There are two general formats for compare and contrast papers:

Americans have a sense of space, not of place. Go to an American home in exurbia, and almost the first thing you do is drift toward the picture window. How curious that the first compliment you pay your host inside his house is to say how lovely it is outside his house! He is pleased that you should admire his vistas. The distant horizon is not merely a line separating earth from sky, it is a symbol of the future. The American is not rooted in his place, however lovely: his eyes are drawn by the expanding space to a point on the horizon, which is his future. By contrast, consider the traditional Chinese home. Blank walls enclose it. Step behind the spirit wall and you are in a courtyard with perhaps a miniature garden around a corner. Once inside his private compound you are wrapped in an ambiance of calm beauty, an ordered world of buildings, pavement, rock, and decorative vegetation. But you have no distant view: nowhere does space open out before you. Raw nature in such a home is experienced only as weather, and the only open space is the sky above. The Chinese is rooted in his place. When he has to leave, it is not for the promised land on the terrestrial horizon, but for another world altogether along the vertical, religious axis of his imagination.

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in a Composition course is the comparison and contrast essay. What could be easier? We've got these two things — movies, books, rock bands, decades, people, fashions, schools, ideas — how are they alike and how are they different? The paper practically writes itself! (A comparison, incidentally, is the process of showing how things are alike; a contrast is the process of showing differences.)

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As we have been stressing in class, each of these texts engageswith the broad "modernist" project of reinventing artistic practice, artisticvalue, and the role of the artist in light of what was widely perceivedto be the failure or bankruptcy of established artistic attitudes and institutions. In some cases -- in some of the manifestoes, for example -- a particularidea of the artist is advanced quite explicitly and aggressively. In other texts, such as Eliot's , an idea of the artistemerges more indirectly. Indeed, this distinction between an explicitlydeclared artistic agenda and an implicitly represented one might in itselfbe seen as marking an important contrast in the way different writers conceivedof the role of the artist. But there is nothing to prevent you fromchoosing of the texts we have read (or looked at; you may writeabout a painting if you like).

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What is an compare and contrast essay..

By the sametoken, if you are going mainly to emphasize the contrasting notions ofthe writer in Hemingway and Stein, you should start off by noting certainbasic similarities of affinities. This use of comparison to set upa contrast, or of contrast to set up a comparison, helps to focus yourreader's attention and to provide a motivation for the main business ofthe essay.

Compare And Contrast Essay Tips

Comparison and contrast are processes of identifying how ideas, people, or things are alike (comparison) and how they are different (contrast). Although you have probably been writing compare/contrast papers since grade school, it can be a difficult form to master.

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Compare and contrast essay assignment sheet

Finally, the business of a comparison and contrast essay is frequently (but not always) to demonstrate a preference for one thing over another. The trick is to allow the preference to grow out of the comparison without actually stating the obvious. Let the reader figure out the preference from the language we use in the contrast; let the language do its work.

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Write an essay of five or six pages in which you compare and contrastany two of the texts we have read (up to and including Hemingway's ) on the basis of their particular conceptions of theartist.

Finally, you will write the comparison/contrast essay implementing either a subject by subject pattern or a point by point pattern.

Compare And Contrast Essay Assignment Sheet

The second question is one of procedure. We have, let's say, five points of difference between the two things that we want to contrast. Shall we go from side to side, as if our essay were a ping-pong match, or should we dwell on one side before going over to the other side, essentially splitting our essay in half? It is possible to mix these two approaches, but our approach will determine the overall structure, pacing, and effect of the essay.