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How to Write a Master's Thesis

• Yvonne N. Bui - San Francisco State University, USA
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“Yvonne Bui’s How to Write a Master’s Thesis should be mandatory for all thesis track master’s students.  It steers students away from the shortcuts students may be tempted to use that would be costly in the long run. The step by step intentional approach is what I like best about this book.”

“This is the best textbook about writing an M.A. thesis available in the market.” 

“This is the type of textbook that students keep and refer to after the class.”

Excellent book. Thorough, yet concise, information for students writing their Master's Thesis who may not have had a strong background in research.

Clear, Concise, easy for students to access and understand. Contains all the elements for a successful thesis.

I loved the ease of this book. It was clear without extra nonsense that would just confuse the students.

Clear, concise, easily accessible. Students find it of great value.

NEW TO THIS EDITION:             

• Concrete instruction and guides for conceptualizing the literature review help students navigate through the most challenging topics.        
• Step-by-step instructions and more screenshots give students the guidance they need to write the foundational chapter, along with the latest online resources and general library information.          
• Additional coverage of single case designs and mixed methods help students gain a more comprehensive understanding of research methods.           
• Expanded explanation of unintentional plagiarism within the ethics chapter shows students the path to successful and professional writing.       
• Detailed information on conference presentation as a way to disseminate research , in addition to getting published, help students understand all of the tools needed to write a master’s thesis.    

KEY FEATURES:  

• An advanced chapter organizer provides an up-front checklist of what to expect in the chapter and serves as a project planner, so that students can immediately prepare and work alongside the chapter as they begin to develop their thesis.
• Full guidance on conducting successful literature reviews includes up-to-date information on electronic databases and Internet tools complete with numerous figures and captured screen shots from relevant web sites, electronic databases, and SPSS software, all integrated with the text.
• Excerpts from research articles and samples from exemplary students' master's theses relate specifically to the content of each chapter and provide the reader with a real-world context.
• Detailed explanations of the various components of the master's thesis and concrete strategies on how to conduct a literature review help students write each chapter of the master's thesis, and apply the American Psychological Association (APA) editorial style.
• A comprehensive Resources section features "Try It!" boxes which lead students through a sample problem or writing exercise based on a piece of the thesis to reinforce prior course learning and the writing objectives at hand. Reflection/discussion questions in the same section are designed to help students work through the thesis process.

Sample Materials & Chapters

1: Overview of the Master's Degree and Thesis

3: Using the Literature to Research Your Problem

For instructors

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How to Write a Thesis

Umberto Eco was an Italian semiotician, philosopher, literary critic, and novelist. He is the author of The Name of the Rose, Foucault's Pendulum , and The Prague Cemetery , all bestsellers in many languages, as well as a number of influential scholarly works.

Umberto Eco's wise and witty guide to researching and writing a thesis, published in English for the first time.

By the time Umberto Eco published his best-selling novel The Name of the Rose , he was one of Italy's most celebrated intellectuals, a distinguished academic and the author of influential works on semiotics. Some years before that, in 1977, Eco published a little book for his students, How to Write a Thesis , in which he offered useful advice on all the steps involved in researching and writing a thesis—from choosing a topic to organizing a work schedule to writing the final draft. Now in its twenty-third edition in Italy and translated into seventeen languages, How to Write a Thesis has become a classic. Remarkably, this is its first, long overdue publication in English.

Eco's approach is anything but dry and academic. He not only offers practical advice but also considers larger questions about the value of the thesis-writing exercise. How to Write a Thesis is unlike any other writing manual. It reads like a novel. It is opinionated. It is frequently irreverent, sometimes polemical, and often hilarious. Eco advises students how to avoid “thesis neurosis” and he answers the important question “Must You Read Books?” He reminds students “You are not Proust” and “Write everything that comes into your head, but only in the first draft.” Of course, there was no Internet in 1977, but Eco's index card research system offers important lessons about critical thinking and information curating for students of today who may be burdened by Big Data.

How to Write a Thesis belongs on the bookshelves of students, teachers, writers, and Eco fans everywhere. Already a classic, it would fit nicely between two other classics: Strunk and White and The Name of the Rose .

Contents The Definition and Purpose of a Thesis • Choosing the Topic • Conducting Research • The Work Plan and the Index Cards • Writing the Thesis • The Final Draft

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How to Write a Thesis By: Umberto Eco, Caterina Mongiat Farina, Geoff Farina https://doi.org/10.7551/mitpress/10029.001.0001 ISBN (electronic): 9780262328753 Publisher: The MIT Press Published: 2015

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Table of Contents

• [ Front Matter ] Doi: https://doi.org/10.7551/mitpress/10029.003.0013 Open the PDF Link PDF for [ Front Matter ] in another window
• Foreword By Francesco Erspamer Francesco Erspamer Search for other works by this author on: This Site Google Scholar Doi: https://doi.org/10.7551/mitpress/10029.003.0001 Open the PDF Link PDF for Foreword in another window
• Translators' Foreword By Caterina Mongiat Farina , Caterina Mongiat Farina Search for other works by this author on: This Site Google Scholar Geoff Farina Geoff Farina Search for other works by this author on: This Site Google Scholar Doi: https://doi.org/10.7551/mitpress/10029.003.0002 Open the PDF Link PDF for Translators' Foreword in another window
• Introduction to the Original 1977 Edition Doi: https://doi.org/10.7551/mitpress/10029.003.0003 Open the PDF Link PDF for Introduction to the Original 1977 Edition in another window
• Introduction to the 1985 Edition Doi: https://doi.org/10.7551/mitpress/10029.003.0004 Open the PDF Link PDF for Introduction to the 1985 Edition in another window
• 1: The Definition and Purpose of the Thesis Doi: https://doi.org/10.7551/mitpress/10029.003.0005 Open the PDF Link PDF for 1: The Definition and Purpose of the Thesis in another window
• 2: Choosing the Topic Doi: https://doi.org/10.7551/mitpress/10029.003.0006 Open the PDF Link PDF for 2: Choosing the Topic in another window
• 3: Conducting Research Doi: https://doi.org/10.7551/mitpress/10029.003.0007 Open the PDF Link PDF for 3: Conducting Research in another window
• 4: The Work Plan and the Index Cards Doi: https://doi.org/10.7551/mitpress/10029.003.0008 Open the PDF Link PDF for 4: The Work Plan and the Index Cards in another window
• 5: Writing the Thesis Doi: https://doi.org/10.7551/mitpress/10029.003.0009 Open the PDF Link PDF for 5: Writing the Thesis in another window
• 6: The Final Draft Doi: https://doi.org/10.7551/mitpress/10029.003.0010 Open the PDF Link PDF for 6: The Final Draft in another window
• 7: Conclusions Doi: https://doi.org/10.7551/mitpress/10029.003.0011 Open the PDF Link PDF for 7: Conclusions in another window
• Notes Doi: https://doi.org/10.7551/mitpress/10029.003.0012 Open the PDF Link PDF for Notes in another window
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A Guide to Thesis Writing That Is a Guide to Life

