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The Six Guidelines For Dissertation Literature Review

In the process of creating the work it is very important to pay attention to the dissertation literature review in order to prove your paper's accuracy. Dissertation literature review is a register or summary of used resources related to the topic of the dissertation project. Here are a few guidelines you should follow during the dissertation literature reviews writing stage.

Use evidence
A literature review in this sense is just like any other academic research paper. Your interpretation of the available sources must be backed up with evidence to show that what you are saying is valid.

Be selective
Select only the most important points in each source to highlight in the review.
The type of information you choose to mention should relate directly to the review's focus, whether it is thematic, methodological, or chronological.

Use quotes sparingly
The survey nature of the literature review does not allow for in-depth discussion or detailed quotes from the text. Some short quotes here and there a

re okay; though if you want to emphasize a point, but if you find yourself wanting to put in more quotes, check with your instructor.

Summarize and synthesize
Remember to summarize and synthesize your sources within each paragraph as well as throughout the review.

Keep your own voice
While the literature review presents others' ideas, your voice should remain front and center.

Use caution when paraphrasing
When paraphrasing a source that is not your own, be sure to represent the author's information or opinions accurately and in your own words.

Now after you get draft in hand? The first thing is to revise. Spending a lot of time revising is a wise idea, because your main objective is to present the material, not the argument. So check over your again to make sure it follows the assignment and/or your outline. Then just as you would for most other academic forms of writing, rewrite or rework the language of your review so that you've presented your information in the most concise manner possible. Be sure to use terminology familiar to your audience; get rid of unnecessary jargon or slang. Finally, double check that you've documented your sources and formatted the review appropriately for your discipline.

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Dissertation Literature Review

Dissertation writing is one of the thorniest tasks which require a lot of time and efforts to be spent. But having the enthusiasm one can be come to the task in hand. Just think over the inspiration and you will definitely get an actual success. For one person gaining of the higher status can serve as the motivation, for another-the possibility to assert him/her.

Similarly review of the literature for dissertation writing is the task which demands some special attention from students. A literature review discusses published information in a particular subject area, and sometimes information in a particular subject area within a certain time period.

Writing a literature review can be just a simple summary of the sources, but it usually has an organizational pattern and combines both summary and synthesis. A summary is a recap of the important information of the source, but a synthesis is a re-organization, or a reshuffling, of that information. It might give a new explanation of old material or combine new with old interpretations. Or it might trace the intellectual progression of the field, including major debates. And depending on the situation, the literature review may evaluate the sources and advise the reader on the most pertinent or relevant.

Here are some points that will help you in evaluating your review of literature

1. Does the researcher start by identifying a particular problem area?
2. Does the researcher institute the importance of the problem area?
5. Is the research a coherent essay with logical transitions from topic to topic?
6. Has the researcher provided conceptual definitions of key terms?
7. Has the researcher indicated the basis for “factual” statements?
8. Do the specific research purposes, questions, or hypotheses logically flow from the introductory material?
9. Are any underlying theories adequately described?
10. Does the introduction move from topic to topic instead of from citation to citation?
11. Overall, is the introduction effective and appropriate?

And for a closer look at Evaluating Dissertation Literature Reviews, consider these additional points

1. If there is extensive literature on a topic, has the researcher been selective?
2. Is the literature review critical?
3. Is current research cited?
4. Has the researcher distinguished between opinions and research findings?

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Tips on Writing a State-of-the-Art English Literature Dissertation

Here comes the time of final English literature dissertation writing. Before anything else you should understand that literature dissertation is quite longer than any other dissertation writing, and require a deep involvement with the area of research. As literature is a very elegant and deep subject, hence the assessment by university or college would be done at much higher standard than the assessment of other areas of studies.

Before moving further, it's important to discuss that what Literature is. According to Wikipedia, "Literature is the art of written works". Subsequently, when we see what English Literature is, Wikipedia now define it as, "English literature is the literature written in the English language, including literature composed in English by writers not necessarily from England".

While writing your English literature writing, you need to focus greatly on dissertation literature review. You should not mix the connotation of literature review with the main English literature dissertation. Literature review of dissertation is actually a part of the dissertation in which you deeply go through the written work done by the previous English writers, and cite the important points which are necessary for your English literature dissertation. I recommend reading the work of famous writers like Charles Dickens, William Makepeach Thackeray's, Bronte sisters, Oscar Wilde's, and Rudyard Kipling in order to find some great ideas for your English literature dissertation topics.

Don't forget to use the referencing style which is recommended by your university/college. Ask your supervisor about the style they follow before starting the literature review, and stick to it from start to end. Harvard, Oxford, APA, MLA and MHRA are some famous referencing styles used in dissertation writing. Usually, MLA style is used for the subjects like literature, arts, and humanities, therefore you will most probably be asked to use MLA style.

As you will go through an English literature based dissertation, error free and good standard of English will be required to avoid criticism and embarrassment. Moreover, take care that final copy of your English literature dissertation should not contain any grammar, typography and spelling mistakes. Proof read the final work several times, and also get it proof read by your friends and family members to make it a perfect English literature dissertation without a single mistake in it.

Conclusion

Of course, the time of dissertation writing is tough but the time could be interesting. Don't take your English literature writing as a burden, take it easy and do it systematically. Once, you understand how to write literature dissertations, no force in this world can stop you to complete your dissertation far before the expected completion time.

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Progression Literature: The Literature of Denouement: Introducing a New Literary Genre

PROGRESSION LITERATURE: THE LITERATURE OF DENOUEMENT:

INTRODUCING A NEW LITERARY GENRE

What one hears, reads, says, sees, tastes, feels , remembers, and experiences affects our understanding. It is ‘truth’ as we perceive it. Remembering, in particular, evokes attitudes and emotions linked to ‘true’ knowledge of past events. Such experiences affect how we experience and interpret the present – especially if a past event is somehow linked to a present or impending event. For example, if one had been bitten by a white dog in the past, seeing the same white dog again can bring forth an automatic reaction, such as fear or aversion, even if the dog now appears friendly to others, who may then not understand your apprehensive reaction. Your perception of reality is different, though you and the others are both presented with the identical stimulus and information at the present moment.

In fact, much of what we might believe to be a ‘fresh’ experience is likely to be based on many past experiences that may or may not be directly related. A beautiful woman, never before seen by a particular male, may attract, have no effect on him, or repel, depending on past experience/ inexperience. First impressions are often based on past experience, learned prejudice, or instinct: a classic study in Scientific American showed pictures of the same male face, but with different amounts of hair, to respondents. Hairiness ranged from totally bald to long beard and long hair, complete with mustache. Respondents were asked to put the faces they saw in order, according to attractiveness. The shaved face, without mustaches and with neatly trimmed hair, was chosen as the most attractive. Total hairiness and total baldness were lowest on the list. In addition, the presence of a mustache reduced confidence. The faces presented were identical in every other respect. Progression from stage to stage of hairiness versus baldness was judged as a factor of attractiveness, but the test subjects didn’t see the face progress in cumulative stages (progression).

Progression in literature review (cumulative stages of revelation of facts) is what makes reading enjoyable: we aren’t certain of the outcome, and what we think is true can develop in different directions, depending on the information given. In fact, different readers guarantee different reactions. A fine novel captures the attention and interest of most readers.

Real world experiences are not, generally, as complete as a crafted novel. Modern writers, of course, reflect the chaos of our emerging modern world in what, for convenience, I term chaotic literature, white noise literature, with more or less deconstruction or minimalist influences. The result is discomfort for most readers, who must deal with the same stressors in real life. Time, for example, is short, and many of the most popular works, such as Stephen King’s works, are eagerly read because an entirely different world is spread out to relish and enjoy, however macabre. Fantasy and science fiction works have their loyal followings, too. In all writing, ‘truth’ is important -- a guideline in the fog, a face in the mirror, or a beacon in the night. But ‘Truth’ is perceived through a mist of the prejudices we gather in life experiences over time. Truth’ has impact: among other possible repercussions and reactions to its revelation, emotions and thinking can be stimulated or depressed. At any time, what is perceived in the real world as ‘truth’ can suddenly change.

Ian F. A. Bell describes Tony Tanner’s approach to this phenomenon in his introduction to Tanner’s The American Mystery:

“Tanner conceives of the dematerialization of language in American literature, the move beyond the structure of binary opposites, as a continuous process of self-invention. This move involves literary strategies of transformation: the construction of ontological identity, character, and modes of representation. As Tanner observers…if life was in “flux” or constant “metamorphosis,” then writing should be the same. As Emerson says, “In the beginning of America, was not only the word but the contradiction of the word.”

