• Kat Gupta’s research blog

    caution: may contain corpus linguistics, feminism, activism, LGB, queer and trans stuff, parrots, London

Viva classics

To prepare for my viva, I came up with a list of viva classics questions and a list of questions specific to my thesis – mostly about weaknesses that I wanted a ready response for. The list of viva classics ended up being more useful than the list of perceived weaknesses and so I thought I’d share it. My examiners started with a couple of these questions to put me at my ease (ha), then we moved to going through my thesis chapter-by-chapter, then we finished by talking about plans for dissemination.

  • What is the main contribution of this thesis?
  • Why this topic?
  • Has your view of your research topic changed during the course of the research?
  • Who has done the main work in this area?
  • Who is your audience – and what is your message to different elements of your audience?
  • Where do you position yourself?
  • What would you do differently if you started now?
  • What have you learned from the process of doing your PhD?
  • What research questions does this thesis open up?
  • What are your plans for dissemination?

The first question is an absolute gift as it gives you the chance to give a good summary of your research and why everyone should be interested in it. I found it helped to make a note of my main finding(s) for each chapter and use that to make sure I didn’t miss anything out.

These questions are more open-ended than the tightly focused “so why did you use term x and not term y” questions you might get during the chapter-by-chapter examination, and are meant to help you reflect on your research, your research practice and your development as a researcher. Your examiners know you’ve produced a PhD thesis; they’ve read it. What they don’t know is how your thesis has shaped you as a researcher.

Edinburgh post!

I am currently at the Edinburgh Fringe performing in Lashings of Ginger Beer Time’s production of Fanny Whittington. This is my first ever acting (deemed too rubbish for the school play in secondary school and I’m not sure being a tree in a primary school assembly counts) and I’m surprised by how much I’m enjoying it! My thesis is also making its acting debut as the script calls for a Really Big Book.

Today I saw two other acts. First up was Job Seekers Anonymous by Sh!t Theatre. Becca and Louise – or “Blouise” – are a confident duo of the “laugh because otherwise you’d cry” school of comedy. JSA was, by turns, funny, frustrated and despairing. Because being young and and un(der)employed and skint[1] and trying really hard to navigate the baffling maze of employment, internships, benefits and what you want from life is pretty rubbish. The act did what it said on the tin but what made it enjoyable was Blouise’s energetic delivery of visual metaphors, statistics, and experiences.

I’m not totally sure it worked as a one hour act – there was a bit in the middle where I thought it lost some of its energy and focus – but on the whole, it did a good job of outlining the various interlocking factors that make being un(der)employed so dispiriting and difficult to break out of.

Where Late The Sweet Birds Sang was the surprise of the evening. I wasn’t sure what to expect – the description of “‘Carry On…’ meets Hilary Mantel” wasn’t too promising and I expected some kind of “ooo Matron” campery. However, I was blown away.

The stage was simply set with a minimum of props – a panel cut out in the shape of the supports for a stained glass window, fallen pillars and two boxes. Over the course of the play, the pillars are righted and candles placed upon them.

John Burrows and David Brett both play a range of characters based in a monastery at the time of the Reformation, from the lowly Brothers Adam and Stephan, the Abbott, other monks, the Abbott’s brother, his wife, her various maidservants, and Dr Layton, the dreaded representative of Thomas Cromwell, the Vicar General. I was struck by their physicality and how they signalled the different characters they were inhabiting using nothing but body language, gestures and posture. I also enjoyed the way they moved around the stage, using its space in an agile and imaginative way.

The play moves through farce, camp comedy, sung Latin chants and heartbreak. I was convulsing with laughter at the use of the Te Deum and by the end, felt I’d been on an emotional journey. No one-note comedy, this was a meditation on mistakes, regrets, devotion, loss, love, and the crumbling of everything familiar and dear to the characters.

It’s at a rather specialised nexus of Catholicism, gay stuff, and history so I’m not sure how far its appeal extends, but I certainly enjoyed it.

Tomorrow I hope to see the intriguingly named Ladyboner

Also, in the midst of this, I sent off my thesis corrections. The end (the proper end) might just be in sight.

