOSAL needs doing...
    • PROJECT BRIEF - LITERATURE REVIEW - NON-ASSESSED
    • PROJECT BRIEF - GROUP SEMINAR PRESENTATION AND RESEARCH PRESENTATIONS 1, 2 AND 3 >
      • PROJECT BRIEF - GROUP SEMINAR PRESENTATION - NON-ASSESSED
      • PROJECT BRIEF - RESEARCH PRESENTATION 1 - ANNOTATED BIBLIOGRAPHY AND RESEARCH PROPOSAL needs visuals
      • PROJECT BRIEF - RESEARCH PRESENTATION 2 - INTRODUCTION, LITERATURE REVIEW, METHODOLOGY
      • PROJECT BRIEF - RESEARCH PRESENTATION 3 - DISCUSSION AND EVALUATION
  • REFERENCING - HARVARD PLEASE!
    • REFERENCING - WHAT IS REFERENCING?
    • REFERENCING (HARVARD) - USING CITATIONS AND QUOTATIONS
    • REFERENCING (HARVARD) - REFERENCE LIST/BIBLIOGRAPHY
    • REFERENCING (HARVARD) - HOW TO REFERENCE ANYTHING
  • BA1 CLASS READINGS AND VISUALS
    • BA1 CLASS READINGS - INTRODUCTION TO FASHION THEORY GROUP SEMINAR PRESENTATIONS >
      • BA1 CLASS READING - INTRODUCTION TO FASHION THEORY - CONSPICUOUS CONSUMPTION (THE REGULATION OF FASHION) GROUP SEMINAR PRESENTATION (THE HISTORICAL ONE)
      • BA1 CLASS READING - INTRODUCTION TO FASHION THEORY - CONSUMER CULTURE (BEAU BRUMMELL) GROUP SEMINAR PRESENTATION (THE PERSONAL ONE)
      • BA1 CLASS READING - INTRODUCTION TO FASHION THEORY - TRICKLE-DOWN/BUBBLE-(TRICKLE)-UP (JEANS) GROUP SEMINAR PRESENTATION (THE EASY ONE)
      • BA1 CLASS READING - INTRODUCTION TO FASHION THEORY - GENDER AND SEXUALITY (STILETTOS) GROUP SEMINAR PRESENTATION (THE SEXY ONE)
      • BA1 CLASS READING INTRODUCTION TO FASHION THEORY - SEMIOTICS (TIES) GROUP SEMINAR PRESENTATION (THE DIFFICULT ONE)
    • BA1 CLASS VISUALS - INTRODUCTION TO FASHION THEORY >
      • BA1 CLASS VISUALS - INTRODUCTION TO FASHION THEORY - CONSPICUOUS CONSUMPTION (THE REGULATION OF FASHION)
      • BA1 CLASS VISUALS - INTRODUCTION TO FASHION THEORY - CONSUMER CULTURE (BEAU BRUMMELL)
      • BA1 CLASS VISUALS - INTRODUCTION TO FASHION THEORY - TRICKLE-DOWN/BUBBLE-(TRICKLE)-UP (JEANS)
      • BA1 CLASS VISUALS - INTRODUCTION TO FASHION THEORY - SEMIOTICS (STILETTOS)
      • BA1 CLASS VISUALS - INTRODUCTION TO FASHION THEORY - SEMIOTICS (TIES)
    • BA1 CLASS READINGS - INTRODUCTION TO TEXTILES AND CULTURE GROUP SEMINAR PRESENTATIONS >
      • BA1 CLASS READING - INTRODUCTION TO TEXTILES AND CULTURE - THE FABRIC OF EXISTENCE (TEXTILES IN HUMAN CONSCIOUSNESS) GROUP SEMINAR PRESENTATION
      • BA1 CLASS READING - INTRODUCTION TO TEXTILES AND CULTURE - THE TIES THAT BIND (SOCIAL MEANINGS) GROUP SEMINAR PRESENTATION
      • BA1 CLASS READING - INTRODUCTION TO TEXTILES AND CULTURE - CLOTH AND TEMPORAL POWER (MONEY, TRADE, STATUS AND CONTROL) GROUP SEMINAR PRESENTATION
      • BA1 CLASS READING - INTRODUCTION TO TEXTILES AND CULTURE - CLOTH AS COMMUNICATION (MEANING, MESSAGES AND BEAUTY) GROUP SEMINAR PRESENTATION
