Sample Essay Help

<h1>Sample Essay Help</h1><p>Many instructors nowadays experience issues disclosing article tests to their understudies, and there are explanations behind this. Center school article tests are normally either excessively entangled or excessively basic, and they all contain a similar exercise, which is to show understudies how to introduce, and talk about, thoughts and contentions. In spite of the fact that instructors frequently appear to realize how to educate, these exposition tests are intended to assist understudies with sharpening their own aptitudes recorded as a hard copy, discussion, and argumentation, not only to pass a test.</p><p></p><p>Most center school understudies don't comprehend that the task doesn't end after they wrap up the paper. They will consistently think that its a smart thought to have a layout of the article, so they can start composing following they are finished perusing. When composing for center school, understu dies ought to hope to compose expositions with appropriate sentence structure, spelling, and accentuation, and to comprehend significant ideas like activity, goals, and consequence.</p><p></p><p>The initial segment of each center school paper must incorporate some essential realities about the point being talked about. Center school understudies should begin by presenting themselves, and what they think about the subject. They ought to give subtleties of the points they know, with the goal that their perusers can remember them when they read their assignments.</p><p></p><p>The second piece of any center school article test comprises of a summation of the whole exposition. This diagram ought to incorporate all the significant pieces of the article and ought to incorporate the body of the exposition, any supporting realities, and any exploratory writing. The substance of the diagram ought to act naturally logical, just as simple to perus e, and ought to give understudies a thought of what is to come.</p><p></p><p>Next, any center school understudy must address a specific issue or worry of the exposition. It's alright in the event that they don't cover everything, except the main section ought to incorporate a few realities that address the worry. Understudies may decide to address the issue in more than one spot all through the paper, inasmuch as they clarify it adequately.</p><p></p><p>The last piece of the center school article should comprise of an end. Expounding on an end is viewed as the most significant part of a center school paper, as it gives understudies an unmistakable and brief clarification of their point. Understudies ought to incorporate a short clarification of why they reached the resolution they did, just as a connect to where they will present their work. Instructors will take a gander at the decision and give understudies a passing evaluation, cont ingent upon how well they handle the conclusion.</p><p></p><p>Middle school understudies must give cautious thought to how they approach their articles, since certain understudies may think that its simple to stall out on one area, and this could keep them from finishing the paper by any means. Teachers can help in this procedure by helping understudies concoct their own training inquiries for center school articles and urge them to adopt this equivalent strategy when they are composing their own essays.</p>

How to Strengthen Your Reading Sections on the SAT and ACT Test

What Should You Have Done Before You Get to the Questions? Welcome back to another blog post about the SAT and ACT tests! This post continues on my earlier posts on practicing reading and ACT and SAT reading questions. If you haven’t read them, be sure to circle back and check them out. What Should You Have Done Before You Get to the Questions? Depending on your reading strategy, you’ll be at a different place by the time you get to the questions. My blog on How to Read for the SAT and ACTgoes into different reading strategies. Whatever strategy you choose, however, by the time that you answer the questions, you should have either skimmed or read the whole passage. Going straight to the questions and hoping you can then find the answers in the passage usually takes too long. Plus, there is no way of knowing that you have found the optimal section to use for answering the question. In addition to having read the passage on the SAT or ACT test, it is also important that you have made some marks to orient you when you go back to find the passage. Some circling of major names or underlining or major ideas can save you crucial seconds. Strategies for Answering the Reading Questions Before we talk about specific types questions, let’s go over some general tips: You can always do the questions out of order. Sometimes skipping a question that you don’t know can help you out. The other questions and answers for the passage can help you figure out parts that you overlooked or misunderstood the first time. It is important to go back to the passage for your answer. Don’t go with what sounds right. Prove it. The test is based on the reading, so the answer is found directly in the reading. If you find yourself justifying a reading answer, saying well I think this could mean†¦, you are probably stretching what the text says farther that you should. Look at the other answer choices to see what is backed up more clearly by