#the teacher is like here is a detailed outline to the analysis essay and here is citations you must use to earn scores on the tests and you

[thinkingnot]

me when: hmmm i need to get this task dine let me remind myself and condition to be nervous so i remember said task

also me: gets nervous => negative feelings about task => repulsed to do it

also me: doenst do it until the very last minute and it was so nerve racking i hated it => despises the entirety of that type of task

me been assigned a task as the ine above: gets negative feelings and is repulsed from doing the task-

[kayleefanjak]

I have a few notes to add to this:

1) I agree, everyone engages in media differently.

- Searching for meta-analysis and clues is one way that I and some others get their dopamine fix.

- The search motivates me to watch something again, and again, in different orders, with different filters in place.

- My academic background has developed, trained, and encouraged this kind of meta-analysis. I have a Master of Arts degree in the Humanities.

- I am not your (general) teacher. I am not grading your opinions. You don't have to care about symbolism and micro-analysis of details in a form of media that you enjoy.

- You are valid. You are enough. No Gatekeeping in Fandom. If all you do is read/watch a media and like it, you're in!

- Following breadcrumbs is ONE way to engage with media we enjoy. It is neither better nor worse than any other fan activity. Fanfiction, Fan art, cosplay are other ways that Fandom may hyperfocus on works we enjoy.

- I do not get paid to do this. I'm not employed as an academic, I don't submit essays or papers to literary magazines for publication. Nor am I a reviewer / journalist.

- It is fun *for me.* You don't have to like breadcrumbs. You do not have to agree with me on where *I think* the breadcrumbs *might* be leading. You don't have to read what I write.

2) The Cognitive Dissonance steps outlined above are good in what they cover. I'll repeat them here.

A) this is not good.

B) this author could not have made a mistake

C) this must be done on purpose

D) here is why

There is a very long essay that made just that argument, that was widely circulated. There are portions of that essay that I like, and details I disagree with.

My experience with meta-analysis does go to something like C and D, but is based on different premises:

A) This writer is using tropes as a tool.

Familiar tropes can also activate our brain's pleasure center, because we know what is going to happen. It can be a shortcut to understanding. It can be comforting.

Fanfiction often uses tropes in a straightforward manner. Two fanfic staples:

- And they were roommates. (OMG, they were roommates!)

- There was only one bed.

I am a reader. Like many fans are.

While I often enjoy the challenge of breadcrumbs that are well-hidden and engage my brain,

I also love my comfort fics. The re-reads that I've read dozens of times before. The fanfics where the tropes are straight, and the enjoyment is how a given writer applies the trope with the characters.

B) This writer does not usually use these tropes straight. They usually play with them. They don't usually shortcut our brains to easy comfort.

In professional writing, playing with a trope can increase interest. It piques curiosity. The payoff or twist can make the audience laugh out loud, especially when it is unexpected.

Which naturally leads to a modified:

C) this might be intentional.

And D as described.

The fandom echo chamber: fanon, microanalysis and conspiracy brain 

As someone who has been in fandom spaces, on and off, for 20 years, I find some fascinating trends popping up in the last decade that I thought to be fandom-specific but clearly aren’t. So, I would like to do a little examination of where those things come from, how they are engaged with, and what it says about the way we consume media. This is a think piece, of sorts, with my brain being the main source. As such, we will spend some time down the memory lane of a fandom-focused millennial.

This is largely brought about by Good Omens. But it’s also not really about Good Omens at all.

Part one. Fanon.

The way we see characters in any story is always skewed by our very selves. This is a neutral statement, and it does not have a value judgement. It’s simply unavoidable. We recognise aspects of them, love aspects of them, and choose aspects of them to highlight based entirely on our own vision of the universe. 

Recognition comes into this. There is a reason so many protagonists of romance novels have a “blank slate” problem. Even when they do not, we love characters who are like us or versions of us that we would like to be. And when we say “we”, I also mean, “me”. 

(I remember very clearly this realisation hit me after a whole season of Doctor Who with writing which I hated utterly when I questioned why I still clung so incredibly hard to Clara Oswald as my favourite companion. Then I looked at myself in the mirror, with my medium-length dark hair, opaque tights, boots, and leather jacket, with spunk and carelessness to the point of recklessness. Oh. Well. That would do it, wouldn’t it?)

Then, there is projection, and, again, this is a neutral statement. Projection exists, and it is completely normal and, dare I say it, valid way of engaging with — well, anything. Is the character queer? Trans? Neurodivergent? Are they in love? Do they like chocolate? Are they a cat person? Well, yes, if this is what the text says, but if the text does not say anything… You tell me. Please, do tell me. Because, in that moment of projection, they are yours. 

And then, there is fandom osmosis, and that is the most fascinating one of them all, the one that is not very easy to note while you are inside the echo chamber. It’s the way we collectively, consciously or not, make decisions on who or what the characters are, what their relationships are, and what happens to them.  

(Back when I was writing egregiously long Guardian recaps on this blog I actually asked if Shen Wei’s power being learning actually was stated anywhere in the canon of the show. Because I had no idea. I have read and reread dozen of fanfics where that is the case, and at some point through enough repetition, it became reality.)

We are all kind of making our own reality here, aren’t we? 

Back when things were happening in a much less centralised manner - in closed livejournal groups, and forums of all shapes and sizes - I don’t remember there being quite as much universally agreed upon fanon. Frankly, I don’t remember much of universally agreed upon anything. But now, everything is in one place: we have this, and we have AO3, and it’s wonderful, it really is so much easier to navigate, but it’s also one gigantic reality-shifting echo chamber, with blogs, reblogs, trends, and rituals. 

Accessibility plays its part, too. If you were, say, in Life on Mars (UK) fandom between seasons, and you wanted to post your speculation fic, you had to have had an account, and then find and gain access to one of the bigger groups (lifein1973 was my poison, but ymmv), and then, if you feel brave you may post it, but also, you may want to do so from your alt account if you wanted to keep yours separate, and then you would have to go through the whole process again. And I’m not saying that fan creations then were somehow inherently better for it than fan creations now (although Life on Mars Hiatus Era is perhaps a bad example - because some of the Speculation Fic there was breathtaking), but there is something to say about the ease of access that made the fandoms go through a big bang of sorts.

(I mean, come on, I can just come here and post this - and I am certain people will read it, and this blog is a pandemic cope baby about Chinese television for goodness sake.)

The canon transformations that happen in the fandom echo chamber truly are fascinating to witness as someone who is more or less a fandom butterfly. I get into something, float around for a bit, then get into something else and move on. I might come back eventually when the need arises, but I don’t sustain a hiatus mind-state. This means that when I float away and return, I find some very intriguing stuff.

Let’s actually look at Good Omens here. Season two aired, and I found it spectacular in its cosy and anguished way; deliberately and intelligently fanfic-y in its plot building; simple but subversive, and so very tender. (I will have to circle back to this eventually, because, truly, I love how deliberately it takes the tropes and shatters them - it’s glorious). And, to me - a person who read the book, watched the first season, hung around AO3 for a few weeks and moved on - absolutely on-point in terms of characterisation. 

So imagine my surprise when the fandom disagreed so vehemently that there are actual multi-tiered theories on how characters were not in possession of their senses. Nothing there, in my mind, ever contradicted any of the stated text, as it stood. This remained a strange little mystery until I did what I always do when I flutter close to an ongoing fandom.

I loaded AO3 and sorted the existing fic by popularity. And there it was, all there: the actual earth-shattering mutual devotion of the angel and the demon; willingness to Fall; openness and long heart-aching confession speeches. There was all of the fanon surrounding Aziraphale and Crowley, which, to me, read as out of character, and to one for whom they became the reality over the last four years, read as truth. 

Again, only neutral statements here. This is not a bad thing, and neither this is a good thing, this is just something that happens, after a while, especially when there are years for the fandom-born ideas to bounce around and stew. I can’t help but think that so much of what we see as real in spaces such as this one is a chimaera of the actual source and all the collective fan additions which had time and space to grow, change, develop, and inspire, reverberating over and over again, until the echoes fill the entirety of the space. 

Eventually, this chimaera becomes a reality. 