Bell goes on to describe Tanner’s analysis of Hawthorne’s language in The Blithedale Romance:

“…The Blithedale Romance does not ask what constitutes the real, much less the Real, as reality is only “known by the conviction that you have not got it.” As an American Romantic, however, Hawthorne may be suggesting that to know that reality is not real could be the beginning of a Real experience. Tanner tracks the binaries between fact and fiction, forgery and real money as a means of determining the “true” copy; whether “forging” the uncreated conscience of one’s race or forging money, “both ‘forgers’ work by putting falsities/fictions into circulation.”

And finally, in his study of Melville’s The Confidence Man, Bell notes what Tanner says about “reversibility” and “interchangeability”:

“Melville’s novel about trust and confidence in the new world of America, shows how “reversibility” can be re-cast as “interchangeability.” This term, which Tanner borrows from Thomas Mann, registers “the multiplicity and sheer ontological dubiety of the self” in a world where identity, as determined by the constructivist nature of language, is constantly being reinterpreted.”

Whether it is Newspeak, Orwellian style, or Spin City, whether it is a news report or a personal experience, above all, we trust personal experience, and then the Voice of Authority. Anyone with intelligence, plus sufficient interest in the case, can eventually recognize the spins and spirals in the Official Version of the Kennedy assassination. Calling people who discard the Official Version “conspiracy theorists,” while calling supporters of the Official Version “assassination analysts” exemplifies the polarization that can occur in searching for the ‘truth.’

Christopher Sharrett reviews Art Simon’s book, Dangerous Knowledge (concerning truth and imagery in the JFK Assassination debate) with some acerbic insights:

“the endless debate…came to constitute an "epistemological crisis," as each official and nonofficial investigation refuted a previous truth claim, and interpretation formed a huge Moebius Strip that traps the body politic and renders truth itself indeterminant but continues to provoke discussion.”

Sharrett notes a lack of moral center in these twisting and turnings of the truth:

“Simon invokes Michel Foucault's remark that "Power has its principle not so much in a person as in a certain concerted distribution of bodies, surfaces, lights, gazes." This simultaneously compelling, obtuse, and arid remark is emblematic of much postmodern discourse... Foucault's linkage of the gaze to power is not the sum and substance of Simon's method, but it does much to turn this work into a studious, eloquent, but labored exercise lacking a real political and moral center.”

Even Official Versions can be abandoned when necessary: enough time has now passed that the Gulf of Tonkin Incident, which provided an excuse to bomb Hanoi, is no longer presented as the ‘actual truth.’ Evidence suggests the incident never occurred, but it’s too late for Hanoi, and for many Americans who haven’t seen the new evidence, American ships were fired upon in the Gulf of Tonkin. ‘Truth’ for those who have come upon or noticed the new evidence differs from those who did not, and both groups will claim they have ‘the truth.’ Progression of knowledge from the former stance to the latter was incomplete. Incomplete transmittal of ‘the truth’ occurs constantly, creating divisions and conflicts. In real life ‘truth’ is almost a commodity.

Literature can be replenished and reach new heights if the principles of progression and perceived ‘truth’ are properly developed by the innovative writer. In the examples presented in the small sample collection of short-short stories provided in this paper, the potential range for progression literature (the genre could also be called the literature of denouement) can be stunning – mind-blowing—and i9t can happen in ‘real life’ as well. Films such as Tarantino’s Pulp Fiction exhibit progression/denouement qualities. A killer known to be dead is shown very much alive after his death, with incredible impact. To the patrons in a restaurant, terrorized by robbers, they’ll never know that one of their ‘saviors’ later died, or that the two men had come into the restaurant to eat after cleaning out a car full of gore and pieces of brain. Williams’ A Streetcar Named Desire brought the same approach from stage to film: we slowly realize that the ‘truth’ will never be fully known to Stella, whose passions are manipulated by Stanley, her brutal husband.