the text. The only exception to the above rule are questions that ask you to extrapolate from what you read. These questions often use phrases like â€Å"most likely,† indicating that the passage gives clear clues to the right answer but does not state the answer outright. Answering Particular Types of Questions Some questions, especially on the SAT test, come in pairs. The first question asks a question; the second question asks for the line that backs up the answer you chose. These questions can be a bit tedious, but don’t let them become a time drain. Before you do any question, see if you will need line references in the next question. If you do, be sure to tackle both questions together. That way you don’t spend time answering the same question twice. Doing these questions together can also point you in the direction of the right answers for both questions, since you need to pick the two answers that make sense together. If a question includes a line number, it is worth your time to go back and read the sentence. There’s no way that you can remember every line—you need to go back and see what the question is specifically asking before you can jump into the question. Otherwise, you might be thinking that the question is asking about a different part of the passage. It is especially important to go back to the passage when the question asks about the meaning of a particular word as it is used in the passage. Often, all of the answer choices will be real definitions of that particular word. You need to find out which definition is being used in that particular sentence. I think the easiest way to answer these questions is to read the sentence, substituting in the various answer choices. Usually one will stand out as clearly correct. What to Do Next? Keep reading my blogs for the reading section! Next, take a practice test and see how you do! Want to take it a step further? Contact us today to get one-on-one customized support on the SAT/ACT! ; Craving more on the subejct? How do I use Punctuation on the ACT and SAT Exams? How do I use Punctuation on the ACT and SAT Exams? Part II The Key to Selecting the Right Answer on the SAT ACT: Part 1 The Key to Selecting the Right Answer on the SAT ACT: Part 2

Topic Choices For Your Curiosity Essay

Topic Choices For Your Curiosity EssayMany students are confused by the topic choices in a writing assignment. Some writing assignments ask students to write about a single topic, while others will ask students to write about a broad range of topics. Because of this, you should learn how to choose topics for your own curiosity essay.Before starting out on your research, you should know the idea behind a broad range of topics for a writing assignment. As mentioned above, some topics are always going to be a bit more diverse than others. This is because you might be trying to find a topic that could be too broad to fit the tone of your writing assignment. It may be too serious or too light for your writing assignment.When writing a broad range of topics, it may be tempting to use a generic topic. You don't want to be predictable with the writing assignment, though. Just like with writing a journal article, you don't want to go too vague. If you're too generic, you'll lose the interest of your readers, and they won't keep reading your writing.While a broad range of topics can be helpful, there are other ways that a wide range of topics can be unhelpful to your writing assignment. When writing a writing assignment, it's important to keep yourself motivated. You need to be able to motivate yourself to write in order to stay focused and produce the best work possible. If you write about topics that are too broad, you may not be as motivated as you would have been if you had stuck to topics that are more focused.This does not mean that you shouldn't try to write about broader topics when you are writing a writing assignment. It just means that you need to know the best way to go about it. Try not to write too much about the topic, and let your ideas grow out from your topic. As your writing progresses, you'll begin to write about more general topics, which will allow you to become more focused and produce better results.It's also good to understand what type of writin g assignment you are working with before choosing essay topics. If you are writing a short-term writing assignment, you will be using a wider range of topics than if you were writing an essay that will take several weeks to complete. This can give you more room to explore and try different topics and give you a better chance at discovering a topic that will satisfy the needs of your assignment.One of the best ways to select essay topic is to think about where you will want to be three to five years from now. Think about what you would want to know or how you would want to stay informed when you are that old. That way, you can have a broader topic to choose from. At the same time, if you are looking for specific information, you will be able to narrow down your topic choices to those that will most likely help you with your current research project.When you decide on good topics, you will be able to get started on your research with confidence. With careful selection of the topic, yo ur writing will be completed in a timely manner and you will be able to gain more information to help you in your career.