“How to Write a Thesis,” by Umberto Eco, first appeared on Italian bookshelves in 1977. For Eco, the playful philosopher and novelist best known for his work on semiotics, there was a practical reason for writing it. Up until 1999, a thesis of original research was required of every student pursuing the Italian equivalent of a bachelor’s degree. Collecting his thoughts on the thesis process would save him the trouble of reciting the same advice to students each year. Since its publication, “How to Write a Thesis” has gone through twenty-three editions in Italy and has been translated into at least seventeen languages. Its first English edition is only now available, in a translation by Caterina Mongiat Farina and Geoff Farina.

We in the English-speaking world have survived thirty-seven years without “How to Write a Thesis.” Why bother with it now? After all, Eco wrote his thesis-writing manual before the advent of widespread word processing and the Internet. There are long passages devoted to quaint technologies such as note cards and address books, careful strategies for how to overcome the limitations of your local library. But the book’s enduring appeal—the reason it might interest someone whose life no longer demands the writing of anything longer than an e-mail—has little to do with the rigors of undergraduate honors requirements. Instead, it’s about what, in Eco’s rhapsodic and often funny book, the thesis represents: a magical process of self-realization, a kind of careful, curious engagement with the world that need not end in one’s early twenties. “Your thesis,” Eco foretells, “is like your first love: it will be difficult to forget.” By mastering the demands and protocols of the fusty old thesis, Eco passionately demonstrates, we become equipped for a world outside ourselves—a world of ideas, philosophies, and debates.

Eco’s career has been defined by a desire to share the rarefied concerns of academia with a broader reading public. He wrote a novel that enacted literary theory (“The Name of the Rose”) and a children’s book about atoms conscientiously objecting to their fate as war machines (“The Bomb and the General”). “How to Write a Thesis” is sparked by the wish to give any student with the desire and a respect for the process the tools for producing a rigorous and meaningful piece of writing. “A more just society,” Eco writes at the book’s outset, would be one where anyone with “true aspirations” would be supported by the state, regardless of their background or resources. Our society does not quite work that way. It is the students of privilege, the beneficiaries of the best training available, who tend to initiate and then breeze through the thesis process.

Eco walks students through the craft and rewards of sustained research, the nuances of outlining, different systems for collating one’s research notes, what to do if—per Eco’s invocation of thesis-as-first-love—you fear that someone’s made all these moves before. There are broad strategies for laying out the project’s “center” and “periphery” as well as philosophical asides about originality and attribution. “Work on a contemporary author as if he were ancient, and an ancient one as if he were contemporary,” Eco wisely advises. “You will have more fun and write a better thesis.” Other suggestions may strike the modern student as anachronistic, such as the novel idea of using an address book to keep a log of one’s sources.

But there are also old-fashioned approaches that seem more useful than ever: he recommends, for instance, a system of sortable index cards to explore a project’s potential trajectories. Moments like these make “How to Write a Thesis” feel like an instruction manual for finding one’s center in a dizzying era of information overload. Consider Eco’s caution against “the alibi of photocopies”: “A student makes hundreds of pages of photocopies and takes them home, and the manual labor he exercises in doing so gives him the impression that he possesses the work. Owning the photocopies exempts the student from actually reading them. This sort of vertigo of accumulation, a neocapitalism of information, happens to many.” Many of us suffer from an accelerated version of this nowadays, as we effortlessly bookmark links or save articles to Instapaper, satisfied with our aspiration to hoard all this new information, unsure if we will ever get around to actually dealing with it. (Eco’s not-entirely-helpful solution: read everything as soon as possible.)

But the most alluring aspect of Eco’s book is the way he imagines the community that results from any honest intellectual endeavor—the conversations you enter into across time and space, across age or hierarchy, in the spirit of free-flowing, democratic conversation. He cautions students against losing themselves down a narcissistic rabbit hole: you are not a “defrauded genius” simply because someone else has happened upon the same set of research questions. “You must overcome any shyness and have a conversation with the librarian,” he writes, “because he can offer you reliable advice that will save you much time. You must consider that the librarian (if not overworked or neurotic) is happy when he can demonstrate two things: the quality of his memory and erudition and the richness of his library, especially if it is small. The more isolated and disregarded the library, the more the librarian is consumed with sorrow for its underestimation.”

Eco captures a basic set of experiences and anxieties familiar to anyone who has written a thesis, from finding a mentor (“How to Avoid Being Exploited By Your Advisor”) to fighting through episodes of self-doubt. Ultimately, it’s the process and struggle that make a thesis a formative experience. When everything else you learned in college is marooned in the past—when you happen upon an old notebook and wonder what you spent all your time doing, since you have no recollection whatsoever of a senior-year postmodernism seminar—it is the thesis that remains, providing the once-mastered scholarly foundation that continues to authorize, decades-later, barroom observations about the late-career works of William Faulker or the Hotelling effect. (Full disclosure: I doubt that anyone on Earth can rival my mastery of John Travolta’s White Man’s Burden, owing to an idyllic Berkeley spring spent studying awful movies about race.)

In his foreword to Eco’s book, the scholar Francesco Erspamer contends that “How to Write a Thesis” continues to resonate with readers because it gets at “the very essence of the humanities.” There are certainly reasons to believe that the current crisis of the humanities owes partly to the poor job they do of explaining and justifying themselves. As critics continue to assail the prohibitive cost and possible uselessness of college—and at a time when anything that takes more than a few minutes to skim is called a “longread”—it’s understandable that devoting a small chunk of one’s frisky twenties to writing a thesis can seem a waste of time, outlandishly quaint, maybe even selfish. And, as higher education continues to bend to the logic of consumption and marketable skills, platitudes about pursuing knowledge for its own sake can seem certifiably bananas. Even from the perspective of the collegiate bureaucracy, the thesis is useful primarily as another mode of assessment, a benchmark of student achievement that’s legible and quantifiable. It’s also a great parting reminder to parents that your senior learned and achieved something.

