ROBERT GORDON UNIVERSITY
Aberdeen
Faculty of Design and Technology
Gray’s School of Art
BA (Hons) Fine Art
BA (Hons) Design and Craft
Stage 4: 2006-2007
Critical Evaluation
Study Guide
October 2006
CONTENTS
Page Number
Introduction
2
Submission Date
2
What You Have to Do
Key Tasks and Tutorial Arrangements:
3
1. Selecting a Topic & Finalising
a Research Question
3
2. Tutorial Arrangements
3
3. The Critical Evaluation Proforma
4
4. Submission and Marking
5
Completing the Critical Evaluation Proforma
5
Further Information and Advice
8
a)
b)
c)
Primary research
Time allocated and time management
Format for final submission
a. Where to find copies of previous
evaluations
Assessment
10
Appendix I – The Critical Evaluation Proforma
11
Appendix 2– Guide to Academic Presentation
13
Appendix 3- Ethical Considerations. Checklist
18
1
Introduction
How to use this guide
This guide provides detailed instructions for the completion of your Critical Evaluation.
You should therefore read it carefully. It provides general advice on course requirements
throughout the semester in addition to essential information on key dates, tutorial
arrangements, completion of documentation, planning, final formats for your research
project, layout and referencing etc.
Aim of the Critical Evaluation
The aim of the Critical Evaluation is to provide you with the opportunity to undertake
extended research study into a topic, which is closely related to your studio practice and
professional context. The research will help you contextualise your studio practice and
provide you with the critical underpinning required to support your future development as
a practitioner.
Learning Outcomes
On completion of your Critical Evaluation you should have achieved the following learning
outcomes:
1.
Investigate and apply a personal, critical, conceptual and visual language within
an analytical framework relevant to self-directed specialist study.
2.
Apply appropriate research methods and a personal critical and contextual
framework to self-directed specialist study.
3.
Select and apply appropriate practical studio and workshop methods to selfdirected study at a level approaching professional studio practice and context
4.
Propose and produce a clearly articulated research question for a specific
context and defend the same using appropriate oral, written or visual
presentation.
Submission Date
The deadline for submitting your completed Critical Evaluation is:
2.00pm. Monday, 8 January 2007
_________________________________________________________
What You Have To Do
2
Key Tasks and Tutorial arrangements
The Critical Evaluation is a major piece of work which will be submitted at the end of
Semester 1 and formally assessed at the end of Semester 2. To support you in
developing and completing your final submission, all students follow a structured
programme which commences in Stage 3. The programme is designed to help you select
a topic, develop and finalise a research question, plan your research and complete the
final work. The main elements of the programme in Stage 4 are outlined below and are
followed by further sections which provide advice on key tasks.
1. Selecting a Topic and Finalising a Research Question
In the second semester of Stage 3 you were asked to investigate themes which might
form the basis of your Critical Evaluation in Stage 4. Many students will therefore now
have identified a topic for research and begun the process of formulating a clear research
question as the basis for their study in Stage 4. Do not, however, be over concerned if
you have yet to finalise your theme. It is not unusual for students to be undecided at this
stage and the aim of the tutorial system is to ensure that students have dedicated support
from an assigned tutor whose aim is to ensure that you establish a clear theme and
direction.
2. Tutorial Arrangements
A programme of regular tutorial support is established early in Stage 4. In Week 2, you
will be assigned a tutor to supervise your Critical Evaluation on the basis of your selected
topic. You will meet with your tutor in small study groups, each fortnight from Week
3 and should attend all sessions planned for Semester 1. There will be 5 tutorial
sessions in total, to be scheduled in weeks 3, 5, 7, 9 and 11.
Details of the study group to which you have been assigned and the time and
location of your first tutorial, will be posted on the Contextual and Critical Studies
notice board before the end of week 2.
At the tutorials your progress and any problems or queries you wish to raise, will form the
focus of discussions between yourself, your supervisor and your peer group. Broadly the
tutorial programme is designed to encourage a structured approach to research, writing
and completion, and aims to help you manage your time effectively. The following
provides a brief outline of the focus and aims of each tutorial session:
Semester 1 Tutorial Programme

Week 3
Bring a new draft of your Proforma to this session, having updated it to the best of
your ability. If you are clear about your research theme, make sure the Proforma
includes details of your initial literature search. If you remain undecided, do your best
to outline a broad area of interest for discussion (use your studio proposal) and list
some key related texts. Within your Study Group, depending on your progress to date,
you will discuss and consider possible approaches, refinements to your theme and the
idea of a research question. There will also be an opportunity to review and discuss
Stage 4 Assessment Criteria. Read, read, read before your next tutorial.
3

Week 5
This tutorial will take place in studio and involves a one-to-one discussion with your
tutor. Make sure you bring the developing, or ideally final, draft of your Proforma to
this meeting which will aim to further refine and hopefully finalise your research
direction. Your research and reading should have progressed considerably by this
stage. Continue your research, reading, reading, reading and start to work on your
draft structure.