Methods of Expression and the Limitations of Speech in Woolfs To the Lighthouse - Literature Essay Samples

For there are moments where one can neither think nor feel. And if one can neither think nor feel, she thought, where is one? (Woolf, 193-4)In To the Lighthouse, Virginia Woolf illustrates a division between her male and female characters. The males commonly represent left-brained, factual, calculating, predictable approaches to thinking, while the female characters exemplify the opposite‹the right-brained, creative, spontaneous, and emotional forms of expression. Mr. and Mrs. Ramsay best demonstrate the opposing sides divided by a barrier existing between the sexes that snubs any real communication. While Mr. Ramsay is comfortable in the structured constraints of language and the framework it provides, Mrs. Ramsay is more adept to the artistic, emotional ways of perception‹she feels rather than articulates. Woolf portrays the female as the representation of the semiotic‹a constantly flowing chain of signifiers that occurs with the use of language and never settles u pon a single, fixed meaning. The relatively secure meanings of ordinary language are harassed and disrupted by this flow of signification, which presses the linguistic sign to its extreme limitThe semiotic is fluid and plural, a kind of pleasurable creative excess over precise meaning, and it takes sadistic delight in destroying or negating such signsthe ideologies of modern male-dominated class society rely on such fixed signs for their power. (Eagleton, 163)The female character seems to have some understanding that approaches this meaning, through flashes of artistic inspiration, yet has trouble expressing this feeling in words. The male character, on the other hand, is portrayed by Woolf to be a master of language, yet despite his talent in verbal articulation, often speaks devoid of meaning. Rather than balance each other with their differences, because of opposite approaches to expression, male and female characters have difficulty experiencing communication and understandin g. The division between male and female, as represented by Mr. and Mrs. Ramsay, first appears when discussing a possible trip to the lighthouse the following day. Mr. Ramsay, who thinks on a purely linear and systematical level, recognizes the warning signs of an approaching storm and knows from these signs that going to the lighthouse is out of the question. ÂÅ'No going to the lighthouse, James, he said, as he stood by the windowOdious little man, thought Mrs. Ramsay, why go on saying that? (Woolf, 14-5) To Mrs. Ramsay, the presence of wind and clouds are not necessarily indicators of an oncoming storm. She cares more for her sons feelings than meteorological factors.When attacked by her husband in the name of his uncompromising Reason or Logos, Mrs. Ramsay defends herself in the name of ÂÅ'peoples feelings. At this moment she is aligned with the values of art against philosophy. (Minow-Pinkney, 86)She is open to the possibility of a change in weather‹apparent signifier s do not necessitate one true meaning or conclusion. It is possible to read the polarity of Mr. and Mrs. Ramsay as an opposition between literal meaning and metaphoricity. (Minow-Pinkney, 85) This is unthinkable to Mr. Ramsay, who sees events as cause and effect‹there is no room for the possibility of alternatives in his way of thinking.The rigorous propositional discourse of the philosopher is contrasted with the symbolic language of art. Boasting of ÂÅ'his own accuracy of judgement, Ramsay refuses to tamper with facts, never altering ÂÅ'a disagreeable word to suit the pleasure or convenience of any mortal being. (13) Mrs. Ramsay, on the other hand, as an artist whose raw materials are emotions, distorts and exaggerates as necessary according to the human context of her discourseEnraged by the ÂÅ'extraordinary irrationality of his wife, Ramsay regards her remark to James as a mere story of some ÂÅ'fabled land; she ÂÅ'in effect told lies. (Minow-Pinkney, 86)Mrs. Ramsay serves as a portrayal of the semiotic. Wind and rain do not necessarily indicate storm, but unravel a chain of signifiers that may end in storm, and may not. Contrary to Mr. Ramsays outlook, there is no one true meaning that follows the presence of signifiers. With her mind she had always seized the fact that there is no reason, order, justice, Mrs. Ramsay considers. (Woolf, 64)Unlike the seemingly chaotic outlook of Mrs. Ramsay, Woolf portrays male to be hiding behind an orderly screen of language‹linear, precise, but often meaningless. Mrs. Ramsey notices the superficiality of Tansley, despite his obvious attempts to