But “How to Write a Thesis” is ultimately about much more than the leisurely pursuits of college students. Writing and research manuals such as “The Elements of Style,” “The Craft of Research,” and Turabian offer a vision of our best selves. They are exacting and exhaustive, full of protocols and standards that might seem pretentious, even strange. Acknowledging these rules, Eco would argue, allows the average person entry into a veritable universe of argument and discussion. “How to Write a Thesis,” then, isn’t just about fulfilling a degree requirement. It’s also about engaging difference and attempting a project that is seemingly impossible, humbly reckoning with “the knowledge that anyone can teach us something.” It models a kind of self-actualization, a belief in the integrity of one’s own voice.

A thesis represents an investment with an uncertain return, mostly because its life-changing aspects have to do with process. Maybe it’s the last time your most harebrained ideas will be taken seriously. Everyone deserves to feel this way. This is especially true given the stories from many college campuses about the comparatively lower number of women, first-generation students, and students of color who pursue optional thesis work. For these students, part of the challenge involves taking oneself seriously enough to ask for an unfamiliar and potentially path-altering kind of mentorship.

It’s worth thinking through Eco’s evocation of a “just society.” We might even think of the thesis, as Eco envisions it, as a formal version of the open-mindedness, care, rigor, and gusto with which we should greet every new day. It’s about committing oneself to a task that seems big and impossible. In the end, you won’t remember much beyond those final all-nighters, the gauche inside joke that sullies an acknowledgments page that only four human beings will ever read, the awkward photograph with your advisor at graduation. All that remains might be the sensation of handing your thesis to someone in the departmental office and then walking into a possibility-rich, almost-summer afternoon. It will be difficult to forget.

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By Mary Norris

By Joshua Rothman

By Benjamin Kunkel

By Willing Davidson

• © 2017

How To Write Your First Thesis

• Paul Gruba 0 ,
• Justin Zobel 1

School of Languages & Linguistics, University of Melbourne SLL, Babel Bldg 608, Melbourne, Australia

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School of Computing & Information Systems, University of Melbourne Comp. Science & Software Engg., Carlton, VIC, Australia

• A practical guide for the entire process of producing a thesis for the first time
• Written by authors with many years of experience advising students
• Provides grounded advice to students who are new to writing extended original research, either undergraduate or graduate coursework

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Table of contents (9 chapters)

Front matter, transition to your first thesis.

• Paul Gruba, Justin Zobel

Getting Organized

The structure of a thesis, a strong beginning: the introduction, situating the study: the background, explaining the investigation: methods and innovations, presenting the outcome: the results, wrapping it up: discussion and conclusion, before you submit, back matter.

Many courses and degrees require that students write a short thesis. This book guides students through their first experience of producing a thesis and undertaking original research. Written by experienced researchers and advisors, the book sets out signposts and tasks to help students to understand what is needed to succeed, including scoping a topic, managing references, interpreting data, and successful completion.

For students, the task of writing a thesis is a transition from structured coursework to becoming a researcher. The book provides advice on:

• What to expect from research and how to work with a supervisor
• Getting organized and approaching the work in a productive way
• Developing an overall thesis structure and avoidance of mistakes such as inadvertent plagiarism
• Producing each major component: a strong introduction, background chapters that are situated in the discipline, and an explanation ofmethods and results that are crucial to successful original research
• How to wrap up a complex project with an extended checklist of the many details needed to be checked before a final submission
• research writing
• thesis preparation
• dissertation writing
• final project preparation
• thesis structure
• learning and instruction

School of Languages & Linguistics, University of Melbourne SLL, Babel Bldg 608, Melbourne, Australia

School of computing & information systems, university of melbourne comp. science & software engg., carlton, vic, australia.

Justin Zobel

Paul Gruba  is Associate Professor in the School of Languages and Linguistics, University of Melbourne.

Justin Zobel  is Professor in the School of Computing & Information Systems, University of Melbourne.

Book Title : How To Write Your First Thesis

Authors : Paul Gruba, Justin Zobel

DOI : https://doi.org/10.1007/978-3-319-61854-8

Publisher : Springer Cham

eBook Packages : Computer Science , Computer Science (R0)

Copyright Information : Springer International Publishing AG 2017

Softcover ISBN : 978-3-319-61853-1 Published: 06 September 2017

eBook ISBN : 978-3-319-61854-8 Published: 24 August 2017

Edition Number : 1

Number of Pages : XIII, 95

Number of Illustrations : 8 b/w illustrations

Topics : Computer Science, general , Learning & Instruction , Natural Language Processing (NLP) , Popular Social Sciences , Science, Humanities and Social Sciences, multidisciplinary

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How to Write a Thesis, According to Umberto Eco

In 1977, three years before Umberto Eco’s groundbreaking novel “ The Name of the Rose ” catapulted him to international fame, the illustrious semiotician published a funny and unpretentious guide for his favorite audience: teachers and their students. Now translated into 17 languages (it finally appeared in English in 2015), “How to Write a Thesis” delivers not just practical advice for writing a thesis — from choosing the right topic (monograph or survey? ancient or contemporary?) to note-taking and mastering the final draft — but meaningful lessons that equip writers for a lifetime outside the walls of the classroom. “Your thesis is like your first love” Eco muses. “It will be difficult to forget. In the end, it will represent your first serious and rigorous academic work, and this is no small thing.”

“Full of friendly, no-bullshit, entry-level advice on what to do and how to do it,” praised one critic, “the absolutely superb chapter on how to write is worth triple the price of admission on its own.” An excerpt from that chapter can be read below.

Once we have decided to whom to write (to humanity, not to the advisor), we must decide how to write, and this is quite a difficult question. If there were exhaustive rules, we would all be great writers. I could at least recommend that you rewrite your thesis many times, or that you take on other writing projects before embarking on your thesis, because writing is also a question of training. In any case, I will provide some general suggestions:

You are not Proust. Do not write long sentences. If they come into your head, write them, but then break them down. Do not be afraid to repeat the subject twice, and stay away from too many pronouns and subordinate clauses. Do not write,

The pianist Wittgenstein, brother of the well-known philosopher who wrote the Tractatus Logico-Philosophicusthat today many consider the masterpiece of contemporary philosophy, happened to have Ravel write for him a concerto for the left hand, since he had lost the right one in the war.

Write instead,

The pianist Paul Wittgenstein was the brother of the philosopher Ludwig Wittgenstein. Since Paul was maimed of his right hand, the composer Maurice Ravel wrote a concerto for him that required only the left hand.

The pianist Paul Wittgenstein was the brother of the famous philosopher, author of the Tractatus. The pianist had lost his right hand in the war. For this reason the composer Maurice Ravel wrote a concerto for him that required only the left hand.

Do not write,

The Irish writer had renounced family, country, and church, and stuck to his plans. It can hardly be said of him that he was a politically committed writer, even if some have mentioned Fabian and “socialist” inclinations with respect to him. When World War II erupted, he tended to deliberately ignore the tragedy that shook Europe, and he was preoccupied solely with the writing of his last work.

