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Sample Essay Sociology

August 26, 2009 by Roy Johnson

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Second year university undergraduate study

Students working at this level are required to show that they are developing confidence in their grasp of their chosen subject and beginning to develop their powers of independent and critical examination. They should by this stage be able to produce fluent and well argued responses to essay topics and questions, and show that they are conversant with the set texts and the secondary literature of criticism and commentary in their subject. They should by now be at ease with the conventions of academic writing and if they have any flair or originality it is around this stage that it is likely to show. They may also be required to produce essays of up to 3000 words in length as part of assessed course work. The example is from a second year course dealing with issues in sociological thought.


Question

What is the value of studying the writings of dead men? Is sociology too obsessed with the classics?

Answer

The glib and superficial answer to the first part of this question is that the work of the great thinkers of the past has an influence on the present, and is therefore worthy of consideration. Perhaps, however, this answer is not as glib as it appears at first sight, but is indeed founded on a fundamental truth. In this essay I shall attempt to argue that this is in fact the case, and that the classical legacy of sociology quite rightly exerts a strong influence on contemporary thought.

Comte, Spencer, Marx, Weber, Simmel and Durkheim: nineteenth century names whose influence on modern society can be realised by a brief survey of the terminology used in dealing with almost any social issue today. It is impossible to talk of politics, poverty, education, work, or religion without recourse to concepts of class, status, alienation and anomie; of structure, interaction or social phenomena – all issues which were rigorously studied and researched by these earlier masters.

Auguste Comte first coined the term sociology in the early nineteenth century. Living as he did in the wake of the French Revolution, and at a time of tremendous social upheaval, instability and disorganisation, he must have felt a great need to produce a rational system of thought which would explain the social behaviour of men, and offer some sort of counter-balance to the seemingly destructive nature of organised groups. Comte was, of course, influenced by the science and reason of the Enlightenment. He was interested in the progress of science and felt that human intelligence had evolved to a stage where it could provide a scientific explanation of human behaviour. Comte’s interest was in the methodology of social research and his approach was a positivist one: all knowledge should be subject to canons of verification in terms of experience. Comte’s credo can be summed up in the words “To know in order to predict and to predict in order to control” (Coser and Rosenberg, 1964, p.2).

It is this question of control which, Dawe argues, is at the root of conflict within modern sociology. If we view sociology as having been shaped by the conservative reaction to the French Revolution and the Industrial Revolution, then we must see sociology itself as a response to the problem of social order. Conservative thinkers, most notably Burke, sought a restoration of social order in the face of the subversive, anti-religious rationalism of the Enlightenment, the traumatic chaos of the French Revolution and, later, the evils of industrialisation. Thus Comte’s holistic view of society as an organic community became linked to concepts of authority. Conservative reaction confirmed Hobbes’s view of men’s lives as “solitary, poor, nasty, mean, brutish and short” (Hobbes, Leviathan, Pt I, Ch.13). Therefore, men needed constraints in order for society to function above the level of animals. The internalisation of these constraints is a feature of Durkheim’s work on moral solidarity, and also in Weber’s study of bureaucracy.

However, we can also view sociology as springing directly from the ideas of the Enlightenment, in which case we are dealing with ideas of human liberation and individual freedom. In this case, the problem is one of control: how can humans regain control over man-made institutions? Hence there is a contradiction between the construction of an external social system which exercises constraints, and the more subjective concept of social action. The social system theory argues that in order to provide for individual well-being, society exists before its participants: a view subscribed to by Durkheim. The social action theory argues that man is essentially autonomous and only able to create a social order when freed from constraints – as argued by Marx.

Thus there is a tension, not only between differing sociological ideas; mechanical versus organic, atomism versus holism, individualism versus collectivism; but also within the works of individual sociologists. Therefore we have Durkheim’s ideal of “a sociology justifying rationalist individualism but also preaching respect for collectivist norms” (Aron, Main Currents in Sociological Thought, 1968, p.97). There is also Marx’s conflict between his humanitarian ideal of socially creative man and his pessimistic view of the nature of nineteenth century capitalists.

Gouldner (1971) also argues that there is ambiguity and conflict inherent in sociology in that culture and society are man-made creations, but take on a life of their own quite apart from their creator. It could be argued that it is this autonomous nature of society which makes it worthy of scientific study. In this way, sociology can be seen as a response to the alienation of men from the society which they have created. But if sociology retains the idea of man as creator, then it has a potentially liberating capacity.

So, a powerful argument for the importance of studying classical theorists is that they have been influenced by the earlier events of history; thus they represent a continuity in human wisdom. But what about criticisms of the continuing importance of what may appear to be anachronistic theories? Do such ideas have any contemporary relevance? Why study sociology at all?