appear the scholar.He wanted to assert himself, and so it would always be with him till he got his Professorship or married his wife, and so not need to be always saying, I‹I‹I. For that was what his criticism of poor Sir Walter, or perhaps it was Jane Austin, amounted to. I‹I‹I. He was thinking of himself and the impression he was making as she could tell by the sound of his voice, and his emphasis and his uneasiness. (Woolf, 106)Mr. Ramsays thoughts during the dinner were also indicative of the Woolfian male outlook. When the conversation turned to books and fame, his expression changed as he considered his own books, and whether hed be remembered for them. Mr. Ramsays inability to handle emotion results in an outward display which Mrs. Ramsay worries the guests will notice. Why could he never conceal his feelings? Mrs. Ramsay wondered. (Woolf, 96) While Mrs. Ramsay is accustomed to experiencing and dealing with emotion, Mr. Ramsay acts in a way that he soon regrets, causing him even more anxiety, as he even begins to suspect that the children are laughing at him.He was always worrying about himselfHe would always be worrying about his own books‹will they be read, are they good, why arent they better, what do people think of me? Not liking to think of him so, and wondering if they had guessed at dinner why he suddenly became irritable when they talked about fame and books lasting, wondering if the children were laughing at that. (Woolf, 118)Overwhelming emotion represents a break from the predictable, fixed methodological manner that Mr. Ramsay employs. It was a separation from the male, metaphysical world symbolized by abstract truths, sharp divisions and fixed essences. (Eagleton, 164) Even Mr. Ramsay acknowledges his inability to express emotion while considering the pleasures of his life. It was a disguise, he reveals. It was the refuge of a man afraid to own his own feelings, who could not say, This is what I like‹this is what I am. (Woolf, 45)The barrier dividing male and female revolves around the differences in their approach to language. The male character uses language to fit with his linear, rigid mindset. Mr. Ramsay demonstrates a linear way of thinking when considering his alphabet-based scale of success. The average person starts at A, and progresses sequentia lly by letter, most never having the ability to approach the end. [Mr. Ramsay] had, or might have had, the power to repeat every letter from A to Z accurately in order. (Woolf, 34-5) He sees but one methodological procedure to follow. His work in philosophy parallels his way of thinking. This is evidenced by Mr. Ramsays attempt at getting to a final answer‹ manipulating language in order to form a solution to a puzzle that in all probability cannot be solved. Woolf portrays Mr. Ramsay as a hard working philosopher who cares a great deal about his success in writing, yet his field of work seems to be out of touch with the events of everyday life. Lily compares his work to a meditation on a scrubbed kitchen table: this seeing of angular essences, this reducing of lovely evenings, with all their flamingo clouds and blue and silver to a white deal four-legged table. (Minow-Pinkney, 94) While to Lily, the colorful imagery around her is a natural and important part of the world , Mr. Ramsay sees only words and the linear process of finding answers. Lily comments, She would never know him. He would never know her. Human relations were all like that, she thought, and the worstwas between men and women. Inevitably these were extremely insincere, she thought. (Woolf, 92)In contrast, the female characters are a representation of the semiotic. They see that in language, as in life,One signifier implies another, and than another, and so on ad infinitumAlong this metonymic chain of signifiers, meanings, or signifieds, will be produced, but no object or person can ever be fully present in this chain. (Eagleton, 145)This is why at times in the novel the female has trouble expressing herself using a male-dominated language. In the novel, society is dominated by a structural, linear, masculine way of thinking. The femininesignifies a force within society which opposes it, writes Eagleton. (165) The female characters are forced to struggle with methods of expre ssion, as, to them, speech is too vague to fully express ideas.Women are represented within male-governed society, fixed by sign, image, meaning, yet because they are also the negative of that social order there is always something in them which is left over, superfluous, unrepresentable, which refuses to be figured there. (Eagleton, 165)Woolf depicts women as a representation of the