Rather write,

Joyce had renounced family, country, and church. He stuck to his plans. We cannot say that Joyce was a “politically committed” writer even if some have gone so far as describing a Fabian and “socialist” Joyce. When World War II erupted, Joyce deliberately ignored the tragedy that shook Europe. His sole preoccupation was the writing of Finnegans Wake.

Even if it seems “literary,” please do not write,

When Stockhausen speaks of “clusters,” he does not have in mind Schoenberg’s series, or Webern’s series. If confronted, the German musician would not accept the requirement to avoid repeating any of the twelve notes before the series has ended. The notion of the cluster itself is structurally more unconventional than that of the series. On the other hand Webern followed the strict principles of the author of A Survivor from Warsaw. Now, the author of Mantra goes well beyond. And as for the former, it is necessary to distinguish between the various phases of his oeuvre. Berio agrees: it is not possible to consider this author as a dogmatic serialist.

You will notice that, at some point, you can no longer tell who is who. In addition, defining an author through one of his works is logically incorrect. It is true that lesser critics refer to Alessandro Manzoni simply as “the author of the Betrothed,” perhaps for fear of repeating his name too many times. (This is something manuals on formal writing apparently advise against.) But the author of The Betrothed is not the biographical character Manzoni in his totality. In fact, in a certain context we could say that there is a notable difference between the author of The Betrothed and the author of Adelchi , even if they are one and the same biographically speaking and according to their birth certificate. For this reason, I would rewrite the above passage as follows:

When Stockhausen speaks of a “cluster,” he does not have in mind either the series of Schoenberg or that of Webern. If confronted, Stockhausen would not accept the requirement to avoid repeating any of the twelve notes before the end of the series. The notion of the cluster itself is structurally more unconventional than that of the series. Webern, by contrast, followed the strict principles of Schoenberg, but Stockhausen goes well beyond. And even for Webern, it is necessary to distinguish among the various phases of his oeuvre. Berio also asserts that it is not possible to think of Webern as a dogmatic serialist.

You are not e. e. cummings. Cummings was an American avant-garde poet who is known for having signed his name with lower-case initials. Naturally he used commas and periods with great thriftiness, he broke his lines into small pieces, and in short he did all the things that an avant-garde poet can and should do. But you are not an avant-garde poet. Not even if your thesis is on avant-garde poetry. If you write a thesis on Caravaggio, are you then a painter? And if you write a thesis on the style of the futurists, please do not write as a futurist writes. This is important advice because nowadays many tend to write “alternative” theses, in which the rules of critical discourse are not respected. But the language of the thesis is a metalanguage , that is, a language that speaks of other languages. A psychiatrist who describes the mentally ill does not express himself in the manner of his patients. I am not saying that it is wrong to express oneself in the manner of the so-called mentally ill. In fact, you could reasonably argue that they are the only ones who express themselves the way one should. But here you have two choices: either you do not write a thesis, and you manifest your desire to break with tradition by refusing to earn your degree, perhaps learning to play the guitar instead; or you write your thesis, but then you must explain to everyone why the language of the mentally ill is not a “crazy” language, and to do it you must use a metalanguage intelligible to all. The pseudo-poet who writes his thesis in poetry is a pitiful writer (and probably a bad poet). From Dante to Eliot and from Eliot to Sanguineti, when avant-garde poets wanted to talk about their poetry, they wrote in clear prose. And when Marx wanted to talk about workers, he did not write as a worker of his time, but as a philosopher. Then, when he wrote The Communist Manifesto with Engels in 1848, he used a fragmented journalistic style that was provocative and quite effective. Yet again, The Communist Manifesto is not written in the style of Capital, a text addressed to economists and politicians. Do not pretend to be Dante by saying that the poetic fury “dictates deep within,” and that you cannot surrender to the flat and pedestrian metalanguage of literary criticism. Are you a poet? Then do not pursue a university degree. Twentieth-century Italian poet Eugenio Montale does not have a degree, and he is a great poet nonetheless. His contemporary Carlo Emilio Gadda (who held a degree in engineering) wrote fiction in a unique style, full of dialects and stylistic idiosyncrasies; but when he wrote a manual for radio news writers, he wrote a clever, sharp, and lucid “recipe book” full of clear and accessible prose. And when Montale writes a critical article, he writes so that all can understand him, including those who do not understand his poems.

Begin new paragraphs often. Do so when logically necessary, and when the pace of the text requires it, but the more you do it, the better.

Write everything that comes into your head , but only in the first draft. You may notice that you get carried away with your inspiration, and you lose track of the center of your topic. In this case, you can remove the parenthetical sentences and the digressions, or you can put each in a note or an appendix. Your thesis exists to prove the hypothesis that you devised at the outset, not to show the breadth of your knowledge.

Use the advisor as a guinea pig. You must ensure that the advisor reads the first chapters (and eventually, all the chapters) far in advance of the deadline. His reactions may be useful to you. If the advisor is busy (or lazy), ask a friend. Ask if he understands what you are writing. Do not play the solitary genius.

Do not insist on beginning with the first chapter . Perhaps you have more documentation on chapter 4. Start there, with the nonchalance of someone who has already worked out the previous chapters. You will gain confidence. Naturally your working table of contents will anchor you, and will serve as a hypothesis that guides you.

Do not use ellipsis and exclamation points, and do not explain ironies . It is possible to use language that is referential or language that is figurative . By referential language, I mean a language that is recognized by all, in which all things are called by their most common name, and that does not lend itself to misunderstandings. “The Venice-Milan train” indicates in a referential way the same object that “The Arrow of the Lagoon” indicates figuratively. This example illustrates that “everyday” communication is possible with partially figurative language. Ideally, a critical essay or a scholarly text should be written referentially (with all terms well defined and univocal), but it can also be useful to use metaphor, irony, or litotes. Here is a referential text, followed by its transcription in figurative terms that are at least tolerable:

[ Referential version :] Krasnapolsky is not a very sharp critic of Danieli’s work. His interpretation draws meaning from the author’s text that the author probably did not intend. Consider the line, “in the evening gazing at the clouds.” Ritz interprets this as a normal geographical annotation, whereas Krasnapolsky sees a symbolic expression that alludes to poetic activity. One should not trust Ritz’s critical acumen, and one should also distrust Krasnapolsky. Hilton observes that, “if Ritz’s writing seems like a tourist brochure, Krasnapolsky’s criticism reads like a Lenten sermon.” And he adds, “Truly, two perfect critics.”

[ Figurative version :] We are not convinced that Krasnapolsky is the sharpest critic of Danieli’s work. In reading his author, Krasnapolsky gives the impression that he is putting words into Danieli’s mouth. Consider the line, “in the evening gazing at the clouds.” Ritz interprets it as a normal geographical annotation, whereas Krasnapolsky plays the symbolism card and sees an allusion to poetic activity. Ritz is not a prodigy of critical insight, but Krasnapolsky should also be handled with care. As Hilton observes, “if Ritz’s writing seems like a tourist brochure, Krasnapolsky’s criticism reads like a Lenten sermon. Truly, two perfect critics.”

You can see that the figurative version uses various rhetorical devices. First of all, the litotes: saying that you are not convinced that someone is a sharp critic means that you are convinced that he is not a sharp critic. Also, the statement “Ritz is not a prodigy of critical insight” means that he is a modest critic. Then there are the metaphors : putting words into someone’s mouth, and playing the symbolism card. The tourist brochure and the Lenten sermon are two similes , while the observation that the two authors are perfect critics is an example of irony : saying one thing to signify its opposite.

Now, we either use rhetorical figures effectively, or we do not use them at all. If we use them it is because we presume our reader is capable of catching them, and because we believe that we will appear more incisive and convincing. In this case, we should not be ashamed of them, and we should not explain them . If we think that our reader is an idiot, we should not use rhetorical figures, but if we use them and feel the need to explain them, we are essentially calling the reader an idiot. In turn, he will take revenge by calling the author an idiot. Here is how a timid writer might intervene to neutralize and excuse the rhetorical figures he uses:

[ Figurative version with reservations :] We are not convinced that Krasnapolsky is the “sharpest” critic of Danieli’s work. In reading his author, Krasnapolsky gives the impression that he is “putting words into Danieli’s mouth.” Consider Danieli’s line, “in the evening gazing at the clouds.” Ritz interprets this as a normal geographical annotation, whereas Krasnapolsky “plays the symbolism card” and sees an allusion to poetic activity. Ritz is not a “prodigy of critical insight,” but Krasnapolsky should also be “handled with care”! As Hilton ironically observes, “if Ritz’s writing seems like a vacation brochure, Krasnapolsky’s criticism reads like a Lenten sermon.” And he defines them (again with irony!) as two models of critical perfection. But all joking aside …

I am convinced that nobody could be so intellectually petit bourgeois as to conceive a passage so studded with shyness and apologetic little smiles. Of course I exaggerated in this example, and here I say that I exaggerated because it is didactically important that the parody be understood as such. In fact, many bad habits of the amateur writer are condensed into this third example. First of all, the use of quotation marks to warn the reader, “Pay attention because I am about to say something big!” Puerile. Quotation marks are generally only used to designate a direct quotation or the title of an essay or short work; to indicate that a term is jargon or slang; or that a term is being discussed in the text as a word, rather than used functionally within the sentence. Secondly, the use of the exclamation point to emphasize a statement. This is not appropriate in a critical essay. If you check the book you are reading, you will notice that I have used the exclamation mark only once or twice. It is allowed once or twice, if the purpose is to make the reader jump in his seat and call his attention to a vehement statement like, “Pay attention, never make this mistake!” But it is a good rule to speak softly. The effect will be stronger if you simply say important things. Finally, the author of the third passage draws attention to the ironies, and apologizes for using them (even if they are someone else’s). Surely, if you think that Hilton’s irony is too subtle, you can write, “Hilton states with subtle irony that we are in the presence of two perfect critics.” But the irony must be really subtle to merit such a statement. In the quoted text, after Hilton has mentioned the vacation brochure and the Lenten sermon, the irony was already evident and needed no further explanation. The same applies to the statement, “But all joking aside.” Sometimes a statement like this can be useful to abruptly change the tone of the argument, but only if you were really joking before. In this case, the author was not joking. He was attempting to use irony and metaphor, but these are serious rhetorical devices and not jokes.

You may observe that, more than once in this book, I have expressed a paradox and then warned that it was a paradox. For example, in section 2.6.1, I proposed the existence of the mythical centaur for the purpose of explaining the concept of scientific research. But I warned you of this paradox not because I thought you would have believed this proposition. On the contrary, I warned you because I was afraid that you would have doubted too much, and hence dismissed the paradox. Therefore I insisted that, despite its paradoxical form, my statement contained an important truth: that research must clearly define its object so that others can identify it, even if this object is mythical. And I made this absolutely clear because this is a didactic book in which I care more that everyone understands what I want to say than about a beautiful literary style. Had I been writing an essay, I would have pronounced the paradox without denouncing it later.

Always define a term when you introduce it for the first time . If you do not know the definition of a term, avoid using it. If it is one of the principal terms of your thesis and you are not able to define it, call it quits. You have chosen the wrong thesis (or, if you were planning to pursue further research, the wrong career).

Umberto Eco was an Italian novelist, literary critic, philosopher, semiotician, and university professor. This article is excerpted from his book “ How to Write a Thesis .”

Think of yourself as a member of a jury, listening to a lawyer who is presenting an opening argument. You'll want to know very soon whether the lawyer believes the accused to be guilty or not guilty, and how the lawyer plans to convince you. Readers of academic essays are like jury members: before they have read too far, they want to know what the essay argues as well as how the writer plans to make the argument. After reading your thesis statement, the reader should think, "This essay is going to try to convince me of something. I'm not convinced yet, but I'm interested to see how I might be."

An effective thesis cannot be answered with a simple "yes" or "no." A thesis is not a topic; nor is it a fact; nor is it an opinion. "Reasons for the fall of communism" is a topic. "Communism collapsed in Eastern Europe" is a fact known by educated people. "The fall of communism is the best thing that ever happened in Europe" is an opinion. (Superlatives like "the best" almost always lead to trouble. It's impossible to weigh every "thing" that ever happened in Europe. And what about the fall of Hitler? Couldn't that be "the best thing"?)

A good thesis has two parts. It should tell what you plan to argue, and it should "telegraph" how you plan to argue—that is, what particular support for your claim is going where in your essay.

Steps in Constructing a Thesis

First, analyze your primary sources.  Look for tension, interest, ambiguity, controversy, and/or complication. Does the author contradict himself or herself? Is a point made and later reversed? What are the deeper implications of the author's argument? Figuring out the why to one or more of these questions, or to related questions, will put you on the path to developing a working thesis. (Without the why, you probably have only come up with an observation—that there are, for instance, many different metaphors in such-and-such a poem—which is not a thesis.)

Once you have a working thesis, write it down.  There is nothing as frustrating as hitting on a great idea for a thesis, then forgetting it when you lose concentration. And by writing down your thesis you will be forced to think of it clearly, logically, and concisely. You probably will not be able to write out a final-draft version of your thesis the first time you try, but you'll get yourself on the right track by writing down what you have.