Much can be done to fully develop the new genre. The short-short story collection shown here presents controversial religious experiences and interpretations, as felt or reported by persons under widely different conditions. Time can change ‘reality’ and ‘truth’ for the reader or for those in the stories, as more information is obtained., The information might be false, however, leading to false conclusions, which may or may not alter others’ perception of what is ‘true,’ or new information might reveal a ‘new’ or unsuspected truth, or confirm a suspicion. Anything is possible, for ‘truth’ is what is perceived by each individual, or accepted due to the voice of authority. Those impacted by the ‘truth’ can create or live in entirely different universes, depending on the individual, to say nothing of the vicarious experiences felt by the reader or viewer (via literature, film, video games, etc.).

In addition, the writer-as-truth-teller can present the ‘truth’ more vividly and with greater emotional impact, employing the arts as well as the sciences, setting the ‘truth’ in proper proportion to right and wrong, with the potential to sculpt a moral perspective that a simple, arid recounting of events cannot, thus revealing a social aspect and interpretation to ‘truth’ that delivers a personal weight to the individual. Engels, commenting on the impact of Balzac’s Comédie humaine, observed how Balzac delivered “a most wonderfully realistic history of French society ... from which, even in economic details (for instance the re-arrangement of real and personal property after the Revolution) I have learned more than from all the professed historians, economists and statisticians of the period together.”

A simple progression example is to reveal how two people meet after years of absence. They assess the differences now present, compared to the past. These may be psychological as well as physical. What if one person s simply pretending, and isn’t as he seems, or perhaps isn’t the person from the past at all, but is merely masquerading as such? Would/will/can the other person ever find out? Perhaps, perhaps not. Denouement to the reader can be exhilarating, shocking, disappointing, etc., to say nothing of the reactions that can be created by the writer as the story progresses. Truth becomes an object of itself, with its own life, its own history, created within and outside the progression, and may not be ‘true’ after all. Yet the ‘truth’ may be more important than ‘reality’ for political, practical, or social reasons. ‘Truth’ ends up being what we finally believe. If our information remains slight, or even if supporting facts accumulate, the ‘truth’ remains unchanged unless conflicting information enters that is accepted by the recipient. And what about experiencing only conflicting, untrue information at the very onset? We are all familiar with the effects of advertising and propaganda. Hence, ‘truth’ is a hostage of fortune.

Progression could highlight how people change through time – perhaps a sinner really can become a saint! Yet another kind of progression involves revelation, where a character is developed before the reader via actions, events, and so on, but then unravels or morphs due to what we next learn. There is always the chance that what we think we know is not real. Dialogue – actual conversations – might reveal ‘the truth’ – and can be persuasive – if ‘the truth’ is being fully revealed. What if it isn’t? I use the example of a person thought to be a scammer turning out to be a saint, but seen by the world in the news, upon learning of his suicide (which isn’t presented here) as a man with a checkered reputation who took “the coward’s way out.” Read the short-short stories yourself, then decide how cruelly you could make the news story reflect the ‘truth’ as the Official Version would have it. There are two ‘saints’ in the short-short story collection: progression literature tells us much more than meets the eye.

In the literature of progression, just as in real life, ‘truth’ is indeed in the eye of the beholder, so I hope I will be forgiven for appropriating the cliché for the short-short story collection. In the examples of progression that I choose to present, brevity is used – but I stress that the objective is not to be gimmicky or to play tricks on the reader, nor necessarily to be brief, for the skilful writer now has a tool of power. I suggest a respectful treatment of the original perspectives in the foundation stories of progression literature, as they can relate marvelously, in talented hands, to the perspective which emerges or is revealed or appreciated later.

1. Nevertheless, my thesis material included several foundation stories in the genre which anchored my ideas for progression literature in the domain of short stories
2. Think of the ramifications of knowing a ‘truth’ – unless the dog now treats you in a friendly manner. Where, then, is your ‘truth’ to others?

The literature of progression invokes past events, but might now address a different part of a different story altogether, and ‘you’ may be in a different situation: for others, your story of a biting dog may seem utterly senseless, if this dog is known to be friendly to all. And so on. .

1. Why?
2. Thus untruth, or mistaken perceptions, or misinterpretations, can happen before or after the offering of the ‘truth,’ and we may be unable to discern which version/experience is ‘true’ even though one story, in this case, involves misperceptions and conclusions based on misconceptions and experiences which were ‘untrue’ but seemed ‘true.’
3. Denouement cannot bring forth the ‘truth’ because of the sheer volume of conflicting declarations stating the ‘truth.’