Perhaps it is helpful to start with the last question. It is often suggested that the concept of “society” is merely an abstraction and therefore not a viable subject for study. For instance, if we accept that there is no society, only individuals, sociology can be subsumed by psychology. Philosophers have spent centuries arguing about the concept of language and how we name things. On the one hand, everything can be seen as a particular and individual form, whether we are discussing tomatoes or people. On the other hand, we do abstract general terms for reality, so that we can observe enough resemblance between things we recognise; for example, a particular style of painting or architecture, or to discuss such concepts as Protestantism, liberalism, racism, or feminism.

All these are collective phenomena, and all conform to Durkheim’s view that “the whole does not equal the sum of its parts; it is something different” (Durkheim, 1982, p.128). Therefore sociology differs from psychology, because society is a collection of individuals in association, it is a group, a separate entity which acts and exerts influence and force over its individual members. We may all become extremely well-balanced individuals by means of expert psycho-analysis, but in life we have to interact with others and make sense of the way in which they behave.

Is sociology too theoretical and divorced from real life? Certainly theory was of prime importance to nineteenth century thinkers on the subject, although the practical application of such theories was frequently the ultimate objective. The emphasis on theory stemmed from the desire to create a social science, and no one would deny the importance of theory in physical sciences. They can solve practical problems when allied with research, and this is exactly what the classicists attempted. One thinks of Durkheim’s work on suicide, of the hours spent by Marx in the British Museum, and of Engels’ empirical work on new industrial cities such as Manchester. It is equally important to remember that no single theory is an absolute truth. In order to have contemporary relevance, sociology must develop and adapt, just as science has evolved and made new discoveries. But the basic tenets of any ‘ology’ retain their significance. Although modern physics has evolved at a phenomenal rate, no scientist would deny the importance of Newton’s discovery of the laws of motion.

Perhaps another criticism of sociology is that it is just based on common sense. Certainly many sociological statements do appear to be stating the obvious. “Two’s company: three’s a crowd” might be one interpretation of Simmel’s work on the dyad and the triad. Nonetheless, how many laymen stop to examine what lies behind the obvious fact that a close relationship between two people is altered by the arrival of a third person.

In the same way, wise women and herbalists have prescribed remedies without knowing why they work: for example, the use of dried foxgloves as a heart stimulant without knowing about the existence of digitalis. There can be a world of difference between knowing that something works and understanding why – a difference which can sometimes be crucial in terms of life and death.

Modern studies of society are ineluctably linked with the writings of Marx, Weber and Durkheim, whether in agreement with them or in conflict. Capitalism, class, status, bureaucracy, and organicism are all issues of contemporary concern. One cannot envisage a study of work, for instance, which does not consider the tension generated between capital and labour. Sociology itself is subject to criticism on the grounds of class. The Left attacks its practitioners as being too middle-class and, therefore, afraid and incapable of inquiring too deeply into areas which the rich and powerful wish to protect. Alternatively, the Right views sociology as a hotbed of subversive radicalism. None of these arguments would be possible without the work of Marx.

Nor is it possible to discuss bureaucracy, social interaction or the work ethic without first referring to Weber’s studies. Weber’s work on the Protestant ethic and capitalism is particularly valuable for the way in which it linked two apparently unconnected ideas, and also for its notion of unintended consequences. Certainly the works of the classical theorists have sometimes had consequences unintended by their authors. It might be interesting to speculate on what these dead men would make of modern sociology.

The creative imaginations of the nineteenth century thinkers sparked off ideas which led them to attempt to construct whole social systems which were based on theory and verified by scientific data and research. No doubt they would have welcomed many of the further developments and specialisations which have followed, although it is difficult to imagine what they would have made of such subjects as the sociology of jazz, or of sleep. The important thing about all these sub-divisions is that they are but particular manifestations of the overall study of men’s social relationships.

One significant feature of the classical legacy is that it cast a totally different perspective on history. It enabled us to escape from ‘Whig’ history, from the ‘Great Men’ accounts of the past, and to allow for the importance of individuals; of the social conditions in which people lived as well as the outcome of political battles. In The Sociological Imagination, C. Wright Mills argues that the purpose of sociology is to provide this link between biography and history; between personal problems and public issues. Thus men see themselves as “minute points of the intersections of biography and history within society” (Mills, 1959, p.7).

The success of this idea can be seen in the increasing popularity of social history and in the number of Marxist historians such as Eric Hobsbawm, E.P. Thompson, and Christopher Hill, who have provided new angles on our interpretation of past events via the study of individual lives. As Engels remarked in his letter to Bloch in 1890, “the ultimately determining factor in history is the production and reproduction of real life.”

Men are conscious and active, therefore sociology must remain conscious and active. Of course we must beware of falling into the trap of accepting classical theories as unchallengeable conventional wisdoms: it is doubtful whether knowledge as absolute truth exists in the field of the social sciences. Nonetheless, the works of the founding fathers of sociology contain much of relevance and value and a study of their works may save us the task of re-discovering certain basic facts.

