The Intensive Programme can seem daunting to new Euroculture students, but it doesn’t have to! Jodie van ‘t Hoff talks us through the IP preparation phase, paper writing process, and how the (online) IP in 2021 went for her. While Jodie’s Euroculture experience has been almost entirely online due to the ongoing pandemic, she is making full use of the programme’s mobility. Having started in Groningen then attending Olomouc online, Jodie moved to Göttingen for her third semester and is currently preparing to spend her fourth semester in Olomouc (in person this time!).
Euroculture Magazine: Would you mind giving us a small introduction about yourself? Where are you from, what are your universities, and how did you find out about the Euroculture programme?
Jodie van ’t Hoff: I’m Jodie van ’t Hoff, I’m half Dutch/half German, and I am currently in my third Euroculture semester doing a research track at the University of Göttingen. My first semester was in Groningen, my second in the Czech Republic. During my Bachelor’s programme, which I also completed in Groningen, I learned about the Euroculture master. In the end, I applied because the subjects seemed a great continuation of my Bachelor and the mobility aspect to me was a real selling point.
The Euroculturer interviews Lora Markova, the winner of the 2012 ALBA (Annual Liesbeth Brouwer Award) Thesis Prize. We all saw her being awarded with the prize during the Gala dinner at the Intensive Programme in Bilbao this summer. We know that the award is a great asset for one’s academic future, not to mention a reward for all the tears shed while struggling with the Master’s thesis.
11 questions to answer…
Q1. Hello, Lora. Could you tell us a little bit about yourself?
– Hello, The Euroculturer! I come from Bulgaria and I completed MA Euroculture with an Erasmus Mundus Grant at Deusto University, Bilbao as my home university and Georg-August University, Göttingen as my host university between October 2010 and March 2012. During my third semester I conducted a research track at Pune University, India – a great opportunity for intercultural interaction, and theoretical and empirical studies. My research interests focus on (new) media arts, interactivity, modes of contemporary spectatorship and transmedia, transculturality and cross-cultural exchange of aesthetic codes and cultural repertoires.
Q2. What did you study for your Bachelor’s degree and where? Did your previous studies help you when you were writing your Master’s thesis? If so, in what way?
– I graduated with a BA in Animation Cinema and Visual Arts from the New Bulgarian University, Sofia with a Socrates/Erasmus exchange in Semiotics at the University of Torino, Italy. After this rather practical training in creative arts I shifted towards art theory and graduated with a MA in Media Culture and a MA in Arts Management from Maastricht University, the Netherlands. Within my studies I carried out internships at the Netherlands Media Art Institute (NIMk) in Amsterdam, the Netherlands Institute for Cultural Heritage (ICN), also in Amsterdam, and a Blue-Book traineeship at the European Commission, Brussels. Living in different European cities and shifting cultural contexts triggered my interest to explore Europe as a cultural project. Thus, Euroculture was a unique opportunity to revisit my knowledge of arts and media in a European context and to enrich my research scope with intercultural communication perspectives. In this sense, my previous experience was helpful in writing my thesis, but gaining novel theoretical and methodological knowledge and ‘Eurocompetences’ was also central for my research.
Q3. What is the ‘Euroculture approach’ that the jury of ALBA thesis prize emphasise when grading a Master’s thesis? (It is written on the ALBA thesis prize webpage of the Euroculture website that a ‘Euroculture approach’ is important in order to be awarded the prize.) Could you give us one or two examples, in your opinion?
– I guess that the approach of a truly interdisciplinary programme as Euroculture involves conducting interdisciplinary research that reflects current European socio-political and cultural dynamics and deals with Europe as an entity always in an on-going process.
Q4. What does “approaching the related problems in an interdisciplinary manner” mean (as also seen on the webpage)? They said it’s important in order to be awarded the prize. What is an example of ‘interdisciplinary manner’? How do you think it applied in your thesis?