      • BA1 CLASS READING - INTRODUCTION TO TEXTILES AND CULTURE - TEXTILES AND THE SPIRIT (SACRED, SPIRITUAL AND HEALING SIGNIFICANCE) GROUP SEMINAR PRESENTATION
  • BA2 CLASS READINGS AND VISUALS
    • BA2 CLASS READINGS - FASHION IN SOCIETY GROUP SEMINAR PRESENTATIONS >
      • BA2 CLASS READING - FASHION IN SOCIETY - VEILING GROUP SEMINAR PRESENTATION
      • BA2 CLASS READING - FASHION IN SOCIETY - THE SECOND HAND MARKET GROUP SEMINAR PRESENTATION
      • BA2 CLASS READING - FASHION IN SOCIETY - FEMINISM AND FASHION GROUP SEMINAR PRESENTATION
      • BA2 CLASS READING - FASHION IN SOCIETY - HOMOSEXUAL FASHION GROUP SEMINAR PRESENTATION
      • BA2 CLASS READING - FASHION IN SOCIETY - JAPANESE STREET FASHION GROUP SEMINAR PRESENTATION
      • BA2 CLASS READING - FASHION IN SOCIETY - FASHION IN INDIA GROUP SEMINAR PRESENTATION
    • BA2 CLASS VISUALS - FASHION IN SOCIETY >
      • BA2 CLASS VISUALS - FASHION IN SOCIETY - THE SECONDHAND MARKET
      • BA2 CLASS VISUALS - FASHION IN SOCIETY - JAPANESE STREET FASHION
      • BA2 CLASS VISUALS - FASHION IN SOCIETY - INDIAN FASHION
    • BA2 CLASS READINGS - TEXTILES IN SOCIETY GROUP SEMINAR PRESENTATIONS >
      • BA2 CLASS READING - TEXTILES IN SOCIETY - WEAVING AS POLITICAL SYMBOL (YOU ARE GOING TO LOVE THIS ONE) GROUP SEMINAR PRESENTATION
      • BA2 CLASS READING - TEXTILES IN SOCIETY - THE SUBVERSIVE STITCH GROUP SEMNAR PRESENTATION
      • BA2 CLASS READING - TEXTILES IN SOCIETY - GANDHI AND KHADI CLOTH GROUP SEMINAR PRESENTATION
      • BA2 CLASS READING - TEXTILES IN SOCIETY - THE FEMALE TRADITION OF TEXTILES GROUP SEMINAR PRESENTATION
      • BA2 CLASS READING - TEXTILES IN SOCIETY - KNITTING AS ART GROUP SEMINAR PRESENTATION
    • BA2 CLASS VISUALS - TEXTILES IN SOCIETY >
      • BA2 CLASS VISUALS - TEXTILES IN SOCIETY - WEAVING AS POLITICAL SYMBOL
      • BA2 CLASS VISUALS - TEXTILES IN SOCIETY - THE FEMALE TRADITION OF TEXTILES
      • BA2 CLASS VISUALS - TEXTILES IN SOCIETY - THE SUBVERSIVE STITCH
  • BA3 CLASS READINGS
    • BA3 CLASS READING - THE FIVE STAGES OF REFLECTIVE WRITING
  • THEORY READINGS AND VISUALS (GENERAL REFERENCE TO SUPPORT YOUR RESEARCH)
    • THEORY READING - WHY STUDY FASHION?
    • THEORY READING - WHAT IS A THEORY?
    • THEORY READING - INTRODUCTION TO BA1 FASHION THEORY
    • THEORY READING - FASHION CYCLES (CONSPICUOUS CONSUMPTION, TRICKLE-DOWN/UP/ACROSS)
    • THEORY READING CLASS VISUALS - FASHION CYCYES (CONSPICUOUS CONSUMPTION, TRICKLE-DOWN/UP/ACROSS)
    • THEORY READING - KEY TERMS IN FASHION THEORY
    • THEORY READING - TEXTILE METAPHORS
  • FICTION READINGS (FOR WHEN YOU ARE BORED)
    • FICTION READING - ELIZABETH JANE HOWARD'S 'THE BEAUTIFUL VISIT'
