This book is intended as a comprehensive introduction to the subject. Part 1 includes definitive essays by specialists and observers of the PhD, including the first list of PhD programs around the world. Part 2 presents extracts from PhD dissertations in Japan, South Africa, Australia, and elsewhere.

Table of Contents

Introduction
Acknowledgments
A Glossary of Terms

Part One: Theories and Histories

1: James Elkins, “Six Cultures of the PhD Around the World”
2: James Elkins, “List of PhD Programs Around the World”
3: Judith Mottram, “Researching the PhD in Art and Design:
        What Is It, And Why Do a PhD in Art and Design?”
4: Charles Harrison, “When Management Speaks…”
5: Victor Burgin, “Thoughts on ‘Research’ Degrees in Visual Arts Departments”
6: Timothy Emlyn Jones, “The PhD in Studio Art Revisited”
7: George Smith, “The Artist-Philosopher and the New Philosophy”
8: Iain Biggs, “Singing Across Thresholds”
9: Timothy Emlyn Jones, “The Studio Art Doctorate in America”
10: Mick Wilson, “Four Theses Attempting to Revise the Terms of a Debate”
11: Henk Slager, “Experimental Aesthetics”
12: Hilde Van Gelder and Jan Baetens, “The Future of the Doctorate in the Arts”
13: James Elkins, “Fourteen Reasons to Mistrust the PhD”
14: Judith Mottram, “Notes in Response to the Fourteen Reasons”
15: James Elkins, “Positive Ideas for PhD Programs”
16: Jonathan Dronsfield, “Writing as Practice:
        Notes on Materiality of Theory for Practice-Based PhDs
17: Mick Wilson, “Between Apparatus and Ethos:
        On Building a Research Pedagogy in the Arts

Part Two: Examples

18: Fritha Langerman (University of Cape Town, South Africa)
19: Ruth Waller (School of Art, Australian National University, Canberra; MA)
20: Kyoko Nakamura (Tokyo Geidai)
21: Yuki Matsueda (Tokyo Geidai)
22: María Mencía (Chelsea College of Art and Design /
         University of the Arts, London)
23: Uriel Orlow (University of the Arts, London)
24: Phoebe von Held (University College London / Slade School of Art)
25: Marcela Quiroga Garza (Universidad de las Américas Puebla, Mexico)
26: Qi Zhen (Central Academy of Fine Art, Beijing)

 

The book was first published in a smaller edition, with fewer chapters; it does not say “Second Edition” on the cover. If you buy used copies, for example through Amazon, be careful not to get the first edition.

Printed Project, shown at the right, was one of the first publications on this subject.

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