There is the element of the voyeur or the rascal involved in writing the non-fiction novel, related to our concerns, where historical characters are fleshed out fictionally to enhance or comply with a stereotype originally created to advance an Official Version that is controversial. Particularly disturbing is when the stereotype is advanced to ‘truth’ by the new fictionalized treatment. If the writer is actually unfamiliar with the historical person, of necessity then relying on what remains of the ‘truth’ in the Official Version [or other extant] records, the ‘new truth’ can become the final and lasting impression. For example, Don DeLillo’s Libra presents a cold-blooded view of Oswald’s treatment of his wife, based on her reports. The brutal glimpses DeLillo gives us of Oswald’s treatment of his wife are seared into the memory: what Oswald told me about his fights with his wife has no place in the version of the ‘truth’ DeLillo created.

Nevertheless, denouement literature, in progression format, can wrest -- even from a DeLillo opus -- a new and relevant perspective. David Foster Wallace summarizes the challenges to the writer of great literature in today’s fast-moving world, where entertainment is cheap, easily accessed, and well-designed:

“(There is)a contempt for the reader, an idea that literature's current marginalization is the reader's fault. The project that's worth trying is to [make]…the reader confront things rather than ignore them, but to do that in such a way that it's also pleasurable to read… Part of it has to do with living in an era when there's so much entertainment available…and figuring out how fiction is going to stake out its territory in that sort of era. You can try to confront what it is that makes fiction magical in a way that other kinds of art and entertainment aren't. And to figure out how fiction can engage a reader, much of whose sensibility has been formed by pop culture, without simply becoming more shit in the pop culture machine. It's unbelievably difficult and confusing and scary, but it's neat. There's so much mass commercial entertainment that's so good and so slick, this is something that I don't think any other generation has confronted. That's what it's like to be a writer now.”

Progression literature can be exciting and relevant. It can do many things: turn the reader’s perspective upside down, enhance understanding of human nature, restore truth to history -- depending on the author’s intentions and abilities. “The literature of denouement”, or, “progression literature,” in more skilled hands than mine might well provide a revitalization to modern literature, with new depth and excitement in its inimitable approach to crafting.

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Literature Stand Displays

A Literature Stand or literature display is an effective tool for any trade show booth or retail environment. A literature stand display can hold individual sheets of literature, magazines, brochures or any valuable literature that needs to be displayed.Literature review also take up little space so you are sure to have a place for one or two in your trade show display area or retail environment. There are many styles of literature displays on the market today. Take some time to review all of your options and choose what's right for you.

Folding or Collapsible - Literature Stand Displays
Folding literature stands are very popular with trade show exhibitors because of the compact feature they all have in common. Folding literature stands are built to collapse into a fold-away size for easy storage and transportation. Another great feature is the ability to keep your literature inside the literature stand while in transport. Leave your literature inside the stand, slip the stand into its case and you're ready to go. Now that's real convenience!

Modular Literature Displays
A modular literature stand breaks out into several parts or lays flat into a case when not in use. But when it is in use it will be a show stopper for any trade show booth or business location. The modular type literature stand display is often a bit heavier than some of the other types of literature stands but are still considered portable.

Roll up Literature Stand Display
The most lightweight full size literature stand is the mesh roll up literature stand. The mesh literature stand rolls up to a very small size and takes up very little space in travel or storage. Yet when rolled out to full size this literature stand can display 8 pockets for literature, brochures or magazines.

Table Top Literature or Brochure Holder
Table top literature displays are always a great addition at a trade show or a retail setting. Very handy and taking up very little space a brochure holder can be placed almost anywhere and present your literature in a very stylish way.

Literature Display – plus Podium
When limited on space no need to choose between a literature stand and a podium. You can get the two together with a Triplex Podium Literature Display. This literature stand/podium will hold three pockets of literature and pull up to the height of a podium with a wooden top big enough to place a computer on.

Information Centers
Another type of literature display where you get a two-for-one deal is called an information center. These unique literature displays have an adjustable shelf that will hold your literature and also give you a large frame to hold a 22"x28"x.25" sign or graphic.

There are many types of literature stand displays available on the market today that will compliment your marketing display and support your sales or exhibit team. By naming a few categories we hope to give you a head start on your journey of Literature Display shopping.

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