    • FICTION READING - ANITA BROOKNER'S 'PROVIDENCE'
    • FICTION READING - RUMER GODDEN'S 'BLACK NARCISSUS'
    • FICTION READING - THE BROTHERS GRIMMS' 'HOW SOME CHILDREN PLAYED AT SLAUGHTERING'
    • FICTION READING - THOMAS HARDY'S 'JUDE THE OBSCURE' - THE PIG SLAUGHTERING (NOT FOR VEGETARIANS OR THE FAINTHEARTED)
    • FICTION READING - THE BROTHERS GRIMMS' 'RUMPELSTILTSKIN'
    • FICTION READING - GREEK MYTHOLOGY'S 'THESEUS AND THE MINOTAUR'
    • FICTION READING - GREEK MYTHOLOGY'S 'PROKNE AND PHILOMELA'
    • FICTION READING - DAWN FRENCH'S 'A TINY BIT MARVELLOUS'
  • MATHS READINGS (FOR WHEN YOU ARE REALLY BORED)
    • MATHS READING - PI (FOR GEEKS)
    • MATHS READING - ON LABOUR'S PROPOSAL TO MAKE MATHS COMPULSORY POST-16 (HE'S GOT A POINT)
    • MATHS READING - WHY WE NEED PYTHAGORAS (WHAT DOES LILY ALLEN KNOW?) ​
    • MATHS READING - FORMULA FOR WORKING OUT AGATHA CHRISTIE WHODUNNIT (I THOUGHT THIS WAS AN APRIL FOOL)
    • MATHS READING - ORDER AND PATTERN AS THE BASIS OF EVERYTHING (ARTY) ​
    • MATHS READING - WRITER SHIRLEY CONRAN'S MATHS EBOOK FOR GIRLS (I FAILED MATHS TWICE)
    • MATHS READING - RELATIVITY VERSUS QUANTUM MECHANICS (I ACTUALLY UNDERSTOOD SOME OF THIS)
    • MATHS READING - WHY WE SHOULD ALL LEARN COMPUTER CODING (VERY LONG... IF YOU MANAGE TO GET TO THE END OF IT I WILL BUY YOU A DRINK)
    • MATHS READING - DO WE REALLY NEED MATHS? (SAYS IT ALL)
    • MATHS READING - THE 'BEAUTY' OF EINSTEIN (I LOST THE WILL TO LIVE)
  • MY RESEARCH BLOGS AND RESEARCH PINTEREST
  • MY REFLECTIVE JOURNAL
  • DYSLEXIA (INCLUDES THE BRITISH DYSLEXIA ASSOCIATION ADULT CHECKLIST)
  • ARE YOU STRESSED?
    • ARE YOU STRESSED? - WRITERS' BLOCK
    • ARE YOU STRESSED? - MANAGING STRESS
    • ARE YOU STRESSED? - PINTEREST FOR STRESS
  • TO DO
  • REFERENCES
  • BA2 BUSINESS STUDIES - GLOBAL AND ENVIRONMENTAL
    • BA2 BUSINESS STUDIES PROGRAMME - GLOBAL AND ENVIRONMENTAL
    • BA2 BUSINESS STUDIES PROJECT BRIEF - GLOBAL FASHION AND TEXTILE MANUFACTURING REPORT 2014-15
    • BA2 BUSINESS STUDIES CLASS - GLOBAL AND ENVIRONMENTAL - INTRODUCTION TO CORPORATE SOCIAL RESPONSIBILITY
    • BA2 BUSINESS STUDIES CLASS - THE ALTERNATIVE PROJECT BRIEF
    • BA2 BUSINESS STUDIES CLASS - GLOBAL AND ENVIRONMENTAL - PEST AND CSR
    • BA2 BUSINESS STUDIES CLASS - GLOBAL AND ENVIRONMENTAL - ETHICS AND DISSERTATION
    • BA2 BUSINESS STUDIES CLASS READING - GLOBAL AND ENVIRONMENTAL - GLOBALIZATION ​
    • BA2 BUSINESS STUDIES CLASS READING - GLOBAL AND ENVIRONMENTAL - ENVIRONMENTAL
    • BA2 BUSINESS STUDIES CLASS READING - GLOBAL AND ENVIRONMENTAL - ETHICAL
  • THE REFERENCING TEST
  BCOT BA Textiles for Fashion
Historical and Theoretical Studies theory classes and readings.

