Definition and Examples of Paragraphing in Essays

Paragraphing is the practice of dividing a text into paragraphs. The purpose of  paragraphing is to signal shifts in thinking and give readers a rest.   Paragraphing is a way of making visible to the reader the stages in the writers thinking (J. Ostrom, 1978). Although conventions about the length of paragraphs vary from one form of writing to another, most style guides recommend adapting paragraph length to your medium, subject, and audience. Ultimately, paragraphing should be determined by the rhetorical situation. Examples and Observations Paragraphing is not such a difficult skill, but it is an important one. Dividing up your writing into paragraphs shows that you are organized, and makes an essay easier to read. When we read an essay we want to see how the argument is progressing from one point to the next.Unlike this book, and unlike reports, essays dont use headings. This makes them look less reader-friendly, so it is important to use paragraphs regularly, to break up the mass of words and to signal the making of a new point. . . . An unparagraphed page gives the reader the feeling of hacking away through a thick jungle without a track in sight—not very enjoyable and very hard work. A neat series of paragraphs acts like stepping stones that can be followed pleasurably across the river.(Stephen McLaren, Essay Writing Made Easy, 2nd ed. Pascal Press, 2001) Paragraphing Basics The following principles should guide the way paragraphs are written for undergraduate assignments:​ Every paragraph should contain a single developed idea...The key idea of the paragraph should be stated in the opening sentence of the paragraph...Use a variety of methods to  develop  your  topic sentences...Finally, use  connectives  between and within paragraphs to unify your writing... (Lisa Emerson, Writing Guidelines for Social Science Students, 2nd ed. Thomson/Dunmore Press, 2005) Structuring Paragraphs Long paragraphs are daunting—rather like mountains—and they are easy to get lost in, for both readers and writers. When writers try to do too much in a single paragraph, they often lose the focus and lose contact with the larger purpose or point that got them into the paragraph in the first place. Remember that old high school rule about one idea to a paragraph? Well, its not a bad rule, though it isnt exactly right because sometimes you need more space than a single paragraph can provide to lay out a complicated phase of your overall argument. In that case, just break wherever it seems reasonable to do so in order to keep your paragraphs from becoming ungainly.When you draft, start a new paragraph whenever you feel yourself getting stuck—its the promise of a fresh start. When you revise, use paragraphs as a way of cleaning up your thinking, dividing it into its most logical parts.(David Rosenwasser and Jill Stephen, Writing Analytically, 5th ed. Thomson Wadswort h, 2009) Paragraphing and the Rhetorical Situation The form, length, style, and positioning of paragraphs will vary, depending on the nature and conventions of the medium (print or digital), the interface (size and type of paper, screen resolution, and size), and the genre. For example, paragraphs in a newspaper are quite a bit shorter, typically, than paragraphs in a college essay because of the newspapers narrow columns. On a website, paragraphs on the opening page may consist of more signposts than would be typical in a printed work, allowing readers to select which direction to track via hyperlink. Paragraphs in a work of creative nonfiction will likely include transitional words and sentence structures not often found in lab reports. In short, the rhetorical situation should always guide your use of paragraphing. When you understand paragraph conventions, your audience and purpose, your rhetorical situation, and your writings subject matter, you will be in the best position to decide how to use paragraphs strategically and effectively to teach, delight, or persuade with your writing. (David Blakesley and Jeffrey Hoogeveen, The Thomson Handbook. Thomson Learning, 2008)​ Editing by Ear for Paragraphs We think of paragraphing as an organizational skill and may teach it in conjunction with the prewriting or planning stages of writing. I have found, however, that young writers understand more about paragraphing and cohesive paragraphs when they learn about them in conjunction with editing. When developing writers know the reasons for paragraphing, they more readily apply them in the editing stage than in drafting. Just as students can be trained to hear end punctuation, they can also learn to hear where new paragraphs start and when sentences are off the topic.(Marcia S. Freeman, Building a Writing Community: A Practical Guide, rev. ed. Maupin House, 2003)

TDA21 Child and Young Person Developmen - 6757 Words

TDA Unit 2.1 Child and Young Person Development 1) 1.1 Describe the expected pattern of children and young people’s development from birth to 19 years to include Physical Development Communication and Intellectual Development Social, emotional and behavioural Development Physical Development There are expected patterns of development for children from birth to 19 years old. Although all children are individuals and unique and there are factors which can have a bearing on development such as health, environment and home life and parenting these milestones happen naturally. The patterns start from birth with new-born babies having very little control of their bodies and are totally dependent. Up to 1 month old, a baby can focus both†¦show more content†¦Most teenagers have trouble waking up in the morning. Part of this is because they stay up later, although part of it is biological. Communication and Intellectual Development From birth to 3 months their main source of communication will be crying. At this stage babies have very little understanding of what is happening to them and they do not know they are people. They will have different crying sounds and these will depend on what the baby needs for example for hunger, pain, feeling wet, fear and loneliness. At around 4-6 months old a baby will have developed an awareness of sound in particularly a person speaking and will turn towards the sound when someone familiar speaks for example their parents. They will start to mimic sounds and start to babble and laugh. Intellectual development is rapid and although they may not be able to speak in more than just babble, their understanding will be greater and they will become much more inquisitive. They will be able to understand simple instructions such as â€Å"point to your nose.† By a year old, they’ll be able to say simple words like â€Å"Mama† and â€Å"Dada† or words with similar sounds. They may start to develop their own language with odd sounding words for common objects that take their interest. Sometimes these words will sound similar to the name of the object particularly if their parents spend time speaking to their child and repeating the names of these objects.