semiotic. Female characters realize the futility of attempting to use language in order to convey a single, definite image. No word is precise enough to transmit an idea in its entirety from one person to another. Meaning is always in some sense an approximation, a near-miss, a part-failure, mixing non-sense and non-communication into sense and dialogue. We can never articulate the truth in some ÂÅ'pure, unmediated way. (Eagleton 146-7) Language can only serve as a likeness of the real, but can never fully reveal what was originally intended. Eagleton writes,This potentially endless movement from one signifier to another is what Lacan means by desire. All desire springs from a lack, which it strives continually to fillTo enter language, then, is to become a prey to desireTo enter language is to be severed from what Lacan calls the real, that unaccessible realm which is always beyond the reach of signification, always outside the symbolic order. (Eagleton, 145)In an artistic mode, where a person is more likely to perceive flashes of Lacans real, rather than a progression of speech that attempts to add up to a whole idea, communication is difficult, if not impossible.Mrs. Ramsay subconsciously realizes her inability to verbally communicate her love for her husband. He found talking so much easier than she did. He could say things‹she never couldIt was only that she never could say what she felt, she thinks. (Woolf, 123) Perhaps Lily best expresses languages incapacity to mean exactly what is intended. She thinks,One could say nothing to nobody. The urgency of the mo ment always missed its mark. Words fluttered sideways and struck the object inches too lowFor how could one express in words these emotions of the body? (Woolf, 178)She recalls her past, which she describes as more vivid. This may be because she sees the past as a time where it was possible to freely express emotion through art, rather than being forced to undergo an endless stream of the trivialities of speech. She remembers, Mercifully one need not say, very briskly, crossing the lawn to greet old Mrs. BeckwithOh, good-morning, Mrs. Beckwith! What a lovely dayand all the rest of the usual chatter. One need not speak at all. (Woolf, 192)Although language is unavoidable, by her reference to the usual chatter, Lily reveals her feeling that it is often without meaning. The male-oriented approach to language is difficult for the female, artistic-minded person, such as Lily, to use effectively.However, the female attempt at expression is not completely suppressed in the novel. Whi le finding it difficult to receive and communicate ideas with the limiting usage of words, Woolfs female characters seem to have an understanding that transcends the use of speech. As Minow-Pinkney writes,Mrs. Ramsay has her own mode of access to truth, as when she sits alone knitting: Losing personality, one lost the fret, the hurry, the stir; and there rose to her lips always some exclamation of triumph over life when things come together in this peace, this rest, this eternity. Ramsay reduces, but his wife synthesizes as experiences come together in her moments of vision. (Minow-Pinkney, 94)Mrs. Ramsay finds it impossible to tell her husband that she loves him, because she considers this feeling to be something beyond what the mere verbal expression of ideas can convey. By the end of the scene, she knows that Mr. Ramsay understands nonetheless, despite her lack of words. And she looked at him smiling. For she had triumphed again. She had not said it: yet he knew. (Woolf, 12 4)This flash of understanding between Mr. and Mrs. Ramsay was one of the few instances where true communication was reached between male and female characters. Woolfs portrayal of the feminine artistic outlook, which views speech as a chain of signifiers that can never fully indicate an idea, is in conflict with the masculine point of view, grounded in linearity and speech. Because of these differences in approaches to expression, such cases of understanding are difficult to achieve. However, as shown in the moment of connection between Mr. and Mrs. Ramsay, communication is possible. Though there may be no end to the endless chain of signification that necessarily follows from the use of language, the underlying emotion behind the words does exist, and can be understood once the constraints of speech are cast aside.Works CitedEagleton, Terry. Literary Theory. Great Britain: Blackwell Publishers Ltd., 1996.Minow-Pinkney, Makiko. Virginia Woolf and the Problem of the Subject. New Brunswick, NJ: Rutgers University Press, 1987.Woolf, Virginia. To the Lighthouse. New York: Harcourt Brace Company, 1927.