Tutorial presentation to

1. The last one!
Crawley, 14 September 2012

2. Aims of Session
• Write a brilliant EMA.

3. 5 ways to smash it – you need:
1. An answer.
2. An argument.
3. Evidence
4. Structure.
5. References.

4. 1. Answer the question
• What is the question?
• Where are the boundaries?
• What is out of scope?
• What is relevant?
• Where do you need to start?
• What can you take as read??
• What is your answer to the question?

5. 2. Build a strong argument

6. Concept mapping

7. 3. Provide strong evidence
• Examples.
• Illustrations.
• Relevant to your answer to the question.
• Analysed fully.
• Integrated into your argument.

8. Choose your examples with care

9. Questions
• Is it the best example there is?
• Does it make your point?
• Does it fit with the big picture?
• Have you interrogated it?
• Have you analysed it fully?
• Does it present any
contradictions?
• Have you explored these?

10. Have you provided the context?

11. Critical Thinking
Critical thinking means not papering over the cracks.
• Interrogate your sources.
• Find any contradictions.
• Explore any potential counter-arguments (which you may
or may not be able to refute).
• Celebrate complexity – don't ignore it.
• Don't expect to provide resolution.

13. 4. Structure your work well.
• Beginning – tell ‘em what
you’re going to tell ‘em
• Middle – tell’ em
• End – tell ‘em what you told
‘em

14. Introductions – tell’ em what
you’re going to tell ‘em
An good introduction will definitely:
• give an overview of your answer;
• present your central idea.
Might:
• explain how you will interpret the title;
• give your reasons for answering in a particular way;
• introduce the questions the EMA will be addressing.
Could:
• make a bold statement that the rest of the essay will
justify. (higher risk strategy)

15. The intros round
• From reading a good introduction you will know:
a) how the author is going to answer the question;
b) what the rest of the essay will contain.
• Read the following introductions.
• Write down:
i. the question;
ii. what the rest of the essay will contain;
iii. the conclusion.

16. Would Aristotle have found anything to
value in a seaside holiday?
This essay will discuss and explore how Aristotle
might value a seaside holiday, by examining his
philosophy on leisure and comparing and contrasting this
with the thoughts of Epicurus, his fellow philosopher, who
disagreed with him on what human beings are and how
leisure should be enjoyed and what value it had to life.
The values of seaside holidays in both ancient and
modern times will also be discussed.

17. ‘The seaside is a place of escape from the restrictions of everyday life’. How far
do the depictions of the seaside presented in the course materials reflect this
view? Discuss with reference to two or three specific examples, choosing a
different genre for each example from: art, music, photography and film
The seaside has long been regarded as a place to ‘break free’ from the
‘confinement or control’ (Soanes, and Stevenson, 2008, p. 486) of everyday
life. There is something captivating about walking on the sands, swimming in
the sea and breathing the invigorating air that has drawn visitors to the seaside
for many years. In fact ‘by 1900’, the seaside had become ‘the place to spend
a holiday’ (Resort history, 2009). For the majority of people, everyday life
(especially everyday working life), was full of restrictions. People were
expected to wear specific types of clothes, act in specific ways, associate with
specific kinds of people (depending on their ranking in society), and the
working class especially would have had very little leisure time within their
normal day to day lives. Although the seaside had its own ‘expectations of
behaviour’ (Faire, 2008, p. 136), such as expectations of dress, people did not
view it as being as burdensome as the restrictions of everyday life. This essay
considers how two genres, art and music, reflect the view that seaside is a
place of escape

18. There is no such thing as ‘sacred space’ – there are only places to
which different people ascribe different values’. Discuss with
reference to at least two examples.
A sacred space may be a feature of the natural landscape or something that has
been constructed by man; it may be something very old or something quite
modern; the important thing is that for at least one person – and most frequently
for a group of people it is regarded as special and is revered and treated
possible in a religious way. As Matthew Clements, the custodian of Glastonbury
Abbey stresses on the course DVD ‘Sacred Spaces and Landscapes’ it is the
individual’s response to a place which determines whether they consider it
sacred. The definition of sacred space has caused debate and disagreement
among scholars for many years. The work of some of these scholars will first be
discussed to gain support for and against the view that a place can be inherently
sacred. The debate will be illustrated by making specific references to two sites,
Glastonbury and Milton Keynes, but mention will be made of other places
discussed in Book Four of the course and also some perhaps less expected
venues. In this way it is hoped to either endorse or reject the premise that there
is no such thing as a ‘sacred space’.