Part two. Microanalysis 

Here are my two suppositions on the matter:

1. Some writers really love breadcrumb storytelling. 

Russel T Davies, for instance, on his run of Doctor Who (and, if you are reading it much later - I do mean the original one), loved that technique for his seasonal arcs. What is a Bad Wolf? Who is Harold Saxon? Well, you can watch very very carefully, make a theory, and see it proven right or wrong by the end of the season. 

Naturally, mystery box writers are all about breadcrumb storytelling: your Losts and your Westworlds are all about giving you snippets to get your brain firing, almost challenging you to figure things out just ahead of the reveal. 

2. We, as humans, love breadcrumbs.

And why wouldn’t we? Breadcrumbs are delicious. They are, however, a seasoning, or a coating. They are not the meal. 

Too much metaphor?

Let’s unpack it and start from the beginning.

Pattern recognition colours every aspect of our lives, and it colours the way we view art to a great extent. I think we truly underestimate how much it’s influenced by our lived experiences.

If you are, broadly speaking, living somewhere in Western/North-Western Europe in the 14th century, and you see a painting in which there is a very very large figure surrounded by some smaller figures and holding really tiny figures, you may know absolutely nothing about who those figures are, but you know that the big figure is the Important One, and the small ones are Less Important Ones, and the tiny ones are In Their Care. You know where your reverence would lie, looking at this picture. And, I imagine, as someone living in the 14th century, you may be inspired to a sense of awe looking at this composition, because in the world you live in, this is how art works. 

If you, on the other hand, watch a piece of recorded media and see the eyes of two characters meet as the violins swell, you know what you are being told at that moment. You don’t have to have a film degree to feel a sort of way when you see a green-tinged pallet used, when cross-cuts use juxtaposing images, or notice where your focus is pulled in any given shot. This stuff - this recognition of patterns - has been trained into us by the simple fact that we live in this time, on this planet, and we have been doing so long enough to have engaged recorded media for a period of time. 

As humans, we notice things. Our brains flare up when they see something they recognise, and then we seek to find other similar details and form a bigger picture. This often happens unconsciously, but sometimes it does not. Sometimes we do it on purpose: finding breadcrumbs in stories is a little bit like solving a mystery. It allows us to stretch that brain muscle that puts two and two together. It makes us feel clever. 

So yes, we love breadcrumbs, and, frankly, quite a lot of storytelling takes advantage of this. It’s very useful for foreshadowing, creating thematic coherence, or introducing narrative parallels and complexity. It’s useful for nudging the viewer into one or the other emotional direction, or to cue them into what will happen in the next moment, or what exactly is the one important detail they should pay attention to.

Because this is something media does intentionally, and something we pick up both consciously and not, it is very hard to know when to stop. We don't really ever know when all of the breadcrumbs have been collected. It becomes very easy to get carried away. There is a very specific kind of pleasure in digging into content frame by frame, soundbite by soundbite, chasing that pleasure of finding. 

But it is almost never breadcrumbs all the way down. They are techniques to help us focus on the main event: the story. I truly believe those who make media want it to reach the widest possible audience, and that includes all of us who like to watch every single thing ever created with our Media Analysis Goggles on and those who are just here to enjoy the twists and turns of the story at the pace offered to them. And I think, sometimes in our chase to collect and understand every little clue we forget that media is not made to just cater for us.

One can call it missing a forest for the trees. But I would hate to mix my metaphors, so let’s call it missing a schnitzel for the breadcrumbs. 

Part three. The Conspiracy Brain. 

If you are there with me, in the midst of the excited frenzy, chasing after all those delicious breadcrumbs, then patterns can grow, merge together, and become all-encompassing theories. Let’s call them conspiracy theories, even though this is not what they truly are.

So, why do we believe in conspiracy theories?

One, Because We Have Been Lied To. 

All conspiracies start with distrust.

If you are in fandom spaces - especially if you are in fandom spaces which revolve around a queer fictional couple - especially-especially if you have been in such spaces for a period of time, you have most certainly been lied to at one point or another. 

We don’t even have to talk about Sherlock - and let’s not do that - but do you remember Merlin? Because I remember Merlin. Specifically, I remember the publicity surrounding the first season, with its weaponised usage of “bromance” and assertions that this whole thing is a love story of sorts, and then the daunting realisation that this was all a stunt, deliberately orchestrated to gather viewership. 

And, because we were lied to in such a deliberate manner for such an extensive period of time, I genuinely believe that it forever altered our pattern recognition habits, because what was this if not encouragement to read into things? Now we are trained to read between the lines or see little cries for help where they might not be. Because we were told, over and over again, that we should.

(Yes, I think we are all existing in these spaces coloured by the trauma of queer-bating. I am, however, looking forward to a world where I can unlearn all of that.)

Two, Cognitive Dissonance.

The chain reaction works a bit like this: the world is wrong - it can’t possibly be wrong by coincidence - this must be on purpose - someone is responsible for it.

Being Lied To is a preamble, but cognitive dissonance is where it all originates. In so many cross-fandom theories I have noticed a four-step process:

A) this is not good

B) this author could not have made a mistake 

C) this must be done on purpose

D) here is why 

(Funny thing is, I have been on the receiving end of the small conspiracy spiral, and it is a very interesting experience. Not relevant to this conversation is the fact that a lot of my job revolves around storytelling. What is relevant is that my hobbies also revolve around storytelling. And one of them is DnD. Now, imagine my genuine shock when one of the players I am currently writing a campaign for noticed a small detail that did not make a logical sense within the complexity of the world, and latched on to it as something clearly indicating some kind of a secret subplot. Their thinking process also went a bit like this: this detail is not a good piece of writing — this DM knows how to tell stories well — this is obviously there on purpose. It was not there on purpose. I created a clumsy shorthand. I erred, in that pesky manner humans tend to. And, seeing this entire thought process recited to me directly in the moment, I felt somewhere between flattered and mortified.)

This whole line of thinking, I think, exists on a knife’s edge between veneration and brutal criticism, relentlessly dissecting everything “wrong”, with a reverent “but this is deliberate” attached to it like a vice, because it is preferable to a simple conclusion that the author let you down, in one way or another. 

Three, Intentionality 

I believe that there is no right or wrong way of engaging with stories, regardless of their medium, and assuming no one gets hurt in the process. While in a strictly academic way, there is a “correct” way of reading (and reading into) media, we here are largely not academics but consumers; consumption is subjective.

However, this all changes when intentionality is ascribed. 

The one I find particularly fascinating is the intentionality of “making it bad on purpose” because, as open-minded as I intend to always be, this just does not happen.

It certainly does not happen in long-form media. Even in the bread-crumb mystery box-type long-form media. 

When television programs underdeliver, they also underperform, and then they get cancelled.

If all the elements of Westworld Season 4 that did not sit together in a completely satisfactory way were written deliberately as some sort of deconstruction for the final season to explore, then it failed because that final season will now never come.

(There will likely never be a Secret Fourth Episode.)

And look, I am not here to refute your theories. Creativity is fun, and theorising is fantastic. 

But, perhaps, when the line of thought ventures into the “bad on purpose” territory, it could be recognised for what it is: disappointment and optimism, attempting to coexist in a single space. And I relate to that, I do, and I am sorry that there is even a need for this line of thinking. It’s always so incredibly disappointing that a creator you believed to be devoid of flaws makes something that does not hit in the way you hoped it would. It’s pretty heartbreaking. 

Unfortunately, people make mistakes. We are all fallible that way. 

Four, Wildfire.

Then, when the crumbs are found, a theory is crafted, and intentionality is ascribed, all that needs to happen is for it to catch on. And hey, what better place for it than this massive hollow funnel that we exist in, where thoughts, ideas and interpretations reverberate so much they become inextricable from the source material in collective consciousness. 

Conspiracy theories create alternate realities, very much like we all do here. 

So where are we now?

I am not here to tell you what is right and what is wrong; what is true, and what is not. We are all entitled to engage with anything we wish, in whichever way we wish to do it. This is not it, at all. 

All I am saying is… listen.

Do you hear that echo? 

I do. 

[paradigm24pte]

Mastering the PTE Essay Section: Strategies and Resources

The Pearson Test of English (PTE) Academic is a critical exam for non-native English speakers aiming to demonstrate their proficiency. One of the most challenging parts of this exam is the essay section, where you must write coherent, structured essays on various topics. Success here requires not only a solid grasp of grammar and vocabulary but also strategic thinking and essay planning. This article offers essential strategies and directs you to a comprehensive list of updated PTE essay topics and sample answers that can significantly enhance your preparation.

