...particular research paper topic. And what type of writing works best? Students often complain about a certain type of essay they have been assigned with. It seems to them that writing within essay type boundaries doesn’t allow them to think out the box, limits their potential. But writing a paper without any directions could be even more confusing than the class assignment you got. Do not think about the limitations as of the prison walls, but as of the walls in your room where you feel free to paint murals or change nothing whatsoever, simply being in control of it, being yourself. Tweet Quick Navigation through the Types of Essays Page Basic Types: Narrative, Descriptive and Persuasive How Can We Help Personal Essays Argumentation Essays Information Essays Analysis Essays Description Essays Structural Essays Download Free Sample of Essay Essay Sample Essay Free Sample (Click the image to enlarge) Essay Free Sample Basic Types: Narrative, Descriptive and Persuasive The most valuable skill when writing an essay is to know exactly what you are dealing with. That’s why...
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...paper allows you to relate your personal experience engaged with some aspect of a topic, to hunt for facts and opinions firsthand, and to provide a step-by-step record of the search process. It’s part research paper, part personal narrative, part reflection. • First step: choose a controversial topic broadly pertaining to digital technology, digital media, “the internet,” television, or modern computing technology that truly interests you—specifically some problem or concern you want to be more informed about (use Homework #1 as a launching point). The topic, however, has to be argumentatively rich, meaning that there have to be many different viewpoints on the issue. • Second step: rather than starting with a thesis or claim, you’re going to begin with a question or problem spurred by some personal experience or exploration. Think of yourself like an investigative journalist or social scientist: if you’re writing about online communities, immerse yourself in one; if you’re writing about internet/television/cell phone addiction, deprive yourself for a few days; if you’re investigating some activity, try engaging in that activity; etc. You’re trying to get the heart of a controversy by gaining first-hand experience. • Third step: start researching. As you research, keep track of what you know and what you learn about the topic, how your assumptions change, and how different sources affect your perspective on your personal experiences and other sources. If you take copious...
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...pairs to help one another learn material or practice an academic task. Peer tutoring works best when students of different ability levels work together (Kunsch, Jitendra, & Sood, 2007). During a peer tutoring assignment it is common for the teacher to have students switch roles partway through so that the tutor becomes the one being tutored. Since explaining a concept to another helps extend one’s own learning, this practice gives students the opportunity to understand better the material being studied. What does the research say about peer tutoring? In reviews of peer tutoring programs, researchers found: * When students participated in the role of reading tutor, improvements in reading achievement occurred * When tutors were explicitly trained in the tutoring process, they were far more effective and the students they were tutoring experienced significant gains in achievement * Most of the students benefited from peer tutoring in some way, but same-age tutors were as effective as cross-age tutors (Burnish, Fuchs & Fuchs, 2005; Topping, 2008) Some benefits of peer tutoring for students include higher academic achievement, improved relationships with peers, improved personal and social development as well as increased motivation. In turn, the teacher benefits from this model of instruction by an increased opportunity to individualize instruction, increased facilitation of inclusion/mainstreaming, and opportunities to reduce inappropriate behaviors (Topping, 2008)...
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...Unit 1 Journal 1: Personal Narrative 4 Unit 1 Journal 1: Personal Narrative Handout 6 Unit 1 Journal 2: Civic Narrative 9 Unit 1 Journal 2: Civic Narrative Handout 11 Unit 1 Assignment 1: What Would You Do? 12 Unit 2 Journal 1: Personal Narrative 13 Unit 2 Journal 1: Personal Narrative Handout 15 Unit 2 Journal 2: Civic Narrative 19 Unit 2 Journal 2: Civic Narrative Handout 20 Unit 2 Journal 3: Article Response 22 Unit 2 Assignment 1: What Would You Do? 23 Unit 2 Assignment 2: Declaration of Independence and Public Safety 25 Unit 3 Journal 1: Car Commercials 26 Unit 3 Journal 2: Personal Narrative 27 Unit 3 Journal 2: Personal Narrative Handout 28 Unit 3 Journal 3: Civic Narrative 31 Unit 3 Journal 3: Civic Narrative Handout 32 Unit 3 Journal 4: Taste vs. Judgment 34 Unit 3 Presentation 1: What Would You Do? 35 Unit 3 Assignment 1: Habits That Hinder Thinking 36 Unit 4 Journal 1: Invention Exercise 37 Unit 4 Journal 1: SWOT Analysis Template 38 Unit 4 Journal 2: Personal Narrative 39 Unit 4 Journal 2: Personal Narrative Handout 41 Unit 4 Journal 3: Civic Narrative 43 Unit 4 Journal 3: Civic Narrative Handout 44 Unit 4 Assignment 1: What Would You Do? 46 Unit 4 Assignment 2: Invention White Paper 47 Unit 5 Journal 1: Personal Narrative 48 Unit 5 Journal 1: Personal Narrative Handout 49 Unit 5 Journal 2: Civic Narrative 51 Unit 5 Journal 2: Civic Narrative Handout 53 Unit 5 Assignment 1: What Would You Do? 55 Unit 6...