Week 7
Bring details of your literature search and the outline of a possible draft structure to
this session. The literature search should provide details of your bibliography to date,
and the draft structure should take the form of a list of possible sections or chapter
headings OR should outline any other proposed framework.

Week 9
For this session, you will prepare a draft of your final work for review by tutors and will
discuss this within your Study Groups. The format of the draft should be agreed with
your tutor and might include: a potential introduction, justification for your research
question and approach, a short synopsis of the proposed contents of each section/
chapter OR a summary outlining your independently conceived approach, a brief
summary of your conclusions to date, a list of sources which are proving core to your
research etc. The overall aim of this session is to identify any outstanding difficulties
and ascertain whether progress is on track.

Week 11
This is the final session. Please come prepared to report on ongoing progress. This is
the final opportunity to deal with any outstanding problems. At this tutorial you will
have the opportunity to assess yourself against agreed Stage 4 Assessment Criteria.
It is essential that you attend all scheduled sessions. Due to staff timetables,
minimal time is available for additional support. In exceptional cases only, tutorial
support outside of scheduled sessions may be agreed with your tutor through their
individual booking system. However, we must stress that this will require sound
justification. All students are expected to attend the scheduled tutorials and additional
time will not normally be allocated to students who do not turn up without a valid reason.
Communication with your tutor in respect of study group times & locations will take
place primarily via the Contextual and Critical Studies notice board (next to the
photocopier in Gray’s, just before the shop) and via email. Please ensure you
exchange email addresses with your tutor.
3. The Critical Evaluation Proforma
A form, titled the Critical Evaluation Proforma (see Appendix 1) has been developed to
help you plan your approach to the Critical Evaluation, in a structured, clear and focused
manner. The completion and approval of the Proforma will form the focus of your first two
tutorials but it is emphasised that you must aim to continue with your research throughout
this process. To help you with completion of the Proforma, further advice is provided
below. See: Completing the Critical Evaluation Proforma.
The main aims of the Proforma are as follows:
4
a. to help you formulate and finalise a research question which will fully focus
and set the parameters of your research
b. to help you establish an appropriate framework and structure to guide
your research and writing
c. to encourage reflection on the relationship between your research and
proposed studio practice
d. to ensure a thorough literature search is undertaken and discussed with
your supervisor and peer group
Your completed Proforma therefore forms the basis of study for the Critical Evaluation in
Semester 1. The Proforma must be fully agreed and approved by your tutor. The timing
of this is dependent on individual progress and is at the discretion of your tutor but all
Proformas should ideally be signed off by Week 5 or 6.
Once your Proforma is agreed, you should not change the focus of your research
proposal - in anything other than a gradual, evolutionary or developmental way - without
prior approval from your tutor.
4. Submission and Marking
The final time and date for submission is 2.00pm on Monday, 8 January, 2007. You will
be provided with full details of the submission procedure nearer this date.
Please note that you are required to produce TWO copies of the final written text and
supporting material; a master copy to be submitted for assessment and a duplicate to
be retained by your supervisor as back-up. The master copy cannot be returned until
the final Examination Board has adjudicated. Your final mark will be ratified in the
June 2006 Examination Board and issued thereafter.
Further information on the Assessment procedure is provided below. See:
Assessment
Completing the Critical Evaluation Proforma
You should begin work on completion of the Critical Evaluation Proforma (Appendix I)
after your initial briefing in week 2. Please bring your first draft to the first scheduled
group tutorial in week 3.
The following sections are based on questions in the Proforma and provide guidance on
how to complete it. Please read the advice carefully before final completion.
1.
Outline your proposed area of study
This will consist of a short summary which will outline the focus of your research
project. Examples are as follows:
Example 1:
My aim is to look at the key themes and changes that have taken place in Public
Health Awareness advertising. To help me do this I will be looking at the
5
relationship between semiotics and advertising. I also intend to discuss and identify
links between my analysis and current Public Health campaigns.
Example 3:
Through this critical evaluation I want to investigate the uses of protective clothing
and their adaptation to fashion. I wish to look at the conceptual idea of ‘protection’
and what it says about 21st century society. By exploring protection and what
makes a person feel safe, I hope to use my critical evaluation as a tool to help me
define an appropriate context for my studio-based work.
2.
The Research Question: formulate a question below which will set the
parameters of your research? (Note that you can agree a different approach
to your study if you wish. See note on creative writing below Examples *)
Most students find it helpful to identify a clear research question which aids focus
and defines the parameters of their research. To do this need to ask yourself
precisely what it is that you want to know. A question that is too vague or broad will
prevent you from limiting your research, while others may be too predictable to
permit reasonable scope. Your aim therefore, is to formulate a research question
which will allow you to focus your efforts precisely but which will also permit an
imaginative and stimulating investigation. Finally, your question must set a task
that is achievable and realistic within the period of time allowed.
The following are questions which have underpinned the work of recent students:
Example 1:
What is the effect of new technology on the textiles industry?
Example 2:
What is the contribution of states of anxiety, to the creative practice of painting?
Example 3:
Today’s image making: unconstrained creativity or irresponsible exploitation?
Example 4:
Why was contemporary photography fascinated by the genre of realism in 2003?
Example 5:
What would femininity be if women's consciousness were released?

