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The Aftermath of WWI: The Rise of Fascism in Germany and Italy
If you are writing about fiction, remember that summary alone is worthless. One excellent kind of paper presents a thesis and marshals arguments to rise in europe, support it, not forgetting to mention also the possible arguments against it (and to refute them, or concede to them where necessary). In general, the best shape here is a very brief opening statement of a mnemonic is a your thesis, then several carefully unified paragraphs in support, and in europe, finally a restatement, probably in thurber biography fuller form, of the thesis. A thesis is a sentence that makes an argument -- says something that has to be proved or back-up. When you read or hear a good thesis statement, your reaction will be "Really?" or "How do you figure that?" or "Oh yeah? Prove it!" or "That sounds interesting -- tell me more." In short, a thesis will set up the paper and prepare the reader to consider the evidence. A paper that begins with a thesis arouses interest. Contrast the deadening flat effect of beginning with a mere factual statement. Which of the following makes you more willing to read on? Ernest Hemingway wrote many short stories, some of which are as famous as his novels. Hemingway's short stories achieve through compression and understatement emotional effects as powerful as any he achieved in rise his novels. Another excellent kind of paper might be called a process paper -- one in which you allow your reader to business summary example, participate with you in the process of rise in europe your thinking (and feeling). In this kind of paper, you might begin by saying what it is you want to look for Essay in As I Lay William Faulkner, or examine, and then lead the reader through a step by step journey of discovery -- perhaps the examination of a text piece by rise in europe piece, or even (if it's short enough) line by line, or sentence by sentence. Whatever kind of paper you write, give it a helpful title . Don't call it "Final Paper" (that gives no relevant information); don't give it the name of the battle of saratoga work you're writing about; and and avoid sweeping titles like "Wordsworth" or "Man's Place in Nature"! Aim for of fascism, an unpretentious descriptive title, like "Nature Imagery in Three Poems by Modern Poets" or "Hemingway's Implied Attitude Toward Lady Brett". Adjust your title to the actual paper that gets written, just as you will need to adjust your opening paragraph. Titles and executive example, openings are, in fact, best written last. Never avoid saying the obvious: it's usually true. But don't spend a lot of rise of fascism time on it -- acknowledge its obviousness, perhaps by a word like "Clearly, . " Then move on to something less obvious. Don't worry that something that you  've just figured out will be obvious or familiar to someone else. Even if this should be the case, it's still a pleasure for the reader to share in another person's discovery of it. A good general principle to maintain your confidence is that if you find something interesting enough to say carefully, it'll be interesting enough for your reader. An ideal paper is one in which the writer discovers something and Organizational, shares his or her pleasure in in europe the discovery with a reader. The discovery may be an interpretation of a challenging story or poem (or portion thereof), or it may just be the phonemes psychology discovery of what you really think about rise in europe, something or other. ("How do I know what I think until I see what I've said," Churchill is supposed to have said.) To discover your own considered opinion or valuation of the phonemes psychology work you're writing about is a satisfying outcome to in europe, a paper. Avoid apologizing for what you say. It goes without saying that the views and interpretations you offer are yours, doesn't it? So there's no need for thurber biography, such boring and weasily phrases as "It seems to me" or "In my opinion." This does not mean you must avoid the first person singular. Rise In Europe! Use it where appropriate -- remembering, however, that a paper of literary commentary is not a piece of autobiography, so that your private self should not be in the foreground. But if you were told in school not to use "I," forget that advice! The pompousness of locutions like "The present writer" is james biography ludicrous in a student paper. The only kind of of fascism in europe originality that matters at all is finding the source of your ideas and feelings within yourself: being true to that origin. In a class paper, it doesn't in the least matter if what you say has been said before. In any case, it's not been said in Analysis the same way, and the study of literature should surely have brought home to you that the way of saying something is part of its meaning. Use concepts and terms you've worked with (for poetry: tone, diction, imagery, paraphrase, metrics, etc.; for fiction: characterization, plot, climax, symbolism, theme, etc.). But remember it's best to rise in europe, use them only when they pay off, not automatically. Paraphrase, for example, should be used selectively, when a line or sentence has a tricky meaning, or a meaning you're uncertain of but want to battle, spell out rise of fascism in europe, as best you can. Device Is A! It would be tedious to automatically paraphrase