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... | |PERSONAL INFORMED INTERPRETATION | | | |Students who decide to write this type of essay should be aware of what is meant by the term ‘personal informed | |interpretation’. Think of this phrase as three separate words: | | | |‘Personal’ - What does the novel mean to you? How does it make you feel? This does not have to be a positive feeling - just | |because someone you know loves this novel above all others, does not mean that you have to! However, do not just write your | |essay in the form of a ‘rant’ - your reasons, whether you love or loathe the novel, must be reasoned and reasonable, but | |above all, personal. | | | |‘Informed’ - Your essay must demonstrate that you have understood the novel. In addition, you will be required to endorse | |this understanding with wider, relevant reading, showing that you have selected...
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...accomplishments, and why do you view them as such? — Harvard http://www.free-essay-writing-topics.com/index.php?page=mba-application-accomplishment-questions What is the most significant change or improvement you have made to an organization with which you have recently been affiliated? Describe the process you went through to identify the need for change and manage the process of implementing change. What were the results? — Kelley Describe your greatest professional achievement and how you were able to add value to your organization. — Johnson The goal in answering this kind of question is to analyze, rather than summarize, an achievement. This advice is particularly true if you're discussing an accomplishment that is listed elsewhere on the application. Your readers want to gain insight into your character, not read a factual summary of what occurred. Here are some guiding principles to use in constructing your answer: (1) Choose something that's meaningful to you. Some applicants feel obligated to choose the most objectively impressive accomplishments. You should write about something that has personal significance, even if you weren't formally recognized for it. What matters is that you write passionately and insightfully about your subject. Unless otherwise specified, you should feel free to draw on academic, personal, or professional successes. (2) Focus on details about the process. Show the reader through concrete details how you achieved what you did. If you want to discuss...
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...STUDIES IN PROFESSIONAL LIFE AND WORK Mike Hayler University of Brighton, UK Autoethnography, Self-Narrative and Teacher Education examines the professional life and work of teacher educators. In adopting an autoethnographic and life-history approach, Mike Hayler develops a theoretically informed discussion of how the professional identity of teacher educators is both formed and represented by narratives of experience. The book draws upon analytic autoethnography and life-history methods to explore the ways in which teacher educators construct and develop their conceptions and practice by engaging with memory through narrative, in order to negotiate some of the ambivalences and uncertainties of their work. The author’s own story of learning, embedded within the text, was shared with other teacher-educators, who following interviews wrote self-narratives around themes which emerged from discussion. The focus for analysis develops from how professional identity and pedagogy are influenced by changing perceptions and self-narratives of life and work experiences, and how this may influence professional culture, content and practice in this area. Autoethnography, Self-Narrative and Teacher Education Autoethnography, Self-Narrative and Teacher Education STUDIES IN PROFESSIONAL LIFE AND WORK The book includes an evaluation of how using this approach has allowed the author to investigate both the subject and method of the research with implications for ...