The one thing all these thinkers have in common is that they were trying to provide solutions to the problems of human existence. As science rationalised the physical world, so the desire to rationalise human activity became stronger. It may well be that human behaviour is essentially subjective and incapable of being totally understood. This may not be such a bad thing. The implications otherwise are that whole groups of people could be subject to experiments in social engineering. Nevertheless, it seems certain that people will never stop trying to make sense of the often chaotic conditions in which they find themselves. If that is the case, then we ignore history at our peril: a refusal to learn from the mistakes of the past can only lead to a repetition of such errors. The great men of sociology’s past have at least provided us with some ammunition to protect ourselves against such eventualities.

BIBLIOGRAPHY

Coser, L. & Rosenberg, B., Sociological Theory, Macmillan, 1964.

Durkheim, E., The Rules of Sociological Method, Macmillan, 1982.

C. Wright Mills, The Sociological Imagination, O.U.P., 1959.

Thompson, K. & Tunstall, J., Sociological Perspectives, Penguin, 1971, (especially essays by Dawe, A. ‘The Two Sociologies’ (1970) and Gouldner, A. ‘Sociology’s Basic Assumptions’ (1971) in the above).


Tutor Comment

This is an elegant and thoughtful essay which covers a lot of the central issues. You might possibly have mentioned the gender issue – that these were literally ‘founding fathers’ – but this might have made for another and much longer essay. This is a well argued defence of the classic tradition with some interesting illustrations.

Mark – a clear 1st – 75 plus.

© 2003

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Searching the Internet

August 24, 2009 by Roy Johnson

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Search engines

1. Searching the internet is the quickest way to locate data when researching for an essay or term paper. For this you will need a search engine. The most popular without a doubt is Google, but there are others – such as Alta-Vista, Yahoo, and Infoseek.

2. Remember that anybody can put data on the Net. You need to evaluate the quality of the information you recover.

3. Always give full details of the source of any information you use. There are new conventions for citing electronic sources.

4. A search engine will scan its database (or the Net itself) for whatever word(s) you type in the FIND box. It will then return a number of ‘hits’ – possibly rated according to likely significance.

5. Most of the popular search engines use slightly different methods and databases. If you don’t find what you want with one, try another. Some will quote the first few lines of an extract.

Search techniques

6. Be as specific and ‘narrow’ as possible in defining your request. General and ‘wide’ requests will result in too many hits. For example…

7. Say you were researching pineapple production in Brazil in 1997. A search on ‘pineapple’ might result in 10,000 hits. You have ten thousand documents to evaluate!

8. But choosing ‘pineapples+Brazil+1997’ narrows the search to documents which include all these terms.

Boolean terms

9. Most search engines will recognise the use of terms which help you to narrow your request.

10. ‘Bacon AND tomato’ will locate documents which contain both these terms.

11. ‘Bacon OR tomato’ will locate documents which contain either of these terms.

12. ‘Bacon NOT tomato’ will locate documents which contain one term, but not the other.

13. You can also use keyboard symbols to refine a search. The wildcard [*] is powerful but should be used with care. A search for ‘Colum*’ would return Columbus, Columbia, Columbian, Column, and so on.

General points

14. Letter case doesn’t matter with most search engines. ‘Smith’, ‘smith’ and ‘SMITH’ are all the same.

15. Don’t assume the data you are looking for must be available on line.

16. Thousands of pages are added to the Web daily, but the total is still far less than the volume of printed material in big libraries.

17. Many search engines will now allow you to narrow your searches by

  • language (Spanish, English French)
  • date (in last 2/3 days, week, month)
  • continent (co.uk, com.ca, ac.au)
  • source (Web, newsgroups, companies)

© Roy Johnson 2003

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Semicolons in essays

August 25, 2009 by Roy Johnson

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1. If you are in any doubt at all concerning the correct use of semicolons – then avoid using them entirely. They are the most commonly misused and misunderstood mark of punctuation.

2. It is perfectly possible to write clearly and effectively using only the comma and the full stop. Do this if you are in any doubt about the use of the semicolon (and the colon).

3. Remember that the semicolon represents a pause which is longer than a comma but shorter than a full stop (and a colon). It is normally used to separate clauses which could stand alone, but which are closely related.

4. It is used when the second clause expands or explains the first:

Neither of us spoke; we merely waited patiently in silence to see what would happen next.

5. It is used when the clauses describe a sequence of actions or different aspects of the same topic:

There was a sharp, bracing air; the ground beneath us was dry; the sea was calm and clear.

6. It is used before clauses which begin with ‘nevertheless’, ‘therefore’, ‘even so’, and ‘for instance’:

He usually took great care; even so he made a few errors.