Understanding the PTE Essay Section

The PTE essay section evaluates your ability to construct logical, persuasive essays. The essay prompts generally fall into categories such as:

Problems and Solutions: Address specific issues and propose solutions. For example, you might be asked to discuss the causes and remedies for the shortage of fresh water in urban areas. For detailed strategies and examples, refer to this resource on PTE essay topics.

Advantages and Disadvantages: These essays require a balanced analysis of the pros and cons of a given topic, such as the impact of technology on human relationships. For a more in-depth look, explore sample answers and strategies here.

Agree or Disagree: You'll need to take a stance on a statement and defend it with reasoned arguments. For example, you might be asked to agree or disagree with the assertion that celebrities are good role models. Check out this guide for tips on crafting compelling arguments.

Argument Essays: These require you to present and defend a viewpoint on controversial issues. Topics might include the role of large shopping centers replacing small local shops. For sample arguments and approaches, see the complete list here.

Essential Strategies for PTE Essay Writing

To excel in the PTE essay section, focus on these strategies:

Practice Regularly: The more you practice, the more comfortable you'll become with the essay format. Regular practice on various topics, like those found here, can help you improve your timing and coherence.

Analyze Model Essays: Studying high-quality sample essays can provide insights into effective writing techniques. For a robust collection of such essays, refer to this extensive resource.

Expand Your Vocabulary: A rich vocabulary is crucial for expressing ideas effectively. Make sure to learn new words daily and try using them in context. You can see how vocabulary is used in context by reviewing the sample essays provided.

Focus on Structure: A clear, logical structure makes your essay easier to follow. Start with an introduction, develop your points in the body paragraphs, and conclude with a strong summary. For examples of well-structured essays, explore this resource.

Time Management: Practice writing essays within the exam's time limits. This not only helps with pacing but also ensures that you can produce quality work under pressure. To practice efficiently, try using the topics from this PTE essay list.

Seek Feedback: Constructive criticism can highlight areas where you need improvement. If possible, have a teacher or mentor review your essays. Alternatively, compare your work with sample essays to identify gaps.

Conclusion

Mastering the PTE essay section is about more than just knowing English—it's about knowing how to communicate your ideas clearly and effectively under exam conditions. By following the strategies outlined in this article and making use of the resources available here, you can significantly improve your writing skills and boost your confidence.

Whether you’re preparing for academic study, migration, or career advancement, excelling in the PTE essay section is a crucial step. Start practicing with the updated essay topics and sample answers today to maximize your chances of success.

[writing-with-olive]

How to write a five paragraph essay

This is going to be my third and last of these posts, unless people have questions that arise from them (at which point I am more than happy to make more - just let me know!) You can find my post about writing thesis statements here, and my post on essay conclusions here (both imbedded). Unlike my previous posts, this is going more in-depth about five paragraph essays, though I imagine you can take the tips here and apply them elsewhere. 

Alrighty guys. Strap in because this one’s gonna be a bit long.

1) Prewriting

Okay. Since I hate prewriting as a concept (seriously. You do all this work and you don’t have any essay to show for it? what is this?), I tend to keep it pretty short and sweet, but it is necessary. 

What do do?

Read through your source material, and get an understanding of what you’re going to argue about

As you’re reading, make sure you write down your sources or else doing your bibliography is going to be a pain (just copy/pasting urls should suffice at this point)

Create an argument (generally, what is the point you’re trying to get across)

Write your thesis. It’s important that you do this AFTER reading the material, as you won’t know what to argue if you come up with a thesis before doing the reading. Constructing your thesis is also important to do before you actually get to writing, as it informs a lot of the structure of the essay. For more info on how to construct a thesis, I made this post as part of this mini series not too long ago (same link as above). 

Outline your essay. This can be detailed if you like it like that, or it can just be a few words for each paragraph. As I personally find outlines to be both necessary and a pain, I tend to go with the latter of the two (described further in the example below). However, experiement with both - some people work better when they have detailed outlines with all of their sources and arguments listed under each paragraph heading.

How to outline

(How to outline, as well as how to write the intro paragraph, body paragraphs, a link to how to write conclusion paragraphs, and general tips all under the cut)

As you may have guessed, there are a number of ways to outline. The most basic looks like this:

Paragraph 1: Intro Paragraph 2: [insert topic 1] Paragraph 3: [insert topic 2] Paragraph 4: [insert topic 3] Paragraph 5: Conclusion

From here, you can make things more and more detailed if you like. Some common things people put in outlines are:

evidence presented

points made

relevant sources for each paragraph

their topic sentence

etc...

My advice is to play around and see what works best for you. If you’re like me and really really hate prewriting, you may go with a simpler approach. Or, if you find drafting to be hell on earth, maybe put more time into prewriting to make drafting faster.

2) Introduction

This is arguably the most important part of your essay (at least, that’s what my middle school teachers always said). The common difficulty is that everyone seems to be saying how important it is, and how cructial it is, and how [insert synonym for important and crutial] it is, and all that jazz. Which means after a twenty minute lecture of WHY you should write an introduction, there never seems to be enough time to teach people how to actually WRITE it. 

Here’s the thing. The point of your intro is to ease your reader into the topic. You don’t want to blind side them with something hyperspecific out of the blue. At the same time, you don’t want them to loose interest because you’re taking too long. 

The trick is to use the funnel method.

It works like this: each sentence is a layer, and how wide the funnel is represents how broad your statement is. Your first statement is going to be huge - something that encompases a lot. Each sentence should encompass less and less, until you get to your thesis, which is very narrow. 

A formula I frequently use (depending on if it’s applicable) is:

Intro: Sentence about humanity as a whole (establishes basic concept)

NS 1: Sentence that establishes that Intro thing applies to certain time/place (establishes the what/where)

NS 2: Sentence that specifies how, exactly, Intro thing applies to time/place (establishes how)

NS 3: Sentence that specifies relevant groups within this time and place

Thesis: the specific thing I am arguing. 

In this (very generic, and also very fake) example, I’m going to bold every other sentence so they are easy to distinguish from one another. It’s the same pattern featured above.

Conflict is one of the universal truths of life. Throughout the ages, individuals and groups have found themselves on opposing sides of a disagreement, but few could compare to the 1789 B.C. Battle of the Frogs in what is now modern-day Tatooine. Dissention had been brewing for years, but when the Narnians finally stole all of native unicorns, the civillians of the sandy outer-rim planet finally hit a tipping point; they were prepared to sacrifice anything if it meant being free. Despite the epic proportions of the Battle, a few individuals were able to record the events of the conflict in journals that have survived to this day. In his journal “Of life on the Desert,” Percy Jackson describes the effects of war, including the impact it had on his family, his work, and the state of his village.

3) Body Paragraphs

These three paragraphs are where you will be backing up your thesis statement. This is a fair bit of space, to work with if you do it right, but it’s also not a lot of space, so you do have to make sure to use it wisely. An easy way to make sure you’re doing this right is to.....

Follow yet MORE paragraph formulas

(yay!)

Seriously though. Using formulas in your essays will set you free, and it makes it look like you know what you’re doing.

Sentence 1: Topic Sentence

This is usually going to start out with some kind of transition phrase such as “in addition to [previous thing]” or whatever. Then it’s going to introduce the thing you’re actually going to talk about in this paragraph.

Sentence 2 - Second to Last: Evidence and Analysis

For each paragraph, you’re probably going to want between three and four pieces of evidence (as two looks like there’s not actually solid evidence, and five becomes tedious). 

For this structure, you’re going to want to spend a sentence introducing a piece of evidence, making sure to include the proper in-text citations (which I am not going to cover here, but I can cover in another post if someone asks me to). 

After your evidence citation, you’re going to want to write at least one or two sentences of analysis, either picking apart just that piece of evidence, or linking that evidence to other pieces of evidence. For beginners, many teachers will expect about one line of analysis, from about sophomore year of highschool up, teachers begin to expect two or more. 

Make sure that your evidence and analysis flows together - that is, organize your evidence into a logical order, and use transition words (there’s huge lists out there - google is your friend) to go from an analysis sentence to another piece of evidence. 

Sentence 3 - Conclusion Sentence

This is one of the harder sentences to nail, but the idea is that you want to restate what your topic sentence is.