every bit of rise poetry you wrote about. In writing about james biography, fiction, you will find more interesting things to say if you focus on characterization rather than characters . Of Fascism In Europe! Writing about characters too often means writing as though they were real people, speculating about battle, what happened before or after the action of the book or story, and other imponderables like that. Characters in rise a work of Organizational fiction are not real people, but rather careful constructs that resemble real people. Rise In Europe! Focussing on characterization means studying how the writer presents the character -- what selection of detail is used, what mixture of direct "showing" to indirect "telling," what implied valuations are being made, and Organizational Analysis Essay, the like. While some special literary terminology is useful and economical, avoid jargon. Don't think to impress anyone by using big words where simpler words would do. In Europe! Be wary, especially, of loose vague terms like "theme" or "postmodern." Rule of phonemes thumb: when you quote supporting passages from the text being discussed, never let the quotation just lie there on of fascism in europe the page inertly; make use of it, put it to work   point to specific features or details or words in it, say what you see, what it is Essay I Lay that makes you want to let the reader have it before him. It's no good (in a class paper) saying to yourself that the reader can surely work out the point for himself: in rise this context, it's up to you to do the work. Is A! After all, one of in europe your purposes is to persuade your instructor/reader that you yourself can see. Avoid plot summary for its own sake. Whatever may have been the case in high school, in Essay on Symbolism in As I Lay William Faulkner college literature courses you get no particular credit for simply having read and followed the contents of rise a poem or story or novel. Thus, sentences or paragraphs in which you simply recount what happens or what is said are of no value in a paper about literature. Exception: If a piece of writing is really tricky to decipher and you feel you've succeeded in doing so after some effort, it may be appropriate to business, lay your cards on the table. For example, "Stanza 2 is syntactically difficult. I understand it to in europe, be saying: . " -- and thurber, give your paraphrase. Or, "What happens next in the story is obscure. From the hints given in the next section, I take it that . " -- and say what you make out, citing the rise evidence. Summarizing content in order to make a point in your argument , on battle of saratoga the other hand, is an entirely different matter and is very much an appropriate part of rise of fascism in europe papers. Provided that you subordinate the summary to a critical point that you are making , you'll be okay. Compare: In the first version, the writer seems to think that his summary is sufficiently interesting to hold our attention, but it just isn't -- not for anyone who has read the play. In the second version, the phonemes bits of summary are made to serve some point of interpretation or comment. To repeat: summary should always be ofered as a way of supporting a point you are making about the of fascism in europe story or poem. Ideally, there should be no   neutral narrative sentences about the characters or the action, such as "Ferris goes to visit his wife" or "The Duke then conducts his visitor downstairs." Instead, all such bits of Analysis summary should be in rise support of an battle of saratoga, interpretative point or comment: "When Ferris goes to rise in europe, visit his wife, he discovers that . " or "The Duke's unpertured courtesy of manner can be heard as he invites his visitor to 'go / Together down' with him," etc. To put it another way: do not   write a paper about the characters in a story; instead write about the story itself -- its words, its shaping or organization, its high points, symbolism, etc. An aspect of writing -- both poetry and prose -- that well repays attention and which will often yield valuable observations about authors' style is their syntax . For some beginning observations, click here. Even if you're laboring worriedly to find plausible things to executive example, say in rise your papers, it still might be profitable to you to examine your style and perhaps loosen it a little. Relax and battle, speak like (in Wordsworth's pre-feminist phrase) "a man speaking to men." Of course, to speak personally should not entail garrulity. Use the first person singular as you would in natural speaking. Avoid horrors such as "the present writer"! Offer your opinions freely, where relevant, but don't apologize for them with phrases like "in my personal opinion" or "it seems to rise of fascism in europe, me." It goes without saying that your writing expresses you personal opinions, doesn't it? Write informally but without slang. Organizational Analysis! You don't want to sound like a self-important pompous ass, but neither are you shooting the bull over a six-pack. Student writers should make some effort -- or at rise in europe least be aware of the desirability of an effort -- towards achieving a more than pedestrian style. Grammatical competence is something to be assumed as present, at this level of on Symbolism in As I Lay William Faulkner study. But what about a spark of liveliness in the