7. It is used to mark off a series of phrases or clauses which themselves contain commas:

For this exercise you will need the following materials: some scrap paper; a pen, preferably blue or black; some A4 envelopes; and some good, white, unlined writing paper.

© Roy Johnson 2003

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Sentences in essays

August 25, 2009 by Roy Johnson

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1. Short, clear, and simple sentences are usually more effective than those which are long and complex. Avoid piling up clause upon clause. In the majority of essays, you should aim for clarity and simplicity in your written style. If in doubt, remember this rule: Keep it short. Keep it simple.

2. Punctuate your work firmly, making a clear distinction in your writing between marks such as the comma, the semicolon, and the full stop.

3. Remember that all sentences without exception must begin with a capital letter and end with a full stop.

4. Remember that the common word order (syntax) of a simple sentence written in English is as follows:

subject – verb – object

The cat eats the goldfish
Elephants like grass
We are the best team

If you are in any doubt at all, follow this pattern. Sentences which go out of grammatical control often lack one of these elements, or they have them placed in a different order.

5. You should avoid starting sentences with words such as ‘Again’, ‘Although’, ‘But’, ‘And’, ‘Also’, and ‘With’. These words are called conjunctions, which normally belong in the ‘middle’ of a sentence, not at its beginning. Sentences which begin with a conjunction are very often left grammatically incomplete.

6. Remember that speech and writing are two different forms of communication. Avoid the use of a casual or conversational style when writing. For instance don’t string together clauses which are grammatically unrelated. This is quite normal in speech, but it should be avoided in formal writing.

7. What follows is an example of a statement which has too many unrelated clauses, which goes on too long, and which eventually skids out of grammatical control.

Less smoking would undoubtedly lead to redundancies in the tobacco industry, a consequent rise in the number of unemployed, more people dependent upon State benefits to be supported by a government with subsequently reduced income.

8. The same arguments can be expressed far more clearly and effectively by splitting them up into two separate and shorter sentences. (I have also made one or two minor changes to enhance the sense.)

Less smoking would undoubtedly lead to redundancies in the tobacco industry and a consequent rise in the number of unemployed. More people would then become dependent upon State benefits, which would have to be paid out by a government with a reduced income.

9. Most problems in sentence construction are caused by two or three closely related factors:

  • The sentence is much too long.
  • Too many unrelated clauses.
  • The sentence starts with its verb or object, rather than the subject.
  • The sentence start with a conjunction (‘although’, ‘because’).

10. The solution to this problem is worth repeating:

Keep it short. Keep it simple.

© Roy Johnson 2003

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Signposting in essays

August 25, 2009 by Roy Johnson

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1. In most essays (up to 3000 words) you should avoid ‘signposting’ your argument. That is, you do not need to use expressions such as

‘Later in this essay I will be discussing…’
‘Let us now go on to consider…’
‘As I demonstrated earlier…’
‘We will now turn to evaluate another example…’

2. Just state clearly the point of your arguments and leave them to speak for themselves, uncluttered by any direction indicators. You do not need to offer a commentary on what you have already said, or what you will be saying later. In a well-planned essay, this progression should be self-evident from the arrangement of your work.

3. A sound essay plan and a coherent structure will reveal the logic of your argument and the relationship of its parts. If you have, for instance, four main topics to discuss, simple state clearly what those topics are, then deal with them separately, one after the other.

4. Each new topic should be clearly identified or defined as soon as you begin dealing with it. This statement will provide all the indication needed of your intentions. Remember that each paragraph should deal with just one principal stage or item of your argument. Each new topic requires a separate paragraph.

5. If you wish to some light indication of structure, it is perfectly acceptable to use formulations such as

‘The first reason … The second…’
‘On one hand … on the other…’
‘However, the main argument against this is…’

These statements will demonstrate that you have control of your argument.

6. Remember that although an essay may take many hours to write, it will only take a few minutes to read. Signposting is only necessary in very long pieces of work. Even then, skillful writers will integrate any direction indicators into their work as unobtrusively as possible.

7. The conventions on signposting may vary slightly from one subject to another. In some of the sciences it is necessary to announce in advance what you will be writing about. However, these pieces of work are likely to be closer to experimental reports than continuous prose arguments.

8. Similarly, in some branches of psychology or linguistics, students may sometimes be required to offer a meta-critique of a written assignment. They will be expected to describe what they are writing. This is to demonstrate their awareness of the processes in which they are engaged.

9. With these few exceptions, you should not normally comment on the manner in which you have written an essay. Your tutor doesn’t need to know in what order you assembled your evidence, or what difficulties you encountered during its composition. Some students try to disarm possible criticism by announcing in advance how difficult the question was to answer. Your tutor will already know its degree of difficulty, and doesn’t need to be told again.

10. However, you may wish to argue that the question raises a certain number of difficulties or crucial issues. This is acceptable – so long as you say what they are. You should then go on to discuss their relevance to the subject in question, and maybe even suggest some answers to them.