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...invention Commercial Break!!: Creative Play With Media Influence Purpose: Works well to introduce a personal visual media paper, or other media analysis paper, because it encourages students to think critically about their childhood experiences with TV, etc in a personal, creative way. The exercise may become an early paper draft, or simply stimulate their thinking about the programs and commercials they have watched, and how these media affected them. Description: Students will write creative narratives about a childhood TV experience, then trade papers with another classmate, who will assess the program, the narrator, and then complete the narrative with a commercial break description suited to the program and audience. You may want to have your own example written up to read to them before each step, just to get them thinking about what’s possible. Suggested Time: 20 minutes to a full class period Procedure: Ask the class what their favorite shows were as kids: cartoons, sitcoms, even documentaries. You may want to bring in a few stills or uTube clips to project (in a tech class), as a memory jogger (ex. The Cosby Show, Ren & Stimpy, etc). Once you’ve discussed a nice variety of TV programs, ask the class to freewrite for 5-10 minutes (however long you wish to tell them) in first-person P.O.V. about their experience watching a show like these as a kid. They should be specific and detailed, writing whatever comes to memory about what’s going on in the program and their thoughts/reactions/and...
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...the summer, stop worrying about where your life is and isn’t heading. What news? Well, on 24th September, we can officially and definitively declare that postmodernism is dead. Finished. History. A difficult period in human thought over and done with. How do I know this? Because that is the date when the Victoria and Albert Museum opens what it calls “the first comprehensive retrospective” in the world: “Postmodernism—Style and Subversion 1970-1990.” Wait, I hear you cry. How do they know? And what was it? Postmodernism—I didn’t understand it. I never understood it. How can it be over? You are not alone. If there’s one word that confuses, upsets, angers, beleaguers, exhausts and contaminates us all, then it is postmodernism. And yet, properly understood, postmodernism is playful, intelligent, funny and fascinating. From Grace Jones to Lady Gaga, from Andy Warhol to Gilbert and George, from Paul Auster to David Foster Wallace, its influence has been everywhere and continues. It has been the dominant idea of our age. So what was it? Well, the best way to begin to understand postmodernism is with reference to what went before: modernism. Unlike, say, the Enlightenment or Romanticism, postmodernism (even as a word) summons up the movement it intends to overturn. In this way, postmodernism might be seen as the delayed germination of an older seed, planted by artists like Marcel Duchamp, during modernism’s high noon of the 1920s and 1930s. (Seen in this light, the start-date that the...
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...fairytale setting throughout their narrative. It is imagination that sanctions the reader of these literary forms to be able to mentally visualize what the author would like the reader to visually perceive by use of symbolism or descriptive wording. In the poem “The Road Not Taken” or short stories “A Worn Path” or “Used To Live Here Once” – There is a prevalent theme. No matter what solitary journey we find ourselves on, ‘we’ determine how the journey ends. The solitary journey that each of these literary pieces share is presented differently in each inditing. Robert Frost designed “The Road Not Taken” with specific designs in the narrative that revealed for me as the reader that there was a forthcoming journey. Frost also utilized the word “I” many times, which sanctioned me to imagine him alone. Comparative to this example let us compare “A Worn Path” where Welty utilized the word “she” throughout the writing piece. The linguistic choice inspired my imagination to visualize a woman walking alone. This visualization was reinforced in other places of the writing when the character spoke to animals to get out of her way: “Out of my way, all you foxes, owls, and beetles”. When Welty posed this conversation in the story, it gave me a sense of solitude. The submission that the woman also was walking a uphill path provided the symbolic comparison to a ‘hard life’. Walking uphill for any length of time is exhausting for anyone and when you add the notion of being elderly, it...
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...This article was downloaded by: [Lahore University of Management Sciences] On: 02 May 2015, At: 09:58 Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK Anatolia: An International Journal of Tourism and Hospitality Research Publication details, including instructions for authors and subscription information: http://www.tandfonline.com/loi/rana20 Understanding the influence of interpersonal relationships on identity and tourism travel Julia F. Hibbert a b a , Janet E. Dickinson & Susanna Curtin a a School of Tourism, Bournemouth University , Fern Barrow, Poole , BH12 5BB , United Kingdom b School of Business and Economics, Linnaeus University , Kalmar , Sweden Published online: 25 Jan 2013. To cite this article: Julia F. Hibbert , Janet E. Dickinson & Susanna Curtin (2013) Understanding the influence of interpersonal relationships on identity and tourism travel, Anatolia: An International Journal of Tourism and Hospitality Research, 24:1, 30-39, DOI: 10.1080/13032917.2012.762313 To link to this article: http://dx.doi.org/10.1080/13032917.2012.762313 PLEASE SCROLL DOWN FOR ARTICLE Taylor & Francis makes every effort to ensure the accuracy of all the information (the “Content”) contained in the publications on our platform. However, Taylor & Francis, our agents, and our licensors make no representations or warranties whatsoever as to the accuracy, completeness...