– I understand the interdisciplinary manner as approaching your research problem from multiple (theoretical) perspectives, overcoming disciplinary boundaries and establishing a ‘third space’ between academic fields. Within my thesis I explored transculturality (as a philosophical paradigm and a cultural praxis) in between cultural studies, film and media studies, art history, reception studies, sociology, human geography, post-colonial perspectives and psychology. What I find helpful in this direction is to study carefully the various texts and theories suggested by the Euroculture lecturers and to conduct in-depth research on your chosen topic.
Q5. Who sits on the jury of the prize?
– Academic staff from each of the European universities in the consortium, I believe.
Q6. Could you please tell us about your experience working with your two supervisors? Were they helpful? Professors are usually extremely busy, but how did you managed to get useful advices from them? Do you have any tips on this?
– Of course, it was very helpful receiving feedback from Dr. Asier Altuna and Dr. Lars Klein, as their remarks could indicate to what extent I had expressed and managed my research objectives and outcomes. Indeed, tutors are very busy, and thus it is necessary to be enthusiastic about your own research project, revise your text periodically and question your supervisors and yourself as to whether deeper insights can be achieved.
Q7. When you were writing your thesis, how did you deal with ups and downs in your mood?
– For me writing my thesis was quite an immersive experience and I devoted my time exclusively to it. In order to cope with procrastination I tried to exclude other activities. Still, after finishing each chapter I would take a day off for travelling and meeting friends so that I could create some space between the text and myself before proceeding further. What helped me in terms of time management was to think of writing my thesis as just writing three or four very good IP papers!
Q8. When did you know that you were going to be awarded the ALBA prize?
– Shortly before the award ceremony (during the Gala dinner of the IP), or three months after submitting my thesis.
Q9. Do students for whom English is not their native language have to get their Master’s thesis copy edited (or, at least, proof read) before they submit it? Did you?
– That sounds like a good idea! While writing, I shared and discussed the paper only with my supervisors, appointing specific time to edit each chapter before submitting it in order to minimize possible mistakes. Still, I guess it might be effective to use external help when dealing with such a volume of text.
Q10. What are the three most important things to keep in mind when writing a good thesis, do you think?
– First, it is necessary to choose a topic that you care deeply about. Thus, spending several months on your thesis can be satisfying and interesting for you. It is also helpful to start the research process early and to communicate your ideas to a broader audience (e.g. already during the Intensive Programme, conferences and workshops). For example, I presented one of my case studies at a Human(i)ties Perspectives conference in Hamburg University in 2011, which was an opportunity to gain impressions on the peer reception of my research. Moreover, writing on issues that you are passionate about will allow you to use and expand your thesis after graduation. Last month I participated in the Young Cultural Policy Researchers Forum within the ENCATC Annual Conference, Networked Culture, at Goldsmiths College in London which is another platform for knowledge exchange. I mention these events as potentially valuable opportunities for a greater range of Euroculture students.
Next, I would say try to use “Chekhov’s Gun”. As you probably know, the Russian playwright Anton Chekhov formulated the dramatic axiom claiming that if there is a gun hanging on the wall in the first act, the gun should be fired in a later act; otherwise it should not be displayed at all. In this sense, everything you mention in your thesis should be for a reason. Thus, it is helpful to delineate your scope by excluding certain topics and to keep some research questions for further studies.
Finally, it is important to be familiar with the ALBA criteria, as they signify academic excellence, and to consider which topic can be innovative in the context of the existing Euroculture titles. At the same time, I think one should not worry about any award while writing as it is beyond the knowledge of the students whose paper will be nominated. For instance, with regards to the high quality and diversity of approaches, I was able to imagine that at least five of my friends and former classmates could have qualified for the prize as well. Thus, I find it as relevant to establish your own standard – let’s say, write in a manner you would like to be published. Then, try to turn the whole process of working on your thesis into an intellectually rewarding experience and hopefully it will be ‘awarding’ as well.
Q11. What is your plan for the future?
– As a member of the Union of Bulgarian Artists I have been involved in several art and cultural projects in the last few months, and so my intention is to continue in this direction. I will keep you updated, and thank you, The Euroculturer, for inviting me to share my experiences as a Euroculturer.
Thank you very much for your answers, Lora. We wish you the best with everything you do!