If you can’t think of a good conclusion sentence, you can write a transition sentence instead, and on the topic sentence of your next paragraph, leave off the transition. 

4) Conclusions

I already did a post on conclusions, which is linked here (imbedded). 

5) Miscellaneous Tips!

Never use “you” statements. This is because you can never be sure of your reader’s background, so it wrecks some of the credibility of your argument! If you’re describing something and you feel a burning urge to write “you might do X” or something along those lines, switch “you” out for the word “one”

Similarly, never use I statements. They make things look like opinions rather than facts. NOT GOOD. A good fix is to not use personal experiences that would force you to use I statements (unless explicitely asked to), and to cut off all phrases such as “I think” or “I researched.” These are implied, and you make your argument look stronger without them.

Avoid using the word “that.” If you can cut it out and the sentence still makes sense, cut it. It’ll make your narrative voice stronger.

If you need to make your essay look longer, find places where paragraphs end at the end of a line. Then, throughout the paragraph, un-abbreviate words that can be sensably un-abbreviated. This will push a few words onto the next line and give the apperance of a longer essay. 

Similarly, if you want your essay to appear shorter (if you have a page limit or something), look for places where a paragraph just barely makes it onto a new line, and cut extra words so that the words move back until that new line isn’t there.

Keep track of all new sources as you go - it saves so much time.

Make in-text citations as you go, rather than trying to put them in after the fact. 

Run spell check before turning in your work

Make sure your grammar is correct, and understand how to use colons and semi-colons (they will save your life)

Now, here are 1000 awesome points for reading until the end, and good luck with your essay!

[breakingbadfics]

Christopher Robin: Review and Analysis

This is another review I wrote. This one was wrote two years ago, and a coupld days after I'd seen the movie, Christopher Robin emotionally resonated with me very heavily so you can see the emotions in the writing here.

Christopher Robin.

A review(With some spoilers).

Winnie the pooh being talked down to by Christopher Robin, is a scene that created a profound sense of wrongness that was instantly understandable, and yet utterly difficult to put into words. The visual of an adult, speaking to the very sentient embodiment of his childhood with the exasperation of a parent who has forgotten the limited understanding and unlimited imagination of the person they are talking to sparked a sense of sadness and unhappiness that resonated so deeply within me. I say it’s hard to put into words, because only one word can describe everything about the scene from the movie, and everything about Christopher Robins life up to that very moment.

Unfair.

Christopher Robin as played by Ewan McGregor in the 2018 movie of the same name, is the grown up adult that was once the boy who played with Winnie the Pooh in the Hundred Acre Wood. Winnie the pooh was a book written by A.A Milne and if you’re old enough you’ve likely read the book, or had it read to you, or read it to a child. But for me, for my sister, for who knows the number, Winnie the Pooh was made iconic through a series of old vhs tapes as well as compilaitons of those tapes, and a number of tv series spin-offs and straight to dvd movies that were part of my growth and development. My mothers favorite was eeyore, my dads was Tigger. It is with no sense of shame that I will tell you that Winnie the Pooh is my earliest memory of any sort of cartoon.

Maturity is something I have a very hard time connecting with as someone with autism, I still watch cartoons and feel connections to fictional stories that can be even more outlandish than something so simple as “The adventures of a boy and his stuffed animals come to life.” and somehow I lost track. I paraphrase a good friend of mine when I say “I don’t know when it happened. But somepoint in my growing up I left the hundred acre wood” and knowing that I left it behind, fills me with an emptiness that I feel even now as I write upon this page. In growing into an adult I left the hundred acre wood, like Christopher Robin did.

It is Unfair.

The film details via montage Christopher Robins catapulting into adulthood. A boarding school that worked to hone his skills with math and history and other such things, his fathers untimely passing making him as an unnamed woman attending the funeral would say “The man of the house now.” Meeting the woman who would become his wife, enlisting in World War Two and leaving his pregnant wife while serving, the slow and gradual disconnect from his family as he buries himself in the rigors of being a manager for a luggage company.

The movie starts proper in the summer, Christopher Robin and his family have made plans to go to his childhood home for a vacation. Christopher is a man so deeply rooted into ‘work’ that his wife doesn’t remember the last time he laughed, his daughter is explained as only being such a good student in an attempt to make her dad happy and to forge some sort of connection, but even she has realised by this point that her dad isn’t going to be the dad she wans.

The Christopher Robin we are shown in the movie of the same name is a man so deeply rooted in the rigors of adult life that he picks working over his family. “Because Nothing comes from Nothing.”

It is Unfair.

I won’t tell you every bit of the movie. But I believe it is likely that you can imagine a rough outline of it based on the trailers, and other movies such as this have transpired. Jim Cummings Reprises his roles as Eeyore, Tigger, and Winnie the Pooh. The man himself has performed these roles for the entirety of my being alive, and it can only be imagined the roles are so deeply engrained that the actor could have been adlibing, and I would likely have never known with out reading the script myself.

What I can tell you about the movie is to have tissues nearby. Because with a measured certainty if you have any sentimentality for the name, the characters and what they represent, be it personally or overall, you will cry. For in my understanding the movie weaponises childhood nostalgia, and with the practiced aim that only The Walt Disney Company can possess fires and lands directly into the deepest most inner part of your emotions to rend tears from your eyes.

I’ve thrown the word “unfair” through out this essay, because in my eyes the movie visualises what had been something I’ve noticed about growing up, becoming an adult. That as you grow older the world becomes unflinchingly, uncaringly, unfair. Get a job so you can earn money so you can pay in to all manor of bills, rent, insurance and what have you. If you publicly declare an admiration or liking of things society has deemed to be something not for adults you’ll likely face all measure of passive agression to guilt you into quitting, public ridicule or become the subject of who knows what rumors. Adult life is unfair to the point it wishes to dictate the means by which you cope with it.

The scene as described in the opening paragraph is the penultimate example of this harsh unfairness. Christopher speaking down to Pooh in a manner of that as a scolding parent, tired, angry, frustrated and no longer enteraining such notions of “Heffalumps and woozles.” Dredges up old memories of my childhood and being told in no such uncertain terms that there are no such things as monsters, simultaneously devaluing my imagination while building up my understanding of reality at a young age. There are no monsters under my bed, nor in my closet. The tooth fairy isn’t real, santa claus doesn’t exist.

But the Woozels do exist. The Heffalumps are reals. They are the teachers who do what is with in their ability to smother out creativity, supervisors at work demanding your full and unflinching loyalty to the job and force you to pick the job over family. They are the people with hammers continuing to drive the spike that pushes the gap between childhood and adulthood all the further apart and write it all off as unimportant. And adult life rewards them nothing

And it is unfair.

The movie confirmed the simple to understand idea in my head that adulthood in it’s own way is a slow to creep up on you, yet fast to strike, it will not let you go, and you will be stuck with it for eternity.

But, it isn’t all unfair.

If you have family who love you, and friends that care about you, heffalumps and woozles can be defeated. Because Heffalumps and woozles in the end, don’t matter. The people they represent, hold no power, beyond what you must deal with from them.

You can still go to the hundred acre wood.

I reccomend the movie. Obviously.

[kiarasdeclassified]

how to write a foolproof DBQ essay

the document-based question essay, or dbq as everyone in the ap history realm likes to call it, is arguably the most dreaded part of any ap history essay. the time constraints are short, there’s way too much stimulus to get through on time, and meanwhile, you have no clue if you’re getting all 7 points. maybe you can just skip it? maybe if you write a really sloppy essay you’ll at least get a 3 on the exam? or, maybe, you can follow this guide in preparation for another post coming later this summer & ace your dbq every. single. time.

first things first, you should get comfortably familiar with the official college board dbq rubric. 

i’ve simplified the descriptions a bit so you can better understand them.

thesis statement (1 point) construct a sentence located in either the introduction or conclusion which adequately responds to the prompt rather than just restating it.

contextualization (1 point) describe a broader historical context related to the prompt in about three sentences.

evidence (1-2 points) accurately describe content from at least six documents without quoting to get the first point, then use the content to support the argument described in the thesis to get the second point.

analysis & reasoning (2 points) explain how at least three of the documents’ point of view, historical situation, intended audience or authorial purpose is relevant to the argument described in the thesis.

synthesis/outside evidence (1 point) demonstrate a better understanding of the prompt by relating the argument to another piece of specific historical evidence found outside of the documents (use a specific example rather than a simple phrase or reference; this can be done in up to 5 sentences, but if written properly, just 1 can suffice).