Keep your thesis prominent in your introduction.  A good, standard place for your thesis statement is at the end of an introductory paragraph, especially in shorter (5-15 page) essays. Readers are used to finding theses there, so they automatically pay more attention when they read the last sentence of your introduction. Although this is not required in all academic essays, it is a good rule of thumb.

Anticipate the counterarguments.  Once you have a working thesis, you should think about what might be said against it. This will help you to refine your thesis, and it will also make you think of the arguments that you'll need to refute later on in your essay. (Every argument has a counterargument. If yours doesn't, then it's not an argument—it may be a fact, or an opinion, but it is not an argument.)

This statement is on its way to being a thesis. However, it is too easy to imagine possible counterarguments. For example, a political observer might believe that Dukakis lost because he suffered from a "soft-on-crime" image. If you complicate your thesis by anticipating the counterargument, you'll strengthen your argument, as shown in the sentence below.

Some Caveats and Some Examples

A thesis is never a question.  Readers of academic essays expect to have questions discussed, explored, or even answered. A question ("Why did communism collapse in Eastern Europe?") is not an argument, and without an argument, a thesis is dead in the water.

A thesis is never a list.  "For political, economic, social and cultural reasons, communism collapsed in Eastern Europe" does a good job of "telegraphing" the reader what to expect in the essay—a section about political reasons, a section about economic reasons, a section about social reasons, and a section about cultural reasons. However, political, economic, social and cultural reasons are pretty much the only possible reasons why communism could collapse. This sentence lacks tension and doesn't advance an argument. Everyone knows that politics, economics, and culture are important.

A thesis should never be vague, combative or confrontational.  An ineffective thesis would be, "Communism collapsed in Eastern Europe because communism is evil." This is hard to argue (evil from whose perspective? what does evil mean?) and it is likely to mark you as moralistic and judgmental rather than rational and thorough. It also may spark a defensive reaction from readers sympathetic to communism. If readers strongly disagree with you right off the bat, they may stop reading.

An effective thesis has a definable, arguable claim.  "While cultural forces contributed to the collapse of communism in Eastern Europe, the disintegration of economies played the key role in driving its decline" is an effective thesis sentence that "telegraphs," so that the reader expects the essay to have a section about cultural forces and another about the disintegration of economies. This thesis makes a definite, arguable claim: that the disintegration of economies played a more important role than cultural forces in defeating communism in Eastern Europe. The reader would react to this statement by thinking, "Perhaps what the author says is true, but I am not convinced. I want to read further to see how the author argues this claim."

A thesis should be as clear and specific as possible.  Avoid overused, general terms and abstractions. For example, "Communism collapsed in Eastern Europe because of the ruling elite's inability to address the economic concerns of the people" is more powerful than "Communism collapsed due to societal discontent."

Copyright 1999, Maxine Rodburg and The Tutors of the Writing Center at Harvard University

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How to Write a Thesis or Dissertation Introduction

Published on September 7, 2022 by Tegan George and Shona McCombes. Revised on November 21, 2023.

The introduction is the first section of your thesis or dissertation , appearing right after the table of contents . Your introduction draws your reader in, setting the stage for your research with a clear focus, purpose, and direction on a relevant topic .

Your introduction should include:

• Your topic, in context: what does your reader need to know to understand your thesis dissertation?
• Your focus and scope: what specific aspect of the topic will you address?
• The relevance of your research: how does your work fit into existing studies on your topic?
• Your questions and objectives: what does your research aim to find out, and how?
• An overview of your structure: what does each section contribute to the overall aim?

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Table of contents

How to start your introduction, topic and context, focus and scope, relevance and importance, questions and objectives, overview of the structure, thesis introduction example, introduction checklist, other interesting articles, frequently asked questions about introductions.

Although your introduction kicks off your dissertation, it doesn’t have to be the first thing you write — in fact, it’s often one of the very last parts to be completed (just before your abstract ).

It’s a good idea to write a rough draft of your introduction as you begin your research, to help guide you. If you wrote a research proposal , consider using this as a template, as it contains many of the same elements. However, be sure to revise your introduction throughout the writing process, making sure it matches the content of your ensuing sections.

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Begin by introducing your dissertation topic and giving any necessary background information. It’s important to contextualize your research and generate interest. Aim to show why your topic is timely or important. You may want to mention a relevant news item, academic debate, or practical problem.

After a brief introduction to your general area of interest, narrow your focus and define the scope of your research.

You can narrow this down in many ways, such as by:

• Geographical area
• Time period
• Demographics or communities
• Themes or aspects of the topic

It’s essential to share your motivation for doing this research, as well as how it relates to existing work on your topic. Further, you should also mention what new insights you expect it will contribute.

Start by giving a brief overview of the current state of research. You should definitely cite the most relevant literature, but remember that you will conduct a more in-depth survey of relevant sources in the literature review section, so there’s no need to go too in-depth in the introduction.

Depending on your field, the importance of your research might focus on its practical application (e.g., in policy or management) or on advancing scholarly understanding of the topic (e.g., by developing theories or adding new empirical data). In many cases, it will do both.

Ultimately, your introduction should explain how your thesis or dissertation:

• Helps solve a practical or theoretical problem
• Addresses a gap in the literature
• Builds on existing research
• Proposes a new understanding of your topic

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Perhaps the most important part of your introduction is your questions and objectives, as it sets up the expectations for the rest of your thesis or dissertation. How you formulate your research questions and research objectives will depend on your discipline, topic, and focus, but you should always clearly state the central aim of your research.

If your research aims to test hypotheses , you can formulate them here. Your introduction is also a good place for a conceptual framework that suggests relationships between variables .

• Conduct surveys to collect data on students’ levels of knowledge, understanding, and positive/negative perceptions of government policy.
• Determine whether attitudes to climate policy are associated with variables such as age, gender, region, and social class.
• Conduct interviews to gain qualitative insights into students’ perspectives and actions in relation to climate policy.

To help guide your reader, end your introduction with an outline  of the structure of the thesis or dissertation to follow. Share a brief summary of each chapter, clearly showing how each contributes to your central aims. However, be careful to keep this overview concise: 1-2 sentences should be enough.

I. Introduction

Human language consists of a set of vowels and consonants which are combined to form words. During the speech production process, thoughts are converted into spoken utterances to convey a message. The appropriate words and their meanings are selected in the mental lexicon (Dell & Burger, 1997). This pre-verbal message is then grammatically coded, during which a syntactic representation of the utterance is built.