[1] I admit, part of the reason I saw these two plays was because they’re at the same venue we’re performing at and I could get in for free with my performer’s pass.

A defence of political correctness

Trigger warning: this post contains slurs for race, sexuality, disability, neurodiversity and gender.

So I tweeted something the other night and was a bit surprised that it took off:

As a queer, Asian, female-assigned-at-birth person with an interesting medical history, I like political correctness. Political correctness is why it is generally considered unacceptable to loudly inform me that I am a “chink”, a “paki”, that I should “fuck off back to where [I] came from”, that I should “fuck off back to Santa’s grotto”, that I am a “fucking dyke”, that I am a “fucking lesbian”, that I am a “fucking dwarf” or that I’m an “it”. Obviously not everyone agrees, which is why all of these examples are taken from real life.

When I come across a written article that uses slurs, I am not inclined to read it. I have lots of things to read: my “to read” list is constantly full of books, journal articles, blog posts. Unless someone has contracted my services as a proofreader or copyeditor, I am not obliged to read anything – and I am not wasting my time on something that uses hurtful language. I am not obliged to “look past” those slurs when those slurs hurt me.

If someone who doesn’t have the right to reclaim the term uses the word “tranny” throughout an article, I also have to wonder how far their knowledge extends. As someone who is involved with trans* welfare, health and legal issues, I have to wonder what I can take from it. I read a lot of those articles because one of my academic interests is the media representation of minority groups and issues, but – please forgive me if this sounds arrogant – I tend not to find something interesting and insightful and useful in such articles.

I love words. My degrees have basically been a love affair with words – how they’re used, what they mean, how they come with associations and connotations. I’ve also been accused of being “politically correct” and I’m well familiar with the argument that such political correctness stifles free expression and is a form of censorship. However, I think avoiding these slurs makes me a better, more thoughtful and more creative writer. For example, when I see the word “demented” being used, my mind flashes back to the dementia ward and day hospital where my mum worked and where my sister and I would accompany her if we were off sick from school. I think of my friend’s dad – my mum’s patient – and having to pretend to be my mum because he couldn’t recognise that I was a different person and trying to explain to him that I wasn’t my mum would be pointlessly upsetting. I think of the astonishing people my mum has treated – doctors and teachers and lecturers and footballers – and their families, and the aching loss of a mind, a history, a person.

I almost certainly don’t think what the writer wants me to think, which appears to be “isn’t this insane[1]/outrageous!”.

If I wrote something and there was so great a mismatch between what I wanted to say and what my readers took away from it, I’d consider that an unsuccessful effort. Not because I’d upset someone – I enjoy creating discomfort and disquiet in my creative work – but because I’d upset someone without intending to, because I’d used my words ineffectively, because it meant that I wasn’t doing my best as a writer.

Being politically correct has made me think about my language choices, and to think carefully about what I want to say. I’m reminded of these posters by Alison Rowan:
that's so...

There are lots and lots of alternatives which often express something more precisely. Just look at what you could use instead of “gay”: silly, heinous, preposterous, contemptuous, hideous, hapless, uncouth, unfortunate, deplorable, trashy, ridiculous, atrocious, corrupt, foolish. Or “retarded”: childish, absurd, indiscreet, ignorant, uncool, pointless, careless, irrational, senseless, irresponsible, illogical, unnecessary, trivial, ill-considered, dull, fruitless, silly. Each of those has different shades of meaning. Instead of the scattershot of “retarded” or “gay”, your words can be like precision strikes, hurting only the people you intend to hurt.

If you want to hurt people, that is. How much worse it is if, in your casual and unthinking use of “gay” or “retarded” or “spaz”, you wound someone you never meant to wound, never realised you wounded.

So back to political correctness.

The term “political correctness” was popularised by its opponents; people who agree that political correctness is often a good thing tend to call it other things, like “basic courtesy”. Political correctness means treating people with respect and courtesy, being mindful of what they do and do not want to be called and how they do or do not want to be addressed. It is offering dignity to minority groups, who are already being shat on in so many ways without having to deal with a barrage of slurs.

