which question would writers ask to determine if voice is apparent in their essay
Novel is not a synonym for book. A novel is a long work of fiction in prose. A historical monograph is not a novel—unless the historian is making everything up.
Like good detectives, historians are critical of their sources and cross-check them for reliability. You wouldn’t think much of a detective who relied solely on a suspect’s archenemy to check an alibi. Likewise, you wouldn’t think much of a historian who relied solely on the French to explain the origins of World War I. Consider the following two statements on the origin of World War I: 1) “For the catastrophe of 1914 the Germans are responsible. Only a professional liar would deny this. ” 2) “It is not true that Germany is guilty of having caused this war. Neither the people, the government, nor the Kaiser wanted war. ” They can’t both be right, so you have to do some detective work. As always, the best approach is to ask: Who wrote the source? Why? When? Under what circumstances? For whom? The first statement comes from a book by the French politician Georges Clemenceau, which he wrote in 1929 at the very end of his life. In 1871, Clemenceau had vowed revenge against Germany for its defeat of France in the Franco-Prussian War. As premier of France from 1917 to 1920, he represented France at the Paris Peace Conference in 1919. He was obviously not a disinterested observer. The second statement comes from a manifesto published by ninety-three prominent German intellectuals in the fall of 1914. They were defending Germany against charges of aggression and brutality. They too were obviously not disinterested observers. Now, rarely do you encounter such extreme bias and passionate disagreement, but the principle of criticizing and cross-checking sources always applies. In general, the more sources you can use, and the more varied they are, the more likely you are to make a sound historical judgment, especially when passions and self-interests are engaged. You don’t need to be cynical as a historian (self-interest does not explain everything), but you do need to be critical and skeptical. Competent historians may offer different interpretations of the same evidence or choose to stress different evidence. You will not find a single historical Truth with a capital “T” on any matter of significance. You can, however, learn to discriminate among conflicting interpretations, not all of which are created equal. (See also: Analyzing a Historical Document)
It is often considered human nature to ask, “why?” and “how?” We want to know how our child got sick so we can better prevent it from happening in the future, or why our colleague received a pay raise because we want one as well. We want to know how much money we will save over the long term if we buy a hybrid car. These examples identify only a few of the relationships we think about in our lives, but each shows the importance of understanding cause and effect.
The thesis explains not only the category and subcategory but also the rationale for breaking it into those categories. Through this classification essay, the writer hopes to show his or her readers a different way of considering the state.
Here is a list of possible questions around which you might construct a solid thesis: How does the author’s or narrator’s perspective on a given theme shift as the text develops? Are there any apparent tensions or contradictions within the text? If so, how might they be resolved? How does the text engage with the major political or cultural ideas of the era in which it was written? How does the text challenge or undermine the dominant conventions of the genre in which it was written? These are just a few suggestions. There are thousands of ways to craft a thesis, so don’t feel limited to the questions above. Here are two examples of effective thesis statements:
By incorporating novelistic techniques—such as sustained imagery and character development—into a non-novelistic work, Alice Munro, in her short story collection Who Do You Think You Are?, subverts the narrative conventions of novelistic discourse.
The Journalists’ Questions
Anne Tyler’s first children’s book, Tumble Tower, fits several classic assumptions about children’s literature while it breaks down others. The simple story relates an incident of a flood that enables Princess Molly the Messy, a member of a tidy and neat royal family, to rescue her them through her messiness, and ultimately shows the value of her individuality. With its bright, quirky pictures by Mitra Modarressi , the story’s look and length fit the typical case prototype of a children’s book easily. However, examining Tumble Tower using Perry Nodelman’s findings on typical expectations of children’s literature reveals that the story bucks several norms.
Like the magazine add that you showed us that said “All girls love princesses, pink and parties” (or something to that effect), we are spoon feeding interpellated gender roles to our children. Certainly, all girls DON’T love princesses and all girls don’t love pink. In fact, I always hated princesses and pink for that matter. By saying “All girls”, marketing agencies are really embracing interpellated gender roles and using them to try and sell their product, which often works (unfortunately).