writing? Maybe the following questions will help you move in the right direction. Have you read your paper out loud, listening for awkward repetitions and try to hear if the of fascism in europe sound flows and if the james sentences sound like a college educated person? If you can, get a friend willing to listen and follow your meaning, and then keep watching his or her face for signs of bewilderment or of pleased comprehension. Have you a sentence or two in your paper that pleases you with its rhythm or construction? Take a look at rise of fascism your sentence structure: are they all subject + predicate constructions? Do you ever build a cumulative sentence, using participial phrases? Do you ever use a rhetorical question? Does sentence length vary? An occasional punchy fragment? How often have you had occasion to use the semicolon? Or even better, my personal favorite: the colon? And what about italics for conversational emphasis? (I probably overuse italics in these notes, but do you ever use them at all?   (On the word processor, all it takes is pushing a button.) A suggestion: it might be helpful to battle of saratoga, read a page of some author whose style you admire and find congenial just before you write or revise your own work. Asked to rise, name critics who write stylishly, I'd offer this random list: T. S. Eliot, F. R. A Mnemonic! Leavis, Mrs. Rise! Q. D. Leavis, Hugh Kenner, Guy Davenport, Jonathan Williams, Henry James, Tom Wolfe, Roland Barthes (via Richard Howard), James Baldwin, William Empson. Be duly embarrassed if you make more than an occasional blunder such as lack of subject-verb agreement. Aim for standard educated English -- but let's all remember that educated speakers and writers make such "errors" often enough, and correctness of this kind is a secondary consideration. I won't do more than simply mention here the more common mistakes that irritate instructors, things like to/too/two; they're/their/there; alot/allot/a lot; lose/loose; lay/lie; then/than; alright/all right; and the like. Like spelling errors, these are slips almost anyone can make on business occasion in of fascism a first draft. They should not survive the careful proofreading that writers who care about their writing subject each piece to. If you are in doubt about any of them, look them up in psychology the dictionary and of fascism in europe, read the entry carefully. If necessary, write yourself a reminder note and stick it above your desk. (If you find it easier to look for thurber, help here, go a brief discussion of these common errors.) Use the in europe past tense to talk about biographical facts or publication data but the present tense to talk about what goes on in a work of fiction or poetry. Example: "Plath's Ariel was published after her death, but the poems show many premonitions of phonemes psychology disaster to come." For on-line help with style and rise of fascism, mechanics, consult Elements of Organizational Analysis Style by William Strunk, perhaps the most famous style manual in English. Commonsense, adequacy to purpose, and consistency are the criteria. Use MLA or APA style as you choose. Of Fascism In Europe! Bear in mind the purpose: to is a, make it as easy as possible for your reader to check your accuracy and fairness in the use of your sources. This shouldn't need sayingl, but it does. If you are quoting poetry, be sure to retain the line breaks . If you're running a very short quote into your own prose, use the slash to mark the line break. If you are quoting more than a couple of lines, set them off by indenting and single spacing, and type them line for in europe, line as they appear in the source. Brief parenthetical notes are much preferred to psychology, footnotes, whenever they can satisfy the purpose. Avoid footnotes or endnotes giving nothing but a page number (Heaney 47). Place such references in in europe parentheses following the quotation. And keep them to a sensible minimum: if you're quoting four short bits from the example same source in a single paragraph of your paper, you need only give the of fascism in europe page reference following the last one. Above all, never use a note that merely says "ibid." The reader who goes to Essay I Lay Dying,, the trouble to of fascism, turn to the back of an essay only to psychology, find such an unhelpful note will feel infuriated. In longer papers about poetry, especially, I find it helpful to have the entire text of the poem you're working on included, either in its place as needed or as an appendix. It's just one more way you show consideration for your reader. Accuracy in quoting is crucially important! Change nothing from your source without showing that you're doing so -- not spelling, not capitalization, not line breaks, not paragraphing. And your quotations must fit into your own sentence in a way that makes sense . This point is important and often causes trouble. For a fuller discussion with examples, click here. If you're writing a paper which draws on rise research you've done ("research" nowdays simply means reading books and articles in the library!), cite your sources scrupulously but as unobtrusively as possible. Do not write like this: Rather, subordinate the research to the results it brought you: Give the information directly; your note shows that you're indebted for phonemes psychology, it to the source named. Some errors and rise of fascism in europe, flaws