11. The conventions on signposting in report writing are different. Reports are normally written to a pre-determined structure or set of headings. These provide the sequence of events which in a conventional essay have to be constructed by the author.

12. A report of an investigation or an experiment will also have its own sequence of events, so it will be quite acceptable to use expressions such as ‘First the X was added to the Y … and then Z occurred … The results were then analysed and are shown in Table One’.

© Roy Johnson 2003

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Spelling checkers used for essays

August 25, 2009 by Roy Johnson

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1. Most word-processors have spelling checkers these days. You should use the checker before printing out your documents. This should form part of your regular editing procedures.

2. Checking your work with a spell-checker will help to highlight and correct commonly mis-spelt words such as ‘accommodation’, ‘parallel’, ‘recommend’, and ‘silhouette’.

3. The checker will also highlight mis-keyed words such as ‘hte’ for ‘the’ or ‘nad’ for ‘and’. You may either choose the correct word from a list, or the processor may offer you the opportunity to reverse the mis-keyed letters. [The latest even perform this function automatically.]

4. It will not be able to recognise specialist terms and unusual proper nouns – names such as Schumacher, Derrida, or Nabokov. These will not be in the processor’s memory. You will have to check the correct spelling of these yourself, as you would do with any other unusual words.

5. Remember that a spell-checker will not alert you to a mistake if you write ‘They washed there own clothes’ instead of ‘They washed their own clothes’. That’s because the word ‘there’ is spelt correctly even though it is being used ungrammatically in this sentence. The same would be true of ‘It is over hare’ instead of ‘It is over here’. That’s because ‘hare’ exists in its own right as a correctly spelt word.

6. Most spell-checkers will spot unwanted double words such as ‘going to to the fair’, and will offer you the opportunity to delete the second occurrence. But they will not notice anything wrong with a word broken by a space such as ‘to morrow’. That’s because these two terms exist in their own right as separate words.

7. The checker will not alert you to any mistake if you key the word ‘practice’ instead of ‘practise’, because both words exist separately. The same would be true of ‘advise’ and ‘advice’. [Most grammar-checkers will alert you to these common problems.]

8. If you decide to add to the processor’s memory names which are frequently used in your own subject discipline (Freud, Jung, Adler or Marx, Engels, Bukharin) make sure that you enter them correctly spelt.

9. Beware of adding too many names which might be thrown up in the checking of your document. Some proper nouns may be the same as mis-spelt words. If you were to add ‘Fischer’ to the dictionary as a name, this would mean that the spell-checker would not alert you to a problem if you mis-keyed ‘fisher’ as ‘fischer’.

10. Beware of adding to your processor’s dictionary just because it is easy and seems a profitable thing to do. You might for instance add your own postcode of ‘SE9 6OY’ – but if you then mis-keyed the word ‘TOY’ as ‘6OY’ the spell-checker would not then be able to pick up your mistake. It would assume that you wished to regard ‘6OY’ as an acceptable ‘word’.

11. A spell check is usually performed after all your text has been generated and edited. However, there are good arguments for using the checker at earlier stages. Layout and spacing might be affected; the document will be in a reasonably good condition at any given stage; and it may eliminate the necessity for a search and-replace procedure at a later stage.

12. Finally, here is a cautionary (and amusing) ditty which might help you to remember some of these points:

‘My New Spell Checker’

Eye halve a spelling chequer
It came with my pea sea
It plainly marques four my revue
Miss steaks eye kin knot sea.

Eye strike a key and type a word
And weight four it two say
Weather eye am wrong oar write
It shows me strait a weigh.

As soon as a mist ache is maid
It nose bee fore two long
And eye can put the error rite
Its rare lea ever wrong.

Eye have run this poem threw it
I am shore your pleased two no
Its letter perfect awl the weigh
My chequer tolled me sew.

[Sauce unknown]

© Roy Johnson 2003

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Structure in essay plans

August 25, 2009 by Roy Johnson

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1. The structure of a piece of writing is the (sometimes underlying) order of its parts. Good structure usually means that a persuasive or logical sequence of these parts has been created. This is often best established by creating the structure in essay plans.

2. The basic structure of most essays can be very simple:

  • Introduction
  • Argument(s)
  • Conclusion

3. Provided that the individual topics of your argument(s) are arranged in a clear and meaningful order, this basic model should create a firm structure.

4. The order of the parts is often determined by the nature of the subject in question. This order might be created by:

  • logical progression
  • increasing significance
  • equal significance
  • chronological order
  • narrative sequence
  • category groupings

Arranging the parts

5. Imagine you were writing an essay about French wine. You have decided to discuss four red wines and four white wines. The structure for this essay is created by diving the examples into white wines and red wines – as shown here.