Emmanuel Kant free essay sample

This paper provides an overview of the life and works of the great philosopher Immanuel Kant and will attempt to understand how Kants philosophy of reasoning deviated and synthesized that of his philosophical predecessors. This paper provides an overview of the life and works of the great philosopher Immanuel Kant and will attempt to understand how Kants philosophy of reasoning deviated and synthesized that of his philosophical predecessors. From the paper: Emmanuel Kants name is one of the bywords for intellectual rigor and ethics in philosophy. But an equally important part of the body of his work is Kant as a great synthesizer of the great philosophical writers of the pre-existing period. Rather than concentrate on Kants ethical judgments, this paper will attempt to understand how Kants philosophy of reasoning deviated and synthesized that of his philosophical predecessors. Such an understanding will better enable a reader to understand Kants ethical imperatives and the reasoning behind them

Classical music concert report free essay sample

The program began with Welcome to all the pleasures, which Is an ode written for the Saint Cellar Day, imposed by the English Baroque composer Henry Purcell in 1683. It opens with a symphony with canonic violin parts. Purcell creates a concerto gross effect with the contrapuntal violin melodies. Then comes the countertenor solo which I found very Impressing. The second piece they performed was Violin Concerto In A major, Pop. 7:6 composed by the French Baroque violinist and composer Jean-Merle Lacteal. After conducting the first piece, Adrian Butterflies played the solo violin for this one.This concerto begins with an allegro ma non presto movement, which is Joyful and fast, but not at an extreme rate. The first movement Is in reiteration form. The orchestra keeps returning to the main theme after violin solos. This movement has a homophobic texture and is in simple duple meter. The second movement is an aria at a slower tempo. After conducting the first piece, Adrian Butterfield played the solo violin for this one. This concerto begins with an allegro ma non presto movement, which is joyful and fast, but not at an extreme rate. The first movement is in ritornello form. The orchestra keeps returning to the main theme after violin solos. This movement has a homophonic texture and is in simple duple meter. The second movement is an aria at a slower tempo. It is in the variations form, but this time in compound duple meter. One thing that grabbed my attention is that the variations do not overlap. Every variation ends before the next one starts. The third and last movement of the violin concerto is the gigue form, in which the meter stays as compound but the tempo accelerates and becomes allegro. After the break, the orchestra opened the second part of the concert with Introduzione teatrale in G major Op. 4:4 composed by the Italian composer and violinist Pietro Locatelli. This piece is from the Baroque Period like the other ones. In my opinion, this piece served as an introduction to the next one. The fourth piece that the orchestra performed was Sinfonia in C major, Wq. 182:3/H. 659 by the German Classical period musician and composer Carl Philipp Emanuel Bach, the fifth child and third son of Johann Sebastian Bach. Born in Weimar (Germany), he initially intended for a legal career but turned to music  while he was studying at Frankfurt University. In 1738 he became a harpsichord player in Berlin at the court of Frederick the Great, holding this post for almost three decades. Then he succeeded as director of church music at Hamburg. C. P. E. Bach applied unsuccessfully in 1750 to succeed his father at Leipzig after his death. His achievement was to develop sonata? form an d invest it with weight and imaginative quality, most evidently in his sonatas, of which there are over 200, but also in his symphonies, over fifty concertos, violin sonatas, and the solo flute sonata in A minor. Also composed 22 Passions, Magnificat (1749), the oratorios Die Israeliten in der Wuste (1769) and Die Auferstehung und Himmelfahrt Jesu (1780), and many songs. He also wrote a celebrated treatise on klavier? playing. First, we hear a quite fast first movement in sonata form, which is typical form for the first movements of symphonies. However, the first theme is not repeat, which was not common in the Classical period. The transitions between the themes are so fast that it makes it hard to distinguish between them, unlike when we get to the second movement, which is much slower and darker than allegro assai. This part reminds me of the second movement in Johann Sebastian Bach’s Orchestral Suite No. 3 in D Major. The string arrangements in the beginning show similarities with J. S. Bach’s popular work. In this movement, there is a slow theme in minor mode, which keeps coming back in different variations. Thus, I think this movement is in the rondo form. After adagio, the mood of the piece gets â€Å"brighter†. Allegretto is in the minuet form and it is build upon themes similar to each other. These themes consist of parallel and contrasting melodies. Texture-wise this symphony is homophonic. One can hear the different dynamics, but clearly it is not what this piece was written for. Speed and virtuosity is in the foreground. After Adrian Butterfield showed the audience his virtuosic abilities, he turned his face again to the orchestra and Cappella Antica joined them for the second time. We were back to Henry Purcell with My heart is inditing, Z. 30. This piece is at a moderate tempo and has polyphonic as well as melismatic choral parts. They closed the anthem with a magnificent â€Å"Alleluia† part. The McGill Baroque Orchestra is a typical Baroque orchestra consists of eight violin players, of which the half played violin I and the other half violin II; three violists, two cellists, a violone player, two harpsichord and an organ, which were played by five different performers, and, of course, the guest conductor and the solo violinist Adrian Butterfield. They were accompanied by a choir of male and female singers on the choral pieces. The venue was very suitable for a Baroque concert. In the concert hall, there was giant pipe organ, which gave the venue an authentic visual aesthetic. Adrian Butterfield is an extraordinary violinist and a successful conductor. His control over his instrument was captivating. I enjoyed this concert in particular, not only because he has the ability to play all those fast licks on his violin without an effort, but also McGill Baroque Orchestra and Cappella Antica performed the pieces in the best way possible. To that, I would like to add that the pieces were well chosen. Although C. P. E. Bach’s symphony in C major is a bit hard to analyze for uneducated ears, it was a pleasure to be able listen to this piece performed live. Word count: 1019Bibliography