3.
* Creative writing
Please note that the idea of a research question is not intended to be restrictive.
As indicated above, you can discuss an independently conceived approach with
your tutor which is not based on a distinct question. Previous students have
successfully produced pieces of creative writing which are completely acceptable
as long as they are clearly underpinned by research and critical thinking.
Break the final work down into smaller sections, by listing possible chapter
headings (or other potential framework – see * Creative writing, above).
It is usually helpful to break your topic down into manageable sections and this will
further assist you to structure and focus your research by identifying clear areas of
6
study. Sometimes there are obvious sub-topics within the subject, or alternatively,
a more creative approach may be necessary to break down a theoretical theme.
One suggestion involves case studies which can help to form the basis of distinct
chapters. The examples below represent a combination of approaches
(Introduction and Conclusion omitted for reasons of brevity):
Example 1:
Constructing Place. An Investigation into Objects of Craft and Memory
Chapter 1
Sense of Place and Memory
Chapter 2
Objects of Craft and Memory
i. Objects as Souvenirs
ii. The Tactile Response
iii. Evoking Tradition
Chapter 3
Objects of Craft in Orkney: Past and Present
Example 2:
What is the effect of new technology on the textiles industry?
Chapter 1
The Introduction of Technology in Design
Chapter 2
Attitudes Towards Computerisation
Chapter 3
Computer Technology & The Meaning of Craft
Chapter 4
Case Studies


Chapter 5
4.
Timorous Beasties
Helena Britt
The Future of Textile Design
Describe the relationship between your research question/study and your
proposed studio practice in Stage 4. (Copy from self-directed Honours
Proposal?)
This section will set out the background to your chosen research topic and explain
how your research and final study will relate to your proposed studio practice in
your final year. Some students will have already considered this question in their
Self Directed Honours Proposal and can use content from this form.
5.
Initial Literature Search
Ideally, all students should undertake a thorough literature search at the outset of
their study, to identify a range of key texts and materials relevant to their topic. A
literature search does not initially involve in-depth reading of such materials, but is
essentially a review of potential resources. It will involve activities such as
scanning chapters, searching Library databases, reviewing bibliographies at the
7
back of relevant texts etc., with the aim of compiling a list of the most likely and
relevant resources.
To complete this section of the Proforma, you are required to compile a list of the
sources you have already identified which provide a starting point for your study. If
you have not already begun such a search, you should do so now. Please include
a minimum of 6-10 key sources in your initial list. These might be core texts but
ideally, you should identify a wider range of potential sources including journal
articles, videos etc. These should be referenced using the Bibliographic format
referred to in Appendix 2 (Guide to Academic Format). See Sections 5 and 6
on Referencing and Bibliography.
At your third tutorial, you will present your final literature search, therefore listing
your sources from the outset in the correct academic format should help you to
meet this requirement. By fully documenting all your research sources, you will
ensure you have less to do when it comes to submitting the final work. In short,
compile your Bibliography as you go along.
6.
Ethical Considerations
There are rare circumstances in which a student’s research may have an ethical
dimension. For example, the investigation might involve a conflict of interest or
contact with confidential information of a personal or sensitive nature. Your tutor is
responsible for advising you in such instances and the issue is covered by the
Proforma. The checklist in Appendix 3 will help you to identify what is meant by
‘ethical considerations’ and you can find the University Research Ethics Policy at:
http://www.rgu.ac.uk/files/ACF8027.pdf
Further information and advice:
a)
Primary Research:
Primary research is always well regarded and it is useful to consider at an early
stage whether you could undertake such research. What is primary research?
Primary research involves the identification and inclusion of original source
materials usually leading to more personally conceived and independent writing.
Books, journal articles, videos etc. are usually examples of secondary research
because they provide information through an intermediary or second person.
When using secondary sources, you are reading someone else’s research and
conclusions whereas primary research involves the sourcing of original materials
from which you would construct your own and original conclusions. Examples of
primary research might include the following:





information and opinions obtained by interviewing a practitioner whose work
you will discuss in your evaluation
visits to a studio or gallery exhibition which provide direct experience of the
work you are researching
a structured investigation using questionnaires and a well chosen population
sample, undertaken to inform your research or support your conclusions
personal letters, perhaps from archives, which confirm attitudes or events
relating to a specific person or period
newspapers or magazine articles which might indicate beliefs, prevalent
8
practices or forms, from a specific period
.
b)
Time allocated and time management
Including Week 2 (and excluding the Christmas Break) you have 12 academic
weeks in total to complete your research and write your Critical Evaluation. This
assignment represents 20% of your mark in your final year therefore, in Semester
1, you should allocate 2 full days of the academic week to related research and
study. Specific days will be agreed with Course Leaders and you will be informed
of these are your initial briefing in Week 2.
Given your studio work and other commitments, it is important that you consider a
practical plan to help you manage this project within the time available. The tutorial
programme is intended to support you in this respect by including a list of tasks to
be completed by specified dates. Remember, there are various elements which
may need early consideration.
Primary research activity may require forward planning. If you are considering
this think about the time it may take to make appropriate arrangements. Similarly,
consider whether you require any materials through Inter-Library loan as these
can take from 2-4 weeks to arrive. Finally, if you are considering specifically
creative or other alternative formats for the final presentation, you will need to
leave sufficient time to undertake and complete these. See directly below for
further information:
c)
Format for final submission
You are encouraged to start thinking about the final format for your submission
now, although is accepted that you may defer any final decision until a later stage.
Most final works take the form of the traditional extended essay, copies of which
can be seen in the Garthdee Library. However some formats are more creative.
Some students make an additional effort to integrate elements of their critique
within their presentation. For example, students looking at aspects of memory in
recent years, have presented their work on antiqued paper, accompanied by
distressed photography etc. Where additional, appropriate and commendable effort
is made, students are awarded credit for this, but, it should be stressed that this is
not essential and the highest marks can be awarded irrespectively.
As stated, most students submit a traditional written document accompanied by
visual materials. However others may have a variety of reasons for wishing to
consider other formats. For example, students who have dyslexia or other
difficulties might wish to consider formats which are better suited to their particular
strengths and abilities, while the studio practice of others might lead naturally to
particular alternatives. In any such instance, please discuss your intentions at
an early stage with your tutor so that implicit practicalities can be
considered. Such formats might include:





a written text supported by a multimedia document – CD, video, etc
a video with supporting written commentary (including story boards)
a website including hyper-linked text
a hyper-linked CD Rom
other
Whichever format you choose to adopt, it will have to meet the required word
length and the same standards of assessment as all other submissions. The
precise word length will depend on the format you choose, but it should remain
within the 6000 – 8000 word limit. Any decision must be negotiated between
9
you and your tutor in order that a balance is achieved between finding an
appropriate format to encapsulate your research and achievement of specific
learning outcomes for this module.
d)
Where to find copies of previous evaluations
Copies of previous Critical Evaluations are kept on the 5 th floor of the Garthdee
Library for research consultation. Most students find that reviewing previous
examples is extremely helpful. Please ask Library staff on the 5th floor for
assistance in locating these.
Assessment
As already stated, the Critical Evaluation forms 20% of the final fourth year overall mark
(your studio work comprises 80%). It will be marked internally and an internal double
marking procedure is used to ensure a consistent and fair assessment procedure. In the
event of a discrepancy in marks, a third internal marker will be used to adjudicate. Finally,
an external examiner will be used to moderate the standards of marking and to report on
these to the Examination Board.
The following are the criteria used by examiners when making their assessment:




Approach & Structure
Research & References
Critical Awareness & Argument
Academic Format & Presentation
The meaning of these is fully articulated in the Stage 4 Assessment Form, a copy of
which you will receive at the first group tutorial.
10
Appendix 1
Critical Evaluation Proforma
BA (Hons) Fine Art
BA (Hons) Design & Craft
Stage 4
Name
Subject:
Email Address:
Please complete and bring to your first study group. See Critical Evaluation
Study Guide for detailed guidance
1. Outline your proposed area of study
2. Research Question: What is the precise question that will set the
parameters of your research? (Note that you can agree a different
approach to your study if you wish – e.g. creative writing. Discuss with
your tutor and summarise below)
11
3. Break the final work down into smaller sections, by
listing possible chapter headings (or other potential framework)
4. Describe the relationship between your research question and
your proposed studio practice for Stage 4.
(Copy from self-directed Honours Proposal?)
5. Initial Literature Search:
List 6-10 sources – e.g. key books, journals, videos etc., identified
to date. (Give complete Bibliographic reference using Vancouver)
6.
Ethical Considerations (Please discuss with your tutor):
Are there ethical considerations to your study which would require
completion of the ‘Student Project Ethical Review Form’?
Please delete as appropriate:
Yes / No
Final approval...............................................Tutor
Date..............................................................
12
Appendix 2
Guide to Academic Presentation
CONTENTS:
Page
General
14
1.
Title Page
14
2.
Table of Contents
14
3.
Main Text
15
4.
Appendices
15
5.
Referencing
15
6.
Bibliography
15
7.
Referencing Illustrations
16
8.
The Use of Questionnaires
16
9.
Contacting Individuals or Organisations
17
10.
Plagiarism
17
13
GUIDE to ACADEMIC PRESENTATION
General
Your final text should:

be typed using a legible font and reasonable font size – e.g. 10+

be securely stapled or bound, if appropriate, with no loose elements
You are required to make two copies of your final work for submission. (Consider backing
up your work frequently when word-processing text, to minimise any losses resulting from
technical problems)
Core requirements and sequence of elements
The Critical Evaluation should include all of the following elements in the following
sequence, unless indicated otherwise:
1.
A Title Page or means of identifying the work
2.
A Table of Contents (when relevant)
3.
Main Text
4.
Appendices (when relevant)
5.
Referencing
6.
Bibliography
Further information and guidance on each follows:
1.
Title Page or means of identifying the work
Include: The title of your Critical Evaluation; name of author; degree course and
subject; University and School, (i.e. Robert Gordon University, Grays School of
Art); year of submission.
2.
Table of Contents
A Table of Contents will be relevant in most instances at Stage 4, but if you
consider it inappropriate, please discuss this with your tutor.
The Table of Contents should simply list the main elements in your submission and
the pages on which these elements appear. It might include: Introduction, Chapter
1, Chapter 2…..Conclusion, Appendices, References, Bibliography, List of
Illustrations etc.
14
3.
Main Text
The contents of your main text will vary with your approach and final format, but in
most instances these should follow a logical sequence. An Introduction and
Conclusion are usually standard and the main body of the evaluation can be
divided into Chapters or other sections (to be titled if you wish)
4.
Appendices
These are optional. Appendices usually include supporting information or
materials considered additional to the main text – e.g. information from
questionnaires or surveys, transcripts from interviews, copies of correspondence,
studio diaries etc. If you have a lot of supporting information, think about dividing it
alphabetically into Appendix A, Appendix B etc.
Only include material which is referred to and supports your main text. It should
not be excessive in quantity.
5.
Referencing
It is standard practice in academic writing to cite ideas and quotations from the
work of others. Well established writers and texts need to be quoted to support an
argument or augment a particular line of thought. As a student, referencing sources
indicates that you are aware of good quality writers, understand the arguments and
have done your research. You must reference your sources for two main reasons.
It allows your reader to trace further information for themselves and also ensures
you are not accused of plagiarism. See Section 10.
The recommended referencing system at Gray’s is “numeric” and the specific style
you are required to use is known as Vancouver. The Guide to Academic
Presentation, available from the Contextual and Critical Studies website, provides
good advice on referencing and a series of examples. See Contextual and Critical
Studies Support Files/General CCS Documents at:
http://www.studioit.org.uk
You can also consult the University Library website for additional detailed
information on Vancouver and general advice on using references as well as links
to other helpful websites. The Library website address is:
http://www.rgu.ac.uk/library/howto/page.cfm?pge=25531
For Vancouver style, please follow the link provided
6.
Bibliography
The Bibliography lists all sources used, in a separate section at the back of the
final text. It should include all items which appear in your Footnotes, as well as all
material used for background reading or as a source of images. All Bibliographic
material should be grouped together in alphabetical order by author’s surname, or
15
where no author is specified, in alphabetical order of title. It can be useful to group
material by sections, for example:
Books
Periodicals
Catalogues
Internet Sources
Videos, etc.
Again, the appropriate referencing format is Vancouver. Please see 5. above for
recommended websites.
Only include materials in your bibliography which you have read in reasonable
depth and which have contributed to your understanding.
7.
Referencing Illustrations
Illustrations can include all images and visual diagrams. You must reference the
sources of all your illustrations, either in a caption next to the image, or in a list of
illustrations at the back, after the Bibliography. If you list the illustrations at the back
of the text, please ensure that you label the images within your text, with a number.
(e.g. Ill. 1, Ill. 2 etc.). With either option the following details, if relevant, should be
included:
-
title of image, (artist/designer, if relevant) and date
the author of the publication from which it was sourced, the publication, year of
publication and page on which the image appears
full website listing if images are taken from the internet
Example:
Chapter One
1.1
Barcelona Stool, Mies Van der Rohe, 1929, page 12
Marcus, G. H. Functionalist Design - An Ongoing History, 1995, p. 35
1.2
Station Furniture for London Transport, 1933, page 26, Forty, A.
Objects of Desire - Design and Society 1750-1980, 1989, p. 67
Chapter Two
1.2
Bertoia Chair for Knoll International, 1950, page 30, Sudjic, D. Cult
Objects,1985, p. 137
8.
The Use of Questionnaires
Questionnaires can, in some instances, be a useful way of gathering information.
If you are using questionnaires, please ensure they are well designed, as they may
otherwise provide misleading and unreliable results. For a questionnaire to be
effective and produce valid results it needs:
-to be carefully and appropriately worded
-to address and target an appropriate ‘control group’
-to address a large enough ‘control group’ to give accurate results (there may be
no point in only ten people filling out a questionnaire)
16
-to allow enough time to compile or receive feedback from your ‘control group’
You are advised to discuss the use and suitability of questionnaires in general, as
well as the appropriateness of your questions, with your tutor before distribution.
9.
Contacting Individuals or Organisations on Behalf of Gray’s School of Art
Before contacting any individual or professional organisation for research
purposes, please discuss your approach (and any questionnaires you intend to
send) in advance, with your tutor. In some instances, it may be advisable to secure
an introduction from the School, and any contact made in the name of Grays,
needs prior approval.
10.
Plagiarism
This is generally defined as the deliberate attempt to pass off another's writings or
ideas as your own and this includes copying a passage directly from an article or
book without acknowledging the source. It also, and more regularly now, involves
the unacknowledged use of materials sourced via the Internet. A paraphrase or
quotation ceases to be plagiarism when a proper source reference is provided
(normally in a Footnote).
It is a University ruling that work found to contain plagiarism will be failed and
further penalties may apply, particularly at Stage 4 which may affect final
graduation. For further information please see the Library web page on
referencing which provides a direct link to the University policy statement on
plagiarism:
http://www.rgu.ac.uk/library/howto/page.cfm?pge=25531
Books, magazines, CD Rom, and the Internet are all included as sources which
can be plagiarised. If you are at all uncertain about the parameters of plagiarism,
do not hesitate to consult your tutor.
____________________________________________
17
Appendix 3
Ethical Considerations
The following checklist of questions is taken from the Student Project Ethical Review
Form, to be found at:
http://www.rgu.ac.uk/files/SPER_April05.pdf
If you answer Yes to any of these questions or remain in doubt, please consult your tutor.
Checklist:
Does the research involve the use of any dangerous substances?
Does the research involve ionising or other type of dangerous ‘radiation’?
Could conflicts of interest arise between the source of funding and the potential outcomes
of the research?
Is it likely that the research will put any of the following at risk?




Living creatures
Stakeholders
The Environment
The Economy
Does the research involve any experimentation on any of the following?



Animals
Animal tissues
Human tissues (including blood, skin, cell lines)
Will the research involve prolonged or repetitive testing, or the collection of audio or video
materials?
Could the research induce psychological stress or anxiety, cause harm or have negative
consequences for the participants beyond the risks encountered in normal life?
Will financial inducements be offered?
Will deception of participants be necessary during the research?
Are there problems with the participant’s right to remain anonymous?
Does the research involve participants who may be particularly vulnerable (such as
children or adults with severe learning disabilities)?
……………………………………………………
18