Speech, language, and voice disorders affect the vocal cords, nerves, muscles, and brain structures, which result in a distorted language reception or speech production (Sataloff & Hawkshaw, 2014). The symptoms vary from adding superfluous words and taking pauses to hoarseness of the voice, depending on the type of disorder (Dodd, 2005). However, distortions of the speech may also occur as a result of a disease that seems unrelated to speech, such as multiple sclerosis or chronic obstructive pulmonary disease.

This study aims to determine which acoustic parameters are suitable for the automatic detection of exacerbations in patients suffering from chronic obstructive pulmonary disease (COPD) by investigating which aspects of speech differ between COPD patients and healthy speakers and which aspects differ between COPD patients in exacerbation and stable COPD patients.

Checklist: Introduction

I have introduced my research topic in an engaging way.

I have provided necessary context to help the reader understand my topic.

I have clearly specified the focus of my research.

I have shown the relevance and importance of the dissertation topic .

I have clearly stated the problem or question that my research addresses.

I have outlined the specific objectives of the research .

I have provided an overview of the dissertation’s structure .

You've written a strong introduction for your thesis or dissertation. Use the other checklists to continue improving your dissertation.

If you want to know more about AI for academic writing, AI tools, or research bias, make sure to check out some of our other articles with explanations and examples or go directly to our tools!

Research bias

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The introduction of a research paper includes several key elements:

• A hook to catch the reader’s interest
• Relevant background on the topic
• Details of your research problem

and your problem statement

• A thesis statement or research question
• Sometimes an overview of the paper

Don’t feel that you have to write the introduction first. The introduction is often one of the last parts of the research paper you’ll write, along with the conclusion.

This is because it can be easier to introduce your paper once you’ve already written the body ; you may not have the clearest idea of your arguments until you’ve written them, and things can change during the writing process .

Research objectives describe what you intend your research project to accomplish.

They summarize the approach and purpose of the project and help to focus your research.

Your objectives should appear in the introduction of your research paper , at the end of your problem statement .

Scope of research is determined at the beginning of your research process , prior to the data collection stage. Sometimes called “scope of study,” your scope delineates what will and will not be covered in your project. It helps you focus your work and your time, ensuring that you’ll be able to achieve your goals and outcomes.

Defining a scope can be very useful in any research project, from a research proposal to a thesis or dissertation . A scope is needed for all types of research: quantitative , qualitative , and mixed methods .

To define your scope of research, consider the following:

• Budget constraints or any specifics of grant funding
• Your proposed timeline and duration
• Specifics about your population of study, your proposed sample size , and the research methodology you’ll pursue
• Any inclusion and exclusion criteria
• Any anticipated control , extraneous , or confounding variables that could bias your research if not accounted for properly.

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FAQ: What is a thesis statement and how do I write one?

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Last Updated: Apr 01, 2024 Views: 16

What is a thesis statement.

A thesis statement is a sentence that states the main idea of your paper. It is not just a statement of fact, but a statement of position. What argument are you making about your topic? Your thesis should answer that question.

How long should my thesis statement be?

Thesis statements are often just one sentence. Keep thesis statements concise, without extra words or information. If you are having trouble keeping your thesis statement to one sentence, consider the following:

• Is your thesis is specific enough?
• Does your thesis directly supports your paper?
• Does your thesis accurately describes your purpose or argue your claim?

Can I see some example thesis statements?

The following websites have examples of thesis statements:

• Thesis Statements This link opens in a new window (UNC)
• Tips and Examples for Writing Thesis Statements This link opens in a new window (OWL at Purdue)
• Writing an Effective Thesis Statement This link opens in a new window (Indiana River State College)

These web resources may be helpful if you are looking for examples. However, be sure to evaluate any sources you use! The Shapiro Library cannot vouch for the accuracy of information provided on external websites.

Where can I find more information?

Video tutorials.

• The Persuasive Thesis: How to Write an Argument This link opens in a new window (SNHU Academic Support)
• Research and Citation Playlist This link opens in a new window (SNHU Academic Support)
• Planning a Paper series: Drafting a Thesis Statement This link opens in a new window ( Infobase Learning Cloud - SNHU Login Required)

More Information

• Build a Critical Analysis Thesis This link opens in a new window (SNHU Academic Support)
• Build a Compare & Contrast Thesis This link opens in a new window  (SNHU Academic Support)
• Build a History Thesis This link opens in a new window  (SNHU Academic Support)
• Build a Persuasive Thesis This link opens in a new window  (SNHU Academic Support)

Further Help

This information is intended to be a guideline, not expert advice. Please speak to your instructor about the appropriate way to craft thesis statements for your class assignments and projects.

Campus Students

To access Academic Support, visit your Brightspace course and select “Tutoring and Mentoring” from the Academic Support pulldown menu.

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April guide to the arts at the U

By Brittney Bomnin Garcia [email protected] 03-29-2024

Explore a roundup of events this month, including concerts, exhibitions, and undergraduate student presentations during the annual Research, Creativity, and Innovation Forum. Learn more about The U Creates —the University’s digital hub for the arts, culture, and creative expression—and view the full calendar of events .

VIEW ALL: Bill Cosford Cinema | Center for the Humanities | Jerry Herman Ring Theatre | Frost School of Music | Lowe Art Museum | School of Architecture | University Libraries | UM Art Galleries

Saturday, April 6, 7:30 p.m. | in person and streaming, purchase tickets

Frost Music Live!: Schubertiade for Violin and Piano

Frost School of Music’s piano professors will join renowned violinist Charles Castleman to unveil the magic of Franz Schubert. A tradition that began in 1815 honoring the then 18-year-old Schubert, the Schubertiade originated as an unpublicized, informal concert of his music, but quickly spread throughout Europe, and eventually to the United States. Purchase tickets .

Newman Recital Hall, Knight Center for Music Innovation, 5513 San Amaro Dr, Coral Gables, FL 33146

Monday, April 8, 6:30 p.m. | in person, free event

Book Talk: ‘Roman Satire’

With particular attention to authorial and national identity, artistic self-definition, and literary reception, Jennifer Ferriss-Hill, professor of classics and senior associate dean for faculty affairs and college diversity at the College of Arts and Sciences, shows how four ancient Latin poets—Lucilius, Horace, Persius, and Juvenal—asked and answered these questions between the second century BCE and the second century CE as they invented and reinvented the genre of Roman verse Satire. Save your seat .

Books & Books, 265 Aragon Ave., Coral Gables, FL 33134

Tuesday, April 9, noon | virtual, free event

Slow Looking with the Lowe: Highlights from the Campus Art Collection

During this virtual program, Tola Porter, Lowe Art Museum educator for academic and public programs, will lead participants through a 30-minute mindful and interactive session exploring selected artworks from the Lowe’s collection. Sign up now .

