Part of what we do as academics is to situate our work within the larger scholarly conversation.
just as THICK DESCRIPTION provides weight for your analytic arguments, citations provide weight for your "belonging" in the larger academic field. They are an argument for why your paper matters.
- what are the scholarly conversations around your topic (inequality, prisons, sex work, etc.-there may be more than one).
- your literature review is key to this process
- you may have to do supplementary research of the literature as your themes develop
- YOU NEED TO READ!!!! (I know that most of you do not read enough)
- Scholars need to love reading and have the desire to see what others are saying about things that they are interested in.
- connecting your work to other scholars you demonstrate the legitimacy of your place in the conversation about your subject
- in a larger ethnography this may take the help of a research librarian (though I never have)
- Organizing literature is no different than analyzing qualitative data.
- rather than integrating the literature into a cohesive narrative, some scholars start with a laundry list of previous studies (grrrr)
- they may summarize each argument in a separate paragraph.
- does not demonstrate your grasp of the larger arguments
- a good literature review synthesizes previous work and draws analytic conclusions from them
- I treat literature reviews like data and organize them into THEMES. then I integrate them as references into my writing when I am discussing that theme (as support or as clarification of a hypothesis i am making)
- I use the work of others to support my claims rather than describe their research (unless that is necessary)
- Metaphors for WRITING:
- ONE: The publishing world is a neighborhood with a set number of houses. Every published author reside in one of those houses. Once those houses are occupied, that's it! there is no more room!
- TWO: Publishing is an apartment complex, and when one complex is built, they build another. WORRY ABOUT HOW YOUR WRITE. There are always places to get your work published today if it is good (and even if it isn't).
- Make it catchy (sexy title)
- Should tell the reader as succinctly as possible what the work is about in an interesting way
- Give thought to key words that might be entered into search engines for the research of others
- If you can't bear to part with a catchy creative title that does not search well, consider a subtitles which is more descriptive
- Maybe not with a college assignment, but if you go on to write (which I hope you do), this is common, but not useful
- Anne Lamott:
- "You may experience a dreary form of existential dread, considering the absolute meaninglessness of life, and the fact that no one has ever really loved you; you may find yourself with a free-floating shame, and a hopelessness about your work, and the realization that you will have to throw out everything you've done so far and start from scratch. But, you will not be able to do so."
- Ethnography takes a long time-YEAR (5-10)
- Fear of failure is a normal response but not useful
- I write with a publisher in mind, whether it is a book, article or short commentary
- I write differently for different audiences
- Pedagogical approximation- the adjustment of material and presentation to match a certain audience
- Critical Acceptance: i make sure that I frame my arguments in a way that my target audience can CONSIDER them, and have enough information to draw CONCLUSIONS on their own. Whatever that audience.
- make sure you follow the guidelines of the publishers
- make sure you review some sample work
- make sure you can argue the merits of your written piece. CLEARLY and FORCEFULLY
- Routledge.
- Check out who the editor is
Hi Laurie,
This is an important topic, but I’m not sure whether it’s something the average yoga teacher would find accessible. It might be a closer fit for academics who study Buddhism, yoga, and related fields, and though that market exists it’s probably not huge. If you’d like to submit a proposal per the attached guidelines I’d be very happy to take a look and potentially get a couple of reviews—please do submit a proposal rather than the entire manuscript, though. If you’d like to submit a draft of the manuscript or sample chapters alongside the proposal that’s fine.
All best,
Anna
Anna Moore
Publisher | Routledge
Ms. Moore,
Your comments are much appreciated, and we are grateful for the opportunity to clarify and resubmit this proposal. Edward and I are quite aware that this book presents challenging material; however, we also believe, and so do those that have read existing chapters (both inside yoga: David White, Renata Gregorio within academic yoga: Graham Schweig, Anya Foxen, Joseph Alter and yoga practitioners in other fields -acting: Martin McDougall), that this material is both timely and much needed, as it fills a void in the serious consideration of yoga as a viable enterprise. Mark Singleton’s book, Yoga Body (Oxford) began a critical discussion of the reality of modern yoga and its history. His work, along with the many publications that have since come out of Oxford (James Mallinson, Jason Birch, Anya Foxen, Andrea Jain) have all contextualized yoga historically and/or critiqued it in its modern form. These works, though academic, are (and have been) featured at yoga conferences and are central to both the publications and “live” presentations of the behemoths of the yoga industry, Yoga Journal, Yoga International, and Yoga Alliance as a cornerstone to their continuing education materials. Yoga teachers are both interested in and engaging with these materials.
This book broadly acknowledges the academic research and provides a way forward for teachers and practitioners absent historicity. Where Jain (Selling Yoga -Oxford) presents an accurate image of yoga as a product of global markets, continually adapting to various contexts through the forces of capitalism; this book provides a way forward. It is critical, but not cynical, and outlines a model for critical inquiry for both teachers and students. It thoughtfully considers difficult issues for teachers which are currently reshaping the industry – “somatic dominance”, inclusivity, authenticity, and the modern evolution of the discipline. It is the first to define and recast the most modern and popular practice, vinyasa, in contrast to hatha yoga and presents an aesthetic philosophy for teaching and practice. It provides very practical information: how to create an effective presentation, build and maintain a clientele, understand the roles of teacher and student and maintain boundaries, plan and teach meaningful classes. What makes this book unique, is that it deals with these pedagogical and practical issues as they are informed by a broad range of academic perspectives. Yes, these perspectives are challenging, but having taught at a state college for 35 years, I do believe they are presented in ways that are accessible to the average reader who is truly interested. (Certainly, we have made every effort to do so, and this is one priority of the editing process.)
The marketing of books is of great concern. Having just published a cross-over volume with Rutgers University Press, I am quite sensitive to the need for authors to take a greater role in the dissemination and marketing of their materials and of the kinds of risks that publishers today take. Edward and I have both been involved in the upper echelons of the yoga community for over 40 years and are prepared to continue reach out to influential teachers, studio owners, and others who are our longtime friends and colleagues to secure endorsements, and market this book to their students. We have a strong online presence and over the years, through our separate and joint trainings, have cultivated and continue to expand a worldwide group of teachers and practitioners. Likewise, in the academic market where universities are more frequently offering courses (I teach one), and even majors in “Yoga Studies” (Naropa University, BA., Somaveda College of Natural and Integrative Medicine, BA.Loyola Marymount, MA., Leslie University, MA., Maryland University of Integrative Health, MA., GTU (Graduate Theological Union in Berkeley) MA., PhD., SOAS, University of London, BA., MA., PhD., Harvard University, PhD.) there are many marketing opportunities, as this book fills a void. In many ways, I have written this book for my classes, both in academia and as a trainer of yoga teachers. As a founding member of Yoga Alliance (1999), I am well-positioned to present this material through industry organizations as well.
We have attached the proposal and look forward to your consideration and comments. No matter the outcome, we truly thank you for allowing us the opportunity to clarify our presentation and highlight the importance of this work. The yoga community/industry is at a crossroads. There is an opportunity to capitalize on the changing yoga market as it emerges from this pandemic; large industrial venues are closing and those who are left, the serious and dedicated practitioners and teachers, are hungry for material that can provide an intelligent and innovative way forward.
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