Into the Labyrinth : A PhD Comprehensive Portfolio

Labyrinth Construction

Ullyatt (2011) describes the design and construction of a labyrinth in temporal and contextual space. The labyrinth has an imprint on the land where it resides and a structured time when it is used by a labyrinth walker. There is a paradox of permanence and ephemerality in structuring the boundaries of a labyrinth in both time and space, meaning that both the physical construct and metaphoric reflectivity may be fleeting but will leave an etch on the landscape and psyche. Such is the construction of this comprehensive portfolio - it is bound by temporal and contextual construction within time and space. This labyrinthian comprehensive portfolio constructs a symbolic path walked with intention and reflection. Yet, I also recognize the heteroglosia (diverse voices within this creative construction), polyphony (unison of multiple elements including media constructions), and dialogism (dialogue required for change to occur) (Hoechsmann, 2019) that are embedded into this comprehensive portfolio construction. Bahktin's (1981) notion of "unfinalisability" reminds me this path is an opportunity to continue developing and learning. 

The construction of the comprehensive portfolio, as outlined in the Joint PhD program handbook, is a demonstration of scholarly knowledge within the field of study as outlined in the context of course work, scholarly tasks, and explorations into dissertation topics. The focus is on modelling depth of knowledge, methodological understanding and the critique of research literature. As suggested by Boote & Beile (2006) the goals of a doctoral program are four-fold: to "understand the research and scholarship in the field; develop intellectual independence; develop information literacy; and systematically and continually reappraise ideas and practices" (p. 32). Understanding is further defined as ownership and being able to justify and defend the inclusion of research and choices (Boote & Beile, 2006). It is by constructing and writing this comprehensive portfolio that I will come to know myself reflexively as academic and scholar, while recognizing that this text is far from being the whole story. This portfolio will stand as an imperfect and incomplete construction of my experiences, knowledge, competencies, and connections (Richardson, 2001). 

The lintel stands as the entrance to any construction - the doorway or window through which to enter. The lintel of this comprehensive portfolio is framed by three sections: 1) the introduction, 2) the labyrinth, and 3) the pathways sections. By reading these sections first, you the reader may better understand the subsequent steps into the portfolio design and the actions I outline within each section of the portfolio. The boundaries and borders of this labyrinthian comprehensive portfolio are found in the sections that outline the academic growth gained through course work, research and writing, and teaching and learning. From the centre of the labyrinth I share the final sections which outline my literature review, my research frameworks in preparation for the research proposal, and my defence for an alternative dissertation format. This is my PhD labyrinth construction. 

References
Bakhtin, M. M. (1981). Discourse in the novel. In M. Holquist (Ed.), C. Emerson & M. Holquist (Trans.), The dialogic imagination: four essays by  M. M. Bahktin (pp. 259–422). Austin, TX: University of Texas Press. Retrieved from https://hdl-handle-net.ledproxy2.uwindsor.ca/2027/heb.09354

Boote, D. N., & Biele, P. (2006). On “Literature reviews of, and for, educational research”: A response to the critique by Joseph Maxwell. Educational Researcher, 35(9), 32–35.

Hoechsmann, M. (2019). Pedagogy, Precarity, and Persuasion: The Case for Re/mix Literacies. The International Journal of Critical Media Literacy, 93–101.

Richardson, L. (2001). Getting personal: Writing stories. Qualitative Studies in Education, 14(1), 33–38.

 

This page has paths:

Contents of this tag: