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How to Write a Master's Thesis

• Yvonne N. Bui - San Francisco State University, USA
• Description

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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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What is a thesis | A Complete Guide with Examples

Table of Contents

A thesis is a comprehensive academic paper based on your original research that presents new findings, arguments, and ideas of your study. It’s typically submitted at the end of your master’s degree or as a capstone of your bachelor’s degree.

However, writing a thesis can be laborious, especially for beginners. From the initial challenge of pinpointing a compelling research topic to organizing and presenting findings, the process is filled with potential pitfalls.

Therefore, to help you, this guide talks about what is a thesis. Additionally, it offers revelations and methodologies to transform it from an overwhelming task to a manageable and rewarding academic milestone.

What is a thesis?

A thesis is an in-depth research study that identifies a particular topic of inquiry and presents a clear argument or perspective about that topic using evidence and logic.

Writing a thesis showcases your ability of critical thinking, gathering evidence, and making a compelling argument. Integral to these competencies is thorough research, which not only fortifies your propositions but also confers credibility to your entire study.

Furthermore, there's another phenomenon you might often confuse with the thesis: the ' working thesis .' However, they aren't similar and shouldn't be used interchangeably.

A working thesis, often referred to as a preliminary or tentative thesis, is an initial version of your thesis statement. It serves as a draft or a starting point that guides your research in its early stages.

As you research more and gather more evidence, your initial thesis (aka working thesis) might change. It's like a starting point that can be adjusted as you learn more. It's normal for your main topic to change a few times before you finalize it.

While a thesis identifies and provides an overarching argument, the key to clearly communicating the central point of that argument lies in writing a strong thesis statement.

What is a thesis statement?

A strong thesis statement (aka thesis sentence) is a concise summary of the main argument or claim of the paper. It serves as a critical anchor in any academic work, succinctly encapsulating the primary argument or main idea of the entire paper.

Typically found within the introductory section, a strong thesis statement acts as a roadmap of your thesis, directing readers through your arguments and findings. By delineating the core focus of your investigation, it offers readers an immediate understanding of the context and the gravity of your study.

Furthermore, an effectively crafted thesis statement can set forth the boundaries of your research, helping readers anticipate the specific areas of inquiry you are addressing.

Different types of thesis statements

A good thesis statement is clear, specific, and arguable. Therefore, it is necessary for you to choose the right type of thesis statement for your academic papers.

Thesis statements can be classified based on their purpose and structure. Here are the primary types of thesis statements:

Argumentative (or Persuasive) thesis statement

Purpose : To convince the reader of a particular stance or point of view by presenting evidence and formulating a compelling argument.

Example : Reducing plastic use in daily life is essential for environmental health.

Analytical thesis statement

Purpose : To break down an idea or issue into its components and evaluate it.

Example : By examining the long-term effects, social implications, and economic impact of climate change, it becomes evident that immediate global action is necessary.

Expository (or Descriptive) thesis statement

Purpose : To explain a topic or subject to the reader.

Example : The Great Depression, spanning the 1930s, was a severe worldwide economic downturn triggered by a stock market crash, bank failures, and reduced consumer spending.

Cause and effect thesis statement

Purpose : To demonstrate a cause and its resulting effect.

Example : Overuse of smartphones can lead to impaired sleep patterns, reduced face-to-face social interactions, and increased levels of anxiety.

Compare and contrast thesis statement

Purpose : To highlight similarities and differences between two subjects.

Example : "While both novels '1984' and 'Brave New World' delve into dystopian futures, they differ in their portrayal of individual freedom, societal control, and the role of technology."

When you write a thesis statement , it's important to ensure clarity and precision, so the reader immediately understands the central focus of your work.

What is the difference between a thesis and a thesis statement?

While both terms are frequently used interchangeably, they have distinct meanings.

A thesis refers to the entire research document, encompassing all its chapters and sections. In contrast, a thesis statement is a brief assertion that encapsulates the central argument of the research.

Here’s an in-depth differentiation table of a thesis and a thesis statement.

Now, to craft a compelling thesis, it's crucial to adhere to a specific structure. Let’s break down these essential components that make up a thesis structure

15 components of a thesis structure

Navigating a thesis can be daunting. However, understanding its structure can make the process more manageable.

Here are the key components or different sections of a thesis structure:

Your thesis begins with the title page. It's not just a formality but the gateway to your research.

Here, you'll prominently display the necessary information about you (the author) and your institutional details.

• Title of your thesis
• Your full name
• Your department
• Your institution and degree program
• Your submission date
• Your Supervisor's name (in some cases)
• Your Department or faculty (in some cases)
• Your University's logo (in some cases)
• Your Student ID (in some cases)

In a concise manner, you'll have to summarize the critical aspects of your research in typically no more than 200-300 words.

This includes the problem statement, methodology, key findings, and conclusions. For many, the abstract will determine if they delve deeper into your work, so ensure it's clear and compelling.

Acknowledgments

Research is rarely a solitary endeavor. In the acknowledgments section, you have the chance to express gratitude to those who've supported your journey.

This might include advisors, peers, institutions, or even personal sources of inspiration and support. It's a personal touch, reflecting the humanity behind the academic rigor.

Table of contents

A roadmap for your readers, the table of contents lists the chapters, sections, and subsections of your thesis.

By providing page numbers, you allow readers to navigate your work easily, jumping to sections that pique their interest.

List of figures and tables

Research often involves data, and presenting this data visually can enhance understanding. This section provides an organized listing of all figures and tables in your thesis.

It's a visual index, ensuring that readers can quickly locate and reference your graphical data.

Introduction

Here's where you introduce your research topic, articulate the research question or objective, and outline the significance of your study.

• Present the research topic : Clearly articulate the central theme or subject of your research.
• Background information : Ground your research topic, providing any necessary context or background information your readers might need to understand the significance of your study.
• Define the scope : Clearly delineate the boundaries of your research, indicating what will and won't be covered.
• Literature review : Introduce any relevant existing research on your topic, situating your work within the broader academic conversation and highlighting where your research fits in.
• State the research Question(s) or objective(s) : Clearly articulate the primary questions or objectives your research aims to address.
• Outline the study's structure : Give a brief overview of how the subsequent sections of your work will unfold, guiding your readers through the journey ahead.

The introduction should captivate your readers, making them eager to delve deeper into your research journey.

Literature review section

Your study correlates with existing research. Therefore, in the literature review section, you'll engage in a dialogue with existing knowledge, highlighting relevant studies, theories, and findings.

It's here that you identify gaps in the current knowledge, positioning your research as a bridge to new insights.

To streamline this process, consider leveraging AI tools. For example, the SciSpace literature review tool enables you to efficiently explore and delve into research papers, simplifying your literature review journey.

Methodology

In the research methodology section, you’ll detail the tools, techniques, and processes you employed to gather and analyze data. This section will inform the readers about how you approached your research questions and ensures the reproducibility of your study.

Here's a breakdown of what it should encompass:

• Research Design : Describe the overall structure and approach of your research. Are you conducting a qualitative study with in-depth interviews? Or is it a quantitative study using statistical analysis? Perhaps it's a mixed-methods approach?
• Data Collection : Detail the methods you used to gather data. This could include surveys, experiments, observations, interviews, archival research, etc. Mention where you sourced your data, the duration of data collection, and any tools or instruments used.
• Sampling : If applicable, explain how you selected participants or data sources for your study. Discuss the size of your sample and the rationale behind choosing it.
• Data Analysis : Describe the techniques and tools you used to process and analyze the data. This could range from statistical tests in quantitative research to thematic analysis in qualitative research.
• Validity and Reliability : Address the steps you took to ensure the validity and reliability of your findings to ensure that your results are both accurate and consistent.
• Ethical Considerations : Highlight any ethical issues related to your research and the measures you took to address them, including — informed consent, confidentiality, and data storage and protection measures.

Moreover, different research questions necessitate different types of methodologies. For instance:

• Experimental methodology : Often used in sciences, this involves a controlled experiment to discern causality.
• Qualitative methodology : Employed when exploring patterns or phenomena without numerical data. Methods can include interviews, focus groups, or content analysis.
• Quantitative methodology : Concerned with measurable data and often involves statistical analysis. Surveys and structured observations are common tools here.
• Mixed methods : As the name implies, this combines both qualitative and quantitative methodologies.

The Methodology section isn’t just about detailing the methods but also justifying why they were chosen. The appropriateness of the methods in addressing your research question can significantly impact the credibility of your findings.

Results (or Findings)

This section presents the outcomes of your research. It's crucial to note that the nature of your results may vary; they could be quantitative, qualitative, or a mix of both.

Quantitative results often present statistical data, showcasing measurable outcomes, and they benefit from tables, graphs, and figures to depict these data points.

Qualitative results , on the other hand, might delve into patterns, themes, or narratives derived from non-numerical data, such as interviews or observations.

Regardless of the nature of your results, clarity is essential. This section is purely about presenting the data without offering interpretations — that comes later in the discussion.

In the discussion section, the raw data transforms into valuable insights.

Start by revisiting your research question and contrast it with the findings. How do your results expand, constrict, or challenge current academic conversations?

Dive into the intricacies of the data, guiding the reader through its implications. Detail potential limitations transparently, signaling your awareness of the research's boundaries. This is where your academic voice should be resonant and confident.

Practical implications (Recommendation) section

Based on the insights derived from your research, this section provides actionable suggestions or proposed solutions.

Whether aimed at industry professionals or the general public, recommendations translate your academic findings into potential real-world actions. They help readers understand the practical implications of your work and how it can be applied to effect change or improvement in a given field.

When crafting recommendations, it's essential to ensure they're feasible and rooted in the evidence provided by your research. They shouldn't merely be aspirational but should offer a clear path forward, grounded in your findings.

The conclusion provides closure to your research narrative.

It's not merely a recap but a synthesis of your main findings and their broader implications. Reconnect with the research questions or hypotheses posited at the beginning, offering clear answers based on your findings.

Reflect on the broader contributions of your study, considering its impact on the academic community and potential real-world applications.

Lastly, the conclusion should leave your readers with a clear understanding of the value and impact of your study.

References (or Bibliography)

Every theory you've expounded upon, every data point you've cited, and every methodological precedent you've followed finds its acknowledgment here.

In references, it's crucial to ensure meticulous consistency in formatting, mirroring the specific guidelines of the chosen citation style .

Proper referencing helps to avoid plagiarism , gives credit to original ideas, and allows readers to explore topics of interest. Moreover, it situates your work within the continuum of academic knowledge.

To properly cite the sources used in the study, you can rely on online citation generator tools  to generate accurate citations!

Here’s more on how you can cite your sources.

Often, the depth of research produces a wealth of material that, while crucial, can make the core content of the thesis cumbersome. The appendix is where you mention extra information that supports your research but isn't central to the main text.

Whether it's raw datasets, detailed procedural methodologies, extended case studies, or any other ancillary material, the appendices ensure that these elements are archived for reference without breaking the main narrative's flow.

For thorough researchers and readers keen on meticulous details, the appendices provide a treasure trove of insights.

Glossary (optional)

In academics, specialized terminologies, and jargon are inevitable. However, not every reader is versed in every term.

The glossary, while optional, is a critical tool for accessibility. It's a bridge ensuring that even readers from outside the discipline can access, understand, and appreciate your work.

By defining complex terms and providing context, you're inviting a wider audience to engage with your research, enhancing its reach and impact.

Remember, while these components provide a structured framework, the essence of your thesis lies in the originality of your ideas, the rigor of your research, and the clarity of your presentation.

As you craft each section, keep your readers in mind, ensuring that your passion and dedication shine through every page.

Thesis examples

To further elucidate the concept of a thesis, here are illustrative examples from various fields:

Example 1 (History): Abolition, Africans, and Abstraction: the Influence of the ‘Noble Savage’ on British and French Antislavery Thought, 1787-1807 by Suchait Kahlon.

Example 2 (Climate Dynamics): Influence of external forcings on abrupt millennial-scale climate changes: a statistical modelling study by Takahito Mitsui · Michel Crucifix

Checklist for your thesis evaluation

Evaluating your thesis ensures that your research meets the standards of academia. Here's an elaborate checklist to guide you through this critical process.

Content and structure

• Is the thesis statement clear, concise, and debatable?
• Does the introduction provide sufficient background and context?
• Is the literature review comprehensive, relevant, and well-organized?
• Does the methodology section clearly describe and justify the research methods?
• Are the results/findings presented clearly and logically?
• Does the discussion interpret the results in light of the research question and existing literature?
• Is the conclusion summarizing the research and suggesting future directions or implications?

Clarity and coherence

• Is the writing clear and free of jargon?
• Are ideas and sections logically connected and flowing?
• Is there a clear narrative or argument throughout the thesis?

Research quality

• Is the research question significant and relevant?
• Are the research methods appropriate for the question?
• Is the sample size (if applicable) adequate?
• Are the data analysis techniques appropriate and correctly applied?
• Are potential biases or limitations addressed?

Originality and significance

• Does the thesis contribute new knowledge or insights to the field?
• Is the research grounded in existing literature while offering fresh perspectives?

Formatting and presentation

• Is the thesis formatted according to institutional guidelines?
• Are figures, tables, and charts clear, labeled, and referenced in the text?
• Is the bibliography or reference list complete and consistently formatted?
• Are appendices relevant and appropriately referenced in the main text?

Grammar and language

• Is the thesis free of grammatical and spelling errors?
• Is the language professional, consistent, and appropriate for an academic audience?
• Are quotations and paraphrased material correctly cited?

Feedback and revision

• Have you sought feedback from peers, advisors, or experts in the field?
• Have you addressed the feedback and made the necessary revisions?

Overall assessment

• Does the thesis as a whole feel cohesive and comprehensive?
• Would the thesis be understandable and valuable to someone in your field?

Ensure to use this checklist to leave no ground for doubt or missed information in your thesis.

After writing your thesis, the next step is to discuss and defend your findings verbally in front of a knowledgeable panel. You’ve to be well prepared as your professors may grade your presentation abilities.

Preparing your thesis defense

A thesis defense, also known as "defending the thesis," is the culmination of a scholar's research journey. It's the final frontier, where you’ll present their findings and face scrutiny from a panel of experts.

Typically, the defense involves a public presentation where you’ll have to outline your study, followed by a question-and-answer session with a committee of experts. This committee assesses the validity, originality, and significance of the research.

The defense serves as a rite of passage for scholars. It's an opportunity to showcase expertise, address criticisms, and refine arguments. A successful defense not only validates the research but also establishes your authority as a researcher in your field.

Here’s how you can effectively prepare for your thesis defense .

Now, having touched upon the process of defending a thesis, it's worth noting that scholarly work can take various forms, depending on academic and regional practices.

One such form, often paralleled with the thesis, is the 'dissertation.' But what differentiates the two?

Dissertation vs. Thesis

Often used interchangeably in casual discourse, they refer to distinct research projects undertaken at different levels of higher education.

To the uninitiated, understanding their meaning might be elusive. So, let's demystify these terms and delve into their core differences.

Here's a table differentiating between the two.

Wrapping up

From understanding the foundational concept of a thesis to navigating its various components, differentiating it from a dissertation, and recognizing the importance of proper citation — this guide covers it all.

As scholars and readers, understanding these nuances not only aids in academic pursuits but also fosters a deeper appreciation for the relentless quest for knowledge that drives academia.

It’s important to remember that every thesis is a testament to curiosity, dedication, and the indomitable spirit of discovery.

Good luck with your thesis writing!

Frequently Asked Questions

A thesis typically ranges between 40-80 pages, but its length can vary based on the research topic, institution guidelines, and level of study.

A PhD thesis usually spans 200-300 pages, though this can vary based on the discipline, complexity of the research, and institutional requirements.

To identify a thesis topic, consider current trends in your field, gaps in existing literature, personal interests, and discussions with advisors or mentors. Additionally, reviewing related journals and conference proceedings can provide insights into potential areas of exploration.

The conceptual framework is often situated in the literature review or theoretical framework section of a thesis. It helps set the stage by providing the context, defining key concepts, and explaining the relationships between variables.

A thesis statement should be concise, clear, and specific. It should state the main argument or point of your research. Start by pinpointing the central question or issue your research addresses, then condense that into a single statement, ensuring it reflects the essence of your paper.

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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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How To Write Your First Thesis

• © 2017
• 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.

• research writing
• thesis preparation
• dissertation writing
• final project preparation
• thesis structure
• learning and instruction

About this book

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

Authors and Affiliations

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

About the authors

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.

Bibliographic Information

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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Your dissertation may be the longest piece of writing you have ever done, but there are ways to approach it that will help to make it less overwhelming.

Write up as you go along. It is much easier to keep track of how your ideas develop and writing helps clarify your thinking. It also saves having to churn out 1000s of words at the end.

You don't have to start with the introduction – start at the chapter that seems the easiest to write – this could be the literature review or methodology, for example.

Alternatively you may prefer to write the introduction first, so you can get your ideas straight. Decide what will suit your ways of working best - then do it.

Think of each chapter as an essay in itself – it should have a clear introduction and conclusion. Use the conclusion to link back to the overall research question.

Think of the main argument of your dissertation as a river, and each chapter is a tributary feeding into this. The individual chapters will contain their own arguments, and go their own way, but they all contribute to the main flow.

Write a chapter, read it and do a redraft - then move on. This stops you from getting bogged down in one chapter.

Write your references properly and in full from the beginning.

Keep your word count in mind – be ruthless and don't write anything that isn't relevant. It's often easier to add information, than have to cut down a long chapter that you've slaved over for hours.

Save your work! Remember to save your work frequently to somewhere you can access it easily. It's a good idea to at least save a copy to a cloud-based service like Google Docs or Dropbox so that you can access it from any computer - if you only save to your own PC, laptop or tablet, you could lose everything if you lose or break your device.

E-books on thesis writing

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Nick scullin, phone:  +6433693904, find more books.

Try the following subject headings to search UC library catalogue for books on thesis writing

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Dissertations, Academic

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Dissertations, Academic -- Handbooks, manuals , 

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Remember to save your work in different places

Save your work! Remember to save your work frequently to somewhere you can access it easily. It's a good idea to save your work in at least three places: on your computer, a flash drive and a copy to a cloud-based service like Google Docs or Dropbox .

Save each new file with the date in the file name as different files can get very confusing 

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The Thesis and the Book: A Guide for First-Time Academic Authors

Edited by Eleanor Harman , Ian Montagnes , Siobhan McMenemy and Chris Bucci

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Published: May 2003

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The academic caveat Publish or Perish is not a new one, and for over a quarter of a century, The Thesis and the Book has come to the aid of graduate students in their quest for publication. The doctoral dissertation, usually the first book-length study completed by a scholar, is, however, only rarely publishable as a book. Understanding the differences between the two forms is a crucial part of one's education as a scholar and is equally important in appreciating the endeavours of scholarly publishers. The Thesis and the Book: A Guide for First-Time Academic Authors , revised and expanded in this second edition, will continue to provide the best overview of the process of revising a dissertation for publication.

Drawing on the expertise of the contributors, all of whom are editors, publishers, and scholars themselves, the chapters present the rudimentary differences between a thesis and a book (including matters of purpose and audience), give guidance on the necessary stylistic, technical, and structural revisions to the dissertation, and offer advice to first-time authors who must not only revise their work to satisfy prospective publishers, but also learn a good deal of the ins and outs of scholarly publishing.

The Thesis and the Book will continue to be of great value to graduating doctoral students seeking publication and to the faculty members who supervise these students. It will also be of value to acquisitions editors at scholarly presses, who must contend with the submission of revised dissertations for publication.

Eleanor Harman was the founding editor of Scholarly Publishing: A Journal for Authors and Publishers .

Ian Montagnes was formerly Editor-in-Chief of University of Toronto Press.

Siobhan McMenemy is an acquisitions editor at University of Toronto Press.

Chris Bucci was formerly an acquisitions editor at University of Toronto Press.

Related Books

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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Home > Center for Arts & Language > Thesis Writing

Thesis Writing

This collection presents thesis writing resources developed by the RISD Center for Arts & Language, RISD faculty, the Office of Graduate Studies, and RISD alumni.

View HIGHLIGHTS | The RISD Graduate Thesis Book Exhibition . HIGHLIGHTS features 37 recent Master’s thesis books that are exemplary both overall and for their “highlights”—particular qualities of research, writing, documentation, and design. It accompanies the publication of the first Book of Thesis Books, a guide in which annotations illuminate the many virtues of each book.

A Guide to Thesis Book Design

Marcus Peabody and Center for Arts and Language

57 pages. "This guide is more basic and specific than other design manuals. Used in isolation it should tell you all you need to produce your book, even without prior graphic design knowledge. It could also be a starting point for a deeper dive into book design: other manuals that deal more thoroughly with elements such as book binding or typography are mentioned along the way for further reference." – from the introduction. "This book is set in Brandon Grotesque and Miller Text. Written and designed by Marcus Peabody (GD MFA 2019). Edited by Jen Liese and Meredith Barrett (A&L). Additional design and typesetting by Everett Epstein (GD MFA 2020)." – Colophon

The Book of Thesis Books

Elizabeth Leeper, Jennifer Liese, and Center for Arts & Language

89 pages : color illustrations ; 18 x 23 cm."This guide is intended to help future thesis writers understand the range of approaches to and content in RISD thesis books, locate some especially strong examples in the Library's vast thesis collection, and imagine and plan their own theses." - from the introduction. "Introduction by Jennifer Liese" - Colophon. Contents: Academic thesis -- Monograph -- Project document -- Mosaic essay -- Artist's book. "Designed by Elizabeth Leeper (MFA Graphic Design 2017). Set in Parry and Parry Grotesque, by Artur Schmal, and printed by Lulu."--Colophon.

The Master's Written Thesis

Anne West, Graduate Studies, and Center for Arts & Language

91 pages : illus. ; 26 cm; 2nd Edition. "This guide to thesis development is best used in discussion and negotiation with your Graduate Program Director and other thesis advisors. It may also be used as part of a workshop structure to explore in conversation with others the ideas and possibilities most appropriate to your own work." – Anne West, from the Introduction. "This remarkable handbook is a navigational instrument offered to assist each graduate student through the development of an independent, distinctive process of writing about—and with—one’s work." – Patricia C. Phillips, from the introduction. "The first edition of this handbook was produced in 1996, under the supervision of Graduate Dean Christina Bertoni. It was written to address the needs of graduate students preparing their written thesis and with the greatest concern for reducing thesis anxiety. Two reprints followed. With this second edition we have taken this guide through a vigorous and enthusiastic overhaul. The amplification of this guide parallels the scope of graduate study at RISD, which has enlarged considerably since our first effort over a decade ago. We hope that the results of this effort will be discussed in the context of departmental workshops and as such will strongly support graduates in achieving their personal and academic goals." – Anne West, from the acknowledgments. "Printed by Kase Printing, Inc. in Hudson, New Hampshire A print partner of Brown University Graphic Services Paper: Finch Fine Bright White Antique, 80lb. text and 100lb. cover Typeface: Galaxie Polaris by Chester Jenkins in 2008. Design: Mary Banas. Photography: Marta Labad unless otherwise noted." – Colophon

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Thesis Statements

What this handout is about.

This handout describes what a thesis statement is, how thesis statements work in your writing, and how you can craft or refine one for your draft.

Introduction

Writing in college often takes the form of persuasion—convincing others that you have an interesting, logical point of view on the subject you are studying. Persuasion is a skill you practice regularly in your daily life. You persuade your roommate to clean up, your parents to let you borrow the car, your friend to vote for your favorite candidate or policy. In college, course assignments often ask you to make a persuasive case in writing. You are asked to convince your reader of your point of view. This form of persuasion, often called academic argument, follows a predictable pattern in writing. After a brief introduction of your topic, you state your point of view on the topic directly and often in one sentence. This sentence is the thesis statement, and it serves as a summary of the argument you’ll make in the rest of your paper.

What is a thesis statement?

A thesis statement:

• tells the reader how you will interpret the significance of the subject matter under discussion.
• is a road map for the paper; in other words, it tells the reader what to expect from the rest of the paper.
• directly answers the question asked of you. A thesis is an interpretation of a question or subject, not the subject itself. The subject, or topic, of an essay might be World War II or Moby Dick; a thesis must then offer a way to understand the war or the novel.
• makes a claim that others might dispute.
• is usually a single sentence near the beginning of your paper (most often, at the end of the first paragraph) that presents your argument to the reader. The rest of the paper, the body of the essay, gathers and organizes evidence that will persuade the reader of the logic of your interpretation.

If your assignment asks you to take a position or develop a claim about a subject, you may need to convey that position or claim in a thesis statement near the beginning of your draft. The assignment may not explicitly state that you need a thesis statement because your instructor may assume you will include one. When in doubt, ask your instructor if the assignment requires a thesis statement. When an assignment asks you to analyze, to interpret, to compare and contrast, to demonstrate cause and effect, or to take a stand on an issue, it is likely that you are being asked to develop a thesis and to support it persuasively. (Check out our handout on understanding assignments for more information.)

How do I create a thesis?

A thesis is the result of a lengthy thinking process. Formulating a thesis is not the first thing you do after reading an essay assignment. Before you develop an argument on any topic, you have to collect and organize evidence, look for possible relationships between known facts (such as surprising contrasts or similarities), and think about the significance of these relationships. Once you do this thinking, you will probably have a “working thesis” that presents a basic or main idea and an argument that you think you can support with evidence. Both the argument and your thesis are likely to need adjustment along the way.

Writers use all kinds of techniques to stimulate their thinking and to help them clarify relationships or comprehend the broader significance of a topic and arrive at a thesis statement. For more ideas on how to get started, see our handout on brainstorming .

How do I know if my thesis is strong?

If there’s time, run it by your instructor or make an appointment at the Writing Center to get some feedback. Even if you do not have time to get advice elsewhere, you can do some thesis evaluation of your own. When reviewing your first draft and its working thesis, ask yourself the following :

• Do I answer the question? Re-reading the question prompt after constructing a working thesis can help you fix an argument that misses the focus of the question. If the prompt isn’t phrased as a question, try to rephrase it. For example, “Discuss the effect of X on Y” can be rephrased as “What is the effect of X on Y?”
• Have I taken a position that others might challenge or oppose? If your thesis simply states facts that no one would, or even could, disagree with, it’s possible that you are simply providing a summary, rather than making an argument.
• Is my thesis statement specific enough? Thesis statements that are too vague often do not have a strong argument. If your thesis contains words like “good” or “successful,” see if you could be more specific: why is something “good”; what specifically makes something “successful”?
• Does my thesis pass the “So what?” test? If a reader’s first response is likely to  be “So what?” then you need to clarify, to forge a relationship, or to connect to a larger issue.
• Does my essay support my thesis specifically and without wandering? If your thesis and the body of your essay do not seem to go together, one of them has to change. It’s okay to change your working thesis to reflect things you have figured out in the course of writing your paper. Remember, always reassess and revise your writing as necessary.
• Does my thesis pass the “how and why?” test? If a reader’s first response is “how?” or “why?” your thesis may be too open-ended and lack guidance for the reader. See what you can add to give the reader a better take on your position right from the beginning.

Suppose you are taking a course on contemporary communication, and the instructor hands out the following essay assignment: “Discuss the impact of social media on public awareness.” Looking back at your notes, you might start with this working thesis:

Social media impacts public awareness in both positive and negative ways.

You can use the questions above to help you revise this general statement into a stronger thesis.

• Do I answer the question? You can analyze this if you rephrase “discuss the impact” as “what is the impact?” This way, you can see that you’ve answered the question only very generally with the vague “positive and negative ways.”
• Have I taken a position that others might challenge or oppose? Not likely. Only people who maintain that social media has a solely positive or solely negative impact could disagree.
• Is my thesis statement specific enough? No. What are the positive effects? What are the negative effects?
• Does my thesis pass the “how and why?” test? No. Why are they positive? How are they positive? What are their causes? Why are they negative? How are they negative? What are their causes?
• Does my thesis pass the “So what?” test? No. Why should anyone care about the positive and/or negative impact of social media?

After thinking about your answers to these questions, you decide to focus on the one impact you feel strongly about and have strong evidence for:

Because not every voice on social media is reliable, people have become much more critical consumers of information, and thus, more informed voters.

This version is a much stronger thesis! It answers the question, takes a specific position that others can challenge, and it gives a sense of why it matters.

Let’s try another. Suppose your literature professor hands out the following assignment in a class on the American novel: Write an analysis of some aspect of Mark Twain’s novel Huckleberry Finn. “This will be easy,” you think. “I loved Huckleberry Finn!” You grab a pad of paper and write:

Mark Twain’s Huckleberry Finn is a great American novel.

You begin to analyze your thesis:

• Do I answer the question? No. The prompt asks you to analyze some aspect of the novel. Your working thesis is a statement of general appreciation for the entire novel.

Think about aspects of the novel that are important to its structure or meaning—for example, the role of storytelling, the contrasting scenes between the shore and the river, or the relationships between adults and children. Now you write:

In Huckleberry Finn, Mark Twain develops a contrast between life on the river and life on the shore.

• Do I answer the question? Yes!
• Have I taken a position that others might challenge or oppose? Not really. This contrast is well-known and accepted.
• Is my thesis statement specific enough? It’s getting there–you have highlighted an important aspect of the novel for investigation. However, it’s still not clear what your analysis will reveal.
• Does my thesis pass the “how and why?” test? Not yet. Compare scenes from the book and see what you discover. Free write, make lists, jot down Huck’s actions and reactions and anything else that seems interesting.
• Does my thesis pass the “So what?” test? What’s the point of this contrast? What does it signify?”

After examining the evidence and considering your own insights, you write:

Through its contrasting river and shore scenes, Twain’s Huckleberry Finn suggests that to find the true expression of American democratic ideals, one must leave “civilized” society and go back to nature.

This final thesis statement presents an interpretation of a literary work based on an analysis of its content. Of course, for the essay itself to be successful, you must now present evidence from the novel that will convince the reader of your interpretation.

Works consulted

We consulted these works while writing this handout. This is not a comprehensive list of resources on the handout’s topic, and we encourage you to do your own research to find additional publications. Please do not use this list as a model for the format of your own reference list, as it may not match the citation style you are using. For guidance on formatting citations, please see the UNC Libraries citation tutorial . We revise these tips periodically and welcome feedback.

Anson, Chris M., and Robert A. Schwegler. 2010. The Longman Handbook for Writers and Readers , 6th ed. New York: Longman.

Lunsford, Andrea A. 2015. The St. Martin’s Handbook , 8th ed. Boston: Bedford/St Martin’s.

Ramage, John D., John C. Bean, and June Johnson. 2018. The Allyn & Bacon Guide to Writing , 8th ed. New York: Pearson.

Ruszkiewicz, John J., Christy Friend, Daniel Seward, and Maxine Hairston. 2010. The Scott, Foresman Handbook for Writers , 9th ed. Boston: Pearson Education.

You may reproduce it for non-commercial use if you use the entire handout and attribute the source: The Writing Center, University of North Carolina at Chapel Hill

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The Thesis and the Book: A Guide for First-Time Academic Authors 2nd Edition

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The academic caveat Publish or Perish is not a new one, and for over a quarter of a century, The Thesis and the Book has come to the aid of graduate students in their quest for publication. The doctoral dissertation, usually the first book-length study completed by a scholar, is, however, only rarely publishable as a book. Understanding the differences between the two forms is a crucial part of one's education as a scholar and is equally important in appreciating the endeavours of scholarly publishers. The Thesis and the Book: A Guide for First-Time Academic Authors , revised and expanded in this second edition, will continue to provide the best overview of the process of revising a dissertation for publication.

Drawing on the expertise of the contributors, all of whom are editors, publishers, and scholars themselves, the chapters present the rudimentary differences between a thesis and a book (including matters of purpose and audience), give guidance on the necessary stylistic, technical, and structural revisions to the dissertation, and offer advice to first-time authors who must not only revise their work to satisfy prospective publishers, but also learn a good deal of the ins and outs of scholarly publishing.

The Thesis and the Book will continue to be of great value to graduating doctoral students seeking publication and to the faculty members who supervise these students. It will also be of value to acquisitions editors at scholarly presses, who must contend with the submission of revised dissertations for publication.

• ISBN-10 0802085881
• ISBN-13 978-0802085887
• Edition 2nd
• Publisher University of Toronto Press
• Publication date May 31, 2003
• Language English
• Dimensions 5.4 x 0.4 x 8.4 inches
• Print length 176 pages
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9 Effective Tips for Publishing Thesis As a Book

While they may look alike, a thesis is not a book! The process of publishing thesis as a book is different right from its conception to completion. Created with an intent to target a specific audience, a thesis differs from a book in multiple aspects. Although your thesis topic would surely be relevant to your field of study, it perhaps, can be of interest to a wider audience. In such a case, your thesis can be turned into a book .

In this article, we will shed some light on the possible ways of publishing your thesis as a book .

Table of Contents

What is the Difference Between a Thesis and a Book?

Researchers spend years working on their thesis. A thesis focuses on the research conducted, and is thus published as journal articles . However, in some cases, it may also be published as a book for a wider readership. While both thesis and book writing require effort, time, and are equally longer versions of documents, they are different in several ways.

• A thesis always begins with a question or hypothesis. On the other hand, a book begins with a series of reflections to grab the reader’s attention. To a certain extent, it could be said that while the thesis starts with a question, the book starts with an answer.
• Another major difference between the two is their audience. The content of a thesis, as well as its format and language is aimed at the academic community. However, since the book is written with an intent to reach out to wider audience, the language and format is simpler for easy comprehension by non-academic readers as well.
• Furthermore, thesis is about documenting or reporting your research activities during doctorate; whereas, a book can be considered as a narrative medium to capture the reader’s attention toward your research and its impact on the society.

How to Turn a Thesis into a Book?

The structure of your thesis will not necessarily be similar to the structure of your book. This is primarily because the readership is different and the approach depends on both the audience as well as the purpose of your book. If the book is intended as a primary reference for a course, take the course syllabus into account to establish the topics to be covered. Perhaps your thesis already covers most of the topics, but you will have to fill in the gaps with existing literature.

Additionally, it may be so that you want your book to be a complementary reference not only for one course, but for several courses with different focuses; in this case, you must consider different interests of your audience.

The layout of most thesis involve cross-references, footnotes, and an extensive final bibliography. While publishing your thesis as a book , eliminate excessive academic jargon and reduce the bibliography to reference books for an ordinary reader.

Key Factors to Consider While Publishing Your Thesis as a Book

• Purpose of the book and the problems it intends to solve
• A proposed title
• The need for your proposed book
• Existing and potential competition
• Index of contents
• Overview of the book
• Summary of each book chapter
• Timeline for completing the book
• Brief description of the audience and the courses it would cover

With all of this in mind, here are 9 steps to successfully turn your thesis into a book .

9 Steps to Successfully Publish Your Thesis as a Book!

1. Establish Your Target Audience

Based on the topic of your thesis, determine the areas that may potentially rise interest in your book’s audience. Once you establish your target audience, figure out the nature of book they would like to read.

2. Determine the Objective of Your Book

Reflect on the scope of your book and the impact it would have on your target audience. Perhaps it can be used as a textbook or supplementary for one or more courses. Visualize what the reach of your book may be; if it is a book with an identified local market, an interest that arose in your educational institution, which can be traced to other similar institutions, or if it can have a national or even international reach.

3. Identify Your Competition

Find out which books are already on the market, what topics they cover, what problems do they solve, etc. Furthermore, ask yourself what would be the advantage of your book over those that already exist.

4. Define the Structure of Your Book

If the book is written as part of a curriculum, use that program to define its structure. If it covers several programs, make a list of topics to focus on individually and sequence them in an order based on educational criteria or interest for the potential reader.

5. Identify Potential Publishers

Search for publishers in your country or on the web and the kind of books they publish to see if there is a growing interest in the book you are planning to develop. Furthermore, you can also look at self-publishing or publishing-on-demand options if you already have a captive audience interested in your work.

6. Plan a Schedule

Based on the structure of your book, schedule your progress and create a work plan. Consider that many topics are already written in your thesis, you will only have to rewrite them and not have to do the research from scratch. Plan your day in such a way that you get enough time to fill in technical or generic gaps if they exist.

7. Follow a Writing Style

The writing style depends on the type of book and your target audience. While academic writing style is preferred in thesis writing, books can be written in simpler ways for easy comprehension. If you have already spoken to an interested publisher, they can help in determining the writing style to follow. If you’re self-publishing, refer to some competitor books to determine the most popular style of writing and follow it.

8. Incorporate Visual Aids

Depending on the subject of your book, there may be various types of visual and graphic aids to accentuate your writing, which may prove lucrative. Give due credit to images, diagrams, graphical representations, etc. to avoid copyright infringement. Furthermore, ensure that the presentation style of visual aids is same throughout the book.

9. Review Your Draft

Your supervisor and the advisory council review and refine you thesis draft. However, a book must be proofread , preferably by someone with a constructive view. You can also use professional editing services or just go ahead with an excellent grammar checking tool to avoid the hassle.

Do you plan on publishing your thesis as a book ? Have you published one before? Share your experience in the comments!

good article

Hello. Nice to read your paper. However, I fell on your article while browsing the net for the exact opposite reason and I think you can equally give me some insights. I am interested, as I earlier said, on how to transform my book into a thesis instead, and how I can defend it at an academic level. I am writing a research work on financial digital options trading and have done a lot of back testing with technical analysis that I explain, to rake thousands of dollars from the financial markets. I find the technical analysis very peculiar and would like to defend this piece of work as a thesis instead. Is it possible? Please you can reply me through e:mail thanks

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• How to Write a Thesis Statement | 4 Steps & Examples

How to Write a Thesis Statement | 4 Steps & Examples

Published on January 11, 2019 by Shona McCombes . Revised on August 15, 2023 by Eoghan Ryan.

A thesis statement is a sentence that sums up the central point of your paper or essay . It usually comes near the end of your introduction .

Your thesis will look a bit different depending on the type of essay you’re writing. But the thesis statement should always clearly state the main idea you want to get across. Everything else in your essay should relate back to this idea.

You can write your thesis statement by following four simple steps:

• Start with a question
• Write your initial answer
• Develop your answer
• Refine your thesis statement

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Table of contents

What is a thesis statement, placement of the thesis statement, step 1: start with a question, step 2: write your initial answer, step 3: develop your answer, step 4: refine your thesis statement, types of thesis statements, other interesting articles, frequently asked questions about thesis statements.

A thesis statement summarizes the central points of your essay. It is a signpost telling the reader what the essay will argue and why.

The best thesis statements are:

• Concise: A good thesis statement is short and sweet—don’t use more words than necessary. State your point clearly and directly in one or two sentences.
• Contentious: Your thesis shouldn’t be a simple statement of fact that everyone already knows. A good thesis statement is a claim that requires further evidence or analysis to back it up.
• Coherent: Everything mentioned in your thesis statement must be supported and explained in the rest of your paper.

Prevent plagiarism. Run a free check.

The thesis statement generally appears at the end of your essay introduction or research paper introduction .

The spread of the internet has had a world-changing effect, not least on the world of education. The use of the internet in academic contexts and among young people more generally is hotly debated. For many who did not grow up with this technology, its effects seem alarming and potentially harmful. This concern, while understandable, is misguided. The negatives of internet use are outweighed by its many benefits for education: the internet facilitates easier access to information, exposure to different perspectives, and a flexible learning environment for both students and teachers.

You should come up with an initial thesis, sometimes called a working thesis , early in the writing process . As soon as you’ve decided on your essay topic , you need to work out what you want to say about it—a clear thesis will give your essay direction and structure.

You might already have a question in your assignment, but if not, try to come up with your own. What would you like to find out or decide about your topic?

For example, you might ask:

After some initial research, you can formulate a tentative answer to this question. At this stage it can be simple, and it should guide the research process and writing process .

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Now you need to consider why this is your answer and how you will convince your reader to agree with you. As you read more about your topic and begin writing, your answer should get more detailed.

In your essay about the internet and education, the thesis states your position and sketches out the key arguments you’ll use to support it.

The negatives of internet use are outweighed by its many benefits for education because it facilitates easier access to information.

In your essay about braille, the thesis statement summarizes the key historical development that you’ll explain.

The invention of braille in the 19th century transformed the lives of blind people, allowing them to participate more actively in public life.

A strong thesis statement should tell the reader:

• Why you hold this position
• What they’ll learn from your essay
• The key points of your argument or narrative

The final thesis statement doesn’t just state your position, but summarizes your overall argument or the entire topic you’re going to explain. To strengthen a weak thesis statement, it can help to consider the broader context of your topic.

These examples are more specific and show that you’ll explore your topic in depth.

Your thesis statement should match the goals of your essay, which vary depending on the type of essay you’re writing:

• In an argumentative essay , your thesis statement should take a strong position. Your aim in the essay is to convince your reader of this thesis based on evidence and logical reasoning.
• In an expository essay , you’ll aim to explain the facts of a topic or process. Your thesis statement doesn’t have to include a strong opinion in this case, but it should clearly state the central point you want to make, and mention the key elements you’ll explain.

If you want to know more about AI tools , college essays , or fallacies make sure to check out some of our other articles with explanations and examples or go directly to our tools!

• Ad hominem fallacy
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A thesis statement is a sentence that sums up the central point of your paper or essay . Everything else you write should relate to this key idea.

The thesis statement is essential in any academic essay or research paper for two main reasons:

• It gives your writing direction and focus.
• It gives the reader a concise summary of your main point.

Without a clear thesis statement, an essay can end up rambling and unfocused, leaving your reader unsure of exactly what you want to say.

Follow these four steps to come up with a thesis statement :

• Ask a question about your topic .
• Write your initial answer.
• Develop your answer by including reasons.
• Refine your answer, adding more detail and nuance.

The thesis statement should be placed at the end of your essay introduction .

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McCombes, S. (2023, August 15). How to Write a Thesis Statement | 4 Steps & Examples. Scribbr. Retrieved April 11, 2024, from https://www.scribbr.com/academic-essay/thesis-statement/

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Thesis Book.pdf

High poverty rates, unemployment, illegal immigration, etc. are the causes of low economy growth in Somaliland. Among the reasons of low economy is corruption. In the thesis, the researchers will examine the relationship between corruption and economy in order to analyze the impact of corruption on the economy and create practical solutions to solve it. The topic of the thesis will be based on “The impact of corruption on economic growth of Somaliland (with reference to Good Governance And Anti-Corruption Commission).Many young people are leaving the country due to lack of job because of low economy, there is nothing done to solve the poverty as Somaliland is dependent on foreign countries economically, these factors caused me to write about this factor in order for Somaliland to improve its economic competence.

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Corruption tops common problems for state-building and economic development for most of the nations in the world1. The contemporary anti-corruption measures led by the World Bank Group, the International Monetary Fund, Transparency International, and many other international and regional bodies, approach corruption from an upright interpretation, address it with a legal view, highlight its deleterious effect on state-building, and judge its negative consequences on development2. This article focuses on the government expenditure side of annual budgets, but it does not cover corruption related to any particular problems arising from budget planning, projection and auditing. Using both primary and secondary data, the article ropes the Pritchett et al.3 led argument on the institution focused anti-corruption fights led by the international development interventions which remain under-valued and under-researched, and proposes a repositioning of the current approach to the local context. This argument establishes two views, the strategic actions and the tools we need for local fit anti-corruption reform, and dwindling the knowledge gaps among public on corruption effects.

Selçuk Akçay

Social, political and institutional factors play a major role in the retarding of development and economic growth in many developing and developed countries. Corruption, which is a symptom of deep institutional weaknesses, is blamed for reducing investments and expenditures (for education and health), inereasing income inequality, reducing foreign direct investments, distorting markets, and allocation of resources. Some writers argue that corruption is also responsible for a low economic growth rate. The purpose of this paper is to examine the impact of corruption on economic growth across 54 developing and developed countries for the period of 1960-1995. Based on the theoretical framework of Barro (1991) and Mauro (1995, 1997), the ernpirical evidence presented suggests that there is a statistic aııy significant negative relationship between corruption and economic growth. The relationship is directly related to inclusion of other determinants of economic growth. 2 • Ankara Ünivers...

Academia.edu

Melese Zeleke

This study was conducted with the objective of assessing the impacts of corruption on socio-economic development in Shambu town, Oromia Regional State, Ethiopia. To this end, Cross sectional descriptive survey research design, and mixed approach were used. And, questionnaire was distributed among 142 respondents, and an interview was conducted with 18 key informants to collect data. Besides, secondary data were used. The data collected through questionnaire were analyzed using SPSS software (Statistical Package for Social Science) version 20 while the data collected through interview were analyzed qualitatively. The study reveals that corruption is highly affecting the socio-economic development of the study area. In this respect, some of its specific impacts are include negatively affect the social relation of the society, lack of provision for infrastructure among society, affecting equality rights of using resources, making the gap between the rich and the poor wider, affects standard of living, unnecessary conflicts among the society, decreasing the town investment, highly reducing taxes and revenues, negatively affecting the total economic growth of the municipality and etc. are some of the problems of corruption and its impacts. Thus, corruption is highly prevailing in Shambu town that affects socio economic development in the study area. It also a serious problem that Shambu Town are suffering from and a setback to the development efforts of a town. Thus, the study recommends that commitment is needed from the concerned bodies like the government, the anti-corruption commission, the woreda court and the civic association to provide strong policy of controlling mechanism especially on the office holders, to set systems and structures that can reduce corruption and ensure efficient delivery of services to the community, to impose strong responsibility on the town administration offices and should be to make a Learnable punishments and establish good governance and democratic leaders in the town and strongly work to minimize the corruption on socio-economic development. Keywords: Corruption, Social Development, Economic Development, Shambu Town.

Irene Segati

naftaly mose

While there's an outsized consensus within the empirical literature on the negative impact of corruption on the economic process, some studies still argue that corruption could also be economically justified. There is, however, little empirical evidence to validate the impact of corruption on economic growth within the devolved units. The effect of the corruption rate on the economic activities is examined using ordinary least squares regression analysis and Kenya county-level data. The results of this study revealed that there exists a negative independent relationship between corruption and county per-capita income growth. Arising from the study findings, this study submits that the county authorities and policymakers must put in situ policies that may eradicate the grounds for bribe-taking in counties to stimulate economic growth.

Abdul Azim Islahi

basiru abdulahi

From OHCHR's experience, corruption negatively impact the enjoyment of all human rights –civil, political, economic, social and cultural, as well as the right to development, which underscores the indivisible and interdependent nature of human rights. The impact on the realization of human rights depends on the level of pervasiveness, the different forms and levels of corruption. Corruption can affect human rights as an obstacle to their realization in general and as a violation of human rights in specific cases. Corruption in the public and private spheres and its proceeds are not confined within national borders, nor is its impact on human rights. It typically diverts funds from state budgets that should be dedicated to the advancement of human rights. It therefore undermines a State's human rights obligation to maximize available resources for the progressive realization of rights recognized in article 2 of the International Covenant on Economic, Social and Cultural Rights. Corruption undermines the fairness of institutions and processes and distorts policies and priorities. As a result, corruption damages the legitimacy of regimes leading to a loss of public support and trust for state and government institutions. Corruption impact on the ability of the State to protect and fulfills its human rights obligations, and to deliver relevant services, including a functioning judiciary, law enforcement, health, education, and social services. In countries where corruption pervades governments and legal systems, law enforcement legal reform and the fair administration of justice are impeded by corrupt politicians, judges, lawyers, prosecutors, police officers, investigators and auditors. Corruption in the rule of law system weakens the very accountability structures which are responsible for protecting human rights and contributes to a culture of impunity. Since illegal

THE EFFECT OF CORRUPTION ON GOVERNMENT INSTITUTIONS IN MOGADISHU-SOMALIA: A CASE STUDY FEDERAL INSTITUTIONS.

Abdulwali Mohamed Salad

The purpose of this study examined the impact of corruption on Government institutions in Mogadishu, Somalia. This study was conducted quantitatively through descriptive research design; the target population of 80 participants was adopted, and the sample size of 67 respondents selected from the target population using Slovene’s equation. The data collected from the Mogadishu area, using questionnaires as a tool for data collection. The data analysis was done by using the statistical package SPSS version 20. The researchers found that corruption is a major problem in Government institutions, and not only in developing countries but all around the world. It impedes economic growth, weakens the rule of law and undermines the legitimacy of institutions. Although it has been studied at the national level from different perspectives, there is a recent growing body of research on local corruption. As far as we know, this thesis book focused on the effect of corruption on government institutions.

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Law is a Moral Practice

Scott Hershovitz, Law is a Moral Practice , Harvard University Press, 2023, 236pp., $39.95 (hbk), ISBN 9780674258556.

Reviewed by Brian Leiter, University of Chicago

In the first chapter of his often entertaining but rather exasperating book, Scott Hershovitz gives two different formulations of its central thesis that “law is a moral practice.” In one formulation, “legal practices—like legislation and adjudication—are the sorts of activities that might , in the right circumstances, rearrange people’s moral relationships. That is what I mean when I say that law is a moral practice” (28, emphasis added; cf. 132). This view, however, is trivially true: all kinds of practices (not just legal ones) “might, in the right circumstances” change our moral relationships with each other. (If my neighbor regularly leaves garbage on my lawn, this will change our moral relationship, e.g., I will be morally justified in bringing a civil action against him, and I will no longer have an obligation to be neighborly towards him.)

In other places, he states the thesis differently: “law is a moral practice, in that it aims to adjust our moral relationships” (36, emphasis added; cf. 103) or, similarly, “When I say that law is a moral practice, I mean that we employ legal practices in an effort to adjust who owes what to whom” (24, emphasis added; cf. 96) (morality, for Hershovitz, concerns “what we owe each other” (21), by which he means the moral realist thesis “what we genuinely owe each other, not what we believe we owe each other” (22)); or, “legal practices are tools for adjusting our moral relationships, and they  are typically employed for the purpose of doing so” (18, emphasis added). This latter view does not seem trivial, nor is it (contrary to Hershovitz (27)) one everyone in jurisprudence accepts (Hershovitz cites only Joseph Raz in the text—who may accept it on one understanding—but he makes no mention in this regard of any of the major figures of 20th century jurisprudence like H.L.A Hart, Hans Kelsen, Norberto Bobbio, and Alf Ross who do not accept it). In what sense, though, does the law “aim” or have as its “purpose” the altering of moral relationships?

On a natural reading, Hershovitz seems to mean that legal actors typically intend to alter moral relationships through the law, but this seems implausible. An alteration in moral relationships might be an effect of legal actions, but where is the evidence that it is the typical intention? On the standard public choice account of legislation, for example, law makers intend only to satisfy the interests of their largest donors who make their campaigns for reelection possible. On one kind of Marxist account, law makers intend to promote the interests of the ruling class. Although there is plentiful evidence for both the latter accounts (Hershovitz seems to think, without explanation or evidence, that such possibilities are “deviant” (28)), one need not accept them to still be skeptical of the claim that legal actors typically intend to alter moral relationships.

Perhaps, for example, people employ law primarily for self-interested reasons (to get what they want, without any regard for moral relationships)? Again, adjusting the moral rights and obligations may be a consequence, but not the reason (or motive), for employing law. The Tax Cuts and Jobs Act of 2017 was intended to cut taxes (for self-interested or other reasons), but its proponents would be astonished to learn that their actual intention was to change moral relationships, even if the effect of the Act can be redescribed in those terms. They have no de dicto intention to change moral relationships, even if, by Hershovitz’s lights, we can ascribe to them a de re intention to do so. But as with the first formulation in terms of possible effects in the right circumstances on moral relationships, this interpretation now seems to make the claim, once again, trivial: once you define morality the way Hershovitz does, it follows that any law (or any other activity) which changes people’s rights or obligations has a “moral” effect (or can be described as “moral”), even when no one de dicto intends that (Hershowitz finally admits as much at 192). This makes law a “moral practice” in the same sense that Mafia protection rackets are “moral practices”: they certainly change people’s rights and obligations. [1]

The tautological character of the book’s central thesis plays a large role. For example, it is true on this reading that “the questions posed in court are moral questions as well as legal questions” (38). The problem is they are answered legally, not morally, at least when the law is determinate. When it is not, of course moral considerations may affect a court’s decision in a particular case, but no one has ever denied that latter point. Dworkin advanced the view that one must always rely on moral considerations to say what the law is, and it seems Hershovtiz does too: “judges must rely on their moral views to resolve the cases that come before them” (56, emphasis added; cf. 175: “moral assessment is internal to legal judgment”), i.e., not just in cases where the law runs out.

His main argument for this latter claim appears in Chapter 2 and is based on a reading of a U.S. Supreme Court case, King v. Burwell (2016), involving interpretation of the Affordable Care Act. Hershovitz observes that the late Justice Antonin Scalia offered normative arguments for textualism as a theory of statutory interpretation in his extra-judicial writings, primarily based on the rule of law value of “publicity” (and fair notice) and the constitutional requirement of separation of powers between the judiciary and the legislature. Hershovitz seizes (63–64) on some language at the end of Chief Justice Roberts’ majority opinion, and Justice Scalia’s dissent, in Burwell to suggest that their disagreement was really a moral one, “over competing visions of democracy and the proper role of judges within one” (65). In fact, most of both opinions concerned the meaning of the statute, with Scalia laser-focused on one word in one sentence, while Roberts argued that Scalia’s reading would render the statute self-defeating given the other parts of the text. Even if we take the concluding remarks in the opinion as evidence of the more ambitious moral debate, as Hershovitz does, this does not show “judges must rely on their moral views to resolve the cases that come before them” (56). It may only show that Burwell , like many cases that end up in the Supreme Court (cf. Leiter 2015), had no right legal answer, so unsurprisingly the judges had to exercise moral and political judgment to resolve it.

Chapter 3 is Hershovitz’s most explicit attack on legal positivism, “the thesis that the content of the law is determined by social facts” (84). [2]   Hershovitz claims that “positivism. . .is false when it comes to the set of norms that is contested in court” because “courts attempt to ascertain and apply the norms that are authoritative. . .[i.e.,] in virtue of moral principles that establish their authority” (85). The latter is obviously false (courts purport to rely on the norms that are legally valid), although I suppose Hershovitz thinks Chapter 2 established it. It may be true that in some decisions by the appellate courts, where law is often indeterminate, judges avert to non-legal considerations, moral or otherwise. This shows nothing about what most courts do most of the time, and nothing about the nature of law. (Recall that one of Hart’s central claims was that law exists primarily outside the courts, as a way of guiding conduct; his was not a theory about appellate adjudication, but like Ronald Dworkin, Hershovitz does not notice.)

Hershovitz wants to deny that law is “a set of norms” in Chapter 3, but his reasons are obscure. He notices that the word “law” is polysemous (see esp. 93), and thus can pick out different sets of norms (one might add: it can also pick out things other than norms, e.g., laws of nature). He offers a list of possibilities, suggesting that Hart offers an account of law as “norms that are accepted by legal officials,” but not of “norms that are authoritative” (82), where “authoritative” means those we “have reason to comply with” (74, cf. 86). Hart’s actual theory—namely that where law exists there is a rule of recognition that specifies the criteria other norms must satisfy to count as norms of the legal system, and the criteria making up the rule of recognition are those that officials converge upon and treat as ones they ought to apply (i.e., that they treat as authoritative, rightly or wrongly)—is not fairly represented on Hershovitz’s list of possibilities. To use Hershovitz’s terminology, Hart’s view is that in modern municipal legal systems, our shared concept treats law as the “norms that are accepted as authoritative by officials,” although even that is not quite right for reasons we can consign to a note. [3]

Hershovitz, I think, would reject even the latter. He makes the astonishing claim that “the original sin among philosophers of law is the rigid insistence that this and not that set of norms counts as the law of the community” (83). One can, of course, reject a central question of general jurisprudence for at least two centuries—namely, what is the difference between those norms that are legal and those norms that are not—but there should be a good reason for doing so. [4]   After all, when I want to make a valid will in Illinois, I go see my lawyer and not a moral philosopher: I want to know what legal norms govern the making of wills in my jurisdiction, not what norms morally ought to govern them, even in light of past institutional actions in Illinois. Hershovitz says that “What’s at issue” in court “is the norms that are [morally] authoritative” (83), but this is not true: all that matters is the norms that are legally valid, regardless of whether we have all-things-considered reasons to comply with them. That’s why morally indifferent lawyers can do good legal work.

In Chapter 4, Hershovitz considers laws and legal systems that are immoral and argues that “some aspects of immoral practices may [nonetheless] generate genuine [moral] obligations” (111). He does not offer a general theory of when bad laws generate moral obligations (which is what his theory would seem to require), but does discuss some suggestive examples. Citing Nazi Germany and some others, he observes that a legal system can be so immoral “that it is worth casting the system aside and seeking something better, even if that risks the abyss” (104). No one, including legal positivists, disagrees with that. Do those places have “legal systems”? Hershovitz doesn’t say, not wanting to commit the original sin I suppose.

Chapter 5 offers a nuanced exploration of the “moral consequences our legal practices might have” (132), although for reasons I do not understand, Hershovitz frames this as a dispute with the more familiar question about whether there is an obligation to obey the law just because it is the law. He says the latter is a question of “marginal importance” (112), even though an affirmative answer would be rather significant, which no doubt explains why so many luminaries, past and present, have addressed it. Despite the peculiar dismissal of the traditional question, Hershovitz offers, among other things, an interesting account of how legal prohibitions on otherwise immoral conduct nonetheless are morally important because they give the state standing to prosecute crimes (122–127).

I did, however, find Hershovitz’s use of (morally) “wrong” in this chapter somewhat confusing. He says, for example, that if “I owe you $500. . .I would wrong you if I don’t [pay you]” even if “I need the money to pay for my child’s medical care” (121), although he says wronging you would be the right thing to do. But you would not be justified in blaming me, given that my child’s health is more important than the debt, and, indeed, you could blame me for not attending to my child’s health if I paid off the debt instead. Not all harms are wrongs. The difficulty here, I suspect, is that “wrong” does not have a lot of cognitive content, and that many of Hershovitz’s judgments on particular cases are more ethnographic data about the etiquette norms of his class and milieu than philosophical insights. But Hershovitz is a moral realist, [5]   and so takes his moral feelings quite seriously.

Chapter 6 argues “that the rule of law requires a shared moral outlook. Officials and (to a lesser extent) laypeople must see legal practices as sources of morality” (147–8). The “rule of law” is glossed in terms of Lon Fuller’s principles of legality (143) and the idea that political power is constrained by public norms and procedures (142). The shared “moral outlook” recognizes that efficacious legal institutions (which the rule of law makes possible) can generate moral obligations by facilitating coordination, resolving disputes peacefully, giving voice to everyone, and so on (144, a theme taken up in earlier chapters as well, but without a clear theory of when this is true).

Hershovitz purports to illustrate the latter with a story of how Alabama legal officials removed former Alabama Supreme Court Justice Roy Moore from office for failing to abide by the decisions of the federal courts on matters of federal constitutional law. Hershovitz makes the fanciful claim that they did this because Alabama legal officials shared the preceding “moral outlook” (143). What actually happened—namely, Alabama legal officials sanctioned a judge for breaching his clear legal duty by defying the order of a federal court over which it had jurisdiction—is dismissed by Hershovitz as merely the “official reason” (138) for his removal. Hershovitz, hell bent on moralizing every legal decision, notes that the “official reason” also mentioned that Moore “sought legal redress by appealing to the limit of judicial review; he was bound by, and had the duty to follow, the rulings of the federal courts” (138). Hershovitz adds that this “is a moral claim every bit as much as it is a legal one” (138). It could be construed as a moral claim, of course, but there is no evidence that is how Alabama officials thought about it. One could ask: is there a good moral reason for Alabama to insist that judges honor their legal obligations? But Hershovitz, in keeping with the trivial reading discussed at the start, simply insists the legal questions are moral ones. [6]

Chapter 7 defends the view that lawyers are “moral experts.” Given the preceding, this seems mostly unsurprising: if “law is a moral practice,” after all, and lawyers are legal experts, then they are moral experts. Once again, the trivial reading of “law is a moral practice” is doing all the work. Hershovitz starts by explaining how moral philosophers can be moral experts despite their disagreements. He cautions that “we should be careful not to exaggerate the extent of the disagreement” (152), which he then proceeds to wildly understate (cf. Leiter 2021 for the contrasting view). We can put that aside. More oddly, given Hershovitz’s moral realism, he invokes a 1972 defense of moral expertise by Peter Singer (then a moral anti-realist), according to which moral experts are good at collecting all the facts and then drawing valid inferences from them given “whatever moral view” one holds (154). One might have hoped moral experts also know which moral view is true! This discussion was quite superficial.

Hershovitz then turns to the question of whether lawyers are “assholes,” although the real issue is whether the existence of morally bad or indifferent lawyers is compatible with the thesis that “law is a moral practice.” Of course it is compatible, since his actual thesis is that any deontic talk in law can be recast in moral terms. He concludes by suggesting that “We ought to invite lawyers to see law as a moral practice—to see themselves as part of a moral endeavor” (167). As Herlinde Pauer-Studer (2020: 205) reminds us, the notorious Nazi judge Roland Freisler would have agreed: “There can be no divide between a requirement of law and a requirement of morality. For requirements of law are requirements of decency.” This does not show Hershovitz is wrong, but it does suggest that speculating about how a thesis about the nature of law will affect practice is a fool’s errand. (Hart did not, contrary to Hershovitz's presentation, rest his defense of legal positivism on any such speculation; he touched on the topic only in response to Fuller’s opposite speculation.)

Hershovitz’s authorial voice is conversational and inviting, and his writing is often clever and funny. I suspect this will make the book effective with readers who know little about general jurisprudence or its history. [7]   Hershovitz professes to wanting to avoid “clutter,” but serious scholarship (including in jurisprudence: e.g., Kelsen, Hart, Raz) often involves “clutter,” i.e., acknowledging the history of a problem, the positions and distinctions others have thought important, the reasons for them, and the arguments against them. This book does almost none of that, so it cannot be recommended to anyone new to the subject, who will simply be left in the dark about the actual questions and problems in general jurisprudence. Despite Hershovitz’s professed interest in discouraging readers from “dig[ging] in and cheer[ing] for a team” (15), Hershovitz is very clearly on a team: anti-positivist, Dworkinian, and moral realist. The book is an amusing, meandering sketch of what seem to me implausible views, with too little serious argument, and too little effort to consider objections, even obvious ones, from the other “teams.”

ACKNOWLEDGMENTS

I am grateful to Elena Di Rosa, Alma Diamond, Josh Kaufman, Richard Stillman, and Helen Zhao for illuminating and incisive discussion of the Hershovitz book in a reading group at the University of Chicago Law School during the 2024 Winter and Spring quarters; many of their excellent insights influenced this review, although none should be supposed to agree with it! I also thank Emad Atiq and Nina Varsava for comments on the penultimate draft.

Greenberg, Mark. 2004. “How Facts Make Law,” Legal Theory 10: 157–198.

Leiter, Brian. 2011. “The Demarcation Problem in Jurisprudence: A New Case for Skepticism,” Oxford Journal of Legal Studies 31: 663–677.

-----. 2015. “Constitutional Law, Moral Judgment, and the Supreme Court as Super-Legislature,” Hastings Law Journal 66: 1601–1615.

----. 2021. “Disagreement, Anti-Realism about Reasons, and Inference to the Best Explanation,” Ethical Theory & Moral Practice : https://link.springer.com/article/10.1007/s10677-021-10219-y

-----. Forthcoming. “The Metaphysical Turn in Recent American Jurisprudence,” in Leiter, From a Realist Point of View (Oxford: Oxford University Press).

Pauer-Studer, Herlinde. 2020. Justifying Injustice: Legal Theory in Nazi Germany (Cambridge: Cambridge University Press).

[1] Another possibility (suggested by Hershovitz’s discussion of promising at 28) is that he thinks that legal practices, by their nature (as it were), aim to change people’s moral relationships, regardless of the actual practice and intentions. Some recent legal philosophers, like Mark Greenberg and Mark Murphy, do hold something like this view, although only Murphy has an argument for it. Hershovitz offers no argument for it, so I suspect it is not what he means. Even later (186), he suggests his view is “that we see our legal practices as (in part) efforts to adjust what we [morally] owe each other.” Anyone could take that approach, so it would tell us nothing about the nature of law or legal reasoning. This seems less “Law is a moral practice” than “let’s view law as if it were a moral practice.”

[2] This idiosyncratic formulation comes from Mark Greenberg (2004), but Greenberg speaks of the “ existence and content” of law. Hershovitz’s truncation is striking. In the 20th century, the positivist thesis concerned the existence question (when does a norm exist as a norm of the legal system, i.e., when is it valid); Raz added the question of how content is determined, and Greenberg runs with that. On the general problems with this framing, see Leiter (forthcoming).

[3] What officials accept as authoritative are criteria of legal validity that tell us which norms are part of the law, but particular judges can be mistaken about the application of these criteria and thus deem norms legally valid that are not so. Hershovitz’s evidence against Hart’s view is supposed to be how courts talk in hard cases (a Dworkinian move, that is hardly decisive for a theory of law) and a faculty lounge conversation among his law colleagues about whether Trump could pardon himself (89–93).

[4] My own view (Leiter 2011) is that the best answer to the question “What is law?”—Hart’s answer—invariably yields fuzzy borderline cases, especially in the highest appellate courts, and it is a mistake to think that eliminating the “fuzz” in those cases is relevant to the question we are really concerned about: namely, what ought the court do? My sense is Hershovitz thinks we should only be asking, all the time, “What ought the court do?” with the past decisions of legal institutions being relevant only to the extent they affect our moral reasoning, as past events sometimes do. This would be the end of the legal system as we know it, of course.

[5] Hershovitz’s occasional comments on moral anti-realism are silly and superficial (e.g., 24, 194–195): “I have met people who acted as if they did not owe anything to others. But I have never met anyone who acted as if she wasn’t owed anything by others” (194). Nothing in moral anti-realism requires one not to have attitudes about obligations (to others or oneself); it just denies their objectivity. He also claims, bizarrely, that if you are “skeptical about moral claims, you should be skeptical about legal claims” ( id. ) even though the latter are, on a positivist view, just certain kinds of institutional or social facts: skepticism about moral reality does not entail skepticism about social reality.

[6] At the end of the book (192–194), Hershovitz allows that one could deny that “legal” rights/duties are just “moral” rights/duties and admits that he has “not argued against” this possibility, “at least not directly” (193). Since this is probably the central question raised by his book, this is a remarkable admission. Hershovitz claims that treating moral and legal duties as distinct is “needlessly complicated” (193), although I would have thought his book was evidence of needless complication both metaphysically (he needs moral realism), and conceptually (e.g., he goes to great length, in two different chapters, to explain how it is that bad laws can nonetheless produce moral obligations, although he never offers a general theory of when this is so).

[7] Most of the dust jacket blurbs fall into that category; the exceptions are a diehard Dworkinian, as well as a former colleague, friend, and mentor.

Review: Stanford professor's book makes case against immigrant detention

A na Raquel Minian’s new book focuses on four refugees who arrived in America and were immediately plunged into terrifying legal netherworlds, separated from family members, held for lengthy periods in prisonlike conditions and deprived of opportunities to plead their cases.

“In the Shadow of Liberty: The Invisible History of Immigrant Detention in the United States” takes a long view, covering 125 years, and Minian, a Stanford University history professor, presents detailed depictions of the hardships that confronted her subjects, lending moral force to the book’s arguments.

Minian’s thesis couldn’t be more direct: “Immigrant detention does not make us safer.” Many lawmakers disagree. 

Digging into government reports, Minian calculates that “there were at least 14 million foreign nationals held behind bars” from the early 1940s to the 2020s. But instead of detention centers, Minian argues, it’s cheaper and more humane to release foreign-born arrivals on no-cash bonds “and allow them to reside with friends, family, or community members in the United States while it examines their cases.”

This is already happening with many undocumented immigrants — but certainly not all. An ongoing Syracuse University study found that as of February 2024, Immigrations and Customs Enforcement was holding more than 39,000 would-be immigrants “in detention,” 67% of whom have no criminal records.

Minian doesn’t claim that every person stopped at the U.S.-Mexico border is a law-abiding asylum seeker. But evidence suggests most are rule followers. Over the past 20 years, “multiple studies have shown that approximately 88% of all nondetained individuals attended their court hearings,” Minian writes.

The plights of Minian’s subjects — Fu Chi Hao, Ellen Knauff, Gerardo Mansur and Fernando Arredondo — show that American immigration policy has long wavered between stringency and openness.  

Though Fu, a Christian, was fleeing religious persecution in China when he arrived by ship in San Francisco in 1901, his application for admittance was waylaid by bigotry.

Fu was an incoming college student, due to begin classes at Oberlin College in Ohio — and therefore exempt from the infamous Chinese Exclusion Act of 1882. But government officials ignored his exemption, jailing him under what scholars call the “entry fiction,” a legal designation that allows the U.S. to detain foreign nationals while denying them basic rights.

In this way, Minian writes, “the detention site was simply an extension of the border, a kind of extraterritorial limbo that existed inside the United States in a literal sense but outside it for legal purposes.” Fu was briefly jailed in San Francisco and prevented from attending Oberlin until 1903, when the federal government affirmed his right to stay.

For her part, Knauff, born in Germany but married to an American citizen in 1948, was eligible to live in the U.S. under the recently adopted War Brides Act. Instead, she was confined for long periods in squalid New York holding cells until the government finally dropped unreliable allegations that she was a Communist spy.

Coverage of Knauff’s troubles spurred Washington to find a new approach, Minian writes, and by 1958, “physical detention of aliens is now the exception, not the rule,” a Supreme Court ruling stated. This lasted until the 1980s. Then, in reaction to the arrival of thousands of Cuban refugees during the so-called Mariel boatlift, Washington installed more punitive policies.

Minian’s portrait of one Cuban illustrates the American system’s harsh whims.

Mansur was among those Cuban arrivals with criminal records, but after being released from long stays in American detention centers in the 1980s, he forged a quiet life in the States. Mansur had been in the U.S. for 33 years when in 2017 he was arrested for an old marijuana offense. He was deported to Cuba, where in 2020 he died, “far from his loved ones” in Las Vegas, Minian writes.

In 2018, the book’s fourth subject — Arredondo, a Guatemalan whose son had been murdered by a gang — arrived at the Texas-Mexico border with his 12-year-old daughter. There, immigration officials separated them under a Trump administration policy designed to cause “pain and chaos,” Minian writes.

“In the Shadow of Liberty” isn’t always persuasive. For instance, while it’s probably true that detaining noncitizens in “legal black sites” where they have no rights “endangers the freedoms of all American citizens,” Minian offers skimpy evidence.

But this is a book with gravitas and a hopeful spirit. In looking to the past, Minian sees that progress is possible. “Americans turned against detention once before,” writes Minian, demonstrating that on this issue, there’s reason to be nostalgic for the 1950s, ’60s and ’70s, when refugees and undocumented immigrants were treated with far more sympathy.

Kevin Canfield is a freelance writer.

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The Two Men Who Wanted to Categorize ‘Every Living Thing’ on Earth

Jason Roberts tells the story of the scholars who tried to taxonomize the world.

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Deborah Blum, the director of the Knight Science Journalism Program at M.I.T., is the author of “The Poison Squad: One Chemist’s Single-Minded Crusade for Food Safety at the Turn of the Twentieth Century.”

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EVERY LIVING THING: The Great and Deadly Race to Know All Life , by Jason Roberts

A professor asks a student to go on a plant-collecting trip, a perilous journey from Sweden to Suriname in 1754. The devoted student agrees, which means months tossed about on a wooden ship while chased by a simmering fever. When the student returns, he still shows hints of delirium, declaring that one of his specimens can produce a harvest of pearls, refusing to turn over any of his treasures to his mentor. What’s a plant-obsessed professor to do?

For Carl Linnaeus, this was easily answered. He went to Daniel Rolander’s home and, finding him away, smashed a window and broke in. Sadly, he found no pearl-bearing oyster plant or any other notable vegetation; merely one small herb which people in Suriname used to treat diarrhea. Linnaeus took it anyway. He then dismissed the young collector entirely, denying him compensation and pointedly naming a minuscule beetle “Aphanus rolandi.” (“Aphanus” means obscure, by the way.)

If this sketch of Linnaeus causes you to view the man as ruthless, a little unhinged and a lot meanspirited, well, that’s the point here. Jason Roberts, the author of “Every Living Thing,” is not a fan of the founding father of taxonomy, whom he rather hilariously describes as “a Swedish doctor with a diploma-mill medical degree and a flair for self-promotion.” But the snark is not merely entertainment — the portrait is central to the main thesis of Roberts’s engaging and thought-provoking book, one focused on the theatrical politics and often deeply troubling science that shape our definitions of life on Earth.

Roberts’s exploration centers on the competing work of Linnaeus and another scientific pioneer, the French mathematician and naturalist Georges-Louis Leclerc, Comte de Buffon. Of the two, Linnaeus is far better known today. Of course, Roberts notes, the Frenchman did not pursue fame as ardently as did his Swedish rival. Linnaeus cultivated admiration to a near-religious degree; he liked to describe even obscure students like Rolander as “apostles.” Buffon, in his time even more famous as a brilliant mathematician, scholar and theorist, preferred debate over adulation, dismissing public praise as “a vain and deceitful phantom.”

Their different approaches to stardom may partly explain why we remember one better than we do the other. But perhaps their most important difference — one that forms the central question of Roberts’s book — can be found in their sharply opposing ideas on how to best impose order on the planet’s tangle of species.

Linnaeus is justly given credit for applying logic and order to science, standardizing the names, definitions and classifications of research. But his directives were based on an often uncharitable and deeply biased worldview. He saw species, including humans, as needing to be ranked according to European values. Thus, Linnaeus is also credited with establishing racial categories for people.

He placed white Europeans firmly at the top. Homo sapiens Europaeus, as he called it, was blond, blue-eyed, “gentle, acute, inventive.” By contrast, Homo sapiens Afer was dark and, in Linnaeus’s definition, “slow, sly and careless”; Homo sapiens Americanus was red-skinned and short-tempered.

Buffon, far more generous by nature, rejected this racial hierarchy. “The dissimilarities are merely external,” he wrote in 1758, “the alterations of nature but superficial.” Living things were adaptable, he insisted, shaped by the environment. Charles Darwin, who pioneered the theory of evolution, would later call Buffon’s ideas, posed more than a century before the 1859 publication of “On the Origin of Species,” “laughably like my own.”

Roberts stands openly on the side of Buffon, rather than his “profoundly prejudiced” rival. He’s frustrated that human society and its scientific enterprise ignored the better ideas — and the better man. And he’s equally frustrated that after all this time we’ve yet to fully acknowledge Buffon’s contributions to our understanding. As time has proved him right, certainly on issues of race and evolution, Roberts asks, why are Linnaeus and his worldviews still so much better known — and better accepted by far too many?

The book traces some reasons — the anti-aristocratic fervor of the French Revolution in suppressing Buffon’s scholarship; the European colonialists who firmly elevated Linnaeus’s more convenient worldview. It wasn’t until the 20th century that scientists and historians began rediscovering the importance of the French scientist’s ideas. And that, Roberts believes, has been our loss in countless ways.

More than 250 years ago, Buffon proposed that we exist in a world full of ever-changing possibility, a place where our similarities matter as much as our differences. Perhaps it’s not too late, this book suggests, to be our better selves and yet hear him out.

EVERY LIVING THING : The Great and Deadly Race to Know All Life | By Jason Roberts | Random House | 422 pp. | $35

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Acclaimed singer Renee Fleming probes the relationship of 'Music and Mind' in new book

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Famed soprano Renée Fleming wants people to better understand the link between music and health.

Musical activities can help nonverbal children speak, aid in recovery after a stroke, and improve the stride of people with Parkinson's, according to research. To spread the word, Fleming edited the new book " Music and Mind: Harnessing the Arts for Health and Wellness ," which features essays by researchers, music therapists and artists including Yo-Yo Ma, Ben Folds and Anna Deveare Smith.

The book’sroots run back to 2015, when Fleming helped launch a collaboration between the Kennedy Center and the National Institutes of Health to explore how the arts and health intersect.

When she first started at the Kennedy Center as an artistic advisor, Fleming attended a Washington, D.C. gathering attended by Supreme Court Justices Anthony Scalia and Ruth Bader Ginsberg, as well as former NIH Director Francis Collins.

Despite some high tensions after the Supreme Court ruled in favor of same-sex marriage, Fleming and Collins brought the room together with song.

“Music has historically created social cohesion between people. It happened that night,” Fleming says. “I said, ‘Francis, why are scientists studying music and the brain?’ And he said, ‘well, we're interested in it because we have a new brain institute. And the key is technology because this ability to look at the brain enables scientists to see the exact impact music is having.’”

Two years later, Fleming sat on a panel among scientists, music therapists and fellow artists with the Kennedy Center, the NIH and the National Endowment for the Arts. Her work with the organizations inspired her to share with the public what she learned about how the arts affect people.

4 questions with Renée Fleming

How did scanning your brain show the impact of music?

“My brain scan at the NIH was an fMRI scan, functional MRI, which measures blood oxygen in the brain. And it had me singing, speaking and imagining singing. And interestingly, imagining singing, It was by far the most powerful for me. It impacted many more parts of my brain than the other two activities, which was a big surprise to the scientists.

“But they finally said, ‘Well, listen, you're a singer, so it makes sense that that's second nature to you.’ So that was a wonderful experience. It's an opportunity for me to see firsthand how this research is done.

“Imagining singing can also help Parkinson's patients who are having difficulty walking. If they just imagine a rhythmic song in their head, like ‘When the Saints Go Marching In,” they'll be able to cross the street without stopping. It's a simple benefit, but it's very powerful.”

Music psychotherapist Stacie Yeldell writes about a boy who found relief from the pain of sickle cell anemia in the viral song “ The Fox .” What’s the relationship between pain and music?

“Pain is what is very much impacted by music. And in fact, there's a huge focus on research in terms of pain and Joke Bradt's chapter, which is all about that. They don't really know exactly what mechanism is occurring now with that, but they do know music reduces pain.

“I have a friend who actually had a brain bleed and the only thing that alleviated her excruciating pain at first was the loudest possible music she could play.  So, it's possible that that's what was interrupting his pain as well.”

How can music serve as a “bridge” to people with dementia, as music therapy pioneer Concetta Tomaino writes in the book?

“Music and memory are so completely linked. We remember events in our lives: If we hear just a snippet of a song, we're back at our wedding. We're back at any number of events.

“With people with Alzheimer's disease, it is the last memory to stay because this memory area, as it pertains to music, is the last area of the brain that's impacted by the disease. So [Tomaino has] been trying to kind of prolong the sustainability of memory attached to music memories.

“Somebody came up to me after the Kennedy Center Honors and said, ‘I just want to say I heard one of your presentations and my dad was really becoming difficult and becoming a little bit violent. And we remembered suddenly because of what you said, that he was an opera lover and we put on opera. And he calmed down and he smiled, and we've been playing it ever since. It's made a huge difference in his mood and state.’ And so it can alleviate life for caregivers as well.”

Have these insights changed the way you sing?

“It doesn't change the way I sing, but for instance, I now tell the audience that our brain waves are aligning as we are in this space together, having a shared musical experience. That's why they've now shown that singing in a choir is more impactful than singing alone.

“How this work has changed me is that I am living my life now, being mindful of the fact that I need these artistic experiences, things that I thought were extra. ‘If I have time, I'll go to a concert.’ I now prioritize them in my life and I see a huge difference in my state of mind, less anxiety. I’m much happier, so I'm like a living example of how this works.”

Emiko Tamagawa  produced and edited this interview for broadcast with  Todd Mundt .  Allison Hagan  adapted it for the web.

Book excerpt: 'The Parting Glass' from 'Music and Mind'

By Richard Powers, edited by Renée Fleming

It’s morning, and dozens of thrushes, wrens, and warblers are singing their hearts out in the trees beneath the window of my house in the foothills of the Great Smoky Mountains. Spring in Appalachia, and you know how that piece goes. Some of the singers live here year‑round. Others are passing through on long journeys. I listen as the dawn chorus reaches its wild peak. No one is conducting. The music exhilarates me, and clearly the singers are thrilling one another. If you ask a scientist why birds sing, the answer will deal in courtship and territory. But if you asked the bird, and if you could understand its reply, it would probably be something like, “Because I have to, and it feels so good.”

I put on some music of my own, adding a descant to the morning mayhem. Here’s a miracle that I hope I’ll never get used to: I can stream just about any song ever recorded, any time I want, in every season, from any room in my house in the woods. I call up a fine old Scottish‑Irish song that always goes right through me: “The Parting Glass.” The song is at least four hundred years old, and no one is sure who wrote the music or the words. Traditional, as they say. And I have dozens of covers to choose from. I play one by three Canadian women singing a cappella, in crystalline harmony, as if they’re already a step or two beyond the grave.

The song partakes of an old Celtic tradition. When a guest rose to leave the party and climbed up in the stirrups of his horse, he’d be given a stirrup cup or parting glass, one more drink to fortify him for the night’s trip back home. The song is in the voice of a guest taking such a leave:

So fill to me the parting glass And drink a health whate’er befall, And gently rise and softly call Good night and joy be to you all.

Words fill my house and spill out into the woods. It’s just a folk song— plaintive, playful, a little melancholy. The tune traces out the basic moves of tonal expectation, traveling from home and back again with open grace. The harmonies are steadfast and simple, with no great surprises. The lyrics, however, are a little cheeky, a nice mix of sass, stoicism, and self‑effacement, even though it’s easy to hear that this singer is setting out on a journey somewhat longer than a night’s ride:

Of all the money that e’er I spent, I spent it in good company. And all the harm that e’er I’ve done, Alas it was to none but me. And all I’ve done for want of wit To mem’ry now I can’t recall. So fill to me the parting glass: Good night and joy be with you all!

A summing up, then, with the singers taking stock before a last depar‑ ture. The words could be about nothing at all—they might be in a foreign language, and I would still hear the farewell. It’s there in the suspended harmonies, in the way the chords waver between major and minor. I’m off now, out of here: drink to me, drink to my disappearance. The Celts have always been good at emigration and goodbyes.

For reasons that science may never quite put its finger on, I get chills and my eyes start to water. It happens to me with music, far more than with any other art. Music has a startling ability to make a listener sad over noth‑ ing, simply by unfolding chords in a certain order and weaving them through with a tuneful filigree. It’s not clear what the adaptive advantage of this might be, but the right pitches in the right rhythm can overwhelm us with sorrow. And we love every minute of that harmonious grief.

I’m reassured by a quick online search that reveals at least twenty health benefits of crying. The sheer abundance of weeping’s benefits makes me laugh and laughing brings at least ten benefits more. I don’t know why I chose this song—an evening’s last farewell—to add to the birds’ exuberant morning chorus. I don’t understand why I would willingly choose sadness. But it feels so good. It’s a bracing dive into a cold spring, a glimpse of mid‑ night just before breakfast.

Countless clinical studies have now tied the secret of health to moving. There is also great health in being moved, something that produces similar physiology. Think about the old meanings buried in the etymology of “emotion.” To move and to feel are complements, and the emotion that a tune triggers is a tune‑up in how to move more deeply through the wider world. Music makes us go somewhere. It propels us into new states, new vantages, new emotional affordances. If you ask a scientist why music is healthy, the answer will come in units of cortisol and heart rate and blood‑ oxygen levels. But if you ask this listener, I’d say that music is an off‑line cognitive therapy. By making us sad in the absence of real tragedy, it leaves us more adept in sadness when life calls for the real thing.

Being moved by a song holds the key to mental health. Music says: “Here’s what happens to us. We and those around us move like chords unfolding in time, throwing off fantastic sparks and harmonies. And then the chords end. Here’s how to feel sad about that. And how to hear how that sadness, too, will pass.”

I suspect that none of the dozen species of birds singing outside my window know that one day their song will stop. But every human does. We carry the knowledge of our own death with us all life long. Awareness of mortality is the first and hardest challenge to our sanity. In my life, the best consolation for my approaching death has always been to sing it and to hear it being sung. I think that’s why the world’s great sacred ways of coping with death are so often built around music. So many times in this life I’ve heard friends say, “I love this piece. Play this at my funeral.” Music can train us in goodbyes. In giving us a little taste of our own finitude, it lets us, for a moment, feel the infinite.

“The Parting Glass” lasts only two and a half minutes. Soon enough, it reaches its final stanza. But in those one hundred and fifty seconds, the song lights up my brain in several ways. First, there is the sheer glory of the sound: three clear voices tuned tightly to each other. Then there is the stepwise tune and its dramatic pauses, its phrases always taking their leave, always coming home. Those simple syncopations lay out the plainest two‑step dance, reminding me of all the dancing I won’t be doing when I no longer have a body. A good song—a great movement—is a way of saying, Dance now, if only in your mind, for there is no dancing where you’re going. Finally, there is music’s uniquely vertical trick, stacking up companion lines in step with the one that my ear keys to. The tune contains its own accompani‑ ment, and all the regions of my brain fire in harmony. It reminds me of what good company I’ve spent my life in.

Of all the comrades that e’er I’ve had Are sorry for my going away. And all the sweethearts that e’er I’ve had They’ d wish me one more day to stay. But since it falls unto my lot That I should rise and you should not, I’ ll gently rise and softly call Good night and joy be with you all!

Of all music’s health benefits, teaching us how to be okay with our own disappearance may be the deepest. A good song lets me hear how the chords go on, far beyond the double bar. As another good song puts it:

Music, music for a while Will all our cares beguile.

That it can do so with sadness is a pure delight.

“The Parting Glass” does what all good songs do: it ends. It gets up in the stirrups, takes a last deep drink, and is off. My Canadian singers spring a surprise minor final cadence, and the tune is done. The morning chorus starts to disperse. I land back on Earth, turn from the window, and get on with my full day’s work. For what it’s worth, I get a ton done.

As I fall asleep, the night is all melancholy owls and mournful whip‑ poor‑wills. Birdsong, too, knows the uses of sadness. At two a.m., when I briefly wake, there is nothing but dead silence. I’m fine with that. The song is ended, but the melody lingers on. Even in the long rests, I can hear how the morning chorus will begin again in the dark, just before sunrise, for whoever may or may not be there to listen.

From 'Music and Mind' edited by Renée Fleming, an imprint of Penguin Publishing Group, a division of Penguin Random House, LLC. Copyright © 2024 by Richard Powers.

This segment aired on April 9, 2024.

Robin Young Co-Host, Here & Now Robin Young brings more than 25 years of broadcast experience to her role as host of Here & Now.

Emiko Tamagawa Senior Producer, Here & Now Emiko Tamagawa produces arts and culture segments for Here & Now.

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O.J. Simpson’s trial: The best books, movies and docs about the ‘90s controversy

O.J. Simpson, the former NFL star acquitted of his ex-wife Nicole Brown Simpson's murder, died of cancer at age 76 on Wednesday, his family said. Simpson's murder trial was televised, and became one of the most publicized trials of the 20th century.

The public's fascination with the case still continues nearly 30 years after the deaths of Brown Simpson and her friend Ronald Goldman in June 1994. The pair were found stabbed to death outside of Brown Simpson's condo in the Brentwood neighborhood of Los Angeles.

Simpson was charged with their murders and evaded arrest on June 17, leading officers on a now-infamous car chase throughout Southern California . Jurors later acquitted Simpson of the murder charges following an 9-month trial, though he was found liable for their deaths in a civil trial two years later.

For those interested in learning more details about the case, here are five books, movies and TV shows about Simpson and his trial.

‘O.J.: Made in America’

For more details on Simpson's early life at the University of Southern California to becoming a NFL Hall of Famer, to his legal troubles involving Brown Simpson, Goldman and a later robbery, watch the 2016 documentary, "O.J.: Made in America." The doc, which won an Oscar for best documentary feature, is available to stream on Disney+ and ESPN+.

‘The People v. O.J. Simpson: American Crime Story’

This FX TV series takes a dramatized look at Simpson's murder trial, with stars such as Cuba Gooding Jr. portraying Simpson, Sarah Paulson playing prosecutor Marcia Clark, David Schwimmer portraying defense attorney Robert Kardashian, John Travolta playing defense attorney Robert Shapiro and more. The series, which won nine Emmys, including wins in acting and directing , can be streamed on Hulu.

'If I Did It: Confessions of the Killer'

Simpson wrote a memoir following his acquittal, originally titled "If I Did It." In the book, Simpson writes about an supposedly hypothetical description of the murders of Brown Simpson and Goldman. Shortly after the book was announced in 2006, the release was cancelled by the publisher, though Goldman's family later gained the rights to the book and published it under a new title, "If I Did It: Confessions of the Killer," in 2007, per Business Insider .

'The Run of His Life: The People v. O.J. Simpson'

Lawyer and author Jeffrey Toobin gives his take on the Simpson trial in his book, "The Run of His Life: The People v. O.J. Simpson." Published less than a year after jurors reached their famous verdict, this nonfiction book takes readers through the night of the deaths of Brown Simpson and Goldman, and into the legal strategies of the prosecution and the defense during the trial.

'House of Kardashian'

For those wondering how the Kardashian family is connected to Simpson's case, check out the documentary "House of Kardashian." The series focuses on three members of the Kardashian family — Kris Jenner, Kim Kardashian and Kylie Jenner — though Kris Jenner is the main tie to the case. Kris Jenner speaks about her friendship with Brown Simpson before her death, and how her ex-husband Robert Kardashian (father of Kourtney, Kim, Khloe and Rob Kardashian) served as one of Simpson's defense attorneys. The series is available to stream on Peacock. (Peacock is part of TODAY's parent company, NBCUniversal.)

Anna Kaplan is a news and trending reporter for TODAY.com.

Schneier on Security

Home Essays

In Memoriam: Ross Anderson, 1956-2024

• Communications of the ACM
• April 9, 2024

Ross Anderson unexpectedly passed away in his sleep on March 28th in his home in Cambridge. He was 67.

I can’t remember when I first met Ross. It was well before 2008, when we created the Security and Human Behavior workshop. It was before 2001, when we created the Workshop on Economics and Information Security (okay, he created that one, I just helped). It was before 1998, when we first wrote about the insecurity of key escrow systems. In 1996, I was one of the people he brought to the Newton Institute at Cambridge University, for the six-month cryptography residency program he ran (I made a mistake not staying the whole time)—so it was before then as well.

I know I was at the first Fast Software Encryption workshop in December 1993, the first conference he created. There, I presented the Blowfish encryption algorithm. Pulling an old first edition of Applied Cryptography (the one with the blue cover) down from my shelf, I see his name in the acknowledgments. This means that at either the 1992 Crypto conference in Santa Barbara or the 1993 Eurocrypt in Lofthus, Norway, I, as an unpublished book author who had written a few cryptography articles for Dr. Dobb’s Journal , asked him to read and comment on my book manuscript. And he said yes. Which means I mailed him a paper copy. And he read it, and mailed his handwritten comments back to me. In an envelope with stamps. Because that’s how we did it back then.

This is back when "crypto" meant cryptography, and we would laugh when military types said "cyber" or "cybersecurity." We all called it "computer security" and then "Internet security."

I have known Ross for over 30 years, both as a colleague and a friend. He was enthusiastic, brilliant, opinionated, articulate, curmudgeonly, and kind. Pick up any of his academic papers and articles—there are 302 entries on his webpage —and odds are that you will find at least one unexpected insight that will change how you think about security. He was a security engineer, but also very much a generalist. He published on block cipher cryptanalysis in the 1990s, on the security of large-language models last year, and on pretty much everything else in between.

His masterwork book, Security Engineering —1,200 pages in its third edition—illustrates that breadth. It is as comprehensive a tome on computer security and related topics as you could imagine. Twenty-nine chapters cover everything from access control to tamper resistance, from banking security to nuclear command and control, and from psychology to security printing. Every page is infused with his knowledge, expertise, wisdom, and uncanny ability to cut through the nonsense that too often surrounds traditional security disciplines. (Also note his 15-lecture video series on that same webpage. If you have never heard Ross lecture, you’re in for a treat.)

Ross was a pragmatic visionary. His mastery of both the technologies and the underlying policy issues showed a deep command of multiple fields , and a rare capability to both work within them and synthesize around them. He was also able to weave this knowledge into narratives that were both compelling and comprehensible to the layperson. In his 1993 paper " Why Cryptosystems Fail ," he pointed out that both cryptography and computer security got threat modeling all wrong, and that we were solving the wrong problems. It’s not the math, he wrote; it’s the implementation and the people and the procedures. In 2001, he was the first person to recognize that security problems are often actually economic problems , kick-starting the academic discipline of security economics.

He didn’t suffer fools in either government or the corporate world, giving them no quarter by disproving their security claims. As a graduate student, he defended people accused of stealing from ATM machines by banks who maintained that their security was foolproof. It was a pattern that repeated itself throughout his career: analyze a real-world security system from all angles, understand how it fails, and then publish the results—angering the powers in charge of that security system.

Here’s one example of many. In 2014, he was hired as an expert witness to defend people accused of tampering with the curfew tags used for offender monitoring. He studied the physical tags and their security, and also the economic, policy, and security implications of the tagging system. He even went as far as to wear an ankle bracelet himself. It promptly broke, proving his point. You can read the whole story in Chapter 14 of the third edition of his book.

That sense of justice and confronting power infused much of his work. He fought against surveillance and backdoors. He and I were part of the second and third academic take-downs of government attempts to break encryption. His 2022 rebuttal of child protection as a pretense to break encryption is particularly scathing.

Ross also fought for academic freedom, repeatedly publishing his findings in the face of corporate threats. Many things we all use are more secure today because of Ross’s work.

He was a blistering letter writer to those he believed deserved it. Verbally, he could be a hurricane in your face if he disagreed with you, but he would also engage with your points and was always willing to change his mind. And he enthused about, argued with, and listened to everybody: students, colleagues, partners of students and colleagues, random people he crossed paths with. Everyone was a sounding board for whatever ideas he had in is head.

And his head was constantly filled with ideas—mostly good, some not so good—and seemingly inexhaustible energy to implement them. He founded five different conferences, including the Information Hiding Workshop and Decepticon. He co-founded the Cambridge Cybercrime Centre . He founded the U.K.’s Foundation for Information Policy Research , and wrote most of the papers that the organization submitted to Parliamentary Inquiries on dumb legislative ideas. When the legislative center of power moved to Brussels, he helped form the European Digital Rights organization to provide advice there.

All this was part of his gift of fostering community. And it’s nowhere more evident than his legacy of graduate students at Cambridge University. His CV lists thirty-two of them, and seven more that he was currently advising. Many have carried his legacy of pragmatic security analysis of real-world systems.

Ross was elected as a Fellow of the Royal Society and a Fellow of the Royal Academy of Engineering in 2009. In 2016, he was awarded the British Computer Society’s Lovelace Medal, the U.K.’s top prize in computing. From 2021, he split his time as a professor between the University of Cambridge and the University of Edinburgh and was elected a Fellow of the Royal Society of Edinburgh in 2023. He was absolutely rageful against Cambridge University for making him retire at 67—and he was right.

He also play ed the bagpipes throughout his life. I dedicated a 1998 cryptography paper, " The Street Performer Protocol ," to him because he "spent some of his youth busking on the streets of Germany with his bagpipes." Those were good stories.

He is listed in the acknowledgments as a reader of every one of my books from Beyond Fear on. Recently, we’d see each other a couple of times a year, at this or that workshop or event. He hosted me at Security and Human Behavor at Cambridge’s Churchill College in 2022. The last time I saw him was last June at SHB in Pittsburgh. We were having dinner on Alessandro Acquisti ‘s rooftop patio to celebrate another successful workshop. He was going to attend my Workshop on Reimagining Democracy in December 2023, but had to cancel at the last minute. The day before he died, we were discussing how to accommodate everyone who registered for this year’s SHB workshop in December. I learned something from him every single time we talked. And I am not the only one.

My heart goes out to his wife Shireen, their daughter Bavani, and the rest of their family. We lost him much too soon.

Categories: Computer and Information Security

Tags: Communications of the ACM

Sidebar photo of Bruce Schneier by Joe MacInnis.

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