total: 7 points

next, here’s a few things that you should know before preparing to write a dbq:

while i did take ap world history during my sophomore year & wrote some practice dbq’s, i never took the ap world exam, so here’s some tips from my ap world teacher who has taught ap world for almost 17 years:

don’t stress over complexity. while it seems as though every single essay you provide to the college board has to demonstrate your complex vocabulary, they really don’t care if you use “a lot” instead of “plentiful” or “numerous.” all they’re looking for is those 7 points on the essay.

don’t stick to formatting so much. like i said, the college board doesn’t care about a perfect essay when it comes to history exams. while ideally, you’ll have 4-5 paragraphs in your essay, all you are required to do is hit all 5 criteria of the rubric & include an introduction & conclusion. your essay could be 6 paragraphs long; your essay could be 14 paragraphs long; your essay could be just 3 paragraphs long. as long as you did something to satisfy all criteria, you can safely secure your 7 points & be on your merry way.

do NOT make an outline. you only get 55 minutes to write your essay. creating an outline, which seems like a helpful way to ensure you get all 7 points in theory, will actually just cut down the time you have to actually expand that outline into a full essay by 15-20 minutes. even if it only takes you 5 minutes to write the outline, DON’T DO IT. i promise you, every minute of this essay will matter, especially since its handwritten & you’ll take longer to write it versus if the test was taken digitally.

structure as you go. to elaborate on my previous point, as you read each document & transition from reading to writing, you’ll want to start getting an idea in your head of how exactly you’re going to answer the prompt & turn your thesis into an essay. i’ll go more into detail about structuring later in this post.

let’s quickly go over historical bias:

historical bias plays a part in every document you’ll receive on the dbq, even if it doesn’t seem as though the document you’re reading has any bias in it whatsoever. there are four parts you can choose to write about for your analysis points, commonly abbreviated to HIPP by many ap history teachers so you can better remember them. however, my teacher used “SOAP,” an abbreviation which i personally like a lot better as it tends to be slightly simpler:

S - speaker: the author who wrote the document. for example, if reading documents relating to a prompt about early twentieth century work conditions in the US, a journal entry written by a worker will show bias toward the opinion that work conditions were subpar, as it is a firsthand account of how work conditions truly were.

O - occasion: the historical timeframe which the document was written in. for example, if reading documents relating to a prompt about the Great Depression, a chart showing government spending rates overtime will show bias toward the theory that the GD affected not only citizens but national governments.

A - audience: the intended audience for the document. for example, if reading documents relating to a prompt about Luther’s Reformation, a letter to a Catholic pope from a reformist will show bias toward the theory that reformists wanted to persuade Catholics into conversion.

P - purpose: the purpose for writing the document. for example, if reading documents relating to a prompt about the Opium Wars, a newspaper article published in Britain urging others to support the war will show bias toward the theory that the British wanted to push their goal of opening a trade market with China.

now, here’s everything you need to write a perfect thesis statement:

the thesis statement tends to be one of the hardest parts of writing the dbq essay. while it is only 1 point, there’s so much criteria you need to fill to actually get the point. there are absolutely no half points given, so if you miss one thing, you miss the entire point. it’s not your fault, but it’s 100% your problem.

the simplest format i can suggest for a successful thesis is the following:

- restate the prompt.

- answer the prompt. 

- give reasons as to why your answer to the prompt is arguable. this part is crucial, as it will help tons in creating body paragraphs.

what i recommend doing is searching up dbq prompts from old ap exams & trying to write proper thesis statements out of them. every tuesday, my ap world teacher would put a sample prompt on the board, have us spend all class reading our prep books for information on the prompt, then writing thesis statements. before class ended, he would check them & let us know whether or not we’d get the point if we were taking the exam. try this out yourself, & if you don’t have an ap history teacher to check them for you, see if your thesis answers the following questions my teacher always used to determine point-worthy theses:

“so what?” a thesis which does not answer this question needs clarification, a relationship between the reasons & your answer, or a connection to a larger issue.

improper thesis: the north & south fought the civil war for many reasons, some of which were the same & some different.

better thesis: while both sides fought the civil war over the issue of slavery, the north fought for moral reasons while the south fought to preserve its own institutions.

“how & why?” a thesis which does not answer this question is too open-ended & lacks guidance for the reader. for example, if you look at the better thesis i wrote above, it answers “so what?” but still lacks clarity. we can help specify exactly what we’re referring to with a little tweaking:

while both northerners & southerners fought the civil war against what they each considered oppression, northerners focused on oppression of slaves while southerners focused on oppression of their right to self-govern.

in addition to proper structuring, it’s good to know what exactly the college board is looking for in an answer so that you can be sure to pass the question-answering tests. the college board loves to throw in specific key words in their prompts which can also make everything seem like it’s all sounding the same. here’s a few of the most popular dbq prompt key words you may see when you take the exam for yourself & what to do if you see them.

evaluate

to determine the value of

evaluate the extent to which differing ideas of national identity shaped views of United States overseas expansion in the late nineteenth and early twentieth centuries.

use any word which indicates value in your thesis. for example, “differing ideas greatly shaped views” or “differing ideas did little to shape views.”

identify

to indicate what something is

identify the reasons early Islamic societies used to justify slavery

perhaps the most straightforward of all key words, simply list your reasons. “early Islamic societies used …”

analyze

to examine and/or explain closely in detail

analyze the responses of Franklin D. Roosevelt's administration to the problems of the great depression.

use words which demonstrate detail in your thesis. for example, “administration’s responses to the problems included ...” or “administration’s responses to the problems described ...”

compare/contrast

to find similarities & differences

compare the motives of the North and South for participating in the American Civil War.

separate your comparisons from your contrasts. for example, “while both northerners & southerners _____, northerners _____ while southerners _____.”

determine

to figure out, to establish a fact

determine the success of twentieth century African decolonization efforts.

use either a direct positive or negative word to defend your argument in your thesis. for example, “decolonization efforts were greatly successful” or “decolonization efforts were not successful.”

now that you know what you need to prepare for beforehand, let’s go over what to do during the exam.

to ensure you can complete the essay in time, try your best to stick to a mini-schedule recommended by the college board: spend 15 minutes reading your documents & 40 minutes writing the essay. the quicker you can finish reading (not just skimming through the documents, but instead reading thoroughly & gaining a clear understanding of each document without having to completely reread them), the more time you’ll have to write, so try to work quickly, but don’t rush yourself so that you have time to process each document & their meanings.

to help simplify the writing portion, there’s a few things you should try to accomplish while reading:

read all documents

off to the side, summarize each document without quoting or paraphrasing. mention all parts of document. to save time, when you need to reference it again, use your summary instead of rereading. these summaries can be used to help get your evidence point.

identify 1-3 parts of historical bias (remember SOAP) if possible for each document. this will help you get your analysis point.

categorize documents by reasons for supporting a certain argument, opinions, political biases, etc.; this will help you write the reasons in your thesis.

write your thesis & incorporate all parts; proper structuring, keyword answer, & clarity for your reasons.

& finally, time to write the essay!

since there’s no real tips or strategies that’ll help you specifically write the essay (as i can’t tell you how to answer every possible prompt you’ll be given), here’s an outline that if written correctly WILL get you all 7 points no matter what.

introduction paragraph

contextualize (broadly explain historical context and/or timeframe related to prompt) in 3 sentences

thesis statement

body paragraphs

topic sentence for each reason

write document summary & it’s significance (use as many documents as needed for each reason) for 6 documents throughout all body paragraphs, aim to do this for 7 documents

explain historical bias & significance for at least 3 documents throughout all body paragraphs, try to do this for 5 documents

closing sentence

concluding paragraph

synthesize (incorporate outside evidence) in 3 sentences

restate thesis

my last piece of advice: relax.

while the dbq essay tends to be incredibly intimidating to a lot of the students who cross its path, it truly can be done successfully with proper preparation & a solid strategy. after reading this incredibly lengthy post, save it, screenshot it, take note of it somehow & you can look over this + other resources later on to help you study. at the end of the day, it’s still possible to get at least a good score on the ap exam without a flawless dbq essay; so instead of focusing all of your energy into one thing, just take a breath & give yourself breaks when you need to. good luck, & happy studying! :)

[inkskinned]

as another "gifted" kid that's struggling in school, can you give me any tips about how to help myself?

oh for sure, but be aware these are just what work(ed) for me, so it could be different for everybody. i was really seriously “”””motivated””” by terrible anxiety + ocd so some of this stuff is just “how to excel whilist suffering”

honestly first step is to figure out which kind of learner you are. here’s a sort of childish (and idk about accurate) quiz that’s more helpful in that it will get you thinking about… well, how you think. for me (and in my experience, a lot of other kinesthetic learners), we ended up having to learn a second/third style of learning to get by in schools, which are auditory/visual almost exclusively. i literally didn’t know i could have a 3rd learning style, which seemed really obvious once someone was like “you’re happier when you’re moving”.

use that like a sword of many colors. look up “visual learner studying tips” or whichever is most helpful for you. and follow !! the tips!! 

colorcode…. everything

someone once told me if you write something down 3 times it’s hard to forget it but i have personally managed the opposite. writing things down does help, tho

when you’re taking notes, try to think: how can i distill this into my own words for later?

when they repeat something in a second, slower voice like “it’s the second time he. ever. ate.glass” underline it. when they say it three times, put a star on it, it’s gonna be on the test

be a nerd, ask the teacher for a practice test

be a nerd, ask the teacher for a review sheet

make 1 friend in the class that you can text for notes

offer to be the class stenographer. often in college this is super helpful for 1 forcing you to pay attention and 2 helping someone out! 

group projects are Terrible, everyone knows that. when the person who Refuses To Do Work in your group starts With That Shit, keep a very detailed account of what you do to make up for the work they didn’t, and then go to the teacher with it. i’m not kidding. if you go and act concerned and make it like “oh i’m trying to help, i’m concerned they’re not getting enough out of this class, here’s what i did for them but am i just letting them cheat??” the teacher will be soft on u most of the time

make friends with your teachers

just!! email!!! them!! 9/10 times “hey i’m having a really hard time w/this assignment can i have 2 extra hours” will give you the time u need. i’ve found it’s way better to ask for a 2 hour extension than to turn it in half-done at 12.

make ur computer read back your essay. you will hear it being bad and can fix the bad

nerves, skeleton, meat, skin on every essay. nerves is the running idea through the whole essay. skeleton is quote/data that u need to reference in each paragraph. your outline can look like: IS HE GAY - Paragraph one: “yes” “yes totally” “uh huh”. try to put three bones in each paragraph, or more. then put meat on it. introduction to the quote, “quote,” end of quote. should read like the quotation marks aren’t there. then put more meat on it. transition from last sentence. [first meat]. analysis of quote + context. now your outline looks chunky. good!! the “skin” is all the beauty. add the transitions, add the intro and conclusion. now u know what ur gonna say, after all

remind yourself that practice makes perfect and that’s not a joke

rhyming things/singing them/listening to them before sleep? clutch.

good luck

[frantzfanonarchives]

Fanon’s fugitive archive

Christopher J. Lee

A new, massive collection of published and unpublished works by Frantz Fanon, reveals his intellectual and political motivations, but also proves him enigmatic and inscrutable as ever.

Frantz Fanon was born in 1925 on the Caribbean island of Martinique. He died from cancer in 1961 at the age of 36 in a hospital outside of Washington, DC. In between, he lived in France, where he received a medical degree from the University of Lyon; in Algeria, where he worked at a psychiatric hospital in Blida, near Algiers; and Tunisia, where he continued his clinical research and wrote for Algeria’s anti-colonial Front de Libération Nationale (FLN), a cause he joined while in Blida. He spent shorter periods of time in Accra, Bamako, Conakry, Moscow, Paris and Rome. All told, from a biographical standpoint, Fanon’s frequent movements remain a source of fascination. From a research standpoint, however, these movements are something of a disaster.

Alienation and Freedom, a new collection of Fanon’s writings edited by Jean Khalfa and Robert J. C. Young and translated by Steven Corcoran, is an attempt to alleviate this problem of documentation—in essence, to create a posthumous archive of his work which thus far has been scattered across the aforementioned places in state repositories, medical libraries, university collections and private hands. This book is therefore indisputably a gift, a cause for celebration. First published in French by La Découverte in 2015, Alienation and Freedom is the first major collection of new writing by Fanon to be published in more than 50 years, since the 1964 release of Pour la révolution africaine (Toward the African Revolution), translated into English in 1967.

As such, this volume uncovers a wealth of detail and a revised biographical outline of Fanon. Though it naturally conforms to the life of activism that is well known, this book provides firsthand information about his medical interests, confirms past rumor about his decision-making with evidence, and offers a few surprises, especially with regards to his early writing and personal correspondence. Most significantly, Alienation and Freedom shows us the rough edges of Fanon’s thinking, much of which has been worn smooth through decades of scholarship. A fine-grained sense of his views across the fields of psychiatry, philosophy, and politics over a brief, but intense, period of a dozen years is at hand. Indeed, the uneven quality of the collection—a mix of published and unpublished material by Fanon, plus supplementary material by others—imparts an unusual effect that both further explains Fanon’s intellectual and political motivations while also generating new questions that leave Fanon as inscrutable as ever. Fanon is that rare figure who manages to become more enigmatic through further revelation. The wellspring of this elusiveness is undoubtedly due to his personal geography and the contrasting dimensions produced from his unsettled life. This book’s title captures these contrasts. Alienation and Freedom in content and form reflects the peregrinations of a restless man whose experience of racism led to personal self-determination, who chose intellectual commitment over social status, who embraced the risks of political involvement rather than accept a secure middle-class livelihood.

Divided into five sections with 55 chapters in total, the vast majority consisting of pieces either authored or co-authored by Fanon, Alienation and Freedom undertakes a chronological approach that ranges from his early, unpublished work during his student days at Lyon to a posthumous cataloguing of his personal library. In between, the bulk of the book is committed to his psychiatric research, with 27 chapters, nearly half of the volume, spent on this dimension of his writing. In addition to the main introduction, a shorter introduction is provided for each part, along with annotations, photographs, illustrations and a chronology of Fanon’s life. In short, Khalfa and Young leave few stones unturned.

It is perhaps entirely appropriate that, given Fanon’s dramatic life, Alienation and Freedom should begin with his attempts at writing drama during his time at university. Part I regards this brief corpus of two plays, The Drowning Eye and Parallel Hands, which both date from 1949. The existence of these plays has been known and written about; their inclusion here exemplifies the public archival nature of this book. Despite their brevity, these plays present a distinctly literary side of Fanon—a rare angle in his library of work. As Young discusses in his thorough and insightful analysis that introduces this section, this work not only bears the imprint of Jean-Paul Sartre and Albert Camus, as often understood, but also Aimé Césaire, Fanon’s former teacher and intellectual predecessor, whom he would later grapple with in the pages of Black Skin, White Masks (1952). These two plays are experimental, philosophical dramas that concern issues of language, recognition, identity and politics. They possess qualities of surrealism and abstraction that foreshadow his later essays.

The Drowning Eye is a one-act play with five scenes (one is missing) with the main character named François—a variation on his own name, Frantz—who struggles with his identity. Young observes that like Fanon in Black Skin, White Masks, François is caught “in an irresolvable dialectical bind between black and white, past and future, body and world, desire and insentience, consciousness and transcendent immanence.” However, despite Césaire’s influence, The Drowning Eye is not a Négritude work per se, with race residing in the background. Parallel Hands is similarly allegorical, a four-act tragedy set on a fictional Greek island that presumably serves as a stand-in for Martinique. Written in a formal, faux classical style, Parallel Hands concerns a situation of regicide that upends the social order leading to chaos and violence. This work is arguably less successful, retaining a sense of overwrought melodrama through its elevated archaic pitch. (“Low down, very low down, I looked for the causes of Worlds! Tenaciously I interrogated crystallized beliefs!”) But like The Drowning Eye, this play also establishes questions, if in rough form, that Fanon would continue to address in his later work, in this instance the antinomies of revolution.

Part II turns to Fanon’s psychiatric writings from 1951 to 1959, including the thesis he submitted to Lyon to graduate—the latter a surprise inclusion. As Jean Khalfa writes in his equally thorough introduction to this section, this body of work has long been ignored due to the availability and stress on Fanon’s political writing, the technical nature of his scientific articles, and the dated nature of his research, with its concern for such treatments as electroshock therapy, as it was then used. Nonetheless, Khalfa insists on the significance of this scholarship due to its fundamental importance to Fanon’s professional life. It also underscores Fanon’s constant attempts to synthesize the social and the scientific, subjective experience with the congenital mechanisms of human psychology. This sociogenic approach, already present in his student thesis, promised a comprehensive understanding of alienation and therefore freedom—not solely in a psychological sense, but in a social and political sense as well.

His research articles, dating from 1953 and his residency at the Saint-Alban Psychiatric Hospital where he worked with François Tosquelles, the famed Catalan psychotherapist, are undoubtedly academic and can make for hard, esoteric reading, depending on one’s level of commitment to descriptions of how patients responded to certain treatments. Of greater interest are the broader ideas at play. What is “treatment”? Should “therapy” focus on the individual, or can it be scaled to the group or the institution? What kind of relationship should there be between medical approaches, such as electroconvulsive therapy, and social approaches, like group therapy? Put differently, how is psychological “health” to be defined in relation to the medical and the social? Fanon’s sociogenic approach to psychiatry was enhanced through his work under Tosquelles, who served as the lead author on their jointly produced work and himself sought to synthesize Freud and Marx. Fanon’s later research papers, both published and unpublished, from his time at the Blida-Joinville Hospital with titles such as “Social Therapy in a Ward of Muslim Men: Methodological Difficulties” and “Daily Life in the Douars” point to the transfer of these methods to the colonial context. These chapters hark back to his classic, first academic article “The ‘North African Syndrome’” (1952), republished in Toward the African Revolution, as well as prefigure the sociological pieces in A Dying Colonialism (L’An Cinq, de la Révolution Algérienne, 1959).  Part II also includes editorials by Fanon from newsletters at Saint-Alban and Blida—casual pieces that nonetheless cast light on Fanon’s day-to-day thinking and routine. Another surprise in this section is the inclusion of a set of lecture notes by Lilia Ben Salem, a former student of Fanon’s, entitled “The Meeting Between Society and Psychiatry” based on a course he gave in 1959 and 1960 at the Institut des Hautes Études in Tunis. These notes provide a tantalizing, if fragmentary, glimpse of Fanon as a teacher on such topics as ego formation, racism in the United States, and colonial labor.

Part III returns to more familiar terrain with a collection of chapters consisting primarily of essays drawn from the FLN’s journal El Moudjahid. These writings complement those already collected in Toward the African Revolution with familiar subjects such as Patrice Lumumba, Charles de Gaulle, and what Fanon called “the Bandung-Accra axis.” The writing and editorial process at El Moudjahid was known for being collective and anonymous, and Khalfa carefully explains their selection here. Indeed, along with his co-authored psychiatric articles, more attention should be drawn to the collaborative nature of Fanon’s writing life. Also included in Part III are the speech Fanon gave at the Accra Positive Action Conference in April 1960 (“Why We Use Violence”) and a brief letter sent to the Iranian revolutionary Ali Shariati, in which Fanon expresses a respectful disagreement over the use of Islam (and religion generally) as an ideological source for revolution. Parts IV and V make up the shortest sections of Alienation and Freedom, the former consisting of commentary and correspondence about publishing Fanon’s work in France and Italy and the latter presenting a catalog of Fanon’s personal library. Though cryptic and somewhat predictable—Freud, Sartre, Hegel, et cetera—the listing of books he owned is revelatory in its way. Among Marxist thinkers, Mao predominates—unsurprising given Fanon’s emphasis on the peasantry forming a revolutionary vanguard. But it is also clear that, as a reader, Fanon was firmly situated in a western philosophical tradition.

At almost 800 pages, Alienation and Freedom is a massive text that is difficult to summarize. It is not intended as an introduction to Fanon. It will not displace his classic works, Black Skin, White Masks or The Wretched of the Earth. In fact, one critique that might be leveled is its size. The heft and bagginess of this book does have a certain appeal, conveying in palpable form the sheer weight of Fanon’s writing and the multitude of interests that preoccupied him. I personally like this archival approach. But the publisher might consider breaking this book into separate smaller books—a volume of his plays, his medical writings, and so forth—that could be more focused and easier for reading and teaching. Nigel Gibson, the author and editor of several books on Fanon, has a forthcoming edited work that also collects Fanon’s psychiatric publications. Scheduled for release in early 2019, it can be presumed that there will be overlap between this book and Alienation and Freedom. Gibson has co-authored with Roberto Beneduce a preceding examination of Fanon’s medical research and his role in developing a critical ethno-psychiatry in Fanon, Psychiatry and Politics (2017). This psychiatric approach was also examined more than 30 years ago now in Frantz Fanon and the Psychology of Oppression (1985) by Hussein Abdilahi Bulhan.

Yet it is unclear if this renewed emphasis on Fanon’s psychiatric research will lead to a fundamental revision as to how Fanon is treated and understood. Certainly, it is important to restore this dimension to his life as a matter of historical record and intellectual history. Furthermore, his scholarship should find a permanent place in the history of psychiatry, not just the history of decolonization. However, when read alone, much of Fanon’s psychiatric writing appears more limited in potential elaboration and application for humanists—his main audience today—than, for example, the related ideas of Michel Foucault and Georges Canguilhem. Fanon was a practicing psychiatrist who, in his research findings, wrote for other professional psychiatrists. These academic articles in Alienation and Freedom therefore frequently contrast with his radical innovations at synthesizing different fields of knowledge in Black Skin, White Masks.

Given the magnitude of Alienation and Freedom, it should also be stated that some possible avenues are neglected. Fanon’s wartime service with the Free French forces has often been overlooked, even though the experience marked his first encounter with the effects of violence, the possibility of ending political injustice through armed struggle, and Algeria itself. Documents from this period of his life have been absent.

Similarly, Josie Fanon, whom he married in 1952, remains as enigmatic as ever, despite her vital role in transcribing his work while he was alive and promoting his work after he died. She was famously private, and she is primarily known through a handful of published pieces and secondhand accounts, such as one by Assia Djebar in Algerian White (1995), in addition to indirect reports from various memoirs of Fanon. A project on her life is needed.

These limitations of Alienation and Freedom in the face of its comprehensiveness ultimately point to the ways that Fanon continues to elude scrutiny from critics and admirers alike. This continual evasion should not necessarily be read as a willful choice on his part, but instead as an enduring effect of the conditions of racism and colonialism he confronted and threw himself against. His library of work and the textual fragments of his life outside of his major books constitute a fugitive knowledge, a subterfuge against the conformities of power—state, social, academic and otherwise. These collected writings in Alienation and Freedom are therefore not materials for the reconstruction of a life. They are the life.

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How to write a paper

I know some of you are going back to school soon and will have to write papers and essays. I had to write a ton of papers throughout college and high school, and I have that shit down to a science. Here's my formula for writing analytical papers, idk it may not work for everyone but it's gotten me to the point where it decreases the stress because I know exactly what my plan is.

  Gather evidence and outline. You want to start this shit a day or two before you start actually writing the paper (which you should be doing well before it's due). It can be hard to motivate yourself, but try to keep in mind that when you sit down to start actually writing you'll be very glad that you've already got your shit in order. Think of it as making less work for yourself later on.  I have a word document for the actual paper and another document labeled "[paper] notes." That's where I do the outlining stuff. What you want to do at this point is have a general thesis statement and some evidence. Doing literary analysis?  Go through the book and find all the quotes you need and type them up into the notes doc. Writing a research paper? Find quotes from your sources, copy and paste that shit if it's online, even just copy and paste in the link to the source if you're really unmotivated. As long as you've got your general shit all together so you can find it.

 Now you need an outline. This doesn't have to be anything fancy, you just want to put your thoughts in order. Typically your thesis is gonna say “this is my idea and here are the three points of evidence I’m gonna use to back it up.” “People like Sprite more than Coke because Sprite tastes better, is clear, and has more bubbles.” In this format, generally your paper is gonna go: 1) Intro paragraph with thesis 2) Examination of first point of evidence and how it backs up your claim (Sprite tastes better, here’s a molecular analysis and data from polls comparing both drinks). 3) Same for second evidence (turbidity analysis of Sprite vs Coke, quotes from consumers preferring clear drinks) 4) Third evidence (data on bubble quantity and why people like it) 5) Concluding paragraph that ties everything back together, restates argument in light of all the examination of evidence we just did, and forms a new idea at the end/relates to future real-world stuff (this info may help soda companies develop more popular drinks in the future, may help health drink companies make their drinks more appealing, etc).

To outline this shit you just want to list your ideas in that order and pop in your evidence so you have it all organized. This can be very informal if that works for you – the magic happens when you translate it into writing. Other people might like to write out each part of their outline more thoroughly, that’s cool too. Here’s an excerpt from an outline of mine where I had to critique a scientific paper:

Conclusion

-“The purpose of this study was to identify the macroparasite species associated with a sample of tropical bats from a ‘hot cave’ in Puerto Rico and to carry out a preliminary investigation of how macroparasite infection may be related to host factors” (Krichbaum et al. 2009, pg 159-160). Could have stated that shit more clearly in the introduction

 -3 of the ectoparasites had not been previously known to parasitize these bat species

 -noted 2 species of helminth often found in these bat species

-some parasite species that are usually on these bat species weren’t  -could be because small sample size              

            -“parasites are typically aggregated in their host population and a small sample of bats may preclude observations of the most parasitized individuals, so missing certain parasite species” (161) 

Once you’ve got your outline, you’re golden. Now all you have to do is turn it into fancy words and actually write the paper. This might be the most difficult stage, but it helps to take the mindset that “I have an interesting idea about this topic and now I get to explain it to people in detail!” You’re showing us how smart you are and what cool shit you know. If it’s the kind of paper where you can pretty much choose your own topic/thesis, try to have it be about something you’re interested in, it makes it easier. If it’s not something you particularly care about, maybe try to think of it like a puzzle to solve? How can I best convince the audience that my idea is right and I know what I’m talking about? – that kind of thing. Ask your teacher, parents, friends, etc to look over your writing and give you feedback! If you’re having trouble coming up with an idea for a topic, go back over your class notes and see if there’s anything interesting that catches your eye or that you wanted to know more about/explore further when you first learned it. In terms of finding information/evidence, ask a librarian for help! That’s generally part of their job and they’d probably be pleased to help! Once you’ve got everything written, bam, just look up how to cite your sources according to whatever method your teacher wants, and you’re good!

 I’m gonna leave you with a few little tricks:

1) Make sure you have smooth transitions between paragraphs. Make the beginning of one paragraph reminiscent of the end of the previous one so your ideas flow – in our soda example above, when you transition from talking about how people prefer clear drinks, you could start the next paragraph about bubbles with something like “The clearer the drink is, the easier it is to see all the bubbles. Bubbles are also an important factor to consumers.” More polished than that, but you get the idea.

  2) As I said before, make your concluding paragraph end with a new idea that you’ve drawn from your exploration of the topic/evidence, especially if you can apply it to how this evidence might affect the world in the future if applied in a certain way, what future studies could be conducted, etc.

 3) Start your intro paragraph with a generalized idea about your topic and then go into your thesis statement. Like, “Soda is a popular beverage in America. Among the most popular sodas are Sprite and Coke. However, Sprite is more popular than Coke. Sprite is the preferred drink because it tastes better, is clearer, and has more bubbles.” Again, I’m just pulling this out of my ass so obvs it should sound better than that but you get the idea.

 Make sure to examine your school’s plagiarism and source citation rules and make sure to really read the syllabus/instructions so you know what your teacher wants from your paper. They may have a specific way they want the paper formatted or outlined or whatever, and in particular you don’t want to lose easy points just because you used the wrong font or something. Again, my philosophy for writing papers may not work for everyone, but hopefully something here is useful. Happy writing! 

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IDEAL ASSIGNMENT FORMAT FOR A RESEARCH PAPER A typical research paper has the following sections:

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Introduction Background Alternatives & Constraints/Limitations Proposed Solutions Recommendations But these sections may change from a case study to a case study – depending on the nature of the problem/event/ entity under study. Our expert assignment help providers offer several case study templates for students as well as step-by-step guidance in writing effective case studies.

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LITERATURE REVIEW ASSIGNMENT FORMAT You may be asked to write a Literature Review separately or as part of a longer research paper. In both cases, you will have to follow the standardized academic writing and referencing styles preferred by your instructor, such as APA, MLA, Chicago, etc. But all of them use this basic Literature Review assignment format:

Title Page Abstract Introduction Body (which may have several subtopics) Conclusion References/Citation Different academic writing styles define the ideal word count for each section. Our review writing experts can also help you with writing article reviews and book reviews that need to be styled differently than literature reviews.

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HOW TO STRUCTURE A REFLECTIVE JOURNAL? Reflective journal assignments can be written as diary entries, personal journals, essays, books, or peer reviews.  college assignment help Each entry in a journal or diary (meant to be a reflective writing piece) should have the following sections:

Topic Introduction Event or Situation being discussed Appraisal Exploration Conclusion or Integration References Here’s a reflective journal assignment example that shows weekly reflection by the author in a learning journal. Each number in this journal is an important point that will come in handy while writing a reflective assignment.

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Citation, and Annotation The citation format follows the formatting suggested by a professor’s preferred referencing style (such as MLA or APA). The annotation part is usually 100-300 words long and gives you a quick glimpse of why a source was selected for the writing piece.

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EXPERT TIPS ON HOW TO FORMAT ASSIGNMENTS Our essay writing help providers say that they cannot emphasize enough the importance of reading assignment writing guidelines shared by your instructor. Understanding each instruction clearly and following it while writing the assignment can pull up your grades significantly.

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Descriptive Essay Outline Example

Descriptive Essay Outline Example Some instructors require outlines to use decimal format. This structure makes use of Arabic decimals instead of Roman numerals or letters. Before you start thinking about totally different methods of group, evaluation what your teacher has provided for steering. They may have particular necessities for what to include in your outline, in addition to the way it must be structured and formatted. What evidence are you utilizing to assist your evaluation? To ‘critically consider’, you should present your opinion or verdict on whether an argument, or set of analysis findings, is accurate. This must be done in as critical a manner as attainable. Provide your opinion on the extent to which an announcement or analysis finding is true. Your instructor may present steerage as to the sort of define they want to see; if not, select what works greatest for you. A analysis paper define can even give your teacher an early concept of the ultimate product. Examples of 300 word essays instance essay utilizing gibbs reflective cycle. Essay about kinds of farming quick essay about rose. But our information on essay question words beneath ought to maintain you firmly above on safe, essay-acing ground. But the silver lining here is that presenting your argument doesn’t have to be annoying. This goes even when you’re a new pupil with out much expertise and talent. This is a common guide for what you will notice in journal articles or dissertations. This format assumes a combined methods research, however you possibly can miss either quantitative or qualitative sections if you solely used a single methodology. The ultimate version of your outline should mirror your completed draft. Formatting dictates how papers are styled, which includes organizational structure, page layout, and the way information is presented. Scribbr editors not only appropriate grammar and spelling mistakes, but also strengthen your writing by making sure your paper is free of vague language, redundant phrases and awkward phrasing. Research paper outlines can consist solely of notes or be extraordinarily detailed. A important analysis of a topic will warrant an assertive essay response that particulars the extent to which you agree with a set of findings, a theory, or an argument. Lacking this understanding is a pitfall many college students tumble into. For instance, according to APA style, papers need to be written in a widely out there font. Traditionally, Times New Roman in 12-level font is used, but different legible serif and sans serif fonts like Arial or Georgia in 11-point fonts are also acceptable. At this stage, remember to rigorously review and edit your paper. If you are required to show in your outline earlier than you begin working on your paper, remember that you might also want to incorporate an inventory of references that you just plan to make use of. For instance, you can select to format your headings and subheadings as full sentences or use shorter headings that summarize the content material. You can even use completely different approaches to organizing the lettering and numbering in your outline's subheadings. To write a coherent and properly-structured essay, you simply have to actually perceive the necessities of the query. And to grasp the necessities of the query, you have to have an excellent hold on all the totally different question words. For example, 'justify', 'examine', and 'focus on', to call a few. This review covers the basic parts of a analysis report. While the official APA publication manual doesn't provide specific steering for define preparation, it does specify general rules to keep in mind as you're writing. There is not any specific APA format for creating an outline, which suggests the ultimate type that your define takes will depend upon what your teacher requires as well as your personal preferences.