STUDY SKILLS - THE EASY GUIDE TO WRITING A FIRST ESSAY (OR A SECOND OR A THIRD ....)


See 3. THE EASY EASY GUIDE for the foolproof method.


This information is taken from: 

Mann, S. (2011): 6: Academic and written assignments. 

Academic writing presents information gained from research. Research begins with secondary sources (reading) and can be further developed with primary research if appropriate (your own drawings of the design object, interviews, questionnaires). It should reference your major texts (quotations and citations) and include a References and Bibliography list at the end.


The aim should be to present a particular aspect or viewpoint of a subject (not everything). You will need to include the relevant historical and technical information (what, when, where, how?) along with a broader social and theoretical perspective (why?)

Academic writing is expected to be both critical and analytical, with limited description. 

Think of critical as questioning: looking around the subject, asking why, not making assumptions, ... considering what different experts think and whether this is valid when applied to your area of interest.

Think of analytical as taking something apart - an ideas, an artefact, an object - assessing the importance of each component individually and overall.

Think of description being limited to saying what is there and setting the scene for your critical analysis. ...



1. A GOOD ESSAY WILL ...


address a set topic or question ...

set out an argument or point of view ...

be supported by evidence, examples and illustrations ...

be structured in a logical order ...

be completed within the set word limit ...



2. EXAMPLE ESSAY PLAN  INCLUDING WORD COUNT FOR 1500 or 3000 WORD ESSAY (AIM AT THE MINIMUM WORD COUNT AND YOU WILL PROBABLY WRITE MORE)


Introduction 250-500

Any or all of the following:

  • analysis of the title
  • summarise issues to be raised
  • reasons for choice of topic
  • reasons for choice of examples
  • relationship to own practice
  • definition of terms



Historical background/theoretical perspective 500--1000 


THIS SECTION SHOULD BEGIN WITH THE HISTORICAL AND TECHNICAL AND CONCLUDE BY INTRODUCING THE SOCIAL AND THEORETICAL ISSUES RELEVANT FOR FURTHER DISCUSSION IN THE NEXT SECTION.


  • Brief biographical details ...
  • Context (location, time, influences) ...
  • Literature review (introduce and summarise your main texts) ...
  • Theoretical and critical models/method of analysis (political, feminist, semiotic ...)



Discussion/analysis 500-1000


  • Presentation of the argument/point of view
  • Discussion of issues
  • Critical and personal opinion



All supported by evidence ... examples, fully referenced.



Conclusion 250-500


Summary relating discussion back to title and introduction. Sum up each main point from the paragraphs/sections of the essay.


Bibliography


All books, journals, websites ...
List of illustrations




3. THE EASY EASY GUIDE TO UNDERSTAND THE ABOVE


3:1. INTRODUCTION (250-500)

Any or all of the following:

  • analysis of essay title
  • summary of issues to be discussed
  • reasons for choice of topic
  • reasons for choice of examples
  • relationship to own practice
  • definition of key terms

3:2. GENERAL INFORMATION (500-1000)


3:2a HISTORICAL AND TECHNICAL CONTEXT (250-500)
  • what is your subject?
  • biographical/historical/technical details.
  • identify key texts important in your research.

3:2b SOCIAL AND THEORETICAL CONTEXT  (250-500)
  • how does the subject relate to society? 
  • social, political background.
  • introduce any theoretical and critical models (feminism, semiotics) which are relevant.

3:3. ANALYSIS AND DISCUSSION (500-1000)

Identify key points of learning from the general background for further discussion. 

This should present a point of view or argument with critical anaylsis of key points. THIS IS THE DIFFICULT BIT. FOCUS ON PARTICULAR EXAMPLES OR CASE 
STUDIES IN ORDER TO COMPARE AND CONTRAST. 

This section must be supported by evidence (quotations and citations).

3:4. CONCLUSION (250-500)

Relate the discussion back to the essay title and introduction. Sum up the main points.




4. DRAFTING THE ESSAY


No essay can be completed in one session or draft - when planning the project you need to allow time for a number of drafts. You may find it beneficial to print with 1.5 or double line spacing so that you have room to make corrections.


  • Draft 1 - write to get your ideas down, use your plan, check that you keep to the topic at all times. Do you have enough information? ...
  • Draft 2 - check the structure and that information is grouped in the right places and in paragraphs. Is your argument clear and to the point? Are the sentences and paragraphs linked? ...
  • Draft 3 - check the style and flow. Read out loud ... Fill in the gaps as required. Check word count, spelling and grammar. ...



Make sure you check the brief: 

  • Word count - if you have too much information, make sure that everything you use contributes to the argument - this is the time to edit out anything that is not relevant. ...
  • Presentation - check that you meet the presentation requirements, especially fonts to be used or avoided, type size to be used ...





4. WHEN TO REFERENCE



You reference when you:


  • quote an author's words
  • refer to ideas or concepts gathered or paraphrased from a particular source (Mann, 2011, pp.101-115).

REFERENCE

Mann, S. (2011) Study skills for art, design and media students, Harlow: Pearson.
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