The Conclusion Paragraph by 07SHMSP

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									The Conclusion
  Paragraph
     Mrs. Snipes
  Troy High School
 English Department
The conclusion paragraph in an essay of
literary analysis functions as follows:
  It finishes off the essay and tells the
   reader where the writer has brought
   them.
  It restates the thesis and contains echoes
   of the introduction and body paragraphs
   without listing the points covered in the
   essay.
  It creates a broader implication of the
   ideas discussed and answers the
   questions: so what? Or why do we care?
Anatomy of the Conclusion:
   The conclusion begins with a restatement of the
    thesis, not a repetition, and gradually widens
    toward a final , broad statement of implication.
   Borrows from the body paragraphs, without being
    flatly repetitive or listing points already covered.
   Creates echoes of the introduction and body
    paragraphs to reinforce analysis/ ideas.
   Moves outward with a statement that relates the
    thesis to a broader implication so the reader can
    see the analytical focus in a larger perspective or
    application.
Strategies for Composing Conclusions:
 Strike a note of hope or despair.
 Give a symbolic or powerful detail/fact.
 Create an analogy that relates your topic
  to a larger implication.
 Give an especially compelling example.
 Use a meaningful quotation. (If you used
  a meaningful quotation in your
  introduction, refer back to this quote and
  tie it in with your overall analysis.)
 Recommend a course of action without
  being “preachy.”
 Echo the language and approach of the
  introduction.
 Reference and make meaning of the title
  of the work you are analyzing.
Consider the following checklist when
writing a conclusion:
 Avoid first-person point of view,
  abstract/vague language, poor diction,
  and slang.
 Avoid simply repeating the thesis and/or
  listing the main points.
 Don’t conclude more than you reasonably
  can from the evidence you have
  presented.
 Echo the language and ideas from your
  introduction and body paragraphs.
   Expand on the implications of your analysis: So
    what? Why do we care about these ideas? What’s
    so important about what you’ve developed in
    your paper? Are there any other applications for
    your ideas?
   Avoid any attempts at humor, cuteness, or
    sarcasm.
   The conclusion need not be longer than four to
    six sentences, as with the introduction, but must
    be adequately developed.
   Include the title(s) and author(s) once more.
Sample Conclusions:
 Evaluate the strengths and weaknesses of
  the sample conclusions to follow.
 Identify possible references to the thesis
  statements, introduction, and body
  paragraphs.
 Identify broader implications.
 Identify and evaluate other strategies
  used.
Sample 1:
     Both great works of epic literature from
 historical India and Japan certainly provide
 fascinating insights into the study of the
 idealization of women and wives. We can see how
 the different social conventions of each time and
 place have a defined impact on women’s roles
 within the institution of marriage. In reflecting on
 the societal expectations of a wife as represented
 in classical world literature we can gain new
 insights into women’s roles within marriage in a
 contemporary world. Future generations will look
 to our contemporary literature as a depiction of
 our society’s expectations and values of women
 not only as wives, but as single and independent
 women, as well.
Sample 2:
     Edna’s character transforms from sleeping
 through life by meeting expectations to a great
 awakening, in which her thoughts and actions are
 consistent with each other. Edna’s struggle
 between her inner desires and her outward
 conformity is one in which her best solution was
 to satisfy no roles and expectations, including her
 own. Her character is so memorable because the
 reader can empathize with Edna’s internal conflict
 to both conform and defy. She is unforgettable
 because she does what each of us has wanted to
 do; her character resonates with the universal
 human condition of defying and abandoning
 societal expectations and impositions.
Sample 3:
     The culmination of Stephen Dedalus’ linguistic
 and artistic development in James Joyce’s A
 Portrait of the Artist as a Young Man in indicated
 at the end of the novel when his story is no
 longer dependent on a narrator, but is told by
 Stephen himself through his journal. The journal
 entries are projected forth in the unfiltered
 language of the artist. He completes his linguistic
 journey, coming full circle from a child who
 merely perceives others’ language to the artist,
 who creates his own. The language implicit
 (cont.)
in Stephen’s journal represents the
realization of his identity; his language
displays the confidence and independence
of one who is autonomous. At the end of
the novel, Stephen’s physical, intellectual,
and emotional transformations have been
chronicled through the intricacies of
language.
Sample 4:
     Throughout Morrison’s Beloved memory has a
 power distinguished from other motifs in the
 novel. Memory is so pervasive that it functions as
 a separate character within the plot. It interacts
 with, and has a unique relationship with, each
 character; it brings up painful past experiences,
 and preys upon those resonances. Indeed,
 memory functions as an additional antagonist,
 dredging up the past, teasing and torturing
 without remorse the characters who attempt to
 forget. Ultimately, however, memory is defeated
 with Morrison’s dictate: “this is not a story to
 pass on.”
Sample 5:
     The values of leadership portrayed by
 Tamburlaine’s character are still honored
 in society today. We desire a leader who is
 passionate and eloquent, but who is a
 leader of action, as well. We also value a
 leader who is proud and confident in his or
 her abilities and experience. Today’s
 leader’s would do well to consult
 Marlowe’s example of leadership in
 Tamburlaine.

								
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