Introduction

Part One – Red wines
* wine 1
* wine 2
* wine 3
* wine 4

Part Two – White wines
* wine 1
* wine 2
* wine 3
* wine 4

Conclusion

6. This is clear, simple, and uncomplicated. But you could also create a slightly more interesting structure by arranging the wines by region. This is the arrangement shown here.

Introduction

Loire
* red wine
* white wine

Bordeaux
* red wine
* white wine

Cotes du Rhone
* red wine
* white wine

Bugundy
* red wine
* white wine

Conclusion

7. It’s the same number of examples, but the arrangement is slightly more complex. This might also make the essay more interesting. Notice how each item is kept separate – so they don’t get mixed up. And each one would be discussed in a paragraph of its own.

8. Next – this process can be taken one step further with a slightly more complex question. You might often be asked to write an essay considering the arguments for and against some topic or proposition. For instance – “Consider the arguments for and against congestion charges in city centres.”

9. There are two ways you can arrange the structure for an essay of this type. Here’s the first, which we’ll call Strategy A.

Introduction

Part One – In favour of congestion charges
* [traffic] reduces volume
* [ecology] less air pollution
* [economy] generates local income
* [politics] positive social control

Part Two – Against congestion charges
* [traffic] public transport alternatives
* [ecology] transfers problem elsewhere
* [economy] reduces profitable activity
* [politics] punishes tax-payers

Conclusion

10. The arguments in favour of congestion charges are kept separate from the arguments against. The structure is simple, clear, and uncomplicated. Notice that the same topics (traffic, ecology, economy, and politics) are covered in both the case ‘for’ and ‘against’. Next – look at an alternative strategy, Strategy B.

11. You can see that in this example the structure is arranged in the form of TOPICS – and each one contains an argument for and against the proposal.

Introduction to congestion charges

TOPIC 1
* [traffic] reduces volume
* [traffic] public transport alternatives

TOPIC 2
* [ecology] less air pollution
* [ecology] transfers problem elsewhere

TOPIC 3
* [economy] generates local income
* [economy] reduces profitable activity

TOPIC 4
* [politics] positive social control
* [politics] punishes tax-payers

Conclusion

12. It’s fairly important if you are using this structure to keep a balance. And the topics must be clearly identified and matched. That is, you must not put an argument FOR economy alongside one AGAINST traffic

13. If there is no natural order for your topics, you might deal with them in order of their importance. You could deal with the smaller, less important items first. This leaves the larger, more important issues until the end of the essay. Discussing the detail first in this way leaves the larger items for general consideration in approaching your conclusion.

14. On the other hand you might wish to deal with the major item(s) first, then turn to a consideration of the detailed evidence which supports the argument you are making. Using this approach, you could then return to your main points again and give them further general consideration as your conclusion.

© Roy Johnson 2003

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Taking notes for essays

August 25, 2009 by Roy Johnson

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1. In preparation for writing an essay, you should be taking notes from a number of different sources: course materials, set texts, secondary reading, or tutorials and lectures. You might gather information from radio or television broadcasts, or from experiments and research projects. The notes could also include your own ideas, generated as part of the essay planning process.

2. The notes you gather in preparation for writing the essay will normally provide the detailed evidence to back up your arguments. They might also include such things as the quotations and page references you plan to use in your essay. Your ultimate objective in planning will be to produce a one or two page outline of the topics you intend to cover.

3. Be prepared for the fact that you might take many more notes than you will ever use. This is perfectly normal. At the note-taking stage you might not be sure exactly what evidence you will need. In addition, the information-gathering stage should also be one of digesting and refining your ideas.

4. Don’t feel disappointed if you only use a quarter or even a tenth of your materials. The proportion you finally use might vary from one subject to another, as well as depending on your own particular writing strategy. Just because some material is not used, don’t imagine that your efforts have been wasted.

5. When taking notes from any source, keep in mind that you are attempting to make a compressed and accurate record of information, other people’s opinions, and possibly your own observations on the subject in question.

6. Your objective whilst taking the notes is to distinguish the more important from the less important points being made. Record the main issues, not the details. You might write down a few words of the original if you think they may be used in a quotation. Keep these extracts as short as possible unless you will be discussing a longer passage in some detail.

7. Don’t try to write down every word of a lecture – or copy out long extracts from books. One of the important features of note-taking is that you are making a digest of the originals, and translating the information into your own words.

8. Some students take so many notes that they don’t know which to use when it’s time to write the essay. They feel that they are drowning in a sea of information.

9. This problem is usually caused by two common weaknesses in note-taking technique:

  • transcribing too much of the original
  • being unselective in the choice of topics

10. There are two possible solutions to this problem:

  • Select only those few words of the source material which will be of use. Avoid being descriptive. Think more, and write less. Be rigorously selective.
  • Keep the essay question or topic more clearly in mind. Take notes only on those issues which are directly relevant to the subject in question.