Saying that you’re against political correctness is not radical or edgy or subversive; it affirms the status quo. It affirms society’s default as white, straight, cisgendered, neurotypical, non-disabled, male. It does not challenge or mock or destabilise power. What, precisely, is subversive about trotting out the same tired racist, misogynistic, homophobic, transphobic, ableist crap?

 

[1] And let us contemplate the wide variety of words used to stigmatise mental illness and neurodiversity.

Corpus Linguistics 2013

Ah, the biannual Corpus Linguistics conference…the biggest date in the Corpus Linguistics calendar, the event that Tony McEnery described as more of a bacchanal than a conference.

This is one of my favourite academic conferences – it was the first one I went to as a wee MA student and I’ve been to every one since. Luckily it’s biannual or my wallet would be a thinner, sadder thing. I’ve done a lot of growing up at this series of conferences – first conference I attended, first conference I was a student helper for, first conference I got funding for, first conference I’m presenting at post-viva – and it feels a bit like home turf for me.

Photo by Michael Pace-Sigge

Photo by Michael Pace-Sigge

It was wonderful to catch up with friends and to meet new people. One of the conference helpers, Robbie Love, wrote a great post on his experiences at CL2013 and I’m delighted that he found it such a friendly place.

I was presenting on my PhD research, this time trying to give an overview of how the three approaches I used in my thesis fit together: corpus linguistics, three approaches from critical discourse analysis and, underpinning all of this, an awareness of the social, political and cultural context in which the suffrage movement operated. I only had a limited amount of time to present so decided to show elements of the corpus linguistic analysis and some of the work I did on Emily Wilding Davison using Theo van Leeuwen’s taxonomy of social actors. However, I argued that without an awareness of the historical context, any analysis of these texts would be lacking.

I’ve uploaded the slides so have a look if you’re interested.

One of the cool things about big conferences is that you assemble your own experience. It reminds me a bit of big music festivals with headliners/plenaries most people make an effort to see, then dozens of interesting people and projects. That up-and-coming person you’ve been advised to see, that fascinating project you’ve seen an announcement about, that person that you’ll see because you know they’re a fantastic presenter, that thing you’ll go to because it sounds controversial and you suspect the response will be good, the friend you’ll go and watch for moral support, the person you used to work with back in the day and want to find out what they’re doing now, the one that you’ve never heard of but looks intriguing… Talking to someone else, I realised that it was almost as if we were at two different conferences! It was, once again, fascinating to see how many things corpus linguistics can be used to investigate.

Some of my highlights were:
Michael Hoey giving a characteristically energetic opening plenary
An intense discussion of p-values following Jonathan Culpeper and Jane Demmen‘s talk
Paul Baker‘s beautifully neat demonstration of triangulated methods
Claire Hardaker on trolling (she refused to give the site name of one place, referring to it only as the “internet hate machine” – naturally I knew exactly where she meant)
Alison Sealey on the People, Products, Pets, Pests project
An incredibly lively morning presentation from Laurence Anthony on AntConc
A whole team from Lancaster represented by Paul Rayson on the Metaphor in End of Life Care methodology
Sylvia Jaworska on representing the Other in tourism

Over the course of the conference we also drank a bar dry and drank 180 bottles of wine at the gala dinner, so good work everyone.

And, because Michael P-S claims it’s not a conference without me lurking on my laptop somewhere…

Photo by Michael Pace-Sigge

Photo by Michael Pace-Sigge

Photos by Michael Pace-Sigge can be found here.

The Marriage (Same Sex Couples) Act 2013

Last week I wrote a post for InherentlyHuman, a blog based in the School of Law at the University of Durham.

I wrote about why the Marriage (Same Sex) Act 2013 does not bring marriage equality for trans* people and highlighted three major issues with it: the stolen marriages that the Act won’t restore, the spousal veto and the binary gender encoded into the Act.

I also need to write about my time at Corpus Linguistics 2013 and the Community Stage I helped to organise for Nottinghamshire Pride. Coming soon, I promise.