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...believe that everything is an argument—every piece of writing, every image you see. That's because every time we write something down—with the possible exception of a private journal entry—we are anticipating that someone else will read or see it, and we hope to achieve some kind of response in that reader or viewer. So even if you are writing a description of your favorite vacation spot, you are probably trying—maybe without even realizing it—to convince your reader that your vacation spot is the most beautiful place in the world. Think about it. When did you read any nonfiction writing that wasn't, finally, trying to persuade you of something in some way? Most rhetoricians—that's people who think about argument and language—agree that there are three basic ways to appeal to an audience. You can appeal to logic. That is, you can lay out your argument in clear, coherent steps, so your reader or listener can see how you get from one conclusion to the next. Or you can appeal to authority. Here you may want to find experts or facts to support your argument—think about Tiger Woods endorsing golf clubs. (Of course, do we also trust Tiger to advise us on buying watches? Not so clear.) Or you can appeal to emotion. Emotional appeals can be extremely powerful, especially when you are able to relate your argument to your readers' values or needs. Most good arguments make use of all three appeals in some way. But how do you actually construct an argument? First things first: the thesis. The...
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...and future wars. Futility clearly illustrates how war affects the living, how it makes them contemplate life, how it makes you question everything, particularly existence. In Come on, Come back, we see how war devastates the mind, how it leaves people longing for peace and salvation, even if they can’t remember what it is they have done or seen. To begin, Owen uses the structure of Futility to convey a single event and the subsequent thoughts it evokes. He uses the simple sonnet form to find the essence of what a death brings to him – the feeling of utter pointlessness. Even though it is much more brief than Come on, Come back, he emphasises the feelings of emptiness that death can bring. He uses half-rhyme to create a disjointed, unnatural feel that makes the poem feel strange and creates a strange disjointed harmony. It doesn’t quite sound right. This is superbly appropriate for the subject itself. Even though the dead soldier looks as if he is just sleeping, he isn’t. It isn’t quite right. He also builds on the series of questions he asks in the poem to build up to the most profound of all: “Oh what made fatuous sunbeams toil to break earth’s sleep at all?” Here we see how he cannot understand why the universe bothered to raise anything, to build a civilisation, when it is all for nothing. We destroy each other. Although Come on, Come back is a narrative poem, it still uses the structure to build up to a climax, just as Owen did. The line lengths and the way the lines fall...
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...the story is about. My interpretation of this story is that the message is to rebuild trust in relationships can be difficult. The main character tries so hard to rebuild his relationship with his son by making him trust him when the cross the river. Because it could happen that he slips on the rocks in the river, so actually the son let his life depends on a trust to his father. The main character is a man who has a young son and he were married once. The text does not tell us directly that he is divorced but there are things that leads up to the fact that he was for example, it says on page 1 line 15 “For a long time he hadn't wanted her back”. This tells us that he is separated from a woman but not that they are divorced. Another example could be when he looks at the yard page 1 line 14 “the azaleas he'd planted” This tells us that he once had lived there and planted an azaleas. Based on these facts about the man I would guess that he is around his thirties. The main character has hope for getting his son’s trust back and therefore he arranges a trip to an old barn across the river. The main character is the one who has destroyed the relationship with his wife because on page 4 line 135 is says, “My God, All his other fuckups were just preparations for this.” The main character has no name in the story and there is no personal description of him. Instead, there is a lot more focus on his thoughts and he is also pretty reflective. He is a very nervous man and this has a big effect...
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...Family narrative Wes Moore, had a strong family presents that supported him in being successful in work and in personal life. “The single most important thing you can do for your family may be the simplest of all: develop a strong family narrative”(Feiler 2) The family narrative influences the child’s ability to be successful, the three narratives are ascending, descending, and oscillating. Ascending is the example of "Son, when we came to this country, we had nothing. Our family worked. We opened a store. Your grandfather went to high school. Your father went to college. And now you. ..." ( Feiler 3) Ascending is negative and the child is giving a common expectation of success. “ Second is the descending narrative: "Sweetheart, we used to...
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