11. Even though the notes you take are only for your own use, they will be more effective if they are recorded clearly and neatly. Good layout of the notes will help you to recall and assess the material more readily. If in doubt use the following general guidelines.

Taking Notes – GUIDELINES

  1. Before you even start, make a note of your source(s). If this is a book, an article, or a journal, write the following information at the head of your notes: Author, title, publisher, publication date, edition of book.
     
  2. Use loose-leaf A4 paper. This is now the international standard for almost all educational printed matter. Don’t use small notepads. You will find it easier to keep track of your notes if they fit easily alongside your other study materials.
     
  3. Write clearly and leave a space between each note. Don’t try to cram as much as possible onto one page. Keeping the items separate will make them easier to recall. The act of laying out information in this way will cause you to assess the importance of each detail.
     
  4. Use some system of tabulation (as I am doing in these notes). This will help to keep the items separate from each other. Even if the progression of numbers doesn’t mean a great deal, it will help you to keep the items distinct.
     
  5. Don’t attempt to write continuous prose. Notes should be abbreviated and compressed. Full grammatical sentences are not necessary. Use abbreviations, initials, and shortened forms of commonly used terms.
     
  6. Don’t string the points together continuously, one after the other on the page. You will find it very difficult to untangle these items from each other after some time has passed.
     
  7. Devise a logical and a memorable layout. Use lettering, numbering, and indentation for sections and for sub-sections. Use headings and sub-headings. Good layout will help you to absorb and recall information. Some people use coloured inks and highlighters to assist this process of identification.
     
  8. Use a new page for each set of notes. This will help you to store and identify them later. Keep topics separate, and have them clearly titled and labelled to facilitate easy recall.
     
  9. Write on one side of the page only. Number these pages. Leave the blank sides free for possible future additions, and for any details which may be needed later.

Sample notes

What follows is an example of notes taken whilst listening to an Open University radio broadcast – a half hour lecture by the philosopher and cultural historian, Isaiah Berlin. It was entitled Tolstoy’s Views on Art and Morality, which was part of the third level course in literary studies ‘A 312 – The Nineteenth Century Novel and its Legacy.

Isaiah Berlin – ‘Tolstoy on Art and Morality’ 03 Sep 1989

1. T’s views on A extreme – but he asks important questns which disturb society

2. 1840s Univ of Kazan debate on purpose of A
T believes there should be simple answers to probs of life

3. Met simple & spontaneous people & soldiers in Caucasus
Crimean Sketches admired by Turgenev & Muscovites but T didn’t fit in milieu

4. Westernizers Vs Slavophiles – T agreed with Ws – but rejects science (Ss romantic conservatives)

5. 2 views of A in mid 19C – A for art’s sake/ A for society’s sake

6. Pierre (W&P) and Levin (AK) as egs of ‘searchers for truth’

7. Natural life (even drunken violence) better than intellectual

8. T’s contradiction – to be artist or moralist

9. T’s 4 criteria for work of art

  • know what you want to say – lucidly and clearly
  • subject matter must be of essential interest
  • artist must live or imagine concretely his material
  • A must know the moral centre of situation

10. T crit of other writers

Shkspre and Goethe – too complex
St Julien (Flaubert) inauthentic
Turgenev and Chekhov guilty of triviality

11. What is Art? Emotion recollected and transmitted to others
[Wordsworth] Not self-expression – Only good should be transmitted

12. But his own tastes were for high art – Chopin, Beethoven, & Mozart
T Argues he himself corrupted

13. Tried to distinguish between his own art and moral tracts

14. ‘Artist cannot help burning like a flame’

15. Couldn’t reconcile contradictions in his own beliefs
Died still raging against self and society

© Roy Johnson 2003

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Titles in essays

August 25, 2009 by Roy Johnson

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1. Publications of book length such as text books or novels should normally be presented by giving their titles in italics. [In hand-written essays, this will be denoted by underlining].

Emily Bronte’s Wuthering Heights
R.G. Lipman’s Positive Ergonomics

2. When using a word-processor you should use italics for titles (with bold reserved for special emphasis). Remember to be consistent throughout your document, and do not combine any of these attributes.

3. You should not combine underlining or italics with quotation marks.

4. The titles of short stories and songs are indicated by single quote marks:

Katherine Mansfield’s short story ‘The Voyage’
Kurt Weil’s show tune ‘September Song’

5. Thus, James Joyce’s ‘The Dead’ is a celebrated short story, but his long novel Ulysses is even more famous.

6. When offering book titles in references and endnotes the sequence of information given is as follows:

AUTHOR—TITLE—PUBLISHER—DATE—PAGE

Valerie Shaw, The Short Story, Longman, 1983, p.56.

If you are using the Harvard system of referencing, remember to put the date of publication after the author’s name.