annoy me perhaps inordinately. Anyone can make slips in subject-verb agreement or in spelling, but errors which derive from pretentiousness or from nervously "correcting" what isn't wrong (e.g. "to my brother and me") are especially apt to destroy the reader's trust in thurber biography the voice coming through the writing. Common sense should tell you that ellipses have no function at the beginning of of fascism a quotation which begins in the middle of biography a sentence or is rise in europe a mere phrase. Such a quotation is psychology is obviously fragmentary. It is pedantic to precede and follow it with ellipses. The function of ellipses is to show you've omitted something when it wouldn't otherwise be clear you had. Distinguish between the hyphen (used to join elements of compound words; often over-used in British writing but under-used in rise of fascism in europe American) and business summary, the dash (used to indicated added-on bits of sentences -- like this) and use them correctly. Paired dashes set off parenthetical elements -- bits that are less separable than parentheses might indicate -- from the main flow of your sentence. Note that the rise of fascism in europe hyphen is available on the keyboard as a single keystroke, but the dash is not. It must be either typed as two hyphens (sometimes -- though this is less accepted, since it's potentially confusing -- as a single hyphen with a space before and after it) or invoked by a word-processor-specific command to produce the proper typographical effect. Speaking of effects, if you confuse the words affect and effect , you should drum into your head, "'Affect' is business a verb, 'effect' is a noun!" For example: His constant talking affected the other students' ability to concentrate. The effect of his talking was to disrupt the rise of fascism class atmosphere. Once you've got a firm hold of Essay I Lay Faulkner that maxim, you can then go on to realize that it isn't always true, in that less frequently "affect" can be a noun and "effect" a verb. Confused? Then stick with the simple maxim. Otherwise, consult a dictionary, or consider the rise of fascism following sentences: He spoke like a computer, without affect of any kind. His new clothes effected a transformation in the way people thought of him. Shall and will : people who enjoy grammatical precision find the battle common American confusion in the use of "shall" very annoying. The solution is simple: never use shall ! It's almost always a pretentious affectation, especially in student writing. I hate the of fascism following ugly usage: "If he would have told me that earlier, I would have known what to thurber, do" instead of "If he had told me . " My distaste here may be a sign of rise adherence to psychology, a lost cause, since one hears the "wrong" usage everywhere nowdays. It's part of a general obsolescence of subjunctive forms. Of Fascism In Europe! Other examples of this obsolescence, however, seem to me quite acceptable: "If he was here, I'd tell him what I thought" is business executive summary (to me) an acceptable alternative to the more elegant "If he were here, I'd tell him what I thought." Misplaced main subject : compare these two beginnings. "In Hemingway's novel, The Sun Also Rises , he begins by rise of fascism describing . " "In his novel, The Sun Also Rises , Hemingway begins by describing . " The latter form is phonemes much superior, placing the author's name in of fascism the emphatic position as subject of the main clause rather than in an introductory phrase. Here's an annoying instance of an absence of psychology commonsense in scholarly documentation: the failure, when citing a reprint, to give the in europe date of first publication. Compare these two versions of a possible end note: Jane Austen, Pride and Organizational Analysis Essay, Prejudice (New York: New American Library, 1961), 5. Jane Austen, Pride and Prejudice (1813; rept. Of Fascism In Europe! New York: New American Library, 1961), 5. Essay On Symbolism! The first version makes it sound as though the novel was first published in 1961. When the work cited is less well known than Jane Austen, this habit can be seriously misleading. Caution: Other people's pet peeves: Personally, I find it acceptable to use the of fascism in europe plural "they / them / their" as a gender-neutral pronoun, especially after words like "everybody" and Essay on Symbolism in As I Lay Dying,, "everyone." The argument that "everyone" must be singular because it contains the word "one" is of fascism pedantic in battle of saratoga the extreme. What counts in language is not logic but usage. Most educated people do this in speaking, and rise in europe, it has a long tradition of acceptance by distinguished writers. If you have a particularly fussy instructor, however, you may find this marked unacceptable. In that case, "him or her" becomes unavoidable, clumsy as it. Essay Faulkner! (The unspeakable -- literally and figuratively -- "s/he" gimmickry is to be eschewed by of fascism all save writers who prefer political correctness to a graceful style.) Consult a discussion by linguists of james biography gender neutral language and of fascism in europe, a delightful and instructive anti- pedantry page about how "Jane Austen and other famous authors violate what everyone learned in their English class". This page has been visited times since it was last updated on May 6, 1996.