Lowe Art Museum, 1301 Stanford Drive, Coral Gables, FL 33146

Wednesday, Apr. 10, noon to 4 p.m. | in person, free event

Research, Creativity, and Innovation Forum (RCIF)

The Office of Undergraduate Research and Community Outreach offers students from all disciplines the opportunity to present their research to a wide audience consisting of their peers, faculty and staff members, and the larger University community. In collaboration with the Center for the Humanities, RCIF has added a panel presentation component this year for students and peers to develop their presentation skills and further engage with their research in the humanities. Learn more .

Donna E. Shalala Student Center, 1330 Miller Drive, Miami, FL 33146

Thursday, April 11, 4 p.m. | in person, free event

Edith Bleich Lecture Series: Jennifer V. Evans, professor of history at Carleton University in Canada

In her lecture, “Why We Need Queer Kinship Now More Than Ever,” Evans asks how the queer and trans past has often been drawn upon to make a series of claims about liberal democracy itself, including the place of identity in rights-based discourses of experience, policy, and governance. Register now .

Otto G. Richter Library, Third Floor Conference Room, 1300 Memorial Drive, Coral Gables, FL 33146

Thursday and Friday, April 11–12 | in person, purchase tickets

Smart Cities MIAMI 2024

The School of Architecture, in collaboration with the Frost Institute for Data Science and Computing, will host the 8th Annual Smart Cities Conference . This event will explore the theme of artificial intelligence in design, offering a platform to delve into the cutting-edge advancements shaping the future of architecture. Registration is $50 per person.

Lakeside Village Expo Center, 1280 Stanford Drive, Coral Gables, FL 33146

Saturday, April 13, 6 p.m. | in person, free event

M.F.A. in Creative Writing thesis reading

Graduate students Guillermo Leon, Dorie Spangler, and Swetha Siva, who are pursuing Master of Fine Arts in Creative Writing, will share their thesis. This event is open to the public.

Thursday April 17, 6 p.m. | in person, free event

Lowe Connects: Exploring Art, Marine Biology, and Engineering to Address Climate Challenges

U-Link partners from the departments of art and art history, marine biology, and engineering will speak about the connection between scientific research, engineering, and art. Guests will learn about the ways that the University of Miami is catalyzing interdisciplinary collaboration to advance knowledge on the impacts of climate change and other stressors, and the development of practical solutions to meet society’s changing needs. Register now .

Mindfulness programs are offered virtually at 4 p.m. on Wednesdays and in person at 10:30 a.m. on Thursdays at the Otto G. Richter Library.

Friday and Saturday, April 19-20 and Friday and Saturday, April 26-27 | in person, purchase tickets

‘Urinetown, the Musical’

Join the revolt in a dystopian future where water is worth its weight in gold, and one of the most basic human needs is under the control of an evil bureaucracy. Wickedly witty, this Tony Award- winning musical satire pokes fun at politics, social irresponsibility, capitalism, and musical theater itself. University students and staff and faculty members can use code THSUTOWN before selecting their seats to receive a discount. University students can obtain free entry to an 8 p.m. show Thursday, April 25, by presenting a valid ’Cane ID. Purchase tickets .

Jerry Herman Ring Theatre, 1312 Miller Drive, Coral Gables, FL 33146

Saturday, April 20, 6 p.m. | in person, free event

Catherine Kramer: ‘Known/Unknown’

On view from April 5 through April 26, the University community is invited to the opening reception of “Known/Unknown,” an exhibition by Master of Fine Arts candidate Catherine Kramer. Drawing inspiration from Swiss psychiatrist and psychoanalyst Carl Jung and his process of active imagination, Kramer intentionally works with subconsciously produced imagery while creating her artwork. Learn more .

University of Miami Wynwood Gallery, 2750 NW Third Ave., Suite 4, Miami, FL 33127

On view now through Saturday, April 20 | in person

The Annual Juried Exhibition

Organized by the Department of Art and Art History and hosted by the Lowe Art Museum, the exhibition features works of art across various media created by undergraduate and graduate students at the University of Miami. Learn more .

Monday, April 22, 4 p.m. | in person and streaming, free event

Adobe Scholars Reception

Meet and engage with the 2023-2024 Adobe Scholars as they share the results of their projects. This event is free to attend and open to the public. The online component of this hybrid event will be hosted using Zoom software. Sign up to participate .

Monday, April 22, 7:30 p.m. | in person, free event

‘Sing Sing’

Attend a sneak preview of “Sing Sing,” the story of an inmate at the infamous Sing Sing Correctional Facility in Ossining, NY, who forms a theater troupe with his fellow prisoners. Admission is free. Registration is required .

Bill Cosford Cinema, Dooly Memorial 225, 5030 Brunson Drive, Coral Gables, FL 33146

Thursday April 25, 6 p.m. | in person, free event

ArtLab | Miya Ando: Sky Writing lecture and reception

Join the Lowe for a talk and reception featuring artist Miya Ando to celebrate the ArtLab 2024 exhibition, Miya Ando: Sky Writing, on view through Saturday, June 1. This student-curated exhibition features multimedia works by Miya Ando, whose oeuvre explores nature’s ever-changing moods and the fragility of human existence. Register to attend .

Thursday, April 25, 7:30 p.m. | in person and streaming, purchase tickets

Frost Music Live!: Michel Camilo and the Frost Latin Jazz Orchestra

Born in the Dominican Republic and raised in New York, Michel Camilo bridges the genres of jazz, classical, popular and world music with his artistry and virtuosity. The Grammy, Latin Grammy, and Emmy Award-winner joins forces for one night only with the Frost Latin Jazz Orchestra and Cuban drummer Dafnis Prieto. Purchase tickets .

Maurice Gusman Concert Hall, Frost School of Music, 1314 Miller Drive, Coral Gables, FL 33146

Saturday, April 27, 7:30 p.m. | in person and streaming, purchase tickets

Frost Music Live!: Beethoven’s 9th

The Frost Symphony Orchestra season finale presents a symphonic masterwork alongside four American orchestral miniatures by Augusta Reed Thomas, Bernard Rands, Daren Hagan, and Chen Yi. Purchase tickets .

Featured: RCIF Humanities Hub

As part of the Research, Creativity, and Innovation Forum, the Humanities Hub will feature representatives from the University's humanities departments to provide attendees with information about the humanities as well as answers to specific questions about fields of study, research pursuits, and career opportunities. The Humanities Hub aims to create a stronger connection between research and the humanities within the undergraduate student body and also promotes the different ways in which students can get involved in the humanities.

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