7. The titles of individual poems are indicated by using roman type and single quote marks, thus:

W.H.Auden’s ‘Night Mail’
Browning’s ‘Pippa Passes’

8. Where a long poem has been published on its own, it may be indicated as a book, thus:

T.S.Eliot’s The Waste Land
Milton’s Paradise Lost

9. Where a number of poems has been collected as a group, they are treated as a book, as follows:

‘Tess’s Lament’ is one of the poems in Thomas Hardy’s 1903 collection, Poems of the Past and the Present.

10. You should always make a clear distinction between fictional characters and books which are named after them. David Copperfield is a fictional character, whereas David Copperfield is the novel which bears his name. The same is true of Middlemarch (the fictional town) and Middlemarch (the novel).

11. Plays are indicated in the same way as novels, because they are usually published in single volume form.

Oscar Wilde’s play, Lady Windermere’s Fan
Shakespeare’s The Tempest

12. Magazines, newspapers, and journals are indicated in the same way as books:

The Economist     The Daily Telegraph
Architectural Review     English Studies

13. Individual articles from within these separate publications are indicated by single quotation marks and roman type, as follows:

A.B. Smith’s review article ‘Foreign Practices’ in The Observer business section of 27 October 1991.

14. The titles of films, radio and television programmes are also indicated by italics:

Double Indemnity     Round the Horne
Newsnight     World in Action

15. This convention also applies to the names of famous operas, ballets, paintings and sculptures:

The Magic Flute     Swan Lake
The Night Watch     David

16. When the title of a work includes mention of another book title, the second title should be placed in single quotation marks:

A.B. Smith, The Textual Development of ‘King Lear’, New York: Scholarship Press, 1986.

17. Notice that capital letters are used in the first word and any other important words of titles. Less important words such as ‘and’, ‘of’, and ‘in’ are not capitalised:

The Power and the Glory
Cat on a Hot Tin Roof

18. The titles of works which are stored in electronic form will follow similar conventions, but are described separately.

19. Sometimes in documents stored as web pages, bold is used instead of italics because it shows up better on screen.

20. Whichever conventions you use, you should be consistent throughout your document.

© Roy Johnson 2003

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Tone in essays

August 25, 2009 by Roy Johnson

sample from HTML program and PDF book

1. The tone in essays or any other piece of writing can be roughly defined as ‘the author’s attitude to the subject – as manifest in the writing’. In academic essays (unless you have been instructed otherwise) you should adopt a tone which is neutral and objective. Your attitude to the subject should be serious and formal.

2. For instance, too much use of ‘I think that…’ and ‘I feel that…’ has the effect of making an essay too personal and subjective in its tone, as in this example:

‘I think that E.H. Carr is a really brilliant historian, and when I first started reading his book The Bolshevik Revolution I suddenly felt … ‘

3. This approach is also likely to encourage a casual and conversational style, which is inappropriate in a formal essay.

4. Avoid using features such as slang (‘far-out’) contractions (‘can’t’ or ‘they’ll’) and vogue words (‘situation’, ‘ongoing’, ‘fantastic’) which create a tone which is too chatty and casual.

5. Avoid the use of ‘I think’ and ‘I believe’ by substituting impersonal expressions such as ‘It seems that…Carr argues that…but there is now increasingly good evidence to show that…’

6. The following example illustrates an inappropriate tone which combines chattiness with writing in note form. It is from a student essay on ‘The Origins of the Industrial Revolution’.

Easy access to raw materials – coal, iron, etc. And cheap labour too (all exploited of course!). Then inland waterways and the building of the ship canal. Lots of good markets overseas as well.

7. These notes should be expanded and expressed as grammatically complete sentences in a manner such as this:

In that part of the North West there was easy access to raw materials such as coal and iron. The sources of labour were also cheap at that time since there was such unchecked exploitation. A system of inland water ways provided good transportation. This was especially true following the construction of the Manchester Ship Canal. In addition, Britain in the nineteenth century had access to (and in some cases a monopoly of) a number of overseas markets.

8. A manner of expression which is direct, simple, and clear is preferable to one which is flamboyant or wordy. Keep your sentences short and to the point. ‘He sent for the doctor’ is more direct than ‘He called into requisition the services of the family physician.’

9. Some people imagine that an ornate or flamboyant manner is necessary in order to create a good impression. This is not true. In fact the opposite is the case. Too many flourishes or a sense or wordiness will weaken your essay. Adopt a plain, straightforward prose style. Remember that academic essays are not exercises in creative writing. You will not give your work a sense of purpose or seriousness simply by adding literary decoration. Even when one is sorely tempted – one should eschew the grandiloquent. [That’s a deliberately bad example, by the way!]

10. All this is not a killjoy injunction against writing which is stylistically attractive. If you write fluently and include the occasional well-turned phrase, then your work will be more pleasant to read. If you are in any doubt however — Keep it plain and simple.

© Roy Johnson 2003

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