19. How has the character of the
seaside holiday changed?
Today, when we think of a seaside holiday many of us
have certain expectations of what will make it a pleasant
and enjoyable experience. Some people nostalgically
return to the same place time after time, enjoying a
tradition that generations of their family have enjoyed
before them.

20. How has the character of the
seaside holiday changed?
The change in character of the British seaside resort,
from its creation, to modern times reflects the continual
change that has taken place within British society. The
British seaside resort has adapted to meet the needs of
its changing clientele. This essay looks at the wider
changes taking place in the country which have affected
the character of the resort, including the industrial
revolution and the world wars. In many ways the resort
has mirrored developments taking place in society and
in other ways it has been a forerunner to change which
has ended up influencing society as a whole.

21. Connect 4

22. ECA 08J
'The seaside has always been regarded as a place of
fun.'
Do you agree with this statement? Discuss using two
or three examples.

23. Conclusions
• Summarise answer to the question as indictated in the
introduction
• Refer back to question title to show it has been answered
• Give a sense of an ending
• Point out what TMA has answered and not answered
• Show you've done what you said you'd do
• Put forward your view in light of the evidence you've
presented

24. Beside the seaside, beside the sea . . .
What would your conclusion be?

25. 5. Credit your sources

26. Reference:
• Every time you quote
• Every time you paraphrase
• Whenever you have used ideas that did not originate in
your head.

27. How to reference: in text
• (Author, date, page), e.g. (Brunton, 2008, p.34).
• More than one page is pp. 34-36.
• Get this right.
• It isn’t hard.
• If in doubt check the Assignment booklet
• Do not guess.
• It will not be OK.
• It does really matter.
• Don’t make it up.

29. How to reference: bibliography
• Author of chapter, (date), ‘title of chapter’, in Name of
editor, Title of Book, place of publication, publisher,
pages of whole chapter.
• Chant, C. (2008) ‘Technology and the Seaside:
Blackpool and Benidorm’, in Brunton (ed.) Place and
Leisure (AA100 Book 4), Milton Keynes, The Open
University, pp..

31. Are you really there yet?

32. The review
• Does it have a central idea? Is this idea apparent or do
you have to ‘search’ for it? Is the central idea clear
enough for you to restate in a different way?
• Does it raise questions which it doesn’t answer?
• Does it convey a sense of an argument developing?
• Do point, both within and beyond paragraphs, seem to
follow logically? Does the whole piece hang together?

33. The review continued . . .
• Why is a particular piece of information in the essay?
What work is it doing for expressing the ideas of the
assignment?
• Can you understand what is written? If not can you see
why? Does the writer’s use of subject terminology seem
clear and confident?
• Does the introduction seem helpful as a signpost for the
whole piece?
• Does it have a satisfying ending?
• Does the ending in particular and the piece as a whole
answer the question set? How do you know? Has the
writer referred to the question clearly and explicitly?

34. Key questions
• Does this example work?
• Is this idea clear?
• It there too much/not enough evidence?
• Is it too personal?
• Is the English OK?
• Have you addressed all the elements of the marking
scale?

35. Other stuff
• Referencing – your bible is the TMA booklet.
• Reference everything – to the point of obsession.
• More than 2,200 words will lose you marks – don't do it!
• Focus on the course materials – don't be seduced by
other stuff (no matter how tempting).
• Submit by 12 NOON

36. Jennie Osborn